180g 2LP Set Pressed At RTI Contains Four Songs Named To Rolling Stone's List Of 500 Greatest Songs Of All Time
Collection Influenced Tom Petty, Tom Waits, Bruce Springsteen, And Hundreds Of Other Legends
Rare is the voice, personality, and image that defines cool for more than 50 years. But Roy Orbison simply had it all – the tender tone, the laidback charisma, the mellifluous baritone, the cover-magazine looks, the gazing eyes hidden behind black Ray-Ban shades. And of course, the songs. Sad ("Only the Lonely"). Soaring ("Crying"). Summery ("Dream Baby"). Sweet ("Blue Angel"). Sentimental ("Pretty Paper"). Sensuous ("Shahdaroba").
Few singers ever captured such a rainbow of romantic emotions – longing, heartache, hope, loss, melancholy – with such effortlessness, smoothness, and suaveness. An early rock n' roll pioneer that defied songwriting tradition, Orbison is at home whether playing with orchestral strings, rockabilly bands, doo-wop singers, jumping horn sections, or swinging pop groups. Like fellow Sun Records alums Johnny Cash and Elvis Presley, his art is timeless, his command irreproachable.
No wonder, then, that a basic search literally turns up dozens upon dozens of compilations. Demand for Orbison's trademark vocal shiver and pussycat purr has never been greater. But with so many duplicative collections available, which one to get? Mobile Fidelity recognized that none of the available releases had the necessary mark of quality – namely, first-rate sound. So we changed that by providing a necessary sonic update to the best collection – a 1972 set that has never once gone out-of-print.
Remastered from the original analog master tapes for the first time ever, here are all of the Rock and Roll Hall of Fame member's finest singles for Monument Records in one place, all claiming a clarity, richness, tonality, and presence that has never been before experienced outside of the studio. Captured by legendary producer Fred Foster, Orbison's famous voice now reverberates with a realistic decay and astonishing purity that puts all previous compilations to shame.
And there's no arguing with the 20-song track list, which includes no fewer than 15 Top 100 singles, beginning with the career-launching "Only the Lonely" and climaxing with the international smash "Oh, Pretty Woman," the last cut the Grammy winner made for Monument before departing for MGM in 1965. There is not a weak tune on this album, and you will never hear them sound better.
1. Only The Lonely
3. In Dreams
5. It's Over
7. Dream Baby
8. Blue Angel
9. Working For The Man
10. Candy Man
11. Running Scared
13. Love Hurts
15. I'm Hurtin'
16. Mean Woman Blues
17. Pretty Paper
18. The Crowd
19. Blue Bayou
20. Oh, Pretty Woman
Ranked 494/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
She Bop: 1984 Commercial Blockbuster Combines Mainstream Hooks, Self-Assertive Confidence, and Whimsical Attitude
A True Original: Lauper Bridges Rebellious New-Wave, Giddy Pop, and Girlish Vocals
Back on Vinyl for 1st Time in Decades: Mastered on Mobile Fidelitys World-Renown Mastering System and Pressed at RTI
Includes Top 5 Anthems Girls Just Want to Have Fun and Time After Time
Forget, for a moment, about the gypsy clothes, raspberry-pink hair, costume jewelry, and hyperactive behavior. No female artists debut better epitomized MTVs vivid heyday and the smart intersection of self-reliant female politics, savvy hooks, and vibrant imagery than Cyndi Laupers Shes So Unusual. Long before Lady Gaga, and before Madonna embraced any traits resembling punk, the New York native ushered in a new wave of commercial pop while flaunting an exuberant confidence that, overnight, influenced a generation to dye their hair and embrace life with newfound vibrancy. Girls, indeed, just wanted to have fun.
Mastered on Mobile Fidelitys internationally acclaimed mastering system and pressed at RTI, this Silver Label LP rescues the music from long-standing harshness and disadvantageous brittleness. Back on vinyl for the first time in decades, the multi-platinum 1984 blockbuster sounds completely anew, possessing crisper beats, a fleshed-out midrange, no artificial ceilings, and a clear alleyway to Laupers girlish voice. Finally, the sonics possess the wide spectrum of colors that flavor the songs.
Helmed by the anthem Girls Just Want to Have Fun, Shes So Unusual transformed pop culture by way of Laupers charismatic personality, whimsical attitude, lively performances, unique timbre, witty humor, and unabated passion. Throughout, shes a whirlwind of emotion and cyclone of spirit, tackling insouciant party tracks with the same verve she sings arresting ballads. And while for most it would be a deterrent, Lauper sculpts her chirpy, bop-friendly voice to her advantage, underscoring each songs combination of sentimentality and seditiousness.
With a voice that combined the cartoon soul of Little Eva and the wink-wink naughtiness of Betty Boop, Lauper may have backed away from the depth or urgency of the writers whose work she mainstreamed, but her transformation of their power into sheer pop was ultimately subversivegiggling all the way, she incited legions of mall rats into orange-hair rebellion and a measure of self-assertion, wrote Paul Evans for The New Rolling Stone Album Guide, hinting at the records normally unseen depth.
Whether viewed as a subversive new-wave crossover statement or simply as a celebratory declaration of individualism (or, both), Shes So Unusual is an 80s landmark and influential harbinger of the role women would play in both rock and pop.
1. Money Changes Everything
2. Girls Just Want to Have Fun
3. When You Were Mine
4. Time After Time
5. She Bop
6. All Through the Night
8. Ill Kiss You
9. Hes So Unusual
10. Yeah Yeah
Masterwork is Oft-Overlooked Link Between Round About Midnight and Kind of Blue
Vanguard Sonics: Mobile Fidelity Reissue Presents The 1958 Standard with Unparalleled Sound Quality
In MONO You Will Not Hear a Better Analog Edition
Only Record to Feature Davis Original Sextet, Including Rhythm Section of Paul Chambers and Philly Joe Jones
Title Track Stands as First-Ever Modal Composition Even as Blues and Hard-Bop Flavors Make LP One of Davis Most Explosive Affairs
Sketches of Spain, Kind of Blue, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity
Miles Davis created just one studio album with his original sextet. He made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Due to its sandwiched position between the more famous Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic.
Part of Mobile Fidelitys Miles Davis catalog restoration series, Milestones has been restored to mono for the first time as to expose the records standing as one of the all-time great jazz efforts.Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g mono LP edition grants each musician their own space in a well-defined, broadened soundstage. Colors, shapes, and dimensions appear in the manner they do when beheld from behind a studio-control rooms window.
Davis burnished trumpet? Rendered in three-dimensional perspective, coaxing his mates out to play with unburdened zest and commotion. Coltranes trademark saxophone? Witness it in life-size proportion, his solos working in tandem with and against the driving rhythms. Garlands swaggering piano lines? Visualize the 88 keys as he hits full stride, the chords and fills slithering around skeletal frameworks.
If anything, Milestones is as famous for its title track as the players that produced it. The launching pad for many of Davis (and later, his contemporaries) improvisational flights, the singular piece invites the tessellated explorations Coltrane would forever chase as well as the headliners argyle solo work, who broaches territories that far exceed what he had done with his bop-rooted past. Every song is a highlight, whether its the bravado No Jackle, featuring a hot-foot pace and bebop strains, or Sids Ahead, which continues the albums blues theme while tossing around edgy harmonics and inside-out structures.
Then theres Straight, No Chaser, the absolutely definitive rendition of Thelonious Monks signature piece. Coltranes marbled playing pulls at the tunes lobed borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting When the Saints Go Marching In while demonstrating his knowledge of tradition and eye towards the future. A milestone if there ever was. And now, in resplendent mono.
1. Dr. Jackle
2. Sids Ahead
3. Two Bass Hit
5. Billy Boy
6. Straight, No Chaser
Ranked 168/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Elvis Costellos remarkable My Aim Is True announces the arrival of a singular talent. Having long ago secured its status as one of the greatest debut albums ever recorded, the 1977 set hasnt lost any of the vibrant urgency, lyrical edge, or biting wit that made Costello the pin-up model for new-wave music.
