Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)
Phil Collins - Face Value (Picture Disc, Half Speed Mastering)

Phil Collins - Face Value (Picture Disc, Half Speed Mastering)

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Phil Collins – vocals, drums, Roland VP-330 vocoder (A1, A6, B4), CR-78 drum machine (A1, A6, B6), Prophet-5 synthesizer (A1-2, A5–6, B1, B4-6), Fender Rhodes (A1-2, B3, B5), percussion (A2, B5), piano (A4–6, B1-2, B4), handclaps (A5, B3), congas (A5), marimba (A6)

Eric Clapton – guitar (A4, B5) [click here to see more vinyl featuring Eric Clapton]

Daryl Stuermer – guitars (A1-3, A6, B1, B3, B5-6), banjo (A4), 12-string guitar (A5)

Joe Partridge – slide guitar (A4)

John Giblin – bass guitar (A1, B3-4, B6)

Alphonso Johnson – bass (A2-3, A6, B1, B5)

Shankar – violin (A1, A5, B1, B6), tamboura (A5), "voice drums" (A5)

Peter Robinson – Prophet-5 (A3)

Stephen Bishop – background vocals (A2)

Arif Mardin – string arrangements (B2, B5)

Don Myrick – tenor saxophone (A3, A6, B1, B3, B6), alto sax solo (B5)

Louis Satterfield – trombone (A3, A6, B1, B3, B6)

Rahmlee Michael Davis and Michael Harris – trumpets (A3, A6, B1, B3, B6), flugelhorns (B5)

Ronnie Scott – tenor saxophone solo (B1)

Other background vocals on A6 and B6 by several children’s choirs in Los Angeles

Strings on B2 and B5 conducted by Martyn Ford

Violins – Gavyn Wright (leader), Bill Benhem, Bruce Dukov, David Woodcock, Liz Edwards, Irvine Arditti, Ken Sillitoe, Peter Oxen and Richard Studt

Viola – Roger Best, Brian Hawkins and Simon Whistler

Cello – Tony Pleeth, Clive Anstee and Nigel Warren-Green

Double bass – Chris Lawrence

Written by Phil Collins (all tracks except B6), John Lennon & Paul McCartney (B6)

Arranged by Tom Tom 84

 

1LP, Die-cut gatefold jacket

Original analog Master tape : YES

Half speed Mastering

Heavy Press : unspecified

Record color : Picture

Speed : 33RPM

Size : 12'’

Stereo

Studio

Record Press : Germany

Label : Atlantic

Original label : Atlantic

Recorded August - December 1980 at The Village Recorder, Los Angeles, California

Engineered by Hugh Padgham and Phil Collins

Mastered by Miles Showell

Remastered by Nick Davis

Produced by Phil Collins

Originaly released in 1981

Reissued in 2021 (first time as a picture disc)

 

Tracks :

Side A :

  1. In The Air Tonight
  2. This Must Be Love
  3. Behind The Lines
  4. The Roof Is Leaking
  5. Droned
  6. Hand In Hand

Side B:

  1. I Missed Again
  2. You Know What I Mean
  3. Thunder And Lightning
  4. I'm Not Moving
  5. If Leaving Me Is Easy
  6. Tomorrow Never Knows

 

Reviews :

« Phil Collins' first solo album, 1981's Face Value, was a long time coming, but it proved worth the wait, both for the Genesis drummer/vocalist himself and fans of thoughtful, emotionally charged pop. He'd been wrestling with the idea of doing a solo record for years, finding great inspiration in the pain caused by an impending divorce and craving artistic independence after years of collaboration. Many of the songs ended up on Genesis' 1980 album Duke -- and "Against All Odds" was pocketed for later use -- but he kept enough to make an album that stands as a classic moment of '80s pop/rock. Collins produced the album himself and played keyboards and drums, calling in friends and the Earth, Wind & Fire horns to fill out the songs. Kicking off with the bitter anthem "In the Air Tonight," rightly considered one of the great heartbreak songs of all time, the album alternates between moody ballads and bouncily soulful tracks that try to put a smile on the pain. On the quieter songs like "If Leaving Me Is Easy," Collins' wracked vocals leave no doubt that he's not sugarcoating his emotional devastation as he sorts through the wreckage of his life. The poppier tracks, like the snappy "Behind the Lines" and the impossibly hooky "I Missed Again," show off his skills as a hitmaker and vocalist. The pulsing "I'm Not Moving" marries one of Collins' catchiest melodies and airiest productions with the most forceful lyrics on the record. His everyman style of singing translates to both types of songs; he's just as good at wringing every drop of emotion out of the ballads as he is at sailing through the deceptive breezy tunes. His production is very much of the era; fretless bass pops and lush synth pads are very '80s-sounding, as are the huge gated drums. It's also surprisingly subtle at times, though considering that Collins worked with Brian Eno, maybe it's not so shocking. The new agey "Droned" and the swinging "Hand in Hand" give the album some instrumental texture and allow a break from all the desperate emotion on display. The gently sung, sweet-as-punch "This Must Be Love," which was written post-divorce about a new love, also gives an early respite after the lurching, bruising "In the Air Tonight." This range of sound and emotion is part of what helps the album succeed as much as it does; so does the feeling that Collins felt driven to make this album to help him heal. It's not a career move or a cash grab; it's a transmission from a wounded soul delivered with a soft touch and sensitivity. As such, it's Collins' most honest, most compelling work. He went on to become a huge star, with loads more hits, but Face Value stands as his masterpiece and one of the finest moments of the '80s musical landscape. » AllMusic Review by Tim Sendra

 

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 : 4.34 / 5

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