(Rock) [LP] [24/96] Kate Bush - Lionheart, The Kick Inside, Never For Ever, Hounds of Love, The Sensual World, The Red Shoes, Director's Cut,(1978-2011), FLAC (tracks+.cue)

A1 Symphony In Blue
A2 In Search Of Peter Pan
A3 Wow
A4 Don’t Push Your Foot On The Heartbrake
A5 Oh England My Lionheart

B1 Full House
B2 In The Warm Room
B3 Kashka From Baghdad
B4 Coffee Homeground
B5 Hammer Horror

Kate Bush – Lionheart {German Audiophile 180g Pressing} 24 bit/96 kHz

Posted by AlfredoCatalani @ March 27th, 2012

Kate Bush – Lionheart – 1978

Vinyl rip in 24 bit & 96 kHz | 1 LP | no cue & log | HQ Artwork | 786 MB
Pop-Rock | German Audiophile 180g Pressing | ATR Mastercut ATR 008 | HotFile

Many thanks to the friend, that wants to remain anonymous, for this wonderful gift !
Mint condition, played for the 2nd time here for the Doc and you all.

Kate’s second album is mellower than most of her work. Most of it is Kate’s still-girlish vocals and her piano. The sole exception is the frantic guitar rocker “Don’t Push Your Foot On The Heartbrake”, which is inbetween two lovely songs–”Wow” and “Oh England, My Lionheart.” “Heartbreak” contains a wonderful metaphor of spilling red beads to blood, and “Wow” is one of Kate’s best singles.

We all know how high Kate Bush ranks in terms of iconic stature over here in England. Is there anyone above her in terms of respect? Hardly. Her music has become almost a genre unto itself over the years. After her smash hit debut album “The Kick Inside,” Kate released “Lioneart.” The album was actually released in the same year as her debut, which was obviously just a record company ploy to capitalise on Kate’s new-found success. As a result, this album didn’t do as well as her debut, and sold a mere 300,000 copies in the UK. It peaked at No.6 and didn’t really spawn any massive hit singles. When stood next to Kate’s masterpieces such as “Hounds Of Love” and “The Dreaming,” this album doesn’t really stand a chance. There are great moments on all of Bush’s albums, but this album just so happens to feature the least amount. Or at least that’s my opinion.

The album opens with “Symphony In Blue.” This is a very classy mid-tempo song and has trademark vocals from Kate, very high and operatic. It’s also quite a sexual song and has some rather racy lyrics for 1978! “In Search Of Peter Pan” is actually one of my least favourites on the album. No matter how many times I listen to it never seems to fully connect with me like most of Kate’s music does. The end of the chorus is very beautiful though, and the piano is rather shrill and very harmonious. “Wow” is one of the best songs I think Kate has ever done. This song runs for four minutes and has one of the most fantastic intros I’ve ever heard. It’s incredibly atmospheric and almost eerie. Kate’s vocals are so beautiful and remind me of a starry night. The chorus is amazing as she bursts out singing, “Wow, wow, wow, wow, wow, wow! Unbelievable!” It ends just as beautifully as it started too.

“Don’t Push Your Foot On The Heartbrake” is a fantastic song that has quite a subdued, quiet opening. However, things pick up in the section before the chorus, until Kate is screaming her head off in that chorus! I love it when the guitars kick in as she sings, “Come on! You’ve got to use your flow!” “Oh England My Lionheart” is a very sad song about the war, and is interesting in how this is the only song to feature hand-written lyrics in the inlay, while the rest are simply printed. The chorus is quite impressive as Kate’s voice rises. “Fullhouse” is a rather weak offering, because I feel that the vocals are bit too eccentric on this song. “In The Warm Room” is a very sensual and erotic song. This worked very fell on Kate’s debut album on songs such as “L’Amour Looks Something Like You” and “Feel It.” This isn’t as good, but it’s still a great song. The lyrics become more sensuous as the song progresses, right down to, “You’ll fall into her like a pillow, her thighs are soft as marshmellows, say hello, to the soft musk of her hollows.” Kate’s vocals rise and fall to the sweet tenderness of such a beautiful song.

