Audiophile LP's und CD's aus Privatsammlung

Produktsuche

Gesamtkatalog
Audiophile Pop -Rock LP's MFSL - HALFSPEED-LP`s USA (Out of Print ) DCC-audiophile LP`s USA(180gVinyl-Out of Print) Nautilus-audiophile Half-Speed Lp`s(Out of Print) Sweet Thunder-Halfspeed Lp`s-USA (Out of Print) A & M Half-Speed LP`s (Out of Print ) Simply Vinyl - LP`s (180g Reissue´s) Audiophile Pop-Rock Lp`s (viele Japanpressungen) Pop-Rock-Folk Lp`s (Normalpressungen) EASY LISTENING LP ( ORIGINALE & REISSUES ) Testpressungen - LP (Pop-Jazz-Classic) Sheffield Lab - LP`s USA (Jazz/Pop & Classic) Stereoplay-Highlights (audiophile Halfspeed LP`s) American Grammaphone LP`s (Mannheim Steamroller) CBS-Mastersound LP`s (Half-Speed-USA) Telarc (audiophile LP`s / Classic-Jazz) Audiophile Cassetten (MFSL) 45RPM-SINGLES / MAXI-SINGLES POP/ROCK POP-ROCK-LP´s / JAPANPRESSUNGEN Audiophile Jazz LP's Audiophile Classic LP's Audiophile Pop - Rock - Jazz - Classic CD's

MFSL - HALFSPEED-LP`s USA (Out of Print )
Gefundene Artikel: 721
Anzeige Produkte 591 bis 600
MFSL 2-479 ----- ANALOGE 45RPM-MFSL-DOPPEL-LP/RECORD ---- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER !! ----- (OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !!) XXL-Foto XXL-Foto	ARETHA FRANKLIN ----- ARETHA´S GOLD ----- AUDIOPHILE MFSL-DOPPEL-LP/RECORD IN EINEM EDLEN KLAPPCOVER(GATEFOLD JACKET) ----- ANALOGES, AUDIOPHILES 45RPM-REMASTERING BY MOBILE FIDELTY SOUND LAB IN USA IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD-JACKET) ----- LIMITED EDITION ----- WITH SPECIAL LIMITED NUMBER # ----- ( ...... OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! / ..... BESONDERS WERTVOLLE ANALOGE 45RPM MFSL-DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD JACKET) / ..... ORIGINAL PRODUCTION AND 45RPM-REMASTERING BY MOBILE FIDELITY SOUND LAB, USA 2017 / ..... RECORDING USA WITH SPECIAL LIMITED EDITION NUMBER !! / ..... 180g HIGH DEFINITION VINYL / ..... MFSL-GAIN 2 ULTRA ANALOG SYSTEM / ..... MASTERED FROM STEREO TAPES BY KRIEG WUNDERLICH AT MOBILE FIDELITY SOUND LAB, SEBASTOPOL IN CALIFORNIA USA ON THE GAIN 2 ULTRA ANALOG SYSTEM / ..... ORIGINAL AUFNAHMEN 1969 BEI ATLANTIC RECORDS IN USA / ..... ORIGINAL RECORDING 1969 BY ATLANTIC RECORDS IN USA / ..... ANALOGUE RE-MASTERING BY MOFI = MOBILE FIDELITY SOUND LAB, USA 2017 / ..... ORIGINAL MFSL PACKAGING !! / ..... WITH SPECIAL LIMITED EDITION NUMBER ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP/RECORD-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP/RECORD-COLLECTION (ONE EXEMPLARY)!! ...... DIESE WERTVOLLE, ANALOGE MFSL-DOPPEL-LP/RECORD IST NOCH ORIGINAL VERSIEGELT = OVP = FACTORY SEALED!! ...... ) Weitere Details: ************************************************************************************************ ............... Als man sich bei Atlantic Records 1969 entschloss, mit „Aretha's Gold“ ein Greatest-Hits-Album von Aretha Franklin herauszubringen, hatte sich die damals gerade 27jährige ihren Ehrentitel „FIrst Lady Of Soul“ schon längst verdient - und „Aretha's Gold“ beweist eindrucksvoll, womit. Vierzehn Tracks sind auf dieser Platte vereint, allein sechs davon Nummer-Eins-Hits. Und alle davon sind auch heute noch Nummern, die schon bei den ersten Klängen der sauber soulig groovenden Begleitband ein vorfreudiges Lächeln des Wiedererkennens aufs Gesicht zaubern: „Chain Of Fools“, „Think“, „Respect“, „I Say A Little Prayer“ - ganz klar, niemand konnte der „First Lady“ ihren Titel in den letzten vierzig Jahren ernsthaft streitig machen. Jetzt kam dieses Album in den Luxus des hochklassigen MFSL-Remasterings - mit 45 rpm kommen die Dynamik und klangliche Transparenz dieses Klassikers erst so richtig zum Tragen, und die Energie und Wandelbarkeit von Arethas Stimme und der weiche und doch druckvolle Sound der ungeheuer tight aufspielenden Studioband werden in allen Facetten perfekt abgebildet. Klare Empfehlung! ............... ***************************************************************************************** ............... Das Remastering der auf 4.000 Exemplare limitierten Auflage übernahm Krieg Wunderlich, assistiert von Rob LoVerde. ............... ******************************************************************************************* Titel: ............... Side One: ............... 1. I Never Loved a Man (The Way I Love You) ............... 2. Do Right Woman-Do Right Man ............... 3. Respect ............... 4. Dr. Feelgood ............... Side Two: ............... 5. Baby I Love You ............... 6. (You Make Me Feel Like) A Natural Woman ............... 7. Chain of Fools ............... Side Three: ............... 8. Since You've Been Gone (Sweet Sweet Baby) ............... 9. Ain't No Way ............... 10. Think ............... 11. You Send Me ............... Side Four: ............... 12. The House That Jack Built ............... 13. I Say a Little Prayer ............... 14. See Saw ............... ********************************************************************************************* Rezension: ............... "I Never Loved A Man (The Way I Loved You)", "Do Right Woman - Do Right Man", "Respect", "You Make Me Feel (Like A Natural Woman)", "Chain Of Fools", "Think", "You Send Me", "See Saw" und sieben weitere höchstkarätige Goldstücke: Bereits 1969 erschien diese erste Best-Of-Compilation, sie enthält die Essenz ihrer ersten fünf Atlantic-Alben (die in rascher Folge 1967/68 erschienen waren). Und wer meint, die Songs längst auswendig zu kennen: Krieg Wunderlichs 45 UPM-Mastering dürfte selbst bei Extrem-Fans für manch neues Hörerlebnis sorgen…! ............... ******************************************************************************************* * Gatefold Cover ............... Mit ihrem Wechsel von Columbia zu Atlantic Records schaffte Aretha Franklin 1967 den Durchbruch. Unter dem Produzenten Jerry Wexler entfaltete die »Queen of Soul« ihr volles Talent. Gleich ihre erste Single I Never Loved a Man (The Way I Loved You) verkaufte sich über eine Million Mal, es folgte Hit auf Hit. Es schien ein unsichtbares Korsett von Franklin abzufallen und sie interpretierte die neuen Songs mit einer Stimme voller Leidenschaft und Intensität. Aretha's Gold enthält 14 Meilensteine des Soul, darunter Respect, (You Make Me Feel Like) A Natural Woman, Think, I Say a Little Prayer und The House That Jack Built. Sie mögen die Titel auswendig kennen. Sie haben Ihre Stimme im Ohr. Aber nie klang Aretha Franklin so intim, wie auf diesem Remastering von Krieg Wunderlich und Rob LoVerde für Mobile Fidelity. Die 180g-Doppel-Vinyl-LP mit 45 rpm macht die Tiefe und den Ausdruck der Soul-Sängerin in vollem Umfang hörbar, der Klassiker offenbart enorme Dynamik und erstaunliche Klarheit. Aretha's Gold erscheint im Klappcover in auf 4.000 Exemplare limitierter Auflage mit fortlaufender Seriennummer. ............... ************************************************************************************************ Zustand: OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- AUDIOPHILE MFSL-45RPM-DOPPEL-LP/RECORD IN EINEM EDLEN KLAPPCOVER(GATEFOLD JACKET) ----- ANALOGES, AUDIOPHILES 45RPM-REMASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER # ----- 45RPM-MASTERING ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP/RECORD-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY)!! ...... SIEHE XXL-FOTO(LOOK THE XXL-PICTURES !!) ..... BITTE ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... ) Preis:** EUR 799,99 (minus 50% discount with invoice/rechnungsrabatt = 399,99 euro) ----- OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- AUDIOPHILE MFSL-45RPM-DOPPEL-LP/RECORD IN EINEM EDLEN KLAPPCOVER(GATEFOLD JACKET) ----- ANALOGES, AUDIOPHILES 45RPM-REMASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER # ----- 45RPM-MASTERING ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP/RECORD-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY)!! ...... SIEHE XXL-FOTO(LOOK THE XXL-PICTURES !!) ..... BITTE ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... ) In den Warenkorb


MFSL 2-481 ---- AUDIOPHILE 45RPM MFSL-DOPPEL-LP/RECORD ----- LIMITED EDITION ----- WITH SPECIAL LIMITED NUMBER ----- (OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !!) XXL-Foto XXL-Foto	CURTIS MAYFIELD ----- SUPER FLY ----- AUDIOPHILE ORIGINAL MASTER RECORDING (MFSL) 45RPM-DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD JACKET) ----- ANALOGES, AUDIOPHILES 45RPM-REMASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- LIMITED EDITION ----- WITH SPECIAL LIMITED NUMBER # ----- ( ...... OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! / ..... BESONDERS WERTVOLLE ANALOGE 45RPM MFSL-DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD JACKET) / ..... ORIGINAL PRODUCTION AND 45RPM-REMASTERING BY MOBILE FIDELITY SOUND LAB, USA 2018 / ..... RECORDING USA WITH SPECIAL LIMITED EDITION NUMBER !! / ..... 180g HIGH DEFINITION VINYL / ..... MFSL-GAIN 2 ULTRA ANALOG SYSTEM / ..... MASTERED FROM STEREO TAPES BY KRIEG WUNDERLICH AT MOBILE FIDELITY SOUND LAB, SEBASTOPOL IN CALIFORNIA USA ON THE GAIN 2 ULTRA ANALOG SYSTEM / ..... ORIGINAL AUFNAHMEN 1972 BEI RHINO RECORDS IN USA / ..... ORIGINAL RECORDING 1972 BY RHINO RECORDS IN USA / ..... ANALOGUE RE-MASTERING BY MOFI = MOBILE FIDELITY SOUND LAB, USA 2018 / ..... ORIGINAL MFSL PACKAGING !! / ..... WITH SPECIAL LIMITED EDITION NUMBER ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP/RECORD-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP/RECORD-COLLECTION (ONE SAMPLE)!! ...... DIESE WERTVOLLE, ANALOGE MFSL-DOPPEL-LP/RECORD IST NOCH ORIGINAL VERSIEGELT = OVP = FACTORY SEALED!! ...... ) Weitere Details: ************************************************************************************************ Curtis Mayfield ‎– Super Fly Label: Mobile Fidelity Sound Lab ‎– MFSL 2-481, Rhino Records (2) ‎– MFSL 2-481 Series: Gain 2™ Ultra Analog 45RPM 180g Series – Format: 2 × Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered, 180 Gram, Gatefold Country: US Released: 21 Jan 2019 Genre: Funk / Soul, Stage & Screen Style: Soundtrack, Soul Tracklist A1 Little Child Runnin' Wild 5:15 A2 Pusherman 4:50 B1 Freddie's Dead 5:08 B2 Junkie Chase (Instrumental) 1:52 C1 Give Me Your Love (Love Song) 4:15 C2 Eddie You Should Know Better 2:14 C3 No Thing On Me (Cocaine Song) 4:52 D1 Think (Instrumental) 3:44 D2 Superfly 3:51 Companies, etc. Phonographic Copyright (p) – Rhino Entertainment Company Copyright (c) – Rhino Entertainment Company Licensed From – Rhino Entertainment Company Manufactured By – Rhino Entertainment Company Record Company – Warner Music Group Copyright (c) – Mobile Fidelity Sound Lab, Inc. Published By – Curtom Publishing Co., Inc. Published By – Camad Music Co. Recorded At – RCA Studios, Chicago Recorded At – Bell Sound Studios Mastered At – Mobile Fidelity Sound Lab Lacquer Cut At – Mobile Fidelity Sound Lab Mastered At – Record Technology Incorporated – 29990 Pressed By – Record Technology Incorporated – 29990 Credits Arranged By, Orchestrated By [From Original Dictations of Curtis Mayfield] – Johnny Pate Art Direction – Glen Christensen Contractor – Marv Heiman* Design [Packaging] – Milton Sincoff Engineer [RCA] – Roger Anfinsen (tracks: A1, A3 to B5) Lacquer Cut By – RML* Mastered By – Krieg Wunderlich, Rob LoVerde Producer, Performer, Written-By [Words And Music] – Curtis Mayfield Notes Strictly Limited to 4,000 Numbered Copies ℗ 1972 & 2018 Rhino Entertainment Company. Produced under license from Rhino Entertainment Company. Manufactured by Rhino Entertainment Company, a Warner Music Group Company. © 2018 Mobile Fidelity Sound Lab®, Inc. Mastered by Rob LoVerde and Krieg Wunderlich at Mobile Fidelity Sound Lab® in Sebastopol , CA on the GAIN 2 ULTA ANALOG SYSTEM™ Specially Plated and Pressed on 180g High-Definition Vinyl Production by Mobile Fidelity Sound Lab® in Sebastopol, CA Barcode and Other Identifiers Barcode (Text): 8 21797 24811 2 Barcode (String): 821797248112 Matrix / Runout (Side A): MFSL 2-481 A1 RML 29990.1(3)... Matrix / Runout (Side B): MFSL 2-481 B1 RML 29990.2(3)... Matrix / Runout (Side C): MFSL 2-481 C1 RML 29990.3(3)... Matrix / Runout (Side D): MFSL 2-481 D1 RML 29990.4(3)... Rights Society: BMI ************************************************************************************************* Mit der Soul- und R&B-Band Impressions hatte Curtis Mayfield bereits mehrere Charthits verbuchen können, doch den größten Erfolg seiner Karriere landete er als Solokünstler 1972 mit dem Soundtrack Superfly. Dem Blaxploitation-Film über einen ausstiegswilligen Kokain-Dealer setzte Mayfield Texte entgegen, in denen er die Lebenswirklichkeit in den städtischen Ghettos kritisch kommentierte. Seine Musik ist eine Reise durch urbane Stadtviertel, Denkweisen und Leben, die gleichermaßen als Beschreibung des Status quo wie auch als emotional geladener Weckruf fungiert. Der in Chicago geborene Sänger bedient sich dabei über weite Strecken eines Falsett, das die widersprüchlichen Gefühle von Sympathie, Wut, Traurigkeit, Sinnlichkeit, Härte, Verzweiflung und Angst der Protagonisten unterstreicht. So vermittelt Mayfield unangenehme Wahrheiten und kritische Perspektiven, ohne dabei zu predigen oder Partei zu ergreifen. Musikalisch überzeugt Superfly auf ganzer Linie mit satten Grooves und funkigen Riffs. Die Singles Freddie's Dead und Superfly wurden über zwei Millionen Mal verkauft, das Album hielt sich vier Wochen auf Platz 1 der Charts und wurde für vier Grammys nominiert. Das Remastering übernahm Rob LoVerde. Mayfields Arrangements atmen nun spürbar Luft. Sie offenbaren ein erstaunliches Maß an Offenheit und Dynamik und platziert die Musiker auf einer breiten Bühne. Das MFSL Re-Issue erscheint als Doppel-45rpm-180g-Vinyl-LP im Klappcover und ist auf 4.000 Exemplare weltweit limitiert. Geschnitten wurde von Rob LoVerde im Half-Speed-Mastering Verfahren. ******************************************************************************************* Rezension: Neben Isaac Hayes' "Shaft" ist dies der wohl definitive Blaxploitation-Score – und ganz nebenbei noch eines der besten Alben des 70er-Soul, ein Soundtrack, der den Film selbst (wiewohl ein Genre-Klassiker) bei weitem überstrahlt. Man spürt es schon in den ersten Takten, sobald die Hammond einsetzt: Was hier in Sachen Groove und Spannung geschieht, ist einzigartig. Die Dichte an Klassikern ist extrem, "Pusherman", "Freddie's Dead" und der Titelsong mögen in Sachen Popularität leicht vorne liegen, sind aber letztlich Erste unter Gleichen – was man in diesem Ausnahmefall sogar für die Instrumentals stehen lassen kann: Wer nach "Junkie Chase" nicht außer Atem ist, hat nicht zugehört. Ein 'all-time classic' vom ersten bis zum letzten Ton. – Der 45er Umschnitt vom MFSL stellt alles bisher Dagewesene in den Schatten: So durchhörbar waren die komplexen Arrangements noch nie; und der Bass ist von sagenhafter Präzision. Wer das einmal gehört hat, wird es nie wieder anders hören wollen… (1972/2019) ******************************************************************************************* Titel: 1. Little Child Runnin' Wild 2. Pusherman 3. Freddie's Dead 4. Junkie Chase 5. Give Me Your Love (Love Song) 6. Eddie You Should Know Better 7. No Thing On Me (Cocaine Song) 8. Think 9. Superfly ********************************************************************************************* Description A Master Stroke of Boundary-Crossing Music, Brilliant Production, Smart Storytelling, and Vital Social Commentary: Curtis Mayfield's Lushly Orchestrated Superfly Is a Cultural Signpost Mastered on Mobile Fidelity's World-Renowned Mastering System, Pressed at RTI, and Strictly Limited to 4,000 Numbered Copies: 180g 45RPM 2LP Set Features Widescreen Details, Tones, and Grooves Curtis Mayfield's border-transcending Superfly is much more than a soundtrack to a cutting-edge blaxploitation film. Recorded in 1972 to coincide with Gordon Parks, Jr's movie about a dealer attempting to divorce himself from the urban underworld, Mayfield's brilliantly orchestrated set ignited an entire genre, expanded the scope of R&B, and spurred dialogues surrounding significant social issues ranging from the unvarnished consequences of hustling to the realities of African-American lives in America. Rightly deemed by Rolling Stone "Marvin Gaye's What's Going On at a street level" and named the 69th Greatest Album of All Time by the magazine, Superfly endures as an astonishing master stroke of boundary-crossing soul, lyrical smarts, and vital commentary. Mobile Fidelity's reissue brings it – and its of-the-moment contents – to life like never before. Mastered on Mobile Fidelity's world-renowned mastering system, cut at 45RPM for the first time, pressed at RTI, and strictly limited to 4,000 numbered copies, this 180g 45RPM 2LP set of Superfly presents Mayfield's vision with widescreen sonics worthy of its cinematic reach. The extra groove space afforded by the 45RPM edition changes everything and explodes the wealth of aural information. Separation between the seemingly countless instruments, the myriad timbres of Mayfield's voice, the ambitious breadth and crucial shifts of the strings, the probing reach of the lean albeit direction-leading bass: You've never heard Superfly sound so vibrant, realistic, or immediate. Surpassing the status of an album, the 1972 effort comes across here as an audiophile-vetted cultural signpost – an epic on the order of Duke Ellington's Black, Brown & Beige, Miles Davis' A Tribute to Jack Johnson, and Gaye's aforementioned manifesto. As Mobile Fidelity's restored version proves, few records mesh lush delicacy with such pressing urgency to the extent heard on Superfly. Mayfield's arrangements now breathe and exhale with palpable air, revealing an astounding degree of openness and dynamics that places the musicians on a grand soundstage. On par with the finest big-studio productions of the 60s and 70s, Mobile Fidelity's Superfly bursts with colors and details – with the mind-boggling array of individual threads forming a seamless tapestry involving guitars, woodwinds, horns, singing, and melodies. The presentation of the wah-wah effects, accenting rhythms of the brass rejoinders, and mood-setting aura of the strings are alone enough to make Phil Spector or Brian Wilson blush. No prior R&B work simultaneously crossed as many lines, painted such vivid portraits, and maintained such streetwise cool. No wonder Superfly kickstarted the genre of blaxploitation music. Yes, Isaac Hayes' Shaft arrived nearly a year earlier. Apart to their fundamental relationship to the style, however, the records are worlds apart. Mayfield's creation stands as a fully realized track-by-track immersion into urban neighborhoods, mindsets, and lives that doubles as both boots-on-the-ground reportage and an emotionally loaded wake-up call. Primarily singing in a light falsetto that underscores the conflicting feelings of sympathy, anger, sadness, sensuality, toughness, desperation, and fear harbored by the protagonists, the Chicago native dispenses hard truths and critical perspectives without ever preaching or taking sides. The results pulse with the same vitality as they did four decades ago, wth Mayfield's narratives echoing with biographical and descriptive details rather than choosing a celebratory or exploitative route. As skillful as Mayfield's words remain, the music blows them away. Superfly works on multiple levels – a record whose deep grooves and avalanche of funk-derived riffs express basically everything that needs to be said. Each song inhabits its own geographical and personal landscape, their lasting appeal a testament to the album becoming one of the few soundtracks to out-gross its accompanying film. Shortly after release, Superfly spent four weeks as at the top of the Billboard Pop charts and yielded a pair of two-million-selling singles, "Freddie's Dead" and the title track, both pregnant with the powerful imagery and tell-it-straight approach that define every moment of the record. Mayfield's direct connection to the material remains