progettogiovanicantu
» » Daft Punk - Random Access Memories
FLAC Daft Punk - Random Access Memories

FLAC Daft Punk - Random Access Memories

Performer:
Daft Punk
Album:
Random Access Memories
Released:
17 May 2013
Label:
Columbia, Sony Music
Catalog:
88883716861, 88883 71686 1
Style:
Disco, Funk, Electro, Synth-pop
MP3 archive size:
2046 mb
FLAC archive size:
1332 mb

Tracklist

1Fragments Of Time
Bass – James Genus, Nathan EastDrums – Omar HakimGuitar – Paul Jackson Jr.Keyboards – Chris Caswell , Daft PunkPedal Steel Guitar [Pedal Steel] – Greg LeiszPercussion – Quinn Synthesizer [Lead Synthesizer] – Daft PunkVocals, Co-producer – Todd EdwardsWritten-By – G.M. de Homem-Christo, T. Bangalter, T. Imperatrice
4:39
2Within
Bass – Nathan EastDrums – John "JR" RobinsonKeyboards – Chris Caswell , Daft PunkPercussion – Quinn Piano [Solo Piano] – Chilly GonzalesVocals – Daft PunkWritten-By – G.M. de Homem-Christo, J. "Chilly Gonzales" Beck, T. Bangalter
3:48
3Give Life Back To Music
Bass – Nathan EastDrums – John "JR" RobinsonGuitar – Nile Rodgers, Paul Jackson Jr.Keyboards – Chris Caswell , Chilly GonzalesPedal Steel Guitar [Pedal Steel] – Greg LeiszPercussion – Quinn Vocals, Synthesizer [Modular Synthesizer] – Daft PunkWritten-By – G.M. de Homem-Christo, N. Rodgers, P. Jackson Jr., T. Bangalter
4:35
4Instant Crush
Bass – Nathan EastDrums – John "JR" RobinsonPercussion – Quinn Synthesizer, Keyboards, Guitar – Daft PunkVocals, Lead Guitar, Co-producer – Julian CasablancasWritten-By – G.M. de Homem-Christo, J. Casablancas, T. Bangalter
5:37
5Beyond
Bass – James GenusDrums – Omar HakimGuitar – Paul Jackson Jr.Keyboards – Chris Caswell Pedal Steel Guitar [Pedal Steel], Lap Steel Guitar [Lap Steel] – Greg LeiszVocals, Synthesizer – Daft PunkWritten-By – C. Caswell, G.M. de Homem-Christo, P. Williams, T. Bangalter
4:50
6Contact
Bass – James GenusCo-producer – DJ FalconDrums – Omar HakimPerformer [Sample From "We Ride Tonight"] – The SherbsSynthesizer [Modular Synthesizer] – DJ Falcon, Daft PunkWritten-By – D. Braithwaite, G. Porter, G.M. de Homem-Christo, S. Queme, T. Bangalter, T. Mitchell
6:21
7Lose Yourself To Dance
Bass – Nathan EastDrums – John "JR" RobinsonGuitar – Nile RodgersVocals – Daft Punk, Pharrell WilliamsWritten-By – G.M. de Homem-Christo, N. Rodgers, Ph. Williams, T. Bangalter
5:53
8The Game Of Love
Bass – Nathan EastDrums – John "JR" RobinsonGuitar – Paul Jackson Jr.Keyboards – Chris Caswell Pedal Steel Guitar [Pedal Steel] – Greg LeiszVocals, Synthesizer – Daft PunkWritten-By – G.M. de Homem-Christo, T. Bangalter
5:22
9Giorgio By Moroder
Bass – James Genus, Nathan EastDrums – John "JR" Robinson, Omar HakimGuitar – Paul Jackson Jr.Keyboards – Chris Caswell , Daft PunkPedal Steel Guitar [Pedal Steel] – Greg LeiszPercussion – Quinn Recorded By [Giorgio's Voice Recorded By] – Guillaume Le BrazSynthesizer [Modular Synthesizer] – Daft PunkVoice – Giorgio MoroderWritten-By – G. Moroder, G.M. de Homem-Christo, T. Bangalter
9:04
10Get Lucky
Bass – Nathan EastDrums – Omar HakimGuitar – Nile Rodgers, Paul Jackson Jr.Keyboards – Chris Caswell Synthesizer – Daft PunkVocals – Daft Punk, Pharrell WilliamsWritten-By – G.M. de Homem-Christo, N. Rodgers, Ph. Williams, T. Bangalter
6:09
11Touch
Bass – James GenusChoir – Alissa M. Crenshaw, Alycia Grant, Chelsea T. DiBlasi, Elaina S. Crenshaw, Emma S. Gunn, Jeffrey Gunn, Jessica Rotter, Joshua Britt, Alexandra Gunn, Mariah A. Britt, Shirley Koesnadi, Victor PineschiConductor [Choir] – Angie JareeDrums – Omar Hakim, Quinn Guitar – Paul Jackson Jr.Keyboards – Chris Caswell Lap Steel Guitar [Lap Steel] – Greg LeiszOndes Martenot – Thomas BlochSynthesizer [Modular Synthesizer] – Daft PunkVocals – Daft Punk, Paul Williams Written-By – C. Caswell, G.M. de Homem-Christo, P. Williams, T. Bangalter
8:18
12Doin' It Right
Synthesizer [Modular Synthesizer] – Daft PunkVocals – Daft Punk, Panda BearWritten-By – G.M. de Homem-Christo, N. Lennox, T. Bangalter
4:11
13Motherboard
Bass – James GenusGlass Harmonica [Cristal Baschet] – Thomas BlochGuitar – Paul Jackson Jr.Keyboards – Chris Caswell Pedal Steel Guitar [Pedal Steel] – Greg LeiszPercussion – Omar Hakim, Quinn Synthesizer [Modular Synthesizer] – Daft PunkWritten-By – G.M. de Homem-Christo, T. Bangalter
5:41

