timsimmons

The velvet record is nice. inner sleeve is heavier than the standard inner sleeve. Its a nice package. Unfortunately, Unless it was more costly because the run was so low, the $50 cost seems high. Numero did a Medusa record the same way (crushed velvet, foil ink, tip on sleeve) and it retailed for about $35. granted, Numero most likely pressed maybe 3-5x more than ITR, which would bring the cost per unit down, but the $50 for Fuzz Deluxe was probably a bit high.

The blue is an opaque powder blue. The same color as the 7".

I don't really see how this is much different than doing a couple hundred on colored vinyl for the first 200 pre orders, or randomly inserting 300 split colored in a run. They are only called "bootlegs" because their look is like that of bootlegs from the 60s and 70s. It's in no way a commentary on bootlegs of modern records or trying to cash in on that trend(?).

Oh man. That's super shitty.

Pearl jam fans are the worst. And I say that as a fan of 20+ years

I don't think many people have received it in the US. I bet you see some start to go up tomorrow or Tuesday as people start to get them.

Discogs does.

They recorded a cover album of the s/t Roses album with White Dwarf and Kesha and some other people earlier this year. They are pressing 500 copies of it and selling it like their collaboration 12"s from the past few years (on tour and at certain record stores). A shame that there will only be 500 copies. Of course it could royally suck too.

I'm more excited for the roses cover album.

My feeling was just the opposite. I've been listening to it for 20 years and this is something fresh and different and it makes the album feel new again. I don't think the 2013 mix is flat, I think it's got a little more punch to it. Sure the solo is inferior and the cello being louder in the mix on Dumb is a bit much. But other than those 2 low points, the mix is fantastic and fresh.

The new 3LP set uses the old mix remastered. It comes with a DL, but I don't know of what. Probably not the deluxe version though. Probably just the remastered 12 track album.

Yeah, so everyone took that to mean that there was 500 because 250 was advertised on the site. The original number given for the clear was 500. Hopefully they just grabbed a couple hundred of those for the tour. But it's possible they pressed more than 500.

They had more of the deluxe pressed for tour. So they probably had more clear pressed as well.

Probably means there was more than 500 clear pressed or whatever they originally said. Proceed to freak out people.

Sharp.

A quick A/B of the ORG and this tells me there isn't a real noticeable difference. Both sound fantastic.

I thought that too. It would be a pain to store that case, but man I'd love to sit down, spin those and read those book. I may put something aside for this. I'll need to see a track list first. If the jazz is featured heavily, I may bite.

They did a great job. I'd like to do an A/B with the ORG pressing and maybe the German Albini pressing. But I'm not that big of a nerd.

Hopefully they do a vinyl only package.

http://www.nashvillescene.com/nashvillecream/archives/2013/09/24/the-damnedest-collection-youve-ever-seen-third-man-and-revenants-paramount-records-tribute-coming-nov-19 Wondering what to get that heard-it-all music lover, jazz aficionado or fanatical record collector this holiday season? Whoever described the project unveiled last Friday at Third Man Records as "Elvis Costello's Christmas present" was not at all off the mark. For the better part of the year, there'd been whispers that Revenant Records, the superlative boutique label founded by the late John Fahey and former Nashville attorney Dean Blackwood, was working on a collection devoted to Paramount Records. The record-label subsidiary of the Wisconsin Chair Company, home to artists such as Ma Rainey, Son House, Blind Lemon Jefferson and King Oliver's Creole Jazz Band (featuring Louis Armstrong), Paramount recorded blues, jazz and gospel greats along with a number of long-forgotten regional and novelty artists starting in 1917, until it shuttered during the Great Depression. Previously, Revenant issued stellar artisanal packages devoted to Captain Beefheart, Charley Patton and Albert Ayler — the last item consisting of a carved plastic "spirit box" filled with nine CDs, reproduced memorabilia, even a pressed forget-me-not. So meeting that standard seemed like a tall order — until visitors stepped inside the Third Man offices, outfitted with staffers in vintage garb and period oddities such as a working camera obscura. The occasion is The Rise & Fall of Paramount Records, Volume One (1917-1932), the first half of a staggering label retrospective that's frankly one of the damnedest musical objets d'art I've ever seen. A fusion of archaic recordings, hand-hewn craft and spanking new digital technology — embodied by a mock-up of a metal Victrola needle that houses a flash drive and endlessly searchable discography database — it offers some 800 remastered digital tracks, a 250-page book of label reprints, a 360-page "field guide" to the songs and artists and six vinyl LPs emblazoned with hand-engraved center labels. If those contents were simply dumped in a Hefty bag and handed over to the consumer, they'd still be a treasure. But the box, including the graphic elements designed by local Isle of Printing printmaster Bryce McCloud — how to describe this thing? First, in honor of Paramount's furniture-company origins, it comes housed in a polished wooden box shaped like a Victrola case. According to Third Man operative Ben Swank, the attention to detail was so thorough that Third Man founder Jack White (a man who knows his way around furniture and upholstery) specified the use of quarter sawn oak as well as the sage velvet inner lining. Second, McCloud's own meticulous detailing extends to a book cover made of laser-etched birch. Birch. Third, each component fits like a puzzle piece into its own neatly appointed slot, in tribute to the personal museums known as wunderkammern ("cabinets of wonder") popular in 16th century Europe. Visiting writers in town for the Americana Music Festival geeked out unabashedly over the gorgeous packaging, the digital whizbangery and the vibrant, timeless music issuing a joyous clatter over the speakers. The official release date is Nov. 19, and to answer the question on everyone's mind: It's set to retail at Third Man for $400 — although we desperately wanted to believe White when he leaned over to Blackwood at the announcement party, gestured to the box and said, in his best Ronco pitchman voice, "This is retailing for $19.95, right? That's what I'm telling everyone."

Phenomenal. Gonna be so much. I bet $5-600

It leaked on Sunday

Album slays btw.

To be fair, your two examples (and many RSD releases) said that they were going to be widely available later after RSD. People had knowledge before RSD that if you didn't get it, it would be available n a few months.

Wow. Packaging looks great.