evident. "I could relate with a lot of [the script for Superfly], because I lived enough throughout the city to sense...what a ‘Superfly' was," he once explained to writer Bob Pruter. "[The script] allowed me to get past the glitter of the drug scene and go beyond it." And go beyond he does – in every practical facet – from the entrapment and danger conveyed by "Little Child Runnin' Wild" to the bleak albeit mesmerizing, greasy funk of the blunt "Pusherman" to the escapist sensuality of the smooth "Give Me Your Love (Love Song)." Superfly is an American institution – and a work everyone should experience in full-range sound. Mobile Fidelity's ultra-clean pressing makes it all possible. Secure your numbered-edition copy from Music Direct today! ******************************************************************************************** 180-gram 45 RPM 2LP set! Mastered on Mobile Fidelity's renowned mastering system Pressed at RTI, strictly limited to 4,000 numbered copies! Curtis Mayfield's border-transcending Superfly is much more than a soundtrack to a cutting-edge blaxploitation film. Recorded in 1972 to coincide with Gordon Parks, Jr.'s movie about a dealer attempting to divorce himself from the urban underworld, Mayfield's brilliantly orchestrated set ignited an entire genre, expanded the scope of R&B, and spurred dialogues surrounding significant social issues ranging from the unvarnished consequences of hustling to the realities of African-American lives in America. Rightly deemed by Rolling Stone "Marvin Gaye's What's Going On at a street level" and named the 69th Greatest Album of All Time by the magazine, Superfly endures as an astonishing master stroke of boundary-crossing soul, lyrical smarts, and vital commentary. Mobile Fidelity's reissue brings it — and its of-the-moment contents — to life like never before. Mastered on Mobile Fidelity's world-renowned mastering system, cut at 45 RPM for the first time, pressed at RTI, and strictly limited to 4,000 numbered copies, this 180-gram 45 RPM 2LP set of Superfly presents Mayfield's vision with widescreen sonics worthy of its cinematic reach. The extra groove space afforded by the 45 RPM edition changes everything and explodes the wealth of aural information. Separation between the seemingly countless instruments, the myriad timbres of Mayfield's voice, the ambitious breadth and crucial shifts of the strings, the probing reach of the lean albeit direction-leading bass: You've never heard Superfly sound so vibrant, realistic, or immediate. Surpassing the status of an album, the 1972 effort comes across here as an audiophile-vetted cultural signpost — an epic on the order of Duke Ellington's Black, Brown & Beige, Miles Davis' A Tribute to Jack Johnson, and Gaye's aforementioned manifesto. ****************************************************************************************** Zustand: OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- AUDIOPHILE ORIGINAL MASTER RECORDING (MFSL)- 45RPM-DOPPEL-LP/RECORD IN EINEM EDLEN KLAPPCOVER(GATEFOLD JACKET) ----- ANALOGES, AUDIOPHILES 45RPM-REMASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER # ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY)!! ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... ) Preis:** EUR 399,99 (minus 50% discount with invoice/rechnungsrabatt = 199,99 euro) ----- OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- AUDIOPHILE ORIGINAL MASTER RECORDING (MFSL)-DOPPEL-LP/RECORD IN EINEM EDLEN KLAPPCOVER(GATEFOLD JACKET) ----- ANALOGES, AUDIOPHILES 45RPM-REMASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER # ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY)!! ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... ) In den Warenkorb


MFSL 2-482 ----- ANALOGE ORIGINAL 45RPM-MFSL-DOPPEL-LP/RECORD ---- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER #0894 ----- (OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !!)	GRATEFUL DEAD ----- FROM THE MARS HOTEL ------ ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2019 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET)----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #0894 ----- OUT OF PRINT ----- ( ...... OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! / ..... BESONDERS WERTVOLLE ANALOGE 45RPM-MFSL-DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD JACKET) / ..... ORIGINAL PRODUCTION AND RE-MASTERING BY MOBILE FIDELITY SOUND LAB, USA 2019 / ..... ORIGINAL MASTER RECORDING USA WITH SPECIAL LIMITED EDITION NUMBER #0894 !! / ..... 180g HIGH DEFINITION VINYL / ..... MFSL-GAIN 2 ULTRA ANALOG SYSTEM / ..... MASTERED FROM THE FIRST ORIGINAL STEREO TAPES BY KRIEG WUNDERLICH AT MOBILE FIDELITY SOUND LAB, SEBASTOPOL IN CALIFORNIA USA ON THE GAIN 2 ULTRA ANALOG SYSTEM / ..... ORIGINAL AUFNAHMEN 1974 BEI GRATEFULD DEAD RECORDS IN USA / ..... ORIGINAL RECORDING 1974 BY GRATEFUL DEAD RECORDS IN USA / ..... ANALOGUE RE-MASTERING BY MOFI = MOBILE FIDELITY SOUND LAB, USA 2019 / ..... ORIGINAL MFSL PACKAGING !! / ..... WITH SPECIAL LIMITED EDITION NUMBER ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP/RECORD SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP/RECORD-COLLECTION (ONE EXEMPLARY)!! ...... DIESE WERTVOLLE MFSL-45RPM-DOPPEL-LP/RECORD IST NOCH ORIGINAL VERSIEGELT = OVP = FACTORY SEALED!! ...... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Weitere Details: ************************************************************************************************ From The Mars Hotel (Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered) album cover Grateful Dead* ‎– From The Mars Hotel Label: Mobile Fidelity Sound Lab ‎– MFSL 2-482 Series: Gain 2™ Ultra Analog 45RPM 180g Series – Format: 2 × Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered, 180g, Gatefold Country: US Released: 26 Nov 2019 Genre: Rock Style: Folk Rock, Country Rock, Psychedelic Rock Tracklist Show Credits A1 U.S. Blues 4:37 A2 China Doll 4:09 B1 Unbroken Chain 6:45 B2 Loose Lucy 3:23 C1 Scarlet Begonias 4:19 C2 Pride Of Cucamonga 4:16 D1 Money Money 4:21 D2 Ship Of Fools 5:22 Companies, etc. Mastered At – Mobile Fidelity Sound Lab Pressed By – Record Technology Incorporated Manufactured By – Rhino Entertainment Company Licensed From – Grateful Dead Productions Copyright (c) – Mobile Fidelity Sound Lab, Inc. Credits Artwork [Front & Back Cover] – Kelley/Mouse* Engineer – Roy Segal Mastered By – Krieg Wunderlich Pedal Steel Guitar [Pedal Steel] – John McFee (tracks: B2) Performer [Uncredited] – Bill Kreutzmann, Bob Weir, Donna Godchaux, Jerry Garcia, Keith Godchaux, Phil Lesh Synthesizer – Ned Lagin (tracks: A3) Notes Limited edition of 4,000. Printed In U.S.A. [Jacket Spine] Barcode and Other Identifiers Barcode: 821797248211 Matrix / Runout (SIDE ONE): MFSL 2-482 A1 32962.1 (3)... KW@MoFi Matrix / Runout (SIDE TWO): 2-482 B1 32962.2 (3)... KW@MoFi Matrix / Runout (Side A Etching): 2-482 C1 32962.3 (3)... KW@MoFi Matrix / Runout (Side B Etching): 2-482 D1 32962.4 (3)... KW@MoFi ************************************************************************************************ Nach ihrem eher düsteren Erfolgsalbum "Wake of the Flood" zog es Grateful Dead nur ein knappes halbes Jahr später erneut ins Studio, um am 27. Juni 1974 ihr siebtes Studioalbum "From The Mars Hotel" aufzunehmen. Es entstand eines ihrer schönsten Alben, weitaus gelöster und spritziger als der Vorgänger, was möglicherweise daran liegen mag, dass die Band den Tod ihres Mitgründers und langjährigen Keyborders Pigpen langsam verarbeitet hatt. Wunderbare, ungewöhnliche Melodien finden sich hier und Jerry Garcia, rein technisch sicher nicht der begabteste Sänger, zeigt auf diesem Album besonders große Vielseitigkeit, Energie und Tatendrang. Großartig sind Songs wie "US Blues" oder "Scarlet Begonias", sie bieten typische Grateful Dead-Manier, herrlich bluesig, einfach unverzichtbar! Der Toptitel des Albums ist aber "Unbroken Chain". Unfassbar wie lupenrein und zart das Zusammenspiel der Musiker ist, und auch der Gesang ist perfekt in seiner Einzigartigkeit. Nachdenklicher und ruhiger sind "China Doll" und "Ship of Fools", emotionale Offenbarungen, die nicht weniger faszinieren. Kaum eine andere Band scheint im Laufe der Jahre so zusammengewachsen zu sein wie Grateful Dead, sie bildeten eine absolute Einheit. Die Sammler-Webseite discogs zeigt 46 verschiedene Vinylversionen von "From the Mars Hotel", doch mit der nun erschienenen MFSL-45er-Pressung liegt wohl die definitive Ausgabe vor, die selbst die legendäre (längst vergriffene) 1984er-Pressung noch zu übertreffen weiß. Krieg Wunderlich konnte aus den damals schon Maßstäbe setzenden Aufnahmen beim Remastern die letzte Feinheit herausholen - atemberaubend und nicht nur für Deadheads ein Muss! Das Album kommt auf zwei 45UpM-Vinylscheiben im Klappcover und ist auf 4.000 Exemplare limitiert sowie fortlaufend numeriert. ******************************************************************************************* * MFSL - Mobile Fidelity Sound Lab * Gatefold Cover Studioaufnahmen waren nicht die Stärke der Band Grateful Dead, die sich vor allem mit ihren Live-Auftritten eine riesige Fangemeinde erspielte. Für ihr siebtes Album »From The Mars Hotel« bezogen sie Studio A bei Columbia Records, das gerade für Simon & Garfunkel auf den neuesten Stand ausgerüstet worden war. Das Album wurde im Wesentlichen live auf 16-Spur-Bandmaschinen aufgenommen und wird bis heute für seine Wiedergabetreue und brillante Dynamik gelobt. Das Remastering für die Doppel-LP mit 45 RPM übernahm Krieg Wunderlich. Mobile Fidelity schafft damit eine verbesserte Version der lang vergriffenenen 1984er-Auflage, die von den neuen Entwicklungen im Bereich des Schnittsystems, des Mastering-Equipments und im Presswerk profitiert. Die auf 4.000 Exemplare limitierte Auflage erscheint im Klappcover mit fortlaufender Seriennummer. Ein Muss für alle Deadheads und die, die es werden wollen! Rezensionen »From The Mars Hotel – benannt nach der Behausung, in der Beat-Poet Jack Kerouac einst wohnte – hat MFSL zum zweiten Mal nach 1984 von den Original-Bändern überspielt. Jetzt auf zwei schnelllaufende LPs, was zumindest klangmäßig einen Schub nach vorn bringt. (...) Die schönste Nummer, ›Unbroken Chain‹, adelt Backgroundsängerin Donna Godchaux.« (Good Times, Februar / März 2020) ******************************************************************************************** Side One: 1. U.S. Blues 2. China Doll Side Two: 1. Unbroken Chain 2. Loose Lucy Side Three: 1. Scarlet Begonias 2. Pride Of Cucamonga Side Four: 1. Money Money 2. Ship Of Fools ************************************************************************************************ AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head Mobile Fidelity - MFSL2-482 - 180 Gram Virgin Vinyl AAA 100% Analogue - Numbered Limited Edition - Half-Speed Mastered by Kreig Wunderlich from the Original Mastertape Wave That Flag: Grateful Dead's From the Mars Hotel Spotlights Elementary Strengths of Each Band Member and Features "U.S. Blues," "Unbroken Chain," "China Doll," and More Mastered on Mobile Fidelity's World-Renowned Mastering System and Strictly Limited to 4,000 Numbered Copies: 180g 45RPM Vinyl 2LP Set Boasts Dynamic, Smooth Sound Welcome, friend. You've just checked into the Mars Hotel. The Wall of Sound, the greatest PA system ever constructed, is freshly built and ready to go. Phil Lesh is busy experimenting with a low-frequency concept known as "Earthquake Bass." Jerry Garcia is smiling, fresh from blaring a tongue-in-cheek anthem titled "U.S. Blues" that serves as both an irresistible rallying cry of pride and ironic commentary. And the Grateful Dead's interplay continues to wow, peaking on "Unbroken Chain," the most obvious example yet of the group's shared chemistry and individual talents. Yes, we're certain you'll enjoy your stay. In the lobby, you'll find decoratively funky "Scarlet Begonias." Do we need mention the music, performances, and sights sound and look better than ever? Mastered on Mobile Fidelity's world-renowned mastering system, pressed at RTI and strictly limited to 4,000 numbered copies, Mobile Fidelity's 180g 45RPM vinyl 2LP set of From the Mars Hotel comes on as both an audiophile delight and Deadhead's dream. Vastly improving upon the long-out-of-print 1984 MoFi version that currently commands upwards of hundreds of dollars on the aftermarket, the new version takes advantage of enhancements to the cutting system, pressing process, and mastering gear. MoFi's engineers have taken every precaution in honing the sound and feel of the Dead classic. And you cannot argue with the extra information within the wider 45RPM grooves. Originally made in a modern facility dubbed Studio A – a large cinderblock room that Columbia Records specially outfitted for Simon and Garfunkel, who, ironically, split up before they could use it – From the Mars Hotel was primarily recorded live to 16-track machines. After laying down the basic structures, a few overdubs got added, most notably in the form of John McFee's rustic pedal-steel guitar accents on one track and Ned Lagin's spacey synthesizer passages on another. Always prized for its superb fidelity, the effort possesses an uncanny sense of airiness around the vocals, brilliant microdynamics, excellent transients, reference-caliber balance, accessible tonalities, and the distinctive aura of a real band playing in a defined space. With Keith Godchaux's spry quick-finger piano notes adding a barroom blues feeling and wife Donna Godchaux's soaring background vocals bringing up the rear, the Dead puts a vibrant spring into the step of contagious fare such as the rousing "U.S. Blues," down-and-dirty funky soul of "Loose Lucy," and slippery "Money Money." These songs stand as some of the loosest black-inspired music the Dead composed. And why not? True to the era's burgeoning mix of soul, R&B, psychedelic rock, and dance, the collective places its own memorable stamp on the day's popular fusion. Yet From the Mars Hotel earns its stripes as a must-own album for Deadheads and traditional listeners alike because of the manners in which the six band members communicate, bond, react, and create. Singing lead on the high country of "Pride of Cucamonga" and interlocking centerpiece "Unbroken Chain" while threading the record's golden tapestries with silvery bass lines that cradle, shift, and anchor the arrangements, Lesh turns in a heroic individual performance. Each of his mates maximize their own techniques: Garcia lending equal doses of sincerity and salaciousness; Bob Weir hunting, pecking, and jabbing guitar phrases into the flux; drummer Billy Kreutzmann demonstrating jazz-like flair, flawless timing, and rhythmic wit. It's no wonder that many Deadheads, if forced to choose, would select "Unbroken Chain" as the premier example of third-era Dead interaction. Relatively concise, eminently soothing, and named for a crumbling hotel down the street from Studio A, From the Mars Hotel forever dispels the tired notions that the Dead never succeeded in the studio after leaving Warner Bros. and aimlessly drifted (the longest track here clocks in at a scant 6:45). Side One: 1. U.S. Blues 2. China Doll Side Two: 1. Unbroken Chain 2. Loose Lucy Side Three: 1. Scarlet Begonias 2. Pride Of Cucamonga Side Four: 1. Money Money 2. Ship Of Fools Grateful Dead - From The Mars Hotel - 45rpm 180g 2LP Image result for mofi mobile fidelity sound lab GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of MFSL’s founding fathers – Stan Ricker, an audio engineer responsible for many of MFSL’s most heralded past releases. The GAIN 2 Ultra Analog™ system is comprised of a Studer™ tape machine with customized reproduction electronics* and handcrafted cutting amps that drive an Ortofon cutting head on a restored Neumann VMS-70 lathe. (It is worth noting that independent studies have confirmed that the GAIN 2 Ultra Analog™ system can unveil sonic information all the way up to 122kHz!) First and foremost, we only utilize first generation original master recordings as source material for our releases. We then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master’s sonic information. Our lacquers are then plated in a specialized process that protects transients in the musical signal. (Due to this process, there may be occasional pops or ticks inherent in initial play back, but as the disc is played more, a high quality stylus will actually polish the grooves and improve the sound). We further ensure optimum sound quality by strictly limiting the number of pressings printed for each release. These limited editions, in addition to being collectors’ items, ensure that the quality of the last pressing matches the quality of the first. As you can imagine, all these efforts involve a tremendous amount of time, technology, cost and effort. The introduction of GAIN 2 Ultra Analog™ maintains Mobile Fidelity Sound Lab’s position as the world’s leading audiophile record label, where a passion for music with extraordinary sound quality matters most. https://store.acousticsounds.com/images/FormatIcons/180gram.jpg RTI 180 HQ Vinyl Record Technology is a world class record pressing plant located in Camarillo, California. We have been operating since 1974, pressing for most audiophile record labels and for many quality minded independent and major record labels from around the world. ********************************************************************************************* Grateful Dead's interplay wows on hits: "U.S. Blues," "Unbroken Chain," "China Doll" and more! Mastered on Mobile Fidelity's world-renowned mastering system Limited to 4,000 numbered copies, pressed at RTI 180-gram 45 RPM 2LP reissue boasts dynamic, smooth sound Welcome, friend. You've just checked into the Mars Hotel. The Wall of Sound, the greatest PA system ever constructed, is freshly built and ready to go. Phil Lesh is busy experimenting with a low-frequency concept known as "Earthquake Bass." Jerry Garcia is smiling, fresh from blaring a tongue-in-cheek anthem titled "U.S. Blues" that serves as both an irresistible rallying cry of pride and ironic commentary. And the Grateful Dead's interplay continues to wow, peaking on "Unbroken Chain," the most obvious example yet of the group's shared chemistry and individual talents. Yes, we're certain you'll enjoy your stay. In the lobby, you'll find decoratively funky "Scarlet Begonias." Do we need mention the music, performances, and sights sound and look better than ever? Mastered on Mobile Fidelity's world-renowned mastering system, pressed at RTI and strictly limited to 4,000 numbered copies, Mobile Fidelity's 180-gram 45RPM vinyl 2LP set of From the Mars Hotel comes on as both an audiophile delight and Deadhead's dream. Vastly improving upon the long-out-of-print 1984 MoFi version that currently commands upwards of hundreds of dollars on the aftermarket, the new version takes advantage of enhancements to the cutting system, pressing process, and mastering gear. MoFi's engineers have taken every precaution in honing the sound and feel of the Dead classic. And you cannot argue with the extra information within the wider 45RPM grooves. Originally made in a modern facility dubbed Studio A — a large cinderblock room that Columbia Records specially outfitted for Simon and Garfunkel, who, ironically, split up before they could use it — From the Mars Hotel was primarily recorded live to 16-track machines. After laying down the basic structures, a few overdubs got added, most notably in the form of John McFee's rustic pedal-steel guitar accents on one track and Ned Lagin's spacey synthesizer passages on another. Always prized for its superb fidelity, the effort possesses an uncanny sense of airiness around the vocals, brilliant microdynamics, excellent transients, reference-caliber balance, accessible tonalities, and the distinctive aura of a real band playing in a defined space. With Keith Godchaux's spry quick-finger piano notes adding a barroom blues feeling and wife Donna Godchaux's soaring background vocals bringing up the rear, the Dead puts a vibrant spring into the step of contagious fare such as the rousing "U.S. Blues," down-and-dirty funky soul of "Loose Lucy," and slippery "Money Money." These songs stand as some of the loosest black-inspired music the Dead composed. And why not? True to the era's burgeoning mix of soul, R&B, psychedelic rock, and dance, the collective places its own memorable stamp on the day's popular fusion. Yet From the Mars Hotel earns its stripes as a must-own album for Deadheads and traditional listeners alike because of the manners in which the six band members communicate, bond, react, and create. Singing lead on the high country of "Pride of Cucamonga" and interlocking centerpiece "Unbroken Chain" while threading the record's golden tapestries with silvery bass lines that cradle, shift, and anchor the arrangements, Lesh turns in a heroic individual performance. ***************************************************************************************** Zustand: OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2019 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #0888 ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Preis:** EUR 999,99 (minus 50% discount with invoice/rechnungsrabatt = 499,99 euro) ----- OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2019 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #0888 ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) In den Warenkorb


