THE BEATLES Sgt. Pepper's Lonely Hearts Club Band UHQR Mobile Fidelity MFSL 200g

$

390

The BEATLES Sgt. Pepper's Lonely Hearts Club Band Limited Edition ? 1205 UHQR Mobile Fidelity Sound Lab MFQR 1-100 (Half Speed Mastered by Stan Ricker - Pressed by Victor Company of Japan on 200 gram HD vinyl)

Tracklist

A1 Sgt. Pepper's Lonely Hearts Club Band 2:01 A2 With A Little Help From My Friends 2:45 A3 Lucy In The Sky With Diamonds 3:30 A4 Getting Better 2:49 A5 Fixing A Hole 2:38 A6 She's Leaving Home 3:38 A7 Being For The Benefit Of Mr. Kite 2:39

B1 Within You, Without You 5:06 B2 When I'm Sixty-Four 2:39 B3 Lovely Rita 2:44 B4 Good Morning, Good Morning 2:42 B5 Sgt. Pepper's Lonely Hearts Club Band (Reprise) 1:20 B6 A Day In The Life 5:10

*(all photos are of the actual item)

• Licensed From – EMI Records Ltd.

• Producer – George Martin

Notes

This rare boxed set was produced in a limited edition, individually hand numbered run of 5000. The UHQR itself stood for Ultra High Quality Record. 
The vinyl is 180gm 'Super Vinyl', developed from improvements made during the creation of CD-4 Quadraphonic records. It is designed to be flatter, more consistent, harder wearing & pressed on an extreme precision press, almost totally eliminating disc eccentricity or warpage. 

This gives excellent channel separation & is designed for a flat frequency response across the range with negligible distortion or mid-range disc surface vibration. 

The box itself contains two carbon foam anti stain pads, one fold over stiffening card, a fold-out technical specification manual, a UHQR individually numbered & signed Certificate Of Authenticity, and the 13 Track vinyl LP in a unique hand numbered picture sleeve with anti-static inner. 

The box itself is high quality, textured & embossed with red text. 

Originally released in 1967. 

Limited edition of 5000 custom pressings. It was made from the master stamper at the Victor Company of Japan (JVC) plant in Yokohama, Japan during the July 1982. Limited Edition ? 1205

Barcode and Other Identifiers

• Matrix / Runout (A side): MFSL-1-100-A3
• Matrix / Runout (B side): MFSL-1-100-B3
• Matrix / Runout (Side A Variation): MFSL-1-100-A2 H121 ** SR/2 Ortofon
• Matrix / Runout (Side B Variation): MFSL-1-100-B3 UH131*** SR/2 Ortofon

