THE ROLLING STONES Bridges To Babylon 2 LP SEALED RARE VINYL 1997 V 2840

$

80

ROLLING STONES – BRIDGES TO BABYLON

ALBUM DETAILS

Condition:  Sealed (NEW)

Label: Virgin

Catalog Number: UK: V 2840

Barcode: 7 24384 47121 7

Format: 2 x Vinyl, LP, Album

Released: September 23rd, 1997

PRODUCT DESCRITPTION

THIS IS THE ORIGINAL OUT OF PRINT PRESSING OF THE ROLLING STONES – BRIDGES TO BABYLON. THIS DOUBLE VINYL EDITION LP IS ON THE VIRGIN RECORD LABEL PRESSED IN 1997. NOTE: I AM ALSO INCLUDING AS A BONUS THE BRIDGES TO BABYLON CONCERT PROGRAM.

ALBUM DESCRIPTION

 Voodoo Lounge confirmed that the Stones could age gracefully, but it never sounded modern; it sounded classicist. With its successor, Bridges to Babylon, Mick Jagger was determined to bring the Rolling Stones into the '90s, albeit tentatively, and hired hip collaborators like the Dust Brothers(Beck, Beastie Boys) and Danny Saber (Black Grape) to give the veteran group an edge on their explorations of drum loops and samples. Of course, the Stones are the Stones, and no production is going to erase that, but the group is smart enough -- or Keith Richards is stubborn enough -- to work within its limitations and to have producer Don Was act as executive producer. As a result, Bridges to Babylon sounds like the Stones without sounding tired. The band is tight and energetic, and there's just enough flair to the sultry "Anybody Seen My Baby?," the menacing "Gunface," and the low-key, sleazy "Might as Well Get Juiced" to make them sound contemporary. But the real key to the success ofBridges to Babylon is the solid, craftsmanlike songwriting. While there aren't any stunners on the album, nothing is bad, with rockers like "Flip the Switch" and "Low Down" sounding as convincing as ballads like "Already Over Me." And, as always, Keith contributes three winners -- including the reggae workout "You Don't Have to Mean It" and the slow-burning "How Can I Stop" -- that cap off another fine latter-day Stones record.-ALLMUSIC

TRACKLIST

A1Flip The Switch

Backing Vocals – Bernard FowlerBacking Vocals, Tambourine – Blondie ChaplinBaritone Saxophone – Joe SublettBass – Jeff SarliDrums – Charlie*Electric Guitar – Waddy WachtelEngineer [Assistant] – Alan Sanderson, John SorensonGuitar – Ronnie*Guitar, Backing Vocals, Handclaps – Keith*Lead Vocals – Mick*Mixed By – Tom Lord-AlgeMixed By [Assistant] – Mauricio Riagorri*Percussion – Jim KeltnerProducer – Don WasRecorded By – Dan Bosworth, Rob Fraboni

A2Anybody Seen My Baby?

Backing Vocals – Bernard FowlerBacking Vocals, Electric Guitar – Keith*Backing Vocals, Shaker – Blondie ChaplinBass, Keyboards – Jamie MuhoberacDrums – Charlie*Electric Guitar – Ronnie*Electric Guitar, Acoustic Guitar – Waddy WachtelEngineer [Assistant] – Alan Sanderson, Charles GoodenKeyboards – Don WasLead Vocals, Electric Guitar – Mick*Mixed By – Tom Lord-AlgeMixed By [Assistant] – Mauricio Riagorri*Producer – Don WasProducer, Recorded By – Dust Brothers, TheRecorded By – Dan BosworthWritten-By – B. Mink*, k. d. lang*

A3Low Down

Backing Vocals – Bernard FowlerBass, Backing Vocals, Maracas – Blondie ChaplinDrums – Charlie*Electric Guitar – Waddy WachtelEngineer [Assistant] – Alan Sanderson, John SorensonLead Vocals – Mick*Mixed By – Tom Lord-AlgeMixed By [Assistant] – Mauricio Riagorri*Producer – Don WasRecorded By – Dan Bosworth, Rob FraboniSaxophone – Joe SublettShaker – Jim KeltnerSlide Guitar, Electric Guitar – Ronnie*Trumpet – Darrel Leonard*Vocals, Electric Guitar – Keith*

