{"product_id":"ultraviolence-deluxe-edition-cd-mint-m-mint-m","title":"Ultraviolence (Deluxe Edition) (CD) | Mint (M) Mint (M)","description":"\u003cp\u003eBRAND NEW\u003c\/p\u003e\r\n\r\n\u003cp\u003eLabel: Polydor – B0020991-02, Interscope Records – B0020991-02\u003cbr\u003e\r\nFormat: CD, Album, Deluxe Edition, Reissue\u003cbr\u003e\r\nCountry: US\u003cbr\u003e\r\nReleased: \u003cbr\u003e\r\nGenre:Rock, Pop \u003cbr\u003e\r\nStyle: Psychedelic Rock, Dream Pop, Indie Pop\u003c\/p\u003e\r\n\r\n\u003cp\u003e1        Cruel World\u003cbr\u003e\r\nDrums – Maximilian Weissenfeldt*\u003cbr\u003e\r\nElectric Bass – Nick Movshon\u003cbr\u003e\r\nElectric Guitar – Dan Auerbach, Kenny Vaughan (2)\u003cbr\u003e\r\nHandclaps – Dan Auerbach, Leon Michaels*, Maximilian Weissenfeldt*, Nick Movshon, Seth Kaufman*\u003cbr\u003e\r\nMellotron – Leon Michaels*\u003cbr\u003e\r\nPedal Steel Guitar – Russ Pahl\u003cbr\u003e\r\nSynthesizer – Leon Michaels*, Seth Kaufman*\u003cbr\u003e\r\n6:40\u003cbr\u003e\r\n2        Ultraviolence\u003cbr\u003e\r\nBacking Vocals – Alfreda McCrary Lee*, Ann McCrary, Regina McCrary\u003cbr\u003e\r\nDrum Programming – Collin Dupuis\u003cbr\u003e\r\nDrums – Maximilian Weissenfeldt*\u003cbr\u003e\r\nElectric Bass – Nick Movshon\u003cbr\u003e\r\nElectric Guitar – Dan Auerbach, Kenny Vaughan (2), Seth Kaufman*\u003cbr\u003e\r\nMellotron – Leon Michaels*\u003cbr\u003e\r\nPedal Steel Guitar – Russ Pahl\u003cbr\u003e\r\nPiano – Leon Michaels*\u003cbr\u003e\r\nSynthesizer – Leon Michaels*\u003cbr\u003e\r\n4:11\u003cbr\u003e\r\n3        Shades Of Cool\u003cbr\u003e\r\nDrum Programming – Collin Dupuis\u003cbr\u003e\r\nDrums – Maximilian Weissenfeldt*\u003cbr\u003e\r\nElectric Bass – Nick Movshon\u003cbr\u003e\r\nElectric Guitar – Dan Auerbach, Kenny Vaughan (2), Russ Pahl\u003cbr\u003e\r\nMellotron – Leon Michaels*\u003cbr\u003e\r\nOmnichord – Seth Kaufman*\u003cbr\u003e\r\n5:42\u003cbr\u003e\r\n4        Brooklyn Baby\u003cbr\u003e\r\nAcoustic Guitar – Kenny Vaughan (2), Russ Pahl\u003cbr\u003e\r\nBacking Vocals – Seth Kaufman*\u003cbr\u003e\r\nDrums – Maximilian Weissenfeldt*, Nick Movshon\u003cbr\u003e\r\nElectric Guitar – Dan Auerbach, Seth Kaufman*\u003cbr\u003e\r\nElectric Upright Bass – Nick Movshon\u003cbr\u003e\r\nMellotron – Leon Michaels*\u003cbr\u003e\r\nPedal Steel Guitar – Russ Pahl\u003cbr\u003e\r\nPercussion – Leon Michaels*, Seth Kaufman*\u003cbr\u003e\r\nTambourine – Leon Michaels*\u003cbr\u003e\r\nTenor Saxophone – Leon Michaels*\u003cbr\u003e\r\n5:52\u003cbr\u003e\r\n5        West Coast\u003cbr\u003e\r\nDrums – Maximilian Weissenfeldt*, Nick Movshon\u003cbr\u003e\r\nElectric Bass – Nick Movshon\u003cbr\u003e\r\nElectric Guitar – Dan Auerbach\u003cbr\u003e\r\nShaker – Dan Auerbach\u003cbr\u003e\r\nSynthesizer – Dan Auerbach\u003cbr\u003e\r\nTwelve-String Guitar – Dan Auerbach\u003cbr\u003e\r\n4:17\u003cbr\u003e\r\n6        