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Made in Austria. Booklet na 12 strana. Booklet: 5 Diskovi: 4, 4+ Album + CD single Whatever Label: Helter Skelter – HES 477318 6, Helter Skelter – 477318 6 Format: CD, Album + CD, Single All Media, Limited Edition, Special Edition Country: Europe Released: 1994 Genre: Rock, Pop Style: Brit Pop, Pop Rock Definitely Maybe is the debut studio album by English rock band Oasis, released by Creation Records on 29 August 1994. Oasis booked Monnow Valley Studio near Rockfield in late 1993 to record the album and worked with producer Dave Batchelor, whom band member Noel Gallagher knew from his days working as a roadie for the Inspiral Carpets, though sessions were unsatisfactory and Batchelor was subsequently fired. In January 1994, the group set about re-recording the album at Sawmills Studio in Cornwall, where sessions were produced by Noel alongside Mark Coyle. The results were still deemed unsatisfactory; in desperation, Creation`s Marcus Russell contacted engineer and producer Owen Morris, who eventually worked on mastering the album at Johnny Marr`s studio in Manchester. Definitely Maybe is the only album by Oasis to feature drummer Tony McCarroll, who was fired from the band in 1995 during the recording of their next album, (What`s the Story) Morning Glory? (1995). Definitely Maybe was an immediate commercial and critical success in the United Kingdom, having followed on the heels of the singles `Supersonic`, `Shakermaker`, and the UK top-ten hit `Live Forever`, which was also a success on US Rock Airplay. The album went on to sell over 8 million copies worldwide and brought widespread critical acclaim. It went straight to number one in the UK Albums Chart and became the fastest-selling debut album in the UK at the time; it went on to be certified 8x platinum by the BPI for sales of over 2.4 million units. It also was successful in the United States, being certified platinum. The album helped to spur a revitalisation in British pop music in the 1990s, and was embraced by critics for its optimistic themes and rejection of the negative outlook of the grunge music of the time. The album is regarded as a seminal entry of the Britpop scene, and has appeared in many publications` lists of the greatest albums of all time. In 2006, the NME conducted a readers` poll in which Definitely Maybe was voted the greatest album of all time. In 2015, Spin included the album in their list of `The 300 Best Albums of 1985–2014`. Rolling Stone ranked the album at No. 217 on its 2020 list of the 500 Greatest Albums of All Time.

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Original, made in EU Novo, u celofanu Redak disk Mentor i ucitelj Luja Armstronga King Oliver And His Creole Jazz Band* – 1923 Label: Classics (11) – CLASSICS 650 Series: The Classics Chronological Series – 650 Format: CD, Compilation, Remastered Country: France Released: Jul 1992 Genre: Jazz Style: 1 King Oliver`s Creole Jazz Band– Just Gone 2:38 2 King Oliver`s Creole Jazz Band– Canal Street Blues 2:30 3 King Oliver`s Creole Jazz Band– Mandy Lee Blues 2:09 4 King Oliver`s Creole Jazz Band– I`m Going Away To Wear You Off My Mind 2:50 5 King Oliver`s Creole Jazz Band– Chimes Blues 2:48 6 King Oliver`s Creole Jazz Band– Weather Bird Rag 2:38 7 King Oliver`s Creole Jazz Band– Dipper Mouth Blues 2:27 8 King Oliver`s Creole Jazz Band– Froggie Moore 2:59 9 King Oliver`s Creole Jazz Band– Snake Rag 2:58 10 King Oliver`s Jazz Band– Snake Rag 3:15 11 King Oliver`s Jazz Band– Sweet Lovin` Man 2:41 12 King Oliver`s Jazz Band– High Society Rag 2:55 13 King Oliver`s Jazz Band– Sobbin` Blues 3:07 14 King Oliver`s Jazz Band– Where Did You Stay Last Night? 