The Blues A Real Summit Meeting MFSL-2-518 Original Master Recording 2LP BB King

Sold Date: June 2, 2019
Start Date: April 4, 2019
Final Price: $121.50 (USD)
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The Blues A Real Summit Meeting MFSL-2-518 Original Master Recording 2LP BB King








The Blues A Real Summit Meeting MFSL-2-518 Original Master Recording 2LPs BB King
Label: MFSL, Buddah 
Condition: The LPs unplayed.  Demo stamp on the outside.  (see photo)
The Vinyl:   These LPs have never been played. They have never been taken out of the static free, dust free sleeves.  
The Cover: Aside from the gold stamp, looks great!  Includes the original MSFL audiophile inner sleeves.
Part Numbers: MFSL-2-518
Notes from the Manufacturer:   Mobile Fidelity Sound Labs (MFSL) Records, 2 x12 inch, 33 1/3 RPM Stereo LP, Cat. #MFSL 2-518, First Pressing. Featuring: Muddy Waters, B.B. King, Big Mama Thornton, Jay McShann, Arthur Big Boy Crudup, Eddie Cleanhead Vinson, Clarence Gatemouth Brown, and Lloyd Glenn. Titled: "The Blues ... A Real Summit Meeting (Recorded Live At Newport In New York, 1973)".
Song Titles Include: 1. Little Red Rooster [Big Mama Thornton] 5:50 // 2. Ball And Chain [Big Mama Thornton] 7:43 // 3. Smooth Sailing J[ay McShann] 2:56 // 4. Confessin' the Blues [Jay McShann] 4:39 // 5. They Call Me Mr. [Eddie 'Cleanhead' Vinson] 4:13 // 6. Hold It Right There [Eddie "Cleanhead" Vinson] 4:51 // 7. Back Door Blues [Eddie "Cleanhead" Vinson] 4:51 // 8. Kidney Stew Blues [Eddie "Cleanhead" Vinson] 4:17 // 9. That's All Right [Arthur "Big Boy" Crudup] 2:31 // 10. Honky Tonk Train Blues [Lloyd Glenn] 2:17 // 11. After Hours [Lloyd Glenn] 3:46 // 12. Pinetop's Boogie Woogie [Lloyd Glenn] 3:05 // 13. Long Distance Call [Muddy Water]s 5:08 // 14. Where's My Woman Been [Muddy Waters] 4:18 // 15. Got My Mojo Working [Muddy Waters] 3:44 // 16. The Drifter [Clarence "Gatemouth" Brown] 7:01 // 17. Please Mr. Nixon [Clarence "Gatemouth Brown] 6:37 // 18. Outside Help [B.B. King] 6:55.
If you're not familiar with this recording, here's some additional information: Recorded in front of a live Newport audience in New York, 1973. Besides the legendary B.B. King, Eddie "Cleanhead" Vinson and Muddy Waters, of historical interest, Big Mama Thornton, Lloyd Glenn, Arthur "Big Boy" Crudup, and Jay McShann offer renditions of their own songs that were covered for a much larger audience by Janis Joplin, Elvis Presley, and others. An unexpected delight is the electrified violin played by Clarence "Gatemouth" Brown, who backs other performers here as well as taking the lead on two tunes.
Mobile Fidelity Sound Lab has been the undisputed pioneer and leader in audiophile recordings since the company's inception in 1977. Established by dedicated audiophiles, Mobile Fidelity's first and foremost goal was to offer faithfully reproduced high fidelity recordings that would compliment the numerous advances occurring in audio delivery systems. Throughout its history, Mobile Fidelity has remained true to this goal, pioneering state-of-the-art technologies and setting audiophile standards that remain in place today

**If you're not familiar with Mobile Fidelity LP's and the painstaking process of making these incredible records, here's some additional information from MFSL:
"Commercial record companies are in the business of providing a vast amount of music to tremendous numbers of people. In order to do this economically they take as little as an hour to cut a master lacquer disc, which is the first step toward ultimately producing the record you buy in the store.
We require a minimum of three months to make an Original Master Recording available to you. The difference is that we take the time necessary to achieve the kind of sound that not only lets you hear four clarinets, but hear the space between them.
To accomplish this we employ our exclusive "half-speed mastering" method. Normally, master lacquer discs are cut at 33 1/3 rpm (real time), the same speed at which you play a record on your turntable. Our master lacquer discs, however, are cut at half speed, or 16 6/7 rpm, while the master tape also plays at half speed. This allows us twice as much time to get every detail, every nuance of sound out of the stereo master tape and into the groove. It also allows the cutting stylus twice as much time to cut the groove accurately. And we always work from the original stereo master tape, never a second or third generation copy. MFSL's exclusive "half-speed mastering" also allows us to use only one-fourth the power that real time cutting takes. So we never have to push our cutting head amplifiers to their limits. This gives us much more head room for far superior dynamic range, top-end and overall frequency response, along with better stereo separation. And we don't use transformers or employ limiting in our cutting process. Nothing is introduced that will cause distortion or squeeze the life out of an Original Master Recording.
After our master lacquer disc is cut, it is carefully refrigerated and sent abroad, where the metal masters and stampers are made to produce the final pressings. Another long and painstaking process. It takes more than a month before we can hear the results of the metal masters alone.
Then, the pressings are made. And not on just vinyl, but on a material known as Super Vinyl. This, too, must be done abroad, in Japan at JVC. It is the only place in the world where such high quality vinyl is made. Super Vinyl gives us an ultra quiet playing surface. It's a vinyl that is heavier and harder than ordinary vinyl. And it has no "memory"... you can play an Original Master Recording over and over again, without having to let it rest after each play. When an ordinary, soft vinyl record is played repeatedly, the groove walls tend to stretch and distort and the sound deteriorates.
MFSL's exclusive process forces us to restrict the number of pressings we make. Commercial pressings by a top name artist number anywhere from three to ten million. There are never more than 200,000 copies made of an Original Master Recording, so the last pressing is as clear and accurate as the first. With time consuming "half-speed mastering" and our preoccupation with an exact sonic replica of the original master stereo tape, we'll never make all the music in the world. So we just make the best of it. We cut no corners. We make no compromises. What we do make is a record that is as close to handmade as you'll ever find. With us, it's a labor of love. We design every Original Master Recording to challenge your equipment and your listening ability.".

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