Sad Girl\u003cbr\u003e\r\nAcoustic Guitar – Russ Pahl\u003cbr\u003e\r\nDrums – Nick Movshon\u003cbr\u003e\r\nElectric Guitar – Dan Auerbach, Seth Kaufman*\u003cbr\u003e\r\nMellotron – Kenny Vaughan (2), Leon Michaels*\u003cbr\u003e\r\nSynthesizer – Collin Dupuis, Dan Auerbach, Kenny Vaughan (2)\u003cbr\u003e\r\n5:18\u003cbr\u003e\r\n7        Pretty When You Cry\u003cbr\u003e\r\nDrums – Brian Griffin (4)\u003cbr\u003e\r\nGuitar – Blake Stranathan\u003cbr\u003e\r\n3:54\u003cbr\u003e\r\n8        Money Power Glory\u003cbr\u003e\r\nBass Guitar – Greg Kurstin\u003cbr\u003e\r\nDrums – Greg Kurstin\u003cbr\u003e\r\nGuitar – Greg Kurstin\u003cbr\u003e\r\nKeyboards – Greg Kurstin\u003cbr\u003e\r\n4:31\u003cbr\u003e\r\n9        ****** My Way Up To The Top\u003cbr\u003e\r\nDrum Programming – Collin Dupuis\u003cbr\u003e\r\nDrums – Maximilian Weissenfeldt*\u003cbr\u003e\r\nElectric Bass – Nick Movshon\u003cbr\u003e\r\nElectric Guitar – Dan Auerbach, Kenny Vaughan (2), Seth Kaufman*\u003cbr\u003e\r\nMellotron – Leon Michaels*\u003cbr\u003e\r\nPedal Steel Guitar – Russ Pahl\u003cbr\u003e\r\nPiano – Leon Michaels*\u003cbr\u003e\r\nSynthesizer – Leon Michaels*\u003cbr\u003e\r\n3:32\u003cbr\u003e\r\n10        Old Money\u003cbr\u003e\r\nArranged By – Daniel Heath*\u003cbr\u003e\r\nOrchestrated By – Matthew McGaughey\u003cbr\u003e\r\n4:31\u003cbr\u003e\r\n11        The Other Woman\u003cbr\u003e\r\nDrums – Nick Movshon\u003cbr\u003e\r\nElectric Guitar – Kenny Vaughan (2)\u003cbr\u003e\r\nMellotron – Leon Michaels*\u003cbr\u003e\r\nPedal Steel Guitar – Russ Pahl\u003cbr\u003e\r\nSaxophone – Leon Michaels*\u003cbr\u003e\r\nSynthesizer – Dan Auerbach, Leon Michaels*\u003cbr\u003e\r\n3:02\u003cbr\u003e\r\nBonus Tracks    \u003cbr\u003e\r\n12        Black Beauty\u003cbr\u003e\r\nBass Guitar – Tom Herbert\u003cbr\u003e\r\nDrums – Leo Taylor\u003cbr\u003e\r\nGuitar – Pablo Tato\u003cbr\u003e\r\nMellotron – Nikolaj Torp Larsen\u003cbr\u003e\r\nPiano – Ed Harcourt, Rick Nowels\u003cbr\u003e\r\n5:15\u003cbr\u003e\r\n13        Guns And Roses\u003cbr\u003e\r\nDrums – Brian Griffin (4)\u003cbr\u003e\r\nGuitar – Blake Stranathan\u003cbr\u003e\r\n4:31\u003cbr\u003e\r\n14        Florida Kilos\u003cbr\u003e\r\nBacking Vocals – Dan Auerbach, Seth Kaufman*\u003cbr\u003e\r\nDrum Programming – Collin Dupuis\u003cbr\u003e\r\nDrums – Nick Movshon\u003cbr\u003e\r\nElectric Guitar – Dan Auerbach, Russ Pahl\u003cbr\u003e\r\nMellotron – Leon Michaels*\u003cbr\u003e\r\nSynthesizer – Dan Auerbach, Leon Michaels*\u003cbr\u003e\r\n4:16\u003cbr\u003e\r\nPhonographic Copyright ℗ – Lana Del Rey\u003cbr\u003e\r\nCopyright © – Lana Del Rey\u003cbr\u003e\r\nLicensed To – Polydor Ltd. (UK)\u003cbr\u003e\r\nLicensed To – Interscope Records\u003cbr\u003e\r\nManufactured By – Universal Music Distribution\u003cbr\u003e\r\nDistributed By – Universal