“Kashka From Baghdad” is one of Kate’s most famous songs, in which she sings about a gay couple, shunned by their friends and family because of their homosexuality. However, they don’t seem to care, as their landlady observes every night as she can hear them laughing and getting along just like any ordinary couple. You can feel the longing for them as a couple in Kate’s voice, which was quite risky back in 1978. “Coffee Homeground” is a song about murder, yet it’s supposed to be set in the 19th Century. To achieve this, the song sounds very spacious and cold, like an eerie cellar haunted by ghosts. It’s a very British song, and is perfect for expressing Kate’s dynamic voice. The album closes with “Hammer Horror,” another song about murder. In this song, Kate takes on the role of an understudy who plots to kill off the main star in a play so that she can have the part. It’s a rather unusual song, very diverse for its time, and ultimately very rewarding.

Track Listing

A1 Symphony In Blue
A2 In Search Of Peter Pan
A3 Wow
A4 Don’t Push Your Foot On The Heartbrake
A5 Oh England My Lionheart

B1 Full House
B2 In The Warm Room
B3 Kashka From Baghdad
B4 Coffee Homeground
B5 Hammer Horror

Credit

Bass – David Paton (tracks: A1, A2, A4, B1, B4), Del Palmer (tracks: A3, B3, B5)
Contractor – David Catz
Drums, Percussion – Stuart Elliot (tracks: A1, A2, A4, B1, B3 to B5)
Engineer – Jon Kelly
Engineer [Assistant On Mix] – Nigel Walker (2)
Engineer [Assistant] – Patrick Jauneaud
Featuring – Paddy Bush (tracks: A3 to A5, B3)
Guitar – Ian Bairnson (tracks: A1 to A4, B1, B4, B5)
Keyboards – Duncan Mackay (tracks: A1 to A4, B4, B5)
Photography By – Gered Mankowitz
Producer [Assistant], Arranged By [Assistant] – Kate Bush
Producer, Arranged By – Andrew Powell
Remastered By – Georg Kamann
Written By, Vocals, Piano – Kate Bush

ATR-MASTERCUT RECORDINGS is a german audiophile label, released by Atr. Audio Trade, which seems to be a hifi retail outlet. They remastered Lionheart under licence from EMI Electrola. Remastering done at EMI Cutting Centre Cologne. Recorded at Superbear Studios. Gatefold sleeve with front cover art darker than on the normal releases, plain polylined paper inner dust bag.

Ripping Infos
•RCM: Okki Nokki
•TT: Clearaudio Champion Level II + Special Edition Denon DL 103 -> Pro-Ject Phono Box II
•Pre Amp: Unison Research Unico Pre (Tube)
•Finals: Opera Consonance 9.9 Mono (Tube)
•Speakers: Dali Helikon 400
•Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5 -> Wave 32 bit/96 kHz
•Light de-Clicking with ClickRepair, significant clicks manually removing, no De-Noising

You hear some clicks and pops here and there?
Who cares?
I better let some light anomalies instead of destroying the music.
Enjoy the music, not the ticks & pops.
•Converting Wave 32bit/96kHz -> Flac 24bit/96kHz: Twisted Wave
•Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5

A1 Moving 3:03
A2 The Saxophone Song 3:50
A3 Strange Phenomena 2:56
A4 Kite 2:58
A5 The Man With The Child In His Eyes 2:39
A6 Wuthering Heights 4:29

B1 James And The Cold Gun 3:34
B2 Feel It 3:04
B3 Oh To Be In Love 3:17
B4 L’Amour Looks Something Like You 2:26
B5 Them Heavy People 3:04
B6 Room For The Life 4:03
B7 The Kick Inside 3:34

Kate Bush – The Kick Inside {German Pressing} 24 bit/96 kHz

Posted by AlfredoCatalani @ March 15th, 2012

Kate Bush – The Kick Inside – 1978

Vinyl rip in 24 bit & 96 kHz | 1 LP | no cue & log | HQ Artwork
1.13 GB | Pop-Rock | EMI 064-06603 | HotFile

