Sold Date: October 19, 2017
Start Date: August 3, 2007
Final Price: $339.99 (USD)
Seller Feedback: 13706
Buyer Feedback: 81

NORAH JONES – COME AWAY WITH ME - CURRENTLY IN AN OUT OF PRINT SITUATION - DON'T MISS OUT - LAST COPY FOREVER WITH THE ORIGINAL COMPLETE SEAL. PLUS THE 45 SPEED BOX SET THAT INCLUDES FOUR 12" ONE SIDED PIECES OF VINYL.

THIS COMPARSION SET HAS 5 PIECES OF AUDIOPHILE VINYL. all in there original factory seals from Classic Records

THIS COMPARSION STARTS WITH THE ORIGINAL CLASSIC RECORDS 200 GRAM AUDIOPHILE FIRST EDITIONS SEALED LP  - TREMENDOUSLY RARE OUT OF PRINT VERY LIMITED EDITION PRESSING RUN  - WITH THE COMPLETE ORIGINAL RUN PLASTIC WRAP SEALING FOR EACH TITLE NOT THE SECOND GENERATION WITH THE 3/4 SEAL AND THE CLUED STICKER ON TOP TO COMPLETE THE SEAL.

SECOND IS THE NOW RARE 45 SPEED FOUR LP BOX SET OF THE SAME TITLE. THIS TITLE HAS GONE IMMEADIATELY OUT OF PRINT.

THIS IS OUR LAST SET FOREVER OF THESE EDITIONS

CLASSIC RECORDS PREVIOUSLY RELEASED TITLES ARE NOW OUT OF PRINT Especially since the company went out of business some years ago. THESE AUDIOPHILE MASTERPIECES ARE  BECOMING PRICELESS IN THE COLLECTORS OUT OF PRINT MARKET.

E-BAY STORE.  FOR YOUR INDIVIDUAL AUDIOPHILE HEAVY VINYL SELECTIONS - INDIVIDUAL TITLE INFORMATION OR INDIVIDUAL PURCHASE JUST HIT THIS STORES TAB >. & TYPE IN 200G OR CLASSIC RECORDS INTO THE SEARCH FIELD WITHIN OUR STORES SECTION AS YOUR PERSONAL CODE FOR ALL INDIVIDUAL TITLES + INFORMATION WILL APPEAR.

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 BOTH ARE 200 Gram Heavy Vinyl LP by Classic Records has been critically acclaimed as the finest and quietest ever produced. It is a new listening experience that will virtually make you feel as if you were in the studio. THE 45 SPEED BOX And of course cutting at 45 speed is the audiophile choice for the highes quality. A 45-RPM record is sonically superior to a 33 1/3 variety because of a 35 percent reduction of groove curvature compared to a 33 1/3 cut.. It means that while you can't fit as much music into a 45, the undukations of the groove that your cartridge has to track are stretched over a longer distance. For these reissues, the music was displaced onto four sides, meaning each side contains about 10 minutes of music.

The only way you'll get closer to this classic music is to listen to the master tapes or have been in the studio with the artist originally during the actual session.

For hundreds of additional Rare, Out of Print, Factory-Sealed Audiophile Recordings, visit mymusicfix E-Bay Store by hitting the “STORES” TAB on this titles’ Home Page.

Genre-busting artists often disappoint stylistically because they end up diluting the power of their influences while failing to create a fusion as substantial as any of the components. Even if artistically successful, their debut albums often suffer disappointing sales due to marketing and promotional placement vagaries. Tossing music into a pre-fabricated slot is one thing: creating a new one is another. In the case of stylistically ambiguous NORAH JONES, it has all come together brilliantly. This, her debut album, quickly attracted a strong following when it was issued early last year on Blue Note (though it is not a jazz album), and it appears to be building a growing fan base as diverse as Jones' musical influences.

If all of this is old news, sorry. The occasion for this review is Classic's recent 200g SV-P gatefold vinyl issue. For cynics in the music business who dismiss the value or commercial viability of careful A&R work (finding and compiling good tunes), of smart, spare production and "high fidelity" engineering, and of simply presenting an artist honestly, the continued success and extended shelf-life of Come Away With Me should be a shock to the system (though you could say Diana Krall's discography has already shocked that system).

While Come Away With Me explores new musical territory, it is built upon the aforementioned old-fashioned 1950's record biz ingredients. Key to the album's distinctive country-jazz feel is Jones' Floyd Cramer-ish piano chordings propelled by Lee Alexander's syncopated double-bass beat. Adam Levy's electric guitar lines on the title track ring more of country twang than jazz virtuosity, but the references, as with everything on this disc, are understated.

You get the sense that one of Jones' first recorded encounters with the piano was Floyd Cramer's "bent-note" laden "Last Date." The Cramer influence makes even more sense considering the late pianist's eclectic musical background: he played with Elvis, Perry Como, Roy Orbison and jazz/country guitarist Hank Garland. But then, I'm just speculating. Despite the star's piano, guitars dominate most of the arrangements, helping to add another layer of musical complexity Jones' breathy, feline vocals reference neither a Patricia Barber-style hipster nor an early k.d. lang cowboy; the lilting roll to her "L"s and a number of other subtle affectations suggest black vocal influences or maybe that's her racial heritage speaking. From the cover photo even that's ambiguous.

Out of desperation to slot her somewhere, she's been compared to Billie Holiday, perhaps because of her pitch and timbre. Whatever the crafty complex components of the musical mix, when Jones suggests "Come Away With Me," on the title track, you definitely want to go. Songwriting chores are shared by Jones, bassist Alexander and guitarist Jesse Harris (who recently cut his own solo recording deal) and there are Hank Williams ("Cold, Cold Heart"), and John D. Loudermilk ("Turn me on") covers. Accenting the unpredictable, the set ends with Jones soloing on the Hoagy Carmichael standard "The Nearness of You."

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