MADELEINE PEYROUX Half The Perfect World 2LP MOBILE FIDELITY 2008 US orig+numb
€
178
$
207
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Description
Published in 2006 as CD format only, THIS IS THE US ORIGINAL FIRST PRESSING on vinyl on MOBILE FIDELITY SOUND LAB/ROUNDER RECORDS. LIMITED + NUMBERED EDITION: THIS ONE #003049. GATEFOLD COVER + COMPANY INSERTS. The cover is in EX/NEAR MINT condition: normal wear and without any deterioration, BUT light discolouration on spines/corners, surface sticker mark on rear (top right), left spine is fully readable; INSIDE PANELS in perfect condition; please for details see photos (with and without flashlight). The vinyls in EX/NEAR MINT condition and play wonderfully [possibly played once or twice].
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MADELEINE PEYROUX
with DEAN PARKS, LARRY GOLDINGS, DAVID PILTCH, JAY BELLEROSE,
SAM YAHEL, GARY FOSTER, K.D. LANG, SCOTT AMENDOLA, etc.
With her dusky, lyrical style and affinity for reinterpreting classic jazz, blues, and folk standards, vocalist Madeleine Peyroux is a highly acclaimed, internationally recognized artist. Emerging in her teens as a street-busking performer in Paris' Latin Quarter in the 1980s, Peyroux drew favorable comparisons to legendary jazz singer Billie Holiday, and eventually caught the attention of the record industry. Her debut album, 1996's Dreamland, featured a bevy of noted jazz artists and drew accolades for her distinctive take on blues and jazz standards. Her Larry Klein-produced follow-ups, 2004's Careless Love and 2006's Half the Perfect World, fared even better, charting on the Billboard 200 and achieving gold status. Overwhelmed by her initial success, Peyroux has continued to cut a low-key, if no less lauded, career path. Though her intimate sound certainly owes a debt to Holiday, she has continued to evolve, carving out her own stylistic niche that balances a modern sensibility with a respect for older vocal traditions. "HALF THE PERFECT WORLD"2008 2LP MOBILE FIDELITY SOUND LAB / ROUNDER RECORDS MFSL 2-288
PRINTED IN THE U.S.A. ORIGINAL FIRST VINYL PRESSING
limited & numbered edition. this one #003049
180GRAMS VINYL
GATEFOLD COVER + COMPANY INSERTS
Barcode and Other IdentifiersBarcode: 8 21797 22881 7
LABEL: MOBILE FIDELITY SOUND LAB / ROUNDER RECORDS - BLACK LABEL - SILVER TEXT
Catalog on cover: MFSL 2-288 Catalog on labels: MFSL 2-288
Matrix / Runout (Side A, Etched): MFSL 2-288 A1 RML/2 "Thankee-sai, Shawnster..." 17315.1 (3)...
Matrix / Runout (Side B, Etched): MFSL 2-288 B1 RML/2 "Thank you, John... for everything" 17315.2(3)...
Matrix / Runout (Side C, Etched): MFSL 2-288 C1 RML/2 "Thanks, MG! You Rock!" 17315.3 (3)...
Matrix / Runout (Side D, Etched): MFSL 2-288 D1 RML/2 "... with love from RoLo" 17315.4(3)...
On labels: rim text "ORIGINAL MASTER RECORDING TM" "MOBILE FIDELITY SOUND LAB" "www.mofi.com"
GAIN 2TM ⁄|⁄ǀ⁄|⁄ǀ⁄|⁄-------ULTRA ANALOG
℗ 2008 Rounder Records Corp...............Manufactured by Rounder.......©2008 Mobile.......Lab, Inc.
All Rights..........of applicable laws. Made in U.S.A.
On Inside Panels: Photo, Lyrics, Tracklist, Credits & Notes
On Back Cover: Half-Speed Production and Mastering by Mobile Fidelity Sound Lab
Specially Plated and Pressed on 180 grams of High Definition Vinyl . Special Static Free - Dust Free
Inner...................Mastered from the Original Master Tapes............Under License from Rounder Records..........
tracklisting: please, for tracklist see picturesgrading
RECORD EX/NEAR MINT but (please, read above description)
SLEEVE EX/NM but (please, see pictures and read above description)
Madeleine Peyroux took significantly less time than the eight years between her debut and its follow-up to release her third album, Half the Perfect World, which finds a more mature -- or at least less vulnerable -- singer, one who chooses to express herself with nuance rather than overtness. Often, like in the opening "I'm All Right" -- one of four original songs -- this aversion to unconcealed emotion works well, playing off the swelling Hammond, the swinging rhythm of the acoustic guitar (contrasting nicely with the hook of "It's all right, I've been lonely before"), and the simple drums. But at other times, like in "A Little Bit" -- which is bluesy and more upbeat and practically screams for an outburst, a growl, something -- her hesitancy instead almost comes across as a flaw, as a fear of fully expressing herself. On "Blue Alert," where Anjani's voice was full and seductive, rife with curling smoke rings and lipstick-stained wineglasses, Peyroux seems desolate and flat and she simplifies the situation too much, though she does fare much better on the other Anjani/Leonard Cohen piece and title track of the album. Here, she changes its perspective, mixing the characters together and sounding beautifully fragile, yet at the same time strong and certain, as she sings about her love. The same can be said for her version of the Johnny Mercer-penned "The Summer Wind," which uses a cleaner, less dramatic arrangement to convey the feeling that, though she's thinking about past events with some nostalgia, she's also able to accept the outcome and move forward with her life. This kind of resignation hangs heavy throughout the entire album, making every song she covers seem sadder than the original. Joni Mitchell's "River," sung with k.d. lang, is slow and heart-wrenching (lang's voice, especially, brings a sweet melancholy to it), and Peyroux's version of Charlie Chaplin's "Smile" has a kind of dejected resoluteness that makes you wonder if she can even follow the advice she's singing. This subtlety is two-fold, however. It's so prevalent in the music that it's hard to tell if it's hinting at greater depth or if it's really a protective blanket, an affected timidity to prevent exposure. The delicateness of Half the Perfect World is certainly nice, but Peyroux seems to be using it as a device to hide behind instead of an actual expression of feeling, and so while the album is an overall success, it still leaves questions lingering behind the softly clicking hi-hat, the wandering bass, of when the singer's really going to show herself completely...(AllMusic)
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