THE BEATLES White Album MFSL 2-072 Mobile Fidelity HALF SPEED MASTERED Analog

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THE BEATLES White Album MFSL 2-072 Mobile Fidelity (All Analog pressing) (Half-Speed Mastered by Stan Ricker and pressed on High Definition Super Vinyl)

A1 Back In The U.S.S.R. 2:45 A2 Dear Prudence 4:00 A3 Glass Onion 2:10 A4 Ob-La-Di, Ob-La-Da 3:10 A5 Wild Honey Pie 1:02 A6 The Continuing Story Of Bungalow Bill 3:05 A7 While My Guitar Gently Weeps 4:46 A8 Happiness Is A Warm Gun 2:47 B1 Martha, My Dear 2:28 B2 I'm So Tired 2:01 B3 Blackbird 2:20 B4 Piggies 2:04 B5 Rocky Raccoon 3:33 B6 Don't Pass Me By 3:52 B7 Why Dont We Do It In The Road 1:42 B8 I Will 1:46 B9 Julia 2:57 C1 Birthday 2:40 C2 Yer Blues 4:01 C3 Mother Nature's Son 2:46 C4 Everybody's Got Something To Hide Except Me And My Monkey 2:25 C5 Sexy Sadie 3:15 C6 Helter Skelter 4:30 C7 Long, Long, Long 3:08 D1 Revolution 1 4:13 D2 Honey Pie 2:42 D3 Savoy Truffle 2:55 D4 Cry, Baby, Cry 3:11 D5 Revolution 9 8:15 D6 Good Night 3:14

*(all photos are of the actual item)

• Manufactured By – MFSL, Inc.
• Distributed By – MFSL, Inc.
• Licensed From – Capitol Records, Inc.
• Phonographic Copyright (p) – Capitol Records, Inc.
• Copyright (c) – Capitol Records, Inc.
• Mastered At – Stan Ricker Mastering
• Published By – Apple Music Publishing Co., Inc.

Credits

• Mastered By – SR/2*
• Producer – George Martin
• Written-By – Harrison* (tracks: A7, B4, C7, D3), Lennon/McCartney* (tracks: A1 to A6, A8 to B3, B5, B6 to C6, D1, D2, D4 to D6), Starkey* (tracks: B6)

Notes

Original master recording ™ 
© ? Capitol Records, Inc. 

(Logos on inserts) EMI America - Capitol Records - Mobile Fidelity Sound Lab 
© All lyrics copyright 1968 for the world by Northern Songs Ltd. England 
© 1968 Apple Music Publishing Co., Inc. 
EMI Records Limited 
Half-speed production and mastering by Original Masterworks.™ 
Specially plated and pressed on high definition super vinyl by Victor Company of Japan Ltd. 
Special static free-dust free inner sleeve 
Special heavy duty protective packaging 
Source: the original stereo master tape 
Mastered with the Ortofon cutting system 
An exclusive warp protective system for Mobile Fidelity Sound Lab by AGI, patent pending. 
Manufactured and distributed by MFSL, Inc. under license from Capitol Records, Inc. 

(Logos on labels) Mobile Fidelity Sound Lab a division of MFSL, Inc. - Capitol Records 
Recorded in England. 
Pressed in Japan. 

Comes in a gatefold sleeve. 
Lyrics are printed on two gatefold cardboard inserts protecting the plastic inner sleeves. 

Each song on the sprawling double album The Beatles is an entity to itself, as the band touches on anything and everything it can. This makes for a frustratingly scattershot record or a singularly gripping musical experience, depending on your view, but what makes the so-called White Album interesting is its mess. Never before had a rock record been so self-reflective, or so ironic; the Beach Boys send-up "Back in the U.S.S.R." and the British blooze parody "Yer Blues" are delivered straight-faced, so it's never clear if these are affectionate tributes or wicked satires. Lennon turns in two of his best ballads with "Dear Prudence" and "Julia"; scours the Abbey Road vaults for the musique concrète collage "Revolution 9"; pours on the schmaltz for Ringo's closing number, "Good Night"; celebrates the Beatles cult with "Glass Onion"; and, with "Cry Baby Cry," rivals Syd Barrett. McCartney doesn't reach quite as far, yet his songs are stunning -- the music hall romp "Honey Pie," the mock country of "Rocky Raccoon," the ska-inflected "Ob-La-Di, Ob-La-Da," and the proto-metal roar of "Helter Skelter." Clearly, the Beatles' two main songwriting forces were no longer on the same page, but neither were George and Ringo. Harrison still had just two songs per LP, but it's clear from "While My Guitar Gently Weeps," the canned soul of "Savoy Truffle," the haunting "Long, Long, Long," and even the silly "Piggies" that he had developed into a songwriter who deserved wider exposure. And Ringo turns in a delight with his first original, the lumbering country-carnival stomp "Don't Pass Me By." None of it sounds like it was meant to share album space together, but somehow The Beatles creates its own style and sound through its mess.