Priscilla Ahn – A Good Day (Ultra Analog, Half-speed Mastering)
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Priscilla Ahn – vocals (all tracks), Acoustic Guitar (A1-B1, B3), Electric Piano [Wurlitzer] (A5), Glockenspiel (A2), Harmonica (A3, B3), Harpsichord (A6), Piano (A1, B4), Ukulele (B2)
Backing Vocals – Gus Seyffert (A7), Jim Gilstrap (A5), Orin Waters (A5)
Bass – Gus Seyffert (A1-5, A7, B3), Justin Meldal-Johnsen (A6)
Bells – Gus Seyffert (B2), Priscilla Ahn (A6, A8)
Autoharp – Gus Seyffert (B1), Priscilla Ahn (A4)
Doorbells – Gus Seyffert (A7)
Celesta – Zac Rae (A2)
Cello – Oliver Kraus (A1), Vanessa Freebarn-Smith (A4)
Drums – Joey Waronker (A1-B1, B3)
Guitar – Gus Seyffert (A1-2, A4, A6-B1, B3), Mike Andrews (A3)
Harpsichord – Keefus Ciancia (B3)
Idiophone [Musical Saw] – Ursula Knudsen (A4, B2)
Keyboards – Greg Kurstin (A3, A5), Gus Seyffert (A2, A6, B1), Joey Waronker (A4), Keefus Ciancia (B3), Larry Goldings (B1), Oliver Kraus (B1), Zac Rae (A1-2)
Mellotron [Chamberlin] – Zac Rae (A2)
Organ – Gus Seyffert (A1, A3)
Percussion – Joey Waronker (A1-B1, B3)
Piano – Keefus Ciancia (A3), Larry Goldings (B1)
Piano [Toy] – Gus Seyffert (A4)
Steel Guitar [Lap] – Gus Seyffert (A5, B4)
Strings – Oliver Kraus (B1)
Synthesizer [Moog] – Joey Waronker (A7)
Ukulele – Mike Andrews (A5)
Vibraphone – Gus Seyffert (A4), John Kirby (A1)
Orchestrated by Oliver Kraus (A1, B1)
Written by Priscilla Ahn (A1-3, A5-7, B1-2, B4-7), Benji Hughes (A4), Gus Seyffert (A7), Willie Nelson (B3)
1 LP, gatefold jacket
Limited numbered edition
B5 to B7 are LP-Only Bonus Tracks
Original analog Master tape : YES
Half-speed Mastering
Gain 2™ Ultra Analog
Heavy Press : 180g
Record color : black
Speed : 33RPM
Size : 12”
Stereo
Studio
Record Press : RTI
Label : MOFI
Original Label : Blue Note
Recorded in 2008 by Darrell Thorp
Mixed by Darrell Thorp
Produced by Joey Waronker
Mastered by Krieg Wunderlich at Mobile Fidelity Sound Lab
Originally released in June 2008 (as a CD)
Reissued in 2011 (first time as an LP)
Tracks:
Side A:
- Dream
- Wallflower
- I Don't Think So
- Masters In China
- Leave The Light On
- Red Cape
- Astronaut
Side B:
- Lullaby
- Find My Way Back Home
- Opportunity To Cry
- A Good Day (Morning Song)
- In A Tree
- We Were Free
- Mine Is Fine
Reviews :
“Priscilla Ahn comes from the same singer/songwriter circle that spun off Sara Bareilles and Cary Brothers, having cut her teeth in a dizzying array of L.A. venues before wooing Blue Note Records with her gently confident music. Like the material of many L.A.-based musicians, Ahn's songs brim with sunshine and poppy sparkle, but her East Coast roots lend some earthy depth to this debut. A Good Day draws as much from SoCal's sunny environs as Ahn's home state of Pennsylvania, where the burgeoning musician spent days wandering the vast, rural acreage of her family's home. "I was a little girl...I played pretend between the trees and fed my houseguests bark and leaves," she recalls during "Dream," a whimsical ballad that mixes fingerplucked arpeggios with a tasteful string arrangement. Harmonies swirl throughout the song's conclusion, recalling the earthy atmospherics of Emmylou Harris' Wrecking Ball while keeping Ahn's whimsy and innocence at the forefront. By the third track, however, she transforms herself into a champion of female autonomy, chastising a man for attempting to toy with her heart in "I Don't Think So." The album proceeds in that same fashion, with Ahn jumping between character roles and instrumental duties with equal dexterity. Highlights include "Astronaut," whose carnival rhythms and eerily gorgeous harmonies sound like the orchestration for a Tim Burton film (or perhaps a psychedelic Beatles song -- just listen to the way she slurs the "Ohhh boy" lyric during each verse), as well as a cover of "Opportunity to Cry," which adds a bright shuffle to Willie Nelson's heartbroken original. Given its range and self-assured delivery, A Good Day doesn't quite sound like a debut effort -- a telltale sign that Priscilla Ahn (only 24 years old at the time of its release) is on her way to bigger and better things.” AllMusic Review by Andrew Leahey
Ultra Analog™ : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.
Half-speed mastering. In half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1/3 rpm record is cut at 16 2/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.
Ratings :
AllMusic : 4 / 5 , Discogs : 4.39 / 5