MusicStack has partnered with a vinyl to CD conversion service who will convert the 2LP 180 Gram to recordable CD for you. It will sound great with no annoying clicks, pops or background noise. All recordable CDs come in a standard jewel case with artwork printed on glossy paper.
How does this service work?
The seller will ship the 2LP 180 Gram to the digital conversion center in Arizona, USA where it will be format shifted onto a recordable CD directly from the 2LP 180 Gram only for your ears. The 2LP 180 Gram and the recordable CD will then be mailed to you. The digital conversion center will not retain any copies of the item.
What does it cost?
Price of the 2LP 180 Gram + $35 USD for the conversion to recordable CD + cost of shipping of the 2LP 180 Gram to Arizona + cost of shipping of the 2LP 180 Gram from Arizona to your location paid in advance.
Cassandra Wilson started out as a jazz singer, doing gigs with several innovative bands (including Brooklyn's experimental M-Base collective) and at the same time recording typical jazz-singer let-me-entertain-you stuff - "Night and Day" and "Blue Skies" and shooby dooby dooby. Eventually the Mississippi-born New York–based vocalist, who reigned among the elite jazz singers of the 1980s, became restless, and began to look beyond torch songs for inspiration. So she looked outside of jazz for inspiration. In interviews, she's recalled how she began seeking new challenges for her voice, a mighty instrument blessed with husky overtones and an alluringly smoky woodish hue. She began to integrate gospel and blues and pop songs into her performances, eventually assimilating them into music that blurs genre distinctions entirely. "Blue Light 'Til Dawn" is the first album to capture that shift. It features wondrously spare, molasses-slow versions of Robert Johnson ("Come On in My Kitchen", "Hellhound On My Trail"), Philly soul (Thom Bell and Linda Creed's "Children Of The Night,"), pop (Van Morrison's "Tupelo Honey"), and torch song ("You Don't Know What Love Is"). Working with a small group of inventive New York jazzers, emphasizing hand drums and percussion over trap set, Wilson cultivates the opposite of dazzle - hers is an inviting, shadow-filled sound that calls from a lonesome bayou. Atmosphere dictates everything that happens on these tracks, and helps knit together pieces from disparate ends of popular music. It also guides Wilson's vocals: Her sullen "Hellhound" wanders far from typical blues woe, yet winds up an apt, weary summation of it all the same. "Blue Light ..." became an adult contemporary hit, and set Wilson on the course she's pursued since. The records are all engrossing and shaped by extremely sensitive musicianship, but "Blue Light" has something more—the renegade energy of one who, having taken a flying leap, is just discovering a new mode of expression
Cassandra Wilson startete als Jazz-Sängerin, hatte Auftritte mit verschiedenen innovativen Bands (Brooklyns experimentelles M-Base Kollektiv inbegriffen) und nahm zeitgleich typisches let-me-entertain-you-Zeug auf - "Night and Day", "Blue Skies" und anderen Shooby-doobie-doobie-Kram. Schließlich wurde die vom Mississippi stammende, in New York wohnhafte Sängerin, die zu den Elite-Jazz-Sängern der 80er zählte, unzufrieden und hielt Ausschau nach Inspiration jenseits der allseits bekannten und beliebten Songs. Sie suchte auch in anderen Gefilden als dem Jazz. In Interviews erinnert sie sich daran, wie sie nach neuen Herausforderungen für ihre Stimme suchte, ein starkes Instrument mit heiserem Beiklang und verführerischen rauchigen Nuancen. Sie begann, Gospel, Blues und Pop Songs in ihre Auftritte zu integrieren, die sie schließlich assimilierte zu einer Musik, in der sämtliche Genre-Unterscheidungen komplett verwischen. "Blue Light 'Til Dawn" ist das erste Album, das diesen Trend aufgreift. Es bietet wundersam knappe, dick wie Sirup fließende Versionen von Robert Johnson ("Come On in My Kitchen", "Hellhound In My Trail"), Philadelphia Soul (Tom Bells und Linda Creeds "Children Of The Night"), Pop (Van Morrisons "Tupelo Honey") sowie berühmte Evergreens ("You Don't Know What Love Is"). Indem sie mit einer kleinen Truppe von innovativen Jazzern aus New York arbeitet und Handtrommeln dem normalen Schlagzeug vorzieht, kultiviert Wilson das Gegenteil von Blendung - sie bietet einen einladenden, schattierungsreichen Sound, der von einem einsamen Bayou erklingt. Atmosphäre diktiert alles, was in diesen Titeln geschieht und hilft
