Weather Report - I Sing The Body Electric (1972) Original US Pressing - LP/FLAC In 24bit/96kHz
Weather Report - I Sing The Body Electric
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz & 16bit/44kHz | 900mb & 200mb
Label: Columbia/KC 31352 | Released: 1972 | Genre: Jazz-Rock
A1 Unknown Soldier 7:57
A2 The Moors 4:49
A3 Crystal 7:23
A4 Second Sunday In August 4:04
-
Medley: (10:45)
B1a Vertical Invader
B1b T.H.
B1c Dr. Honoris Causa
B2 Surucucú 7:46
B3 Directions 4:37
Phonographic Copyright (p) – CBS Inc.
Manufactured By – Columbia Records
Manufactured By – CBS Inc.
Recorded At – Columbia Recording Studios
Recorded At – Shibuya Kokaido
Lacquer Cut At – Customatrix
Pressed By – Columbia Records Pressing Plant, Pitman
Credits
Artwork [Cover] – Fred Swanson, Jack Trompetter
Bass – Miroslav Vitous
Design [Cover] – Ed Lee
Drums – Eric Gravátt*
Engineer – Susumu Satoh
Engineer [Recording], Mixed By – Wayne Tarnowski
English Horn – Andrew White (tracks: A1)
Executive-Producer – Robert Devere
Flute – Hubert Laws, Jr.* (tracks: A1)
Keyboards [Electric, Acoustic] – Joe Zawinul
Liner Notes – Robert Hurwitz
Mixed By – Don Meehan
Other [Consultant] – Roger Powell (tracks: A1)
Percussion – Dom Um Romao (tracks: A2)
Recorded By – Jolf (tracks: B1 to B3)
Reeds – Wayne Shorter
Trumpet [D, Piccolo] – Wilmer Wise (tracks: A1)
Twelve-String Guitar – Ralph Towner (tracks: A2)
Vocals [Singers] – Chapman Roberts (tracks: A1), Joshie Armstrong (tracks: A1), Yolande Bavan (tracks: A1)
Notes
All Side One selections recorded in Columbia studios, New York City: A1, A2 in November 1971; A3, A4 in January 1972. All Side Two selections recorded during a “standing room only” concert performance January 13, 1972 in Shibuya Kokaido Hall, Tokyo, Japan.
℗ 1972 CBS, Inc.
Manufactured by Columbia Records.
Printed in U.S.A.
The combined duration of the medley (tracks B1) is 10:45.
Barcode and Other Identifiers
Matrix / Runout (Runout area A-side, stamped): o P AL-31352-3A p B
Matrix / Runout (Runout area B-side, stamped): o P BL-31352-4A p A
Matrix / Runout (Center label A-side): AL 31352
Matrix / Runout (Center label B-side): BL 31352
Matrix / Runout (Runout area A-side, stamped): o P AL-31342-3C
Matrix / Runout (Runout area B-side, stamped): o P BL-31342-4C
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz & 16bit/44kHz | 900mb & 200mb
Label: Columbia/KC 31352 | Released: 1972 | Genre: Jazz-Rock
A1 Unknown Soldier 7:57
A2 The Moors 4:49
A3 Crystal 7:23
A4 Second Sunday In August 4:04
-
Medley: (10:45)
B1a Vertical Invader
B1b T.H.
B1c Dr. Honoris Causa
B2 Surucucú 7:46
B3 Directions 4:37
Phonographic Copyright (p) – CBS Inc.
Manufactured By – Columbia Records
Manufactured By – CBS Inc.
Recorded At – Columbia Recording Studios
Recorded At – Shibuya Kokaido
Lacquer Cut At – Customatrix
Pressed By – Columbia Records Pressing Plant, Pitman
Credits
Artwork [Cover] – Fred Swanson, Jack Trompetter
Bass – Miroslav Vitous
Design [Cover] – Ed Lee
Drums – Eric Gravátt*
Engineer – Susumu Satoh
Engineer [Recording], Mixed By – Wayne Tarnowski
English Horn – Andrew White (tracks: A1)
Executive-Producer – Robert Devere
Flute – Hubert Laws, Jr.* (tracks: A1)
Keyboards [Electric, Acoustic] – Joe Zawinul
Liner Notes – Robert Hurwitz
Mixed By – Don Meehan
Other [Consultant] – Roger Powell (tracks: A1)
Percussion – Dom Um Romao (tracks: A2)
Recorded By – Jolf (tracks: B1 to B3)
Reeds – Wayne Shorter
Trumpet [D, Piccolo] – Wilmer Wise (tracks: A1)
Twelve-String Guitar – Ralph Towner (tracks: A2)
Vocals [Singers] – Chapman Roberts (tracks: A1), Joshie Armstrong (tracks: A1), Yolande Bavan (tracks: A1)
Notes
All Side One selections recorded in Columbia studios, New York City: A1, A2 in November 1971; A3, A4 in January 1972. All Side Two selections recorded during a “standing room only” concert performance January 13, 1972 in Shibuya Kokaido Hall, Tokyo, Japan.
