MIKE BLOOMFIELD,KOOPER & STILLS SUPERSESSION RARE ORIG MFSL AUDIOPHILE LP MINT

$

93

WE CURRENTLY HAVE  NEARLY 500  LISTED ITEMS

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·       MIKE BLOOMFIELD, AL KOOPER & STEPHEN STILLS – SUPERSESSION -  ORIGINAL 1979 MOBILE FIDELITY LIMITED EDITION HIGH-QUALITY 'ORIGINAL MASTERS' AUDIOPHILE, EXTENDED DYNAMIC RANGE VIRGIN VINYL LP MFSL-1-178

·       ORIGINAL U.S. PRESSING (TECHNICALLY, ALL MFSL PRESSINGS ARE MADE IN JAPAN, BUT ARE CONSIDERED TO BE OF AMERICAN PROVENANCE AND ORIGIN)

·       ORIGINAL WHITE MFSL LABEL (NO OTHER PRESSINGS OR LABELS EXIST)

·       INCLUDES:

(1)          ORIGINAL "RICE PAPER" MFSL INNER SLEEVE

(2)          INNER, CUSTOM-MADE MFSL CARDBOARD SLEEVE

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       FAIRLY THICK VINYL PRESSING On the scale from 1 to 10 (1 being the least, and  10 being the most severe), we assess the thickness of the vinyl as 7.

·       CLEAN, WEAR-FREE LABELS

 (►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get.  GUARANTEED!)

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As the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) had done a year earlier, Super Session (1968) initially ushered in several new phases in rock & roll's concurrent transformation. In the space of mere months, the soundscape of rock shifted radically from two- and three-minute danceable pop songs to comparatively longer works with more attention to technical and musical subtleties. Enter the unlikely all-star triumvirate of Al Kooper (piano/organ/ondioline/vocals/guitars), Mike Bloomfield (guitar), and Stephen Stills (guitar) -- all of whom were concurrently "on hiatus" from their most recent engagements. Kooper had just split after masterminding the definitive and groundbreaking Child Is Father of the Man (1968) version of Blood, Sweat & Tears. Bloomfield was fresh from a brief stint with the likewise brass-driven Electric Flag, while Stills was late of Buffalo Springfield and still a few weeks away from a more or less full-time commitment to David Crosby and Graham Nash. Although the trio never actually performed together, the long-player was notable for idiosyncratically featuring one side led by the team of Kooper/Bloomfield and the other by Kooper/Stills. The band is ably fleshed out with the powerful rhythm section of Harvey Brooks (bass) and Eddie Hoh (drums) as well as Barry Goldberg (electric piano) on "Albert's Shuffle" and "Stop." The heavy Chicago blues contingency of Bloomfield, Brooks, and Goldberg provide a perfect outlet for the three Kooper/Bloomfield originals -- the first of which commences the project with the languid and groovy "Albert's Shuffle." The guitarist's thin tone cascades with empathetic fluidity over the propelling rhythms. Kooper's frisky organ solo alternately bops and scats along as he nudges the melody forward. The same can be said of the funky interpretation of "Stop," which had originally been a minor R&B hit for Howard Tate. Curtis Mayfield's "Man's Temptation" is given a brass-fuelled soulful reading that might have worked equally well as a Blood, Sweat & Tears cover. At over nine minutes in spin time, "His Holy Modal Majesty" is a fun trippy waltz and includes one of the most extended jams on the Kooper/Bloomfield side. The track also features the distinct hurdy-gurdy and Eastern-influenced sound of Kooper's small electric keyboard-manipulated ondioline, which has a slightly atonal and reedy timbre much like that of John Coltrane's tenor sax. Because of some physical health issues, Bloomfield was unable to complete the recording sessions and Kooper contacted Stills. Immediately his decidedly West Coast sound -- which alternated from a chiming Rickenbacker intonation to a faux pedal steel -- can be heard on the upbeat version of Bob Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry." One of the album's highlights is the churning and scintillating cover of "Season of the Witch." There is an undeniable synergy between Kooper and Stills, whose energies seems to aurally drive the other into providing some inspired interaction. Updating the blues standard "You Don't Love Me" allows Stills to sport some heavily amplified and distorted licks, which come off sounding like Jimi Hendrix. This is one of those albums that seems to get better with age. This is a super session indeed.

(EXCERPT FROM AN ONLINE REVIEW BY STEVE HUEY, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

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This is a rare opportunity to acquire this great album in its FINEST audio format, no longer in print, and no longer easily obtainable.

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For additional historical or discography information on this album, including track listing ►click here

TO SEE IF WE HAVE OTHER LISTED ITEMS BY AL KOOPER ►  CLICK HERE

TO SEE IF WE HAVE OTHER LISTED ITEMS BY MIKE BLOOMFIELD ►  CLICK HERE

TO SEE IF WE HAVE OTHER LISTED ITEMS BY STEPHEN STILLS ►  CLICK HERE

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·       CONDITION:

·       THE RECORD

(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          THE VINYL IS ABSOLUTELY, PERFECTLY MINT,  as if never played before. The original luster is totally intact, and the vinyl shines and sparkles like brand new. The labels look perfect, simply gorgeous, with absolutely no trace of wear around the spindle hole. The record is TOTAL PERFECTION - ABSOLUTE VISUAL NIRVANA! We are confident that, in this condition, the record we present here is truly once-in-a-lifetime find.

(b)          The record comes in a hi-grade MFSL PVC inner sleeve, which has - apparently with success - shielded the record from the harmful impact of elements over many years!

(c)           The album comes with the original MFSL cardboard inner sleeve

(d)            The record, like all other MFSL titles,  is  pressed on a beautiful, high-quality, virgin-grade vinyl, which is usually used for audiophile, extended-dynamic-range, half-speed mastered and connoisseur pressings.

(e)             In addition, the record is pressed on a RELATIVELY  thick, inflexible vinyl. This is NOT a thin, flimsy ('dynaflex' type),  vinyl, but not the thickest, most rigid vinyl, either.

(f)            Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·                               THE COVER

THE COVER IS NEAR MINT !

The following flaws or imperfections are noted on the cover:

-         Minor shelf wear noted on the seams (nothing significant)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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POSTAGE & SHIPPING:

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