Versions

CategoryArtistTitle (Format)LabelCategoryCountryYear
88883716862Daft Punk Random Access Memories ‎(CD, Album)Columbia88883716862Europe2013
88883716862Daft Punk Random Access Memories ‎(Box, Ltd, S/Edition, But + CD, Album)Columbia88883716862South Korea2013
AB-064 15Daft Punk Random Access Memories ‎(CD, Album, Unofficial)Art OptimumAB-064 15Russia2013
888837168625Daft Punk Random Access Memories ‎(CD, Album, Ltd, Tra)Columbia888837168625South Korea2013
88883716861, C 371686Daft Punk Random Access Memories ‎(2xLP, Album, 180)Columbia, Columbia88883716861, C 371686US2013

Credits

  • Arranged By [Arrangements]Chris Caswell , Guy-Manuel de Homem-Christo, Thomas Bangalter
  • Bass [Orchestra]Charles Berghofer (tracks: A3, C1, C3, D1), Don Ferrone (tracks: A3, C1, C3, D1), Drew Dembowski (tracks: A3, C1, C3, D1)
  • Bass Trombone [Orchestra]Craig Gosnell (tracks: A3, C1, C3, D1)
  • Bassoon [Orchestra]Judith Farmer (tracks: A3, C1, C3, D1)
  • Cello [Orchestra]Armen Ksajikian (tracks: A3, C1, C3, D1), Christina Soule (tracks: A3, C1, C3, D1), Paula Hochalter (tracks: A3, C1, C3, D1), Timothy Loo (tracks: A3, C1, C3, D1), Vanessa F. Smith (tracks: A3, C1, C3, D1)
  • Clarinet [Orchestra]Marty Krystall (tracks: A3, C1, C3, D1)
  • Clarinet [Orchestra], Bass Clarinet [B. Clarinet (Orchestra)]Gene Cipriano (tracks: A3, C1, C3, D1)
  • Conductor [Orchestra]Douglas Walter (tracks: A3, C1, C3, D1)
  • Contractor [Orchestra]Joseph Solido (tracks: A3, C1, C3, D1)
  • Coordinator [Booth (Orchestra)]Chris Caswell (tracks: A3, C1, C3, D1)
  • Coordinator [Production Coordinator]Jackie O'Brien, Sam Cooper
  • Cover [Cover Art]Cédric Hervet, Warren Fu
  • Creative DirectorCédric Hervet
  • Design Concept [Concept], Art DirectionCédric Hervet, Guy-Manuel de Homem-Christo, Paul Hahn, Thomas Bangalter, Warren Fu
  • Directed By [Media Director]Biz3, Kathryn Frazier
  • Edited By [Music Editor]David Channing
  • Engineer [Digital Audio Engineer]Daniel Lerner
  • English Horn [E. Horn (Orchestra)]David Kosoff (tracks: A3, C1, C3, D1)
  • Flute [Orchestra]Greg Huckins (tracks: A3, C1, C3, D1), Sara Andon (tracks: A3, C1, C3, D1), Steve Kajala (tracks: A3, C1, C3, D1)
  • French Horn [Orchestra]Danielle Ondarza (tracks: A3, C1, C3, D1), James Atkinson (tracks: A3, C1, C3, D1), Justin Hageman (tracks: A3, C1, C3, D1), Nathan Campbell (tracks: A3, C1, C3, D1), Stephanie O'Keefe (tracks: A3, C1, C3, D1)
  • IllustrationWarren Fu
  • Lacquer Cut ByChab
  • LegalClintons UK, Peter Button
  • ManagementPaul Hahn
  • Mastered ByBob Ludwig, Chab
  • Mastered By [Vinyl]Chab
  • Mixed ByMick Guzauski
  • Mixed By [Assistant Mixing Engineer]Peter Franco, Seth Waldmann
  • Oboe [Orchestra]Earl Dumler (tracks: A3, C1, C3, D1)
  • Orchestrated By [Orchestration]Chris Caswell (tracks: A3, C1, C3, D1)
  • Percussion [Orchestra]Brian Kilmore (tracks: A3, C1, C3, D1), Mark Converse (tracks: A3, C1, C3, D1)
  • ProducerGuy-Manuel de Homem-Christo, Thomas Bangalter
  • Recorded ByFlorian Lagatta, Mick Guzauski, Peter Franco
  • Recorded By [Additional Recording Engineer]Alana Da Fonseca, Phil Joly
  • Recorded By [Assistant Recording Engineer]Bill Rahko, Charlie Pakkari, Cory Brice, Derek Karlquist, Doug Tyo, Eric Eylands, Eric Weaver, Kevin Mills, Kyle Stevens , Miguel Lara , Mike Larson , Nicolas Essig, Seth Waldmann
  • Sound DesignerGus Koven
  • Technician [Audio Consultant]Jean-Pierre Janiaud
  • Trombone [Orchestra]Andrew Martin (tracks: A3, C1, C3, D1), Bob McChesney (tracks: A3, C1, C3, D1), Charles Looper (tracks: A3, C1, C3, D1), Charles Morillas (tracks: A3, C1, C3, D1)
  • Trumpet [Orchestra]Charles Findley (tracks: A3, C1, C3, D1), Gary Grant (tracks: A3, C1, C3, D1), Larry McGuire (tracks: A3, C1, C3, D1), Warren Luening (tracks: A3, C1, C3, D1)
  • Viola [Orchestra]Alma Fernandez (tracks: A3, C1, C3, D1), Andrew Picken (tracks: A3, C1, C3, D1), Carolyn Riley (tracks: A3, C1, C3, D1), Harry Shirinian (tracks: A3, C1, C3, D1), Jody Rubin (tracks: A3, C1, C3, D1), Ray Tischer (tracks: A3, C1, C3, D1), Rodney Wirtz (tracks: A3, C1, C3, D1), Roland Kato (tracks: A3, C1, C3, D1)
  • Violin [Orchestra]Audrey Solomon (tracks: A3, C1, C3, D1), Calabria McChesney (tracks: A3, C1, C3, D1), Carrie Kennedy (tracks: A3, C1, C3, D1), Cynthia Moussas (tracks: A3, C1, C3, D1), Irina Voloshina (tracks: A3, C1, C3, D1), Joel Pargman (tracks: A3, C1, C3, D1), Johana Krejci (tracks: A3, C1, C3, D1), Kevin Connolly (tracks: A3, C1, C3, D1), Lisa Dondlinger (tracks: A3, C1, C3, D1), Lisa Sutton (tracks: A3, C1, C3, D1), Margaret Wooten (tracks: A3, C1, C3, D1), Mary K. Sloan (tracks: A3, C1, C3, D1), Miwako Watanabe (tracks: A3, C1, C3, D1), Neel Hammond (tracks: A3, C1, C3, D1), Nina Evtuhov (tracks: A3, C1, C3, D1), Olivia Tsui (tracks: A3, C1, C3, D1), Rafael Rishik (tracks: A3, C1, C3, D1), Rita Weber (tracks: A3, C1, C3, D1), Samuel Fischer (tracks: A3, C1, C3, D1), Sara Perkins (tracks: A3, C1, C3, D1), Song Lee (tracks: A3, C1, C3, D1)
  • Violin [Orchestra], Concertmaster [Orchestra]Assa Dori (tracks: A3, C1, C3, D1)

