Mobile Fidelity - MOFI 1-013 - 140 Gram Virgin Vinyl - 821797100137
Numbered Limited Edition - Pressed at RTI
Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System
The Absolute Sound Super Disc TAS Harry Pearson Super LP List
Along with R.E.M. and XTC, 10,000 Maniacs epitomized 1980s "college rock" in terms of sound, style, expression, and attitude. A staple of the underground, independent, and university scenes, In My Tribe remains a landmark recording, an ideal synthesis of fundamental eclecticism, roots music, and personalized narratives anchored by Natalie Merchant's inimitable singing.
Unlike most of their contemporaries, and in particular, the alt-country acts that followed in their wake, 10,000 Maniacs were truly a product of their environment - a small-town Appalachian setting that informs their songwriting, approaches, and arrangements. In reflecting on the band's ascendance, Merchant described the group's essence as such:
"We called the music we made 'proletariat,' aware of the fact that we were blue-collar small-town dwellers, geographically and culturally isolated. We were beginning to feel the country's shift to the right at the threshold of the Reagan-Bush era. We had a growing understanding that the recession of post-industrial towns like ours might not be temporary and we were coming of age in an atmosphere of nostalgia and decay." - Natalie Merchant, liner notes to Campfire Songs: The Popular, Obscure & Unknown Recordings of 10,000 Maniacs
Seemingly coming from a different landscape, nothing about the 10,000 Maniacs' fare is typical — for its era or now. There's a genuine nature to the material on In My Tribe that directly relates to time and place, personal emotion and devout introspection. Probing issues of child abuse ("What's the Matter Here"), alcoholism ("Don't Talk"), illiteracy ("Cherry Tree"), and the environment ("Campfire Song"), the ensemble ushered in a period of artistic political correctness and high creativity during an era short on both.
Refraining from preaching and focused on pure rhythms, catchy melodies, and inoffensive rock structures, the band channels an inherent folk goodness that's forever tethered to Merchant's mellifluous vocals and heartfelt cadences. Veteran arranger David Campbell (Beck's father) organizes the strings, and producer Peter Asher (Linda Ronstadt) smooths over the edges just enough to give In My Tribe the ideal sound. R.E.M. frontman Michael Stipe lands a welcome hand.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, Silver Label's collectable version of this 1987 masterwork captures the delicate nuances of Merchant's voice as well as the full scope of the strings with amazing detail and clarity. No existing 10,000 Maniacs record, digital or analog, claims such revealing sonics or expansive imaging. Whether you're a longtime fan or new to the album, you'll be blown away the organic presence and balanced soundstage. Not to mention the indelible music.
Special Note: In 1989, when Muslim convert Stevens announced his support of Iranian leader Ayatollah Khomeini's call for the execution of Satanic Verses author Salman Rushdie, the band rereleased the album without the track "Peace Train." Thus, this reissue does not include this song per the band's exclusion of the title.
• Limited Edition
• MoFi Silver Label Vinyl Series
• Mastered and Cut on the famous MoFi Sound Lab state-of-the-art Tim de Paravacini-designed mastering system.
• Pressed at RTI on Audiophile-Grade Standard Vinyl
Natalie Merchant, vocals
Robert Buck, guitars, mandolin, pedal steel guitar
Steve Gustafson, bass
Jerome Augustyniak, drums, percussion
Dennis Drew, keyboards
Michael Stipe, vocals (10)
Don Grolnick, piano
Bob Magnusson, acoustic bass (12)
Novi Novog, viola (12)
Dennis Karmazyn, cello (12)
1. What's The Matter Here?
2. Hey Jack Kerouac
3. Like The Weather
4. Cherry Tree
5. The Painted Desert
6. Don't Talk
1. Gun Shy
2. My Sister Rose
3. A Campfire Song
4. City Of Angels
5. Verdi Cries
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.