A4Already Over Me

Backing Vocals – Bernard FowlerBacking Vocals, Piano – Blondie ChaplinBass – Don WasDrums – Charlie*Electric Guitar, Backing Vocals – Keith*Engineer [Assistant] – Alan Sanderson, John SorensonGuitar [Baritone], Guitar [Dobro] – Ronnie*Keyboards, Organ [Hammond C-3] – Benmont TenchLead Vocals, Acoustic Guitar – Mick*Mixed By – Bob ClearmountainMixed By [Assistant] – Ryan FreelandPercussion – Jim KeltnerPercussion [Bucket] – Kenny AronoffProducer – Don WasRecorded By – Dan Bosworth, John X Volaitis

B1Gunface

Drums – Charlie*Electric Guitar – Keith*Engineer [Assistant] – Alan Sanderson, John SorensonLead Vocals, Electric Guitar – Mick*Percussion – Jim KeltnerProducer, Bass, Keyboards, Guitar – Danny SaberRecorded By, Mixed By – John X VolaitisSlide Guitar – Ronnie*

B2You Don't Have To Mean It

Backing Vocals – Bernard Fowler, Blondie ChaplinBass – Darryl JonesDrums – Charlie*Electric Guitar – Ronnie*Engineer [Assistant] – Alan SandersonLead Vocals, Guitar – Keith*Mixed By [Engineer] – John SorensonPercussion – Jim KeltnerPiano, Organ [Hammond B-3] – Clinton CliffordProducer – Don WasProducer, Recorded By, Mixed By – Rob FraboniRecorded By – Dan BosworthSaxophone – Joe SublettTrumpet – Darrel Leonard*

B3Out Of Control

Backing Vocals – Bernard Fowler, Blondie ChaplinBacking Vocals, Electric Guitar – Keith*Bass, Clavinet, Effects [Reality Manipulations] – Danny SaberDrums – Charlie*Electric Guitar – Ronnie*, Waddy WachtelEngineer [Assistant] – Alan Sanderson, John SorensonKeyboards – Jamie MuhoberacLead Vocals, Guitar [Wah Wah], Shaker, Harmonica – Mick*Mixed By – Wally GagelPercussion – Jim KeltnerPiano, Keyboards [Wurlitzer] – Don WasProducer – Don WasRecorded By – Dan Bosworth, John X Volaitis

C1Saint Of Me

Backing Vocals – Bernard Fowler, Blondie ChaplinBass – Me'Shell NdegéocelloBass [Six] – Pierre De BeauportDrums – Charlie*Engineer [Assistant] – Alan Sanderson, Charles GoodenGuitar – Ronnie*, Waddy WachtelKeyboards – Jamie MuhoberacLead Vocals, Keyboards, Acoustic Guitar – Mick*Mixed By – Tom Lord-AlgeMixed By [Assistant] – Mauricio Riagorri*Organ [Hammond B-3] – Billy PrestonProducer, Recorded By – Dust Brothers, TheRecorded By – Dan Bosworth

C2Might As Well Get Juiced

Bass – Doug WimbishDrums – Charlie*Electric Guitar – Keith*, Waddy WachtelEngineer [Assistant] – Alan Sanderson, Charles GoodenLead Vocals, Keyboards, Harmonica – Mick*Mixed By – Danny Saber, Rich Lowe*Producer, Recorded By – Dust Brothers, TheRecorded By – Dan Bosworth, Ed CherneySlide Guitar – Ronnie*

C3Always Suffering

Backing Vocals – Bernard Fowler, Doug WimbishBacking Vocals, Acoustic Guitar – Waddy WachtelBacking Vocals, Tambourine – Blondie ChaplinBass, Backing Vocals – Darryl JonesDrums, Backing Vocals – Charlie*Electric Guitar, Backing Vocals – Keith*Engineer [Assistant] – Alan Sanderson, Ed CherneyGuitar [Pedal Steel] – Ronnie*Lead Vocals, Electric Guitar – Mick*Percussion, Backing Vocals – Jim KeltnerPiano, Organ [Hammond B-3] – Benmont TenchProducer – Don Was, Pierre De BeauportRecorded By – Dan BosworthRecorded By, Mixed By – Ed Cherney

D1Too Tight

Arco Bass – Jeff SarliBacking Vocals – Bernard FowlerDrums – Charlie*Electric Guitar – Waddy WachtelElectric Guitar, Backing Vocals – Keith*Engineer [Assistant] – Alan Sanderson, John SorensonGuitar [Pedal Steel], Electric Guitar – Ronnie*Lead Vocals – Mick*Mixed By – Tom Lord-AlgeMixed By [Assistant] – Mauricio Riagorri*Percussion – Jim KeltnerPiano, Tambourine, Backing Vocals – Blondie ChaplinProducer – Don WasRecorded By – Dan Bosworth, Jim Scott, Rob Fraboni