Notes

Gatefold sleeve. Booklet includes complete lyrics.
Includes a code for downloading the album in MP3, 320 kbps.

Sealed copies have a sticker on the front:
"Feat. Get Lucky & Lose Yourself To Dance
Daft Punk
180 gram double vinyl
Also includes digital download.
88883716861"

Release date: Continental Europe & Ireland 17 May, UK 20 May, US 21 May

Songs published by:
Track A1: Imagem Music for the world excluding France, Daft Music / Because Music for France, XLC Music (BMI), Miss Mittie Music (BMI)
Track A2: Imagem Music for the world excluding France, Daft Music / Because Music for France
Track A3: Imagem Music for the world excluding France, Daft Music / Because Music for France, Giorgio Moroder Publishing (ASCAP)
Track B1: Imagem Music for the world excluding France, Daft Music / Because Music for France, EMI Music Publishing
Track B2: Imagem Music for the world excluding France, Daft Music / Because Music for France, Julian Casablancas Publishing (ASCAP) for North America & Warner/Chappell Music Publishing Limited for rest of the world. Julian Casablancas appears courtesy of Rough Trade / RCA Records
Track B3: Imagem Music for the world excluding France, Daft Music / Because Music for France, XLC Music (BMI), EMI April Music, Inc. obo itself and More Water From Nazareth (ASCAP)
Track C1: Imagem Music for the world excluding France, Daft Music / Because Music for France, Sunset Squid Music, Kazz Song, Inc
Track C2: Imagem Music for the world excluding France, Daft Music / Because Music for France, XLC Music (BMI), EMI April Music, Inc. obo itself and More Water From Nazareth (ASCAP)
Track C3: Imagem Music for the world excluding France, Daft Music / Because Music for France, Sunset Squid Music, Kazz Song, Inc.
Track D1: Imagem Music for the world excluding France, Daft Music / Because Music for France
Track D2: Imagem Music for the world excluding France, Daft Music / Because Music for France, Todd Imperatrice (ASCAP)
Track D3: Imagem Music for the world excluding France, Daft Music / Because Music for France, Panda Lennox (ASCAP) published by Chrysalis. Panda Bear appears courtesy of Domino Records
Track D4: Imagem Music for the world excluding France, Daft Music / Because Music for France, Stephane Queme, Perfect Pitch Music Publishing (ASCAP). Contains a sample from The Sherbs recording "We Ride Tonight" produced under license from Liberation Music Pty Ltd and used by courtesy of Atlantic Recording Corp. under license from Rhino Entertainment Company, a Warner Music Group Company. Contains audio from the Apollo 17 mission used by courtesy of NASA and Capt. Eugene Cernan.

Recorded at Gang Recording Studio, Paris; Henson Recording Studios, Hollywood; Conway Recording Studios, Hollywood; Electric Lady Studios, New York & Capitol Studios, Hollywood.
Mixed at Conway Studios, Hollywood.
Mastered by Bob Ludwig at Gateway Mastering Studios, Portland, ME & Chab at Translab, Paris

©2013 & ℗2013 Daft Life Limited under exclusive license to Columbia Records, a Division of Sony Music Entertainment / Distributed by Sony Music Entertainment / Dystrybucja w Polsce: Sony Music Entertainment Poland Sp. z o.o., ul. Chóralna 14, 02-879 Warszawa / Made in the EU / Columbia is the exclusive trademark of Sony Music Entertainment

BPM is not provided on the record.
BPM:
A1: 118-120 | A2: 90 | A3: 112-114
B1: 109-112 | B2: 110 | B3: 100
C1: 116/91 | C2: 116 | C3: 104
D1: 103 | D2: 130 | D3: 89 | D4: 124

Barcodes

  • Barcode (Scanned): 888837168618
  • Barcode (Text): 8 88837 16861 8
  • Label Code: LC00162
  • Rights Society: BIEM/GEMA
  • Matrix / Runout (Runout side A, etched): AL88883716861-2 BD11929-01 A2 Chab.☆
  • Matrix / Runout (Runout side B, etched): BL88883716861-2 BD11929-01 B2 Chab☆
  • Matrix / Runout (Runout side C, etched): CL88883716861-2 BD11929-02 C2 Chab.☆
  • Matrix / Runout (Runout side D, etched): DL88883716861-2 Chab.☆ BD11929-02 D2 IF LOVE IS THE ANSWER YOU'RE HOME

