Tom Waits and Crystal Gayle - One from the Heart (Ultra Analog, Half-speed Mastering)
ORDER LIMITED TO ONE ITEM PER CUSTOMER
Tom Waits - vocals, piano, orchestral arrangements
Crystal Gayle – vocals
Bob Alcivar – piano, orchestral arrangement, conductor
Ronnie Barron – organ on "Little Boy Blue"
Dennis Budimir – guitar on "Opening Montage" and "Old Boyfriends"
Larry Bunker – drums on "The Tango"
Gene Cipriano – tenor saxophone on "The Tango"
Greg Cohen – bass
Teddy Edwards – tenor saxophone
Victor Feldman – timpani on "You Can't Unring a Bell"
Chuck Findley – trumpet on "Circus Girl"
Dick Hyde – trombone on "Circus Girl"
Pete Jolly – piano, accordion, celeste
Gayle Levant – harp
John Lowe – woodwind on "Circus Girl"
Shelly Manne – drums on "Opening Montage", "Is There Any Way Out of This Dream?" and "Old Boyfriends"
Lonny Morgan – woodwind
Joe Porcaro – glockenspiel on "Presents"
Emil Richards – vibes on "I Beg Your Pardon"
Jack Sheldon – trumpet
John Thomassie – percussion on "Little Boy Blue"
Leslie Thompson – harmonica on "Circus Girl"
Don Waldrop – tuba on "Instrumental Montage"
Written by Tom Waits
1 LP, standard sleeve
Limited numbered edition
Original analog Master tape : YES
Gain 2™ Ultra Analog
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Record Press : RTI
Label : MOFI
Original Label : Columbia
Recorded October 1980-September 1981 at Wally Heider Recording Studio, Los Angeles
Engineered by Biff Dawes, Bones Howe
Produced by Bones Howe
Remastered by Krieg Wunderlich
Originally released in 1982
Reissued in 2016
Side A :
- Opening Montage
- Tom's Piano Intro
- Once Upon a Town
- The Wages of Love
- Is There Any Way Out of This Dream
- Picking Up After You
- Old Boyfriends
- Broken Bicycles
Side B :
- I Beg Your Pardon
- Little Boy Blue
- Instrumental Montage
- The Tango
- Circus Girl
- You Can't Unring a Bell
- This One's From The Heart
- Take Me Home
"One From the Heart is the score to the most misunderstood of Francis Ford Coppola's films. Far ahead of its time in terms of technology, use of color, montage, and set design, its soundtrack is the only thing that grounds it to earth. Coppola's movie is a metaphorical retelling of the exploits of Zeus and Hera set in Las Vegas. Coppola claims to have been taken with the male-female narrative implications of the track "I Don't Talk to Strangers," off Tom Waits' Foreign Affairs album. That cut was a duet with Bette Midler. Midler wasn't available for One From the Heart, however, so Waits chose Crystal Gayle as his vocal foil. The result is one of the most beautifully wrought soundtrack collaborations in history. Along with producer Bones Howe, Waits and Gayle cut their duets largely from the studio floor, live with the small combo-style studio band that included the saxophonist Teddy Edwards, drummer Shelly Manne, trumpeter Jack Sheldon, pianist Pete Jolly, and bassist Greg Cohen, among others. The opening cut, a Waits piano intro that flows into the duet "Once Upon a Town," is a study in contrasts: first there are the stark ivories and the tinkle of a coin falling upon a bar before Waits' then-still-smoky baritone (now ravaged indescribably) entwines with Gayle's clear, ringing, emotionally rich vocal, and then joined by Bob Alcivar's string orchestrations before giving way to a jazzed-out down-tempo blues, where the pair sing in call-and-response counterpoint about the disappointments in life and love. These are echoed a couple of tracks later in another duet, "Picking Up After You," which is the ultimate starstruck breakup tune. And while there are only four duets on the entire set, they are startling in their ragged intimacy, contrasted with a stark yet elegant atmosphere and cool noir-esque irony. Gayle's solo performances on the set, which include the mournfully gorgeous "Is There Any Way out of This Dream," with beautiful accompaniment in a tenor solo by Edwards, and the shimmering melancholy of "Old Boyfriends," are among the finest in her long career. For his part, Waits' "I Beg Your Pardon" and "You Can't Unring a Bell" fit deftly into his post-beat hipster canon, though they are offered with less droll irony and more emotionally honest flair here than they would have if they were on his own solo recordings. Likewise, the piano and vocal duet of "Take Me Home" offers Waits' piano as a canny and intuitive counterpart to the deep sensuality of Gayle's vocal. One From the Heart is a welcome addition to any soundtrack library to be sure, but also an essential one to the shelf of any Waits or Gayle fan." AllMusic Review by Thom Jurek
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.
AllMusic : 4,5 / 5 , Discogs : 4,06 / 5