Everything But the Girl Amplified Heart Half-Speed Mastered LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;25th Anniversary Edition! & lt;br & gt; Half-Speed Mastered By Miles Showell at Abbey Road Studios! & lt;br & gt; First Time On Vinyl! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Amplified Heart was Everything But The Girls million-selling and critically acclaimed seventh studio album and now appears for the first time on vinyl in a deluxe 25th Anniversary Edition mastered at half-speed for optimum audio fidelity by Miles Showell at Londons Abbey Road Studios. & lt;br & gt; & lt;br & gt; The record first released in June 1994 contains the original version of what was to become the band's biggest hit, & quot;Missing & quot;. If Todd Terry's famous house remix took that song onto the world's dance floors and upper reaches of the global pop charts in 1995 (#2 on US Billboard Hot 100, #1 on US Billboard Hot 100 Airplay, #3 on the UK Top 40, and #1 in Canada, Germany and Italy), the original version also remains a timeless classic, now in heavy demand on modern streaming services, and one that perhaps better reflects the enduring appeal of the album's modern-retro hybrid of ardent folk-soul and scratchy electronica. & lt;br & gt; & lt;br & gt; Yet, the genesis of the album was anything but easy. Written in the aftermath of Ben's harrowing near-death experience in 1992 from a rare auto-immune disease, the lyrics written alternately by Thorn and Watt are raw unflinching stories of love and isolation, that often disarm with their candour. To capture the sound, the duo turned in part to folk-rock legends Danny Thompson (double bass), Dave Mattacks (drums), and engineer Jerry Boys (Sandy Denny, REM, Sawmills Studio) to anchor the heart of the songs but also to electronic producer, John Coxon to find the loops and dusty sounds that give the album much of its underlying atmosphere. Brief cameo roles are played by Richard Thompson on electric guitar and veteran string arranger Harry Robinson (Nick Drake's River Man). & lt;br & gt; & lt;br & gt; The new vinyl edition has been mastered by long-time Everything But The Girl mastering engineer, Miles Showell, now at Abbey Road Studios, who is one of only a handful of engineers specialising in half-speed mastering that uses new techniques to more faithfully reproduce the sound of original master tapes. & lt;br & gt; & lt;br & gt; Assembling the artwork was difficult. Ben and Tracey's own label Buzzin' Fly Records acquired the rights to the album from Warner Music in 2017, but Warner had lost or disposed of original photography. As a result, the new front cover was sourced from the original photographer who did not have the exact frame but was able to provide the near-identical one taken a fraction of a second later. Similarly, the original back cover photo - taken from a hotel room at night in Osaka by Ben in 1992 - was nowhere to be found; instead, Ben unearthed the original negatives and selected a new photo of a Japanese bullet train taken the same night with a similar atmosphere for the new back cover. English fashion and art photographer Corinne Day's iconic portraits of the duo that made up the centrefold of the original CD booklet were also lost; with only scans of the booklet prints to work from, the images were digitally de-noised and - unable to be enlarged further - were used for the new vinyl's labels. & lt;br & gt; & lt;br & gt; The original 1994 release of Amplified Heart saw Todd Terry's remix of Missing added as a bonus eleventh track on later CD runs, and an expanded deluxe double CD version including a heft of bonus material came out in 2013, but this new vinyl edition is faithful to the original 1994 ten-track running order and does not include the Todd Terry remix or additional tracks. & lt;br & gt; & lt;br & gt; Reviews of the original 1994 release: & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;An affectingly intimate work, as sorrowful, contemplative and melodic as they have ever been & quot; & lt;/b & gt; - Time Out & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Matches their wonderful Idlewild for sense of purpose and tunes. The results are, to a song, high quality & quot; & lt;/b & gt; - Mojo & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Captures expertly the fragmentary confusing nature of emotional ruction & quot; & lt;/b & gt; - The Independent & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Their newest album, and possibly