Tom Jones - Praise And Blame (2010) [Vinyl]-aksman

Tom Jones - Praise & Blame [US LP] Vinyl rip in 24-bit/96kHz Posted By : aksman | Date : 20 Nov 2010 09:13:52 | Tom Jones - Praise & Blame US LP / Lost Highway B0014555-01 Vinyl rip in 24-bit/192 kHz (converted to 24/96) | FLAC | m3u, cue & Tech Log Artwork | DR Analysis | 770 mb |& Filefactory | Blues; Soul | 2010 Allmusic.com rating: 4 / 5 Much had been made of the leaked pre-release memo from Islands vice-president, which called this masterpiece a sick joke. Just another example that there are tin ears at the top of the music business, but more than that, the statement is proof that high-rise living can suck the life out of you and that the meek -- of which Jones is now officially a member -- shall win in the end. - David Jeffries/AMG Praise & Blame is the 39th studio album by Welsh musician Tom Jones, released 26 July 2010. The album was Jones first release with Island Records and was recorded in 2010 at the Real World Studios in England. Produced by Ethan Johns, Praise & Blame was made up of largely little known devotional and gospel covers, marking a departure from the pop-orientated style that had dominated Jones recent recordings. Critical response Upon its release, Praise & Blame received generally positive reviews from most critics. Giving the album four stars, Andrew Perry in The Daily Telegraph claimed that the album was by far Jones best album in two decades and stated that with its loose, spontaneous sound, and the all-pervasive sense of artistic rebirth…its a revelation. Similarly, Andy Gill in The Independent stated: Overall, its an extraordinary achievement:Praise & Blame represents the kind of reconnection with his core creative fire that was hinted on a few tracks of his last album, 24 Hours, but is here left naked and bleeding raw, bereft of showbiz blandishments. Giving the album five stars, Gill labelled the album one of the best in Jones’ six decade long career. The albums stripped down production and focus upon spiritual songs gained numerous comparisons to Johnny Cashs American series and Elvis Presleys 1968 comeback. Writing in American Songwriter, Rick Moore applauded the song selection and stated that on this excellent collection of songs examining the human condition, Jones confronts the issues of heaven and hell in a way that Cash did for much of his life, especially toward the end of it… [Tom] Jones and [Ethan] Johns have made a real statement in the same way that Rubin, and of course T Bone Burnett, do almost every time they produce an album. Writing in The New York Times, Stephen Holden states that Jones vocal delivery conveys the contrition of a sinner as he delivers a mixture of traditional spirituals and contemporary gospel songs tautly arranged for a small band. It is a respectful, expressively focused exploration of a genre beloved by Mr. Jones American counterpart, Elvis Presley. The change of musical direction, together with stripped down, live production – much at odds with Jones’ traditional style – led Michael Hann in The Guardian to state at last Jones the artist is the match of Jones the entertainer. Allison Stewart, writing in The Washington Post, stated that Praise & Blame is Jones O Brother, Raising Sand and Aint No Grave all rolled into one, a mixed bag of roots-related styles – blues, gospel-lite, country-folk, rockabilly, soul – stripped of all fat and reduced to the barest elements of voice and spartan, if often electrified, instrumentation. The song choices are impeccable, from a thunderous cover of Bob Dylans Oh Mercy standout What Good Am I? to a holy roller redo of John Lee Hookers Burning Hell, all propelled by Jones remarkable voice, still a marvel of quaveriness and bluster and sinew after all these years. Track listing Side A 1. What Good Am I? Bob Dylan 3:51 2. Lord Help Jessie Mae Hemphill 3:41 3. Did Trouble Me Susan Werner 4:15 4. Strange Things Sister Rosetta Tharpe 3:00 5. Burning Hell Bernard Bessman, John Lee Hooker 3.26 6. If I Give My Soul Billy Joe Shaver 3:30 Side B 7. Dont Knock Pops Staples, Wesley Westbrooks 2:16 8. Nobodys Fault But Mine trad. 3:40 9. Didnt It Rain trad. 3:21 10. Aint No Grave Claude Ely 3:08 11. Run On trad. 3:58 Personnel Tom Jones – vocals Ethan Johns – banjo, bass, guitar, percussion, producer, mellotron, omnichord, mixing Booker T. Jones – piano, hammond B3 Mat Arnold – assistant engineer Dave Bronze – bass guitar Richard Causon – harmonium B. J. Cole – guitar Christopher – holland organ Ian Jennings – bass guitar Andy Kitchen – assistant engineer Bob Ludwig – mastering Augie Meyers – farfisa organ Benmont Tench – piano Billy Mims – assistant engineer Dominic Monks – engineer, mixing Henry Spinetti – drums Jeremy Stacey – drums Allison Pierce – backing vocalist Louis Price – backing vocalist David Rawlings – backing vocalist Camilla Staveley – backing vocalist Emily Staveley – backing vocalist Jessica Staveley – backing vocalist Oren Waters – backing vocalist Gillian Welch – backing vocalist Terry Young – backing vocalist Technical Log RCM Hannl limited with Circulating Brush Music Hall MMF 9.1 Turntable Tonearm: Pro-Ject 9cc evo with Pure Silver Wires Cartridge: Nagaoka MP-500 Brocksieper Phonomax (Tube Phono PreAmp) (temporarily replaced by ProJect Tube-Box 2 SE) E-MU 0404 external USB 2.0 Audiointerface Interconnections : Silent Wire NF5 WaveLab 6 recording software iZotope RX Advanced 1.21 for resampling and dithering Vacuum cleaning - TT - Brocksieper Phonomax - E-MU 0404 - WaveLab 6 (24/192) - manual click removal - analyze (no clipping, no DC Bias offset) - converted to 24/96 with iZotope RX Advanced 1.21 - split into individual Tracks - FLAC encoded (Vers. 1.21) No silence been removed, please burn gapless to match original tracklayout. Personal Note With my vinyl transfers, I try to catch the whole beauty of vinyl records; therefore I don't use any post-processing or any sound improvement. What you get is a clear and flat transfer. For getting a clear sound, I'll do an extended washing of each record with my RCM, which can take up to 30 minutes brushing on each side. Resistant ticks and clicks I try to remove as good as possible, but the priority is not to lose any musical information in the process. Surface noises, as long they are not too high, are left in place. Only on bad pressings or on records recorded at extremely low levels do I use a fade in-/-out. As John Peel said, "Life is full of surface noises." In some cases this means that I have to make a compromise.... The result has to pass my personal quality criteria, which is IMO quite high.

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perekdick (2010-11-22)

Thank you, insinuendo !!!
:-))