Blending punk-fueled motivation with pub-rock, reggae, and classic American rock n roll strains, the landmark effort includes many of the singers best-known and most beloved tunes: the poisoned ballad Alison, voyeuristic Watching the Detectives, slinky (The Angels Want to Wear My) Red Shoes, and rave-up Mystery Dance included. There isnt a bad note here.
The history behind My Aim Is True is as rich as the songs. Before landing at then-fledgling English indie label Stiff Records, Costello had been laboring as a computer operator housed next door to a lipstick factory. The conditions couldnt be riper for the cynical blue-collar observations and fierce humor that pierce tracks like Welcome to the Working Week and Less Than Zero. Costello took inspiration from London subway rides, venomous politics, and surrounding vanity. Having been rejected by what he estimated amounted to every other label in the city, Costello began calling in sick to his day job in order to record material for what become My Aim Is True.
Made for just 1000 pounds and over the course of four six-hour sessions, the experience found Costello recording his parts in a room the size of a telephone booth. His backing bandClover, not the Attractions (save for on Watching the Detectives, left off the original UK release)rounded out the slinky, melodic songs with spare details such as fuzztone pedal steel guitar and organ. The minimal budget ensured that nothing extra or fancy was employed. Overdubs werent really an option; what was played is basically what you hear.
Notorious for being reissued umpteen times, Mobile Fidelity is thrilled to present the one edition of My Aim Is True that every fan needs to own. Half-speed mastered from the original master tapesnot from copies as so many other versions areand pressed on 180-gram vinyl, this numbered limited-edition LP is the definitive My Aim Is True. No compromises, no tricks. Just the music delivered with peerless clarity, purity, and transparency. The rawness of Costellos voice, jangle of the rhythms, hum of the organs, and even the impact of the drumsticks have never been experienced with such realism. This is what organic-sounding albums are supposed to sound like. You will hear this again for the first time. And of course, there's the iconic cover art, presented in full-scale perspective.
1. Welcome To The Working Week
2. Miracle Man
3. No Dancing
4. Blame It On Cain
6. Sneaky Feelings
7. (The Angels Wanna Wear My) Red Shoes
8. Less Than Zero
9. Mystery Dance
10. Pay It Back
11. I'm Not Angry
12. Waiting For The End Of The World
13. Watching The Detectives
Ranked 34/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Take a Load Off with the Very Best-Sounding Analog Big Pink Ever Pressed
Half-Speed Mastered from the Original Master Tapes and Pressed at RTI
Includes "The Weight," "I Shall Be Released," "This Wheel's On Fire"
Youve likely heard the story. Now hear the results of one of the most famous sessions in history with a clarity and warmth never thought possible.
In late 1965 and early 1966, Bob Dylan shattered the boundaries between folk and rock music on a controversial tour that found the generation spokesman plugging in and shocking purist audiences that reviled in horror at the sight of their hero playing electric with a bunch of ragtag Canadian mates. Then known as the Hawks, the Band was that backing group, serving Dylan not only on the road but, playing with him after his motorcycle accident, on his seminal Basement Tapes collection.
Recorded in 1968 and ranked #34 on Rolling Stones 500 Greatest Albums of All Time list, The Bands Music From Big Pink stems from the same localea pink farmhouse in upstate Woodstock, New Yorkas the Basement Tapes and is just as rustic, timeless, and mysterious as Dylans celebrated work. A debut for the ages, the album features two songs co-written with DylanThis Wheels on Fire, Tears of Rageas well as whats universally recognized as the definitive version of Dylans I Shall Be Released. More famously, it also includes The Weight, a standard covered by everyone from the Grateful Dead to Weezer to Aretha Franklin. But the power of this set doesnt lie in one song but the entire album.
A groundbreaking statement, Music From Big Pink lays bare the magnetism of the American South, Appalachian traditions, and country-rock innovations. That guitarist Robbie Robertson, pianist Garth Hudson, bassist Rick Danko, drummer/vocalist Levon Helm, and organist Richard Manuel are all household names only adds to the proof of this must-have records everlasting appeal. This is the majesty of what Greil Marcus called the old, weird America.
Half-speed mastered from the original master tapes and pressed at RTI, Mobile Fidelity's analog version practically gives you a spot on the floor at Big Pink as the sessions went down. Curl up, close your eyes, and listen as the music's sublimely organic sounds appear with full-range dynamics, life-size imaging, and tremendous soundstaging. This is one of the reasons why you have a turntable. Prepare for your system, and your ears, to glow.
1. Tears Of Rage
2. To Kingdom Come
3. In A Station
4. Caledonia Mission
5. The Weight
6. We Can Talk
7. Long Black Veil
8. Chest Fever
9. Lonesome Suzie
10. This Wheel's On Fire
11. I Shall Be Released
When you think about great live albums, several immediately come to mind. The Whos Live at Leeds. James Browns Live at the Apollo. The Allman Brothers Bands Live at Fillmore East. Kiss Alive! Nirvanas Unplugged. And, while it is sometimes unjustifiably forgotten, Little Feats Waiting for Columbus. The last essential album the rootsy California band made, it stands as the groups peak accomplishmenta staggering confluence of energetic performances, skilled improvisations, and thematic expansion.
Joined onstage by the Tower of Power horn section, Little Feat accentuates and remakes familiar arrangements, using the stage as a laboratory for unbridled creativity, New Orleans-spiced fun, and spontaneous interaction. Bursting with enthusiasm and excitement, Waiting for Columbus is truly a live album for the agesand one of a certain distinctive era.
The abundance of great music, the culture of drugs, and the politics of Richard Nixon, which had everyone polarized and created more of a sense of community, all contributed to this incredible feeling that somehow we were on a collective journey. Waiting for Columbus is one of the last parts of that journey, and among the last vestiges of that scene. Little Feat keyboardist Bill Payne, as told to Bud Scoppa
Amazingly, the set came together under less-than-ideal conditions. In the months leading up to the seven 1977 Washington D.C. and London concerts that were taped for the record, leader Lowell George had removed himself from the bands affairs. The chemistry was fractured, but the shows functioned as a molding agent. And did Little Feat ever respond. With every member of the sextet playing like their life depended on it, and a guest appearance by ex-Rolling Stone Mick Taylor, this is a must-have set.
1. "Join The Band" (Traditional) 1:50
2. "Fat Man in the Bathtub" (George) 4:50
3. "All That You Dream" (Barrère, Payne) 4:25
4. "Oh Atlanta" (Payne) 4:09
5. "Old Folks' Boogie" (Barrère, G. Barrère) 4:22
6. "Time Loves a Hero" (Barrère, Gradney, Payne) 4:20
7. "Day or Night" (Payne, F. Tate) 5:23
8. "Mercenary Territory" (George, E. George, Hayward) 4:27
9. "Spanish Moon" (George) 4:49
10. "Dixie Chicken" (George, Kibbee) 9:00
11. "Tripe Face Boogie" (Hayward, Payne) 7:02
12. "Rocket in My Pocket" (George) 3:42
13. "Willin'" (George) 4:42
14. "Don't Bogart That Joint" (E. Ingber, L. Wagner) 0:57
15. "A Apolitical Blues" (George) 3:41
16. "Sailin' Shoes" (George) 6:18
17. "Feats Don't Fail Me Now" (Barrère, George, Kibbee) 5:17
1969 Debut Set Stage for the Legendary Status That Followed
Unrivaled Sonics: Mastered from the Original Master Tapes, Mobile Fidelity Edition Provides Window Into What Went Down at New York’s Atlantic Recording Studios
Gregg and Duane Allman and Co. Cook on Edgy, Soul- and Blues-Filled Fare
Includes Original Version of "Whipping Post," Cover of Muddy Waters' "Trouble No More"
They hailed from Macon, Georgia. They looked liked any number of young, hopeful bands straddling the violent fade of the 1960s with the advent of the 1970s. They missed the British Invasion-triggered blues revival by several years. Yet they sounded like no other group, their youthfulness belied by virtuosic abilities and interlocking interplay Miles Davis would've envied. It all starts here, on a smoldering self-titled debut that has few peers.