Companies

  • Copyright (c) – Daft Life Ltd.
  • Phonographic Copyright (p) – Daft Life Ltd.
  • Licensed To – Columbia Records
  • Distributed By – Sony Music Entertainment
  • Distributed By – Sony Music Entertainment Poland Sp. z o.o.
  • Pressed By – Optimal Media GmbH – BD11929
  • Published By – Imagem Music
  • Published By – Daft Music
  • Published By – Because Music
  • Published By – XLC Music
  • Published By – Miss Mittie Music
  • Published By – Giorgio Moroder Publishing Co.
  • Published By – EMI Music Publishing
  • Published By – Julian Casablancas Publishing
  • Published By – Warner/Chappell Music Publishing Ltd.
  • Published By – EMI April Music Inc.
  • Published By – More Water From Nazareth
  • Published By – Sunset Squid Music
  • Published By – Kazz Song, Inc.
  • Published By – Todd Imperatrice
  • Published By – Chrysalis
  • Published By – Stéphane Quême
  • Published By – Perfect Pitch Publishing
  • Recorded At – Studio Gang
  • Recorded At – Henson Recording Studios
  • Recorded At – Conway Studios
  • Recorded At – Electric Lady Studios
  • Recorded At – Capitol Studios
  • Mixed At – Conway Studios
  • Mastered At – Gateway Mastering
  • Mastered At – Translab

Video

Album

Random Access Memories - Daft Punk. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. Daft Punk feat. Julian Casablancas. Random Access Memories. Julian Casablancas, Thomas Bangalter, Guy-Manuel de Homem-Christo. CMRRA, LatinAutor, EMI Music Publishing, LatinAutor - SonyATV, Sony ATV Publishing, Muserk Rights Management, LatinAutor - PeerMusic и другие авторские общества 16. Random Access Memories is the fourth studio album by French electronic duo Daft Punk, released on 17 May 2013 by Daft Life and Columbia Records. The album pays tribute to late 1970s and early 1980s American music, particularly from Los Angeles. This theme is reflected in the album's packaging, as well as its promotional campaign, which included billboards, television advertisements, and a web series. Recording took place at Henson Recording Studios, Conway Recording Studios and Capitol Studios in. Формируйте собственную коллекцию записей Daft Punk. Random Access Memories Édition Studio Masters 13xFile, ALAC, Album, 24 . SICP 3817. Daft Punk ダフトパンク. Album 2013 13 Songs. Celebrated for futuristic disco-funk explorations and visually arresting performances, the follow-up to 2005s blockbusting Human After All and the innovative 2010 soundtrack to Tron: Legacy brings the elusive French duo back into a dazzling spotlight. Daft Punk Random Access Memories Full Download zip direct. FULL DOWNLOAD - Artist: Daft Punk Album: Random Access Memories Year: 2013 Genre: Electronic Quality: mp3, 320 kbps. Track list: 01. Give Life Back to Music 02. When Daft Punk announced they were releasing a new album eight years after 2005's Human After All, fans were starved for new material. The Tron: Legacy score indulged the duo's sci-fi fantasies but didn't offer much in the way of catchy songs, so when Random Access Memories' extensive publicity campaign featured tantalizing clips of a new single, Get Lucky, their fan base exploded. Daft Punk's new album Random Access Memories finds them leaving behind the highly influential, riff-heavy EDM they originated to luxuriate in the sounds, styles, and production techniques of the 1970s and early 80s. In the electronica landscape of the 1990s, Daft Punk first came over as a novelty. Funny band name, funny sound, funny masks, and a funny and incredibly fun hit called Da Funk , found on their debut album, Homework. Random Access Memories is the fourth studio album by French electronic music duo Daft Punk. It was released by the duo's imprint Daft Life, under exclusive license to Columbia Records, on 17 May 2013. The album pays tribute to the late 1970s and early 1980s era of music in the United States, particularly the sounds that emerged from Los Angeles. This tribute was reflected in the gradual promotional rollout for the album that included billboards, television advertisements, and a web series. Random Access Memories is the new album from Daft Punk. Collaborators include Nile Rodgers, Chilly Gonzalez, Giorgio Moroder, Julian Casablancas, Pharrell Williams, Paul Williams, Todd Edwards, Panda Bear and DJ Falcon. Song Title. I asked, Aren't those the guys that dress up in motorcycle helmets and play housetrance music That's not really my thing. He went on to explain that while Daft Punk is indeed those guys, but on this album they wanted to resurrect the vibe and groove of the music they grew up in the '70's and '80's, which as it happens, is my era as well

  • I have rarely listened an album with this mastering. The audio quality is so clean and smooth, it is fantastic. Got my copy not long after the album came out and I unfortunately have some clicking noises especially on the first track but I guess my LP deteriorated a bit with time...

  • It's a real crime Horizon only made the Japanese release. it is a perfect closer to a monumental release and also quite a different sound to the whole DP catalogue. multiple listenings confirm its entry should have been made. On this album though, I do consider it their finest work. when I first heard Daft Punk was moving back to guitars over electronic sounds, I heavily ignored this album fearing Daft Punk taking on more live instrumentation surroundings could later lead them down a similar road it did the prodigy, but time will tell. Each song is a masterpiece but also very more melancholic showing to their vocal work than a lot of their other work (game of love and within could easily be sequels to something about us) I enjoy Giorgio Moroder's telling of becoming a pioneer of the synthesizer, as with each chapter of his story the music shifts from electro, dance, techno and then rock. the guest spots are all very good and eclectic in style, as Julian Casablancas sounds completely unrecognizable from his strokes days (could be the vocoder though!)so yes, I do recommend picking up this album. Like Discovery, it commands you to listen carefully instead of dance. I'm interested to see what the future holds for DP.