2:27 15 King Oliver`s Jazz Band– Dipper Mouth Blues 2:13 16 King Oliver`s Jazz Band– Jazzin` Babies` Blues 2:56 17 King Oliver And His Creole Jazz Band*– Alligator Hop 2:19 18 King Oliver And His Creole Jazz Band*– Zulus Ball 2:31 19 King Oliver And His Creole Jazz Band*– Working Man`s Blues 2:10 20 King Oliver And His Creole Jazz Band*– Krooked Blues 2:49 21 King Oliver`s Jazz Band– Chattanooga Stomp 2:57 22 King Oliver`s Jazz Band– London (Cafe) Blues 2:41 23 King Oliver`s Jazz Band– Camp Meeting Blues 2:54 24 King Oliver`s Jazz Band– New Orleans Stomp 2:52 Barcode: 307517065025 Joseph Nathan `King` Oliver (December 19, 1881 – April 10, 1938) was an American jazz cornet player and bandleader. He was particularly recognized for his playing style and his pioneering use of mutes in jazz. Also a notable composer, he wrote many tunes still played today, including `Dippermouth Blues`, `Sweet Like This`, `Canal Street Blues`, and `Doctor Jazz`. He was the mentor and teacher of Louis Armstrong. His influence was such that Armstrong claimed, `if it had not been for Joe Oliver, Jazz would not be what it is today.` Biography Life Joseph Nathan Oliver was born in Aben, Louisiana, near Donaldsonville in Ascension Parish, and moved to New Orleans in his youth. He first studied the trombone, then changed to cornet. From 1908 to 1917 he played cornet in New Orleans brass bands and dance bands and in the city`s red-light district, which came to be known as Storyville. A band he co-led with trombonist Kid Ory was considered one of the best and hottest in New Orleans in the late 1910s.[2] He was popular in New Orleans across economic and racial lines and was in demand for music jobs of all kinds. According to an interview at Tulane University`s Hogan Jazz Archive with Oliver`s widow Estella, a fight broke out at a dance where Oliver was playing, and the police arrested him, his band, and the fighters. After Storyville closed, he moved to Chicago in 1918 with his wife and step-daughter, Ruby Tuesday Oliver.[3] Noticeably different in his approach were faster tempos, unlike the slow drags in the African-American dance halls of New Orleans.[4] In Chicago, he found work with colleagues from New Orleans, such as clarinetist Lawrence Duhé, bassist Bill Johnson, trombonist Roy Palmer, and drummer Paul Barbarin.[5] He became leader of Duhé`s band, playing at a number of Chicago clubs. In the summer of 1921 he took a group to the West Coast, playing engagements in San Francisco and Oakland, California.[3] On the west coast, Oliver and his band engaged with the vaudeville tradition, performing in plantation outfits.[6] Oliver and his band returned to Chicago in 1922, where they started playing in the Royal Gardens cabaret (later renamed the Lincoln Gardens) as King Oliver and his Creole Jazz Band. In addition to Oliver on cornet, the personnel included his protégé Louis Armstrong on second cornet, Baby Dodds on drums, Johnny Dodds on clarinet, Lil Hardin (later Armstrong`s wife) on piano, Honoré Dutrey on trombone, and Bill Johnson on double bass.[3] Recordings made by this group in 1923 for Gennett, Okeh, Paramount, and Columbia demonstrated the New Orleans style of collective improvisation, also known as Dixieland, and brought it to a larger audience. Armstrong notably had to stand in the corner of the room, away from the horn, because of his powerful playing.[7] In addition, white musicians would visit Lincoln Gardens in order to learn from Oliver and his band.[8] A prospective tour in the midwestern states ultimately broke up the band in 1924.[9] In the mid-1920s Oliver enlarged his band to nine musicians, performing under the name King Oliver and his Dixie Syncopators, and began using more written arrangements with jazz solos. This band led by Oliver at the Plantation Café was in direct competition with Louis Armstrong`s Sunset Stompers, who performed at the Sunset Café.[10] In 1927 the band went to New York, but he disbanded it to do freelance jobs. In the later 1920s, he struggled with playing trumpet due to his gum disease, so he employed others to handle the solos, including his nephew Dave Nelson, Louis Metcalf, and Red Allen. He reunited the band in 1928, recording for Victor Talking Machine Company one year later. He continued with modest success until a downturn in the economy made it more difficult to find bookings. His periodontitis made playing the trumpet progressively difficult.[11] He quit playing music in 1937.