Blood, Sweat & Tears Mobile Fidelity Sound Lab ULTRADISC 1 ONE-STEP 180 gram 2-disc 45rpm box set NEW/Sealed

Label:

Mobile Fidelity Sound Lab – UD1S 2-016

Series:

Original Master Recording, UltraDisc One-Step

Format:

2 x Vinyl, 12", 45 RPM, Album, 180g, SuperVinyl Box Set, Limited Edition № 000468 of 6,000, Special Edition

Country:

US

Released:

Apr 16, 2021

Genre:

Rock

Style:

Jazz-Rock

Tracklist

A1 Variations On A Theme By Erik Satie (1st And 2nd Movements) (Adapted From "Trois Gymnopédies") Arranged By – D. Halligan* Arranged By – D. Halligan* A2 Smiling Phases Arranged By – Al Kooper, Dick Halligan, Fred Lipsius Piano [Piano Solo], Soloist [Piano Solo] – Fred Lipsius Written By – S. Winwood, J. Capaldi, C. Wood Written-By – C. Wood*, J. Capaldi*, S. Winwood* Arranged By – Al Kooper, Dick Halligan, Fred Lipsius Piano [Piano Solo], Soloist [Piano Solo] – Fred Lipsius Written By – S. Winwood, J. Capaldi, C. Wood Written-By – C. Wood*, J. Capaldi*, S. Winwood* A3 Sometimes In Winter Flute [Flute Solo], Soloist [Flute Solo] – Dick Halligan Lead Vocals – Steve Katz Written-By – S. Katz* Flute [Flute Solo], Soloist [Flute Solo] – Dick Halligan Lead Vocals – Steve Katz Written-By – S. Katz* B1 More And More Arranged By – Al Kooper, Fred Lipsius Guitar [Guitar Solo], Soloist [Guitar Solo] – Steve Katz Written By – P. Vee, D. Juan Written-By – D. Juan*, P. Vee* Arranged By – Al Kooper, Fred Lipsius Guitar [Guitar Solo], Soloist [Guitar Solo] – Steve Katz Written By – P. Vee, D. Juan Written-By – D. Juan*, P. Vee* B2 And When I Die Arranged By – Dick Halligan Harmonica [Harmonica Solo], Soloist [Harmonica Solo] – Steve Katz Piano [Piano Solo], Soloist [Piano Solo] – Dick Halligan Written-By – L. Nyro* Arranged By – Dick Halligan Harmonica [Harmonica Solo], Soloist [Harmonica Solo] – Steve Katz Piano [Piano Solo], Soloist [Piano Solo] – Dick Halligan Written-By – L. Nyro* B3 God Bless The Child Alto Saxophone [Alto Sax Solo], Soloist [Alto Sax Solo] – Fred Lipsius Arranged By – Dick Halligan Trombone [Trombone Solo], Soloist [Trombone Solo] – Jerry Hyman Trumpet [Trumpet Solo], Soloist [Trumpet Solo] – Lew Soloff Written By – B. Holiday, A. Herzog, Jr. Written-By – A. Herzog, Jr.*, B. Holiday* Alto Saxophone [Alto Sax Solo], Soloist [Alto Sax Solo] – Fred Lipsius Arranged By – Dick Halligan Trombone [Trombone Solo], Soloist [Trombone Solo] – Jerry Hyman Trumpet [Trumpet Solo], Soloist [Trumpet Solo] – Lew Soloff Written By – B. Holiday, A. Herzog, Jr. Written-By – A. Herzog, Jr.*, B. Holiday* C1 Spinning Wheel Arranged By – Fred Lipsius Trumpet [Filling In For Chuck Winfield] – Alan Rubin Trumpet [Trumpet Solo], Soloist [Trumpet Solo] – Lew Soloff Written-By – D. C. Thomas* Arranged By – Fred Lipsius Trumpet [Filling In For Chuck Winfield] – Alan Rubin Trumpet [Trumpet Solo], Soloist [Trumpet Solo] – Lew Soloff Written-By – D. C. Thomas* C2 You've Made Me So Very Happy Arranged By – Al Kooper, Fred Lipsius Written By – B. Gordy, Jr., B. Holloway, P. Holloway, F. Wilson Written-By – B. Gordy, Jr.*, B. Holloway*, F. Wilson*, P. Holloway* Arranged By – Al Kooper, Fred Lipsius Written By – B. Gordy, Jr., B. Holloway, P. Holloway, F. Wilson Written-By – B. Gordy, Jr.*, B. Holloway*, F. Wilson*, P. Holloway* D1 Blues - Part II Alto Saxophone [Solo, Alto Sax], Soloist [Solo, Alto Sax] – Fred Lipsius Arranged By – BS&T* Bass [Solo, Bass], Soloist [Solo, Bass] – Jim Fielder Drums [Solo, Drums], Soloist [Solo, Drums] – Bobby Colomby Lyrics By [Lyric] – David Clayton-Thomas Organ [Solo, Organ], Soloist [Solo, Organ] – Dick Halligan Written-By – Blood, Sweat & Tears* Alto Saxophone [Solo, Alto Sax], Soloist [Solo, Alto Sax] – Fred Lipsius Arranged By – BS&T* Bass [Solo, Bass], Soloist [Solo, Bass] – Jim Fielder Drums [Solo, Drums], Soloist [Solo, Drums] – Bobby Colomby Lyrics By [Lyric] – David Clayton-Thomas Organ [Solo, Organ], Soloist [Solo, Organ] – Dick Halligan Written-By – Blood, Sweat & Tears* 11:46 D2 Variations On A Theme By Erik Satie (1st Movement) (Adapted From "Trois Gymnopédies") Arranged By – Dick Halligan Body Percussion [Footsteps On The End (In Her Poll Parrot Shoes)] – Lucy Angie* Arranged By – Dick Halligan Body Percussion [Footsteps On The End (In Her Poll Parrot Shoes)] – Lucy Angie* 1:39