On demand by cantredr

Kicking things off with a whimper, not a bang, Kate Bush quietly released her 1978 debut, The Kick Inside and that disc still to this day affects an incredible number people, Tori Amos and Sarah McLachlan among them. There are so many elements that make this disc unique–Kate’s soaring soprano, her warm piano playing–but the one thing that perhaps sticks out most is how different her sounds were from anything else circulating at that time. Ten years before “alternative” hit the forefront, this music was neither easy nor palatable, truly an alternative from the other styles out there. Among the more legendary tracks, search out “The Man with the Child in His Eyes” and her timeless classic “Wuthering Heights.” –Denise Sheppard

Released while still in her teens, this debut by Kate Bush is deceptively simple. One would not expect tons of musical sophistication in the structures of her songs. And, if the truth be told, the emotional palette of the album is fairly limited as well–that is to say, compared to her later work, there is a romantic dreaminess suffusing Bush’s vocals throughout that is of unparalleled beauty, and even naivete.

Behind the simplicity of the verse-chorus song structures is a ferocious imagination. The vocal line of the opening song, “Moving” is more than enough to sound like some kind of complete reinvention of all singing. It is one of the most beautiful (and moving) things that Bush has ever recorded. And, as throughout all of her career, the musicians she has playing for her are genuine masters of tact, taste and musicianship. The bass player, in particular, deserves to be in the Hall of Fame for his playing.

There is no doubt that this is a first album by a first-rate artist. One song, one of the disc’s stand-outs, “The Man with a Child in his Eyes” was apparently recorded when she was sixteen. Again, compared to her later work, there is a very dominant style of piano-bass-drum music over which Bush’s sensuous vocals sail. The attempt at a more rock orchestration on “James and the Cold Gun”, while musically lush in performance, seems a bit forced and is one of the weaker spots on the album. Basically, if the opening song grabs you by the soul and makes you sit up, then the whole thing is a banquet of similar delights.

Lastly, the album also features the (now) signature Kate Bush song, “Wuthering Heights”. One of those rare kinds of song that deserves every bit of admiration that Bush’s devoted fans lavish on it. Newcomers should be warned not to overread the meaning in the lyrics, here or anywhere else. Bush’s lyrics seem to be very private, on the one hand, or are imaginative projections of the person in her song. In other words, and as Bush has asserted in interviews, the artist should not be mistaken for her subject.

Over the course of her career, one can actually hear the young woman who is singing on this album growing up–songs about broken hearts, rather than romantic idylls about Prince Charmings. The freshness, even the innocence, captured on this disk is truly remarkable. The singing, often in the very high range, is almost painfully moving–a truly amazing musical experience if you can be open to it without irony.

Credits

Acoustic Guitar – David Paton (tracks: A6)
Backing Vocals – David Paton (tracks: B2, B3), Ian Bairnson (tracks: B2, B3), Kate Bush (tracks: B5), Paddy Bush (tracks: B5)
Bass – Bruce Lynch (tracks: A1), David Paton (tracks: A2 to A6, B1 to B6)
Celesta – Andrew Powell (tracks: A6)
Clavinet – Duncan McKay* (tracks: A4)
Drums – Barry De Souza (tracks: A1), Stuart Elliott (tracks: A2 to A6, B1 to B6)
Electric Piano – Andrew Powell (tracks: A2), Duncan McKay* (tracks: B4)
Engineer – John Kelly*
Executive Producer – David Gilmour (tracks: A2, A5)
Guitar – Alan Parker (tracks: A1), David Paton (tracks: B2), Ian Bairnson (tracks: A2 to A6, B1 to B6), Paul Keogh (tracks: A1, A2)
Keyboards – Andrew Powell (tracks: A1)
Mandolin – Paddy Bush (tracks: B2, B3)
Organ – Duncan McKay* (tracks: A4, A6, B1)
Percussion – Morris Pert (tracks: A3 to A6,), Stuart Elliott (tracks: B2, B3, B6)
Percussion [Boo-bams] – Morris Pert (tracks: B6)
Producer, Arranged By – Andrew Powell
Saxophone – Alan Skidmore (tracks: A2)
Synthesizer – Andrew Powell (tracks: B2, B3), Duncan McKay* (tracks: A2)
Wind [Beer Bottles] – Andrew Powell (tracks: B6), Ian Bairnson (tracks: B6)
Written-By, Piano – Kate Bush

