Oranges & Lemons (200, Vinyl

Marke: XTC

Variante: Vinyl

Eigenschaften:

PRODUKTBESCHREIBUNGEN KURZBESCHREIBUNG Oranges & Lemons ist die achte 200 Gramm LP Ausgabe der Serie mit den XTC Klassikern, das von Jason Mitchell im Loud Mastering Studio mit Hilfe von Andy Partridge gemastert und von XTC abgenommen wurde. Das Album zählt zu den gefragtesten Vinyl Reissues der Band, da es nur für eine kurze Zeit am Ende der ersten Vinyl Ära als LP erhältlich war und noch nie in einer qualitativ hochwertigen Pressung und nur mit einem billigen Single-Cover Sleeve veröffentlicht wurde. Das bunte und spritzige Pop-Art Cover lässt erahnen, was einen auf der LP “Oranges & Lemons” der Band XTC für coole Musik erwartet. Das 9. Studioalbum der britischen Kultband wurde im Februar 1989 veröffentlicht und wirkte wie das Erwachen aus einem Dornröschenschlaf. Tatsächlich konnte XTC durch “Oranges & Lemons” seinen Ruf vor allem in den USA festigen, einer der besten “Recording Outfits” der Ära zu sein. Das Album ist eine wunderbare Sammlung von Songs, das sicherlich in einem der besten Andy Partridge-Tracks “Chalkhills & Children” einen Höhepunkt findet. BIOGRAPHIE DER MITWIRKENDEN The album has been mastered by Jason Mitchell at Loud Mastering with input from Andy Partridge & is fully approved by XTC. The album is one of the most requested vinyl reissues as it was only on vinyl for a short period towards the end of the first vinyl era and was, as a result, never available as a decent quality pressing and poorly presented in a single sleeve. The sleeve has been re-worked to present the front colour image in all its psychedelic glory - and expanded to a gatefold to accommodate both the weight of the vinyl & the inclusion of song lyrics. BRRRAAANNNNGG!! As brash, bright & vibrant as its Alan Aldridge influenced, pop art, outer cover art, Oranges & Lemons, XTC's ninth studio album, issued in February 1989, arrived like a burst of audio summer at the end of winter. Eloquently answering the question: 'How do you follow-up a classic album?' with the most obvious answer 'with another great recording', the album consolidated XTC's position especially in America as one of the era's finest recording outfits. Following the slow burn success of Skylarking, which by then had become the band's biggest selling album to date, Virgin suggested the band should consider another American producer. XTC settled on session musician Paul Fox who was just establishing a name for himself as an up & coming producer having remixed tracks for Yes & Culture Club. Recorded in Los Angeles over a lengthy period,the album allowed Andy Partridge & Colin Moulding to further hone a group of songs that had initially been worked on & rehearsed in the UK with Dave Gregory's, rarely highlighted but often crucial, contributions to the arrangements apparent in the final mixes. Despite a Top 30 album placing on release in the UK & fine reviews, XTC's brand of grown-up pop music was out of synch when it came to singles releases. In a period more associated with hit singles derived from factory produced pop songs for TV soap opera stars, a song like 'The Loving' (issued as the third single), sounded like Stravinsky by comparison, leaving XTC at least in their home country to the usual 'why isn't this band as big as . [insert name of any then current multi-million sellers] from fans & critics. America, however, was a different story & Geffen Records post Guns'n'Roses but pre-Nirvana, climbed aboard the Anglophile Express pushing the album into the Top 50 & to Number 1 in the then, all-important, Billboard College Radio/Alternative Chart. In the absence of live shows, the band did extensive radio promotion tours, with accompanying acoustic performances,slightly pre-dating the fashion for 'unplugged' shows, which helped to widen their audience. With an expanding audience in the USA & a steady following in Europe & Japan, for XTC the next breakthrough to an audience of millions must have seemed so close it could almost be touched....

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