AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Mobile Fidelity - MFSL 2-434 - 180 Gram Virgin Vinyl - AAA 100% Analogue
Mastered by Kreig Wunderlich from the Original Master Tape at MFSL
Numbered Limited Edition - Pressed at RTI
Half Speed Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System
MoFi has done, again, what MoFi does again and again. These records are dead silent, heavy, and flat. The gatefold packaging is weapon grade, and the cover photos (taken in Macon, Georgia – not NYC, I learned) seem clearer than ever. This release means that MoFi has put out all the essential Allman Brothers titles. They’ve never sounded better to my ears. If you’re a fan, this is your time. Get all the MoFi titles, and be thankful. Your ears certainly will be. Sound 5/5 Music 5/5 Hifidelty
Ranks #49 on Rolling Stone's 500 Greatest Albums of All Time List: Includes Epic Takes of "Whipping Post" and "In Memory of Elizabeth Reed"
Fillmore East is synonymous with some of the greatest concerts ever staged. Yet the venue belongs to one group: The Allman Brothers Band. This groundbreaking double album is why. As the collective's breakthrough, it broadcasts to the world wowing improvisational flights and seamless musical fusion the likes of which no one had ever heard. In communion with the crowd, the band establishes an interactive blueprint for all shows that followed, while its high-wire displays of powerhouse soloing and time-stretching arrangements remain the stuff of hall-of-fame legend.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed on dead-quiet vinyl RTI, Mobile Fidelity's 180g 2LP of At Fillmore East joins the unparalleled reissue imprint's other Allman titles in presenting the inimitable ensemble's music in the most lifelike, uncompromising fidelity possible. Myriad versions of the 1971 set exist, yet none possesses the audiophile sensibilities found here – sonic traits that whisk the listener to the midst of the Fillmore East for four gigs performed on March 12 and 13, 1971, plunking them down in a fifth-row seat surrounded by fervent fans and a smoke-filled atmosphere. Every slippery bottleneck note, every aching vocal moan, every soulful purr from the organ, every gritty interlocking riff comes across with unfettered clarity and realism.
While the record features multiple works the band never laid down in a studio, At Fillmore East is a meticulously conceived affair. The Allmans prepped rough sketches and layouts of the tunes, carving out spaces for each member's solos, and leaving the direction of such entirely up to the individual. As a result, the effort – anchored by iconic producer Tom Dowd's stellar production – presents a jazz-drifting rock band benefiting from both a sense of assured direction as well as opportunistic freedom.
Indeed, At Fillmore East is the rare sound of a group letting it all go, fearlessly maneuvering through bluesy shuffles, exquisite laments, graceful instrumental passages, and frenetic swamp-laden boogies. Achieved via a combination of virtuosic skill, visionary ambition, and natural chemistry, the six-piece burns white-hot with intensity and persuades via a padlock-tight rhythm section on which Duane's searing slide playing and Gregg's bottom-of-the-stomach vocals glide, each aural utterance coaxing on their respective mates to strive for new heights.
The evidence abounds on the rollercoaster thrills of the dipping and diving "Whipping Post"; the biscuit-and-gravy purity of an aptly tempestuous "Stormy Monday," complete with harmonica from guest Tom Doucette; the flaming inertia established on the celebratory "Hot ‘Lanta"; and the jam-heavy hopscotch of an elastic "In Memory of Elizabeth Reed," one of numerous standout moments for lead guitarist Dickey Betts. It seems as if everyone knew what they were experiencing.
"The audience would kind of play along with us," revealed Gregg Allman, years later. They were right on top of every single vibration coming from the stage." Add to this symbiosis hallmark front-and-back cover photography by Jim Marshall, and you have a record so steeped in lore, it's almost myth. But it's real. And oh, how it now sounds so glorious.
• Numbered, 33rpm Limited Edition
• Half-Speed Production and Mastering by Mobile Fidelity Sound Lab
• Specially Plated and Pressed on 180 grams of High Definition Vinyl
• Special Static Free - Dust Free Inner Sleeve
• Heavy Duty Protective Packaging
• Mastered from the Original Master Tapes
• Pressed at RTI
Gregg Allman, organ, piano, vocals
Duane Allman, guitar, slide guitar
Dickey Betts, guitar ; Berry Oakley, bass
Jai Johanny Johanson, drums, congas, timbales; Butch Trucks, drums, tympani.
The Allman Brothers Band At Fillmore East Track Listing:
1. Statesboro Blues
2. Done Somebody Wrong
3. Stormy Monday
4. You Don't Love Me
5. Hot ‘Lanta
6. In Memory of Elizabeth Reed
7. Whipping Post
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
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.