their best & quot; & lt;/b & gt;- The New York Times & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Poetic minimalism at its finest & quot; & lt;/b & gt;- LA Times & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;The most beautifully mature album of their career and one of the sleeper gems of 1994 & quot; & lt;/b & gt; - Newsweek & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; & amp;bull; 25th Anniversary Edition & lt;br & gt; & amp;bull; Half-Speed Mastered By Miles Showell at Abbey Road Studios & lt;br & gt; & amp;bull; First Time On Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Tracey Thorn, vocals & lt;br & gt; Ben Watt, acoustic guitar, electric guitar, piano, mini Moog, vocals & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. Rollercoaster & lt;br & gt; 2. Troubled Mind & lt;br & gt; 3. I Don't Understand Anything & lt;br & gt; 4. Walking To You & lt;br & gt; 5. Get Me & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. Missing & lt;br & gt; 2. Two Star & lt;br & gt; 3. We Walk The Same Line & lt;br & gt; 4. 25th December & lt;br & gt; 5. Disenchanted
Everything But the Girl Walking Wounded Half-Speed Mastered 180g LP (Vinyl)
& lt;header & gt; & lt;p & gt; & lt;strong & gt;High Fidelity 180g Vinyl LP! & lt;br & gt; Half-Speed Mastered By Miles Showell at Abbey Road Studios! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & lt;strong & gt;Hi-Fidelity Half-Speed Master on 180g with Updated Artwork for The Classic 1.3 Million Selling Album & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;The record - first released in April 1996 by UK alt-pop duo Tracey Thorn and Ben Watt - debuted at #4 on the UK Album Chart and contains four UK Top 40 singles, including the Top 10 hits & quot;Walking Wounded & quot; and & quot;Wrong, & quot; and set new a benchmark for the intersection of contemporary electronic music and smart pop songwriting. & lt;/p & gt; & lt;p & gt;The album was programmed and produced by Watt in 1995 largely in the basement of the duo's north London home demo studio. & quot;Just an Akai sampler, a computer, a synth and guitar, an inexpensive vocal mic, and an 8-track tape machine, & quot; he says of the process. & quot;We were writing in reverse - mood first, then songs, learning and we went along. It just felt like a new frontier, & quot; adds Thorn. Producer John Coxon of the recently formed drum'n'bass-inspired duo Spring Heel Jack - and with whom the Watt and Thorn had worked on Amplified Heart - was invited to provide a backing track for the album's title song, and beats specialist Howie B worked on the groove for Flipside. The album was then mixed at The Townhouse in west London by Watt and young emerging engineer, Andy Bradfield. & lt;/p & gt; & lt;p & gt;This vinyl edition has been mastered by long-time Everything But The Girl mastering engineer, Miles Showell, now at Abbey Road Studios, who is one of only a handful of engineers specialising in half-speed mastering that uses new techniques to more faithfully reproduce the sound of original master tapes. & lt;/p & gt; & lt;p & gt; & lt;strong & gt; & quot;Walking Wounded draws on downtempo, drum 'n' bass, and trip-hop. On paper, compressing the wide open space of those then-nascent sounds into a pop format couldve been a disaster. But words don't do justice to the emotional multiplicity hurt but warm, worn but rich of Thorn's voice, and how seamlessly she made a home for herself amid Watt's stark sonic architecture & quot; & lt;/strong & gt; Pitchfork (2019 retrospective review) & lt;/p & gt; & lt;blockquote cite= & quot;quote source & quot; & gt; & quot;A career peak ... raw, pure and absolutely gorgeous & quot; & lt;footer & gt; - Rolling Stone. & lt;/footer & gt; & lt;/blockquote & gt; & lt;blockquote cite= & quot;quote source & quot; & gt; & quot;The title track remains probably the single finest pop moment in the drum'n'bass canon & quot; & lt;footer & gt; - Village Voice. & lt;/footer & gt; & lt;/blockquote & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt; High Fidelity 180g Vinyl & lt;/li & gt; & lt;li & gt;Half-Speed Mastered By Miles Showell at Abbey Road Studios & lt;/li & gt; & lt;!--More features go here in & lt;li & gt; tags-- & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;Tracey Thorn & lt;/th & gt; & lt;td & gt;vocals & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ben Watt & lt;/th & gt; & lt;td & gt;acoustic guitar, vocals, abstract sounds, beats, synthesizer & lt;/td & gt; & lt;/tr & gt; & lt;!--More musician rows go here-- & gt; & lt;/table & gt; & lt;/section & gt;
