U 2 'ACHTUNG BABY' ISLAND RECORDS 1991 UK BANNED SLEEVE ISSUE

	£		35
	$		46

U2 ?– Achtung Baby

Tracklist 

Companies, etc.

• Recorded At – Dog Town
• Recorded At – STS Dublin
• Recorded At – Hansa Tonstudios
• Recorded At – Windmill Lane Studios
• Designed At – Works Associates
• Copyright (c) – Island Records Ltd.
• Edited At – A&M Mastering Studios
• Mastered At – A&M Mastering Studios
• Published By – Blue Mountain Music Ltd.
• Phonographic Copyright (p) – Island Records Ltd.

Credits

• Bass – Adam Clayton
• Coordinator [Recording Facilities And Co-ordination Berlin] – Dennis Sheehan, Joe O'Herlihy
• Coordinator [Recording Facilities And Co-ordination Dublin] – Audio Engineering Dublin*, Terry Cromer
• Design – Shaughn McGrath, Steve Averill
• Drums, Percussion – Larry Mullen
• Edited By [Digital] – Stewart Whitmore
• Engineer – 
• Flood (tracks: A1, A3, A4, A6 to B6), 
• Paul Barrett (tracks: A2), 
• Robbie Adams (tracks: A2, A5)
• Engineer [Additional] – 
• Robbie Adams (tracks: A3, A4, A6 to B5)
• Engineer [Assistant] –
•  Robbie Adams (tracks: A1, B6), 
• Shannon Strong (tracks: A1, A3 to B6)
• Guitar, Keyboards, Vocals – The Edge
• Illustration [Label] – Charlie Whisker, Ritchie Smith
• Management – Paul McGuinness (2)
• Management [Principle Management Dublin] –
  
•  Anne O'Leary, Anne-Louise Kelly, Barbara Galavan, Brigid Mooney, Cecilia Coffey, Cillian Guidera, David Herbert (2), Eileen Long, Jackie Bennett, Liz Devlin, Maia Duffy
• Management [Principle Management New York] –
•  Bess Burke, Ellen Darst, Keryn Kaplan, Lisa Fischoff, Sheila Roche
• Mastered By – Arnie Acosta
• Mixed By –
  
•  Daniel Lanois (tracks: A4, B1, B2, B5, B6),
  
•  Edge* (tracks: B2),
•  Flood (tracks: A1, A3, A4, A6 to B6),
  
•  Steve Lillywhite (tracks: A2, A5, B1, B2)
• Mixed By [Assistant] – 
• Robbie Adams (tracks: B1),
  
•  Sean Leonard (tracks: A2, A5, B3), 
• Shannon Strong (tracks: A1, A3, A4, A6, B2, B4 to B6)
• Photography By – Anton Corbijn
• Producer –
  
• Brian Eno (tracks: A2 to A5, B2 to B4),
  
• Daniel Lanois, Steve Lillywhite (tracks: A5)
• Production Manager [Album] – Ann-Louise Kelly*
• Technician [Bass & Guitar] – Fraser McAlister
• Technician [Drums] – Sam O'Sullivan
• Technician [Keyboard & Guitar] – Des Broadbery
• Technician [Monitoring] – Joe O'Herlihy
• Technician [Quality Control] – Cheryl Engels
• Vocals, Guitar, Lyrics By – Bono
• Written-By, Composed By – U2

Notes

• Label Code: LC 0407
• Barcode: 731451034718
• Rights Society: BIEM / STEMRA
• Other (Distribution Code): PY 281
• 
  
• Matrix / Runout (Side A, Runout, Etched):
  
• U28 A7 (U2 8-A-9) 314-510-347-1-A5-SP2
• Matrix / Runout (Side B, Runout, Etched):
  
• U28 B6 (U2 8-B-10) 314-510-347-1-B5-SP3

My records are described according to “The Record Collector’s” grading system.

This was originated by “The Record Collector” to assist people buying or selling records.

Their seven standard condition categories and a description of what each one means are given below.

I hope you find this helpful.

MINT: The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition. Records advertised as Sealed or Unplayed should be Mint.

EXCELLENT: The records shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and/or creasing.

VERY GOOD: The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any major defects, is acceptable.

GOOD: The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discoloration etc.

FAIR: The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump. The cover and contents will be torn, stained and / or defaced.

POOR: The record will not play properly due to scratches, bad surface noise etc. The cover and contents will be badly damaged or partly missing.

Bad: The record is unplayable or might even be broken and is only of use as a collection-filler.