MFSL LP MFSL 1-369: Grateful Dead - In The Dark - 2012 USA Numbered 180g SEALED

	C$		200
	$		145

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Background -

Factory SEALED since 2012. This is your chance to get a long out of print, audiophile LP made by MFSL, in truly mint condition.

Michael Fremer Rated 9/10 Music, 11/10 Sonics!

Numbered, Limited Edition! Half-Speed Mastered from the Original Master Tapes: Jerry Garcia and Bob Weir’s Dynamic Magnified, Bluesy Riffs Properly Textured! Gate-fold Jacket! 

Rolling Stone 2015 Readers' Poll: The 10 Best Jam Bands: The Grateful Dead Rated 1st! 

The Dead Will Survive: 1987 Album Gave Band New Lease on Life, Best Studio Effort in More Than a Decade

In the Dark Contains “Touch of Grey”: Dead’s Only Top 40 Hit

Entire Album Boasts Continuity, Flow, and Cheer of a Memorable Live Show: After More Than a Decade, Group Finally Tallied Another Studio Masterwork

In the Dark will forever be known as the Grateful Dead record that propelled the iconic band into the mainstream conscious more than two decades after its career began. Thanks to undeniable hooks, sing-a-long refrains, and shrug-it-off sentiments on the survivalist anthem “Touch of Grey,” the Dead was exposed to new generations of listeners and, in the process, became celebrity figures that packed football stadiums with fans. But In the Dark remains significant for many other, more important reasons—Jerry Garcia’s stunning recovery from a coma, Garcia and Bob Weir’s compelling dynamic, and an impeccable batch of tunes. It also stands bar-none as the sextet’s finest output since 1975.

Half-speed mastered from the original master tapes and part of the label’s unprecedented Grateful Dead reissue series, Mobile Fidelity’s numbered limited edition 180g LP of In the Dark presents the Dead’s long-overdue breakthrough in attention-grabbing fidelity. Even in an era in which the most revered artists succumbed to the day’s prevailing sound (namely, slick textures and artificial keyboard-heavy production that evoked the feel of Saran-Wrap) the band remained obstinate in its allegiance to revealing fidelity. As it happened, the Dead recorded most of the record live onstage at Marin Civic Auditorium using the then-newly introduced Dolby SR—a technology that permitted astounding instrumental separation, even when playing live. The group’s inimitable blend now sounds better, more immediate, and natural than ever.

Everything including the clip-clop of cowbells, Mickey Hart and Billy Kreutzmann’s rhythm-devil grooves, Phil Lesh’s supple bass lines, Garcia’s sweetened timbre, and Brent Mydland’s pastel-shaded keyboard melodies converges into a delightfully balanced, animate entity. The music possesses tube-like warmth and glow, and the band’s renewed vigor and, particularly, Garcia’s mellifluous guitar tones and rippling passages, come across with irresistible immediacy, heft, and vitality. Several effects—the revving of a motorcycle engine, which moves with precise imaging across an extremely wide soundstage and various synthesizer interjections among them—highlight lyrical turns and add winking humor. In the Dark is a late-'80s anomaly: A great and great-sounding rock album that isn’t the least bit dated.

While there’s no single secret behind the record’s success and its position as the greatest studio achievement of the Dead’s last two decades, In the Dark boils down to the essential ingredients of great song writing and the kind of loose, spirited, frolicking chemistry that the sextet so often demonstrated onstage. Weir and Garcia engage in a friendly competition of gamesmanship. The rhythm guitarist’s cleverly cynical “Hell In a Bucket” is one of the toughest, nastiest songs in the Dead’s catalog; “Throwing Stones,” his image-laden treaty on greed, politics, responsibility, and the environment, benefits from a complex arrangement sent up with marching bridges and spidery guitar work.

For his part, Garcia’s haunting slow blues “West L.A. Fadeaway” makes room for Weir’s skillful slide-guitar fills while the poignant, merciful reflection “Black Muddy River”—dressed in gospel gowns and Biblical allusions —completes the circle the Dead began back in the late 1960s when the group ended its marathon shows with the traditional spiritual “And We Bid You Good Night.” The white-bearded legend clearly has fun throughout, and, obviously energized by a second chance on life, pours his soul into the music.

Mydland’s performance and presence aren't to be overlooked. Equipped with the vocal harmony potential of a choir of angels, his poignant backing singing on “Black Muddy River” aches with beauty. Similarly evocative, his lead on the hobo country-blues “Tons of Steel” evokes equal parts move-on sympathy and regrettable loss. It can be strongly argued that his piano lines and right-hand fills throughout constitute the most valuable the Dead ever received on a record. Chalk them up to an integral part of an album on which every star aligned, good fortune prevailed, and the Dead finally achieved the widespread recognition it had long been overdue.

The prototypical portrait of final-era Grateful Dead, In the Dark belongs in every record collection.

Mastered by Krieg Wunderlich at Mobile Fidelity Sound Lab, Sebastopol, California on The Gain 2 Ultra Analog System.

"The original pressing was mastered DMM, uncredited, at Masterdisk. And that sounded great. But this Mobile Fidelity reissue is much better. Much better. It loses none of the original's spaciousness and transient clarity while sounding richer, fuller, more, dynamic, more three dimensional and depth-charged on bottom. The transient dynamic accents will have you jumping out of your skin if not your seat." 

