AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head
Mobile Fidelity - MFSL1-449 - 180 Gram Virgin Vinyl -
AAA 100% Analogue - 3,000 Numbered Limited Edition - Pressed at RTI
Pure Analogue Mastered by Kreig Wunderlich from the Original Master Tape at MFSL
Half Speed Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System
MoFi can be counted on for one thing above all others stellar record pressings This one falls right in their wheelhouse for clean presentations too. They’ve vastly expanded their talents for Rawk, but these breezy tunes are what I’ve thought of when I’ve thought of MoFi for the last 20 years. If you like what they do, and you like real roots music, Paradise and Lunch should work just fine for you. - Sound 4/5 Music 5/5 Hifidelity
Desert Island-Worthy Paradise and Lunch Will Renew Your Faith in Music: Diverse 1974 Ry Cooder Set Comes on Like a Secret History of Song, Features Exquisite Interplay and Inspirational Harmonies
Paradise and Lunch Mastered on 180g Vinyl from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Mobile Fidelity LP Graced With Organic Sound
Ry Cooder's exceptional Paradise and Lunch takes a popular precept – music as the common denominator across all languages and styles – to extremes few artists have envisioned let alone fulfilled. Considered by many diehards to be the California native's finest hour, the 1974 set unfurls with rarified levels of joyousness, ingenuity, and sophistication. A prime contender for any Desert Island list and album that repeatedly restores your faith in the inimitable effects experienced upon listening to special performances, Paradise and Lunch is an eternal "musicians' musician" record – an adventurous, ambitious, soulful leap down roads well-traveled and paths less known.
Such eclecticism, virtuosity, and ebullience resonate with unmatched verve on Mobile Fidelity's 180g LP reissue. Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, this vinyl LP boasts dead-quiet surfaces, superb transient response, front-to-back soundstaging, and an organic immediacy that heightens the enjoyment, character, and craft of the arrangements. Cooder's inspired guitar playing sounds tremendously lifelike, replete with proper scale, full-bodied tones, and a sense of decay that presents the trail ends of each note. Horns pop with three-dimensional detail and brassy colors. Akin to the contributions of all the all-star participants, Jim Keltner's percussion benefits from added stability and depth. Paradise and Lunch has never been more transparent.
On the surface a collection of seemingly disparate jazz, blues, spiritual, and roots songs, the diversified album comes across as a secret history of music. It remains a paragon of seamless convergence in which sonic DNA differences reveal shared traits and quilt a fabric united by feeling, reinvention, and elation. Beginning with a recast rendition of a traditional folk number, "Tamp ‘Em Up Solid," believed to be a close descendant of the group-vocal tune sung by field hands when they stacked bales of cotton, and ending with a stirring stripped-down cover of Arthur Blake's "Ditty Wah Ditty" – a show-stealing duet sent up with just an acoustic guitar and jazz icon Earl "Fatha" Hines' spritely walking-the-line piano riffs – Paradise and Lunch charms with exquisite interplay, inspirational harmonies, and innate flair.
At no point do the experimentations sound forced, artificial, or retro. Cooder transforms what initially appear to be obscurities into coherent, approachable songs that could have been recorded yesterday – or decades ago. In his world, a marvelous reggae-spiced and R&B-driven rendition of Bobby Womack's "It's All Over Now" coexists with a sanctified, harmony-based march through the gospel hymn "Jesus on the Mainline" anchored by restrained Dixieland accents and tolling bells. Another standard, albeit more modern, Burt Bacharach's "Mexican Divorce" strolls across dusty plains via gently clopping beats, shimmering Spanish motifs, and sympathetic support vocals.
Cooder also turns up the electricity a smidge for his idea of Bobby Miller's "If Walls Could Talk," a melodic snapshot of doo-wop shot through with reverb-drenched grooves. He rains funky vibes, chicken-scratch slide guitar, and churchgoing lessons down on a top-to-bottom remake of Blind Willie McTell's "Married Man's a Fool," the revision evocative of the imagination, proficiency, and blending that help make Paradise and Lunch an absolute must-own album – and now, an audiophile choice for those wished-for Desert Island trips
Recording: 1974 at the Warner Brothers Studios in North Hollywood and Burbank (USA), by Lee Herschberg
Production: Lenny Waronker & Russ Titelman
Ry Cooder, guitar, mandolin, bass, vocals
Ronnie Barron, piano, organ
Earl Hines, piano
Plas Johnson, alto saxophone
Oscar Brashear, cornet
Red Callender, bass
John Duke, bass
Russ Titelman, electric bass
Chris Ethridge, electric bass
Milt Hollad, drums, percussion
Jim Keltner, drums
1. Tamp 'em Up Solid
3. Married Man's A Fool
4. Jesus On The Mainline
5. It's All Over Now
1. I'm A Fool For A Cigarette / Feelin' Good
2. If Walls Could Talk
3. Mexican Divorce
4. Ditty Wa Ditty
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.
RTI HQ-180 Vinyl
RTI - 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.