[3] Work and influence As a player, Oliver took great interest in altering his horn`s sound. He pioneered the use of mutes, including the rubber plumber`s plunger, derby hat, bottles and cups. His favorite mute was a small metal mute made by the C.G. Conn Instrument Company, with which he played his famous solo on his composition the `Dippermouth Blues` (an early nickname for fellow cornetist Louis Armstrong). His recording `Wa Wa Wa` with the Dixie Syncopators can be credited with giving the name wah-wah to such techniques. This `freak` style of trumpet playing was also featured in his composition, `Eccentric.`[12] Oliver was also a talented composer, and wrote many tunes that are still regularly played, including `Dippermouth Blues,` `Sweet Like This,` `Canal Street Blues,` and `Doctor Jazz.` `Dippermouth Blues,` for example, was adapted by Don Redman for Fletcher Henderson`s Orchestra under the new name of `Sugar Foot Stomp.` Oliver performed mostly on cornet, but like many cornetists he switched to trumpet in the late 1920s. He credited jazz pioneer Buddy Bolden as an early influence, and in turn was a major influence on numerous younger cornet/trumpet players in New Orleans and Chicago, including Tommy Ladnier, Paul Mares, Muggsy Spanier, Johnny Wiggs, Frank Guarente and, the most famous of all, Armstrong. One of his protégés, Louis Panico (cornetist with the Isham Jones Orchestra), authored a book entitled The Novelty Cornetist, which is illustrated with photos showing some of the mute techniques he learned from Oliver. As mentor to Armstrong in New Orleans, Oliver taught young Louis and gave him his job in Kid Ory`s band when he went to Chicago. A few years later Oliver summoned him to Chicago to play with his band. Louis remembered Oliver as `Papa Joe` and considered him his idol and inspiration. In his autobiography, Satchmo: My Life in New Orleans, Armstrong wrote: `It was my ambition to play as he did. I still think that if it had not been for Joe Oliver, Jazz would not be what it is today. He was a creator in his own right.`[1] Hardships in later years, decline and death Oliver`s business acumen was often less than his musical ability. A succession of managers stole money from him, and he tried to negotiate more money for his band than the Savoy Ballroom was willing to pay – losing the job. He lost the chance of an important engagement at New York City`s famous Cotton Club when he held out for more money; young Duke Ellington took the job and subsequently catapulted to fame.[13] The Great Depression brought hardship to Oliver. He lost his life savings to a collapsed bank in Chicago, and he struggled to keep his band together through a series of hand-to-mouth gigs until the group broke up. Oliver also had health problems, such as pyorrhea, a gum disease that was partly caused by his love of sugar sandwiches and it made it very difficult for him to play[14] and he soon began delegating solos to younger players, but by 1935, he could no longer play the trumpet at all.[15] Oliver was stranded in Savannah, Georgia, where he pawned his trumpet and finest suits and briefly ran a fruit stall, then he worked as a janitor at Wimberly`s Recreation Hall (526-528 West Broad Street).[15] Oliver died in poverty `of arteriosclerosis, too broke to afford treatment`[16] in a Savannah rooming house on April 8 or 10, 1938.[17] His sister spent her rent money to have his body brought to New York, where he was buried at Woodlawn Cemetery in The Bronx. Armstrong and other loyal musician friends were in attendance.[18] Honors and awards Oliver was inducted as a charter member of the Gennett Records Walk of Fame in Richmond, Indiana in 2007. Selected compilation discography Papa Joe: King Oliver and His Dixie Syncopators 1926–1928 (Decca, 1969) Louis Armstrong and King Oliver (Milestone, 1974) The New York Sessions (Bluebird, 1989) Sugar Foot Stomp The Original Decca Recordings (GRP, 1992) Dippermouth Blues (ASV Living Era, 1996) Great Original Performances 1923–1930 (Louisiana Red Hot, 1998) Sugar Foot Stomp Vocalion & Brunswick Recordings Vol. 1 (Frog, 2000) The Best of King Oliver (Blues Forever, 2001) The Complete Set: King Oliver`s Creole Jazz Band (Retrieval, 2004) The Complete 1923 Jazz Band Recordings (Off the Record, 2006) King Joe Oliver by Walter C. Allen and Brian A. L. Rust, Jazz Monographs No. 1, February 1956, published by Walter C. Allen Beleville, N.J. (This is the second printing; Jazz Monographs No. 1. October 1955 was the first printing of this biography and discography.)

