Paul Simon Graceland Sterling Master DMM Record Club NM/NM
Rare and Collectible Records and Books
Providing the finest available since 1974 !
SHIPPING OFFER! Add an unlimited amount of albums to this purchase from my at no extra shipping charge in USA!
Record Club BMG
Sterling DMM Audiophile Master
Inner Lyric Sleeve
Fresh VPI cleaning and Zerostat
Check the pictures and feedback for one of the nicest copies available on the internet!
Original Deep Groove Vinyl
Rich Sonic Analog Pressing
Not A Re-Issue
Stored In Heavy Plastic Outer Sleeve Since Purchase
Official Release Information
Label: WB 26557-1
Format: 12" vinyl LP (album), 33 1/3 RPM
No notable exceptions
No notable exceptions
Dead Wax Information
(A) RE2-SH1 DMM B23620-RE2-SH1 STERLING DMM AL SP 0-6 R112315 12646- 1-10
(B) RE1-DMM SH4 B23621 RE1-SH4 0-6 R112315 -B 3-9 STERLING DMM 12646- X AL SP 1
Why Pressing/Dead wax information is important?
Like a knife, the more times the master cuts into vinyl the duller it gets. Each subsequent pressing gets duller, rolling out the crisp cut of the original pressing. This results in less sonic resonance. The first pressings are the truest duplication of what the master engineer intended.
The mastering also matter. The Mastering engineer critically listens to the tape recording, making critical adjustment to them as he goes. This can create very different listening experiences from disc to disc. This is why you see Re-Mastered so often, to improve (or sometime the opposite) the original sound.
The success of the album earned Paul Simon the Best International Solo Artist award at The Brit Awards in 1987. It was also ranked #84 in a 2005 survey held by British television's Channel 4 to determine the 100 greatest albums of all time.
It was placed 81st (71st in the updated version from 2012) on the list of Rolling Stone magazine's 500 Greatest Albums of All Time as "an album about isolation and redemption that transcended 'world music' to become the whole world's soundtrack." The song "Graceland" was voted #485 in the list of Rolling Stone's 500 Greatest Songs of All Time.
Graceland is the seventh solo studio album by American singer-songwriter Paul Simon. Produced by Simon and Roy Halee, the album was released on August 25, 1986 by Warner Bros. Records. In the early 1980s, Simon's career hit a low point. Following a very successful but contentious reunion with former partner Art Garfunkel, Simon's marriage fell apart and his previous record, Hearts and Bones (1983), was a significant commercial disappointment. In 1984, after a period of depression, Simon became fascinated with a bootleg cassette of South African township music. He planned a trip to Johannesburg in the new year with Halee, where he spent two weeks recording with South African musicians.
Recorded between 1985–86, Graceland features an eclectic mixture of musical styles, including pop, rock, a cappella, zydeco, isicathamiya, and mbaqanga. Simon created new compositions inspired by the recordings made in Johannesburg, collaborating with both African and American artists. Simon faced controversy for seemingly breaking the cultural boycott imposed by the rest of the world against South Africa because of its policy of apartheid. In addition, some critics viewed Graceland as an exploitive appropriation of their culture. Following its completion, Simon toured alongside South African musicians, combining the music of Graceland and their own music.
Despite the controversy, Graceland was a major commercial hit, becoming Simon's most successful studio album. His highest-charting effort in over a decade, Simon's return to the forefront of popular music was considered a remarkable comeback in a fickle music industry. It attracted excellent reviews from music critics, won the 1987 Grammy Award for Album of the Year, and sold over 16 million copies worldwide. Graceland has frequently been called one of the best albums of the 1980s, and is present on lists of greatest albums created by numerous publications. It was added to the National Recording Registry in 2007, having been judged to meet the Registry's admission criterion of being "culturally, historically, or aesthetically important."