• Manufactured By Mobile Fidelity Sound Lab
• Mastered At – Mobile Fidelity Sound Lab, Inc.
• Pressed By – Record Technology Incorporated

• Arranged By – Blood, Sweat And Tears
• Bass – Jim Fielder
• Chorus [BS&T Chorus] – Bobby Colomby, Dick Halligan
• Drums, Percussion, Vocals – Bobby Colomby
• Engineer [BS&T Engineering Department] – Fred Catero, Roy Halee
• Guitar, Harmonica, Vocals – Steve Katz
• Lacquer Cut By – Kw (Krieg Wunderlich)
• Lead Vocals – David Clayton-Thomas (tracks: A1, A2, B1 to D2)
• Organ, Piano, Flute, Trombone, Vocals – Dick Halligan
• Piano, Alto Saxophone – Fred Lipsius
• Trombone, Recorder – Jerry Hyman
• Trumpet, Flugelhorn [Flügelhorn] – Chuck Winfield, Lew Soloff

Notes

Limited Edition № 000468 of 6,000 stamped numbered copies.
Contains 2 10"x12" b&w glossies on hard stock by Don Hunstein/Sony Music Archives.
Contains a gatefold largely replicating the original art except for the addition of the Original Master Recording® banner and some credit updates, MoFi Archival Master sleeves, and two foil-stamped interior jackets. Vinyl is accurately identified as black, but is slightly translucent.
Mastered by Krieg Wunderlich, assisted by Shawn R Britton at Mobile Fidelity Sound Lab®, Sebastopol, CA on The Gain 2 Ultra Analog System™.
1/4" / 15 IPS analog master to DSD 256
© 1968, 2020 Columbia Records, a division of Sony Music Entertainment. Originally released 1968.
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. Distributed by Mobile Fidelity Sound Lab®, Inc., 1811 W. Bryn Mawr Ave., Chicago, IL 60660, under license from Sony Music Entertainment. SuperVinyl™ formula developed and manufactured by "Neotech".

Limited to Just 6000 Numbered Copies! This copy № 000468 of 6,000.

MoFi SuperVinyl Pressed At RTI!

Mastered from the 1/4" / 15 IPS Analog Master to DSD 256 with Mobile Fidelity's One-Step Process: Blood, Sweat & Tears UD1S 180g 45RPM 2LP Box Set Is Ultimate Version of 1968 Album

Superb Packaging Includes Opulent Box, Foil-Stamped Jackets, and SuperVinyl LPs: Deluxe Audiophile Pressing Strictly Limited to 6,000 Numbered Copies (Limit One Per Customer)

James William Guercio-Produced Record Established New Precedents for Musical Fusion: Jazz-Rock Effort Includes "You've Made Me So Very Happy" and "Spinning Wheel"

TAS Rated 4/5 Music, 4/5 Sonics in the July/August 2021 Issue of The Absolute Sound!

     Don't call it a comeback. Not only did Blood, Sweat & Tears' eponymous album establish new precedents for musical fusion and record production upon release in late 1968, the quadruple-platinum set marked a new commercial beginning for a cross-cultural group nearly decimated months earlier when its prominent co-founder, Al Kooper, departed along with two other members. The resultant sophomore effort simply went on to top the charts for seven straight weeks, earn the Grammy Award for Album of the Year, spawn three successive Top 5 singles, and land the group a headlining slot at Woodstock. No wonder its reputation remains golden among listeners, particularly audiophiles, which have never experienced the hybrid fare in more vibrant fashion than on this collectible reissue.

