ALISON KRAUSS + UNION STATION LIVE MFSL SEALED 3xLP NUMBERED MINT 2002

$

300

Here is a HARD TO GET! MINT! SEALED! NUMBERED! MFSL BOX SET! TRIPLE LP by ALISON KRAUSS + UNION STATION titled LIVE. It is an ORIGINAL! AUDIOPHILE! US pressing on the MOBILE FIDELITY SOUND LAB label, catalog #MFSL 3-281in STEREO sound and released in 2002. Since it is a SEALED! LP the vinyl is in presumed MINT! condition, shiny and black, with superb playback. The BOX SET cover is in MINT! condition and NUMBERED! 4759 on the rear. It is an opportunity to purchase this HARD TO FIND! SEALED! TRIPLE LP by ALISON KRAUSS + UNION STATION in this condition. THIS ORIGINAL! SEALED MFSL BOX SET COPIES IS HARD TO FIND!  It’s a true gem for the CONTEMPORARY BLUEGRESS / FOLK / COUNTRY collector! Email me with any questions and be sure to look at the pic’s. I DO NOT ACCEPT BIDS FROM OR MAIL TO SOUTH AMERICA, SOUTH AFRICA, ITALY & OTHER COUNTRIES. IF YOU ARE NOT FROM THE USA CONTACT ME BEFORE BIDDING! International bidders can email me for shipping rates. SHIPPING IN THE US IS $4.00 for MEDIA MAIL. I COMBINE SHIPPING SO US BUYERS PLEASE WAIT FOR INVOICE! Thanks for Looking & Good Luck!

Music Review from AllMusic.com by Rick Anderson

Given Alison Krauss' tremendous popularity and her status as the first female bluegrass singer to cross over into genuine pop marketability, and given the fact that her guitarist, Dan Tyminski, is the voice behind "Man of Constant Sorrow" (or at least the version that served as an idée fixe in the blockbuster movie O Brother, Where Art Thou?), a live album was inevitable. That it should be a two-disc set can simply be chalked up to good luck. Unless you're a bluegrass purist, that is, looking for music that preserves the traditional Appalachian sounds of Ralph Stanley and Bill Monroe. Listeners of that mindset will be bitterly disappointed by the presence of modern singer/songwriter fare ("Lucky One," "Let Me Touch You for a While"), by the drums on "Oh, Atlanta," and, most of all, by those dreadful call-and-response vocals on the chorus of "Man of Constant Sorrow" (which, you can hear them sniff, Tyminski takes at about twice the appropriate speed). All of this would explain why bluegrass purists are no fun to be around and, one suspects, don't have very much fun in private either. The simple fact is that every time Krauss opens her mouth to sing, angels stop what they're doing and take notes. There may be no musical pleasure quite as pure and sweet as listening to Krauss sing "Baby, Now That I've Found You" or "When You Say Nothing at All." And when she starts in on the impossibly beautiful gospel tune "Down to the River to Pray," the effect is almost disturbingly moving. Which brings listeners to the problem with this album, which is the amount of time it spends on stuff other than Alison Krauss singing great songs. The instrumental bits, the Jerry Douglas showcases, and Tyminski's requisite rendition of "Man of Constant Sorrow" are all fine, but they end up feeling like filler. Still, this album can be solidly recommended to modern bluegrass fans in general and to Krauss' many fans in particular.