D2Thief In The Night

Backing Vocals – Bernard FowlerBacking Vocals, Tambourine – Blondie ChaplinBass – Darryl JonesDrums – Charlie*Electric Guitar – Ronnie*Engineer [Assistant] – Alan SandersonGuitar – Waddy WachtelLead Vocals, Guitar, Acoustic Guitar, Piano – Keith*Mixed By [Assistant] – George FullanPercussion – Jim KeltnerProducer – Don WasRecorded By – Dan BosworthRecorded By, Mixed By – Rob FraboniSaxophone – Joe SublettTrumpet – Darrel Leonard*Written-by, Mixed By, Piano [Wurlitzer & Fender Rhodes] – Pierre De Beauport

D3How Can I Stop

Arco Bass – Jeff SarliBacking Vocals – Bernard FowlerBacking Vocals, Piano – Blondie ChaplinDrums – Charlie*Electric Guitar – Ronnie*Engineer [Assistant] – Alan SandersonEngineer [Assistant], Mixed By [Engineer] – John SorensonGuitar – Waddy WachtelLead Vocals, Electric Guitar – Keith*Percussion – Jim KeltnerProducer, Piano [Wurlitzer] – Don WasRecorded By, Mixed By – Rob FraboniSoprano Saxophone – Wayne Shorter

PREVIOUSLY OWNED AND/OR OPEN VINYL GRADING

MINT M: Perfect! This record looks like it has just left the manufacturer, with NO flaws what so ever. It looks as though it had never been handled. No scuffs or scratches, blotches or stains. No stickers address labels, writing on the covers or labels. No tears or seam splits. No wear to the cover or record period! Age of the record has nothing to do with it.

NEAR MINT or NM, M-: this record appears virtually flawless A very minor scuff and very little else can appear on the vinyl. It should play without any noise over the flaw. The flaw is very hard to see. The cover looks as close to perfect with only minor signs of wear and or age. Minor impressions to the cover (due to the outer edge of the vinyl resting inside) may be acceptable, however the artwork is be as close to perfect as can be.

EXCELLENT or EX or VG++: minor scuffs which are only slightly visible. There may be more than a few scuffs and NO Scratches COVER: Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear! Some slight creases to the corners, but not wrinkled and obtrusive to the eye. The corners can show white (where the artwork pasted slick was) meaning, slight wear. No seam splits or writing on the cover or taped repairs can make this grade.

VERY GOOD PLUS or VG+: record shows wear, surface scuffs. The vinyl still has a great luster, but the flaws will be noticeable to the naked eye. If the flaws don't cause any surface noise, the vinyl can still make the VG+ grade. COVERS: A virtually clean cover, but may have small writing on it.The artwork looks clean with slightly more aging. The back of the cover usually gives away the age of the cover. Flat white paper will be somewhat yellow yet no stains or mildew from water damage. Some minor wear to the seams or spine, but no tears or holes popping through. The corners will be slightly dog eared yet no crackly bends, defacing the artwork. In essence, a VG+ cover should have no more than 3 flaws mentioned.

VERY GOOD or VG: this record is a record that is good enough. They are not really going to look very good, but it will STILL play very good. there will almost always be some surface noise when they are played. The Dynamics should still be excellent, overpowering the surface noise. A VG record will appear well have been played but still have some luster. VG covers will look worn, used. There may be some seam splitting . There will be some ring wear, where the ink has begun to wear off. Giving the cover a look of snow falling. If the artwork looks snowy all over, it is less than VG condition. There may be some writing on the cover (still, no Large letters in magic marker). It will look aged and more yellowish due to contamination's in the air (sometimes looking like cigarette smoke). Still it should be decent.

GOOD or G: A good record will look very well played, dull, grayish and possibly abused. However a Good record should still play. It will have distracting surface noise. Such as crackle that is continuous or some hiss. Will also have some loss of dynamics caused from grooves being worn. It should play without any skips or any obtrusively loud pops or repeated clicks, caused by deep scratches. Good means that it will play with some form of decency, so one can still enjoy the music even though you can still hear noise caused from the wear. A Good cover will have just about everything wrong with it. It will have seam splits (possibly taped repaired, but only with scotch tape. No duct tape or masking tape repairs. These are big turn offs. May have magic marker writing on the cover but still if they are in huge letters, it is a big turn off. In essence, the cover will looked virtually trashed, but some artwork will still be noticed. I do not deal in the sale of Records in this condition.

SHIPPING AND PAYMENT

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