Ripping Infos

TT: Clearaudio Champion Level II + Special Edition Denon DL 103 –> Clearaudio Smartphono
TT: Pro-Ject RPM 6 SB + Sumiko Evolution III –> Pro-Ject Phono Box II
Pre Amp: Unison Research Unico Pre (Tube)
Finals: Opera Consonance 9.9 Mono (Tube)
Speakers: Dali Helikon 400

Rec Software: Twisted Wave 1.9, Adobe Audition CS 5.5 —> Wave 32bit/96kHz
Light De-Clicking (if needed) on Audition, significant clicks manually removing, no De-Noising
Converting Wave 32bit/96kHz —> Flac 24bit/96kHz: Twisted Wave
Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5

A1 Rubberband Girl 4:45
A2 And So Is Love 4:18 Guitar – Eric Clapton
A3 Eat The Music 5:11
A4 Moments Of Pleasure 5:18
A5 The Song Of Solomon 4:29
A6 Lily 3:53
B1 The Red Shoes 4:03
B2 Top Of The City 4:15
B3 Constellation Of The Heart 4:47
B4 Big Stripey Lie 3:33
B5 Why Should I Love You 5:02 Keyboards, Guitar, Bass, Vocals, Arranged By – Prince
B6 You’re The One 5:53 Guitar – Jeff Beck

cleaning: steam clean, Record Doctor RCM, audioquest anti-static brus, Zerostat, ME stylus cleaning
hw: Sota Sapphire + Eminent Technology Tonearm 2 (ET-2) magnetic-dampened, tangential tracking, air-bearing tonearm w/ AT33EV > Pro-Ject Tube Box SE II w/NOS Telefunken ECC83 > E-MU 0404 > MacBook Pro [electron flowmaster interconnects]
sw: Sound Studio [capture 24-bit/96kHZ] > Amadeus Pro [Analyze, no clipping] > Izotope RX2 [manual de-clicking, dither/resample] > Xact [sbe correction] > XLD [flac/proper tagging]

Kate Bush – Director’s Cut (2011)[VINYL rip in 24bit/96khz]{Fish People – FPLP001}

Posted by schwarzhoerer @ June 5th, 2012

Kate Bush – Director’s Cut (2011)
Vinyl rip in 24-bit/96 kHz | 2 LP – 180g
DR-Analysis | HQ Artwork (contains the entire booklet – 26 pages) 145 MB | 1.08 GB | RS & HF
Rock| Original E.U. Pressing | Fish People – FPLP001

Released in May 2011, the album features four tracks taken from The Sensual World (1989) and seven from The Red Shoes (1993) which have been re-recorded by Bush, while retaining most of the original instrumentation.

Regarding the entirely new lyrics to the song “The Sensual World”, now re-titled “Flower of the Mountain”, Bush said this: “Originally when I wrote the song “The Sensual World” I had used text from the end of Ulysses by James Joyce, put to a piece of music I had written. When I asked for permission to use the text I was refused, which was disappointing. I then wrote my own lyrics for the song although I felt that the original idea had been more interesting. Well, I’m not James Joyce am I? When I came to work on this project I thought I would ask for permission again and this time they said yes. It is now re-titled “Flower of the Mountain” and I am delighted that I have had the chance to fulfill the original concept. For some time I have felt that I wanted to revisit tracks from these two albums and that they could benefit from having new life breathed into them. Lots of work had gone into the two original albums and now these songs have another layer of work woven into their fabric. I think of this as a new album.”

All the lead vocals on Director’s Cut and some of the backing vocals have been entirely re-recorded, with some of the songs transposed to a lower key to accommodate Bush’s matured voice. Additionally, the drum tracks have been reconceived and re-recorded, with some of the tracks featuring Steve Gadd. Bassist Danny Thompson also appears and, on backing vocals, Mica Paris. Three songs have been completely re-recorded: “This Woman’s Work”, “Rubberband Girl”, and “Moments of Pleasure”.