Original, made in EU Knjizica od 12 str. Odlicno ocuvano Evolve (stylized as ƎVOLVE) is the third studio album by American pop rock band Imagine Dragons, released on June 23, 2017, by Kidinakorner and Interscope Records. After the release of their previous album Smoke + Mirrors (2015) and its respective world tour, a self-imposed hiatus for 2016 and cryptic messages from the band through their social media gained anticipation for their third album; it was finally announced on May 9, 2017, along with the initiation of its pre-order. In comparison to Smoke + Mirrors and their 2012 debut Night Visions, frontman Dan Reynolds called the album an `evolution` for the band. Evolve peaked at number 2 on the US Billboard 200, and received mixed reviews from critics; some acknowledged the band`s claim of evolution, while others described it as lifeless and commercially oriented. It was promoted with the singles `Believer`, `Thunder`, `Whatever It Takes`, and `Next to Me`, as well as a world tour produced by Live Nation and supported with Grouplove and K.Flay that started in September 2017. The album was also nominated for the Grammy Award for Best Pop Vocal Album at the 60th Annual Grammy Awards Background In February 2016, after the success of their second album Smoke + Mirrors and a ten month long world tour, the members of Imagine Dragons vowed to take time off from the band. In an interview with Billboard, lead singer Dan Reynolds stated that the group would be on hiatus for the remainder of the year, explaining `We [Imagine Dragons] haven`t stopped in, like, six years, so we`ve forced ourselves to at least take a year off.`[2] Throughout 2016, the band contributed songs to the soundtracks for Me Before You, Suicide Squad and Passengers, as well as playing at several shows. The band first began preparing their third album on September 13, 2016, with a picture of guitarist Wayne Sermon in the band`s recording studio and continued releasing cryptic messages over the next four months. On January 24, 2017, the band tweeted `goodnight +`,[3] effectively ending the Smoke + Mirrors album cycle. Composition Reynolds had noted that the album, compared to Night Visions and Smoke + Mirrors, is `an evolution for Imagine Dragons`.[4] The album`s sound has been described as pop rock,[5] electronic,[6] pop[7] and EDM[8] while containing elements of R&B and hip hop.[9][10] Personnel Credits adapted from AllMusic.[39] Dan Reynolds – lead vocals, keyboards, backing vocals, acoustic guitar Wayne Sermon – electric guitar, backing vocals, acoustic guitar Ben McKee – bass guitar, keyboards, backing vocals Daniel Platzman – drums, percussion, backing vocals Serban Ghenea – mixing Manny Marroquin – mixing Tom Coyne – mastering Randy Merrill – mastering

Bob Dylan – Blood On The Tracks Made in Austria. Booklet na 8 strana. Booklet: 5 CD: 5- Label: Columbia – 512350 2, Columbia – COL 512350 2, Columbia – 5123502000 Format: CD, Album, Reissue, Remastered Country: Europe Released: Mar 2004 Genre: Rock Style: Folk Rock, Country Rock, Blues Rock Blood on the Tracks is the fifteenth studio album by American singer-songwriter Bob Dylan, released on January 20, 1975 by Columbia Records. The album marked Dylan`s return to Columbia Records after a two-album stint with Asylum Records. Dylan began recording the album in New York City in September 1974. In December, shortly before Columbia was due to release the album, Dylan abruptly re-recorded much of the material in a studio in Minneapolis. The final album contains five tracks recorded in New York and five from Minneapolis. Blood on the Tracks initially received mixed reviews, but has subsequently been acclaimed as one of Dylan`s greatest albums by both critics and fans. The songs have been linked to tensions in Dylan`s personal life, including his estrangement from his then-wife Sara. One of their children, Jakob Dylan, has described the songs as `my parents talking`. In interviews, Dylan has denied that the songs on the album are autobiographical. The album reached No. 1 on the Billboard 200 charts and No. 4 on the UK Albums Chart, with the single `Tangled Up in Blue` peaking at No. 31 on the Billboard Hot 100 singles chart. The album remains one of Dylan`s best-selling studio releases, with a double-platinum U.S. certification by the Recording Industry Association of America (RIAA). In 2015, it was inducted into the Grammy Hall of Fame. It was voted number 7 in the third edition of Colin Larkin`s book All Time Top 1000 Albums (2000), in 2003, the album was ranked No. 16 on Rolling Stone`s list of The 500 Greatest Albums of All Time, rising to the No. 9 spot in the 2020 revision of that same list. In 2004, it was placed at No. 5 on Pitchfork`s list of the top 100 albums of the 1970s.

