<tc>Marshall Crenshaw (Ultra Analog, Half-speed Mastering)</tc>
<tc>Marshall Crenshaw (Ultra Analog, Half-speed Mastering)</tc>
<tc>Marshall Crenshaw (Ultra Analog, Half-speed Mastering)</tc>
<tc>Marshall Crenshaw (Ultra Analog, Half-speed Mastering)</tc>
<tc>Marshall Crenshaw (Ultra Analog, Half-speed Mastering)</tc>
<tc>Marshall Crenshaw (Ultra Analog, Half-speed Mastering)</tc>
<tc>Marshall Crenshaw (Ultra Analog, Half-speed Mastering)</tc>
<tc>Marshall Crenshaw (Ultra Analog, Half-speed Mastering)</tc>
<tc>Marshall Crenshaw (Ultra Analog, Half-speed Mastering)</tc>
<tc>Marshall Crenshaw (Ultra Analog, Half-speed Mastering)</tc>

Marshall Crenshaw (Ultra Analog, Half-speed Mastering)

€65,83
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Marshall Crenshaw – guitar, vocals

Chris Donato – bass, vocals

Robert Crenshaw – drums, vocals

Tony Garnier – bass (A6)

Richard Gottehrer – percussion

Michael Osborne – percussion (A3)

Written by Marshall Crenshaw (A1-6, B1-3, B5-6), Rick Cioffi (B1), Fred Todd (B1), Buzz Cason (B4), Tony Moon (B4)

 

1 LP, gatefold jacket

Limited to 3,000 numbered pressings

Original analog Master tape : YES

Half-speed Mastering

Gain 2™ Ultra Analog

Heavy Press : 180g

Record color : black

Speed : 33 RPM

Size : 12'’

Stereo

Studio

Record Press : RTI

Label : MOFI

Original Label : Warner

Recorded January 1982 at Record Plant in New York City

Engineered by Thom Panunzio

Produced by Richard Gottehrer, Marshall Crenshaw

Mastered by Shawn R. Britton

Originally released in April 1982

Reissued in 2009

 

Tracks:

Side A:

  1. There She Goes Again
  2. Someday, Someway
  3. Girls...
  4. I'll Do Anything
  5. Rockin' Around In N.Y.C.
  6. The Usual Thing

Side B:

  1. She Can't Dance
  2. Cynical Girl
  3. Mary Anne
  4. Soldier Of Love
  5. Not For Me
  6. Brand New Lover

               

               

              Reviews :

              “In retrospect, 1982 was a brief, exhilarating moment in between the fall of disco and the rise of MTV, when the eternal verities of real rock & roll broke through once again. The punk and new wave music of the late '70s had given way to power-pop, a return to catchy, relatively unadorned guitar rock. In that context, it was easy to see Marshall Crenshaw and his self-titled debut album as the Next Big Thing. Hailing from music-rich Detroit but based in new wave mecca New York City, Crenshaw looked like Buddy Holly by way of Elvis Costello, and sounded like that combination too. His short, simple songs had an obvious lineage, but Crenshaw further updated the sound and added a lightly sardonic tone à la Costello, giving it a smart-alecky New York edge. Not only did critics love the result, but the immediate surface charms of the music seemed to bode for a quick trip to the top. But although "Someday, Someway" reached the Top 40 and the LP got halfway up the Top 100, that did not happen. Maybe because Crenshaw was perhaps a little too faithful to his old records. Any record collector had to love a guy who knew enough to cover Arthur Alexander's "Soldier of Love." Yet Holly and Costello got away with their essentially nerdy appearance by working against it, always seeming about to break out of the image; Crenshaw, from the art deco cover of his album to his perfectly echoed vocals, seemed to fetishize the look and sound, more a formalist than a stylist. Or maybe it was just that by the end of 1982, Michael Jackson had released Thriller and Duran Duran was cavorting on MTV. In any case, Marshall Crenshaw remains a great album.” AllMusic Review by William Ruhlmann

               

              Ultra Analog™ : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.

               

              Half-speed mastering. In half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1/3 rpm record is cut at 16 2/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.

               

              Ratings :

              AllMusic : 5 / 5 ; Discogs : 4.69 / 5

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