Mastered from the original master tapes, Mobile Fidelity's 180 gram LP of The Allman Brothers Band joins the unparalleled reissue imprint’s other Allman titles in presenting the inimitable group's music in the most lifelike, uncompromising fidelity anyone has ever heard. Opening up the dynamic contrasts, clearing direct paths for the frequency ranges, and ensuring optimal balances and neutrality, this edition takes listeners to the producer’s chair at New York’s Atlantic Studios as the sessions went down. The Allman Brothers Band has never sounded so crisp, clear, or defined.
Having already cut its collective teeth via live shows throughout the South, the Allman Brothers Band was properly vetted for its initial major-label foray. In particular, Gregg and Duane Allman had done stints in several other collectives that recorded a handful of long-forgotten records. Duane, too, established himself as a go-to whiz-kid slide and lead guitarist, becoming a session instrumentalist for Muscle Shoals’ FAME Studios and playing with the likes of Aretha Franklin, Percy Sledge, Wilson Pickett, and others.
He and organist/vocalist Gregg’s deft touch and innate knack for soulful tonalities help define his namesake group’s eponymous debut, notched with raw-boned R&B and purifying gospel motifs that seeped into the duo’s consciousness while growing up in Jacksonville. Complemented by likeminded lead guitarist Dickey Betts and a trio of similarly minded masters, the siblings quickly changed history on this 1969 set famous for stunningly resonant blues, spirit-moving soul, and polyrhythmic rock.
Entering with a memorable one-two punch in which fluid jazz lines mutate into an anguished 12-bar blues exchange between Gregg and Duane, continuing with an edgy and worthy take of Muddy Waters’ “Trouble No More,” and closing with the landscape-shifting workout "Whipping Post," a preview of things to come, The Allman Brothers Band contains no flaws. Then there’s the aching of "Dreams," a melodic 12/8-time piece showcasing slide-guitar voodoo and psychedelic aftertastes. Don’t miss this stellar work.
1. Don’t Want You No More
2. It's Not My Cross to Bear
3. Black Hearted Woman
4. Trouble No More
5. Every Hungry Woman
7. Whipping Post
1977 Smash Remains South Rock Legends Finest Hour: Includes Whats Your Name and That Smell
Last Album Made By Original Members Ronnie Van Zant and Allen Collins
Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI
Triple-Guitar Front of Steve Gaines, Gary Rossington, and Collins Remains Rocks Most Formidable Assembly of Six-String Players
Street Survivors remains Lynyrd Skynyrds finest hour, and for many reasons. The last album recorded with original vocalist Ronnie Van Zant and guitarist Steve Gaines, who passed away in a tragic plane accident three days after its release, the 1977 set is both mythical for its historical significance as well as infallible songwriting quality. Then there's the triple-guitar front of Collins, Gary Rossington, and Steve Gaines, which, together, comprise the most formidable combination of lead six-string players assembled on an original album. Add in freshly inspired performances and classic Muscle Shoals production, and you have a timeless work of art.
Mastered from the original master tapes and pressed at RTI (the best record plant in North America), Mobile Fidelity Silver Series' limited edition LP presents Skynyrds landmark effort in a dynamic, organic, soulful, and balanced sound that puts the musicians on a wide soundstage that will make you think they are standing on a stage in your room. In particular, Van Zants re-energized singing comes through with utmost clarity and verve. The complex web of guitars is now unraveled, with each of the instrumentalists possessing their own space, allowing their contributions to assume a transparency that further lends to the musics impact. Background vocals, too, rise up above what had heretofore been an artificial ceiling.
Produced by iconic producer Tom Dowd, Street Survivors is drenched in earthy vibes and live-from-the-floor rawness, the sense of spontaneity and interplay underlining the groups taut albeit loose material. Rebounding from 1975s solid yet semi-formulaic Nuthin Fancy and the following years equally lukewarm Gimme Back My Bullets, Skynyrd comes out firing on Street Survivors and never let up. The septets nucleus was never better. It's lamentable that this stands as the lineups only studio record together, but the music here makes you all the more thankful for the chance to at least here them reach their potential at least once.
Gaines incredible abilities spur on his mates, which respond with strong ideas and even stronger performances. Melodies are sharp, hooks are abundant, rhythms in command. A miasma of blues, rock, country, gospel, and soul informs the arrangements, and those three guitarists play as if their lives depended on getting everything just right. Songs flow with an effortless ease, and whether its the slithering organ-backed rollick of I Never Dreamed, swampy drug-abuse warning That Smell, or autobiographical honky-tonk Ain't No Good Life, Skynryd clicks on all cylinders. Swagger, swing, and strut. What an album.
Honor Van Zant and Collins memories, and revisit a Southern rock masterpiece, by acquiring this collectable version of Street Survivors.
1. What's Your Name
2. That Smell
3. One More Time
4. I Know A Little
5. You Got That Rig
6. I Never Dreamed
7. Honky Tonk Night Man
8. Ain't No Good Life
Billy Joels Piano Man established a legend via two elements that became a trademark of his career: simple, yet disarmingly effective lyrics that speak to universal truths and instilled feelings of pathos. With the classic title track, Joel captures the emotions and expectations all of usconsciously or notattach to our favorite musicians: Sing us a song you're the piano man/Sing us a song tonight/Well we're all in the mood for a melody/And you've got us feeling alright, he croons. Indeed, Joel has everyone feeling good on this breakout set.
Never before properly remastered, Mobile Fidelity secured the original master tapes to present this 1973 singer-songwriter masterwork in unparalleled fidelity. The cavity of Joels piano, tension of the strings, and reach of his voice are astounding on this numbered limited-edition LP pressing. The New York native finally seems as if hes playing in your room rather than down the hall.
After the commercial failure of his debut, and resulting legal disputes with his label, a determined Joel took up a six
month residency as a lounge singer in Los Angeles. The vocalist continued to pen songs, including his signature track, Piano Man, a fictional narrative motivated by the real-life stories and actions of the patrons he witnessed during his cocktail club residency. Joel also drew inspiration from a fellow peer with whom hed ultimately collaborate on a series of highly successful tours that continue to this day: Elton John. The Englishmans Tumbleweed Connection fueled a creative spurt in Joel, who extends the records Western imagery and bluesy themes.
Ignoring introspection in favor of rich character sketches, Joel utilizes his knack for melodic flair, filling out the songs with comprehensive arrangements and a swift sense of purpose. His talesThe Ballad of Billy the Kid, Captain Jack, Aint No Crimeare supported with phenomenal harmonies and thematic flavors that arrive courtesy of instrumental accents from first-rate players that include guitarist Larry Carlton, banjoist Fred Heilbrun, and drummer Ron Tutt. Joel supplies the requisite emotions, and Piano Man oozes with life.
Mobile Fidelitys 180g LP possesses a warmth that, until now, none of Joels records possess. Soundstaging, imaging, and immediacy are refined and mannered, and the enthusiasm and completeness of Joels craft come into supreme focus.
No fan of 70s rock or pop should be without this stellar pressing!