In 1984, Simon began to emerge from his fallow period, and he became fascinated with a bootleg cassette tape loaned to him by Heidi Berg, a singer-songwriter who he was working with as a producer. It reminded him of 1950s rhythm and blues, and he made a habit of scat-singing melodies over it as the summer closed. He instructed contacts at Warner to track down the artist responsible for the tape, titled Gumboots: Accordion Jive Hits, Volume II. Through South African record producer Hilton Rosenthal, Warner confirmed that the music was composed by either the South African vocal group Ladysmith Black Mambazo or the Boyoyo Boys. "I first thought, 'Too bad it's not from Zimbabwe, Zaire, or Nigeria.' Life would have been more simple," he said at the time. Simon conferred with Rosenthal, who grew up in Johannesburg and booked the album's recording sessions, to see if he could plan a trip to the city. Rosenthal sent him dozens of records from South African artists, which piqued his curiosity and played into his decision. Producer Roy Halee remembered that Rosenthal "knew everyone," and was able to assemble the variety of musicians that inspired Graceland.
Before leaving the States for Johannesburg with producer Halee, Simon was persuaded to contribute to the recording of "We Are the World", a charity single benefiting African famine relief organized by Quincy Jones and Harry Belafonte. Released in March 1985, the single became one of the top-selling singles ever released. Simon spoke with Jones and Belafonte on the decision to fly to South Africa to record, considering the region's charged political atmosphere, and they both encouraged him to make the trip. In addition, the black musician's union in the country voted to let Simon come, as it could potentially benefit their culture's music, placing it on an international stage.
In February 1985, Simon and Halee flew to Johannesburg, intending their visit to be a secret affair. Recording sessions took place at Ovation Studios. Halee was initially reluctant, fearing that the studio would be a "horror show," but he was pleasantly surprised to find the studio "very comfortable." The studio was reminiscent of a garage, which Halee feared would be a problem on his end within the production of the recordings, and none of the musicians wore headphones. Simon recorded with artists such as Tao Ea Matsekha, General M. D. Shirinda and the Gaza Sisters, and the Boyoyo Boys Band. Jam sessions ranged from ten to thirty minutes, with Simon and Halee intending to salvage a completed song from it upon their return home. Simon found the music challenging to play well; although it was technically simple, mimicking the style was viewed as demanding. Outside the studio, the mood toward Simon from the general public was hostile, but the Musician's Union received him warmly. At the end of their two-week trip, Simon found himself relieved of his former personal turmoil and with a revitalized passion for music.
Graceland was recorded throughout much of 1985–86, in several cities and locations, including New York, Los Angeles, London, and Louisiana. Simon began by writing lyrics at his home in Montauk while listening to the six recordings. The process was slow, but he determined he had sufficient material to begin re-recording the tracks. He played the tracks backward to "enhance their sound," interspersing gibberish to complete the rhythms. He brought together numerous guest musicians during the sessions that produced Graceland, including childhood heroes the Everly Brothers, as well as Linda Ronstadt. Simon's trip to Louisiana with Richard Landry led to the recording of "That Was Your Mother" with local band Good Rockin’ Dopsie and the Twisters. After seeing the group at a dance hall in Lafayette, he recorded the song with the group at a small studio behind a music store. He felt that the accordion, central to zydeco music, would make a pleasing transition back to his own culture Afterwards, he contacted Mexican-American band Los Lobos, with whom he recorded "All Around the World or The Myth of Fingerprints" in Los Angeles.
He flew over several South African musicians to New York to complete the record three months after the original sessions in Johannesburg, paying them triple union rates in order to lure them to record, as many did not know who he was. He also offered writer's royalties to those who he felt had contributed particularly to the song's compositions. These sessions resulted in "You Can Call Me Al" and "Under African Skies". In engineering the album, Halee edited much of the recordings using digital technology: "The amount of editing that went into that album was unbelievable [...] without the facility to edit digital I don't think we could have done that project." They would transfer from analog tape recordings to the digital workspace, doing this an endless amount of times before it was completed. Halee used tape echo and delay on all songs, paying particular attention to the bass of each song ("The bass line is what the album is all about. It's the essence of everything that happened"). Each song on Graceland was mixed in about two days at the Hit Factory, where most of the vocal overdubs were created.
