THIS IS THE US ORIGINAL PRESSING on LOST HIGHWAY-EXILE-POLYDOR label.  PARTIALLY IN SHRINK SINGLE COVER + INNER SLEEVE + INSERT + HYPE STICKERS + 180GR VINYL. The cover is in EX condition and without any major deterioration BUT light discolouration on right corners (where missing shrink), left spine is fully readable; INNER & INSERT also in great condition; for details see photos (with and without flashlight). Vinyl is in EX condition [barely played] and plays wonderfully and without lessening in sound quality.

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VAN MORRISON

Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer,  Van Morrison is among popular music's true innovators, a restless seeker  whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk  produced perhaps the most spiritually transcendent body of work in the rock & roll canon.
"PAY THE DEVIL" tracklist Side A: THERE STANDS THE GLASS - HALF AS MUCH - THINGS HAVE GONE TO PIECES BIG BLUE DIAMONDS - PLAYHOUSE - YOUR CHEATIN' HEART MY BUCKET'S GOT A HOLE IN IT - BACKSTREET AFFAIR Side B: PAY THE DEVIL - WHAT AM I LIVING FOR? - THIS HAS GOT TO STOP ONCE A DAY - MORE AND MORE - TILL I GAIN CONTROL AGAIN
2006      LP     LOST HIGHWAY RECORDS     B0005968-01
PRINTED IN U.S.A.    ORIGINAL PRESSING
PARTIALLY IN SHRINK SINGLE COVER + INNER SLEEVE + INSERT + HYPE STICKERS + 180GR
Barcode and Other Identifiers Barcode: (text) 6 02498 77074 0 Label Code: none
LABEL: LOST HIGHWAY - BLACK LABEL - WHITE/YELLOW TEXT
Catalog on cover: B0005968-01 Catalog on labels: B0005968-01
Matrix / Runout (Side A, Etched): B0005968-01 -A [Signature] ⓤ Matrix / Runout (Side B, Etched): B0005968-01 B [Signature] ⓤ
On labels: ℗&© 2006 Exile......Distributed by Universal..........reserved.
On black sticker on front: "Pay The Devil is comprised of 15 tracks; three of these are originals and 12 are covers of some of Van Morrison's favorite classic country songs............."
On round sticker on front: 180 GRAM VINYL   AUDIOPHILE PRESSING LOST HIGHWAY  STDD180GRM ST01
On back cover: Tracklist Produced by Van Morrison for Exile Productions Ltd. ℗&© 2006 Exile Productions................applicable laws
grading
RECORD EX but (please, read above description) SLEEVE EX but (please, see pictures and read above description)
Pay the Devil, an album-long foray into country music, shouldn't come as a surprise to Van Morrison fans. It's a logical extension of his love affair with American music. Certainly blues, R&B, soul, and jazz have been at the forefront, but one can go all the way back to the Bang years and find "Joe Harper Saturday Morning," or songs on Tupelo Honey that touch country. More recently, You Win Again, with Linda Gail Lewis, offered two Hank Williams tunes and "Crazy Arms." The Skiffle Sessions with Lonnie Donegan offered traditional Southern tunes including Jimmie Rodgers' "Mule Skinner Blues." Morrison's lyrics have also referenced country music blatantly. Pay the Devil comes from direct sources of inspiration: his father's skiffle band and Ray Charles' historic forays into country on the two volumes of Modern Sounds in Country and Western Music in 1962. The evidence lies in three cuts on this disc, all of which Charles recorded: Curley Williams' "Half as Much," Art Harris and Fred Jay's "What Am I Livin' For," and Hank Williams' "Your Cheatin' Heart." Morrison's a cagey one: his own mercurial versions of these nuggets are more traditional than those of Charles, yet are steeped in similar production styles that offer a clear nod to the late artist. While there are no horns on Pay the Devil, the layers of strings on top of "fiddles" and honky tonk pianos -- as well as earlier pedal steel styles -- are giveaways. And then there is the voice. Like Charles, Morrison is a soul singer no matter what he sings and he digs into these tomes with fire and the uncommon sweetness of tone and limited timbre that Charles did. But Morrison re-creates these tunes in his own image too.  Recorded in Belfast with his own band, Pay the Devil flows seamlessly from start to finish over 15 cuts. It opens with a killer read of "There Stands the Glass," which is brave considering it's synonymous with Webb Pierce (one of two here -- the other is "More and More"). It's drenched in pedal steel, electric guitar, and a pair of basses. The fiddle floats just above the upright piano and a swell of strings in the bridge. It drips with a swaggering loneliness and gets the full weepy treatment with Geraint Watkins' piano solo...(AllMusic)