The Sisters of Mercy - First and Last and Always (MOFI Silver Label, Ultra Analog, Half-speed Mastering, 140g) - AudioSoundMusic
The Sisters of Mercy - First and Last and Always (MOFI Silver Label, Ultra Analog, Half-speed Mastering, 140g) - AudioSoundMusic
The Sisters of Mercy - First and Last and Always (MOFI Silver Label, Ultra Analog, Half-speed Mastering, 140g) - AudioSoundMusic
The Sisters of Mercy - First and Last and Always (MOFI Silver Label, Ultra Analog, Half-speed Mastering, 140g) - AudioSoundMusic
The Sisters of Mercy - First and Last and Always (MOFI Silver Label, Ultra Analog, Half-speed Mastering, 140g) - AudioSoundMusic
The Sisters of Mercy - First and Last and Always (MOFI Silver Label, Ultra Analog, Half-speed Mastering, 140g) - AudioSoundMusic

The Sisters of Mercy - First and Last and Always (MOFI Silver Label, Ultra Analog, Half-speed Mastering, 140g)

€49,00
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ORDER LIMITED TO ONE ITEM PER CUSTOMER

Andrew Eldritch – vocals, sleeve design, mixing

Craig Adams – bass guitar

Wayne Hussey – guitar, vocals

Gary Marx – guitar

Doktor Avalanche (drum machine) – drums

 

1 LP, gatefold sleeve

Limited numbered edition

Original analog Master tape : Silver Label (Copy of original Mastertape)

Half-speed Mastering

GAIN 2 Ultra Analog System™

Heavy Press : 140g

Record color : black

Speed : 33RPM

Size : 12”

Stereo

Studio

Record Press : RTI

Label : MOFI

Original Label : Merciful Release

Recorded June – November 1984 at Strawberry Studio (Stockport) and Genetic (Reading)

Engineered & mixed by Andrew Eldritch, Dave Allen

Produced by Dave Allen

Originally released in 1985

Reissued in 2011

 

Tracks:

Side A :

  1. Black Planet
  2. Walk Away
  3. No Time to Cry
  4. A Rock And A Hard Place
  5. Marian (Version)

 

Side B :

  1. First And Last And Always
  2. Possession
  3. Nine While Nine
  4. Amphetamine Logic
  5. Some Kind Of Stranger

 

Reviews :

"With the band itself falling to bits shortly after the March 1985 debut of First and Last and Always, the album's place in the skewed history of the rise of goth rock would, on one hand, be permanently linked with that discord but, on the other, not impacted in the slightest, leaving the fractious set's success and structure to become a blueprint for an entire generation of up-and-comers. With static drumbeats and jangle-angled guitars backing Andrew Eldritch's atonic, graveyard vocals, the songs on First and Last and Always paid to play alongside the ghosts of myriad forgotten post-punkers as well as the band's own goth forebears. From the opening air-fire claustrophobia of "Black Planet" to the melancholy "No Time to Cry," Eldritch continually assured listeners that "everything's gonna be alright" -- but, really, coming out of that mouth, did anyone actually believe him? Even on the occasional wobbly patches imbedded in the now classic "Marian" and the title track, where the song threatens to dissolve into irrelevance despite Eldritch's chirky vocal, they pull up wonderfully on the bass-driven, bee-stung guitar gem "Possession" and the closing "Some Kind of Stranger," an untouchable epic that, clocking in at over seven minutes, is the best of its kind from any time -- period. "Some Kind of Stranger" not only became a love song for the doom and gloom crowd, but was also an anthemic, anemic declaration of intent laid bare in a haze of sonic smoke and mirrors. Copied to death, its brilliance has never been replicated. Indeed, the entire album remains unequaled in the genre, permanently granted top place on a pedestal from which it cannot be toppled." AllMusic Review by Amy Hanson 

 

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 : 4,43 / 5

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