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CD i booklet su odlično očuvani. Švedski punk bend. Randy - You Can`t Keep A Good Band Down CD 1. Holy Shit 2. Little Toulouse 3. The Exorcist 4. Me And The Boys 5. Epidemic Ignorance 6. Superstar 7. Step Outside 8. Randy I Don`t Need You 9. They Fear Us 10. You Are What You Fight For 11. Powergame 12. Now And Forever 13. Working Class Radio 14. Out Of Nothing Comes Nothing

Roadrunner Europe 2004. 5- stanje CD izdanja albuma poznatog nu-metal/hardcore sastava sa malo tragova koriscenja i 12 numera: 1 A Bid Farewell 3:55 2 Take This Oath 3:46 3 When Darkness Falls 3:52 4 Rose Of Sharyn 3:36 5 Inhale 1:15 6 Breathe Life 3:18 7 The End Of Heartache 4:58 8 Declaration 3:01 9 World Ablaze 4:59 10 And Embers Rise 1:11 11 Waste Sacrifice 4:18 12 Hope Is... 4:19 Buklet na 8 stranica sadrzi tekstove pesama, dosta fotografija, podatke...

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Original, made in Austria Knjizica od 10 str. Odlicno ocuvano Ottmar Liebert (born 1 February 1959) is a German guitarist, songwriter and producer best known for his Spanish-influenced music. A five-time Grammy Award nominee, Liebert has received 38 Gold and Platinum certifications in the United States, as well as certifications in Canada, Australia and New Zealand. His debut album Nouveau Flamenco (1990) was certified Platinum in the United States. Ottmar Liebert – Leaning Into The Night/Inclinado En La Noche Label: Sony Classical – SK 63105 Format: CD, Album Country: Europe Released: 1997 Genre: Jazz, Latin, Folk, World, & Country Style: Flamenco, Contemporary Jazz, Easy Listening Tracklist Hide Credits 1 Secreto From Impresiones Intimas Composed By – Mompou* 4:39 2 Buleria De Las Golondrinas Composed By – Liebert* 4:06 3 Prelude No. 3 Composed By – Villa-Lobos* 5:38 4 Yasmeen Composed By – Liebert* 5:09 5 Adagio Assai From Concerto For Piano & Orchestra In G Major Composed By – Ravel* 4:09 6 The Winding Road / La Primavera Composed By – Liebert* 4:08 7 The Call Composed By – Castro-Neves* 4:45 8 Premiere Gymnopedie Composed By – Satie* 3:23 9 Morning Arrival In Goa Composed By – Liebert* 6:19 10 Pavane Pour Une Infante Defunte Composed By – Ravel* 5:31 11 Bombay Composed By – Liebert* 5:02 12 ` O Mio Babbino Caro ` From Gianni Schicchi Composed By – Puccini* 3:15 Companies, etc. Phonographic Copyright ℗ – Sony Music Entertainment Inc. Copyright © – Sony Music Entertainment Inc. Distributed By – Sony Music Recorded At – Ocean Way Recording Recorded At – Spiral Subwave Mixed At – Ocean Way Recording Mastered At – The Mastering Lab Credits Arranged By [Orchestra], Conductor – Oscar Castro-Neves Art Direction – Nancy Donald Bass – Charles Domanico*, Drew D. Dembowski*, Susan Ranney Bass Guitar, Bass [Low Bass] – Jon Gagan Cello – Anne Karam, Antony Cooke, Armen Ksajikian, David Low, David Speliz*, Douglas Davis, John Walz, Roger Lebow, Sebastian Toettcher, Todd Hemmenway Clarinet – Gary Gray (5) Design – Hooshik Engineer – Gary Lyons, Geoff Gilette*, Stefan Liebert Flute – Glen Garrett (2), Louise M. Ditullio* French Horn – James W. Thatcher* Guitar – Ottmar Liebert Harp – Gayle Levant Keyboards – Ralph Grierson Mastered By – Doug Sax Mastered By [Assisted By] – Millicent Bly Mixed By – Geoff Gilette*, Oscar Castro-Neves, Stefan Liebert Oboe – Phillip Ayling* Percussion – Mark Clark Photography By – Reisig & Taylor Producer – Oscar Castro-Neves, Ottmar Liebert, Stefan Liebert Viola – Carole Kleister-Castillo*, Carrie Holzman-Little*, Denyse N. Buffum*, John