MFSL 2-483 ----- ANALOGE ORIGINAL 45RPM-MFSL-DOPPEL-LP/RECORD ---- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER ----- (OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !!) XXL-Foto XXL-Foto	GRATEFUL DEAD ----- BLUES FOR ALLAH ------ ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2019 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET)----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER ----- OUT OF PRINT ----- ( ...... OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! / ..... BESONDERS WERTVOLLE ANALOGE 45RPM-MFSL-DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD JACKET) / ..... ORIGINAL PRODUCTION AND RE-MASTERING BY MOBILE FIDELITY SOUND LAB, USA 2019 / ..... ORIGINAL MASTER RECORDING USA WITH SPECIAL LIMITED EDITION NUMBER # !! / ..... 180g HIGH DEFINITION VINYL / ..... MFSL-GAIN 2 ULTRA ANALOG SYSTEM / ..... MASTERED FROM THE FIRST ORIGINAL STEREO TAPES BY KRIEG WUNDERLICH AT MOBILE FIDELITY SOUND LAB, SEBASTOPOL IN CALIFORNIA USA ON THE GAIN 2 ULTRA ANALOG SYSTEM / ..... ORIGINAL AUFNAHMEN 1975 BEI GRATEFUL DEAD RECORDS IN USA / ..... ORIGINAL RECORDING 1975 BY GRATEFUL DEAD RECORDS IN USA / ..... ANALOGUE RE-MASTERING BY MOFI = MOBILE FIDELITY SOUND LAB, USA 2019 / ..... ORIGINAL MFSL PACKAGING !! / ..... WITH SPECIAL LIMITED EDITION NUMBER ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP/RECORD SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP/RECORD-COLLECTION (ONE EXEMPLARY)!! ...... DIESE WERTVOLLE MFSL-45RPM-DOPPEL-LP/RECORD IST NOCH ORIGINAL VERSIEGELT = OVP = FACTORY SEALED!! ...... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Weitere Details: ************************************************************************************************** Blues For Allah (Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered) album cover Grateful Dead* ‎– Blues For Allah Label: Mobile Fidelity Sound Lab ‎– MFSL 2-483 Series: Gain 2™ Ultra Analog 45RPM 180g Series – Format: 2 × Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered, 180g, Gatefold Country: US Released: 13 Dec 2019 Genre: Rock Style: Blues Rock, Folk Rock, Psychedelic Rock Tracklist Show Credits A1a Help On The Way 3:15 A1b Slipknot! 4:03 A2 Franklin's Tower (Roll Away The Dew) 4:32 B1a King Solomon's Marbles 1:55 B1b Stronger Than Dirt Or Milkin' The Turkey 3:25 B2 The Music Never Stopped 4:35 C1 Crazy Fingers 6:38 C2 Sage & Spirit 3:04 D1a Blues For Allah 3:21 D1b Sand Castles & Glass Camels 5:24 D1c Unusual Occurances In The Desert 3:48 Companies, etc. Mastered At – Mobile Fidelity Sound Lab Pressed By – Record Technology Incorporated Manufactured By – Rhino Entertainment Company Phonographic Copyright (p) – Grateful Dead Productions Copyright (c) – Mobile Fidelity Sound Lab, Inc. Published By – Ice Nine Publishing Co. Recorded At – Ace's Credits Bass, Vocals – Phil Lesh Cover [Cover Paintings] – Philip Garris Drums, Percussion – Bill Kreutzmann Engineer – Dan Healy Engineer [Assistant Engineer] – Rob Taylor (4) Guitar, Vocals – Bob Weir, Jerry Garcia Keyboards, Vocals – Keith Godchaux Mastered By – Krieg Wunderlich Mixed By – Dan Healy, The Grateful Dead Other [Production Assistant] – Betty Cantor, Bob Matthews, Brett Cohen, Ram Rod, Steve Brown Other [Special Thanks] – Frankie, Joe Winslow, Otis, Rondelle, Steve Barncard* Percussion, Other [Crickets] – Mickey Hart Producer – Dan Healy, The Grateful Dead Vocals – Donna Godchaux Notes Limited edition of 4,000. Barcode and Other Identifiers Barcode: 821797248815 ************************************************************************************************ Jerry Garcia -Gesang, Gitarre Bob Weir - Gitarre, Gesang Phil Lesh - E-Bass, Gesang Bill Kreutzmann - Schlagzeug Mickey Hart - Schlagzeug Keith Godchaux - Keyboard Donna Godchaux - Gesang Die Aufnahmen erschien erstmals am 01.09.1975 bei Grateful Dead Records als GD-LA494-G. Für ihr achtes Studioalbum zog es Grateful Dead Ende Februar 1975 nach Kalifornien in das private Tonstudio von Bob Weir, wo "Blues For Allah" in gut zwei Monaten entstand und schließlich im September desselben Jahres erschien. Das Album ist aus verschiedenen Gründen etwas anders und dadurch sogar noch ein wenig faszinierender als die Vorgängeralben. So hatten zum einen Grateful Dead vor den Aufnahmen eine fast zweijährige Auftritts- sowie Studiopause eingelegt, zum anderen kehrte der Perkussionist Mikey Hart wieder zur Band zurück. Ein weit wichtigerer Punkt dürfte allerdings sein, dass diesmal nicht bereits erprobte Bühnensongs eingespielt wurden, sondern die Band das Material erst gemeinsam und anscheinend mit sehr viel Freude entwickelte. "Blues For Allah" gehört zu den gewagteren Alben von Grateful Dead. Experimentell und voller Energie bleibt es dabei allerdings dennoch ausgeglichen und abwechslungsreich. Herausragend "Franklin's Tower" mit seinen leichten Reggae- und Blueseinflüssen, hervorragend relaxed ebenso "Crazy Fingers", jedoch ist es müßig einzelne Stücke hervorzuheben, sind doch alle Songs echte Volltreffer. "If You Get Confused, Listen To The Music Play" ist die lakonische Empfehlung von Grateful Dead-Sänger Jerry Garcia und ein wahrlich weiser Rat. Mit der nun erschienenen MFSL-Ausgabe ist dem Label wieder einmal eine im audiophilen Sinne endgültige Edition gelungen. Von den originalen Bändern durch Altmeister Krieg Wunderlich remastert, bei RTI mit 45UpM auf zwei 180g-schwere Vinylscheiben gepresst, klingt "Blues For Allah" besser als jemals zu vor. Nicht zögern also, denn das Album ist auch noch limitiert! Das Album kommt auf zwei 45UpM-Vinylscheiben in antistatischen Innenhüllen im Klappcover und ist auf 4.000 Exemplare limitiert sowie fortlaufend numeriert. Titel: A1a: Help On The Way A1b: Slipknot! A2: Franklin's Tower (Roll Away The Dew) B1a: King Solomon's Marbles B1b: Stronger Than Dirt Or Milkin' The Turkey B2: The Music Never Stopped C1: Crazy Fingers C2: Sage & Spirit D1a: Blues For Allah D1b: Sand Castles & Glass Camels D1c: Unusual Occurances In The Desert ******************************************************************************************** Rezension: Die Auszeit von der Bühne hatte der Band gut getan: Hochinspiriert und entspannt traf man sich in Bob Weirs Ace Studio, um die nächste LP einzuspielen. Jene wurde zwar das wahrscheinlich anspruchsvollste Werk in der ganzen ellenlangen Diskographie, spielt mit Funk-Elementen und dem Jazz von Miles Davis der semi-elektrischen Phase, klingt aber wie eben mal so aus dem Ärmel geschüttelt: Der federnde Groove läßt die hochkomplexen Harmonien wie selbstverständlich fließen. Jerry Garcias Understatement als Gitarrist wie als Sänger ist eigentlich mit Worten nicht beschreibbar, und das Rhodes-Spiel des Keith Godchaux ist ganz sicher nicht schlechter als das eines Herbie Hancock. Bob Weirs außergewöhnliche Musikalität zeigt sich vor allem im akustischen Instrumental "Sage & Spirit" – einer seiner schönsten auf Platte dokumentierten Momente, dabei basiert das Stück angeblich auf seinen 'Aufwärmübungen'… Nicht zuletzt läßt sich hier auch besonders deutlich nachvollziehen, was Phil Lesh, Mickey Hart und Bill Kreutzmann für eine Rhythmusgruppe waren! Einer der großen Höhepunkte im Dead-Katalog, der (einmal mehr!) sehr deutlich zeigt, welch Sorte Musiker in dieser Band zusammengefunden hatte. (1975/2019) ******************************************************************************************** 1975 album marks Grateful Dead's rebirth, spiritualism and energy Meticulously mastered from the original master tapes Limited to 4,000 numbered copies pressed at RTI Mobile Fidelity 180g 45RPM 2LP vinyl set features sublime dynamics, clarity and detail "If you get confused, listen to the music play," counsels Grateful Dead leader Jerry Garcia on Blues for Allah. Surely, better advice has never been given. The band's only release during a self-imposed hiatus that lasted nearly 20 months, and the effort that witnessed the welcome return of percussionist Mickey Hart, the 1975 album marks the rebirth of a signature naturalism, spiritualism, and energy that had begun to fray because of ceaseless touring and financial pressures. And as experienced on this audiophile-caliber reissue, such inspired élan and elevated performance facets — embraced literally and figuratively on Bob Weir's hallmark "The Music Never Stopped" anthem — achieve transcendent heights. Mastered from the original master tapes, pressed at RTI, and strictly limited to 4,000 numbered copies, Mobile Fidelity's 180-gram 45 RPM 2LP reissue possesses seemingly limitless dynamics, reference — grade presence, expansive soundstages, crystalline transparency, and a wealth of previously obscured information. Strongly informed by jazz themes and organic progressions, the album's arrangements unfold as a series of interlocking puzzle pieces that, together, comprise an adventurous landscape informed by compound structures, angelic harmonies, chiming tones, and brilliant colors. Every member's vocals resound with tube-like clarity and remain entirely free of artificial ceilings or unintended blurring. The peerless transparency is reinforced by the chirping crickets on the title track, reggae-flecked crispness of "Crazy Fingers," and spinning-plate-on-a-stick rhythmic voodoo cast throughout by drummer Bill Kreutzmann. Recorded at Weir's intimate Ace Studios, Blues for Allah depicts the Grateful Dead returning to its collaborative roots: Entering the sessions with no preconceived ideas and letting inspiration move them brightly, resulting in improvised-meets-rehearsed compositions replete with varying time signatures, Middle Eastern motifs, and elegant scales. More than any other Grateful Dead studio record, Blues for Allah combines the ensemble's trademark exuberance with exacting precision and instrumental luster. Side 1 1. Help on the Way/Slipknot! 2. Franklin's Tower Side 2 1. King Solomon's Marbles 2. Stronger Than Dirt or Milkin' the Turkey 3. The Music Never Stopped Side 3 1. Crazy Fingers 2. Sage & Spirit Side 4 1. Blues for Allah 2. Sand Castles & Glass Camels 3. Unusual Occurrences in the Desert ********************************************************************************************** AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head Mobile Fidelity - MFSL 2-483 - 180 Gram Virgin Vinyl AAA 100% Analogue - 4,000 Numbered Limited Edition - Half Speed Mastered by Kreig Wunderlich from the Original Mastertape The Grateful Dead- Blues For Allah is the Album by the legendary classic rock/jam band Grateful Dead. The Music Never Stopped: Grateful Dead's Blues for Allah Marks a Return to the Band's Collaborative Roots: Soul-Nourishing 1975 Album Includes "Help on the Way/Slipknot!" Mastered from the Original Master Tapes, Limited to 4,000 Numbered Copies: Mobile Fidelity 180g 45RPM 2LP Vinyl Set Features Sublime Dynamics, Clarity, Detail, and Presence "If you get confused, listen to the music play," counsels Grateful Dead leader Jerry Garcia on Blues for Allah. Surely, better advice has never been given. The band's only release during a self-imposed hiatus that lasted nearly 20 months, and the effort that witnessed the welcome return of percussionist Mickey Hart, the 1975 album marks the rebirth of a signature naturalism, spiritualism, and energy that had begun to fray because of ceaseless touring and financial pressures. And as experienced on this audiophile-caliber reissue, such inspired élan and elevated performance facets – embraced literally and figuratively on Bob Weir's hallmark "The Music Never Stopped" anthem – achieve transcendent heights. Mastered from the original master tapes, pressed at RTI, and strictly limited to 4,000 numbered copies, Mobile Fidelity's 180g 45RPM vinyl 2LP set possesses seemingly limitless dynamics, reference-grade presence, expansive soundstages, and a wealth of previously obscured information. Strongly informed by jazz themes and organic progressions, the album's arrangements unfold as a series of interlocking puzzle pieces that, together, comprise an adventurous landscape informed by compound structures, angelic harmonies, chiming tones, and brilliant colors. Every member's vocals resound with tube-like clarity and remain entirely free of artificial ceilings or unintended blurring. The peerless transparency is reinforced by the chirping crickets on the title track, reggae-flecked crispness of "Crazy Fingers," and spinning-plate-on-a-stick rhythmic voodoo cast throughout by drummer Bill Kreutzmann. Recorded at Weir's intimate Ace Studios, Blues for Allah depicts the Grateful Dead returning to its collaborative roots: Entering the sessions with no preconceived ideas and letting inspiration move them brightly, resulting in improvised-meets-rehearsed compositions replete with varying time signatures, Middle Eastern motifs, and elegant scales. More than any other Grateful Dead studio record, Blues for Allah combines the ensemble's trademark exuberance with exacting precision and instrumental luster. Aside from Phillip Garris' iconic, award-winning cover art dubbed "The Fidder," nothing illustrates the album's cosmic magic to the hair-raising extent of the album-closing "Blues for Allah" suite. A requiem, dirge, call to harmony, and plea for peace, the atonal closing track remains a subtle albeit universal statement about the importance of unity and the destruction that comes with war, division, and conflict. Delivered via Robert Hunter's poetic lyrics and the band's mesmerizing playing, the messages and prayerfulness resonate with as much – if not more – depth today than they did decades ago. Try not to lose yourself in the repeated refrains, Garcia's guitar arpeggios, or the invitation to twirl led by Keith Godchaux's graceful piano. Of course, much of Blues for Allah is itself a dance goosed by a flurry of beautiful fusion devices and quicksilver melodies. Witness the taut "Crazy Fingers" – a series of haiku – or the knotty medley "Help on the Way/Slipknot!/Franklin's Tower," an exercise in controlled flow, urgent purpose, and, finally, liberating relief that remained a live staple from the moment it was introduced onstage. Not to be outdone, the wordless and acoustic-based "Sage & Spirit" feels the way its name sounds while the acid-jazz twists of "King Solomon's Marbles" swing via Phil Lesh's power-line-thick bass notes. A soul-nourishing salve, Blues for Allah enchants with equal parts mysticism and reality, imagination and common sense. Rolling Stone scribe David Fricke insightfully deemed it a way to "shake away the darkness" and head "back to the light." Let it shine on brighter than ever via Mobile Fidelity's deluxe analog reissue. Bass, Vocals – Phil Lesh Drums, Percussion – Bill Kreutzmann Engineer – Dan Healy Guitar, Vocals – Bob Weir, Jerry Garcia Keyboards, Vocals – Keith Godchaux Mixed By – Dan Healy, The Grateful Dead Vocals – Donna Godchaux Help on the Way/Slipknot! Franklin's Tower King Solomon's Marbles (Part I: Stronger Than Dirt, Part II: Milkin' the Turkey) The Music Never Stopped Crazy Fingers Sage & Spirit Blues for Allah (Sand Castles & Glass Camels, Unusual Occurrences in the Desert) Grateful Dead - Blues for Allah - 45rpm 180g 2LP Image result for mofi mobile fidelity sound lab GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of MFSL’s founding fathers – Stan Ricker, an audio engineer responsible for many of MFSL’s most heralded past releases. The GAIN 2 Ultra Analog™ system is comprised of a Studer™ tape machine with customized reproduction electronics* and handcrafted cutting amps that drive an Ortofon cutting head on a restored Neumann VMS-70 lathe. (It is worth noting that independent studies have confirmed that the GAIN 2 Ultra Analog™ system can unveil sonic information all the way up to 122kHz!) First and foremost, we only utilize first generation original master recordings as source material for our releases. We then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master’s sonic information. Our lacquers are then plated in a specialized process that protects transients in the musical signal. (Due to this process, there may be occasional pops or ticks inherent in initial play back, but as the disc is played more, a high quality stylus will actually polish the grooves and improve the sound). We further ensure optimum sound quality by strictly limiting the number of pressings printed for each release. These limited editions, in addition to being collectors’ items, ensure that the quality of the last pressing matches the quality of the first. As you can imagine, all these efforts involve a tremendous amount of time, technology, cost and effort. The introduction of GAIN 2 Ultra Analog™ maintains Mobile Fidelity Sound Lab’s position as the world’s leading audiophile record label, where a passion for music with extraordinary sound quality matters most. https://store.acousticsounds.com/images/FormatIcons/180gram.jpg RTI 180 HQ Vinyl Record Technology is a world class record pressing plant located in Camarillo, California. We have been operating since 1974, pressing for most audiophile record labels and for many quality minded independent and major record labels from around the world. ********************************************************************************************* Zustand: OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2019 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER # ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Preis:** EUR 149,99 In den Warenkorb