1. Travelin' Prayer
2. Piano Man
3. Ain't No Crime
4. You're My Home
5. The Ballad of Billy the Kid
6.Worse Comes to Worst
7. "Stop in Nevada
8. If I Only Had the Words (To Tell You)
9. Somewhere Along the Line
10. Captain Jack
Tears for Fears Songs From the Big Chair on Numbered Limited Edition LP from Mobile Fidelity Silver Label
1985 Smash Includes Chart-Topping “Everybody Wants to Rule the World” and “Shout”
English Pop-Rock Duo Taps Into Soul and Sophistication on Breakthrough Set
Mastered on Mobile Fidelity’s World-Renowned Mastering System and Pressed at RTI: Definitive-Sounding Version of Multiplatinum Record
Few songs in the mid-80s attained bigger status than Tears for Fears’ contagious “Everybody Wants to Rule the World” and “Shout.” As commercial breakthroughs, the singles drew attention to the meticulous detail and sophisticated arrangements gracing Songs From the Big Chair, a creative maelstrom of emotional catharsis, dreamy melodicism, and magnetic lyricism. Having hit the top of the album charts in most major countries, the 1985 album remains a staple of the decade’s essential sounds and a critically beloved work.
Mastered on Mobile Fidelity’s world-renowned mastering system and pressed at RTI, this Silver Label LP brings to a warmth and transparency to the music that previous analog editions have lacked. By clearing a direct path to the production, it reveals the myriad soulful complexities contained within tracks such as “Mothers Talk” and “Head Over Heels,” also charting hits. Dramatic, literate, immediate, refined, and subtly elaborate, the material glistens with carefully placed instrumentation. Here, the depth of the piano chords, extension of the brassy horns, high frequencies of the backing vocals, and bite of the guitar solos come to life as never before.
Named after psychotherapist Arthur Janov’s primal scream theories—which suggest that adult problems often relate back to parental abandonment during childhood, and that confronting such issues is essential to one’s development—Tears for Fears, and key members Roland Orzabal and Curt Smith transcended their broken-home backgrounds by turning their raw feelings into self-expressive songs etched with equal parts tenderness and directness, earnestness and melancholy. After a promising synthpop-based debut, the duo took its finely crafted art up several notches on Songs From the Big Chair, one of the period’s most introspective and incisive pop works.
Rather than consume themselves with weighty prose, Orzabal and Smith cut to the heart of their emotions, framing brooding sentiments and solitary thoughts within tumbling hooks, memorable refrains, and delicate passages. Saxophones, pianos, and support vocals shade the duo’s keyboard- and guitar-anchored compositions, many of which flirt with R&B motifs and austere classicism. Serious albeit freeing, Tears for Fears’ ambitious pop stood apart from the decade’s casually tossed-off fare—a beneficial aspect that’s only grown in stature since the album’s release.
2. The Working Hour
3. Everybody Wants to Rule the World
4. Mothers Talk
5. I Believe
7. Head Over Heels/Broken
Gain 2 Ultra Analog 180 Gram Audiophile Virgin Vinyl LP - Sealed
Ranked 226/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
For the follow up to their classic 1988 debut Surfer Rosa, the Pixies brought in producer Gil Norton (Echo & The Bunnyment, Patty Smith, Foo Fighters) and the results were equally as brilliant if not superior to its predecessor. Doolittle boasted a cleaner sound and received excellent reviews, which led to greater exposure in America. Both a benchmark and a timeless monument, the album brazenly mixes surf-pop and grunge, with schizophrenic pacing and head banging jolts. Cited as one of the quintessential alternative rock albums of the '80s by Rolling Stone, Doolittle is undoubtedly one of the most epic and influential indie rock albums of all time. Highlights include Monkey Gone To Heaven, Wave Of Mutilation, Here Comes Your Man, Debaser and Hey among others.
3. Wave Of Mutilation
4. I Bleed
5. Here Comes Your Man
7. Monkey Gone To Heaven
8. Mr. Grieves
9. Crackity Jones
10. La La Love You
11. No. 13 Baby
12. There Goes My Gun
15. Gouge Away
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (Best Record Plant in America): First Time Any Sisters of Mercy Record Given Audiophile Treatment on LP
The template for all goth-rock records that followed, Sisters of Mercy's First And Last And Always stands as one of the-if not the most-influential albums of its kind ever released. Distinguished by Andrew Eldritch's ghostly singing, which gives the impression of hearing a forlorn ghoul croon from a foggy English graveyard, the 1985 set is drenched in gloom, claustrophobia, black humor, and dance-ready beats that provide exhilarating contrasts. Fans of the Cure, Depeche Mode, Love and Rockets, Peter Murphy, mid-period Nick Cave, and Joy Division will find it to be a new favorite record.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents First And Last And Always with a fuller, richer sound that positively obliterates the thin, feeble sonic perspectives that have limited the music until now. Every aspect from Eldritch's haunting singing to the group's jangling guitars and prancing bass lines finally gain genuine definition. Yet what's most improved is the sense of atmosphere: Sisters of Mercy revel in painting tone poems, where the feel and effect are as essential as the notes that are played. This is now an atmospheric tour de force.
Ever since it's release, First And Last And Always has been aptly shrouded in mythology. Eldritch pushed the envelope during the recording sessions, literally walking into walls and repeatedly unable to maintain his focus. Strung out on amphetamines, dazed by days of no sleep, upset by a recent breakup, and eating little, the vocalist channeled his discord into somber lyrics and brooding singing. He's framed by pulsing albeit lean, spare rhythms, patient tempos, and the clatter of a programmed drum machine that, in spite of its mechanical operation, sounds strangely organic. The songs evoke wet dungeons, walls-closing-in paranoia, and late-night strolls amidst the U.K.'s mysterious underground.
Despite its overall dark character, the record's arrangements value spaciousness, putting a premium on room and minimalism that makes each note count. As a result, twinkling pianos and keyboards parallel steel-cutting guitars and low-tuned bass lines that, in combination with Eldrtich's baritone, suggest glimmers of hope among the decay. Songs such as the shaking "Possession," dramatic "Some Kind of Stranger," and desperate "Marian" remain models of the gothic and post-punk disciplines more than 25 years after their debut. It's no surprise that, given all of the tension and personality that infuse the album, Sisters of Mercy disbanded just months after its release.
It's unlikely that any goth-rock album has ever sounded this good. This MoFi Silver Label LP will turn your room into rainy, dreary England, circa 1985, and expose you to one of the most harrowing vocal performances on record.
1. Black Planet
2. Walk Away
3. No Time to Cry
4. A Rock and a Hard Place
5. Marian (version)
6. First and Last and Always
8. Nine While Nine
9. Amphetamine Logic
10. Some Kind of Stranger
Ranked 315/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Remastered from Recently Discovered First-Generation, Original Analog Master Tapes
Numbered, Limited Edition
The Plymouth Rock on which alternative rock was founded, the Pixies' Surfer Rosa forever altered the music environment even if it did take most of the world a few years to catch up with its brilliance. Internationally acknowledged as a pioneering record, its rollercoaster blend of harsh and soft tempos, male and female singing, intense punk and bubblegum pop tones, dark and light quips, and off-kilter sensibilities is the influential equivalent of the Velvet Underground's oft-cited 1967 debut.
The 1987 debut established the Pixies as otherworldly visionaries whose songs such as the insistent 'Bone Machine,' badgering 'Something Against You,' and sensual 'Cactus' remain ahead of the curve. Having analog fanatic and noise aficionado Steve Albini working production ensured that the music would retain a requisite rawness and in-your-face sonic signature that paralleled the fundamentally chaotic, compulsive characteristics of the Pixies' songs.
And now, thanks to the painstaking efforts of Mobile Fidelity engineers, you will truly hear this groundbreaking record as if you were experiencing it for the first time. Vivid, immediate, massive, and detailed, this is how Surfer Rosa was meant to be heard when Albini completed it and turned it into the label.
Why pay $175 for the Pixies' Minotaur limited-edition box that features the band's four original records with dated (read: bland, compressed, and flat) sound when you can spend far less and, in addition to this superior 180-gram LP copy,you can also get hybrid SACDs of Surfer Rosa, Doolittle, and Bossanova that play in all CD players and feature remastered sound sourced from the original master tapes? Jeff Anderson, who oversaw the release of Minotaur, says there is no remastering on the box because he didn't want to touch the original master tapes. We did, and having finally hunted the true masters down, know you'll agree with our results.