Scanlon, Keith Greene, Marlow Fisher, Michael Ramos (2), Mihail Zinovyev, Pamela Goldsmith, Rick Gerding, Robin Ross (2), Roland Kato, Simon Oswell, Victoria Miskolczy* Violin – Alan Grunfeld, Anatoly Rosinsky, Armen Garabedian, Arnold Belnick, Berj Garabedian, Bruce Dukov, David Ewart, Dimitrie Leivici, Endre Granat, Eun-Mee Ahn, Galina Golovin, Gary Kuo, Haim Shtrum, Isabella Lippi, Jay Rosen, Jayme Miller, Karen Jones (2), Katia Popov, Kenneth Yerke, Kwihee Shamban, Lily Ho Chen, Marc Sazer, Nicole Bush, Patricia Johnson*, Polly Sweeney, Rachel Robinson, Ralph Morrison III*, Rene M. Mandel*, Richard L. Altenbach*, Robert Brosseau, Robin Olson, Ron Clark, Ronald Folsom, Sid Page, Tamara Hatwan Notes Recorded at Spiral Subwave in Santa Fe, New Mexico, in January and February 1997 and at Ocean Way Recording in Hollywood, California, in February 1997 Mixed March 1997 © 1997 Sony Music Entertainment Inc. ℗ 1997 Sony Music Entertainment Inc.

Original, made in EU Knjizica od 12 str. Omot 5 Cd 4+ The Altar and the Door is the third studio album by American Christian rock band Casting Crowns, released on August 28, 2007 on Beach Street Records and Reunion Records. Produced by Mark A. Miller, the album was inspired by lead singer Mark Hall`s experience looking at the MySpace pages of his youth ministry students. The album`s main theme is the difference between how Christians feel in church and the compromises they make outside of it. Its musical tone, which Hall says is different and more progressive, incorporates more of a rock sound than their previous, more polished studio efforts. The Altar and the Door received positive to mixed reviews from critics upon its release. Particular praise was given to the lyrics and the album`s overall concept, but some critics felt the album`s sound was mediocre and uninventive. The album received the award for Pop/Contemporary Album of the Year at the 39th GMA Dove Awards. It sold 129,000 copies in its first week, a record for a Christian album with no secular media support, enabling a debut at number one on the Billboard Christian Albums chart and number two on the Billboard 200 and Digital Albums charts, only blocked on the latter charts by the soundtrack for High School Musical 2. It later topped the Catalog Albums chart in 2010. The 18th best-selling Christian album of the 2000s, The Altar and the Door has sold 1.2 million copies and has been certified Platinum by the Recording Industry Association of America (RIAA). The lead single from The Altar and the Door, `East to West`, was one of the most successful Christian singles of the 2000s, spending a total of 19 weeks atop the Billboard Christian Songs chart and peaking at twenty-five on the Bubbling Under Hot 100 Singles chart. While not as successful as `East to West`, follow-up singles `Every Man` and `Slow Fade` were both top five hits on the Christian Songs chart. Background and recording The main ideas for The Altar and the Door were inspired roughly eighteen months before the album`s release. Lead vocalist Mark Hall and his co-youth pastor were encouraged by one of their students to look at MySpace. According to Hall, “It wasn’t any major surprise, but we did see a lot of kids who had two worlds going on. MySpace can be Spring Break for the brain, this place you can go and not think anyone’s ever going to find out. Kids would be listed as Christians and then show their porn star name or what kind of kisser they are. They were just presenting so many contradictions on one page. The temptation was to just get upset and think that’s terrible. But MySpace isn’t really a big problem – it’s just revealing what the problem is`.