Sarah McLachlan - Afterglow (Hybrid SACD)
Regular price
€49,00
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Vocals, Piano – Sarah McLachlan [click here to see more vinyl by Sarah McLachlan]
Backing Vocals – Jorane
Bass – Pierre Marchand , Tony Levin , Daryl Johnson
Acoustic Bass – Jimmy Creeggan
Cello and cello arrangement – Jorane
Drums, Percussion – Ashwin Sood
Drum Programming [Loops] – Ashwin Sood
Guitar – Bill Dillon , Michael Chaves , Michel Pepin , Pierre Marchand, Sarah McLachlan Sean Ashby , Ethan Johns , Yves Desrosiers
Keyboards – Pierre Marchand , Sarah McLachlan
Keyboards [Keyboard Bass] – Ashwin Sood
Synthesizer [Synth Bass] – Pierre Marchand
Organ [Guitorgan], Organ [Church Organ] – Bill Dillon
Organ [Hammond] – David Kershaw
Percussion – Jerry Marotta
Written by Sarah McLachlan, Pierre Marchand
1 Hybrid SACD
Original analog Master tape : YES
Stereo
Studio
Label : Analogue Productions
Original Label : Nettwerk
Recorded August 2002 – 2003
Engineered and mixed by Pierre Marchand
Produced by Pierre Marchand
Mastered by Bernie Grundman Mastering at Bernie Grundman Mastering
Lacquer cut by Bernie Grundman Mastering
Originally released in November 2003
Reissued in 2014
Tracks:
1. Fallen
2. World On Fire
3. Stupid
4. Drifting
5. Train Wreck
6. Push
7. Answer
8. Time
9. Perfect Girl
10. Dirty Little Secret
Reviews:
“During the mid-'90s, Sarah McLachlan was a near-ubiquitous presence in pop music, establishing adult alternative pop radio with 1994's Fumbling Toward Ecstasy and 1997's Surfacing and spearheading the popular Lilith Fair touring festival, but once the last Lilith wound up in 1999, she retreated from the spotlight, had a baby, and seemingly retired from music. Four years later, she made a typically subdued return with Afterglow, her first album in six years. Not much has changed in the time she was away. Afterglow is firmly within the McLachlan signature sound -- a softly tuneful, mildly atmospheric blend of classic singer/songwriterism and a touch of vaguely dreamy alternative pop, all shined and immaculately produced by Pierre Marchand. Prior to its release, the album was touted as the first collection of songs she wrote entirely on piano, not guitar, but ultimately this doesn't make much of a difference to the overall feel and effect of the album, which perfectly dovetails with Surfacing. At times, the pacing is so languid and the production so open-ended, the album kind of drifts away, but it's not only in a pleasant fashion; it's also no different than its immediate predecessor, which also could meander. In other words, after a prolonged absence, Sarah McLachlan re-emerges with a record that could have followed Surfacing by six months, not years. Some may call that predictable, some may call it reliable, but there's little arguing that Afterglow is a solid effort -- it won't win new fans, but it will certainly satisfy the old ones.” AllMusic Review by Stephen Thomas Erlewine
Ratings :
Discogs : 4,57 / 5