'The heaviness and hugeness of the room-reverberating drumbeat that begins the album-opening 'Bone Machine' epitomizes the record's forward impact, visceral punch, grinding crunch, and dynamic headroom. Rather than cluttering the mix with an avalanche of effects, Albini left space without sacrificing live detail or volatile oomph, shown to great effect on 'Broken Face,' 'Gigantic (there's a piano, who knew?), and haunting 'Where Is My Mind?,' which opens unto a sonic canyon that swallows the listener whole. - Bob Gendron, The Absolute Sound, September 2007
1. Bone Machine
2. Break My Body
3. Something Against You
4. Broken Face
6. River Euphrates
7. Where Is My Mind?
9. Tony's Theme
10. Oh My Golly
12. I'm Amazed
13. Brick Is Red
Pinkerton on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
1996 Sophomore Album Cited on Countless Best-of Decade Lists
Includes "El Scorcho," "Pink Triangle," "Tired of Sex," and "The Good Life"
Loosely Related to Puccini's Madame Butterfly, Confessional Album Lays Bare Frustration, Confusion, Awkwardness, and Loneliness Amidst Power-Pop Settings
Mastered from the Original Master Tapes: Experience the Album's Edgier Feel as Originally Intended
Few records claim as bizarre a history as Weezer’s Pinkerton. Upon release in 1996, the band’s sophomore effort failed to meet sales expectations, lacked a hit single, and drew primarily negative reviews from the press. Then, via word of mouth and reevaluation, the Little Album That Could began to build a reputation as an initially misunderstood masterwork—a bold, brave, and exposed creation that happened to have hyper-contagious hooks to accompany the confessional lyrics. Today, it’s cited on virtually every Best Albums of the 1990s list in existence.
Mastered from the original master tapes and pressed on 180 gram LP at RTI, Mobile Fidelity’s analog version of the effort Rolling Stone awarded a full five-star review upon revisiting it eight years later brings the band’s live-in-the-studio vocals and darker, raw feel to the surface like never before. Leader Rivers Cuomo’s decision to record group choruses around three microphones rather than capture them separately finally can be experienced as originally intended, with the immediate vibe paying off in the form of more engaging, edgier results that parallel the songs’ personal emotions and frustrated themes. Guitars, which scrape and push, augmenting the trials and tribulations documented in the narratives, are finally rendered in proper perspective.
Comprised of nonfiction tunes largely based on Cuomo’s dissatisfaction with rock-star life, and written by the singer/guitarist as he attended school at Harvard University, Pinkerton confronts disappointment, loneliness, isolation, awkwardness, and cruel romantic irony with a universal perspective to which anybody can relate. Cuomo selected the character Lieutenant Pinkerton from Puccini’s Madame Butterfly as a touchstone, believing the persona symbolic of the tormented protagonists in his songs—and recognizing similar struggles to come to terms with identity.
Weezer’s aims on Pinkerton have connected with many that identify with its narratives and adore its surfeit of melodies. Surpassing cult-classic status and conquering fickle tastes, the record ranks in Guitar World’s “Top 100 Guitar Albums of All-Time”; Spin’s “100 Best Albums From 1985 to 2005”; Pitchfork’s “Top 100 Albums of the 1990s”; and Rolling Stone’s Hall of Fame.
For all the malaise, Pinkerton also contains beloved wit and humor. Shyness and hands-in-pocket diffidence inform “El Scorcho”; incongruity and surprise surround the simultaneously funny and sad “Pink Triangle”; tedium and desire collide on the cynical “Tired of Sex.” Psychosexual confusion, unrequited passion, and good intentions elicit unintended sympathies, a trait that remains one of the record’s brilliant turns.
1. Tired of Sex
3. No Other One
4. Why Bother?
5. Across the Sea
6. The Good Life
7. El Scorcho
8. Pink Triangle
9. Falling for You
1968 Record Marks First Time Davis Uses Electric Piano, Bass, and Guitar: Second Half is Acoustic
Mastered from the Original Master Tapes: Seminal Proto-Fusion Effort Explodes With Color and Vibrancy
Final Effort With Davis' Classic Second Quintet Finds the Leader Looking to the Past and the Future
Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort. Laden with rich textures and style-bridging elements, Mobile Fidelity's 45RPM pressing brings the aural magic into focus.
Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Miles in the Sky joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Afforded the benefits provided by the record's wider grooves, Davis' burnished trumpet resounds with utmost clarity, and the soundstage seems to extend for days. Reference-caliber separation and imaging give each musician their own space, allowing every passage to come across without any sonic limitations.
The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on "Paraphernalia," blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.
Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a "transitional" work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging "Stuff" and frisky "Paraphernalia" glancing toward the future while keeping solid footing in the past.
Similarly, so do "Country Boy" and "Black Comedy." In his original review for jazz authority DownBeat, Larry Kart observes: "Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on ‘Country Boy' recalls a fragment from his "Summertime" solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on ‘Black Comedy,' his most straight ahead solo here, the orderly pattern of the past is displaced and fragmented."
Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.
3. Black Comedy
4. Country Son
A Vocal Tour de Force: 1986 Sophomore Effort Stacked With Big-Name Guests and Ambitious Arrangements
Grammy-Nominated Double-Platinum Set Includes Internationally Recognized Title Track Plus Top 10 Singles “What’s Going On” and “Change of Heart”
Illuminative Sonics: LP Mastered on Mobile Fidelity’s World-Renowned Mastering System and Pressed at RTI
Cyndi Lauper could’ve easily played up the independent wild-child pop persona she established on her breakthrough debut until the trend faded. Instead, on her superb sophomore effort, the charismatic artist opts for a more mature and creatively ambitious program, inviting big-name guests and pursuing deeper instrumental textures on a set that goes far beyond the well-known title track. True Colors is a vocal tour de force, an expressive statement on which Lauper showcases singing steeped in emotion, phrasing, and earnestness.
Bringing Lauper’s rich timbre to the fore, and mastered on Mobile Fidelity’s world-renowned mastering system, this RTI-pressed LP presents the 1986 album in the finest fidelity it’s ever enjoyed. Period touches such as synthesized drumbeats and layered keyboards no longer sound blatantly artificial or canned. Instruments now possess a warmer, fuller roundness that fleshes out their role in the compositions. And Lauper’s vocals—at times balladic, soaring, plaintive, stylish, and celebratory—occupy a defined place in the mix, anchoring songs etched with tonal expressiveness and diverse arrangements.
An all-star cast aids Lauper in shaping what remains a colossally underrated record. Billy Joel (vocals), Adrian Belew (guitar), the Bangles (vocals), Aimee Mann (vocals), Nile Rodgers (guitar), and Rick Derringer (guitar) are among the guests. So is Pee Wee Herman, whose telephone operator role at the conclusion of “911” speaks to the fact that Lauper didn’t abandon her whimsical nature even as she pressed forward. Cajun accents, soulful motifs (“What’s Going On”), and joyous covers of traditional fare (“Iko Iko”) keep the album pleasantly varied and accessibly offbeat.
Of course, Lauper also turns in, with “True Colors,” what’s arguably her career-defining moment, the chart-topping single radiating with gorgeous elegance and graceful phrasing that forced audiences to regard the performer in a different light. For her boldness, Lauper was rewarded with two Grammy nominations and a song that has since been covered by artists such as Phil Collins and appeared as the theme for the 1988 Olympic Games and 2003 Rugby World Cup.
Don’t miss this chance to hear True Colors in the three-dimensional detail one gets from a high-definition television picture.
