Mobile Fidelity - MFSL 2-456 - 180 Gram Virgin Vinyl 

Numbered Limited Edition - Mono -  Pressed at RTI

Mastered by Kreig Wunderlich 

1/4" / 15 IPS analog mono master to DSD 256 to analog console to lathe

 Recommended Worth Owning - Michael Fremer 

The Absolute Sound Super Disc List 

TAS Harry Pearson Super LP List

Enter the MoFi, remastered and cut in mono on double-45 rpm by Krieg Wunderlich and Rob LoVerde. Big, fat mono presentation with stupendous solidity and musical force. Grace Slick's vocals are clear and dryer, ridding the excess of reverb present probably only on the stereo master tape–a common studio or mastering practice for that period, harking back to the late 1950s to add 'fake stereo or depth effect' in order to better differentiate with the dryer mono version. Stunning dynamic contrasts; superb and surprising bass content for the times–not what you would expect from RCA nor typical rock sound pre-1969–frank electric guitar/amp sound; impressively transparent, delicate acoustic strings on some songs. If all mono reissues would attain this level of refinement, stereo would have had a harder time winning its case. Another stunner from the folks at MoFi! -Soundav

 If you’ve only known the stereo version, you’re in for a real treat. - Neil Gader The Absolute Sound Top 10 Records of 2016

45rpm "Surrealistic Pillow" from Mo-Fi is the One to Have - Michael Fremer  Analogue Planet Sound 11/10

 MoFi’s 45rpm double LP is a beautifully packaged gatefold. Sides are short but surfaces are quiet, the sound vintage analog. But what makes this remastering significant is the use of the monaural mix. Much less reverb was applied compared to the stereo originals, giving each track a stunning clarity and detail and intimacy–and a far heavier, more cohesive energy that places the spotlight on the musicianship and enlivens classic tracks like “Today” and “Plastic Fantastic Lover.” If you’ve only known the stereo version, you’re in for a real treat. Neil Gader TAS Recommended Record

Big, fat mono presentation with stupendous solidity and musical force. Grace Slick's vocals are clear and dryer, ridding the excess of reverb present probably only on the stereo master tape—a common studio or mastering practice for that period, harking back to the late 1950s to add 'fake stereo or depth effect' in order to better differentiate with the dryer mono version. Stunning dynamic contrasts; superb and surprising bass content for the times—not what you would expect from RCA nor typical rock sound pre-1969—frank electric guitar/amp sound; impressively transparent, delicate acoustic strings on some songs. If all mono reissues would attain this level of refinement, stereo would have had a harder time winning its case. Another stunner from the folks at MoFi! Positive Feedback

 However, as soon as I played “Somebody to Love” on the Mobile Fidelity and could more clearly visualize where Paul Kantner’s voice is placed in relation to Slick’s, just behind and in support, I knew it’s the version everyone should own—as well as more transparent, dynamic, full, and musical. Don’t miss it. Sound 5/5 Vinylrevirews

The far superior and sought after MONO version, hear like you’ve never heard it before!

but just go grab a copy. It’sworth the asking price if you do noth-ing more than play “White Rabbit”really loud. . It’s worth the asking price -  Tone Audio

Jefferson Airplane Surrealistic Pillow on Numbered Limited Edition 180g 45RPM mono 2LP from Mobile Fidelity

Jefferson Airplane's 1967 Psychedelic Breakthrough First Record to Put Countercultural San Francisco Scene on Mainstream Music Map: Includes Top 10 Hits "Someone to Love" and "White Rabbit"

Mobile Fidelity 180g 45RPM 2LP Places "Surrealism" Back Into Kaleidoscopic Surrealistic Pillow Via Revealing Mono Sound: Phenomenal Clarity, Balance, Tonality, Detail, and Separation

Acid-Rock Experimentalism and Folk-Based Arrangements Yield Mysteriousness, Darkness, and Beauty: Grace Slick's Clarion-Call Singing Matches Virtuosic Playing of Band Members and Guest Jerry Garcia

