180g 200g 45rpm Box Sets.

Harry Nilsson - Son of Schmilsson - 45rpm 180g 2LP

Product no.: MFSL2-499

In stock

Harry Nilsson - Son of Schmilsson - 45rpm 180g 2LP

£49.97

Price includes VAT, plus delivery

Available delivery methods: UK Tracked with Signature, UK Express, Airmail Tracked with Signature, UK Standard, Heavy Item

Description

Mobile Fidelity - MFSL2-499 - 180 Gram Virgin Vinyl -

Numbered Limited Edition

Mastered by Kreig Wunderlich

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

I sang my balls off for you baby." Harry Nilsson's bold proclamation on the opening track to Son of Schmilsson immediately makes it evident the singer had no intention to repeat the approach of his commercial breakout, the preceding Nilsson Schmilsson – and harbored no desire to hold back on any front or advance any traditional notion of a career. The madcap album goes all out, delivering a wild ride infused with horror-movie effects, crass jokes, then-shocking profanity, snoring, and even a belch – strangeness that belies the fact it went gold and landed a Top 40 single in the form of "Spaceman." Hindsight further shows the gonzo work endures as a stroke of defiant genius, ego-grounding facetiousness, and raucous fun – all the way down to the iconic artwork depicting Nilsson as a vampire.

Mastered from the original master tapes, pressed on premium vinyl at RTI, and housed in an old-school Stoughton gatefold jacket, Mobile Fidelity's numbered 180g 45RPM 2LP set of Son of Schmilsson presents the music with full-range dynamics and astute clarity. Recording with producer Richard Perry and at London's Trident Studios for the second time, the singer again captures a natural sound marked by lively tonalities, generous air, and stellar presence. All these aspects come to the fore with unprecedented degrees on this first-ever audiophile reissue of Nilsson's most controversial (and self-sabotaging) turn.

Listeners who prize separation and spaciousness are in for a treat. While Nilsson and Perry juggled everything from unusual percussion to horn sections to choirs and an orchestra, Mobile Fidelity's version of Son of Schmilsson never seems muddled or congested. The versatile array of instruments have room to breathe, while notes emerge with palpable immediacy and fade with realistic decay. It goes without saying that Nilsson's elastic voice projects with you-are-there resolution and transparency. Make no mistake: You'll hear exactly why the 1972 work continues to spark debate and persist as a fan favorite to this day.

Just look at the invited guests – the "cast," to quote text from the back cover – who participated in the merriment. George Harrison, Ringo Starr, Lowell George, Nicky Hopkins, Peter Frampton, and Bobby Keys join session pros such as Klaus Voorman, Ray Cooper, and Milt Holland stitching together arrangements that encompass rock, torch, country, pop, blues, and old-world European-styled sing-a-longs. Indulgent, certainly, yet always in the service of a singer-songwriter whose multifaceted aims and daring versatility speak to the lasting appeal, wit, and melodicism of the primarily upbeat fare.

Experiencing a painful divorce at the time, Nilsson crafted multiple "anti" love songs, none more memorable than the boogie-tilted "You're Breakin' My Heart" whose vulgar lyrics at the time were borderline scandalous. Its taboo nature, along with the brass-driven romp "Take 54" – about a groupie and the vocalist's lust, and the ditty prominently mentioning "balls" in the chorus – meant the record's two most radio-ready tracks couldn't be aired. Nilsson's combination in-joke and protest of convention, expectation, and hypocrisy carries over to "Joy," a delightful pastiche of country-and-western tropes that ultimately saw the light of day as an RCA single.

For sheer mayhem and lunacy, nothing tops "I'd Rather Be Dead" – an anthem replete with the declaration "I'd rather be dead/Than wet my bed" – taken to extremes by two choirs comprised of senior citizens who passed a bottle of sherry around in the studio. No topic or theme, not death, sadness, or loss, remains safe on Son of Schmilsson.

Yet the presence of the breathtaking piano ballad "Remember (Christmas)," mellifluous "The Lottery Song," and eloquent "Turn on Your Radio" reveal that underneath the bizarre disguises, off-beat humor, and intentional confusion, Nilsson identified as an inimitable tunesmith and singer whose particular blend of personality, approach, and vision would never again be seen. Son of Schmilsson, indeed.

Bass – Klaus Voorman
Engineer – Ken Scott
Guitar – Cris Spedding, Peter Frampton
Lead Vocals, Electric Piano – Harry Nilsson
Piano – Nicky Hopkins
Producer – Richard Perry

Take 54

Remember (Christmas)
Joy
Turn on Your Radio
You're Breakin' My Heart
Spaceman
The Lottery Song
At My Front Door
Ambush
I'd Rather Be Dead
The Most Beautiful World in the World

Image result for mofi mobile fidelity sound lab

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 180 HQ 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.