1. Change of Heart
2. Maybe He’ll Know
3. Boy Blue
4. True Colors
5. Calm Inside the Storm
6. What’s Going On
7. Iko Iko
8. The Faraway Nearby
10. One Track Mind
Historic Recording Captures Elegant Ballads Performed at February 1964 Concert
Audiophile Reference-Standard Sound: Album Boasts Lifelike Tones, Balances, Images, and Ambience
Davis Taps Divine Inspiration: Compositions Marked by Deep Emotions, Spontaneous Brilliance, Sensitive Beauty, and Sublime Poignancy
Miles Davis’ My Funny Valentine marks several historic turning points. For Davis, the live album represents the final time on record he’d perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps of Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis’ oft-controversial avant-garde leanings. Most significantly, however, the set captures the ballads performed at a benefit concert from New York’s then-new Philharmonic Hall just months after President Kennedy’s assassination. Tapping into a seemingly divine inspiration, Davis never sounded so elegant or poetic.
Boasting gorgeous sound and pressed on 180g LP at RTI, Mobile Fidelity’s choice reissue of the trumpeter’s scintillating work bookends the label’s release of Four & More from the same show and features similar enhancements relating to depth, presence, dynamics, clarity, and ambience. Presented in reference-standard fidelity, the record boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns—all are rendered with palpable detail. This is the very definition of reach-out-and-touch-it realism.
Staged as a benefit to support voter registration in the South, the February concert came amidst the height of the Civil Rights movement, a cause dear to Davis’ heart. Yet unforeseen circumstances raised the stakes. Having professed his admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (and, in particular, the title track) as homage to the fallen leader, a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate the performances; Davis and his Harmon mute paint with intricate brushstrokes.
Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader’s equal, and would continue with Davis until later in the decade, helping form what’s now known as the “second great quintet.” But the secret weapon on both My Funny Valentine and its sister Four & More arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem “one of the unsung heroes of modern jazz.” His lines are subtle and sophisticated, straightahead but capable of unanticipated direction, and here, he comes into his own. As does the entire band.
Indeed, the combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the quintet on My Funny Valentine arguably exceeds that on any of Davis’ myriad other live efforts. One listen confirms something special transpiring, and on this Mobile Fidelity reissue, those properties are rendered in a manner that’s as transparent to the source as humanly possible. Do not miss this.
1. My Funny Valentine
2. All of You
3. Stella By Starlight
4. All Blues
5. I Thought About You
Davis’ Self-Proclaimed “Directions in Music” March Begins Here
Mastered from the Original Master Tapes: Abundant Jazz, Funk, and Rock Textures Rotate Around a Luscious Tonal Center
Landmark 1968 Effort Recognized as Davis’ Prelude Into Full-On Fusion: Exotic Suite-Like Album Beautiful, Intense, Adventurous
Miles Davis’ move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for its historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity’s 45RPM 2LP set.
Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Filles de Kilimanjaro joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Loaded with revealing signatures, the record takes on even greater import when heard the way Davis and his mates discerned it in the studio. Backgrounds are squid-ink black, pianissimo lines shimmer, and the electric piano emerges with tube-amp warmth.
Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968.
The final appearance of Davis’ classic second quintet bears fruit on three of the record’s cuts, including the title track and R&B-tinted “Frelon Brun.” Sparked with restrained funk, driving grooves, and bluesy accents, Filles de Kilimanjaro maintains an instinctive flow and controlled fredom that permit Davis to oversee an innovative blending of alterations, improvisation, and cycles. Comprised of multiple sections, “Petits Machins” is a lesson in perfectly played melodic complexity, with chromatic riffs, dominant chords, syncopated progressions, and switching meters forming a singular mosaic.
Filles de Kilimanjaro also represents a jumping-off point for Davis’ lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis’ desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.
More than 40 years ago, this record epitomized the future of jazz. Davis even announced such aspirations with the tagline “Directions in Music.” With the jazz world still trying to wrap its collective mind around its genius, it still does.
1. Frelon Brun
2. Tout de Suite
3. Petits Machins
4. Filles de Kilimanjaro
5. Mademoiselle Mary
Powerhouse 1971 Album the Greatest Jazz-Rock Record Ever Made
Audiophile Reference Sonics: Mobile Fidelity LP Presents Lean, Stripped-Back, and Open Sound With Startling Immediacy and Realism
Soundtrack Merges Electric Fusion, Slashing Rock, and Aggressive Funk Via Astounding Lineup: Guitarist John McLaughlin and Trumpeter Davis Turn In Blistering Performances
Miles Davis’ A Tribune to Jack Johnson is the best jazz-record ever made. Equally inspired by the leader’s desire to assemble the “greatest rock and roll band you have ever heard” as well as his adoration of Johnson, Davis created a hard-hitting set that spills over with excitement, intensity, majesty, and power. Bridging the electric fusion he’d pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio. Mobile Fidelity’s sterling reissue brings it all to fore with unsurpassed realism.
Mastered from the original master tapes and pressed at RTI, this collectable audiophile vinyl version of A Tribute to Jack Johnson joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. The most prominent difference longtime fans will notice is how much more aggressive and immediate the music sounds, aspects central to the composer’s desires. Amazing degrees of instrumental separation and imaging allow you to focus on singular musicians and the roles they play.
Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson finally cross the divide between rock and jazz. Davis puts both feet in the former camp and permanently erasing any gap. In addition to highlighting McLaughlin’s ripping performances, Mobile Fidelity’s 180g LP showcases the headliner’s white-hot trumpet solos like never before. Bristling with exuberance, Davis’ high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimension bass lines emerge amidst an ink-black background.
The least-well known true masterpiece of Davis’ career, the 1971 record—like Bitches Brew, seamlessly assembled from sessions by producer Ted Macero—was a victim of scant promotion. But to those that heard it, among them critic/musician Robert Quine and renowned writer Robert Christgau, A Tribute to Jack Johnson surpasses everything that came before. Davis treated it as a personal manifesto: An opportunity to salute the championship boxer admired for his threatening image to the establishment and taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson—a stance revealed in the music, which simultaneously hits with a prize fighter’s brutal force and reflects the graceful elegance with which a pugilist navigates the ring.
Producer and journalist Michael Cuscuna may have summed up the record’s significance in 2003: “The dense textures introduced and developed the prior fall on the Bitches Brew recording sessions gave way to a lean, stripped-down, guitar-heavy sound. There was now only one drummer, and that kept the groove more pronounced and defined. The three-keyboard configuration appears only on the last session; the rest have none, one, or two, and they are used sparingly.”
By any measure, A Tribute to Jack Johnson is a monster album. Experience it the way Davis would’ve wanted you to hear it.
Deluxe 45RPM Version Features Extra-Wide Grooves: Richest, Most Dynamic and Realistic Sound of Any Version
Lyrical, Splendorous, Rapturous, Psychedelic, and Bluesy Debut Set a New Musical Standard: Experience This Paradigm the Way the Artist Intended
Ranked #149 on Rolling Stone’s List of the Greatest Albums of All Time
Santana’s self-titled debut album announces the arrival of a new Guitar God. Made during the legendary bandleader’s most fruitful and creative period, the classic 1969 set functions as an accessible entry point into the tangy worlds of Latin music by way of an intoxicating blend of Afro-Cuban percussion, jazzy tempos, exotic leads, bluesy riffs, and psychedelic accents. Befitting such a classic, Mobile Fidelity’s 45RPM 2LP version of this epic work presents the music in the richest, most dynamic and realistic sound it’s ever enjoyed.
Improving upon the label's critically acclaimed 180g LP pressing, this deluxe 45RPM set is mastered from the original master tapes and overflows with the information, textures, and colors afforded by wider grooves. The result: Spacious, airy, and you-are-there sonics that trump all prior versions. In addition to correcting the imaging, Mobile Fidelity’s collectable version captures the full tonal range of Santana's guitar and nuances of his distinctive touch. It all brings you closer to the music and enhances your emotional connection to this stellar album.
Indeed, separation between Carlos Santana’s fluid fills, spicy solos, and broiling grooves and pianist Gregg Rolie’s soulful Hammond organ runs allows the music to come alive with a newfound freshness and radiance. Songs simmer, with each passage bursting forth with vibrant color. Just like the equally essential follow-up Abraxas, Santana also lays claim to one of the biggest (and unfortunate) production gaffes in music history. Until Mobile Fidelity fixed the error with its 180g LP and 24K Gold releases, Santana had never been heard correctly.