Director’s Cut is available as a digital album, a standard CD in a case-bound book, a deluxe version (“Collector’s Edition”), consisting of a box set including Director’s Cut, The Sensual World and the The Red Shoes (re-mastered from digital to analogue), and two-disc vinyl. Director’s Cut was recorded using analogue equipment. Bush stated in an interview for BBC radio that she never liked the “hard-edged sound” of the digitally recorded The Red Shoes and feels both the new recordings of the songs from this album and the re-mastered The Red Shoes have a “warmer, fuller sound.”

The album was a chart success, reaching No.2 on the UK albums chart (matching the chart peak of both The Sensual World and The Red Shoes) and although it fell swiftly down the chart after its first week it has sold consistently and has since been certified Silver in the UK. The album also charted in a number of other countries, including a No.4 entry in the Irish charts, and also went top ten in the Netherlands and Norway.

– by Wikipedia, the free encyclopedia

During her early career, Kate Bush released albums regularly despite her reputation as a perfectionist in the studio. Her first five were released within seven years. After The Hounds of Love in 1985, however, the breaks between got longer: The Sensual World appeared in 1989 and The Red Shoes in 1993. Then, nothing before Aerial, a double album issued in 2005. It’s taken six more years to get The Director’s Cut, an album whose material isn’t new, though its presentation is. Four of this set’s 11 tracks first appeared on The Sensual World, while the other seven come from The Red Shoes. Bush’s reasons for re-recording these songs is a mystery. She does have her own world-class recording studio, and given the sounds here, she’s kept up with technology. Some of these songs are merely tweaked, and pleasantly so, while others are radically altered. The two most glaring examples are “Flower of the Mountain” (previously known as “The Sensual World”) and “This Woman’s Work.” The former intended to use Molly Bloom’s soliloquy from James Joyce’s novel Ulysses as its lyric; Bush was refused permission by his estate. That decision was eventually reversed; hence she re-recorded the originally intended lyrics. And while the arrangement is similar, there are added layers of synth and percussion. Her voice is absent the wails and hiccupy gasps of her youthful incarnation. These have been replaced by somewhat huskier, even more luxuriant and elegant tones. On the latter song, the arrangement of a full band and Michael Nyman’s strings are replaced by a sparse, reverbed electric piano which pans between speakers. This skeletal arrangement frames Bush’s more prominent vocal which has grown into these lyrics and inhabits them in full: their regrets, disappointments, and heartbreaks with real acceptance. She lets that voice rip on “Lilly,” supported by a tougher, punchier bassline, skittering guitar efx, and a hypnotic drum loop. Bush’s son Bertie makes an appearance as the voice of the computer (with Auto-Tune) on “Deeper Understanding.” On “RubberBand Girl,” Bush pays homage to the Rolling Stones’ opening riff from “Street Fighting Man” in all its garagey glory (which one suspects was always there and has now been uncovered). The experience of The Director’s Cut, encountering all this familiar material in its new dressing, is more than occasionally unsettling, but simultaneously, it is deeply engaging and satisfying.

– by Thom Jurek (allmusic.com)

Track Listing

Track
Title
Composer
Length

A1

Flower of the Mountain

Kate Bush

5:12

A2

Song of Solomon

Kate Bush

4:48

A3

Lily

Kate Bush

3:58

B1

Deeper Understanding

Kate Bush

6:31

B2

The Red Shoes

Kate Bush

4:56

B3

This Woman’s Work

Kate Bush

6:32

C1

Moments of Pleasure

Kate Bush

6:26

C2

Never Be Mine

Kate Bush

5:59

D1

Top of the City

Kate Bush

4:18

D2

And so Is Love

Kate Bush

4:23

D3

Rubberband Girl

Kate Bush

4:38

foobar2000 1.1.11 / Dynamic Range Meter 1.1.1
log date: 2012-06-04 18:57:27

--------------------------------------------------------------------------------
Analyzed: Kate Bush / Director's Cut
--------------------------------------------------------------------------------

DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -2.49 dB -18.33 dB 5:12 ?-A 01 Flower Of The Mountain
DR11 -3.68 dB -17.75 dB 4:48 ?-A 02 Song Of Solomon
DR15 -1.69 dB -18.97 dB 3:58 ?-A 03 Lily
DR15 -2.18 dB -20.39 dB 6:31 ?-B 04 Deeper Understanding
DR14 -3.01 dB -20.07 dB 4:56 ?-B 05 The Red Shoes
DR12 -5.92 dB -23.99 dB 6:32 ?-B 06 This Woman's Work
DR12 -7.05 dB -23.03 dB 6:26 ?-C 07 Moments Of Pleasure
DR15 -4.35 dB -22.90 dB 4:59 ?-C 08 Never Be Mine
DR15 -2.97 dB -20.40 dB 4:18 ?-D 09 Top Of The City
DR13 -3.63 dB -19.59 dB 4:23 ?-D 10 And So Is Love
DR14 -2.84 dB -18.45 dB 4:38 ?-D 11 Rubberband Girl
--------------------------------------------------------------------------------

Number of tracks: 11
Official DR value: DR14

Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4608 kbps
Codec: PCM
================================================================================
Credits

Side 1

A1 – FLOWER OFTHE MOUNTAIN

Drums: Steve Gadd
Bass: Del Palmer
Keyboards: Kate
Pipes/Whistles: Davey Spillane
Fiddles: John Sheahan
Canes: Paddy Bush

A2 – SONG OF SOLOMON

Drums: Steve Gadd
Bass: John Giblin
Guitars: Dan Mclntosh
Keyboards: Kate
Vocals: Trio Bulgarka
Backing Vocals: Kate
Gabriel: David Crofts
Marion: Kate
Toll: Remi Butler

A3 – LILY

Drums: Steve Gadd
Bass: John Giblin
Guitars: Dan Mclntosh
Keyboards: Kate
Backing Vocals: Mica Paris
Kate
Fujare: Paddy Bush
‘The Gayatri’
narrated by: Lily Cornford

Side 2

B1 – DEEPER UNDERSTANDING

Drums: Steve Gadd
Bass: John Giblin
Keyboards: Kate
Computer: Albert Mclntosh
Harmonica: Brendan Power
Vocals: Trio Bulgarka
featuring Yanka Rupkhina
Toll: Remi Butler
Beryl Van Heem: Hazel Pethig
Professor Need: Terry Jones

B2 – THE RED SHOES

Drums: Steve Gadd
Bass: John Giblin
Guitars: Dan Mclntosh
Mandola/
Mandolins/
Whistles/
Musical Bow: Paddy Bush
Backing Vocals: Paddy Bush/
Colin Lloyd-Tucker/
Kate
Additional Vocals: Albert Mclntosh/
Jacob Thorn

B3 – THIS WOMAN’S WORK

Keyboards: Kate
Vocals: Albert Mclntosh/
Jacob Thorn

Side 3

C1 – MOMENTS OF PLEASURE

Piano: Kate
Choir: The Waynflete
Chamber Choir
Michael \Nood
Jevan Johnson Booth
Ed Rowntree
Toll: Remi Butler
Rook/
Sock Puppeteer: Albert Mclntosh
Michael: Jud Charlton

C2 – NEVER BE MINE

Drums: Steve Gadd
Basses: Eberhard Weber
Guitars: Dan Mclntosh
Piano: Kate
Vocals: Trio Bulgarka
Spinning Toll: Remi Butler

Side 4

D1 – TOP OF THE CITY

Drums: Steve Gadd
Bass: John Giblin
Guitars: Dan Mclntosh
Piano/
Backing Vocals: Kate
Violin/
Viola: Nigel Kennedy
Toll: Remi Butler
Rook: Albert Mclntosh

D2 – AND SO IS LOVE

Drums: Steve Gadd
Bass: John Giblin
Guitar: Eric Clapton
Hammond: Gary Brooker
Keyboards/
Backing Vocals: Kate
Toll: Remi Butler
Rook: Albert Mclntosh

D3 – RUBBERBAND GIRL

Drums: Steve Gadd
Bass: Danny Thompson
Guitars: Dan Mclntosh
Keyboards: Kate
Harmonica: Brendan Power

Personal/Production

Written & Directed by Kate.**With the exception of ‘Flower Of The Mountain’: Text from ‘Ulysses’ used by kind permission of the
Trustees of James Joyce Estate. © The Trustees of the Estate of James Joyce.Recorded by Del Palmer.