They were the best of times for Jefferson Airplane, and the good vibes are heard throughout the band's iconic Surrealistic Pillow. The group's first album with vocalist Grace Slick and drummer Spencer Dryden, the 1967 effort bowed as the first psychedelic-rock breakout from the potent San Francisco scene, climbing to #3 and boasting two Top 10 singles. By bringing the then-unpolluted counterculture to the attention of the mainstream, the effort ranked by Rolling Stone #146 on its 500 Greatest Albums of All Time eradicated boundaries and opened up creative vistas for a parade of likeminded artists that followed. Mobile Fidelity's analog reissue honors this legacy with an edition that presents the groundbreaking music with incredible realism.

Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM mono 2LP set grants Surrealistic Pillow audiophile-grade sound remarkable for its sense of balance, clarity, and tonality. While fans have always preferred the original mono version of the LP, it went out of print soon after its release, causing prices to soar.

Offering wider, deeper grooves for better information retrieval and superior pacing, this deluxe set gives listeners the chance to enjoy Jefferson Airplane's blockbuster set in faithful-to-the-original mono without having to pay a premium. Along with immersive detail and dynamics, the level of instrumental and vocal separation allows the sensory-altering songs' complexities to emerge with full-bloom color and renewed perspective. Mobile Fidelity puts the surrealism back into Surrealistic Pillow.

Allegedly given its name by Grateful Dead guitarist Jerry Garcia, who remarked that the music was as surrealistic as a pillow, Jefferson Airplane's sophomore effort remains renowned for its inimitable combination of collective symmetry, concise melodic frameworks, and razor-edged assertiveness. Reflecting the atmosphere of the period, the sextet spread the songwriting duties among all the members. Slick and Marty Balin share lead vocal duties. Jorma Kaukonen and Paul Kantner come into their own as guitarists. The family affair even extended to Garcia, who plays on several tracks and by nearly all accounts, served as the record's arranger and spiritual guide. Never again would the Airplane convey so much in such a straightforward fashion.

Surrealistic Pillow folds acid-rock experimentalism into folk-derived constructs with a blend of mysteriousness, assuredness, darkness, beauty, and romanticism that mirrored the very traits Slick possessed. Her authoritative, clarion-call voice leaps out from the explosive, fractal-pulsating smash "Somebody to Love" like a truthful challenge that cannot be ignored. Similarly, Slick's measured deliveries and Alice In Wonderland-inspired lyrics give the bolero-based "White Rabbit" its hallucinogenic power while simultaneously bringing drug references into mainstream culture.

Of course, the former model's two songs don't define Surrealistic Pillow – they merely reflect its kaleidoscopic brilliance. Slick and Balin duet to enchanting effect on "She Has Funny Cars." Stripped to its bare acoustic foundations, the mellow ballad 0"Comin' Back To Me" shimmers and whispers, a quaint recorder underlining echoing the yearning mood. Similarly quixotic, the instrumental "Embryonic Journey" hints at the possibilities explored throughout the album and particularly manifested on the gorgeously textured "Today," originally written for Tony Bennett. Inside these 34 minutes, Jefferson Airplane achieves sublime surrealism – and more.

Recorded At – RCA Victor's Music Center Of The World
Bass – Jack
Engineer – Dave Hassinger
Guitar, Vocals – Marty, Paul
Lead Guitar,  Vocals – Jorma
Musical And Spiritual Adviser – Jerry Garcia
Percussion – Spencer
Vocals  – Grace
Producer – Rick Jarrard

Track Listing:

1. She Has Funny Cars
2. Somebody to Love
3. My Best Friend
4. Today
5. Comin' Back to Me
6. 3/5 of a Mile In 10 Seconds
7. D.C.B.A.-25
8. How Do You Feel
9. Embryonic Journey
10. White Rabbit
11. Plastic Fantastic Lover

RTI HQ-180 Vinyl

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