  • A solid album, although very un-even sonically and stylistically. Still plenty of fine moments here though.As for this LP being touted as "Audiophile Quality" in terms of overall sonics, I would suggest putting on Sting's "Nothing Like the Sun" from either CD or vinyl and then get back to us.

  • How do I distinguish between the original pressing of this and the 2017 repress? Mine has the 2013 copyright notice on the back so I'm assuming it's this one.

  • the original has "IF LOVE IS THE ANSWER YOU'RE HOME" etched in the deadwax

  • Original has Chab etched in the deadwax, repress has GOPHER.

  • Fucking BEAUTIFUL pressing, my copy has the A and B labels flipped, only flaw

  • Ah, the devisive Random Access Memories. Daft Punk's triumphant return to the fold. An album so costly and ambitious that the duo had to make a sizable investment of their own cash to make it happen. They wanted to revitalize a gutless industry and prove that fully conceived, exquisitely produced albums could still make money. Samwise Sony to Daft Frodo: Share the load. It was a powerful statement at the time. A slap to the face of a music industry that had lost its nerve. One that adopted the philosophy of developing and recording artists as quickly and cheaply as possible. The fallout of these changes (along with Napster and the digital revolution) caused several famous recording studios to shut their doors. Appropriately budgeted productions were no longer profitable, and the result was a decade of poorly recorded, terrible sounding music. Dark times. They succeeded. After an innovative and aggressive marketing push, RAM was released to critical acclaim in 2013 and proved to be a worthwhile investment for the label. It spawned a few major hits and a legion of new followers for a band that had been producing music for nearly two decades. Suddenly, their presence was felt all over pop culture.So how has it held up? I'm my opinion, very well. There's a timelessness to a majority of the set, and this is an album I'll look back upon fondly. Get Lucky, Instant Crush, Gorgio by Moroder, Motherboard, and Contact are all outstanding. An outstanding album, beautifully pressed on whisper quiet vinyl. Dynamic af. Punchy. Love it.

  • Was analogue tape used to cut this or a digital file? I know they used a lot of analogue equipment when making this album.

  • Great pressing/mastering! It sounds extremely vivid. Would recommend this copy.

  • I like Daft Punk but I really do think they should change their name to "Smart Funk" for their next album as they are very knowledgeable about how to make all of this incredible funky music!!

  • A masterpiece record! I think it's useless to add anything else. Who criticizes the quality of the vinyl, the dark sound, etc. I believe he did not understand the artistic work of Daft Punk. At a time when vinyl enthusiasts are concentrating their interest on buying records from the past, be they "first press" or "reissue", this Lp deserves to be taken into consideration.

  • I'm not really into dance music but even when you don't, this is a musthave for everyone who's collecting vinyl. It sounds really amazing. My Personal favourite is the track: Giorgio Moroder.

  • Does anyone know if the vinyl is the same quality as the vinyl in the special editions? It looks to be the same, just the special edition has a lot more extras included with it...just looking to get the best sounding copy...any help?

  • So, i heard before this was one of the best albums around in terms of mastering and pressing, i have to say the expectations were met: it sounds fantastic. A must have for every audiophile. Even if you're not into this kind of music, just to test your system! :) I am super happy.

  • Great pressing, although I really don't think it sounds as good as mentioned in the earlier comments. The mastering is a little bit compressed which makes the bass sound quite muddy on some tracks.

  • 26000 people have this, you mean like there are more then 50k pressed of this ? Funny

  • No... it was repressed in 2017. I believe first pressing was about 10 000.But people are too lazy to see which version they have in hands so they just add the first one to their collection

  • Nothing bad to say about this pressing. Amazing sound and the gatefold cover is beautiful.

  • Solid album overall, but a bit uneven. Good musicianship for sure, but I personally would have preferred more disco material, instead of just 3 songs."Give life back to Music" is my favorite on here, but needs an extended 8 min mix.The sonics are a bit muddy in the low end dept...not crisp sounding.

  • After five years, this has become the record I use to test a new stereo. Nothing to beat it! Also love that, "If love is the answer you're home" is etched into the final side. Genius album!

  • This an amazing album Daft Punks best using aspects of Disco, Funk , with their trademark electronic sound. It sounds great too a few crackles here and there but nothing too distracting.

  • One of the best-sounding vinyl releases I've heard so far. Well mastered, and clean pressing.

  • sooorry: i only can give 5 stars, this release deserves a few more!

  • My copy from 2013 is absolutely flawless - perhaps the best pressed vinyl I've heard in recent years. A must have!

  • It's no different than the 24/96 WAV files you can get at Bleep.

  • My copy of this release is on some seriously quiet vinyl (not cleaned). The sound stage is very wide and has amazing separation. This pressing is as linear as it gets. Great bottom end, full midrange and clean, detailed highs without being bright - at all. The tone is very warm making listening a pleasure. There is so much depth here. This is a brilliant recording and this pressing is equally smart. It doesn't get much better. Highly recommended. (Rega Planar 3, Exact 2 cart, PSE Studio SL, Linn LK85, Linn interconnects, Linn Katans - Linn Sizmik 12.45" for 2.1 - )

  • In my opinion, far to low-endy, and not enough in the mids/highs. Sounds muddy. I would prefer some brightness.

  • And believe it or not, the download codes are still working!

  • Not for me :/ It wants a 15 digit code but mine is only 9...

  • How is the vinyl re-press different from the original press?

  • Seems like they've been repressed, the ones selling for cheap are probably not original ones. Shouldn't there be a new entry?