MFSL 2-485 ----- ANALOGE ORIGINAL 45RPM-MFSL-DOPPEL-LP/RECORD ---- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER #0977 ----- (OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !!)	MILES DAVIS ----- GEORGE GERSHWIN - PORGY ABD BESS ------ ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2020 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET)----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #0977 ----- OUT OF PRINT ----- ( ...... OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! / ..... BESONDERS WERTVOLLE ANALOGE 45RPM-MFSL-DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD JACKET) / ..... ORIGINAL PRODUCTION AND RE-MASTERING BY MOBILE FIDELITY SOUND LAB, USA 2020 / ..... ORIGINAL MASTER RECORDING USA WITH SPECIAL LIMITED EDITION NUMBER #0977 !! / ..... 180g HIGH DEFINITION VINYL / ..... MFSL-GAIN 2 ULTRA ANALOG SYSTEM / ..... MASTERED FROM THE FIRST ORIGINAL STEREO TAPES BY KRIEG WUNDERLICH AT MOBILE FIDELITY SOUND LAB, SEBASTOPOL IN CALIFORNIA USA ON THE GAIN 2 ULTRA ANALOG SYSTEM / ..... ORIGINAL AUFNAHMEN 1959 BEI COLUMBIA RECORDS IN USA / ..... ORIGINAL RECORDING 1958 BY COLUMBIA RECORDS IN USA / ..... ANALOGUE RE-MASTERING BY MOFI = MOBILE FIDELITY SOUND LAB, USA 2020 / ..... ORIGINAL MFSL PACKAGING !! / ..... WITH SPECIAL LIMITED EDITION NUMBER ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP/RECORD SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP/RECORD-COLLECTION (ONE EXEMPLARY)!! ...... DIESE WERTVOLLE MFSL-45RPM-DOPPEL-LP/RECORD IST NOCH ORIGINAL VERSIEGELT = OVP = FACTORY SEALED!! ...... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Weitere Details: *************************************************************************************************** Porgy And Bess (Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered, Stereo) album cover Miles Davis ‎– Porgy And Bess Label: Mobile Fidelity Sound Lab ‎– MFSL 2-485, Columbia ‎– 88883731681, Sony Music Commercial Music Group ‎– 88883731681 Series: Original Master Recording – , Gain 2™ Ultra Analog 45RPM 180g Series – Format: 2 × Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered, Stereo, Gatefold, 180g Country: US Released: 17 Jan 2020 Genre: Jazz Style: Big Band, Modal Tracklist Show Credits A1 The Buzzard Song A2 Bess, You Is My Woman Now A3 Gone B1 Gone, Gone, Gone B2 Summertime B3 Bess, Oh Where's My Bess C1 Prayer (Oh Doctor Jesus) C2 Fishermen, Strawberry And Devil Crab C3 My Man's Gone Now 6:21 D1 It Ain't Necessarily So D2 Here Come De Honey Man D3 I Loves You, Porgy D4 There's A Boat That's Leaving Soon For New York Companies, etc. Manufactured By – Sony Music Entertainment Manufactured For – Mobile Fidelity Sound Lab, Inc. Copyright (c) – Columbia Records Pressed By – Record Technology Incorporated – 29960 Pressed By – Record Technology Incorporated – 31537 Produced At – Mobile Fidelity Sound Lab Remixed At – Sony Music Studios, New York City Mastered At – Mobile Fidelity Sound Lab Lacquer Cut At – Mobile Fidelity Sound Lab Credits Arranged By – Gil Evans Bass – Paul Chambers (3) Directed By – Gil Evans Drums – Philly Joe Jones* (tracks: A1, A3 to C1, C3, D3, D4), Jimmy Cobb (tracks: A2, C2, D1, D3) Engineer – Frank Laico Flugelhorn – Miles Davis Flute – Jerome Richardson (tracks: A1, B3, C1), Phil Bodner (tracks: A2 to B2, C2 to D4), Romeo Penque French Horn – Gunther Schuller, Julius B. Watkins, Willie Ruff Lacquer Cut By – KW Liner Notes – Charles Edward Smith Mastered By – Krieg Wunderlich Mastered By [Assisted By] – Shawn R. Britton Photography By – Roy De Carava* Photography By [Liner Photography] – Don Hunstein Remix – Mark Wilder Saxophone – Julian Adderly, Danny Banks Trombone – Frank Rehak, Jimmy Cleveland, Joseph Bennett, Dick Hixon* Trumpet – Bernie Glow, Ernie Royal, Johnny Coles, Louis Mucci, Miles Davis Tuba – John "Bill" Barber Notes Comes in a gatefold cover with special static free and dust free inner sleeves, and heavy duty protection packaging. From back cover: © 1959, 2018 Columbia Records. Originally released 1959. Limited edition of 4,000. Remixed by Mark Wilder, Sony Music Studios, NYC Mastered by Krieg Wunderlich, assisted by Shawn R. Britton and at Mobile Fidelity Sound Lab® in Sebastopol , CA on the GAIN 2 ULTRA ANALOG SYSTEM™ Mastered from the Original master tapes Specially Plated and Pressed on 180g High-Definition Vinyl Production by Mobile Fidelity Sound Lab® in Sebastopol, CA Printed in the U.S.A. Recorded 7/22/1958: A3, B1, C3 Recorded 7/29/1958: A2, C2, D1, D2 Recorded 8/4/1958: A1, B3, C1 Recorded 8/18/1958: B2, D3, D4 No durations on the release Barcode and Other Identifiers Barcode (Text): 8 21797 24851 8 Barcode (String): 821797248518 Matrix / Runout (Side A): MFSL 2-485 A1 KW@MoFi 29960.1(3)... Matrix / Runout (Side B): MFSL 2-485 B1 KW@MoFi 29960.2(3)... Matrix / Runout (Side C): MFSL 2-485 C2 KW@MoFi 31537.3(3)... Matrix / Runout (Side D): MFSL 2-485 D2 KW@MoFi 31537.4(3)... *********************************************************************************************** Miles Davis - Flügelhorn, Trompete Gil Evans - Arrangements, Dirigat Cannonball Adderley - Altsaxophon Danny Bank - Bassklarinette, Altflöte Bernie Glow, Ernie Royal, Louis Mucci, Johnny Coles - Trompete Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett - Posaune Willie Ruff, Gunther Schuller, Julius Watkins - Waldhorn Bill Barber - Tuba Romeo Penque, Phil Bodner - Flöte, Klarinette, Bassklarinette, Oboe (A2C1, C3D2) Jerome Richardson - Flöte, Klarinette, Bassklarinette, Oboe (A1, B2-C1, D3, D4) Paul Chambers - Kontrabass Jimmy Cobb - Schlagzeug (A2, C2, D1, D2) Philly Joe Jones (A1, A3-C1, C3, D3, D4) Die Aufnahmen entstanden am 22. und 29. Juli sowie am 04. und 18. August 1958 im Columbia 30th Street Studio in New York City und wurden erstmals im März 1959 bei Columbia als CS 8085 veröffentlicht. George Gershwins dreiaktige Oper "Porgy & Bess" nach dem Roman "Porgy" von DuBose Heyward, von welchem auch das Libretto (bis auf wenige Liedtexte von Ira Gershwin) stammt, gilt weithin als das Hauptwerk des Broadway-Komponisten und wurde am 10. Oktober 1935 im Alvin Theatre in New York City uraufgeführt. Der große Erfolg blieb der Oper allerdings zunächst versagt, Kritiker befanden sie zunächst für zu musicalhaft und erst Jahre nach Gershwins Tod sollte dieses Werk die ihm gebührende Beachtung erfahren. Dennoch, einzelne Stücke - allen voran "Summertime" - erfreuten sich bereits früh großer Beliebtheit und wurde schnell zu Jazz-Standards. Ob "I Loves You, Porgy", "It Ain't Necessarily So" oder "I Got Plenty O' Nuttin'" - es gibt kaum einen Jazzer von Rang, der nicht mindestens ein Stück aus Gershwins Oper interpretierte. So auch Miles Davis, der gemeinsam mit Gil Evans ein Album mit Stücken daraus aufnahm. Davis und Evans musikalische Zusammenarbeit begann schon 1948 mit der legendären "Birth Of Cool"-Session und setzte sich mit "Miles Ahead" 1957 fort. Ein Jahr später entstand "Porgy And Bess" und gilt vielen als der Höhepunkt ihres gemeinsamen Schaffens. Dabei löste Evans die Stücke aus ihrer ursprünglichen Erzählstruktur und schuf aus Gershwins Material ein künstlerisch eigenständiges Werk, das bereits an vielen Stelle modalen Jazz vorwegnahm. Davis bekam so die nötige Freiheit sein Genie zu zeigen, während Evans' raffinierte Arrangements dieses kongenial einbetteten. "Porgy And Bess" sollte Miles Davis' erstes Album in Stereo sein und setzte damals auch sonst aufnahmetechnisch Maßstäbe. Dass es immer noch besser geht, beweist die nun erschienene MFSL-Ausgabe, die wie so oft bei MFSL als der Endpunkt einer audiophilen Entwicklung gesehen werden darf. Besser als hier kann "Porgy And Bess" nicht klingen - eine Offenbarung für Jazz-Fans! Das von Krieg Wunderlich mit Shawn R. Britton remasterte Doppelalbum kommt auf 180g-schwerem audiophilen Vinyl mit 45UpM in antistatischen Innenhüllen im Klappcover und ist auf 4.000 Exemplare limitiert sowie fortlaufend numeriert. rr Titel: A1: The Buzzard Song A2: Bess, You is My Woman Now A3: Gone B1: Gone, Gone, Gone B2: Summertime B3: Oh Bess, Where's My Bess? C1: Prayer (Oh Doctor Jesus) C2: Fisherman, Strawberry and Devil Crab C3: My Man's Gone Now D1: It Ain't Necessarily So D2: Here Come de Honey man D3: I Loves You, Porgy D4: There's A Boat That's Leaving Soon For New York ******************************************************************************************** Rezension: Die Kombination der kreativen Geister Miles Davis und Gil Evans warf nur Sternstunden ab. Bei ihrer dritten Gemeinschaftsarbeit nahm sich das Dream Team (zusätzlich zu Evans' Orchester spielen auch noch ein paar Miles-Kollaborateure aus der jüngeren Vergangenheit mit: Adderley, Paul Chambers, Philly Joe Jones) erstmals ein Großprojekt vor – und erfand die Gershwin-Oper komplett neu. Man wüßte zu gern, was der Komponist wohl zu den unglaublichen Harmonien und Klangfarben gesagt hätte, aber man darf wohl mit absoluter Zustimmung rechnen. Neben der berühmten Aufnahme von Ella und Louis (die man freilich kaum zum direkten Vergleich heranziehen kann) ist dies wohl die definitive Jazz-Adaption des Werkes – und man ist geneigt, diese Aussage auch für jeden einzelnen Song, selbst die meistgespielten, zu treffen… Die differenzierten Klangfarben der Evans-Arrangements verlangen geradezu nach einem 45 UPM-Umschnitt. Hier ist er endlich! (1958/2020) ********************************************************************************************* * MFSL - Mobile Fidelity Sound Lab * Gatefold Cover George Gershwins Oper »Porgy & Bess« war nach ihrer Broadway-Uraufführung im Jahr 1927 kein großer Erfolg. Einzelne Titel jedoch wurden schnell populär und zu beliebten Jazzstandards. Arrangeur Gil Evans und Trompeter Miles Davis schufen 1958 eine Bearbeitung, die für Musikkritiker die beste Zusammenarbeit der zwei Musiker darstellt. So umstritten Gershwins Oper war, so magisch ist diese Einspielung, in der Davis einige seiner besten Soli spielt. Die Neuauflage von MFSL lässt die Arrangements so klar, offen, unmittelbar und multidimensional klingen wie nie. Miles Davis wird unter anderem begleitet von Saxophonist Cannonball Adderley, Bassist Paul Chambers und Schlagzeuger Jimmy Cobb, die Produktion beim Label Columbia übernahmen Cal Lampley und Teo Macero. Das Remastering für diese Doppel-LP auf 180-Gramm-Vinyl mit 45 RPM übernahm Krieg Wunderlich, assistiert von Shawn R. Britton. Die auf 4.000 Exemplare limitierte Auflage mit fortlaufender Seriennummer erscheint im Klappcover. Rezensionen »Das originale Dreispur-Band hat Sonys Ton-Altmeister Mark Wilder (der auch viele Monomixe von Miles-Alben gemacht hat) zu einem neuen – analogen – Stereomix gefügt, der schlicht und einfach grandios gelang. So kommen alle Nuancen von Evans’ zum Teil hochkomplexen Arrangements für eine sensationell gute Bigband zum Tragen, und über allem schwebt Davis’ wunderschöner Ton auf der meist gestopften Trompete und dem Flügelhorn. Großartig in jeder Beziehung.« (Good Times, April / Mai 2020) »Wer auf das Optimum an Klangqualität gewartet hat, kann jetzt zugreifen.« (LP, Ausgabe 3 / 2020) ********************************************************************************************* 180-gram 45 RPM 2LP set! Mastered from the original master tapes, pressed at RTI Strictly limited to 4,000 numbered copies! Miles' and Gil Evans' legendary interpretation of the Gershwin opera, originally released in 1958 on the Columbia label, a division of Sony Entertainment. Take George Gershwin's Porgy & Bess, add Miles Davis and arranger Gil Evans, and what do you get? A classic jazz album that — despite the fact that the material has been rendered almost overly familiar due to countless interpretations — still sounds remarkably fresh four decades after its initial release. Miles' soft yet piercing trumpet style is perfectly suited to Gershwin's melancholy melodies, Evans' musical direction of his 18-piece orchestra is impeccable, and their version of "Summertime" may well be the finest ever waxed. Davis and Evans teamed up for several recordings after this one (including the landmark Sketches of Spain), but Porgy & Bess still stands as one of their most successful collaborations. Mastered from the original tapes, pressed at RTI, and strictly limited to 4,000 numbered copies, Porgy and Bess attains previously unheard degrees of clarity, openness, immediacy, and depth on Mobile Fidelity's 180g 45 RPM 2LP set. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional images. Separation between instruments allows you to locate individual band members and trace the decay of the notes. Davis' iconic solo passages take on borderline-surreal qualities of realism and shape. The magisterial scope of the Evans-conducted orchestra emerges with room-filling bloom, color, and dynamics. While difficult to pinpoint its single-best strength, Mobile Fidelity's reissue gives reference-level credence to what may remain the album's most crucial aspect: tone. Based not on chords but on scales and feeling, Porgy and Bess teems with emotions and possibilities – characteristics conveyed by the nuances, timbre, and temper delivered by the array of horns, woodwinds, basses, and percussion involved. Whether the combination of Bill Barber's tuba in unison with Paul Chambers' bass during "Buzzard Song," Davis' improvisational flights on "It Ain't Necessarily So," or the doubling up on alto flutes on several compositions, never before have they been experienced with such richness, roundness, and palpability. Just as identifying singular sonic highlights proves virtually unfeasible, so does underlining which songs feature the most memorable exchanges, melodies, and scoring. Davis and Evans' adaptation of Porgy and Bess remains of a piece, an American touchstone, a recording that immediately separated itself from the multiple other versions released during the same period and continues to make waves decades after its creation, assuming a place in the historical canon alongside collaborative masterworks by Duke Ellington/Billy Strayhorn and Frank Sinatra/Nelson Riddle. *********************************************************************************************** Mobile Fidelity - MFSL2-485 - 180 Gram Virgin Vinyl - AAA 100% Analogue Mastered by Kreig Wunderlich from the Original Master Tape AAA 100% Analogue - 4,000 Numbered Limited Edition - Pressed at RTI Half Speed Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head The original (CS 8085) has its own more murky atmospheric charms, though finding a quiet copy can be a chore. This double 45, a Mark Wilder remix to analog tape from the original 3 track and pressed on much quieter vinyl, is treat even for well acquainted owners of the original pressing. The mix is more cohesive than the early stereo original. The gatefold "Tip on" jacket features session photos that add value to this outstanding reissue. If you're unfamiliar with this recording be ready for an opening fanfare blast that's bright, shrill and not at all like the rich, atmospheric sonics that follow for four sides. Highly recommended - Sound 10/10 Michael Fremer Analogue Planet Miles Davis and Gil Evans' Porgy and Bess Is a Landmark of Arrangement, Performance, and Emotion: 1959 Adaptation of George Gershwin Opera Advances Jazz Idioms and Modal Playing Mastered from the Original Master Tapes and Strictly Limited to 4,000 Numbered Copies: Mobile Fidelity 180g 45RPM 2LP Set Features Reference-Level Tonality, Depth, and Openness If a more significant, influential, and lasting result of a creative musical partnership exists than that of Miles Davis and Gil Evans' Porgy and Bess, society hasn't seen it. It's impossible to overstate the importance of the pair's collaboration on the landmark 1959 update of George Gershwin's opera. Transcending genre, time, and place, the profound statement finds Evans and Davis implementing modal approaches in a mainstream context and advancing jazz idioms that would become the foundation of the form's still-classic era. And that's saying nothing of the soulful playing – legendary performances by Davis' first great quintet that can now be heard in pristine detail courtesy of this definitive analog edition. Mastered from the original tapes, pressed at RTI, and strictly limited to 4,000 numbered copies, Porgy and Bess attains previously unheard degrees of clarity, openness, immediacy, and depth on Mobile Fidelity's 180g 45RPM 2LP set. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional images. Separation between instruments allows you to locate individual band members and trace the decay of the notes. Davis' iconic solo passages take on borderline-surreal qualities of realism and shape. The magisterial scope of the Evans-conducted orchestra emerges with room-filling bloom, color, and dynamics. While difficult to pinpoint its single-best strength, Mobile Fidelity's reissue gives reference-level credence to what may remain the album's most crucial aspect: tone. Based not on chords but on scales and feeling, Porgy and Bess teems with emotions and possibilities – characteristics conveyed by the nuances, timbre, and temper delivered by the array of horns, woodwinds, basses, and percussion involved. Whether the combination of Bill Barber's tuba in unison with Paul Chambers' bass during "Buzzard Song," Davis' improvisational flights on "It Ain't Necessarily So," or the doubling up on alto flutes on several compositions, never before have they been experienced with such richness, roundness, and palpability. Just as identifying singular sonic highlights proves virtually unfeasible, so does underlining which songs feature the most memorable exchanges, melodies, and scoring. Davis and Evans' adaptation of Porgy and Bess remains of a piece, an American touchstone, a recording that immediately separated itself from the multiple other versions released during the same period and continues to make waves decades after its creation, assuming a place in the historical canon alongside collaborative masterworks by Duke Ellington/Billy Strayhorn and Frank Sinatra/Nelson Riddle. Defined by Davis biographer Jack Chambers as "a new score, with its own integrity, order, and action," Porgy and Bess has been identified by nearly every major outlet and expert as a must-have album. Davis' phrasing alone cements the effort with a genius quality. As Brian Cook and Richard Morton explain in The Penguin Guide to Jazz: "‘Prayer' is an astounding tour de force, harmonically suspended, and with Miles' most extraordinarily recorded solo to date punctuated by agonized screams and shouts, whether of affirmation or suffering it isn't easy to judge. Miles was not in good physical condition during the making of the record, which perhaps explains the twisting intensity, the bent notes and slurs which seem to express some inner pain." Then there's the immortal rendition of "Summertime," the epitome of calm, understatement, and beauty. At once sweet and spiritual, sure and steady, graceful and exuberant, happy and poignant, Porgy and Bess is a phenomenal jazz dance that has never been equaled – and likely, never will. Hear it as Davis, Evans, and company intended and secure your limited numbered copy today! Bass – Paul Chambers Composed By – George Gershwin Conductor – Gil Evans Drums – "Philly" Joe Jones , Jimmy Cobb Engineer – Ray Moore Flute – Jerome Richardson French Horn – Gunther Schuller, Julius Watkins, Willie Ruff Producer – Cal Lampley, Teo Macero Saxophone – Cannonball Adderly, Daniel B. Banks Trombone – Frank Rehak, Jimmy Cleveland, Joseph Bennett, Dick Hixon* Trumpet – Bernie Glow, Ernie Royal, Johnny Coles, Louis R. Mucci Trumpet, Flugelhorn – Miles Davis Tuba – Bill Barber Miles Davis - Porgy And Bess - 45rpm 180g 2LP The Buzzard Song Bess, You Is My Woman Now Gone Gone, Gone, Gone Summertime Oh Bess, Where's My Bess? Prayer (Oh Doctor Jesus) Fisherman, Strawberry and Devil Crab My Man's Gone Now It Ain't Necessarily So Here Come de Honey Man I Wants to Stay Here (a.k.a. I Loves You, Porgy) There's a Boat That's Leaving Soon for New York Image result for mofi mobile fidelity sound lab GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of MFSL’s founding fathers – Stan Ricker, an audio engineer responsible for many of MFSL’s most heralded past releases. The GAIN 2 Ultra Analog™ system is comprised of a Studer™ tape machine with customized reproduction electronics* and handcrafted cutting amps that drive an Ortofon cutting head on a restored Neumann VMS-70 lathe. (It is worth noting that independent studies have confirmed that the GAIN 2 Ultra Analog™ system can unveil sonic information all the way up to 122kHz!) First and foremost, we only utilize first generation original master recordings as source material for our releases. We then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master’s sonic information. Our lacquers are then plated in a specialized process that protects transients in the musical signal. (Due to this process, there may be occasional pops or ticks inherent in initial play back, but as the disc is played more, a high quality stylus will actually polish the grooves and improve the sound). We further ensure optimum sound quality by strictly limiting the number of pressings printed for each release. These limited editions, in addition to being collectors’ items, ensure that the quality of the last pressing matches the quality of the first. As you can imagine, all these efforts involve a tremendous amount of time, technology, cost and effort. The introduction of GAIN 2 Ultra Analog™ maintains Mobile Fidelity Sound Lab’s position as the world’s leading audiophile record label, where a passion for music with extraordinary sound quality matters most. https://store.acousticsounds.com/images/FormatIcons/180gram.jpg RTI 180 HQ Vinyl Record Technology is a world class record pressing plant located in Camarillo, California. We have been operating since 1974, pressing for most audiophile record labels and for many quality minded independent and major record labels from around the world. ******************************************************************************************** Zustand: OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2019 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAUN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #0977 ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Preis:** EUR 799,99 (minus 50% discount with invoice/rechnungsrabatt = 399,99 euro) ----- OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2019 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAUN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #0977 ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) In den Warenkorb


