Mobile Fidelity - UDSACD 2118 - SACD Hybrid Stereo
2,000 Numbered Limited Edition - Plays On All CD Players
Half-Speed Mastered from the Original Master Tape at MFSL
Mastered on the Mobile Fidelity GAIN 2™ Mastering Technology for Ultradisc UHR SACD
Home to History's Most Influential Long-Form Psychedelic-Rock Song: Iron Butterfly's In-A-Gadda-Da-Vida Remains a Pop-Culture Phenomenon and Fuzz-Guitar-Driven Classic
Mastered from the Original Master Tapes, Limited to 2,000 Numbered Copies: Mobile Fidelity Hybrid SACD Places the Organ-Drenched Music on a Grand-Scale Soundstage
Few songs are more instantly recognized – or more influential, infamous, and, yes, notorious – than Iron Butterfly's "In-A-Gadda-Da-Vida." The anchor of the mind-trip of an album of the same name, it occupies an entire side of an LP and runs for 17 minutes and five seconds, both bold moves in 1968 that changed how artists approached music in the studio and how listeners experienced it at home. The California-based group's sophomore record also blew open the possibilities associated with psychedelia, heavy arrangements, and suggested meanings. And with apologies to those who might've heard it in a chemical haze in the late 1960s, In-A-Gadda-Da-Vida has never sounded more transformative than it does now.
Mastered from the original master tapes and strictly limited to 2,000 numbered copies, Mobile Fidelity's hybrid SACD places the work's organ-drenched melodies, acid-rock scope, mind-warping effects, and cauldron-bubbling rhythms on a soundstage as massive as the concert stage depicted on the album cover. Sonically, this collectible audiophile reissue offers elite levels of separation, balance, and imaging that put the quartet's accomplishments into greater perspective. From start to finish, the set exudes the flavor, feel, and textures of the late 1960s' most celebrated recordings, traits that reveal themselves as immediately obvious the moment the SACD starts to spin.
Often overlooked, the first side of In-A-Gadda-Da-Vida features a wealth of period-era garage rock and stoner pop teeming with hummable hooks, fuzz-guitar riffs, and a decidedly mystical aura. Songs such as the strolling "Are You Happy" and cryptically spiritual "My Mirage" beg for inclusion on any of Lenny Kaye's renowned Nuggets compilations not to mention placement alongside the finest Doors material of the era. Led by Doug Ingle's distinctive and patient baritone, the tunes seemingly dangle in space and prepare the senses for the unexpected.
And that moment arrives as soon as Ingle's fingers dance across his organ keys and a come-hither groove – at once adventurous and alluring, deranged and sinister, hallucinatory and chromatic – kicks in and doesn't again let up until you've been dragged through a vibrant cosmic universe. Long rumored to have been a substitute for the phrase "in the garden of Eden," and misinterpreted due to Ingle's inebriated state as well as because of communication problems between headphones in the recording studio, ""In-A-Gadda-Da-Vida" juggles tension and excess to high-wire-thrilling degrees. Yes, it contains what many consider an unnecessary drum solo, but akin to the extended duration of the song, the percussive break belongs and remains part of the charm. Not to mention a lasting piece of pop-culture phenomena.
In a year that also saw the release of Electric Ladyland, Beggars Banquet, The Beatles, Astral Weeks, Cheap Thrills, Music from Big Pink, and The Kinks Are the Village Green Preservation Society, In-A-Gadda-Da-Vida became Atlantic Records' biggest-ever-selling album (at that point) and spent 140 weeks on the album chart – 81 of them in the Top 10. A severely edited version of the title track rose as far as #30 on the singles chart. It has been subsequently referenced in everything from "The Simpsons" to "Seinfeld" to "Home Improvement."
Alas, too bad everyone then didn't have the pleasure or opportunity to take it all in via a truly immersive, surreal-sounding SACD reissue. Fortunately, you do.
Bass – Lee Dorman
Drums – Ron Bushy
Engineer – Jim Hilton
Guitar – Erik Brann
Organ, Vocals – Doug Ingle
Producer – Jim Hilton
Most Anything You Want
Flowers and Beads
Are You Happy
Mobile Fidelity believes that mastering systems should be neutral and transparent. The essential idea is to unveil all the detailed musical information on the original master recording without adding deterioration, coloration or other sonic artifacts.
It is worth noting that Mobile Fidelity Sound Lab stands out as one of few record labels that independently invests in research and development of audio technology. With proprietary innovations such as GAIN 2™, general music enthusiasts and audiophiles alike have reaped the benefit of a higher consumer audio standard without investing in costly new hardware. Mobile Fidelity is pleased to work with a variety of engineering legends and companies including Tim de Paravicini, Ed Meitner, Pass Labs, Theta Digital and Sony Electronics.
Our joint efforts to seek out the ultimate audio experience, has resulted in significant advances for the technology of music reproduction.
GAIN 2™ Mastering Technology for Ultradisc UHR™ Hybrid SACD and Ultradisc II™ 24kt Gold CDs
For over twenty years, Mobile Fidelity Sound Lab has continually searched for the ultimate audio experience. During this search MFSL engineers and associates created The GAIN™ System, a proprietary mastering technology which brought warmth and ambience to the compact disc format. A few years ago - with higher resolution formats on the horizon - the vision of GAIN 2™ began. As it stands today, GAIN 2™ is one of the greatest technical advancements in analogue and digital technology in the last ten years. It consists of a series of critical modifications and new components to Mobile Fidelity's proprietary mastering chain.
We feel that GAIN 2™ has come extremely close to meeting this goal. The key accomplishments of GAIN 2™ System are 1) the ability to extract all the musical information as possible through the Ultra High bandwidth analogue tape playback system with proprietary custom tape playback heads, reproducer electronics and 2) transparently capturing and storing that information with the Direct Stream Digital recording system.