Mobile Fidelity Sound Labs 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 artefacts.
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.
A1: My Name Is Jonas
A2: No One Else
A3: The World Has Turned And Left Me Here
A4: Buddy Holly
A5: Undone (The Sweater Song)
B1: Surf Wax America
B2: Say It Ain't So
B3: In The Garage
B5: Only In Dreams
Weezer doesn't look like rock stars, its amusing name doesn't evoke stadium-heights glories, and the group's lyrics don't exude confidence or flash. For precisely these reasons, and the fact that the band's songs on its self-titled debut are the stuff of air-guitar dreams and shout-it-out choruses, the quartet became ironic arena-rock stars equally celebrated by in-the-know hipsters and mainstream radio listeners. Replete with urgent melodies, quirky confessional narratives, wry humour, and gargantuan hooks, Weezer (Blue Album) remains the best geek-rock record ever made.
Mastered from the original master tapes and pressed on 180g blue-coloured vinyl at RTI, Mobile Fidelity's analogue version of the 1994 release Rolling Stone named the 297th greatest album ever recorded finally possesses the grand-scale sonics that the music's bunker-busting hooks deserve. Cars frontman Ric Ocasek's polished production is now both free of artificial ceilings that squashed the explosive dynamics and rid of the compression that saddled the frequency range. Instrumental separation is vastly improved, and the amount of midrange energy seemingly doubled. This reissue is guaranteed to help you rock out.
Underdogs and misfits, Weezer emerged from Los Angeles as nerdy kids that eschewed traditional party-hard ways in favour of studying Kiss records, engaging in conversations about old LPs, and playing Dungeons and Dragons. The band's awkwardness joyfully translates in its songs on its 1994 debut, largely concerned with jealous insecurities, pop culture, true-to-life heartbreak, common accidents, youthful misconceptions, and daydreaming. Unlike many of their indie-rock peers, Weezer finds no need to conceal feelings in obscurities, snark, or impossibly impenetrable quirkiness.
While every song on Weezer is a delight, "In the Garage," the ultimate ode to a heavy-metal practice space and private musical retreat, best spells out the album's appeal and the band's intent. "I've got an electric guitar/I play my stupid songs/I write these stupid words/And I love every one/Waiting there for me/Yes I do, I do/In the garage/No one cares about my ways/In the garage where I belong" sings leader Rivers Cuomo, his voice often meshing with that of Matt Sharp, and giving the material a barbershop-quartet harmonic boost in line with the catchiness of the guitar-driven bridges and rhythmic foundations.
More than three-times platinum, the Blue Album, as it's often called, also claims an iconic cover that pays tribute to that of the Feelies' Crazy Rhythms. The picture - as well as the bubblegum-inspired content within - has become an indelible part of modern culture. Weezer graces must-have lists from Rolling Stone, Pitchfork, Guitar World, and more. And needless to say, "My Name Is Jonas," "Say It Ain't So," "Buddy Holly," and "Undone (The Sweater Song)" are all modern classics.
GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of Mobile Fidelity Sound Lab'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 customised 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, Mobile Fidelity Sound Labs only utilise first generation original master recordings as source material for their releases. MFSL then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master's sonic information. The lacquers are then plated in a specialised 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). MFSL 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.
Produced by Ric Ocasek
Engineered by Chris Shaw
Assistant Engineers: Daniel Smith (6), David Heglmeier, Hal Belknap
Mastered from the Original Master Tapes by Krieg Wunderlich, assisted by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA on the GAIN 2 ULTRA ANALOG SYSTEM.
Label: Mobile Fidelity Sound Lab, MFSL 1-480
Series: Original Master Recording, GAIN 2™ Ultra Analog LP 180g Series
Format: Vinyl LP, Limited Edition, Reissue, Remastered, Numbered, Blue Vinyl
Released: 28 Oct 2016
Genre: Alternative Rock