The Mahavishnu Orchestra - Birds of Fire - 180g LP


The Mahavishnu Orchestra - Birds of Fire - 180g LP

Product no.: KC31996

In stock

The Mahavishnu Orchestra - Birds of Fire - 180g LP
£23.99
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 AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Speakers Corner / Columbia - KC31996 - 180 Gram Virgin Vinyl 

AAA 100% Analogue  - Limited Edition -  Audiophile Mastering - Pressed  at Pallas 

 Speakers Corner 25 Years Pure Analogue  This LP is an Entirely Analogue Production

Speakers Corner has done justice to this seminal recording. The sonic explosiveness of McLaughlin’s guitar is captured in all it’s distorted glory. To fully appreciate the Birds Of Fire vinyl upgrade, listening to it at increased volume with superior headphones is recommended. The ear-splitting, incendiary power of this band (and of course McLaughlin’s guitar) is spellbinding.- Sound 4.5/5 AudiophileAudition

 for the record itself, it maintains the high standard set by Speakers Corner. A sticker on the shrink-wrap proudly proclaims “This LP is an entirely analogue production” and it sounds it, sourced from original master tapes and cut using Neumann cutting consoles. The sound reminds me of the pop albums I listened to in the late 1960s and the 1970s, except it's much cleaner, with less compression and greater dynamic range. The sturdy jacket presents an excellent re-creation of the original artwork. Pallas pressed, the 180-gram vinyl LP is nestled in a nice inner sleeve and is dead quiet, ruler flat and free of blemishes. Consistent with Speakers Corners’ adherence to accuracy, the record label is a fine facsimile of the red/gold Columbia label used from the 1970s through the 1990s - Sound 5/5 The Audio Beat

Emboldened by the popularity of Inner Mounting Flame among rock audiences, the first Mahavishnu Orchestra set out to further define and refine its blistering jazz-rock direction in its second -- and, no thanks to internal feuding, last -- studio album. Although it has much of the screaming rock energy and sometimes exaggerated competitive frenzy of its predecessor, Birds of Fire is audibly more varied in texture, even more tightly organized, and thankfully more musical in content.

A remarkable example of precisely choreographed, high-speed solo trading -- with John McLaughlin, Jerry Goodman, and Jan Hammer all of one mind, supported by Billy Cobham's machine-gun drumming and Rick Laird's dancing bass -- can be heard on the aptly named "One Word," and the title track is a defining moment of the group's nearly atonal fury. The band also takes time out for a brief bit of spaced-out electronic burbling and static called "Sapphire Bullets of Pure Love." Yet the most enticing pieces of music on the record are the gorgeous, almost pastoral opening and closing sections to "Open Country Joy," a relaxed, jocular bit of communal jamming that they ought to have pursued further

. This album actually became a major crossover hit, rising to number 15 on the pop album charts, and it remains the key item in the first Mahavishnu Orchestra's slim discography.

Guitarist John McLaughlin was in on the birth of jazz-rock fusion, having played with both Miles Davis and Tony Williams' Lifetime in the early '70s. McLaughlin applied what he'd learned from these artists to his own pioneering fusion band, the Mahavishnu Orchestra. This second effort is the Orchestra's definitive recording. The tempestuous mix of jazz, rock and Eastern influences is at its height here, and all of the players in this notoriously ego-plagued group challenge themselves - and each other - to push the envelope.
 
Musicians:
 
The Mahavishnu Orchestra
John McLaughlin, guitar
Rick Laird, bass
Billy Cobham, percussion
Jerry Goodman, violin
Jan Hammer, keyboards
 
Birds of Fire
Miles Beyond
Celestial Terrestrial Commuters
Sapphire Bullets of Pure Love
Thousand Island Park
Hope
One Word
Sanctuary
Open Country Joy
Resolution

Mahavishnu Orchestra - Birds of Fire - 180g LP

 

AAA 100% Analogue   This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 25 Years pure Analogue
 
MADE FROM THE ORIGINAL MASTER TAPES
AAA 100% ANALOGUE - PURE ANALOGUE AUDIOPHILE MASTERING
We use the Original Tapes and work with only the Best Mastering Studios Worldwide
180 GRAM VIRGIN VINYL  PLATED & PRESSED AT PALLAS GERMANY
Faithful Reproduction of the Original Artwork and Labels
LIMITED EDITION Released in Limited Quantities
All Licences and Mechanical Rights Paid
 
                    Image result for pallas group germany vinyl pressing                  
 
Are your records completely analogue?
Yes! This we guarantee!
As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time
 
Are your records cut from the original masters?
In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us.
 
Who cuts the records?
In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few.
At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes. 
 
Vinyl’s newfound popularity has led many other companies to jump on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source from which to master: CDs, LPs, digital files and even MP3s. 
 
Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive. 
 
So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source! 
 
Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers. 
 
In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers. 
 
In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers.
 
60 Years Pallas
 
Audiophile Vinyl - Made in Germany  For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade! 

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