MFSL 2-486 ---- AUDIOPHILE 45RPM MFSL-DOPPEL-LP/RECORD ----- LIMITED EDITION ----- WITH SPECIAL LIMITED NUMBER ----- (OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !!) XXL-Foto XXL-Foto	MILES DAVIS QUARTET ----- MILES & SMILES ----- AUDIOPHILE ORIGINAL MASTER RECORDING (MFSL) 45RPM-DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD JACKET) ----- ANALOGES, AUDIOPHILES 45RPM-REMASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- LIMITED EDITION ----- WITH SPECIAL LIMITED NUMBER # ----- ( ...... OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! / ..... BESONDERS WERTVOLLE ANALOGE 45RPM MFSL-DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD JACKET) / ..... ORIGINAL PRODUCTION AND 45RPM-REMASTERING BY MOBILE FIDELITY SOUND LAB, USA 2018 / ..... RECORDING USA WITH SPECIAL LIMITED EDITION NUMBER !! / ..... 180g HIGH DEFINITION VINYL / ..... MFSL-GAIN 2 ULTRA ANALOG SYSTEM / ..... MASTERED FROM STEREO TAPES BY KRIEG WUNDERLICH AT MOBILE FIDELITY SOUND LAB, SEBASTOPOL IN CALIFORNIA USA ON THE GAIN 2 ULTRA ANALOG SYSTEM / ..... ORIGINAL AUFNAHMEN 1967 BEI COLUMBIA RECORDS IN USA / ..... ORIGINAL RECORDING 1967 BY COLUMBIA RECORDS IN USA / ..... ANALOGUE RE-MASTERING BY MOFI = MOBILE FIDELITY SOUND LAB, USA 2018 / ..... ORIGINAL MFSL PACKAGING !! / ..... WITH SPECIAL LIMITED EDITION NUMBER ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP/RECORD-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP/RECORD-COLLECTION (ONE EXEMPLARY)!! ...... DIESE WERTVOLLE, ANALOGE MFSL-DOPPEL-LP/RECORD IST NOCH ORIGINAL VERSIEGELT = OVP = FACTORY SEALED!! ...... ) Weitere Details: ************************************************************************************************* Sechs Alben nahm Miles Davis mit seinem „Second Great Quintet“ (Shorter, Hancock, Carter, Williams) auf, sie führen in einer geraden Linie vom modalen Sound der späten 50er bis zum Fusion-Davis der 70er. „Miles Smiles“ von 1967 ist das zweite und vermutlich das beliebteste dieser sechs Alben. Seinen Titel hat es nicht von ungefähr: Spielfreude, ein offener, willkommen-heißender Gestus und lebendige Tempi bestimmen das Bild. Harmonien spielen eine untergeordnete Rolle (Herbie Hancock am Piano verzichtet oft ganz auf die Begleitung), Rhythmus, Groove und Form werden munter erforscht, Tony Williams an den Drums hat ungeahnten Freiraum, und gemeinsam mit Ron Carters Bass schafft er den flirrenden Grund für Davis herrlich impressionistische Soli und Wayne Shorters zupackende Eskapaden. Bei MFSL gibt es diesen Jazz-Meilenstein jetzt auf 45 rpm, remastert von Krieg Wunderlich - eine Klangqualität, die dieses umwerfende Album definitiv verdient und so noch nie bekommen hat. Eine Zierde für jede Sammlung. Das MFSL-Reissue als Doppel-LP mit 45 rpm im Klappcover mit fortlaufender Seriennummer erscheint als Limited Edition (4.000 Exemplare) mit fortlaufender Seriennummer. Verantwortlich für das Remastering ist Krieg Wunderlich, assistiert von Shawn R. Britton. ********************************************************************************************* Rezension: Das zweite Album des klassischen Davis-Quintetts der 60er (bestehend aus Miles, Wayne Shorter, Herbie Hancock, Ron Carter und Tony Williams) ist eine Art primus inter pares: Müßte man sich für ein Werk aus dieser Phase entscheiden, wäre es wahrscheinlich dieses. Warum? Weil hier akustischer Jazz noch einmal vollkommen neu klingt, Davis eine neue Form und Sprache gefunden hatte, die nicht Free Jazz war, aber ebenso revolutionär klang. Die Uptempo-Nummern, das eröffnende „Orbits“ etwa, sprechen für sich, aber auch eine Ballade wie „Circle“ – in den Klangfarben trotz kleiner Besetzung an Davis’ Arbeiten mit dem Gil Evans Orchestra erinnernd – wiegt den Hörer nie in Sicherheit, fordert stete Aufmerksamkeit. Unglaublich das Ensemblespiel: Man kann Stunden allein damit zubringen, sich auf Ron Carters Bass (gerade auf „Circle“) zu fokussieren, oder Williams’ atemberaubende Rhythmik (Beispiel: „Footprints“) zu verfolgen. Wie gesagt: Zwischen den anderen Meisterwerken dieser Besetzung (von „E.S.P.“ bis „Filles de Kilimanjaro“) fällt die Auswahl schwer, aber hier scheint die Kraft dieser sagenhaften Band doch besonders gebündelt zu sein! – ********************************************************************************************* * MFSL - Mobile Fidelity Sound Lab Nach E.S.P. war Miles Smiles die zweite Studioveröffentlichung des zweiten Miles-Davis-Quintet, aufgenommen für Columbia Records und erstmalig veröffentlicht 1966. Das Album eröffnete eine wegweisende Serie von fünf Titeln – Sorcerer, Nefertiti, Miles in the Sky, Filles de Kilimanjaro –, die die Musik veränderten. Miles Davis, Wayne Shorter, Herbie Hancock, Ron Carter und Tony Williams versprühen Lebendigkeit und Esprit, das Remastering durch Krieg Wunderlich und Shawn R. Britton für Mobile Fidelity Sound Lab verleiht ihnen zusätzliche Luft und separiert sie hervorragend im Raum. Die hervorragende Aufnahme von Ted Macero transportiert unmittelbar die Intensität des Zusammenspiels und versetzt den Zuhörer direkt ins Aufnahmestudio. Das Album enthält unter anderem die Stücke Ginger Bread Boy und Footprints, die Davis lange in seinem Live-Repertoire behielt. Miles Smiles gehört zu den wichtigsten Davis-Alben und damit in jede Jazzsammlung. Die auf 4.000 Exemplare limitierte Doppel-LP aus 180-g-Vinyl mit 45 rpm erscheint im Klappcover mit fortlaufender Seriennummer. ********************************************************************************************** Rezensionen ROLLING STONE ALBUM GUIDE »MFSL hat große Teile des Columbia-Katalogs des Über-Trompeters renaturiert, auch diese 45RPM Doppel-LP überzeugt mit Kraft und feinen Details, etwa der brillanten Besenarbeit von Williams.« (Audio, April 2019) »Das warme Remastering der Mobile-Fidelity-Ausgabe ist vorhergehenden allen anderen Vinyl-Pressungen deutlich vorzuziehen, da es Jazzfeeling pur vermittelt.« (Good Times, April / Mai 2019) ********************************************************************************************** Titel: 1. Orbits 2. Circle 3. Footprint 4. Dolores 5. Freedom Jazz Dance 6. Ginger Bread Boy ********************************************************************************************** Limited edition 180-gram 45 RPM 2LP set Strictly limited to 4,000 numbered copies! Mastered from the original master tapes and pressed at RTI! First in a landmark series of modal albums that forever changed jazz Features brilliant playing of Miles' second "Great Quintet" — bursts with vitality and spirit The clarity afforded by history proves Miles Davis' second great quintet vying for the unofficial honor of being the finest small jazz combo to ever record to tape. Originally released in 1966, Miles Smiles is largely responsible for the feat, as it commences a series of five groundbreaking albums — chronologically rounded out by Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro – guided not by chordal patterns but open responses to melodies. Music would never again be the same. Neither will experiencing Miles Smiles once you hear this definitive-sounding vinyl reissue. Mastered from the original master tapes, pressed at RTI, and strictly limited to 4,000 numbered copies, Mobile Fidelity's 180g 45 RPM 2LP set takes the landmark effort into rarified sonic territory. Davis and company play against coal-black backgrounds that serve to illuminate every detail, texture, and nuance. Superb separation and plentiful air allow instruments to fully blossom, effectively taking you back to October 1966 at Columbia's 30th Street Studio in New York to watch the legendary combo transpire before your eyes. Like the other iconic Davis titles in Mobile Fidelity's reissue series, this analog version also puts a premium on tonality and preservation of individual notes, which arc and decay with uncanny realism. The brilliance of Ted Macero's original production springs forth from every passage. Never before has this standard-setting record burst with as much palpable verve, energy, and spirit. Davis and Wayne Shorter's horns crackle with electricity. Ron Carter's bass attains unprecedented fluidity and dimensionality. Tony Williams' drums burst, splash, and swing with terrific fervor. Herbie Hancock's 88s dance with a communal dynamic. Even with all the headway the ensemble made on its subsequent albums together, many jazz cognoscenti and Davis diehards strongly feel Miles Smiles remains the apex of their vast accomplishments. The piles of evidence lay within the thrills, adventurousness, and curiosities staked to every composition. At once accessible and unpredictable, songs reflect an ever-changing mentality, an edgy moodiness, and a triumphant will — with each corner the band rounds a new opportunity to integrate and interact, anticipate and respond, investigate open spaces and establish if not fully lock into contagious, broad, striding grooves. For Davis – and the music world at large – the significance of Miles Smiles cannot be overstated. "The synthesis of complete abstraction with more or less straightforward blues-playing was to sustain [Davis] right through the darkness of the 1970s bands to the later period," write experts Richard Cook and Brian Morton. To their point, everyone from DownBeat to Q to TIME have deemed "Footprints" as one of the greatest compositions of the latter 20th century. Everywhere you turn, genius abounds. Right out of the starting gates, "Orbits" swirls with hard-driving rhythms and Davis' untethered soloing. "Delores" likewise steams and cooks, retaining a tuneful allure all the while speaking with a streetwise swagger. Anchored in part by Hancock's radiant piano lines, the ballad "Circle" moves gently and expresses a romantic elegance via its superb lyrical poise. On Miles Smiles, the band simply has and does it all. This is a record you want to feel as much as hear. Features: • Numbered, limited edition • Strictly limited to 4,000 numbered copies • 180-gram 2LP • 45 RPM • Production and Mastering by Mobile Fidelity Sound Lab • Specially plated and pressed on 180 grams of High Definition Vinyl • Special static free - dust free inner sleeve • Heavy duty protective packaging • Mastered from original master tapes • Pressed at RTI Musicians: Miles Davis Wayne Shorter Ron Carter Tony Williams Herbie Hancock ******************************************************************************************** Zustand: OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- AUDIOPHILE ORIGINAL MASTER RECORDING (MFSL)-DOPPEL-LP/RECORD IN EINEM EDLEN KLAPPCOVER(GATEFOLD JACKET) ----- ANALOGES, AUDIOPHILES 45RPM-REMASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER # ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY)!! ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... ) Preis:** EUR 799,99 (minus 50% discount with invoice/rechnungsrabatt = 399,99 euro) ----- OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- AUDIOPHILE ORIGINAL MASTER RECORDING (MFSL)-DOPPEL-LP/RECORD IN EINEM EDLEN KLAPPCOVER(GATEFOLD JACKET) ----- ANALOGES, AUDIOPHILES 45RPM-REMASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER # ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY)!! ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... ) In den Warenkorb


MFSL 2-488 ----- ANALOGE ORIGINAL 45RPM-MFSL-DOPPEL-LP/RECORD ---- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER #1220 ----- (OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !!) XXL-Foto XXL-Foto	BOB DYLAN ----- OH MERCY ------ ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2020 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET)----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #1220 ----- OUT OF PRINT ----- ( ...... OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! / ..... BESONDERS WERTVOLLE ANALOGE 45RPM-MFSL-DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD JACKET) / ..... ORIGINAL PRODUCTION AND RE-MASTERING BY MOBILE FIDELITY SOUND LAB, USA 2020 / ..... ORIGINAL MASTER RECORDING USA WITH SPECIAL LIMITED EDITION NUMBER #1220 !! / ..... 180g HIGH DEFINITION VINYL / ..... MFSL-GAIN 2 ULTRA ANALOG SYSTEM / ..... MASTERED FROM THE FIRST ORIGINAL STEREO TAPES BY KRIEG WUNDERLICH AT MOBILE FIDELITY SOUND LAB, SEBASTOPOL IN CALIFORNIA USA ON THE GAIN 2 ULTRA ANALOG SYSTEM / ..... ORIGINAL AUFNAHMEN 1987 BEI COLUMBIA RECORDS IN USA / ..... ORIGINAL RECORDING 1989 BY COLUMBIA RECORDS IN USA / ..... ANALOGUE RE-MASTERING BY MOFI = MOBILE FIDELITY SOUND LAB, USA 2020 / ..... ORIGINAL MFSL PACKAGING !! / ..... WITH SPECIAL LIMITED EDITION NUMBER ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP/RECORD SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP/RECORD-COLLECTION (ONE EXEMPLARY)!! ...... DIESE WERTVOLLE MFSL-45RPM-DOPPEL-LP/RECORD IST NOCH ORIGINAL VERSIEGELT = OVP = FACTORY SEALED!! ...... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Weitere Details: ************************************************************************************************** Oh Mercy (Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered) album cover Bob Dylan ‎– Oh Mercy Label: Mobile Fidelity Sound Lab ‎– MFSL 2-488, Columbia ‎– 88875022541 Series: Gain 2™ Ultra Analog 45RPM 180g Series – Format: 2 × Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered, 180g, Gatefold Country: US Released: 07 Jul 2020 Genre: Rock Style: Folk Rock, Blues Rock, Classic Rock Tracklist Show Credits A1 Political World 3:43 A2 Where Teardrops Fall 2:30 A3 Everything Is Broken 3:12 B1 Ring Them Bells 3:00 B2 Man In The Long Black Coat 4:30 B3 Most Of The Time 5:02 C1 What Good Am I? 4:45 C2 Disease Of Conceit 3:41 D1 What Was It You Wanted 5:02 D2 Shooting Star 3:12 Companies, etc. Manufactured By – Sony Music Entertainment Mastered At – Mobile Fidelity Sound Lab Phonographic Copyright (p) – Columbia Records Pressed By – Record Technology Incorporated – 32943 Pressed By – Record Technology Incorporated – 33249 Credits Artwork [Street Art] – Trotsky (3) Design [Album Design] – Christopher Austopchuk Design [Type Design] – Mark Burdett Mastered By – Krieg Wunderlich Mastered By [Assisted By] – Shawn R. Britton Photography By – Suzie-Q Producer, Mixed By – Daniel Lanois Recorded By, Mixed By – Malcolm Burn Recorded By, Technician [Studio Installation] – Mark Howard Written-By, Vocals – B. Dylan* Notes Limited Edition Of 4,000 © 1989, 2018 Columbia Records, a division of Sony Music Entertainment. ℗ 1989 Columbia Records. Mastered by Krieg Wunderlich, assisted by Shawn R. Britton at Mobile Fidelity Sound Lab®, Sebastopol, CA on the Gain 2 Ultra Analog System™ Specially Plated and Pressed on 180g High-Definition Vinyl Barcode and Other Identifiers Barcode (String): 8 21797 24831 0 Barcode (Scanned): 821797248310 Matrix / Runout (Side A Runout, Etched): MFSL 2-488 Ar3 Kw@MoFi 33249.1(3)... Matrix / Runout (Side B Runout, Etched): MFSL 2-488 Br2 Kw@MoFi 32943.2(3)... Matrix / Runout (Side C Runout, Etched): MFSL 2-488 Cr2 Kw@MoFi 32943.3(3)... Matrix / Runout (Side D Runout, Etched): MFSL 2-488 Dr2 Kw@MoFi 32943.4(3)... *********************************************************************************************** Bob Dylan - Organ, Guitar, Harmonica, Piano, Vocals, 12 String Guitar Tony Hall - Bass John Hart - Saxophone Darryl Johnson - Percussion Daniel Lanois - Dobro, Guitar, Producer, Omnichord, Mixing, Lap Steel Guitar Cyril Neville - Percussion Rockin' Dopsie - Accordion Mason Ruffner - Guitar Brian Stoltz - Guitar Paul Synegal - Guitar Larry Jolivet - Bass Willie Green - Drums Alton Rubin - Drums Malcolm Burn - Keyboards, Tambourine, Engineer, Mixing Mark Howard Engineer Erstveröffentlichung September 1989. Von den Kritikern wurde Bob Dylans 26. Studioalbum “Oh Mercy“ hochgelobt. Und das zurecht! Eröffnet wird das starke Album mit “Political World“. Mit viel Druck agieren hier Bassist Tony Hall und Schlagzeuger Willie Green. Aufgrund der hervorragenden Aufnahme und der 45rpm-Pressung kommt die Dobro, geslidet von Daniel Lanois, besonders gut zum Klingen. Lanois ist auch der Produzent dieses außergewöhnlichen Albums. Cyril Neville bringt mit seinen Percussion-Instrumenten den Song zum Vibrieren. Darüber thront Bob Dylans knorzige, kraftvolle, durch die vielen Jahre der Never-Ending-Tour gereifte Stimme. Gleich drei Gitarristen, der Meister himself Bob Dylan, Brian Stoltz und Mason Ruffner verdichten den Song. “Where Teardrops Fall“ ist ein balladeskes Lied. Wunderschön, wie hier die Lap-Steel-Gitarre, meisterlich gespielt von Lanois, über allem schwebt. “Everything Is Broken“ ist ein absoluter Highlight-Song. Mit intensivstem Blues-Feeling wird hier zu Werke gegangen. Der schwer beladene Freight Train donnert hier durch den Süden der USA. “Ring Them Bells“ ist ein melancholischer Song mit Bob Dylan am wohltemperierten Klavier. Ein ganz zentrales Stück ist “Man In The Long Black Coat“. Dylan spielt hier eine zwölfsaitige Gitarre. Das Lied ist mystisch verklärt. Wunderschön das sparsame Arrangement. Klar und voll grenzenloser Intensität die Mundharmonika, geblasen von Dylan. Eindringlich die Lyrics zu diesem Song. Seite 2 beginnt mit “Most Of The Time“. Hier ein kleiner Auszug des Songtexts: “Most of the time/Im clear focused all around/Most of the time/I can keep both feet on the ground/I can follow the path, I can read the signs...“. Für diese starken Texte wird ihm 2016 der Literatur-Nobelpreis verlieren. “What Good Am I?