Janis Joplin - Pearl - Numbered Limited Edition 180g 45rpm SuperVinyl 2LP Box Set



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Limited to Just 10,000 Numbered Copies!
Limited To Two Copies Per Customer Per Address!
MoFi SuperVinyl Pressed At RTI!

Luxurious Packaging Includes Opulent Box, Foil-Stamped Jackets, MoFi SuperVinyl LPs Pressed at RTI: Deluxe Audiophile Set Strictly Limited to 10,000 Numbered Copies (Limit Two Per Customer)

This item not eligible for any further discount offers!

Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer who knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work. Mobile Fidelity's UD1S 180g 45RPM 2LP box set presents the landmark effort like never before.

  1. Move Over
  2. Cry Baby
  3. A Woman Left Lonely
  4. Half Moon
  5. Buried Alive In the Blues
  6. My Baby
  7. Me and Bobby McGee
  8. Mercedes Benz
  9. Trust Me
  10. Get It While You Can

Commemorating Pearl's 50th anniversary in collaboration with SME/Legacy Recordings, mastered from the original master tapes, cut at 45RPM, pressed on MoFi SuperVinyl at RTI, and limited to 10,000 copies, the iconic audiophile label's UltraDisc One-Step reissue takes Joplin and Co.'s stupendous performance to newly transcendent levels. Boasting reference-setting fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from jaw-dropping spaciousness, presence, fullness, detail, dynamics, and openness. The wider grooves allow more information to reach your ears, and MoFi SuperVinyl means the noise floor is as absolutely low as possible.

Visually, the lavish packaging and gorgeous presentation of the UD1S Pearl befit its select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S collectible exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the images to the finishes.

Indeed, Joplin's husky, strong, and penetrating singing has never sounded more vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. And few, if any words, describe Joplin better than "authentic." Her spirit comes to life on this reissue in sublime fashion. Like its headliner, this pressing leaves it all on the floor.

While Joplin's electrifying vocal prowess is universally lauded – she's deservingly recognized as the greatest white female blues singer the world has ever seen – her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain – the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's "Cry Baby," underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment – yet Joplin also reveals a sense of humor and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.

Playfully introduced as "a song of great social and political import," the a capella "Mercedes Benz" reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's "Me and Bobby McGee" signals a laidback demeanor and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as "A Woman Left Lonely" offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.

Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band – the only group she ever considered to be her own – as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labors fill Pearl, be it the guardedly optimistic "Get It While You Can" or assertive, fleet-footed "Move Over."

Experienced in the new light brought to fore by this definitive Mobile Fidelity UD1S box set, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

The lavish packaging and gorgeous presentation of the UD1S Mingus Ah Um pressing also befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art - and everything involved with the album, from the images to the textures.

And clearly, Mingus ardently honored and prized the aforementioned aspects on his Columbia Records debut. Witness the unforgettable cover art, a painting by S. Neil Fujita, whose varied hues, abstract geometries, free-base forms, and ornate albeit clean presentation mirrors the seemingly impossible blend of accessibility, complexity, experimentalism, consistency, focus, individualism, and collectivity reflected in every passage of the incredibly diverse album. Or, simply look at the reverence Mingus displays for his ancestors - and their contributions to jazz's ongoing conversation and cultural relevance - via "Jelly Roll" (for Jelly Roll Morton), "Open Letter to Duke" (for Duke Ellington), and the hallmark ballad "Goodbye Pork Pie Hat" (an homage to Lester Young).

Above all, however, Mingus Ah Um stands as an exuberant tribute to the idea (and blueprint-caliber execution) of fully realized musical frameworks serving as launching pads for expressive interactions, responses, exchanges, and improvisations. At the core, personality, character, invention, and, color remain paramount. Mingus Ah Um acts as an aural representation of a philosophy the artist espoused before and after the recording sessions. In the liner notes to the record's follow-up, and penned shortly after the recording of Mingus Ah Um, he spoke of striving for "primitive, mystic, supra-mind communication" and avoiding the repetition, boredom, apathy, and cliché associated with falling into set patterns and mimicking the approach of recognized giants. In other words, he demanded each member of his band "play himself."

Nothing could be truer when you hear in such vivid detail the work of saxophonists John Handy, Shafi Hadi, and Booker Ervin, trombonists Willie Dennis and Jimmy Knepper, pianist Horace Parlan, drummer Dannie Richmond, and the genius bass playing of Mingus himself. The collective's technical acumen - be it multi-tone row scales, pedal point rhythmic patterns, traditional chords, melodic moods, harmonic lines, beginning/ending-blurring context, high registers, major and minor thirds (and absence thereof), pivot-point chromatics, diatonic manners, open fifths, and more - lingers not only in the mind, but invigorates the senses.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior:
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl: The World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

This boxed set is a work of art - actually, several works of art. The music itself is high art. The engineering is artful. The cover features an abstract painting by S. Neil Fujita, who established Columbia's design team and brought abstract art to Columbia record covers. There is art inside the package, too; two large, frameable photos of Mingus from the Sony Music archives, by Don Hunstein, printed on high-quality stock... Mingus Ah Um has always sounded good. This version, though, sounds substantially better than the other versions. In fact, this Mingus Ah Um is one of the best-sounding classic jazz albums I own, with a big, deep soundstage, visceral images, and tons of impact. It's nearly perfect.
-Jim Austin, Stereophile, August 2020

Features

  • Limited to Two Copies Per Customer
  • Numbered, Limited Edition - Only 6000 Copies
  • MoFi SuperVinyl Pressing
  • UltraDisc One-Step
  • 45rpm Speed Edition
  • 2LP Box Set
  • Special foil-stamped jackets
  • Housed in an opulent box
  • Faithful to original graphics
  • Production and Mastering by Mobile Fidelity Sound Lab

Musicians

Charles Mingus bass, piano
John Handy alto & tenor saxophone, clarinet
Booker Ervin tenor saxophone
Shafi Hadi tenor & alto saxophone
Willie Dennis trombone
Jimmy Knepper trombone
Horace Parlan piano
Dannie Richmond drums

Selections

  1. Better Git It in Your Soul
  2. Goodbye Pork Pie Hat
  3. Boogie Stop Shuffle
  4. Self-Portrait in Three Colors
  5. Open Letter to Duke
  6. Bird Calls
  7. Fables of Faubus
  8. Pussy Cat Dues
  9. Jelly Roll

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