     Strictly limited to 6,000 numbered copies and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP edition presents Blood, Sweat & Tears with exacting sonics and unsurpassed visuals. Prized for decades for its rainbow of textures, colors, and openness - as well as the tonalities, extension, and subtleties associated with the horn section - Blood, Sweat & Tears now comes across with multi-dimensional scope and tremendous frequency responsiveness. The collective's genre-bending brass and woodwind instrumentation possess pointillistic details as rich, deep, and complex as a succulent Turkish espresso. Similarly, the originality, sophistication, and melodicism of the songs - anchored by Jim Fielder's can-do-anything bass playing - emerges with a newfound warmth, realism, and presence. Such is the allure of UD1S and MoFi SuperVinyl.

     In addition, the lavish packaging and gorgeous presentation of the UD1S Blood, Sweat & Tears pressing also befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in the art - and everything involved with the album, from the images to the finishes.

     Speaking of these critical aspects, it remains obvious producer James William Guercio valued them above all else when he manned the boards for the sessions. Working with engineer Roy Halee and the band's sensitive arrangements - including that for the Number Two smash "You've Made Me So Very Happy", co-arranged by Kooper - he helped spin the nonet's melange of classical, jazz, rock, folk, and blues into pop gold. Ignoring any stylistic boundaries, and preceding Chicago's similarly jazz-rock-centric debut by almost four months, the album interrupted formal convention and went against the grain of the era's dominant psychedelia. Along with creative interpretations of tunes by Traffic, Laura Nyro, and more, and fearless interplay of horns and keyboards, a key to the effort's mega-success and sterling reputation remains the vocals of David Clayton-Thomas.

     Reportedly discovered by Judy Collins, Clayton-Thomas brings a soulfulness and drama to the palette absent from the first album. His baritone emerges front and center on the country-leaning "And When I Die", baroque-inspired "Sometimes in Winter" and syncopated "Smiling Phases". The singer's multifaceted ability complements his colleagues deft approaches to tempo, transition, and tension, with solos dovetailing with jazz-derived segues to produce music that's at once elaborate, eclectic, and accessible - never better represented than on the thrice Grammy-nominated "Spinning Wheel", a sly takedown of the LSD-addled era that ends with an Austrian tune from 1815 added at the last minute by Guercio to correct a mistake - a one-off error on a set that seemingly has none other.

     Indeed, the most enduring appeal of Blood, Sweat & Tears pertains to the cohesive performances of a group that blazed its own trail. To focus on the playing of trumpeters/flugelhornists Lew Soloff and Chuck Winfield, drummer Bobby Colomby, organist Dick Halligan, guitarist Steve Katz, alto saxophonist Fred Lipsius, trombonist Jerry Hyman, and the aforementioned Clayton-Thomas and Fielder (many of whom also played auxiliary instruments) is to experience one of pop music's remarkable adventures.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior:
     Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

     MoFi's One-Step breathes a newfound immediacy and physical presence to these tunes, as well as impressive dynamic punch, detail, and instrumental texture. The electric bass digs deep; there's a realistic snap to the drums. Flutes, horns, and cymbals are presented with plenty of studio air and atmosphere, all on a large soundstage arrayed across the room. Like much music from the time, BS&T sounds like an aural snapshot of the day. And I mean that in a good way. -Wayne Garcia, The Absolute Sound, July/August 2021, Music 4/5, Sonics 4/5

Features

• Limited to 1 Copy Per Customer
• Numbered, Limited Edition - Only 6000 Copies
• MoFi SuperVinyl Pressing
• UltraDisc One-Step
• 45rpm Speed Edition
• 2LP Box Set
• Mastered from the 1/4" / 15 IPS Analog Master to DSD 256
• Special foil-stamped jackets
• Housed in an opulent box
• Faithful to original graphics
• Production and Mastering by Mobile Fidelity Sound Lab
• Pressed at RTI

Allmusic review by William Ruhlmann      The difference between Blood, Sweat & Tears and the group's preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was "merely" a huge critical success. Arguably, the Blood, Sweat & Tears that made this self-titled second album -- consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas -- was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer/songwriter/keyboard player/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people. Kooper was even still present as an arranger on two tracks, notably the initial hit "You've Made Me So Very Happy." But the second BS&T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles -- "Happy," "Spinning Wheel," and "And When I Die" -- but the whole album, including an arrangement of "God Bless the Child" and the radical rewrite of Traffic's "Smiling Phases," was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat & Tears did exactly that, although they never came close to equaling this album.