“ ist eine wunderschöne Ballade mit enormen Tiefgang. Dylans Stimme strahlt hier in besonders schönen Klangfarben. Bei “Disease Of Conceit“ überzeugt der Multiinstrumentalist Dylan an der Orgel und am Piano. In magmaschweres Moll getaucht ist “What Was It You Wanted“. Daniel Lanois und Mason Ruffners E-Gitarren greifen wundersam in den Melodien und Riffs ineinander und bilden eine kraftvolle Einheit. Dylans Mundharmonika kommt hier himmlisch zum Tragen. Auch hier zeigt sich die enorme Strahlkraft der profunden, sountechnischen Edition. Dylans Stimme geht tief in Herz und Seele. Mit herrlichem Country-Feeling und beeindruckender, nach-hall-tiger Bottleneck-Gitarre endet die Schallplatte mit “Shooting Star“. Eine besondere musikalische Notre erhält der Song hierbei mit dem von Daniel Lanois gespielten Omnichord. Diese Scheibe gehört wirklich zu den ganz wichtigen Veröffentlichungen in Dylans umfangreicher Diskographie. Die gelungene Cover-Artwork dazu lieferte der Street Art-Künstler Trotsky. Eine wunderbare LP zum Zurücklehnen und Genießen, mit den feinen intimen Momenten, die einen Popklassiker ausmachen! Klanglich überragend. wb Numbered Limited Edition! Limitiert und nummeriert auf 4,000 Stück! Gepressed bei RTI auf 180 g-schwerem Heavy Quiet-Vinyl. Krieg Wunderlich sorgte für das sorgfältige Mastering und den überragenden Klang. Titel: 1. Political World 2. Where Teardrops Fall 3. Everything Is Broken 4. Ring Them Bells 5. Man in the Long Black Coat 6. Most of the Time 7. What Good Am I? 8. Disease of Conceit 9. What Was It You Wanted 10. Shooting Star ********************************************************************************************* Rezension: Zehn Jahre lang hatte der Meister es seinen Bewunderern nicht gerade leicht gemacht – auch wenn die Alben jener Dekade sich mit zunehmendem zeitlichen Abstand als besser oder zumindest interessanter erweisen, als sie damals von Publikum und Kritik wahrgenommen wurden. Das 1989er "Oh Mercy" wurde jedenfalls erleichtert und begeistert als Rückkehr zur einstigen Form gefeiert; in der Tat ist es das in sich stärkste Werk seit "Blood On The Tracks": Zum einen dank Daniel Lanois' atmosphärischer Produktion, die dem Hörer suggeriert, an etwas Wichtigem teilzuhaben; zum anderen auch einfach wegen der überragenden Songs: "Political World", "Ring Them Bells" und "What Was It You Wanted" wurden sofort zu Klassikern. Höhepunkt des Albums (und hier funktioniert die Symbiose Dylan/Lanois perfekt!) aber ist "The Man In The Long Black Coat": Ein Über-Song, der seine Wirkung niemals verfehlt. Und der sich auch ganz hervorragend zum Anlagenvorführen eignet – in vorliegender Form sicherlich mehr denn je! Limitiert auf 4000 Stück, bei solch einem Titel ist das nicht viel. (1989/2020) ******************************************************************************************* MFSL - Mobile Fidelity Sound Lab * Gatefold Cover 1989 feierte Bob Dylan nach einer ausgedehnten Welt-Tournee mit dem Studio-Album "Oh Mercy" sein Comeback in den Longplay-Charts. Das von Daniel Lanois produzierte Werk gefällt mit strahlenden Songsternen wie "Political World", "Everything Is Broken", "Most Of The Time" und "Shooting Star". Für sein 26. Studioalbum tat sich Bob Dylan mit dem visionären Produzenten Daniel Lanois zusammen. Nach einer Reihe kommerziell weniger erfolgreicher Alben galt »Oh Mercy« 1989 als Comeback des Barden. Lanois, der kurz zuvor U2s »Joshua Tree« produziert hatte, verlieh Dylans messerscharfen Texten in angemessenem Maß Atmosphäre und Wärme. Die 180-Gramm-LP aus dem Hause MFSL, neu gemastert von Krieg Wunderlich und Shawn R. Britton, verschaffen »Oh Mercy« zusätzlich eine Räumlichkeit, Klarheit und Dynamik, die keine frühere Ausgabe bot. Titel wie »Everything is Broken« wurden zu Klassikern unter Dylan-Fans. »Man in the Long Black Coat« gehört insbesondere unter HiFi-Liebhabern zu den Favoriten. Lanois selbst spielt hier die Resonator-Gitarre von Dobro. Die auf 4.000 Exemplare limitierte Auflage erscheint auf 180-Gramm-Vinyl mit 45 RPM im Klappcover mit fortlaufender Seriennummer. Rezensionen »Denn die kalifornischen Reissue-Spezialisten haben die 1989 veröffentlichte CD/LP jetzt auf zwei schnelllaufende, 180 Gramm schwere Langspielplatten umgeschnitten, was der Dynamik und der Bass-Power gehörig aufhilft. (...) Am meisten unter die Haut aber geht der ›Man In The Long Black Coat‹, einer der eindringlichsten Dylan-Songs über die Anziehungskraft des Unheimlichen.« (Good Times, Oktober / November 2020) *********************************************************************************************** 180-gram 45 RPM double LP Pressed at RTI Limited to 4,000 numbered copies! As soon as it was issued, Bob Dylan's Oh Mercy was rightly regarded as a striking return to form. The 1989 set also won acclaim for the singer's decision to pair with visionary producer Daniel Lanois, whose sonic guidance draws vivid colors, hues, and warmth from the songs — all the while adding significant ambience, effect, and context. Removed from the circumstances of its original release, Oh Mercy has managed to both justify and transcend such praise. As time wears on, the record only gets better, with its razor-sharp songwriting and atmospheric soundscapes escalating to legendary proportions via Mobile Fidelity's definitive analog reissue. Mastered on Mobile Fidelity's world-renowned mastering system, pressed at RTI, and limited to 4,000 numbered copies, Oh Mercy now takes on cinematic qualities worthy of Lanois' production and Dylan's performances. Available for the first time on audiophile vinyl, the music benefits from a spaciousness, tonality, and surrealism no prior edition delivers. The extra groove space, too, seemingly gives each note its own physical dimension, whereby the Oh Mercy simultaneously immerses and surrounds you. Its clarity, dynamics, and extension also reach new heights throughout — whether it's the low-end reach on the spiritual-minded "Ring Them Bells" or combination of guitar-chord treble and piano decay on "Disease of Conceit." Achieving a cohesiveness and richness absent from Dylan's other '80s efforts, Oh Mercy further stands out for its on-the-floor immediacy and nuanced treatments. Gone are the slick, processed, "shoulder pad" synthetic backdrops Dylan employed on the preceding Empire Burlesque. Borrowing from approaches he used on U2's The Joshua Tree, Lanois serves rather than obscures Dylan's intent — enhancing the topicality of barbed fare like "Political World" and further charging the self-doubting emotions of quizzical compositions such as "What Good Am I?" For all of Lanois' magic, it's impossible to overlook the brilliance of Dylan's lyrics — or timbre and commitment of his singing. Many tracks on Oh Mercy have become live staples and fan favorites, and for very good reason. The swampy, percussive-augmented "Everything Is Broken" finds Dylan at his most forthright and descriptive, with the metaphorical and direct account of estrangement, loss, and chaos applicable to any number of eras, situations, or regimes. Mystery, voodoo, and portent fill "Man in the Long Black Coat," appointed by Lanois with aptly spooky devices and designed by its architect to "make an attack on your most vulnerable spots." Indeed, vulnerability peppers the second half of Oh Mercy, whether on the unrequited bite of "What Was It You Wanted" or the gentle, heartbreaking look-back ballad "Shooting Star." By extension, Dylan strips himself of any defense mechanisms on the romantic albeit somber "Most of the Time," which rates among the icon's moving creations and captures the memory-haunting aftermath of a dissolved relationship with a frankness, transparency, and self-knowingness few artists would dare commit to tape. 1. Political World 2. Where Teardrops Fall 3. Everything Is Broken 4. Ring Them Bells 5. Man in the Long Black Coat 6. Most of the Time 7. What Good Am I? 8. Disease of Conceit 9. What Was It You Wanted 10. Shooting Star *********************************************************************************************** AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head Mobile Fidelity - MFSL 2-488 - 180 Gram Virgin Vinyl - AAA 100% Analogue Mastered by Kreig Wunderlich from the Original Master Tape AAA 100% Analogue - 4,000 Numbered Limited Edition - Pressed at RTI Half Speed Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System I expect Oh Mercy to be considered as among Dylan’s finest work after Desire. Mobile Fidelity’s significant improvement of the album's sound may help elevate our appreciation of it - Theaudiobeat Bob Dylan and Daniel Lanois Hit All the Right Notes on Oh Mercy: 1989 Album Mesmerizes with Brilliant Songwriting, Inspired Performances, Atmospheric Feel, and Visionary Production Mastered on Mobile Fidelity's World-Renowned Mastering System, Strictly Limited to 4,000 Copies, and Pressed at RTI: 180g 45RPM Vinyl 2LP Features Cinematic Sound and Vast Spaciousness As soon as it was issued, Bob Dylan's Oh Mercy was rightly regarded as a striking return to form. The 1989 set also won acclaim for the singer's decision to pair with visionary producer Daniel Lanois, whose sonic guidance draws vivid colors, hues, and warmth from the songs – all the while adding significant ambience, effect, and context. Removed from the circumstances of its original release, Oh Mercy has managed to both justify and transcend such praise. As time wears on, the record only gets better, with its razor-sharp songwriting and atmospheric soundscapes escalating to legendary proportions via Mobile Fidelity's definitive analog reissue. Mastered on Mobile Fidelity's world-renowned mastering system, pressed at RTI, and strictly limited to 4,000 numbered copies, Oh Mercy now takes on cinematic qualities worthy of Lanois' production and Dylan's performances on 180g 45RPM 2LP. Available for the first time on audiophile vinyl, and at 45RPM speed, no less, the music benefits from a spaciousness, tonality, and surrealism no prior edition delivers. The extra groove space, too, seemingly gives each note its own physical dimension, whereby the Oh Mercy simultaneously immerses and surrounds you. Its clarity, dynamics, and extension also reach new heights throughout – whether it's the low-end reach on the spiritual-minded "Ring Them Bells" or combination of guitar-chord treble and piano decay on "Disease of Conceit." Achieving a cohesiveness and richness absent from Dylan's other 80s efforts, Oh Mercy further stands out for its on-the-floor immediacy and nuanced treatments. Gone are the slick, processed, "shoulder pad" synthetic backdrops Dylan employed on the preceding Empire Burlesque. Borrowing from approaches he used on U2's The Joshua Tree, Lanois serves rather than obscures Dylan's intent – enhancing the topicality of barbed fare like "Political World" and further charging the self-doubting emotions of quizzical compositions such as "What Good Am I?" For all of Lanois' magic, it's impossible to overlook the brilliance of Dylan's lyrics – or timbre and commitment of his singing. Many tracks on Oh Mercy have become live staples and fan favorites, and for very good reason. The swampy, percussive-augmented "Everything Is Broken" finds Dylan at his most forthright and descriptive, with the metaphorical and direct account of estrangement, loss, and chaos applicable to any number of eras, situations, or regimes. Mystery, voodoo, and portent fill "Man in the Long Black Coat," appointed by Lanois with aptly spooky devices and designed by its architect to "make an attack on your most vulnerable spots." Indeed, vulnerability peppers the second half of Oh Mercy, whether on the unrequited bite of "What Was It You Wanted" or the gentle, heartbreaking look-back ballad "Shooting Star." By extension, Dylan strips himself of any defense mechanisms on the romantic albeit somber "Most of the Time," which rates among the icon's moving creations and captures the memory-haunting aftermath of a dissolved relationship with a frankness, transparency, and self-knowingness few artists would dare commit to tape. Conversations about how Oh Mercy compares to Dylan's classic 1960s output continue to this day and, if anything, have become deeper and more involved due to the record's still-growing strengths. That several outtakes – "Series of Dreams," "Dignity," and "Born in Time" among them – landed on subsequent Dylan records and are beloved by fans speak to Oh Mercy's lingering magnetism and power. Hear the 1989 staple as Dylan and Lanois intended, and secure your limited-numbered copy Producer– Daniel Lanois Written- – B. Dylan Political World Where Teardrops Fall Everything Is Broken Ring Them Bells Man in the Long Black Coat Most of the Time What Good Am I? Disease of Conceit What Was It You Wanted Shooting Star Bob Dylan - Oh Mercy - 45rpm 180g 2LP Image result for mofi mobile fidelity sound lab GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of MFSL’s founding fathers – Stan Ricker, an audio engineer responsible for many of MFSL’s most heralded past releases. The GAIN 2 Ultra Analog™ system is comprised of a Studer™ tape machine with customized reproduction electronics* and handcrafted cutting amps that drive an Ortofon cutting head on a restored Neumann VMS-70 lathe. (It is worth noting that independent studies have confirmed that the GAIN 2 Ultra Analog™ system can unveil sonic information all the way up to 122kHz!) First and foremost, we only utilize first generation original master recordings as source material for our releases. We then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master’s sonic information. Our lacquers are then plated in a specialized process that protects transients in the musical signal. (Due to this process, there may be occasional pops or ticks inherent in initial play back, but as the disc is played more, a high quality stylus will actually polish the grooves and improve the sound). We further ensure optimum sound quality by strictly limiting the number of pressings printed for each release. These limited editions, in addition to being collectors’ items, ensure that the quality of the last pressing matches the quality of the first. As you can imagine, all these efforts involve a tremendous amount of time, technology, cost and effort. The introduction of GAIN 2 Ultra Analog™ maintains Mobile Fidelity Sound Lab’s position as the world’s leading audiophile record label, where a passion for music with extraordinary sound quality matters most. https://store.acousticsounds.com/images/FormatIcons/180gram.jpg RTI 180 HQ Vinyl Record Technology is a world class record pressing plant located in Camarillo, California. We have been operating since 1974, pressing for most audiophile record labels and for many quality minded independent and major record labels from around the world. ********************************************************************************************** Zustand: OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2020 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #1220 ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Preis:** EUR 399,99 (minus 50% discount with invoice/rechnungsrabatt = 199,99 euro) ----- OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2020 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #1220 ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) In den Warenkorb


MFSL 2-489 ----- ANALOGE ORIGINAL 45RPM-MFSL-DOPPEL-LP/RECORD ---- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER ----- (OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !!) XXL-Foto XXL-Foto	BOB DYLAN ----- " LOVE AND THEFT " ------ ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2020 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET)----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER ----- OUT OF PRINT ----- ( ...... OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! / ..... BESONDERS WERTVOLLE ANALOGE 45RPM-MFSL-DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD JACKET) / ..... ORIGINAL PRODUCTION AND RE-MASTERING BY MOBILE FIDELITY SOUND LAB, USA 2020 / ..... ORIGINAL MASTER RECORDING USA WITH SPECIAL LIMITED EDITION NUMBER # !! / ..... 180g HIGH DEFINITION VINYL / ..... MFSL-GAIN 2 ULTRA ANALOG SYSTEM / ..... MASTERED FROM THE FIRST ORIGINAL STEREO TAPES BY KRIEG WUNDERLICH AT MOBILE FIDELITY SOUND LAB, SEBASTOPOL IN CALIFORNIA USA ON THE GAIN 2 ULTRA ANALOG SYSTEM / ..... ORIGINAL AUFNAHMEN 2001 BEI COLUMBIA RECORDS IN USA / ..... ORIGINAL RECORDING 2001 BY COLUMBIA RECORDS IN USA / ..... ANALOGUE RE-MASTERING BY MOFI = MOBILE FIDELITY SOUND LAB, USA 2020 / ..... ORIGINAL MFSL PACKAGING !! / ..... WITH SPECIAL LIMITED EDITION NUMBER ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP/RECORD SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP/RECORD-COLLECTION (ONE EXEMPLARY)!! ...... DIESE WERTVOLLE MFSL-45RPM-DOPPEL-LP/RECORD IST NOCH ORIGINAL VERSIEGELT = OVP = FACTORY SEALED!! ...... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Weitere Details: ************************************************************************************************ "Love And Theft" (Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered) album cover Bob Dylan ‎– "Love And Theft" Label: Mobile Fidelity Sound Lab ‎– MFSL 2-489, Columbia ‎– 88875022701, Sony Music Commercial Music Group ‎– 88875022701 Series: Original Master Recording – , Gain 2™ Ultra Analog 45RPM 180g Series – Format: 2 × Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered, Gatefold 180g Country: US Released: 09 Sep 2020 Genre: Rock Style: Folk Rock, Blues Rock Tracklist Hide Credits A1 Tweedle Dee & Tweedle Dum Bongos – Clay Meyers 4:47 A2 Mississippi 5:21 A3 Summer Days 4:53 B1 Bye And Bye 3:16 B2 Lonesome Day Blues 6:05 B3 Floater (Too Much To Ask) 4:59 C1 High Water (For Charley Patton) 4:04 C2 Moonlight 3:24 C3 Honest With Me Bongos – Clay Meyers 5:49 D1 Po' Boy 3:06 D2 Cry A While 5:06 D3 Sugar Baby 6:44 Companies, etc. Phonographic Copyright (p) – Columbia Records Manufactured For – Mobile Fidelity Sound Lab, Inc. Manufactured By – Sony Music Entertainment Mastered At – Mobile Fidelity Sound Lab Lacquer Cut At – Mobile Fidelity Sound Lab Pressed By – Record Technology Incorporated Credits Accordion, Organ – Augie Meyers Art Direction – Geoff Gans Banjo, Mandolin, Guitar, Violin – Larry Campbell Bass – Tony Garnier Drums – David Kemper Engineer [Assistant] – Jeremy Welch Engineer, Recorded By, Mixed By – Chris Shaw Guitar – Charlie Sexton Guitar, Vocals, Piano, Written-By – Bob Dylan Mastered By – Krieg Wunderlich Mastered By [Assisted By] – Shawn R. Britton Photography By – David Gahr Photography By, Cover – Kevin Mazur Producer – Jack Frost (2) Notes Limited Edition Of 3,000. 