  • I was happy to have found a second hand copy, now I can buy a new one for the same price. Sucks.

  • I can comfirm that. Now they dont say anymore what year repress it is. Its bullshit and makes the original pressings cheaper

  • And I thought the CD sounded good... This is mind-blowingly good sound, very analogue and dynamic, almost like it was made decades ago.I burned a rip of this to a CD and listen to this every day on my morning commute.

  • great record and fantastic pressing . . . . .

  • This sounds incredible on vinyl, on par with the 50+ USD audiophile re-issues you can get in the audiophile boutique shops.

  • I had no idea that there is a re-issue. I have the first press, bought when it was released in Europe.

  • hi mark. u mean the version with the dashes in the barcode, 100% Columbia non sony music US version is the audiophile reissue version? thanks

  • Alot of people in this comment thread are saying that this record is a bad pressing, and I'm guessing they either got super unlucky or are complete retards, this record is quality work, it sounds fantastic!

  • Simply wow! I have been listening to vinyl since the 70's on various equipment. This is one of the best examples of vinyl i have ever heard. The one album i turn to to show others how good vinyl can sound.

  • Very bassy sound, which is OK, but I would have preferred more highs in the mix, especially for the percussion - it seems to be a tiny bit compressed as well, but not terribly - Dynamic Range Database lists it as DR 13 overall. The Game of Love specifically almost sounds like it's underwater - maybe that's on purpose? Some pops and clicks here and there on my pressing new out of the shrink, but honestly with paper sleeves I expect that without a pre-cleaning. They should really put better sleeves in these releases so there's not crap all over the record when you first play it - and yes I brushed it off before playing. Bassy sound works better on track 3.Overall, it's pretty good. It's not my favorite style of music really, but it's easy to listen to, even in the background while doing other tasks. The vocoder use is a little high for me - I'm not a huge fan of that sound for vocals. The sampling and instruments sound really good for the most part, and there's quite a bit of little nuggets of originality and creativity on here.

  • That's pretty much the same audio experience I had from the LP I purchased in Australia. I kept wanting to tweak the equalizer to make it sound better. Good album, but very disappointed in the pressing.

  • A fantastic sounding record. Plain and simple. To be fair my first copy I had to take back due to a 'blister' on the surface on track two, but the new copy? Wow.

  • This is definitely a Daft Punk must-have album along with Discovery. All the songs on here are great. An amazing album to listen to and I just love how Contact is placed as the last song on the album with all those outer space climax before fading out into just some nicely arranged static noise.

  • The most overrated record I have never ever owned. Giorgio is completely wasted. Wallpaper at its most expensive. It sounds like a Yes record 1975-76 waiting desperately for something fresh to come along. I know some people will not agree...so what!

  • you keep the words from my mouth, i do not know why people are so euphoric about this work. this is perhaps a demonstration of what a stunning pressing and recordings are able to keep away from some useless music. i found it dull, stupid and very hypster. i don't even know which songs i could save, perhaps as a progressive lover only the closing track makes me interest. An odd thing at the first listening i was amazed by this album, then it deflated as a baloon... i don't play it from a year... i keep it for my bad days when i'm so sad that i don't want to hear anything emotional. Glad i'm not the only one!

  • The amount of things that can be said about this album is endless. Amazing masterpiece, one that will withstand the test of time.

  • Absolutely true ! This is an incredible masterpiece, which I can hear again and again and again.

  • Is this the most owned release on Discogs currently? 13k and counting

  • I don't mean to say that this entry is completely bad, but the copy I got was an awful pressing. No dynamics, flat and sounded just like the digital version. It's not my system. I specifically bought this due to the hype that this was the best example of modern vinyl. Along with this one, I also bought discovery and it sounds amazing compared to RAM. I think this album has been pressed to death at this point. There's also pretty excessive surface noise on my copy as well, going a minute into each song. It especially sucks for songs like Touch and Motherboard as the beginning sections come with pops and clicks every few seconds. I use a RD V vac cleaner, this isn't a dust issue or whatever. Great album in all respects, just Daft Punk doing something different for change. If it helps in any way, I bought this last summer off of Amazon. Can someone convince me to buy a different copy, because I'm already out $20 on what turned out to be a bad pressing. I also haven't heard anyone else have any complaints about this.

  • Great record 180 gram 2x Gatefold but i noticed that the sleeve wears much more quickly than others so i have to protect it more

  • I had never seen such a long Discogs page before. Who cares about every violin player on C3? If at least their violin part was interesting...Anyway, this album is plain bad, except for "Motherboard" and the beginning of "Contact" (which is from an old track, btw). The one with Julian Casablancas is of course very catchy but annoying, let's even say disgusting, due to the abuse of filters/autotune.So, seing all these names of previously interesting artists, who collaborated for this dull result, really makes me sad.This album is to music what blockbusters are to cinema: made for people who don't have a clue about the hidden part of the musical iceberg.

  •   Nick.Vinyl : I gave several listens to "RAM" but you are right: most of the tracks I couldn't listen in full without being bored. I used to LOVE Daft Punk as well (their two first albums and Alive 97) but what they are doing now is very different. Their poor production for The Weeknd has finally convinced me they are not making music for music anymore. By "Made for people who don't have a clue about the hidden part of the musical iceberg", I was just saying that the album is not original. All that electro disco stuff has been done before and better. Listen to old Giorgio Moroder or Patrick Cowley for example.  vejymonsta, 0dd1: Ok, maybe it's not "autotune", maybe it's another software, but still the result is ugly. There's a good example of a well-done vocoder effect at the middle of "Get Lucky" (track ruined by PW's annoying singing).Finally, 0dd1 wrote "This album has virtually no digital production on it." What does it mean? What's the difference between "virtually no" and "yes"?