For nearly four decades, copies were produced with the left and right channels reversed, meaning that everything was placed in a backwards manner. This even extended to compilations on which individual songs from Santana were included. Rest assured that, in addition to boasting reference audiophile sonics, this 180g 45RPM 2LP set gets all the specifications exactly right. And with a record of this magnitude, you want everything to be perfect.
Bound by natural chemistry and earthy spirituality, the record’s innovative synthesis of myriad styles goes beyond anything that came before—as well as nearly everything that’s followed. Playing with the finest band that the iconic guitarist ever had, Santana doesn’t water down any exotic roots or simply incorporate mainstream Western styles into a Latin framework. This is a true hybrid, responsible for opening up borders, transcending cultural divides, and, most importantly, exhilarating the senses.
Released weeks before the band blew minds at Woodstock, the groundbreaking record stands alongside Miles Davis’ Bitches Brew and Jeff Beck’s Beck-Ola as a pillar of rock fusion. Featuring the Top Ten radio smash “Evil Ways” and jam favorite “Soul Sacrifice,” it hasn’t aged a day. Hear like never before why Rolling Stone says Santana is #149 on its list of the Greatest Albums of All Time.
2. Evil Ways
3. Shades Of Time
8. You Just Don't Care
9. Soul Sacrifice
The Spinners Spinners On Numbered Limited Edition 180g LP From Mobile Fidelity
Spinners' Silky Smooth 1972 Self-titled Record Birthed The Philadelphia Soul Sound: Includes Top 5 Hits "I'll Be Around" And "Could It Be I'm Falling In Love"
Mastered From The Original Master Tapes: Mobile Fidelity 180g LP Presents Groundbreaking Soul Album With Pristine Detail, Soothing Warmth, And Involving Emotionalism
Sweeping Strings, Funk Rhythms, Brassy Rejoinders, Immaculate Harmonies, And Satiny Lead Singing Fill Thom Bell's Melodic Arrangements: Few Albums Sound Creamier Than This Watershed Effort
The timeless music and expert arrangements are about the only things smoother than the powder-blue suits sported by the Spinners on the cover of their resplendent self-titled 1972 record. The band's first album for Atlantic after departing Motown, Spinners ranks as an all-time soul classic – a filler-free set boasting immaculate harmonies, sweet melodies, and impeccably matched vocals. Thom Bell's flawless production puts it all over the top. Yielding an ideal balance of lushness and grit, the collaboration between the Detroit-based group and studio veteran yielded a record that birthed the celebrated Philadelphia Sound. Now, you can finally experience it in audiophile-grade sonics.
Mastered from the original tapes and pressed at RTI, Mobile Fidelity's numbered limited-edition 180g LP of Spinners presents the quintet's magnum opus with pristine detail, soothing warmth, and involving emotionalism. Free of previously constraining ceilings, highs soar to their intended heights. Each singer's voice can be distinctly heard amidst the expert mix. Superb dynamics, soundstaging, and imaging highlight Bell's gorgeous orchestrations as well as the Spinners' pillow-soft mellifluousness. Backing instrumentation, ranging from rolling bass lines and punctual horns to swaying strings and crisp high-hat beats, unfolds with reference-caliber purity and transparency. Not many 1970s albums of any genre sound silkier, creamier, or more tonally rich than this LP.
While the career-defining performances within the grooves cannot be overlooked, Spinners remains equally notable for its historical importance. At the dawn of the 70s, Motown still held sway as the dominant soul style. Yet the Spinners' decision to move to Atlantic – prompted by a suggestion by Aretha Franklin – and refashion their approach with Bell signaled a sea change that ushered in a smoother, sweeter variety of R&B punctuated with sweeping strings, jazzy flourishes, brassy replies, and funk rhythms. Few, if any, vocal groups mesh these traits more convincingly, pleasingly, and naturally than the Spinners on this watershed effort.
Anchored by Top 5 smashes like "Could It Be I'm Falling In Love," Spinners signaled the beginning of a partnership with Bell that lasted seven years and elevated the band to stardom. Indeed, even in spite of the four hit singles, the record remains defined by an artistic consistency, watertight focus, and collective unity that make everything here deserving of close attention. Flush with catchy hooks and pop accents, each song is treated as a potential anthem. Laden with depth and richness, Bell's savvy, wide-open arrangements frame the Spinners' satiny singing with sensual class and refined delicacy.
Heaven-sent voices do the rest. Making his first appearance on record as a member, Philippe Wynne treats the carefully honed material as a breakout session for his dulcet tenor on tracks such as "One of a Kind (Love Affair)." Not to be outdone, the equally measured Bobbie Smith mesmerizes with his deft phrasing, reedy timbre, and sparkling clarity, never finer than on the million-selling "I'll Be Around." Solo or paired together, Wynne and Smith's glorious leads run the gamut from upbeat and optimistic to sad and forlorn, forming the backbone of a masterwork that addresses romance ("Just You and Me Baby"), regret ("How Could I Let You Get Away"), and social ills ("Ghetto Child") with consummate passion.
1. Just Can’t Get You Out of My Mind
2. Just You and Me Baby
3. Don’t Let the Green Grass Fool You
4. I Could Never (Repay Your Love)
5. I’ll Be Around
6. One of a Kind (Love Affair)
7. We Belong Together
8. Ghetto Child
9. How Could I Let You Get Away
10. Could It Be I’m Falling In Love
Blockbuster Brothers In Arms Helped Define 80s, Catapulted Dire Straits to Arena Status
The End-All-Be-All Ultimate-Sounding Version of This Audiophile Standard: Mobile Fidelity 180g 45RPM 2LP Captures Nuances, Textures, Finite Information
1985's Brothers In Arms Has Sold More Than Nine Million Copies in U.S. Alone, Ranked #351 on Rolling Stone’s List of the 500 Greatest Albums of All Time
There are hit records. And then there are blockbusters. One of the world’s best-selling records, a winner of two Grammy Awards, an era-defining reference statement, an MTV favorite, and a set that catapulted an already-acclaimed band to arena status, Dire Straits' Brothers In Arms is the kind of epic spectacular that comes around only once or twice a decade. Surpassed only in fame and visibility during the period by Michael Jackson’s Thriller, the 1985 album remains idiosyncratic for its covetable combination of adventurous songwriting, precision-based performances, and reference-caliber fidelity.
Mastered from the original master tapes, pressed on 45RPM LPs at RTI, and possessing a richness befitting the album’s stellar reputation, Mobile Fidelity’s numbered limited-edition 180g 45RPM 2LP set of Brothers In Arms breathes with transparent highs, atmospheric heft, and lifelike tonalities. This is the hand-down ultimate-sounding version of this audiophile favorite ever made.
The sense of realism this edition delivers will leave slack-jawed even the most hard-to-please audiophiles. As the recipient of the Grammy for Best-Engineered Recording, the album has always been a go-to sonic standard, but never has it sounded so reach-out-and-touch-it realistic as it does on this analog pressing. All of the hallmark characteristics—ample spaciousness, ideal balances, widescreen dynamics, immersive depth, lush production—are here in spades. As is music-making of enviable proportions.
While it’s easy to speculate that the colossal success of Brothers In Arms relates to its timing—its release during an era obsessed with catchy singles, flashy MTV videos, and whistle-friendly melodies—reasons for the album’s chart-busting success primarily owe to the expertly crafted songs and memorable playing turned in by a group hitting its creative peak. Not to mention the spatial dimensions that cause instruments and vocals to naturally float in a fixed area.
