Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)
Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)
Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)
Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)
Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)
Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)
Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)
Out of stock
Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)
Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)
Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)
Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)
Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)
Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)
Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)

Patricia Barber – A Distortion Of Love (2LP, Ultra Analog, Half-speed Mastering)

€199,00
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ORDER LIMITED TO ONE ITEM PER CUSTOMER

Vocals, Piano – Patricia Barber [click here to see more vinyl featuring Patricia Barber]

Bass – Marc Johnson

Drums, Shaker, Finger Snaps, Body Percussion [Cheap Shoes] – Adam Nussbaum

Guitar – Wolfgang Muthspiel

Written by Patricia Barber (A2, B2, C1-3), DuBose Heyward (A1), George & Ira Gershwin (A1), Gus Kahn (B1), Nacio Herb Brown (B1), Richard Rodney Bennett (D1), Ronald White (D2), Smokey Robinson (D2), Arthur Schwartz (D3), Howard Dietz (D3)

 

2 LP, gatefold jacket

Limited numbered edition

Original analog Master tape : YES

Half-speed Mastered

Gain 2™ Ultra Analog

Heavy Press : 180g

Record color : black

Speed : 33RPM

Size : 12”

Stereo

Studio

Record Press : RTI

Label : MOFI

Original Label : Verve Records

Engineered by Jim Anderson

Produced by Brian Bacchus

Mastered by Krieg Wunderlich at Mobile Fidelity Sound Lab

Originally released in 1992

Reissued in 2013

 

Tracks:

Side A:

  1. Summertime
  2. Subway Station # 5

Side B:

  1. You Stepped Out Of A Dream
  2. Parts Parallels

Side C:

  1. Or Not To Be
  2. Yellow Car
  3. Yet Another In A Long Series Of Yellow Car

Side D:

  1. I Never Went Away
  2. My Girl
  3. By Myself

             

            Reviews:

            “Pianist and singer Patricia Barber's second album (and major-label debut) is a consistently interesting, but not always completely rewarding, array of original instrumentals, vocal standards, and surprise cover versions. The arrangement of "Summertime" that opens the program is eerie almost to the point of creepiness, and all the more effective for it: after a long instrumental prelude, Barber sings the lyrics over the most minimal bass-and-piano unison pedal point, her voice goosed with reverb and wailing softly like a ghost. "Subway Station #5," the original composition that follows, is nervous, jumpy, barely tonal, and moves niftily from a contrapuntal and polyrhythmic introduction into a straight swing section. The problem is that it lasts almost ten minutes, and by the seventh or eighth minute, its ideas seem pretty well played out. "Or Not to Be" and "Yet Another in a Long Series of Yellow Cars" suffer from similar treatment. But her singing on "You Stepped Out of a Dream" and, especially, her sweet and touching rendition of the soul classic "My Girl" are quietly spectacular. There's every reason to expect great things of her in the future.” AllMusic Review by Rick Anderson

             

            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 ; Discogs : 4.37 / 5

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