  • This album ain't dull man... Like another said, you are quite pretentious. "Made for people who don't have a clue about the hidden part of the musical iceberg" What are you trying to get on about here? Practically half of the music I truly love is stuff that pretty much no one knows about and I have to hunt for. With that said I LOVE Daft Punk, and this album is fantastic. I did not like the filtered voices at first either, but after some listens they really just add to the oldschool/newschool vibe of this record. You're that kind of guy who listens once, or maybe not even a full listen and then judges eh? Seems like it.... You have a good day and try to give some albums more of a chance before you throw negative comments at them. It took me maybe ten times to really like this record, try listening some more yourself.

  • Disgusting? Are you joking? It's not autotuning. The function of autotune is to "correct" a vocalists tone. What's used in this album is called a vocoder. The function of a vocoder is to distort the vocalists tone. The complete opposite use! Vocoders have been used in this genre of music since its creation. Also, what does the discogs page have to do with the album itself? Get over yourself.

  • It doesn't even use autotuning, the parts you think are autotuned were done with a vocoder. This album has virtually no digital production on it.

  • I didn't like this album either, but man you're pretentious

  • Regardless of your thoughts on the record, your attitude toward crediting the musicians who played on the tracks is totally inappropriate, especially when in the next breath you mention the rest of the "musical iceberg", much of which is built by musicians much like the ones you just totally downplayed.

  • >bad cause autotune>electronic musicgg

  • couldn't sound better. I consider this a test record.

  • Good album, even if it's quite uneven! Only 3 "disco" tracks. I could have used more actually....The mixing/mastering was not great regardless of what others are saying.

  • Could you explain what you mean by "The mixing/mastering was not great"? In what way? It was mastered by Bob Ludwig who won the TEC Award for it in 2014, and I can't find fault with it personally :S...He also won a grammy for it it seems, "2014: Best Engineered Album, Non-Classical: - Random Access Memories, Daft Punk"...

  • 160 people selling this album but it came out 2 years ago.

  • This album changed my life

  • Except the subtle pale highs, this vinyl is a f***in' masterpiece of sound engineering!

  • Yup. What about music?

  • Good album, but FAR from a sonic masterpiece. The mixing is a bit on the dull side.

  • good, atmospheric sounds , different sounds for every track but mostly funky

  • Would never paid for this album in vinyl if it wasn't for "Motherboard". The rest of the album sounds catchy and fitting for some fun times with buddies.

  • I honestly would have preferred more dynamic range in the vinyl mastering. Seems more lo-fi than the last LP, and that's a bad thing.

  • Great album, good pressing (a little bit of surface noise, though). But I think that the 24/88.2 download sounds even better and alive.

  • The studio masters sound supernatural - heavenly. You can just turn it up, and up.

  • Zzz...boring, trite, gimmicky garbage.

  • Catchy, amazing album. One to show off vinyl to people who aren't in the know. Sounds great, funky, just all around amazing.

  • nothing to add. They'll keep us safe from Avicii&Co

  • Bravo! Well done! Daft Punk shows some maturity and I love the path they have chosen. They put together a beautiful blend of their many influences with a forward looking atmosphere that is so compelling…You feel you understand where they come from and where they are going. And you just want to go along for the ride!! The vinyl and packaging is absolutely beautiful...I am reminded of the columbia Lp's I bought in the 80's before anyone talked about CDs. To all who hear some crackling and some backround vinyl noises, it is normal for a vinyl that is new to have some imperfections. After all, when they press them they use oil on the stampers...A good spin on a record cleaning machine and voilà, you will get pitch black backround on a well recorded and mastered album. A release like this from a major label in 2013 is no small feat and I must say surprising if you take into account all the compressed junk the recording companies have put out since the beginning of the CD era...Daft Punk wanted to release a record that could be listened to on a hi-fi system and become some sort of a referral recording like Pink Floyd's Dark Side Of The Moon or Steely Dan's Aja…This is a very ambitious objective if you think about it…No one in the recording industry values this thinking, preferring something that sounds loud on Itunes, intenet streaming or MP3 players…An industry that kept putting out very bad recordings since the Cd came about, wanting their tracks to sound the loudest on the radio!!! Because of this, we have lost a lot of knowledge and talent on the quality recording and mastering side of things…just think about the work Rudy Van Gelder did with Blue Note and Prestige and what Steve Hoffman is fighting for…I am not saying this Lp has achieved this referral recording status, but they are close and they have earned my respect for at least trying to do this. Finally a good pop record that I can listen to on my high end system! This will be my soundtrack for the summer!!! To those who say this is not well recorded, I say choose your sources carefully and stop listening to CDs or vinyl mastered from CDs or from any other digital sources…This is the real thing, and please do not take my word for it. Go to the Dynamic Range Database and you will see the numbers speak for themselves. The vinyl album has a dynamic range avg. of 12 on 20, while the mastered for Itunes or any other digital version has a dynamic range avg. of 8 on 20…By the way, my vinyl copy does not say ''mastered for Itunes''..If that would be the case, this vinyl would not sound as good as it does!! 4.5 out of 5!!

  • Excellent music, i'd rather say.About the vinyle release, pressing is very good, although i'm meeting some imperfections (I hope they will go away after 2-3 plays), quality of artwork and inserts is excellent.However the sound is clearly heavily compressed. What is the purpose, except fashion, of releasing a vinyle edition if you press "mastered for itunes" sound on it? The result is too loud bass, and higher volume on all the spectrum compared to a regular vinyle release. If you have a good hifi install and speakers, you may be a little annoyed by the bass, as I am.

