Ry Cooder - Paradise and Lunch (Ultra Analog, Half-speed Mastering)
Ry Cooder - Paradise and Lunch (Ultra Analog, Half-speed Mastering)
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Ry Cooder - Paradise and Lunch (Ultra Analog, Half-speed Mastering)
Ry Cooder - Paradise and Lunch (Ultra Analog, Half-speed Mastering)

Ry Cooder - Paradise and Lunch (Ultra Analog, Half-speed Mastering)

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€59,00
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ORDER LIMITED TO ONE ITEM PER CUSTOMER

Ry Cooder (g, mand, b, voc) [click here to see more vinyl featuring Ry Cooder]

Ronnie Barron (p, org); Earl Hines (p); Plas Johnson (as); Oscar Brashear (crt); Red Callender, John Duke (b); Russ Titelman, Chris Ethridge (el-b); Milt Holland (dr, perc); Jim Keltner (dr)

Written by Russ Titelman (A2), Ry Cooder (A2), Washington Phillips (A2), Willie McTell (A3), Bobby Womack (A5), Shirley Womack (A5), J.B. Lenoir (B1), Jim Dickinson (B1), Sidney Bailey (B1), Bobby Miller (B2), Bacharach (B3), Hilliard (B3), Arthur Blake (B4). A1 and A4 are traditional songs


1 LP, standard sleeve

Limited numbered edition

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 : Reprise

Recording: 1974 at the Warner Brothers Studios in North Hollywood and Burbank (USA), by Lee Herschberg

Produced by Lenny Waronker, Russ Titelman

Remastered by Krieg Wunderlich

Originally released in 1974

Reissued in 2017

 

Tracks:

Side A :

  1. Tamp 'Em Up Solid
  2. Tattler
  3. Married Man's A Fool
  4. Jesus On The Mainline
  5. It's All Over Now

 

Side B :

  1. I'm A Fool For A Cigarette / Feelin' Good
  2. If Walls Could Talk
  3. Mexican Divorce
  4. Ditty Wa Ditty

 

Awards:

Stereophile Records to Die For - 2013


Reviews

« Ry Cooder understands that a great song is a great song, whether it was written before the Depression or last week. Still, at the same time he isn't afraid to explore new avenues and possibilities for the material. Like his three previous records, Paradise and Lunch is filled with treasures which become part of a world where eras and styles converge without ever sounding forced or contrived. One may think that an album that contains a traditional railroad song, tunes by assorted blues greats, and a Negro spiritual alongside selections by the likes of Bobby Womack, Burt Bacharach, and Little Milton may lack cohesiveness or merely come across as a history lesson, but to Cooder this music is all part of the same fabric and is as relevant and accessible as anything else that may be happening at the time. No matter when it was written or how it may have been done in the past, the tracks, led by Cooder's brilliant guitar, are taken to new territory where they can coexist. It's as if Washington Phillips' "Tattler" could have shared a place on the charts with Womack's "It's All Over Now" or Little Milton's "If Walls Could Talk." That he's successful on these, as well as the Salvation Army march of "Jesus on the Mainline" or the funky, gospel feel of Blind Willie McTell's "Married Man's a Fool," is not only a credit to Cooder's talent and ingenuity as an arranger and bandleader, but also to the songs themselves. The album closes with its most stripped-down track, an acoustic guitar and piano duet with jazz legend Earl "Fatha" Hines on the Blind Blake classic "Ditty Wah Ditty." Here both musicians are given plenty of room to showcase their instrumental prowess, and the results are nothing short of stunning. Eclectic, intelligent, and thoroughly entertaining, Paradise and Lunch remains Ry Cooder's masterpiece. » AllMusic Review by Brett Hartenbach

  

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 : 4.5 / 5  , Discogs :  4,00 / 5  , Rate Your Music :  3,73 / 5

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