Barcode and Identifiers BarcodeSticker on the seal: 5060149621424 Matrix / RunoutSide A runout: PPAN BST81357-A G-1 RM | -23053 - Matrix / RunoutSide B runout: PPAN BST81357-B G-1 RM | -23053 - Matrix / RunoutSide C runout: PPAN BST81357-C G-1 RM | -23054 - Matrix / RunoutSide D runout: PPAN BST81357-D G-1 RM | -23054 -
Credits Art Direction, Design - Mark Larson Artwork [Styling By] - Christina Kumi Kimble Edited By, Sequenced By - Fred Kevorkian Engineer [Assistant] - Bil Emmons, Dinji Brown, Fred Kevorkian, Joe Hogan, Julio Peralta, Peter Beekerman Mastered By - Ron McMaster Mixed By - Danny Kopelson (Tracks: A1 to D1) Photography By - Chris Callis Producer - Craig Street Producer [Assistant] - Cynthia Simmons Recorded By - Danny Kopelson (Tracks: A2 to C3, D1), Jamie Staub (Tracks: A1, C4) Recorded By [Additional Recording] - Jamie Staub, Jimmy Douglass Recorded By, Mixed By - Jimmy Douglass (Tracks: D2)
Notes Purple sticker :"Pure Pleasure Records Limited- 180 Gram Vinyl Analogue Limited Edition Audiophile Re-Mastering- The Most Beautiful Music Format in The World"
All songs recorded at Sear Sound and mixed at RPM Studios except: track D2 recorded and mixed at Sound On Sound; tracks A1, C4 recorded at Greene St. Studios and mixed at RPM; track C1 recorded and mixed at RPM. Edited and sequenced at Sear Sound Vinyl mastered at Capitol Mastering
Vinyl
Absolutely perfect in every way. Certainly never been played, possibly even still sealed. Should be used sparingly as a grade, if at all.
CD
Perfect. No scuffs/scratches, unplayed - possibly still sealed.
Insert/Inlay/Booklet/Sleeve/Digipak: Perfect. No wear, marks, or any other imperfections - possibly still sealed.
Cassette
J-Card is crisp, clean and perfect in every way. Likely sealed. Cassette is brand new, and professionally produced. Used sparingly as a grade, should be free of even the slightest blemishes and/or defects. This grade should be used sparingly, if at all.
Near Mint (NM or M-)
Vinyl
A nearly perfect record. A NM- record has more than likely never been played, and the vinyl will play perfectly, with no imperfections during playback. Many dealers won't give a grade higher than this implying (perhaps correctly) that no record is ever truly perfect. The record should show no obvious signs of wear. A 45 RPM or EP sleeve should have no more than the most minor defects, such as any sign of slight handling. An LP cover should have no creases, folds, seam splits, cut-out holes, or other noticeable similar defects. The same should be true of any other inserts, such as posters, lyric sleeves, etc.
CD
Near perfect. No obvious signs of use, it may have been played - but it has been handled very carefully.
Insert/Inlay/Booklet/Sleeve/Digipak: Near Perfect. No obvious wear, it may have only the slightest of marks from handling.
Cassette
Sleeve should be totally crisp and clean with only the slightest evidence of handling. Tape is likely new, free of any wear or damage.
Very Good Plus (VG+)
Vinyl
Generally worth 50% of the Near Mint value. A Very Good Plus record will show some signs that it was played and otherwise handled by a previous owner who took good care of it. Defects should be more of a cosmetic nature, not affecting the actual playback as a whole. Record surfaces may show some signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experiences. Slight warps that do not affect the sound are "OK". The label may have some ring wear or discoloration, but it should be barely noticeable. Spindle marks may be present. Picture sleeves and inner sleeves will have some slight wear, slightly turned-up corners, or a slight seam split. An LP cover may have slight signs of wear, and may be marred by a cut-out hole, indentation, or cut corner. In general, if not for a couple of minor things wrong with it, this would be Near Mint.
CD
A few minor scuffs/scratches. This has been played, but handled with good care - and certainly not abused.