  • Allow me to tell digital music is released already mastered for itunes ;in other terms, it means that, in order to be played decently on mobile devices with loud bass and dynamic sound (smartphone, ipod, phone docks etc), sound is dynamically reprocessed. However, if you have a good amplifier and good loudspeakers (a decent hifi install, does it still exist in this world? I hope so), this mastering becomes useless, and it turns even worse when all this reprocessed sound is amplified : there comes the distortion, it's painful to enjoy. It's very problematic on a LP because the signal is amplified a couple of times (not only once), and then the distorsion becomes bigger and bigger. So, they have pressed this compressed reprocessed sound on the vinyl, and it's not enjoyable to listen on a powerful amplifier. Now, if anyone wants to know if the production is good, I will answer yes; if he wants to know if the sound of the vinyle is good, I'd rather tell NO. Don't buy unless you are a big DP's fan or a vinyl hipster who just want the LP because it's trendy.

  • Ideally you'd have as close a match in sound between all releases as possible, since the music is intended to sound a particular way irrespective of the medium, right? I can't say I noticed any compression or loudness issues; that's not to say the production or mastering is perfect, but compared to their previous records, I'd say this is there best effort by far!

  • Despite the annoying vocoder singing and the cheesy in "the game of love" this album is pretty good. The moroder track is a monster and there is even some ambient! Keep up the good work!

  • Even robots get the blues

  • Perfect album

  • Masterpiece!

  • please don't say vinyl quality is good. on the second listening there's very audible cracking noise, which goes well with the overall vintage tone of the album but is NOT a sign of particularly good vinyl.

  • Ineed, you must have a bad copy. It's totally silent and clean, and I don't say that of many records in my collection.

  • Get your copy replaced by the shop. Mine is totally flawless and awesome sounding.

  • Awful. Disappointing. That doesn't sound like Daft Punk. And I love everything, Daft Punk did before. Sounds like some cheap disco-sampler. This is very sad. 0/5

  • awesome pressing quality !

  • Does anybodys knows how many Vinyl's where pressed (88883716861)?

  • It's not a limited edition

  • as always.... sounds so good on vinyl. perfect

  • What a wonderful and brilliant album this is. It is nearly unbelievable. "The Game Of Love" is the most beautiful song I have heard for a very, very long time. This masterpiece really makes me happy !!! (And the Vinyl has quite fine quality. Not more, not less.)

  • I am not going to repeat everything of what has been said before, but a masterpiece it is indeed.I'd like to add a little comment on the vinyl version: The mastering and the quality of this pressing is sublime, on high quality very silent vinyl. Exceptional!

  • yes indeed: Exceptional!

  • You're very right there. These days new vinyl often sounds pretty poor. But these records are really made for the audiophiles among us. A true pleasure to listen

  • FYI, there are a ton of errors in the attribution of these tracks - Omar Hakim drums on 'Giorgio by Moroder', for example. Not John JR Robinson:"Thomas Bangalter on drummer Omar Hakim's playing on the second half of "Giorgio by Moroder": "I remember going to him and humming this really complicated drum and bass programming and he's like, 'Like this?' [makes drum noises] He's doing it exactly like I hummed but like 10 times beyond. It felt like, 'Whoa! What have we been missing being limited by our own programming skills?' He probably only did two takes for that part."

  • Actually both are drumming on this song. You can see that in the booklet.I guess the original submitter simply forgot to add the credit for Omar Hakim.If you find any other errors, it would be great if you could post them in the submission history.

  • I love this album and I was not a fan of Daft Punk (previous albums). I would love to have another copy with all this songs without vocals too; if this is possible I will definitively buy it just to have both versions. Why not a box set? Instrumental and vocal tracks and some extra remixes from Kraftwerk, Giorgio Moroder, John Foxx and OMD!! :)

  • This is Daft Punk's "Sgt. Pepper" - right time - right place, a true masterpiece! I'm listening to it for the 3rd time now and it's even getting better after being more than satisfied hearing it the 1st time.Great analouge sound, elaborated arrangements, stunning collaborations, catchy tunes, innovative sounds (love the strings and orchestra parts!) all a #1 album needs - this will be hard to top!I'd love to hear collaborations with Kraftwerk, P.McCartney or even CAN (reunited) in the future - like to close a circle. Maybe some people expected something different being brainwashed by Lady Gaga, Madonna and Rihanna pseudo-mp3-music for the last years but as someone mentioned before, they already made "Around the World" and "One More Time" - here's the evolution! Listen to it - if love is the answer you're home!

  • oh please, i already know you dont know what your talking about. really? there is only one sgt. pepper. it was experimental they had a direction but some tracks are complete throw a ways. huge daft punk fan here. i would rank discovery, then homework, then RAM, then human after all. they tried replicating a sound thats been done already in the early 80's. when i listened i heard alot of quincy jones, a little stevie wonder, which is clearly where they drew their influences. but that doesnt mean that the final product completely mirrors that of a "masterpiece" a very relaxing record though. slower BPM's than i would've anticipated from Daft.

  • Daft Punk and Can would be mind blowing!

  • I believe the people who dislike this album should check it again, this record is a real grower. At first, it seemed to me that it was disappointing and boring. However, upon second and third listen you start to recognize the details and their goal to put life back into music. I also think it is essential to listen to this record on a good set, the production is great and just listening to the iTunes stream/rip does not provide you with the full experience. I have to admit that even after the seventh or eigth listen it disappoints at certain points. The vocals of Pharrell are a little sketchy here and there and Within and Beyond are still not the most riveting tracks around. However, on their previous albums this was also the case for several tracks, but people seem to forget this. All in all, I have to conclude they did it again, amazing.

  • Phenomenally good. I honestly haven't enjoyed an album this much since Sound of Silver by LCD Soundsystem. And sorry if you've been expecting something similar to Homework or Discovery but...they've already made those records. This album doesn't in any way take away from their other work. And if you don't like it? Hate that. But it might grow on you with some time. Just listen to it with an open mind though!

  • Good, then it's not just me!

  • Daft Punk are fricking geniuses!