45rpm. Gatefold. © 2001, 2019 Columbia Records, a division of Sony Music Entertainment. ℗ 2001 Columbia Records. Printed in the U.S.A. Mastered by Krieg Wunderlich, assisted by Shawn R. Britton at Mobile Fidelity Sound Lab®, Sebastopol, CA on the Gain 2 Ultra Analog System™ Specially Plated and Pressed on 180g High-Definition Vinyl Production by Mobile Fidelity Sound Lab® Barcode and Other Identifiers Barcode (text): 8 21797 24891 4 Barcode (scanned): 821797248914 ****************************************************************************************** Es ist eines seiner schönsten und wohl auch bestklingendsten Alben. “Love And Theft“, das am 11. September 2001 erschienen ist, ist auch unheimlich musikalisch abwechslungsreich und präsentiert mit das Beste was US-amerikanische Musik zu bieten hat. Schön dass es jetzt als Doppel-LP mit insgesamt 360 Gramm bei MFSL (Mobile Fidelity Sound Lab) erscheint und nochmal erstaunlicherweise klanglich zulegt. Großen Anteil an dem highendigen Sound haben Krieg Wunderlich und Shawn R. Britton. Das Mastering und der Schnitt lassen nicht den geringsten Wunsch übrig. Es gibt lediglich 3.000 streng limitierte Exemplare. Diese laufen in 45 rpm und kommen mit fortlaufender Seriennummer. Eingepackt sind sie in schützenden, gefütterten Innenenhüllen, die wiederum in einem wertigen stabilen Karton-Klapp-Cover stecken. Mit “High Water (For Charley Patton)“ verbeugt sich Bob Dylan vor einem der Giganten des Delta-Blues. Wunderschön hier die Klangkraft der akustischen Instrumente. Jedes einzeln sauber ortbar und trotzdem erklingt alles als kompakte Einheit. Larry Campbell an Gitarre, Banjo und Mandoline sorgt bei diesem Song für das maximal authentische Feeling. Dylans knauzig-knorrige, einzigartige Stimme schwebt über allem. “Cry A While“ ist ein richtig klasse Mid-Tempo-Rock-Song mit vertrackter Rhythmus-Struktur und einem höchst inspirierten Charlie Sexton an der Leadgitarre. Jazzig und verspielt ist “Bye And Bye“. Das Album wurde übrigens von Bob Dylan selbst produziert unter dem Pseudonym Jack Frost. Dylan as Dylan can do! Dieses Meisterwerk gehört in jede Sammlung. Und zwar wegen den Kompositionen, der musikalischen Güte und dem perfekten Sound. wb Numbered Limited Edition! Limitiert und nummeriert auf 3,000 Stück! Gepressed bei RTI auf 180 g-schwerem Heavy Quiet-Vinyl. Krieg Wunderlich und Shawn R. Britton sorgten für das sorgfältige Mastering und den überragenden Klang. ******************************************************************************************* Rezension: "I used to care, but things have changed." Mit diesen Worten hatte Bob Dylan im Jahr zuvor der Gegenwart den Rücken gekehrt (und für den Titelsong zu Curtis Hansons Film "Wonder Boys" auch noch einen Oscar mitgenommen). Auf "Love And Theft" wurde entsprechend die alte Kunst des Songwritings vorgeführt; die Geister, die hier beschworen werden, heißen Robert Johnson und Sonny Terry, Charlie Christian und Django Reinhardt, Chuck Berry und Buddy Holly. Trotziger Rock'n'Roll, staubiger Blues und lässiger Swing. Dylans Stimme dazu ist ein entschlossenes Knarzen und Knören, dabei kaum zu übertreffen in seiner Ausdrucksfähigkeit (der wohl einzige Kollege, der ein vergleichbares Kunststück fertigbrachte, ist Leon Redbone). Indes: "Love And Theft" ist rückwärtsgewandt, aber es ist nicht nostalgisch. Es war und ist ein Gegenentwurf zur aktuellen Lage der Dinge, nicht ohne Zorn. Was wir allerdings damit anfangen, bleibt allein uns überlassen. Die Zeiten des Missionierens sind vorbei. – Hier funktioniert der 45er-Umschnitt ohne "Bequemlichkeitsverlust": Auch die 33er-Originalpressung hatte pro Seite nur drei Songs mit maximal 17 Minuten Spielzeit zu bieten. Reiner klanglicher Mehrwert mithin. Allerdings ist die Erstauflage (insgesamt liegt die Limitierung bei 3000) auch schon wieder beim Label vergriffen; mal sehen, wieviele wir bekommen… (2001/2020) ********************************************************************************************* *********************************************************************************************** AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head Mobile Fidelity - MFSL 2-489 - 180 Gram Virgin Vinly - AAA 100% Analogue 3,000 Numbered Limited Edition - Pressed at RTI Half Speed Mastered by Kreig Wunderlich from the Original Mastertapes on the Mobile Fidelity GAIN 2™ A Visionary Survey of American Music and Its Vast Landscapes: Bob Dylan's Love and Theft Tours Swing, Blues, Country, Folk, and Vaudeville En Route to Becoming a Roots-Rock Landmark Mastered from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Bob Dylan's Love and Theft is a visionary train ride through the vast American landscape and all its hills, valleys, mountains, river towns, and urban and rural settlements. As they burrow into villages and barrel across trestle bridges, the 2001 record's songs introduce us to outlaws, outliers, gamblers, brawlers, tricksters, bootleggers, and scoundrels. It is, in effect, a commanding survey of and plunge into American music. Named the best album of the year by Rolling Stone and the Village Voice's Pazz & Jop Critics Poll, anointed the second-best album of the decade by Newsweek, and later declared the 385th Greatest Album of All Time by Rolling Stone, Love and Theft remains the Nobel Laureate's finest effort since 1975's Blood on the Tracks – and an extension of the jesting, imagery, and free-form looseness present on his seminal 1960s works. Now, it possess knock-out sound. Mastered from the original master tapes and strictly limited to 3,000 numbered copies, Mobile Fidelity's transparent reveals the you-are-there immediacy of Dylan's production and the colorful textures inherent to every passage. Experienced on this audiophile version, the songs possess a sense of swing and naturalism so sure-footed that they seem to float, with Dylan and his crack ensemble setting up as a live band taking down the house in a deep-in-the-woods Louisiana shotgun shack. Prized aural traits such as presence, imaging, separation, and soundstaging depth don't come better. This is the very definition of sonic chemistry. Indeed, Dylan's virtuosic cast that rides in akin to a pack of Old West horsemen – Texas guitar whiz Charlie Sexton, drummer David Kemper, bassist Tony Garnier, multi-instrumentalist Larry Campbell, and keyboardist Augie Meyers – emerges with detailing, scaling, and tonality so realistic, it's scary. Various imperfections – stray notes, errant chords that Dylan valued to suit the overall atmosphere – further become enmeshed with the entire tapestry. Surpassing even the emotionally engaging experiences provided by the rare, long-out-of-print Drawing from roots-based styles that always inspired him – including blues, vaudeville, country, jazz, swing, and folk – Dylan turns in a masterwork that references the past without reverentially giving into it. Hence, each composition is vital, contemporary, timeless, and, ultimately, classic. As esteemed critic Greg Kot observed in his salient review of the Grammy-winning effort for the Chicago Tribune: "This is a tour of American music – jump blues, slow blues, rockabilly, Tin Pan Alley ballads, country swing – that evokes the sprawl, fatalism and subversive humor of Dylan's sacred text, Harry Smith's Anthology of American Folk Music, the pre-rock voicings of Hank Williams, Charley Patton and Johnny Ray, among others, and the ultra-dry humor of Groucho Marx." Similarly, the scope of the record – along with its mysteries, riddles, and fantasies – wasn't lost on Rolling Stone scribe Rob Sheffield, who mused: "The music evokes an America of masquerade and striptease, a world of seedy old-time gin palaces, fast cash, poison whiskey, guilty strangers trying not to make eye contact, pickpockets slapping out-of-towners on the back. Love and Theft comes on as a musical autobiography that also sounds like a casual, almost accidental history of the country. Relaxed, magisterial, utterly confident in every musical idiom he touches, Dylan sings all twelve songs in a voice that sounds older than he is, a grizzled con man croaking biblical blues and Tin Pan Alley valentines out of the side of his mouth while keeping one eye on the exit." Throughout, subtle changes in keys, tempos, and approaches adapt to the specific feel of each song – many of which were performed in the studio after Dylan played everyone vintage recordings by the likes of a Billie Holiday or Jimmy Rushing to establish the mood and manner he desired. The collective went from there. The resultant arrangements fit the lyrics to a proverbial "t." Consider the apocalyptic nature of the symbolic "High Water (for Charley Patton)," which doubles as a mini-history of the U.S.' racial strife as well as a metaphor for contemporary problems. Or the deceptive ease of the crooned ballad "Bye and Bye" that hides a clever kiss-off. Every song, every note matters. And whether via the swing of "Summer Days" (pregnant with a destructive ending), galloping death trip of "Tweedle Dee & Tweedle Dum," or desperate slide of "Honest with Me," Dylan and company turn each track into a powerful commentary on power, folklore, and myths. "Things should start to get interesting right about now," Dylan sings in his trademark rasp on "Mississippi," the line doubling as an apt metaphor for every second of Love and Theft – one of the greatest records of our time. Secure your numbered, limited-edition Today Musicians: Bob Dylan Larry Campbell Charlie Sexton Augie Meyers Tony Garnier David Kemper Clay Meyers 1. Tweedle Dee & Tweedle Dum 2. Mississippi 3. Summer Days 4. Bye and Bye 5. Lonesome Day Blues 6. Floater (Too Much to Ask) 7. High Water (For Charley Patton) 8. Moonlight 9. Honest with Me 10. Po' Boy 11. Cry a While 12. Sugar Baby Bob Dylan - Love and Theft - Numbered, Limited Edition Strictly Limited to 3,000 Numbered Copies 180g 2LP 45rpm Production and Mastering by Mobile Fidelity Sound Lab Specially Plated and Pressed on 180 grams of High Definition Vinyl Special Static Free - Dust Free Inner Sleeve Heavy Duty Protective Packaging Pressed at RTI Image result for mofi mobile fidelity sound lab GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of MFSL’s founding fathers – Stan Ricker, an audio engineer responsible for many of MFSL’s most heralded past releases. The GAIN 2 Ultra Analog™ system is comprised of a Studer™ tape machine with customized reproduction electronics* and handcrafted cutting amps that drive an Ortofon cutting head on a restored Neumann VMS-70 lathe. (It is worth noting that independent studies have confirmed that the GAIN 2 Ultra Analog™ system can unveil sonic information all the way up to 122kHz!) First and foremost, we only utilize first generation original master recordings as source material for our releases. We then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master’s sonic information. Our lacquers are then plated in a specialized process that protects transients in the musical signal. (Due to this process, there may be occasional pops or ticks inherent in initial play back, but as the disc is played more, a high quality stylus will actually polish the grooves and improve the sound). We further ensure optimum sound quality by strictly limiting the number of pressings printed for each release. These limited editions, in addition to being collectors’ items, ensure that the quality of the last pressing matches the quality of the first. As you can imagine, all these efforts involve a tremendous amount of time, technology, cost and effort. The introduction of GAIN 2 Ultra Analog™ maintains Mobile Fidelity Sound Lab’s position as the world’s leading audiophile record label, where a passion for music with extraordinary sound quality matters most. https://store.acousticsounds.com/images/FormatIcons/180gram.jpg RTI 180 HQ Vinyl Record Technology is a world class record pressing plant located in Camarillo, California. We have been operating since 1974, pressing for most audiophile record labels and for many quality minded independent and major record labels from around the world. ******************************************************************************************* Zustand: OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2020 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER # ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Preis:** EUR 599,99 (minus 50% discount with invoice/rechnungsrabatt = 299,99 euro) ----- OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2020 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER # ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) In den Warenkorb


MFSL 2-490-45 ----- ANALOGE ORIGINAL 45RPM-MFSL-DOPPEL-LP/RECORD ---- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER # 1808 ----- (OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !!) XXL-Foto XXL-Foto	T.REX ----- ELECTRIC WARRIOR ------ ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2020 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET)----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER # 1808 ----- OUT OF PRINT ----- ( ...... OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! / ..... BESONDERS WERTVOLLE ANALOGE 45RPM-MFSL-DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD JACKET) / ..... ORIGINAL PRODUCTION AND RE-MASTERING BY MOBILE FIDELITY SOUND LAB, USA 2020 / ..... ORIGINAL MASTER RECORDING USA WITH SPECIAL LIMITED EDITION NUMBER # 1808!! / ..... 180g HIGH DEFINITION VINYL / ..... MFSL-GAIN 2 ULTRA ANALOG SYSTEM / ..... MASTERED FROM THE FIRST ORIGINAL STEREO TAPES BY KRIEG WUNDERLICH AT MOBILE FIDELITY SOUND LAB, SEBASTOPOL IN CALIFORNIA USA ON THE GAIN 2 ULTRA ANALOG SYSTEM / ..... ORIGINAL AUFNAHMEN 1971 BEI WARNER RECORDS IN USA / ..... ORIGINAL RECORDING 1971 BY WARNER RECORDS IN USA / ..... ANALOGUE RE-MASTERING BY MOFI = MOBILE FIDELITY SOUND LAB, USA 2020 / ..... ORIGINAL MFSL PACKAGING !! / ..... WITH SPECIAL LIMITED EDITION NUMBER # 1808 ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP/RECORD SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP/RECORD-COLLECTION (ONE EXEMPLARY)!! ...... DIESE WERTVOLLE MFSL-45RPM-DOPPEL-LP/RECORD IST NOCH ORIGINAL VERSIEGELT = OVP = FACTORY SEALED!! ...... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Weitere Details: *********************************************************************************************** Electric Warrior (Vinyl, 12", 45 RPM, Album, Numbered, Reissue, Remastered, Special Edition) for sale T. Rex ‎– Electric Warrior Label: Mobile Fidelity Sound Lab ‎– MFSL 2-490 Series: Gain 2™ Ultra Analog 45RPM 180g Series – Format: 2 × Vinyl, 12", 45 RPM, Album, Numbered, Reissue, Remastered, Special Edition, Gatefold, 180g Country: US Released: 19 Aug 2020 Genre: Rock Style: Glam, Classic Rock Tracklist A1 Mambo Sun 3:38 A2 Cosmic Dancer 4:27 B1 Jeepster 4:10 B2 Monolith 3:45 B3 Lean Woman Blues 3:00 C1 Bang A Gong (Get It On) 4:25 C2 Planet Queen 3:11 C3 Girl 2:30 D1 The Motivator 3:59 D2 Life's A Gas 2:22 D3 Rip Off 3:39 Companies, etc. Mastered At – Mobile Fidelity Sound Lab Manufactured By – Rhino Entertainment Company Mastered At – Record Technology Incorporated – 33338 Pressed By – Record Technology Incorporated Produced For – Straight Ahead Productions Phonographic Copyright (p) – Warner Records Inc. Copyright (c) – Mobile Fidelity Sound Lab, Inc. Recorded At – Wally Heider Recording Studio, Los Angeles Recorded At – Mediasound Recorded At – Trident Studios Recorded At – Advision Studios Lacquer Cut At – Mobile Fidelity Sound Lab Credits Backing Vocals – Howard Kaylan, Mark Volman Bass – Steve Currie Drums – Will Legend* Engineer – Malcolm Cecil, Martin Rushent, Rik Pekkonen, Roy T. Baker* Flugelhorn – Burt Collins Lacquer Cut By – Kw* Layout – Hipgnosis (2) Mastered By – Krieg Wunderlich Percussion, Vocals – Micky Finn* Photography By – Spud Murphy (3) Photography By [Inner Gatefold] – George Underwood Producer – Tony Visconti Saxophone – Ian McDonald Vocals, Guitar, Written-By – Marc Bolan Notes 45rpm. Dual-pocket gatefold. Special edition. ℗ 1971 & 2019 Warner Records Inc. Produced under license from Warner Records Inc. Manufactured by Rhino Entertainment Company, a Warner Music Group Company © 2019 Mobile Fidelity Sound Lab ®, Inc. Printed in the U.S.A. Mastered by Krieg Wunderlich at Mobile Fidelity Sound Lab ®, Sebastopol, CA on the GAIN 2 Ultra Analog System. Specially Plated and Pressed on 180g High-Definition Vinyl. Production by Mobile Fidelity Sound Lab ® Barcode and Other Identifiers Barcode (Text): 8 21797 24901 0 Barcode (Scanned): 821797249010 Matrix / Runout: MFSL 2-490 A1 33338.1 (3)… Kw@MoFi Matrix / Runout: MFSL 2-490 B1 33338.2 (3)… Kw@MoFi Matrix / Runout: MFSL 2-490 C1 33338.3 (3)… Kw@MoFi Matrix / Runout: MFSL 2-490 D1 33338.4 (3)… Kw@MoFi ************************************************************************************************ Rezension: Vom Hippie-Folk der Anfangsjahre war hier nun wirklich nichts mehr übriggeblieben. Dieses Meisterstück (mit den Hits „Jeepster“ und „Bang A Gong (Get It On)“ als erste unter gleichen) war so etwas wie die Initialzündung des Glam Rock. Außer Marc Bolan könnte nur David Bowie Anspruch auf die Genre-Gründung erheben, und diesen Streit würde ich nicht entscheiden wollen. Jedenfalls haben nur wenige Platten die 70er so definiert wie diese, und das bis weit in die Disco-Ära hinein. Bolan selbst war fortan eine kultisch verehrte Ikone, so unsterblich wie dieses Album. Welches sich dank Tony Viscontis exzellenter Produktion zwar in fast allen existierenden Pressungen gut bis sehr gut anhört, aber sicherlich noch nie so phantastisch wie auf diesem 45 UPM-Umschnitt… (1971/2020) ******************************************************************************************* * Gatefold Cover Das zweite Studioalbum der britischen Band T. Rex aus dem Jahr 1971 ist ein Klassiker. Eine der beiden Auskopplungen war Get It On, T. Rex' meistverkaufte Single überhaupt und der einzige Top-Ten-Titel der Band in den USA. Electric Warrior machte Marc Bolan über Nacht zum Glam-Rock-Star. Er schuf einen Trend, dem Größen wie David Bowie, Roxy Music und Mott the Hoople bald folgten. Tony Viscontis warme, hall-arme Produktion und Roy Thomas Bakers erstklassige Aufnahmetechnik sind zweifelsohne wichtige Bestandteile für den Erfolg des Albums. Die Doppel-LP auf 180-Gramm-Vinyl mit 45 rpm, neu gemastert für Mobile Fidelity Sound Lab von Krieg Wunderlich, macht beides deutlich erfahrbar. Der Titel erscheint im Klappcover mit fortlaufender Seriennummer. ******************************************************************************************* AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head Mobile Fidelity - MFSL 2-490 - 180 Gram Virgin Virgin - AAA 100% Analogue Mastered by Kreig Wunderlich from the Original Master Tape at MFSL Numbered Limited Edition - Pressed at RTI Half Speed Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System Some might question the premium price of this numbered limited edition. However, it's far less than collectors routinely pay for dog-eared original pressings of this record – and is likely to command more on the secondhand market in years to come. As you'd expect from this label, it's done to the company's usual sublime standards in terms of mastering, pressing and packaging. Spread over two 45RPM 180g twelve-inch discs, it plays dramatically better than other versions I've heard, including my own Japanese first pressing – with an inky-black background and a wonderful lustre to Bolan's lead guitar. Mobile Fidelity's version of Electric Warrior is a fitting tribute to one of the most important Rock albums of the nineteen seventies, and beyond.David Price Sterenet T. Rex's Exotic Landmark Signals the Birth of Glam Rock, Features "Bang a Gong (Get It On)": Electric Warrior Swaggers with Libido, Flamboyance, Fantasy, Fun, Hooks, and Theatricality Mastered on Mobile Fidelity's State-of-the-Art Mastering System: 180g 45RPM Vinyl 2LP Set Presents the 1971 Record's Reverb, Colors, Tones, and String Arrangements in Full-Tilt Glory Bang a gong and get it on. At once sardonic, flamboyant, and trashy, T. Rex's uncommonly unique Electric Warrior catapulted leader Marc Bolan to stardom, triggered an ongoing fascination with glam rock, and launched a movement that soon involved David Bowie, Roxy Music, Mott the Hoople, and more. Yet none of those namesake artists ever released a record that out-glammed, out-innuendoed, out-thrusted, or out-camped Electric Warrior – named the 160th Greatest Album of All Time by Rolling Stone and included in the celebrated book 1001 Albums You Must Hear Before You Die. Mastered on Mobile Fidelity's state-of-the-art mastering system, pressed on dead-quiet vinyl at RTI, and housed in a gatefold sleeve, the label's numbered-edition 180g 45RPM 2LP set gives the 1971 landmark the widescreen sound quality it has always deserved. Tony Visconti's warm, reverb-soaked production and Roy Thomas Baker's ace engineering remain two of the work's most famous and revered elements. Here, the production and music can be experienced in all its full-tilt glory, from the subtle albeit elegant classical touches to the instantly identifiable Les Paul guitar licks to Bolan's sensual, wispy, are-they-or-aren't-they-serious vocals. As Sean Egan wrote in the liner notes of a long-out-of-print reissue: "The sound is recognizably rock, yet a previously unheard exotic variant, almost as if concocted by inhabitants of one of the Tolkien-esque worlds common in Bolan's lyrics. The strings are overt but discreet in shape and tone, injecting just the right amount of class." All these aspects and more come to life with a realism, vibrancy, detail, and textural palpability that surpass the presentation on any prior analog edition. If you can hear colors, this audiophile version of Electric Warrior will stimulate your inner synesthesia. At the time of the album's creation, such cosmic-related phenomenon were well within Bolan's orbit. But the differences between Electric Warrior and the singer/guitarist's earlier works are as vast as those that divide high art and low-brow culture. Chief among them: Bolan's decision to channel his acoustic hippie-inspired visions into hyper-sexualized, metaphor-rich statements that benefit from amplified foundations. And still, part of the songs' charm relates to how they tread a fine line between rock and pop. Save for the lashing out of "Rip Off," Electric Warrior retains a mellow core underlined by a gauzy tint, gossamer temperament, and crushed-velvet