[2] He noted that this situation isn`t unique to teenagers and that while at church `we [Christians] want to serve [God]` but when `we get out there in the world ... it’s just different. We want to be accepted; we want friends. The compromises start coming in small little increments until you’re just kind of out there. Church becomes more of a guilt activator than a place to go to be with the Lord. It’s a nasty place to live, and we all live there`.[2] Hall says that `When we’re at the altar, everything’s clear, and it all makes perfect sense, and we know how to live. We know what’s right and what’s wrong. The struggle is getting this life at the altar out the door ... That’s the problem; we’re finding ourselves somewhere in the middle`.[2] Hall elaborated in a separate interview that `Somewhere between the altar and the door, it all leaks out and I`m out here wondering what to do, rationalising things instead of living the life that`s in me. So the struggle that we have as believers is trying to get those truths (that are) in our heads and highlighted in our Bibles out to our hands and feet. The songs are all the things that happen in the middle of that`. Although Hall says that he `always think[s] lyrics first`, he felt that `Once we [Casting Crowns] got into the recording I knew we were in for something different, a more progressive approach to the music. These songs sounded different in my head; they`ve been a big challenge for us as a band. And the music definitely sets the tone for the whole project`.[3] The Altar and the Door was produced by Mark A. Miller. Most of the recording and all of the mixing for the album was done by Sam Hewitt at Zoo Studio in Franklin, Tennessee and My Refuge Studio in McDonough, Georgia; additional recording was done by Michael Hewitt and Dale Oliver at those same locations. The strings on The Altar and the Door were arranged by Bernie Herms and recorded by Bill Whittington and Steve Beers at The Sound Kitchen in Franklin, Tennessee. The album was mastered by Richard Dodd.[4] Track listing No. Title Writer(s) Length 1. `What This World Needs` Hector Cervantes, Mark Hall 4:41 2. `Every Man` Mark Hall, Bernie Herms, Nichole Nordeman 4:46 3. `Slow Fade` Mark Hall 4:38 4. `East to West` Mark Hall, Bernie Herms 4:26 5. `The Word is Alive` Mark Hall, Steven Curtis Chapman 5:21 6. `The Altar and the Door` Mark Hall 4:42 7. `Somewhere in the Middle` Mark Hall 5:05 8. `I Know You`re There` Jeff Chandler 3:49 9. `Prayer for a Friend` Mark Hall 2:50 10. `All Because of Jesus` Steve Fee 11:09 Personnel Credits adapted from the album liner notes.[4] Casting Crowns Hector Cervantes – Electric guitar Juan DeVevo – Acoustic guitar, electric guitar Melodee DeVevo – Violin, background vocals Megan Garrett – Piano, keyboard, background vocals Mark Hall – Vocals Chris Huffman – Bass guitar Andy Williams – Drums Additional musicians Jim Gray – Conductor Stephen Lamb – Copyist John Catchings – Cello Anthony Lamarchina – Cello Carole Rabinowitz – Cello Monica Angell – Viola Chris Farrell – Viola Jim Grosjean – Viola Gary Vanosdale – Viola David Angell – Violin Janet Darnall – Violin Conni Ellisor – Violin Gary Gordetzky – Violin Stefan Petrescu – Violin Pam Sixfin – Violin Alan Umstead – Violin Cathy Umstead – Violin Mary Kathryn Vanosdale – Violin Karen Winkelmann – Violin

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