Album Box: The record album is housed in a 3/4 inch thick black cardboard box. On the inside of the cover of the box is a pouch that holds the Technical Specification Manual, and the UHQR Certificate of Authenticity. The record itself is housed in a separate inner album cover, sandwiched in between two 1/4 inch foam protectors. The inner album cover is black with "Original Master Recording." in a red strip at the top, and "UHQR By Mobile Fidelity Sound Lab" in the lower right corner. Inside the inner album cover, the record is in a static free inner sleeve.
Production Run: All MFSL UHQR albums were made in limited quantities of 5,000 numbered copies each.
Super Vinyl: MFSL UHQR records were made with Super Vinyl. Super Vinyl was produced using a highly-polymerized synthetic resin with high vinyl acetate content derived from a vinylchloride-vinylacetate coploymer. Its characteristics include superior elasticity, extreme durability, and an excellent signal-to-noise ratio. Its frequency response is so accurate that the specification of plus or minus 0.5dB is maintained over a frequency range of 20Hz to 20kHz.
Technical Specifications: Distortion: Distortion was so low on MFSL UHQR records that nearly theoretical values were achieved. Low, mid, and high range distortions were improved by 12, 10 and 6 dB or more, respectively. Frequency Response: Frequency response on MFSL UHQR records is flat. Its accuracy is within plus or minus 0.5 dB, whereas conventional records have a frequency response of plus or minus 3 dB. Record Quality: Production of UHQR records by MFSL produced minimal individual disc quality variations. Surface Vibration: Mid-range disc surface vibration at 700 Hz was reduced by 10 dB. Wear Resistance: Because MFSL UHQR records are flat, thick, and free from physical shape distortion, there is relatively little wear resistance.
UHQR Characteristics: The sound quality of UHQR records is excellent. They have solid bass, more substantive imaging, a better three-dimensional field, and greater definition of inner detail than any other record. UHQR albums are perfectly flat, eliminating tracking errors, mechanical pickup vibration, and disc surface vibration due to reproduced sound pressure from the speakers. They are also thicker than conventional records, significantly reducing disc surface vibration. These records are made with Super Vinyl, producing high forming accuracy and excellent wear resistance. Each UHQR record was pressed with an ultra precision mold on a totally unique, high precision press, developed by JVC as a result of its research with the original CD-4 disc and VHD / ADH video-disc production process. Pressing irregularities, such as "orange peel," were eliminated, resulting in reduced low frequency range distortion. Vinyl Weight: MFSL UHQR albums were pressed on 200 gram Super Vinyl.
Song Review by Richie Unterberger      The title track of the Beatles' most famous album, "Sgt. Pepper's Lonely Hearts Club Band" -- the song itself, not the album -- was a bit of an anomaly for the group in that it wasn't intended so much as an outstanding track per se as it was one that could serve for the theme tune of the entire LP. Had it not been in the context of the Sgt. Pepper album, it would have been no more than an average Beatles song. As the curtain-raiser to their most grandiose full-length statement, however, it was key to setting the mood of a psychedelic record that was -- unlike previous Beatles albums, and most previous rock albums by anyone -- something of a psychedelic revue and variety show. The illusion of the album being a theatrical presentation of sorts was established by the opening bars of crowd noise and a pit orchestra tuning up. When the Beatles do start playing, it's in a rather heavy, funky psychedelic rock style, paced by stinging hard rock guitar and Paul McCartney's typically forceful, exuberant upper-register soul-rock vocals. As a taster of the kaleidoscopic shifts to come over the course of the next dozen songs, however, it suddenly shifts into an instrumental fanfare that could have been played by a brass band of the 18th or 19th century in a British public park. The McCartney-sung first verse had already made it clear that this was supposed to be a show of some sort, as, like a singing emcee, he presents and introduces the Sgt. Pepper's Lonely Hearts Club Band. Wittily, in the section following the instrumental brass band passage, the Beatles become the fictional Sgt. Pepper's Lonely Hearts Club Band. They announce themselves in a grandstanding fashion and exhort the equally fictional audience (which can be heard oohing, aahing, and applauding at the appropriate audiences) to sit back and enjoy the show. One can almost see the Beatles, decked out in the gaudy band costumes they wear on the Sgt. Pepper sleeve, doing showbiz dance steps in time to the music. There is understated irony, perhaps, in their deadpan delivery of bland showbiz clichés about it being wonderful to be here, hoping that the audience will enjoy the show, and wishing they could take the audience home with them: the Beatles had made a career of undermining show business conventions, and the subsequent program on the Sgt. Pepper album will be anything but conventional family matinee entertainment. Then it's back to the verse, McCartney again taking over in his best belting style and maintaining the imaginary music hall setting by introducing one Billy Shears. Applause and then ecstatic shrieks (a sarcastic reference to Beatlemania perhaps?) follow as the track segues into "With a Little Help From My Friends," the Billy Shears part apparently donned by vocalist Ringo Starr. The "Sgt. Pepper's Lonely Hearts Club Band" song itself would be reprised briefly near the end of the album in a far more rock-oriented version that concentrated solely on the portion in which the Beatles introduced themselves (rephrased so that they were saying goodbye to the audience). Because of its integral position within the context of a semi-conceptual album, "Sgt. Pepper's Lonely Hearts Club Band" wasn't the easiest song to cover, but one superstar would do so immediately. Jimi Hendrix opened his June 4, 1967, show at London's Saville Theatre with his own heavy rock version of the number, although the album had only been out for three days. Paul McCartney was in the audience, and seems to regard it as perhaps the most flattering Beatles cover of all, calling it "one of the great honors of my career" in his autobiography. Hendrix did not record the tune for his studio albums, but would return to it in concert throughout his career; a live version he did at the 1970 Isle of Wight Festival appeared on the posthumous Hendrix in the West album.