Mobile Fidelity - UDSACD 2206  - Hybrid SACD Stereo 

2,000 Numbered Limited Edition -   

Mastered by Kreig Wunderlich from the Original Master Tape at MFSL 

Half Speed Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System 

Spirited, Blues-Driven Rock n' Roll Comes on Like a Never-Ending Party: J. Geils Band's The Morning After Features Ace Performances by Harmonica Player Magic Dick Salwitz and Vocalist Peter Wolf  
Mastered from the Original Master Tapes and Limited to 2,000 Copies: Mobile Fidelity Numbered-Edition Hybrid SACD Explodes with Lively Dynamics, Realistic Tones, and Gut-Punching Rhythms

 The trashed hotel room and communal living depicted on the cover of the J. Geils Band's sophomore album tell you all you need know about the music, spirit, and energy spilling from within The Morning After. Shot through with raw, lean rock n' roll sparked by juke-joint blues and loose rhythms, the 1971 set comes on like the most fun, party-still-raging hangover any group in the 70s enjoyed. And now it rolls with an abandon that takes you inside the sweaty, smoky roadhouses and wall-to-wall-packed clubs the group dominated in its heyday.

Mastered from the original master tapes and strictly limited to 2,000 numbered copies, Mobile Fidelity's hybrid SACD achieves a sonic acumen that brings you face-to-face with the sextet's white-hot instrumental prowess and magnetic personalities. It's always been difficult to single out just one member of the band given the cohesive bluster the ensemble achieves as a whole, but this collectible audiophile edition allows you to do just that if you so choose, by way of superb imaging and separation. As for the band's trademark dynamics? Here, they feel like they're on the verge of exploding.

So go ahead. Twist the volume knob to the right as much as you want. You'll lose none of the focus, detail, placement, or presence no matter how high the decibels climb. The Morning After spills forth with previously unheard tonalities, ranging from the distinctive swells of Seth Justman's slow-burn organ to the live-wire spark of Geils' own downed-power-line-jumpy guitar work to the mooring hi-hat/cymbal/snare combinations of arrangement-steadying drummer Steven Bladd. Friends, this is raw rhythm n' blues, this is how it should feel, and, man, this is how it should sound.

Not for nothing did the Massachusetts-based collective name the album The Morning After. The music within doesn't abide by rules, ignores speed limits, flips the bird at curfews, and digs deep down into America's blues roots to yield organic material at once fresh, exciting, traditional, and original. The back-porch punch provided by the combination of "Magic Dick" Salwitz's searing, melodic, snake-like harmonica and vocalist Peter Wolf's animated, barely controlled deliveries is alone enough to make anyone with a faint pulse to stomp their feet, climb atop a kitchen table, and kick their boot heels until the neighbors call the cops.

Just witness the deceptive smoothness of the snake-like "So Sharp" or Maxwell Street zest of the aptly titled Magic Dick showcase "Whammer Jammer," which will leave you gasping for breath before it even ends. J. Geils Band also knew its way around deep-cut soul. The ensemble's Top 40, howling, adrenaline-to-the-heart rendition of the Valentinos' "Looking for a Love" and swirling, romantic take on Don Covay's "The Usual Place" seamlessly balance drive and emotion. Coupled with rafter-shaking originals such as "Floyd's Hotel" and the riff-propelled "I Don't Need You No More," sent up with typical Wolf vocal flair, and the record parks the band's all-night festivities and go-for-broke attitudes right on your front lawn.

One last word of warning to the uninitiated: The Morning After is not the slick-pop J. Geils Band of "Centerfold." And that is a very good thing.

Secure your lowest-numbered SACD copy of this 1971 barnburner 

Arranged By – The J. Geils Band
Bass – Danny Klein
Drums, Vocals – Stephen Bladd
Guitar – J. Geils
Harmonica – Magic Dick
Keyboards – Seth Justman
Producer, Engineer – Bill Szymczyk
Vocals – Peter Wolf

I Don't Need You No More
Whammer Jammer
So Sharp
The Usual Place
Gotta Have Your Love
Looking for a Love
Gonna Find Me a New Love
Cry One More Time
Floyd's Hotel
It Ain't What You Do (It's How You Do It)

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.