& lt;section id= & quot;selections & quot; & gt;
& lt;h3 & gt;Selections & lt;/h3 & gt;
& lt;h4 & gt;Side A: & lt;/h4 & gt;
& lt;ol & gt;
& lt;li & gt;Before Today & lt;/li & gt;
& lt;li & gt;Wrong & lt;/li & gt;
& lt;li & gt;Single & lt;/li & gt;
& lt;li & gt;The Heart Remains A Child & lt;/li & gt;
& lt;li & gt;Walking Wounded & lt;/li & gt;
& lt;/ol & gt;
& lt;h4 & gt;Side B: & lt;/h4 & gt;
& lt;ol & gt;
& lt;li & gt;Flipside & lt;/li & gt;
& lt;li & gt;Big Deal & lt;/li & gt;
& lt;li & gt;Mirrorball & lt;/li & gt;
& lt;li & gt;Good Cop Bad Cop & lt;/li & gt;
& lt;/ol & gt;
& lt;/section & gt;
Everything But the Girl Temperamental Half-Speed Mastered 180g 2LP (Vinyl)
& lt;header & gt;
& lt;p & gt; & lt;strong & gt;High Fidelity 180g Vinyl Double LP! & lt;br & gt;
Half-Speed Mastered By Miles Showell at Abbey Road Studios! & lt;/strong & gt; & lt;/p & gt;
& lt;/header & gt;
& lt;p & gt;Everything But The Girl's ninth and final studio album Temperamental was first released in September 1999, and is reissued on May 8, 2020 on double vinyl complete with half-speed mastering by Miles Showell at Abbey Road Studios. & lt;/p & gt;
& lt;p & gt;The album debuted at #16 on the UK Album Chart and peaked at #3 in Australia and #65 on the US Billboard 200, and went on to sell over 500,000 copies worldwide. Often seen as a companion piece to its million-selling predecessor Walking Wounded, it once
again skilfully merged worlds contemporary electronic dance music and smart singer-songwriting, but was not without its production difficulties. & lt;/p & gt;
& lt;p & gt;Working from the same template as before, the album was largely recorded at home by Ben Watt and Tracey Thorn in the summer of 1998 in familiar surroundings - synths, samplers, simple computer software, a microphone - with two tracks ending up as production
collaborations: & quot;Blame & quot;, made with drum 'n' bass DJ-producer Jamie Spratling (J Majik) at his home studio in Hertfordshire; and & quot;The Future of the Future & quot;, which began life as an instrumental by Washington DC deep house producers, Deep Dish before Ben
wrote a melody and lyrics for Tracey to sing. & lt;/p & gt;
& lt;p & gt;Yet if the propulsive beats are undercut by a melancholy edge to the lyrics and sounds, it perhaps reflects the circumstances behind the album's evolution. & lt;/p & gt;
& lt;p & gt; & quot;It was on reflection, a difficult album to make, & quot; says Watt. & quot;With the recent birth of our twin girls in 1998, I found myself constructing much of the album in isolation, with Tracey inevitably more pre-occupied with family life. It was much less collaborative
than it should have been. I guess we were just moving in different mental spaces a lot of the time. & quot; & lt;/p & gt;
& lt;p & gt;In spite of the strained recording process and a lukewarm reaction from a rock press tiring of electronica, the album was acclaimed in many quarters on its release. & lt;strong & gt; & quot;Triumphant after-hours club pop & quot; & lt;/strong & gt; said Spin in an effusive full-page
9/10 lead review. & lt;strong & gt; & quot;Entirely natural, wholly wonderful & quot; & lt;/strong & gt; said the Sunday Times. & lt;strong & gt; & quot;The definitive dance album steeped in all things pop. Sublime and essential & quot; & lt;/strong & gt; commented Billboard, while Time Out offered, & lt;strong & gt; & quot;If EBTG discovered nightlife late, it is one of their greatest strengths. Wide-eyed and wondrous. & quot; & lt;/strong & gt; & lt;/p & gt;
& lt;p & gt;Offering a longer view in 2019 - in a lengthy 20th year anniversary retrospective feature in The Quietus - Michael White said, & lt;strong & gt; & quot;After 20 years it has aged very well ... I've explored the length and breadth of dance music as if it were my job, and I can't point to another album of its kind that so effectively bridges the divide between the deeply communal sound of the dance floor and the deeply private vocabulary of a mind in trouble. & quot; & lt;/strong & gt; & lt;/p & gt;
& lt;section id= & quot;features & quot; & gt;
& lt;h3 & gt;Features & lt;/h3 & gt;
& lt;ul & gt;
& lt;li & gt;High Fidelity 180g Vinyl & lt;/li & gt;
& lt;li & gt;Double LP & lt;/li & gt;
& lt;li & gt;Half-Speed Mastered By Miles Showell at Abbey Road Studios & lt;/li & gt;
& lt;/ul & gt;
& lt;/section & gt;
& lt;section id= & quot;selections & quot; & gt;