Music Distribution\u003cbr\u003e\r\nGlass Mastered At – Technicolor, Guadalajara, Mexico – 552638\u003cbr\u003e\r\nPressed By – Technicolor, Guadalajara, Mexico\u003cbr\u003e\r\nCo-producer – Blaise Thomas* (tracks: 12)\u003cbr\u003e\r\nEngineer – Alex Pasco (tracks: 8), Andy Zisakis (tracks: 10), Collin Dupuis (tracks: 1 to 6, 9, 11, 14), Julian Burg (tracks: 8), Kieron Menzies (tracks: 6, 12), Matt Wiggins (tracks: 12), Milton Guitérrez (tracks: 10), Phil Joly (tracks: 7, 13), Vira Byramji (tracks: 13)\u003cbr\u003e\r\nMastered By – John Davis (4)\u003cbr\u003e\r\nMixed By – Collin Dupuis (tracks: 2, 14), Dan Auerbach (tracks: 2, 14), Greg Kurstin (tracks: 8), Phil Joly (tracks: 13), Robert Orton (tracks: 1, 3, 4, 6, 7, 9 to 12)\u003cbr\u003e\r\nProducer – Blake Stranathan (tracks: 7), Dan Auerbach (tracks: 1 to 6, 9, 11, 14), Daniel Heath* (tracks: 10), Greg Kurstin (tracks: 8), Lana Del Rey (tracks: 7, 13), Lee Foster (3) (tracks: 7, 13), Paul Epworth (tracks: 12), Rick Nowels (tracks: 6, 12, 13)\u003cbr\u003e\r\nVocals – Lana Del Rey\u003cbr\u003e\r\nWritten-By – Barrie O'Neill (tracks: 4), Blake Stranathan (tracks: 1, 7), Dan Auerbach (tracks: 14), Daniel Heath* (tracks: 2, 9, 10), Greg Kurstin (tracks: 8), Jessie Mae Robinson (tracks: 11), Lana Del Rey (tracks: 1 to 10, 12 to 14), Rick Nowels (tracks: 3, 5, 6, 12, 13), Robbie Fitzsimmons (tracks: 10)\u003cbr\u003e\r\nDeluxe Edition release with three bonus tracks.\u003cbr\u003e\r\nBarcode (Text): 6 02537 86059 3\u003cbr\u003e\r\nBarcode (Scanned): 602537860593\u003c\/p\u003e\r\n\r\n\u003cp\u003eRecording information: Easy Eye Sound, Nashville, TN; Electric Lady Studios, New York, NY; The Bridge, Glendale, LA; The Church Studios, London, UK; The Green Building, Santa Monica, CA. Photographers: Neil Krug; Myan Soffia. The maelstrom of hype surrounding self-modeled Hollywood pop star Lana Del Rey's 2012 breakthrough album, Born to Die, found critics, listeners, and pop culture aficionados divided about her detached, hyper-stylized approach to every aspect of her music and public persona. What managed to get overlooked by many was that Born to Die made such a polarizing impression because it actually offered something that didn't sound like anything else. Del Rey's sultry, overstated orchestral pop recast her as some sort of vaguely imagined chanteuse for a generation raised on Adderall and the Internet, with heavy doses of Twin Peaks atmosphere adding a creepy sheen to intentionally vapid (and undeniably catchy) radio hits. Follow-up album Ultraviolence shifts gears considerably, building a thick, slow-moving atmosphere with its languid songs and opulent arrangements. Gone are the big beats and glossy production that resulted in tracks like \"Summertime Sadness.