feel. The perception that he record contains blustery heaviness is furthered – and initiated – by the now-iconic album cover, which depicts a giant-sized Bolan standing in front of an equally giant amplifier stack, striking a rock-star pose and giving the impression everything within is designed to go to the proverbial 11 on the volume knob. Akin to a majority of the songs themselves, the visual functions as clever illusion, absurd humor, ostentatious simplicity, and playful pretense. Bursting with excessive fun and unchecked libido, T. Rex's catchy boogies, shuffles, and vamps scoot by on a seemingly impossible blend of concise hooks, non-sequitur fantasies, and theatrical swagger. From the chart-topping "Bang a Gong (Get It On)" to the beautiful "Life's a Gas," the R&B-stoked hit "Jeepster" to the pout of "Motivator" and galactic soul of "Planet Queen," Bolan, percussionist Mickey Finn, and boards manipulator Visconti craft a rewardingly strange, parallel universe of sound, style, and sex that still has no equal. Secure your collectible copy of Electric Warrior from today! ********************************************************************************************** 180-gram 45 RPM gatefold double LP Mastered at Mobile Fidelity, pressed at RTI Rolling Stone 500 Greatest Albums list No. 160/500 Included in the celebrated book 1001 Albums You Must Hear Before You Die Bang a gong and get it on. At once sardonic, flamboyant, and trashy, T. Rex's uncommonly unique Electric Warrior catapulted leader Marc Bolan to stardom, triggered an ongoing fascination with glam rock, and launched a movement that soon involved David Bowie, Roxy Music, Mott the Hoople, and more. Yet none of those namesake artists ever released a record that out-glammed, out-innuendoed, out-thrusted, or out-camped Electric Warrior — named the 160th Greatest Album of All Time by Rolling Stone and included in the celebrated book 1001 Albums You Must Hear Before You Die. Mastered on Mobile Fidelity's state-of-the-art mastering system, pressed on dead-quiet vinyl at RTI, and housed in a gatefold sleeve, the label's numbered-edition 180-gram 45RPM 2LP set gives the 1971 landmark the widescreen sound quality it has always deserved. Tony Visconti's warm, reverb-soaked production and Roy Thomas Baker's ace engineering remain two of the work's most famous and revered elements. Here, the production and music can be experienced in all its full-tilt glory, from the subtle albeit elegant classical touches to the instantly identifiable Les Paul guitar licks to Bolan's sensual, wispy, are-they-or-aren't-they-serious vocals. Bursting with excessive fun and unchecked libido, T. Rex's catchy boogies, shuffles, and vamps scoot by on a seemingly impossible blend of concise hooks, non-sequitur fantasies, and theatrical swagger. From the chart-topping "Bang a Gong (Get It On)" to the beautiful "Life's a Gas," the R&B-stoked hit "Jeepster" to the pout of "Motivator" and galactic soul of "Planet Queen," Bolan, percussionist Mickey Finn, and boards manipulator Visconti craft a rewardingly strange, parallel universe of sound, style, and sex that still has no equal. ******************************************************************************************** Zustand: OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2020 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER # 1808 ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Preis:** EUR 399,99 (minus 50% discount with invoice/rechnungsrabatt = 199,99 euro) ----- OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2020 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER # 1808 ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) In den Warenkorb


MFSL 2-491-45 ----- ANALOGE ORIGINAL 45RPM-MFSL-DOPPEL-LP/RECORD ---- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER #2044 ----- (OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !!) XXL-Foto XXL-Foto	VANILLA FUDGE ----- VANILLA FUDGE ------ ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2020 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET)----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #2044 ----- OUT OF PRINT ----- ( ...... OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! / ..... BESONDERS WERTVOLLE ANALOGE 45RPM-MFSL-DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD JACKET) / ..... ORIGINAL PRODUCTION AND RE-MASTERING BY MOBILE FIDELITY SOUND LAB, USA 2020 / ..... ORIGINAL MASTER RECORDING USA WITH SPECIAL LIMITED EDITION NUMBER #2044 !! / ..... 180g HIGH DEFINITION VINYL / ..... MFSL-GAIN 2 ULTRA ANALOG SYSTEM / ..... MASTERED FROM THE FIRST ORIGINAL STEREO TAPES BY KRIEG WUNDERLICH AT MOBILE FIDELITY SOUND LAB, SEBASTOPOL IN CALIFORNIA USA ON THE GAIN 2 ULTRA ANALOG SYSTEM / ..... ORIGINAL AUFNAHMEN 1967 BEI ATLANTIC RECORDS IN USA / ..... ORIGINAL RECORDING 1967 BY ATLANTIC RECORDS IN USA / ..... ANALOGUE RE-MASTERING BY MOFI = MOBILE FIDELITY SOUND LAB, USA 2020 / ..... ORIGINAL MFSL PACKAGING !! / ..... WITH SPECIAL LIMITED EDITION NUMBER ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP/RECORD SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP/RECORD-COLLECTION (ONE EXEMPLARY)!! ...... DIESE WERTVOLLE MFSL-45RPM-DOPPEL-LP/RECORD IST NOCH ORIGINAL VERSIEGELT = OVP = FACTORY SEALED!! ...... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Weitere Details: **************************************************************************************************** Vanilla Fudge (Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered, Mono) album cover Vanilla Fudge ‎– Vanilla Fudge Label: Mobile Fidelity Sound Lab ‎– MFSL 2-491 Series: Original Master Recording – , Gain 2™ Ultra Analog 45RPM 180g Series – Format: 2 × Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered, Mono, Gatefold 180g Country: US Released: 20 Jul 2020 Genre: Rock Style: Psychedelic Rock Tracklist Show Credits A1 Ticket To Ride 5:40 A2 People Get Ready 6:30 B1 She's Not There 4:55 B2 Bang Bang 5:20 C1 Illusions Of My Childhood - Part One 0:20 C2 You Keep Me Hanging On 7:20 C3 Illusions Of My Childhood - Part Two 0:23 C4 Take Me For A Little While 3:27 C5 Illusions Of My Childhood - Part Three 0:22 D1 Illusions Of My Childhood - Part Three D2 Eleanor Rigby 8:24 Companies, etc. Mastered At – Mobile Fidelity Sound Lab Copyright (c) – Mobile Fidelity Sound Lab, Inc. Manufactured By – Rhino Entertainment Company Licensed From – Atlantic Recording Corporation Phonographic Copyright (p) – Atlantic Recording Corporation Lacquer Cut At – Mobile Fidelity Sound Lab Pressed By – Record Technology Incorporated Credits Band – Carmine, Mark, Timmy, Vinnie Design [Album Design] – Haig Adishian Engineer [Recording Engineer] – Bill Stahl, Joe Veneri* Photography By [Back Liner Photos] – Bruce Laurance Photography By [Cover Photos] – Richard Stevens (5) Producer, Directed By – Shadow Morton* Notes Limited Edition of 3,000. Gatefold. 45rpm. Mono. ℗ 1967 & 2020 Atlantic Recording Corp. Manufactured by Rhino Entertainment Company, a Warner Music Group Company © 2020 Mobile Fidelity Sound Lab, Inc. Made in the U.S.A. This album is dedicated to Lucy Monaco. To preserve musical continuity, "Illusions Of My Childhood - Part Three" is repeated at the beginning of Side 4. Barcode and Other Identifiers Barcode (Text): 8 21797 24911 9 Barcode (Scanned): 8 21797 24911 9 Rights Society: BMI ************************************************************************************************* Vanilla Fudge (mehr) Vanilla Fudge (Audiophile LP 2 LP, 180 g, 45 rpm, Mono) Artikelnummer: MFSL 45491 Label: MFSL (mehr) Lieferstatus: verfügbar Klang 1 Pressung 1 70,00 € (Preis inkl. MwSt. zzgl. Versand) Tim Bogert - Bass Guitar, Vocals Carmine Appice - Drums, Vocals Mark Stein - Keyboards, Lead Vocals Vinnie Martell - Guitar, Vocals Dieses Album von Vanilla Fudge aus dem Jahr 1967 ist zweifellos eines der bedeutendsten Meilenstein-LPs der zeitgenössischen Musikhistorie. Durch die fantastische Neu-Edition geht der Klanghimmel nun noch ein Stückchen weiter auf. Ohne jede Übertreibung! Die audiophile MFSL (Mobile Fidelity Sound Lab) Edition auf zwei LPs in 180 Gramm und 45rpm kitzelt noch die finalen Klang-Finessen, der eh schon hervorragend klingenden Schallplatte heraus. Die Original Master-Bänder wurden von Krieg Wunderlich mit viel Sachkenntnis bearbeitet. Durch den authentischen True-To-The-Original Mono-Mix klingen die Scheiben maximal druckvoll und führen zu intensivstem Hörgenuß. Hier wird Musik dann erlebbar, spürbar und fühlbar. Dies ist uns, ohne zu Zögern, ein Highlight des Monats wert. Aber aufgepasst. Die Auflage ist streng auf 3000 einzeln nummerierte Exemplare limitiert. Eröffnet wird die Scheibe mit “Ticket To Ride“ aus der Feder der Herren John Lennon und Paul McCartney. Genial, was Carmine Appice (Schlagzeug), Tim Bogert (Bass, Gesang), Vince Martell (Gitarre, Gesang) und Mark Stein (Gesang, Keyboards) aus dem Beatles-Song, der 1965 auf dem Album “Help!“ erschien kreierten. Herrlich die schwebende, kraftvoll-warme Hammond-Orgel, die meisterlich von Stein intoniert wird. Der schwermütig langsame Rhythmus des kongenial agierenden Duos Appice/Bogert verleiht dem Stück nochmal mehr Dramaturgie und Tiefe. Hier offenbart sich auch sofort die Güte der audiophilen Neu-Edition. Der Gesamteindruck ist atemberaubend. Die Details werden sauberst herausgearbeitet. Ein ganz wichtiger, zentraler Song folgt dem Opener mit der Curtis-Mayfield-Komposition “People Get Ready“. Das 6:30 Minuten lange Stück wird hier mit soviel Emotionen und Authentizität interpretiert, dass es tief in Herz und Seele geht und selbst Eisberge zum Schmelzen bringt. Ein rundum gelungenes High-End-Schmankerl, an dem Sie viel Freude haben werden. wb Krieg Wunderlich übernahm die Bearbeitung der Original-Masterbänder für die 180g-Mono-Vinyl-LP mit 45 rpm. Nummerierte, auf 3.000 Exemplare limitierte Auflage. Titel: 1. Ticket to Ride 2. People Get Ready 3. She's Not There 4. Bang Bang 5. Illusions of My Childhood - Part One 6. You Keep Me Hanging On 7. Illusions of My Childhood - Part Two 8. Take Me for a Little While 9. Illusions of My Childhood - Part Three 10. Eleanor Rigby ******************************************************************************************** Rezension: Die Band aus Carmine Appice, Tim Bogert, Vince Martell und Mark Stein war eine der merkwürdigsten Erscheinungen der amerikanischen Psychedelia; eine der großen Pionier-Bands, die den Heavy Rock mit aus der Taufe hoben. Dabei hielten sie sich als Songwriter zurück, ihr Debüt bestand sogar ausschließlich aus Coverversionen. Doch was für welche! "Ticket To Ride", "She's Not There", "Bang Bang", "Eleanor Rigby", "People Get Ready" – allesamt vollkommen umgedeutet, in halbiertem Tempo, zerdehnt bis über die Schmerzgrenze hinaus. Die Songs, durchweg von größter denkbarer Popularität und in jedermanns Ohr, wurden zu etwas ganz anderem. "People Get Ready" etwa, getragen zunächst nur von Mark Steins Orgel, wird zu einer Art Kirchenchoral; oben gennannter Zombies-Hit gerät gar zu einer quälenden, ekstatischen schwarzen Messe – fast schon eine Steilvorlage für Black Sabbath. Am eindrucksvollsten gelingt die Metamorphose aber bei dem Supremes-Klassiker "You Keep Me Hanging On". Das muß wohl nach wie vor als eine der grandiosesten Coverversionen der Rockgeschichte bezeichnet werden. – Sundazed hatte vor einigen Jahre bereits eine hervorragende Vinylausgabe im originalen Mono-Mix herausgegeben; die MFSL-45 UPM-Ausgabe (limitiert auf 3000 Exemplare) aber dürfte nochmals in einer eigenen Liga spielen…! (1967/2020) **************************************************************************************** MFSL - Mobile Fidelity Sound Lab * Gatefold Cover Die Lebensdauer der Band betrug nur drei Jahre, aber der Sound von Vanilla Fudge beeinflusste eine Vielzahl anderer Musiker lang über diesen Zeitraum hinaus. Das gleichnamige Album aus dem Jahr 1967 enthält Coverversionen verschiedener Titel von Künstlern wie den Beatles, Curtis Mayfield, den Supremes oder Sonny Bono. Doch ihre Interpretationen machen aus Mainstream-Hits progressive Rock-Songs mit sinfonischen Arrangements. Die Doppel-Mono-LP mit 45 RPM erscheint auf 180-Gramm-Vinyl im Klappcover in einer auf 3.000 Exemplare limitierten Auflage. Fortlaufende Seriennummer. ******************************************************************************************** AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head Mobile Fidelity - MFSL 2-491 - 180 Gram Virgin Vinyl - AAA 100% Analogue 3,000 Numbered Limited Edition - Pressed at RTI Mastered by from the Original Master Tape at MFSL Half Speed Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System Permission to Get Weird: Vanilla Fudge Shape-Shifts the Familiar into Uncharted Psychedelic Excursions Marked by Hypntic Arrangements, Bizarre Timing, and Grinding Soul Mastered from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Sonically Superb Mobile Fidelity 180g 45RPM 2LP Is in True-to-the-Original Mono Permission to get weird is granted with Vanilla Fudge. Created during the peak of heightened chemical, musical, and social experimentation, the band's self-titled debut aims for sonic and mental expansion via psychedelic means. Consisting primarily of elongated covers of then-modern works by the Beatles, Supremes, Curtis Mayfield, and others, the album shape-shifts the familiar into original, uncharted excursions that lead to colorful dimensions. More than 50 years after its original release, the symphonic arrangements now sound more ambitious, direct, mesmerizing, and influential than ever before courtesy of a superior mono restoration featuring wider, deeper grooves. Mastered from the original master tapes, pressed on premium vinyl at RTI, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g mono 45RPM vinyl 2LP set unveils the baroque underpinnings, gorgeous harmonies, grinding soul, and low-end-plumbing organ riffs that help make the quartet's music inimitably unique. The timing of the off-kilter tempos and unpredictable improvisational movements is also cast into unpolluted light, with the collective's expert shading and deliberate tonality emerging as major components of the songs. Vastly improved, too, is the powerful, jazz-inspired drumming of Carmine Appice. Seated deep and wide in the vast soundstage, his playing illuminates the genius of Vanilla Fudge's arguably most valuable asset – a sense of dynamics and surprise that contributes to a rich, malt-like musical thickness true to the band's name. Psychedelia, yes, but seemingly more dense, absurd, slow, and groovy than that offered by any of its late 1960s contemporaries, and free of any of the cloying nature that immediately identifies retro acts as imitators. Indeed, Vanilla Fudge's 1967 magnum opus occupies territory located between high-art seriousness and rule-breaking outrageousness. Its maverick streak treats reverential scripts with inviting strangeness, offbeat vision, and zero pretension. Sharing a mental wavelength with Frank Zappa and the Mothers' finest work, renditions of the Beatles' "Eleanor Rigby" and Curtis Mayfield's "People Get Ready" swirl with bizarre accents and stretch the imagination. Equally creative, Vanilla Fudge's takes on Sonny Bono's "Bang Bang" and the Zombies' "She's Not There" redefine the dirge. Developing a sound that predated prog-rock and metal by years, Vanilla Fudge has been cited by members of Deep Purple, Yes, and Chicago as a key inspiration. And none other than Led Zeppelin's John Bonham cited Appice for devising a new approach on the album. In a late-career interview with Goldmine Magazine, the latter explains, "Supposedly I had created this new power rock kind of drum style, which I did out of necessity. There were no real amplifiers back then, no PA systems. I had to bang the hell out of my drums and I even bought a 26-inch base drum because it would be louder." Mobile Fidelity's meticulously engineered mono 45RPM edition of Vanilla Fudge brings such intensity and liveliness to the fore. Skip the candy aisle and secure your definitive copy of this cult classic today! Ticket to Ride People Get Ready She's Not There Bang Bang Illusions of My Childhood - Part One You Keep Me Hanging On Illusions of My Childhood - Part Two Take Me for a Little While Illusions of My Childhood - Part Three Eleanor Rigby ********************************************************************************************* Vanilla Fudge's self-titled debut on 180-gram 45 RPM 2LP! Numbered edition strictly limited to 3,000 copies! Mobile Fidelity True-To-The-Original Mono pressed at RTI! Hypnotic arrangements, bizarre timing, and grinding soul Permission to get weird is granted with Vanilla Fudge. Created during the peak of heightened chemical, musical, and social experimentation, the band's self-titled debut aims for sonic and mental expansion via psychedelic means. Consisting primarily of elongated covers of then-modern works by the Beatles, Supremes, Curtis Mayfield, and others, the album shape-shifts the familiar into original, uncharted excursions that lead to colorful dimensions. More than 50 years after its original release, the symphonic arrangements now sound more ambitious, direct, mesmerizing, and influential than ever before courtesy of a superior mono restoration featuring wider, deeper grooves. Mastered from the original master tapes, pressed on premium vinyl at RTI, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g mono 45RPM vinyl 2LP set unveils the baroque underpinnings, gorgeous harmonies, grinding soul, and low-end-plumbing organ riffs that help make the quartet's music inimitably unique. The timing of the off-kilter tempos and unpredictable improvisational movements is also cast into unpolluted light, with the collective's expert shading and deliberate tonality emerging as major components of the songs. Vastly improved, too, is the powerful, jazz-inspired drumming of Carmine Appice. Seated deep and wide in the vast soundstage, his playing illuminates the genius of Vanilla Fudge's arguably most valuable asset — a sense of dynamics and surprise that contributes to a rich, malt-like musical thickness true to the band's name. Psychedelia, yes, but seemingly more dense, absurd, slow, and groovy than that offered by any of its late 1960s contemporaries, and free of any of the cloying nature that immediately identifies retro acts as imitators. Indeed, Vanilla Fudge's 1967 magnum opus occupies territory located between high-art seriousness and rule-breaking outrageousness. Its maverick streak treats reverential scripts with inviting strangeness, offbeat vision, and zero pretension. Sharing a mental wavelength with Frank Zappa and the Mothers' finest work, renditions of the Beatles' "Eleanor Rigby" and Curtis Mayfield's "People Get Ready" swirl with bizarre accents and stretch the imagination. Equally creative, Vanilla Fudge's takes on Sonny Bono's "Bang Bang" and the Zombies' "She's Not There" redefine the dirge. Developing a sound that predated prog-rock and metal by years, Vanilla Fudge has been cited by members of Deep Purple, Yes, and Chicago as a key inspiration. And none other than Led Zeppelin's John Bonham cited Appice for devising a new approach on the album. In a late-career interview with Goldmine Magazine, the latter explains, "Supposedly I had created this new power rock kind of drum style, which I did out of necessity. There were no real amplifiers back then, no PA systems. I had to bang the hell out of my drums and I even bought a 26-inch base drum because it would be louder." Mobile Fidelity's meticulously engineered mono 45 RPM edition of Vanilla Fudge brings such intensity and liveliness to the fore. ******************************************************************************************* Zustand: OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2020 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #2044 ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... ) Preis:** EUR 99,99 In den Warenkorb


< 1 ... 57 58 59 60 61 62 63 ... 73 > gehe zu Seite