& lt;h3 & gt;Selections & lt;/h3 & gt;
& lt;h4 & gt;Side A: & lt;/h4 & gt;
& lt;ol & gt;
& lt;li & gt;Five Fathoms & lt;/li & gt;
& lt;li & gt;Low Tide Of The Night & lt;/li & gt;
& lt;li & gt;Blame & lt;/li & gt;
& lt;/ol & gt;
& lt;h4 & gt;Side B: & lt;/h4 & gt;
& lt;ol & gt;
& lt;li & gt;Hatfield 1980 & lt;/li & gt;
& lt;li & gt;Temperamental & lt;/li & gt;
& lt;/ol & gt;
& lt;h4 & gt;Side C: & lt;/h4 & gt;
& lt;ol & gt;
& lt;li & gt;Compression & lt;/li & gt;
& lt;li & gt;Downhill Racer & lt;/li & gt;
& lt;li & gt;Lullaby Of Clubland & lt;/li & gt;
& lt;/ol & gt;
& lt;h4 & gt;Side D: & lt;/h4 & gt;
& lt;ol & gt;
& lt;li & gt;No Difference & lt;/li & gt;
& lt;li & gt;The Future Of The Future (with Deep Dish) & lt;/li & gt;
& lt;/ol & gt;
& lt;/section & gt;
Everything But the Girl Eden Half-Speed Mastered 180g LP (Vinyl)
& lt;header & gt;
& lt;p & gt; & lt;strong & gt;Debut Studio Album Reissued On 180g Vinyl LP! & lt;br & gt;
Half-Speed Mastered By Miles Showell at Abbey Road Studios! & lt;br & gt;
Includes The Song & quot;Each And Every One & quot;! & lt;/strong & gt; & lt;/p & gt;
& lt;/header & gt;
& lt;p & gt;Originally released in June 1984 on Blanco y Negro Records, Eden was British duo Everything But The Girl's debut studio album, produced by Robin Millar (Sade, Fine Young Cannibals). This reissue, now coming out on the band's own Buzzin' Fly label, has
been remastered and cut at half-speed by Miles Showell at Abbey Road. The album contains the single & quot;Each And Every One & quot;, which peaked at number 28 on the UK Singles Chart. The cover design was created by lead singer Tracey Thorn's former bandmate in
the Marine Girls, Jane Fox. & lt;/p & gt;
& lt;p & gt;Tracey Thorn and Ben Watt met whilst at University in Hull in the early '80s. Both were signed independently to indie label Cherry Red Records, Ben as a solo artist and Tracey as part of the band The Marine Girls. They formed Everything But The Girl in
early '82, releasing one single on Cherry Red (Cole Porter's & quot;Night & amp; Day & quot;) before signing to Blanco Y Negro records and releasing their debut album Eden to critical acclaim. Following this, they released eight further highly praised and commercially
successful studio albums including the much-loved classic singles, & quot;These Early Days & quot;, & quot;Driving & quot; and the covers & quot;I Don't Want To Talk About It & quot; and & quot;The Only Living Boy In New York & quot;, & quot;Missing & quot; and & quot;Rollercoaster & quot;. & lt;/p & gt;
& lt;blockquote cite= & quot;www.allmusic.com & quot; & gt;
The debut effort by multi-instrumentalist Ben Watt and vocalist and songwriter Tracey Thorn took the alterna-pop world by surprise in 1985. And rightfully so. Watt's lush chamber orchestra jazzscapes, full of Brazilian bossa nova structures and airy horn
charts, combined with Thorn's throaty alto singing her generation's version of the torch song, was a sure attraction for fans of sophisticated pop and vocal jazz. Featuring 12 tracks, the album has deeply influenced popular song structures since that
time... This set proved itself to be an auspicious debut that testified to the beginning of a long and creatively rewarding partnership that has endured.
& lt;footer & gt;
-Thom Jurek, AllMusic
& lt;/footer & gt;
& lt;/blockquote & gt;
& lt;section id= & quot;features & quot; & gt;
& lt;h3 & gt;Features & lt;/h3 & gt;
& lt;ul & gt;
& lt;li & gt;180g Vinyl & lt;/li & gt;
& lt;li & gt;Half-Speed Mastered By Miles Showell at Abbey Road Studios & lt;/li & gt;
& lt;li & gt;Debut studio album & lt;/li & gt;
& lt;li & gt;2021 Reissue & lt;/li & gt;
& lt;li & gt;Cover design created by Jane Fox & lt;/li & gt;
& lt;li & gt;Made in UK & lt;/li & gt;
& lt;/ul & gt;
& lt;/section & gt;
& lt;section id= & quot;selections & quot; & gt;
& lt;h3 & gt;Selections & lt;/h3 & gt;
& lt;h4 & gt;Side One: & lt;/h4 & gt;
& lt;ol & gt;
& lt;li & gt;Each And Every One & lt;/li & gt;
& lt;li & gt;Bittersweet & lt;/li & gt;
& lt;li & gt;Tender Blue & lt;/li & gt;
& lt;li & gt;Another Bridge & lt;/li & gt;
& lt;li & gt;The Spice Of Life & lt;/li & gt;
& lt;li & gt;The Dustbowl & lt;/li & gt;
& lt;/ol & gt;
& lt;h4 & gt;Side Two: & lt;/h4 & gt;
& lt;ol & gt;
& lt;li & gt;Crabwalk & lt;/li & gt;
& lt;li & gt;Even So & lt;/li & gt;
& lt;li & gt;Frost And Fire & lt;/li & gt;
& lt;li & gt;Fascination & lt;/li & gt;
& lt;li & gt;I Must Confess & lt;/li & gt;
& lt;li & gt;Soft Touch & lt;/li & gt;
& lt;/ol & gt;
& lt;/section & gt;