\" Instead, Ultraviolence begins with the protracted, rolling melancholia of \"Cruel World,\" nearly seven minutes of what feels like a sad, reverb-drenched daydream. The song sets the stage for the rest of the album, which simmers with a haunted, yearning feeling but never boils over. Even the most pop-friendly moments here are steeped in patient, jazz-inflected moodiness, as with the sad-eyed longing of \"Shades of Cool\" or the unexpected tempo changes that connect the slinky verses of single \"West Coast\" to their syrupy, swaying choruses. Production from the Black Keys' Dan Auerbach might have something to do with the metered restraint that permeates the album, with songs like \"Sad Girl\" carrying some of the slow-burning touches of greasy blues-rock Auerbach is known for. A few puzzling moments break up the continuity of the album. The somewhat hooky elements of \"Brooklyn Baby\" can't quite rise above its disjointed song structure and cringeable lyrics that could be taken either as mockery of the hipster lifestyle or self-parody. \"Money Power Glory\" steps briefly out of the overall dreamscape of the album, sounding like a tossed-off outtake from the Born to Die sessions. Despite these mild missteps, Ultraviolence thrives for the most part in its density, meant clearly to be absorbed as an entire experience, with even its weaker pieces contributing to a mood that's consumptive, sexy, and as eerie as big-budget pop music gets. Del Rey's loudest detractors criticized her music as a hollow, clich?-ridden product designed by the music industry and lacking the type of substance that makes real pop stars pop. Ultraviolence asserts that as a songwriter, she has complete control of her craft, deciding on songs far less flashy or immediate but still uniquely captivating. As these songs shift her sound into more mature and nuanced places, it becomes clear that every deadpan affectation, lispy lyric, and overblown allusion to desperate living has been a knowing move in the creation of the strange, beguiling character -- and sonic experience -- we know as Lana Del Rey. ~ Fred Thomas\u003c\/p\u003e\r\n\u003cul\u003e\n\u003cli\u003eMedia Condition: Mint (M)\u003c\/li\u003e\n\u003cli\u003eSleeve Condition: Mint (M)\u003c\/li\u003e\n\u003cli\u003eFormat Detail: CD\u003c\/li\u003e\n\u003cli\u003eFormat: CD\u003c\/li\u003e\n\u003cli\u003eGenre: POP\u003c\/li\u003e\n\u003cli\u003eFormat Type: CD\u003c\/li\u003e\n\u003cli\u003eReleased: 6\/17\/2014\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Love Vinyl Records","offers":[{"title":"- POP *NEW*","offer_id":49258057990386,"sku":"KZP8MP-O0NG-DE","price":19.9,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0830\/7018\/9810\/files\/lana-del-rey-ultraviolence-explicit-content-deluxe-edition_m9YfY.jpg?v=1779703008","url":"https:\/\/discandvinyl.com\/products\/ultraviolence-deluxe-edition-cd-mint-m-mint-m","provider":"DiscandVinyl.com","version":"1.0","type":"link"}