Executives at Warner Bros. were unconcerned with Simon's material, viewing him as a "bad investment" due to the failure of his previous two solo albums. The label was much more invested in the music of Prince and Madonna, and they viewed Simon as a "has-been" performer from another time. This indifference worked in Simon's favor, he would later argue, as they offered no input on his content. According to Halee, he believed executives at the label viewed the duo as "crazy".
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Please check with your country's customs office to determine what these additional costs will be prior to bidding or buying.
All records are shipped in Heavy duty record shipping boxes with inner cardboard support, record removed from cover to prevent splitting seams during shipping.
And as always, if you are not satisfied with our description of the condition of your purchase - we offer a full refund and pay shipping to return the item !
A little about me and the items I sell
I started collecting records and music memorabilia in about 1968. While traipsing around Southeast Asia for Uncle Sam, music was that lifeline to home and the world we came from. When I returned home to New Jersey, I became involved in the music industry and music became a passion. Needless to say I am not a kid anymore and I want to find good homes for these treasures and not see them end up at the Yard Sale of my life! What you see at my store is a collection of these treasures. Over the past 30 years I have sold off many very rare and hard to find items and have many, many more to offer. My passion for the rarest of rare and the finest quality available is still reflected in what you are offered here! Enjoy!!
Marquee D'Sounde ?
The Marquee D'Sounde was a music promotion company that I formed in the 70's. An obvious play on words, with the Marquis' De Sade and Marquee of Sound. It promoted a variety of music related venues, hence the Marquee for displaying our offerings. At record trade shows in the late 70's and early 80's as well as in Goldmine magazine the name Marquee D'Sounde became synonymous with the best quality available in collectibles! As you can see from the Feedback, I provide Quality Items and fast reliable service with secure packaging. Many buyers are repeat buyers!
A Brief Discussion On Condition
Historically sealed albums have been selling for huge prices simply because they are sealed. Sealed albums are in many cases a later pressing bought in some bargain bin or reissues that have since gone out of print. Prime examples are the ones with the “Nice Price” stickers. You can be assured these are later pressings off of old masters. Not always but quite frequently. Rarely did the first pressing of any record make it to the bargain bin unless the record was a flop. That’s not to say that a flop back then isn’t a treasure today. We find that frequently and in those cases a sealed album is a treasure.
Back in the day every record distributor had a sealing machine and would reseal albums. These would end up in the bargain bins. That is why you see the stretching on the corners of many of them offered on eBay. Original sealed albums will usually be squared on the cover and not have signs of stretching around the corners. Unless you plan on leaving the album sealed and reselling it, you are better off with a true Near Mint to Mint pressing from a reputable record dealer. You know what you get.
All of these claims regarding complicated record cleaning systems mean you are getting records that have not had the care they should have had. If the record was cared for properly it won't need these complicated cleanings! A quick spin on the VPI will remove any soiling not caused by abuse.
A properly cared for album (NM or M) should look as close as possible to the record that came out when it was first opened.
Most records come from my personal collection accumulated during my years in the music industry. When purchased new or received as a promotional copy, the album or single was placed in a plastic outer sleeve and sometimes a plastic inner sleeve. When possible the records will include these plastic sleeves.
Many were never played!
I rate rather conservatively but work closely with Goldmine standards. My Near Mint ratings are generally what everybody else rates as Mint or Brand New.
I try very hard to give accurate descriptions of the records and check them prior to shipment to ensure that the condition advertised is indeed what I ship. If there is something that I missed I will notify you prior to shipment. In turn, if you receive your record and the condition is not what you expected, let me know and we will arrange to return the record with a full refund.
All records are carefully packaged and shipped in heavy duty commercial grade #200 corrugated Record shipping boxes!
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