Anchored by “Money for Nothing,” a caustically themed smash immediately identifiable via Mark Knopfler’s resonant finger-picked guitar riff and Sting’s “I want my MTV” vocal refrain, Dire Straits’ fifth album is stuffed with bluesy signatures, jazz-rock motifs, clever lyrics, and organic accents. Diversity and consistency also extend to the songs’ moods. Singing with his trademark light-to-the-touch timbre, Knopfler conjures feelings of poignancy, peacefulness, and mellowness, channeling wistfulness on the Top 10 single “So Far Away” and somber assurance on “Why Worry.”
Perfection abounds, not only in the manner in which the band nails its pop hooks and uptempo boogies with debonair flair—but also in the control room. Iconic session jazz drummer Omar Hakim supplies fluid beats and solid rhythmic foundations while Knopfler and Co. comb over grooves so smooth it seems that they’re made of honey butter. Dire Straits would never play with such effortless again.
Experience this era-defining classic in the best-possible fidelity!
1. So Far Away
2. Money for Nothing
3. Walk of Life
4. Your Latest Trick
5. Why Worry
6. Ride Across the River
7. The Man’s Too Strong
8. One World
9. Brothers in Arms
Ranked 67/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Joels Breakthrough Record Loaded With Smash Hits: Movin Out (Anthonys Song), Just the Way You Are, Only the Good Die Young, Shes Always a Woman
Getting It Right: Mobile Fidelitys Half-Speed Mastered Version Brings Phil Ramones Celebrated Production into Full-Color Detail
1977 Set a Grammy Winner for Record of the Year and Song of the Year
Billy Joel entered 1977 with a great track record but in need of breakthrough. Pairing with producer Phil Ramone (Carly Simon, Simon & Garfunkel), who developed the requisite ingredients missing from Joels formula, the singer-songwriter became a household name and chart-topping success courtesy of The Stranger. Certified ten-times platinum, Joels artistic and commercial smash remains a pop-rock benchmark. Better still, it now sounds astonishing.
An integral part of Mobile Fidelitys Billy Joel catalog restoration series, The Stranger is mastered from the original master tapes and pressed on 180g LP at RTI. Far superior to the previous Sony and Simply Vinyl analog reissues, this edition emphasizes the crucial touches and insightful techniques Ramone brought to a batch of material that ranks among Joels most clever, catchy, and sagacious.
Whereas a handful of Joels preceding efforts feature a near-flawless mix of melodic arrangements and poignant lyrics, the aspects he sought in order to graduate into a more serious artist arrive here via Ramones more muscular, fleshed-out, and rock-enabling production. The streamlined approach slightly strips back the sweeping developments heard on Piano Man and Turnstiles, and on this edition, lays bare the core of the material, allowing the vocalists bittersweet yearning, rollicking 88 notes, and working-class conviction to emanate with full-bodied detail, vivid color, and grand-scale dynamics.
A Grammy winner for both Record and Song of the Year, Just the Way You Are epitomizes Joels balladic reach, his ability to transfer wistful sentiments and lovelorn emotions. He also flashes a mean streak. The animated Only the Good Die Young bounces and hops to an updated classic-R&B rhythm and, underneath its beauty, Shes Always A Woman hints at trouble underfoot. And then theres the New York-centric, character-rich poetry of the vignettes.
Akin to many of his influences, Joel nails the grit, personality, specificity, descriptiveness, and behavior of protagonists that populate Movin Out (Anthonys Song) and Scenes From an Italian Diner, each equally at home on The Stranger as well as on a Broadway play or on a golden-era Hollywood film soundtrack. No wonder that, just months after its original release, Joel was no longer a stranger to any of the music-loving public. He would never look back.
Dont pass up this seminal pop-rock work in the best fidelity its ever enjoyed.
1. Movin Out (Anthonys Song)
2. The Stranger
3. Just the Way You Are
4. Scenes From an Italian Restaurant
6. Only the Good Die Young
7. Shes Always a Woman
8. Get It Right the First Time
9. Everybody Has a Dream/The Stranger (Reprise)
Elvis Costello Blood and Chocolate on Numbered Limited Edition 180g LP from Mobile Fidelity
Emotionally Cathartic Nick Lowe-Produced Set Includes "I Want You," "I Hope You're Happy Now," and "Uncomplicated"
Mastered from the Original Master Tapes and Pressed at RTI: Guitar-Driven, Stripped-Down 1986 Album Teems With Stacked Rhythms, Tonalities, Punch, and Tension
Costello at His Most Vicious: Songs Rumble and Storm, Dark Humor and Biting Lyrics Address Tumult, Jealousy, Vindictiveness
Part of Mobile Fidelity's Elvis Costello Reissue Series: Singer-Songwriter's First Eleven Studio Albums Available on Sumptuously Sounding 180g LP
Known in his youth as the "angry young man," Elvis Costello waited until 1986 to create the most vicious record of his career. Stripped to the studs and produced by Nick Lowe, Blood and Chocolate seethes with vindictiveness, spite, and rancor. The 11-track effort clatters with raw rock n' roll menace and clangs with darkly humorous intent. Venomous, acerbic, and aggressive, it values rhythm and attack over harmony and melody. A volatile rite of passage on which harsh Telecaster riffs cut like razor blades and Costello spits words as if they were Molotov cocktails tossed at enemies, this is the satisfying sound of emotional catharsis.
Mastered from the original master tapes and pressed at RTI, this collectable edition of Blood and Chocolate joins Mobile Fidelity's acclaimed Costello reissues series in presenting the icon's vital records in rich, dynamic, three-dimensional analog sound. That's never been truer than it is here. Costello and Co. recorded the songs in a large room at London's Olympic Studios while playing at stage volumes, an unconventional approach that nonetheless suited the music's raw feel. Nearly every track was done in three takes or less, with minimal vocal fixes and overdubs added immediately afterward. Such energy, spark, force, and pace thrive on this reissue.
Capturing the decibel-laden atmosphere that heightens the rhythmic pace and elevates the urgency of the deliveries, Mobile Fidelity's 180g LP delivers the band's performances with wall-of-sound hugeness and booming authority. And while this isn't a record where subtlety reigns, listeners can now discern the acoustic guitar strummed by Lowe for the foundation of the savage "Uncomplicated" as well as the nuanced final bars of the inimitable "I Want You" on which each member's instrumental track is switched off to bleed into Costello's vocal microphone. Indeed, for all the apparent chaos, Steve Nieve's keyboards even get accurate placement and imaging on this incredible pressing. Then there's the temperament of the songs themselves—perhaps best described by Costello.
"The album title and Eamon Singer's crude cover painting reflected some intense and uncertain situations. The record might have well been a blurred polaroid: a smashed-up room, a squashed box of chocolates, some broken glass and a little blood smeared on the wall," wrote the singer in 2002. "The album [is] a pissed-off 32-year-old divorce's version of the musical blueprint with which I had begun my recording career with the Attractions." Indeed, the band—on the verge of fraying at the seams and at each other's throats in close confines—pummels twanging chords, beats up on notes, turns up amplifiers, and eyes everything with great suspicion.
Lyrically, Costello has seldom been wittier, sharper, or more malicious. The snarling, tables-turning "I Hope You're Happy Now" joins Bob Dylan's "Positively Fourth Street" as among the most lacerating kiss-off tunes ever penned. Similarly sarcastic, "Next Time Round" lends a pop rave-up air to the album's otherwise dark assault. The bloodletting "Crimes of Paris" and "Poor Napoleon" (featuring Pogues singer Cait O'Riordan playing the role of "the voice of pity") confront the consequences of traumatic relationships and lustful choices with a savvy intellect. Given the mood and mindset of everyone and everything involved, it's no surprise that Costello and the Attractions wouldn't again work together until eight years later. Saying that Blood and Chocolate was worth the sacrifice is an understatement.
2. I Hope You're Happy Now
3. Tokyo Storm Warning
4. Home Is Anywhere You Hang Your Head
5. I Want You
6. Honey, Are You Straight or Are You Blind?
7. Blue Chair
8. Battered Old Bird
9. Crimes of Paris
10. Poor Napoleon
11. Next Time Round