"If just as an example of the pinnacle of the analog rock and roll recording art, Mobile Fidelity's reissue of In The Dark is worth having." - Michael Fremer, analogplanet.com, Music 9/10, Sound 11/10!

Features:
• Numbered, Limited Edition
• Half-Speed Production and Mastering by Mobile Fidelity Sound Lab
• Specially Plated and Pressed on 180 grams of High Definition Vinyl
• Special Static Free - Dust Free Inner Sleeve
• Heavy Duty Protective Packaging
• Mastered from the Original Master Tapes
• Gate-fold Jacket

• MFSL - Mobile Fidelity Sound Lab Record LP item - FACTORY SEALED
  

• Record Made in the USA

• Pressing is in STEREO - issued in 2012, original recording is from 1987 on the Arista label
  

• Half Speed Mastering, pressed on the 180-gram LP format, taken from the original master tapes
  

• Limited Edition and Numbered LP - No. 2093
  

• Record Speed: 33 1/3 rpm

• FACTORY SEALED

• Record Catalog Number: MFSL 1-369

Featured on this item:

The Grateful Dead

LP Title -

In The Dark

Track Listing -

A1. Touch Of Grey - Written-By – Jerry Garcia, Robert Hunter - 5:47         
A2. Hell In A Bucket - Written-By – Bob Weir, Brent Mydland, John Barlow - 5:35         
A3. When Push Comes To Shove - Written-By – Jerry Garcia, Robert Hunter - 4:05         
A4. West L.A. Fadeaway - Written-By – Jerry Garcia, Robert Hunter - 6:39         
B1. Tons Of Steel - Written-By – Brent Mydland - 5:15         
B2. Throwing Stones - Written-By – Bob Weir, John Barlow - 7:18         
B3. Black Muddy River - Written-By – Jerry Garcia, Robert Hunter - 5:58

Performers, Credits, Other Information -

• Recorded At – Marin Veterans Auditorium, Club Front • Mixed At – Club Front
• Mastered At – Mobile Fidelity Sound Lab
• Lacquer Cut At – Mobile Fidelity Sound Lab
• Mastered At & Pressed By – Record Technology Incorporated • Manufactured By – Rhino Entertainment Company • Marketed By – Mobile Fidelity Sound Lab, Inc.
• Distributed By – Mobile Fidelity Sound Lab, Inc.
• Published By – Ice Nine Publishing Company, Inc.
• Phonographic Copyright (p) – Grateful Dead Productions
• Copyright (c) – Grateful Dead Productions
• Lacquer Cut & Mastered By – Krieg Wunderlich • Performer – Bill Kreutzmann, Bob Weir, Brent Mydland, Jerry Garcia, Mickey Hart, Phil Lesh • Producer – Jerry Garcia, John Cutler
Basics Recorded at: Marin Veterans Auditorium, San Rafael, California by Le Mobile. Additional Recording & Mixing at: Club Front, San Rafael, California. 
• Numbered, Special Limited Edition 
• Production and Mastering by Mobile Fidelity Sound Lab on the GAIN 2™ Ultra Analog System 
• Specially Plated and Pressed on 180 grams of High Definition Vinyl 
• Special Static Free, Dust Free Inner Sleeve 
• Heavy Duty Protective Packaging 
• Mastered from the Original Master Tapes 
℗ 1987. This Reissue ℗ 2012 © 1987 & 2012 Grateful Dead Productions. Manufactured by Rhino Entertainment Company, a Warner Music Group Company. This edition marketed and distributed by Mobile Fidelity Sound Lab, Inc. Made in the U.S.A. Printed in the U.S.A. 
All Songs © Ice Nine Publishing Co. Inc. (ASCAP)
• Rights Society: ASCAP
• Barcode (Scanned): 821797136914 • Matrix / Runout (Side A Etching): MFSL 1-369 A2
• Matrix / Runout (Side B Etching): MFSL 1-369 B1
• Matrix / Runout (Side A Processing Facility Etching): 20328.1(3)...
• Matrix / Runout (Side B Processing Facility Etching): 20288.2(3)
• Matrix / Runout (Side A & B Lacquer Cutting Engineer Initials/Lacquer Cutting Facility Initials Etching): KW @ MoFi

CONDITION Details:

LP Jacket:

• The jacket is in MINT condition, it is brand new and factory sealed.

• The jacket has NO splits of any kind - it is completely solid and intact, and shows only some very minimal shelf wear. The outer plastic wrap (bag) has a few tears - please see the pictures with this listing as they are of the actual item.
  

• It has NO drill holes or saw marks of any kind.
  

• There is NO writing on the front or back of the jacket.
  

• The cover has clean and sharp colors - see picture with this listing for more detail.
  

The LPs (vinyl) itself:

• The LP is assumed to be in MINT condition as this item is FACTORY SEALED!

• This is the mint copy you have always dreamed about and wanted in your collection - any super picky audiophile would be happy with this one!
  

A Short Note About LP GRADING -

• Mint = Only used for sealed items.
• Near Mint = Virtually flawless in every way.
• Near Mint Minus = Item has some minor imperfections, some audible.
• Excellent = Item obviously played and enjoyed with some noise.
• Very Good Plus = Many more imperfections which are noticeable and obtrusive.

For best results, always properly clean your LPs before playing them.

The LP is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

Do not let this rarity slip by!