Mixed by Stephen W Tayler.

‘This Woman’s Work’ & ‘Moments Of
Pleasure’: Mixed by Del Palmer,
assisted by Robert Houston.

‘Song Of Solomon’: Mixed by
James Guthrie, assisted by Joel Plante.

‘Moments Of Pleasure’: The Waynflete Chamber Choir conducted by Mr Smith. Recorded by Abbey Road Mobile with Jim Jones & Richard Hale.

Additional Recording by: Haydn Bendall, Kevin Killen, Stephen W TayIer, Chris Bolster, Andrew Boland & Sam O’Kell.

Music Editor: Del Palmer.
Music Editor & Protools Operations
beyond the call of duty: Robert Houston.

Flower Of The Mountain’: Irish musicians arranged by Bill Whelan.The Trio Bulgarka are: Yanka Rupkhina,
Eva Georgieva & Stoyanka Boneva.
Arranged by Dimitr Penev.Many thanks to: Jim Jones,
Mark Thompson, Paddy Bush,
John Carder Bush, Ian Sylvester,
George Gilbert, Gary Briley, Stuart Elliott, Joe Boyd, Colette Barber; John McCarthy, Lisa Bradley, Steve Rooke, Owen Bush, Simon Petrie, Pat Savage, Paul Baines, Andrew Shau S Yap & Daniel Reed
at Peacock.

Special thanks to: Dan & Bertie,
Stuart Crouch, Keith Peacock, Geoff Jukes, Russell Roberts, Brad Gelfond, James Guthrie, Hazel Pethig, Barney Wragg, Matthieu Lauriot-Prevost & Deane Cameron.

Very special thanks to David Munns.

Thanks so much to Jan Libbenga for
sending a tape of the beautiful traditional Macedonian melody that is featured in the choruses of ‘Flower Of The Mountain’.
Until now l did not know your name.

Eric Clapton appears courtesy of
Reprise Records.Album design: Kate & Peacock.Original cover photography:
John Carder Bush.
Film strip based on an original work by
Bart Everson from the Coca Cola film strip ‘Black Treasures’ 1969. Licensed Pursuant to Creative
Commons Attribution 2.0 Generic Licence.

Booklet photography by Tim Walker.

Inner front & inner back photography: John & Gavin Bush.

Visual concepts & direction by Kate.

Costume: Hazel Pethig.
Toll head sculpture: Val Charlton.
Armour & Rook: Robert Allsopp.
Sets designed by Andy Hillman.
With thanks to:
Bejou at And Productions,
Cheryl Phelps-Gardiner, Sam Bryant, Malcolm Edwards, Charlotte Also, Alex & Camilla.

Mastered by Doug Sax & James Guthrie with Sangwook ‘Sunny’ Naam.

Ripping Info / Technical Log

Hardware:

DIY Record Cleaning Machine: modifeyd DUAL TT
TT: Clearaudio Emotion modifeyd with “clearaudio magnet bearing (CMB)”
Cartridge: Clearaudio Maestro Wood MM
Interconnects: Original Clearaudio

Phonopreamplifier: Clearaudio Smart Phono

Recording:

Sony PCM-M10 – 24bit/96kHz – directly connected with the Clearaudio Smart Phono Box!
Interconnects: Oehlbach NF 1 Y-Adapter

Software/Treatment:

Sony Sound Forge Pro 9 -> manual click/anomalies removal -> split into individual tracks
Clickrepair: Light de-Clicking, significant clicks manually removing, no De-Noising
Level: 4 -> DeCrackle: off -> Pitch Protection: on -> Reverse: on -> Method: Simple
FLAC: dbPowerAmp Level 8

That’s all; no any other treatments!

Record shape

Side 1

NM

Side 2

NM

Side 3

NM

Side 4

NM

The pressing is very good, near perfect!