Notes

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Mastered by Bob Irwin @ Sundazed Studios

Airplane aficionados have long maintained that the monaural mix of this classic '60s album is the best way to hear it, and those lucky enough to own an original mono pressing--issued in the Spring of 1967--will certainly concur. Think about it: we're talking about an album of 36-year-old music that still holds sway over listeners of all ages. How many young listeners in 1967 were grooving to music made in 1931? Only those lucky enough to understand that the music of Louis Armstrong, Duke Ellington, et al., was not ancient history, though the primitive recording quality may have made them sound that way.

Engineered by classical music recordist Dave Hassinger at RCA's "Music Center of the World" Hollywood studio, this 36-year-old album sounds nothing like "ancient history." The basic tracks have a clarity and spaciousness uncommon for rock recordings of that (or any) time. Hassinger also manned the boards on The Rolling Stones' Aftermath at the same studio the previous year, and they share the same big, crystalline sound. Nearly four decades later, you'll have to look hard to find more satisfying recordings of acoustic guitars--though they do intentionally sound somewhat distant.

The mono mix is hardly dry; there's a dusting of echo behind the mix, and echo usually skews the tonal balance toward the top end, giving both the original and this reissue a pleasing clarity. For some reason, however, when the tracks were mixed for stereo, gobs more cloudy echo was added, obscuring both the rhythmic thrust of the tunes and the intricacy and delicacy of the stellar fretwork (not to mention the glory of the harmonies). More distracting is that the echo is not "behind" and blended in with the direct recording of the instruments. Instead the instruments and the 'verb appear in opposite channels. Listen to the opening track's drums on the stereo issue. This was not a group of musicians in need of sonic camouflage or distracting sound effects! And of course more echo means more brightness and glaze.

Back in 1995, BMG issued a 24-karat gold "collector's edition" containing both the stereo and mono mixes (RCA 66 598-2) on a single CD. When you see the words "audio restoration" on the credits of any CD, you can usually assume that what really occurred was "audio destruction." That's what happened to the mono mix on that disc. "Restoration" meant, among other things, banishing tape hiss--along with the high frequencies that the hiss "infected." The result is a dull, lifeless mess.

Fortunately, this Sundazed platter serves up Surrealistic Pillow intact. While the original RCA mono issue has more overall energy and drama in the upper midrange (could be Westrex cutter head resonances) and at the frequency extremes, Sundazed's version offers far greater clarity, transparency, and resolution of low-level transient detail--though I'll bet "purists" will say it sounds somewhat muted and lifeless. Turn it up! Problem solved. And if you don't think mono can deliver depth and imaging, this disc will cure you of that! Sit down, turn out the lights, and listen to this mono disk and it will paint as compelling a sonic picture as any stereo release.
- Review by Michael Fremer (Musicangle.com)


Side one

"She Has Funny Cars" (Jorma Kaukonen, Marty Balin) – 3:07
"Somebody to Love" (Darby Slick) – 2:54
"My Best Friend" (Skip Spence) – 2:59
"Today" (Marty Balin, Paul Kantner) – 2:57
"Comin' Back to Me" (Marty Balin) – 5:14


Side two

"3/5 of a Mile in 10 Seconds" (Marty Balin) – 3:39
"D.C.B.A. -25" (Paul Kantner) – 2:35
"How Do You Feel" (Tom Mastin) – 3:28
"Embryonic Journey" (Jorma Kaukonen) – 1:51
"White Rabbit" (Grace Slick) – 2:30
"Plastic Fantastic Lover" (Marty Balin) – 2:33


Marty Balin – vocals, guitar
Grace Slick – vocals, piano, organ, recorder
Paul Kantner – rhythm guitar, vocals
Jorma Kaukonen – lead guitar, rhythm Guitar, vocals
Jack Casady – bass, fuzz bass, rhythm guitar
Spencer Dryden – drums, percussion

Jerry Garcia – musical and spiritual adviser
Rick Jarrard – producer
David Hassinger – engineer
Recorded in RCA Victor's Music Center of the World, Hollywood California
Marty Balin – album design
Herb Green – album photography