℗ 1972 CBS, Inc.
Manufactured by Columbia Records.
Printed in U.S.A.
The combined duration of the medley (tracks B1) is 10:45.
Barcode and Other Identifiers
Matrix / Runout (Runout area A-side, stamped): o P AL-31352-3A p B
Matrix / Runout (Runout area B-side, stamped): o P BL-31352-4A p A
Matrix / Runout (Center label A-side): AL 31352
Matrix / Runout (Center label B-side): BL 31352
Matrix / Runout (Runout area A-side, stamped): o P AL-31342-3C
Matrix / Runout (Runout area B-side, stamped): o P BL-31342-4C
Weather Report - I Sing The Body Electric (1972) Original US Pressing - LP/FLAC In 24bit/96kHz
Weather Report - I Sing The Body Electric (1972) Original US Pressing - LP/FLAC In 24bit/96kHz
Weather Report - I Sing The Body Electric (1972) Original US Pressing - LP/FLAC In 24bit/96kHz
This Rip: 2017
Cleaning: RCM Moth MkII Pro Vinyl
Direct Drive Turntable: Technics SL-1200MK2 Quartz
Cartridge: SHURE M97xE With JICO SAS Stylus
Amplifier: Marantz 2252
ADC: E-MU 0404
DeClick with iZotope RX5: Only Manual (Click per click)
Vinyl Condition: NM
This LP: From my personal collection
LP Rip & Full Scan LP Cover: Fran Solo
Password: WITHOUT PASSWORD
Free Form Jazz Fusion at its Best
Weather Report’s I Sing the Body Electric is an album that I’ve only recently been able to handle and appreciate. It’s extremely free form, pulling in sounds ranging from low spoken murmurs to more classic jazz soloing to strange atonal feedback. The album is custom made for lying back with headphones, as the mix is very open and airy. I feel like I’m floating in a spacy dream. The tonality will slide from pleasant melodic major phrases to chaos almost seamlessly, tricking you into thinking there was planned structure for just a moment and then flying off again into the stratosphere.
Though excellent throughout, the album starts as its high point and coasts home. “Unknown Soldier” is an improvisational, wide open piece held together by a constant swing gallop on the ride cymbal. It’s amazing how that one constant element allows the band to explore vast stretches of musical territory without the listener feeling lost. “The Moors” is a bit more structured, starting with a fiery acoustic guitar piece before the band comes in, filling out the piece with a great spacy energy. “Crystal” is the most wide open of the tracks, somewhat like the opener but without the ride, viable now because the listener has settled into the WR atmosphere. A big fuzzy bass holds a looser anchor while the sax floats above. Electric piano and percussion enter successively, panned hard left and right. The first side ends with “Second Sunday in August,” a percussion-heavy tracks that is much fuller than the earlier songs. More grounded with a more traditional jazz drum rhythm and sense of melody, this last studio track sets us down back on the earth before we proceed.
This first half I would whole-heartedly give 5 stars without question. However, I am forced to reconsider as the second side is a collection of live tracks that while strong, don’t match the mastery of the studio tracks. They do ratchet up the energy quite a bit, treating us to a collection of frenetic free form jamming that makes me wish I was at the gig. As with any live jams, there are definite highs and lows in the midst of the improvisation. I personally have a much higher tolerance for this when I’m at a gig than listening to recorded material, but the music is strong enough to maintain my interest here.
One would think that a 5 star side one and a 3 star side two would average to 4. However, this album holds such a unique and powerful place in my library that I can’t give it anything below a masterpiece rating.Review by Negoba, progarchives.com
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