Insert/Inlay/Booklet/Sleeve/Digipak: Slight wear, marks, indentations, it may possibly have a cut-out hole (or similar).
Cassette
Sleeve has slight wear, marks, indentations, and/or may possibly have a cut-out hole (or similar). Tape has been taken very good care of and may have light marks or spindle wear. Should play cleanly with minimal noise or degradation.
Very Good (VG)
Vinyl
Generally worth 25% of Near Mint value. Many of the defects found in a VG+ record will be more pronounced in a VG disc. Surface noise will be evident upon playing, especially in soft passages and during a song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as with light scratches (deep enough to feel with a fingernail) that will affect the sound. Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time. Goldmine price guides with more than one price will list Very Good as the lowest price.
CD
Quite a few light scuffs/scratches, or several more-pronounced scratches. This has obviously been played, but not handled as carefully as a VG+.
Insert/Inlay/Booklet/Sleeve/Digipak: More wear, marks, indentations than a VG+. May have slight fading, a small tear/rip, or some writing.
Cassette
Sleeve will contain more wear, marks, and/or indentations than a VG+. May have slight fading, a small tear/rip, or some writing. Shell may have heavier marks and wear than VG including plastic discoloration. Should play with some stronger hiss or degradation, but not enough to overpower music.
Good (G), Good Plus (G+)
Vinyl
Generally worth 10-15% of the Near Mint value. A record in Good or Good Plus condition can be played through without skipping. But it will have significant surface noise, scratches, and visible groove wear. A cover or sleeve will have seam splits, especially at the bottom or on the spine. Tape, writing, ring wear, or other defects will be present. While the record will be playable without skipping, noticeable surface noise and "ticks" will almost certainly accompany the playback.
CD
There are a lot of scuffs/scratches. However it will still play through without problems. This has not been handled with much care at all.
Insert/Inlay/Booklet/Sleeve/Digipak: Well worn, marked, more obvious indentations, fading, writing, than a VG - possibly a more significant tear/rip.
Cassette
Sleeve will be well worn, marked, and contain obvious indentations, fading, and/or writing, more so than a VG grade - possibly a more significant tear/rip. Tape will have heavy wear on shell. Felt stopper may be missing. Tape may have minor creasing, but not broken. Must play through, may have heavier degradation that will overpower music.
Poor (P), Fair (F)
Vinyl
Generally worth 0-5% of the Near Mint price. The record is cracked, badly warped, and won't play through without skipping or repeating. The picture sleeve is water damaged, split on all three seams and heavily marred by wear and writing. The LP cover barely keeps the LP inside it. Inner sleeves are fully split, crinkled, and written upon.
CD
The CD (if it is included) may or may not play some or all of the tracks. See the seller's comments for details.
Insert/Inlay/Booklet/Sleeve/Digipak: Very worn. It may have obvious writing on it, it may be ripped/torn, or significantly faded, or water damaged.
Cassette
Sleeve will be torn, heavily stained, showing general heavy damage, or will be partially missing. Likewise, tape will be heavily damaged, showing complete fading on the face, crinkled tape, missing screws or teeth, staining, and other heavy wear. Cassette will more than likely not play through.
Standard Jewel Cases
Standard Jewel Cases are not graded as they are replaceable.
Generic
The term "generic" refers to a type of sleeve that is not specific to the release. A generic sleeve is either a plain sleeve or a company sleeve with standard company artwork. A sleeve that is graded as "generic" needs no further grading, as a generic sleeve generally adds little value to the item and can be easily replaced. Sellers can further specify a generic sleeve's condition in the listing.
Payment Methods Accepted
PayPal
Shipping Costs
Economy shipping
Economy international shipping / 22€
Return Policy
If your order is lost, stolen or never arrives we will replace the order or refund your money 100%. If your order is damaged in transit please claim the damage to the forwarder in the moment of delivery and we will replace the order or refund your money 100% We accept returns within the period of 14 days in the same condition we sent them to you. Buyer pays all return shipping costs. No unsealed media returns If we make a mistake we will pay all return shipping costs and correct the order or refund you. Used or refurbished products has no return policy.
Seller Information
2 year warranty. Our operations are fully GDPR compliant.
Shipping to United States
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No Insurance, No Tracking, No Signature, - days Estimated Delivery
