Format > Mobile Fidelity

Limited to only 2,500 numbered copies!

Got Boogie?

'A wop bop alu bop, a wop bam boom!'

Following upon the recent, phenomenal, sold out success of the limited edition LPs of Dave Alvin's Blackjack David and Los Lobos' Good Morning Aztlan, Mobile Fidelity will soon follow suit with Little Richard's Here Comes Little Richard on GAIN 2 Ultra Analog Vinyl.

Half speed mastered from the original monoaural master tapes and limited to only 2,000 numbered copies, this LP is destined to be a collector's classic! Simply put... THIS IS ROCK & ROLL'S DNA.

SIDE ONE

Tutti Frutti – 2:26
True, Fine Mama – 2:43
Can’t Believe You Wanna’ Leave – 2:27
Ready Teddy – 2:08
Baby - 2:05
Slippin’ And Slidin’ – 2:40

SIDE TWO

Long Tall Sally - 2:10
Miss Ann - 2:18
Oh Why? - 2:09
Rip It Up – 2:23
Jenny Jenny - 2:02

Limited Edition GAIN 2™ Ultra Analog 180g LP From Mobile Fidelity! You've Never Heard 'The Chairman' Sound This Great!

On Nice 'N' Easy, Frank Sinatra selected a collection of songs he sung early in his career and it's a classic mix of breezy mid-tempo numbers and beautiful ballads. Conducted and arranged by Nelson Riddle, Nice 'n Easy contains twelve pieces of pure perfection including definitive versions of "That Old Feeling," "How Deep is the Ocean," "I've Got a Crush On You," "Try a Little Tenderness," "Embraceable You" and "Dream." This album rolls along steadily from the first tune to the last, charming everyone along the way.

Mobile Fidelity mastering engineers have painstakingly re-mastered the titles in the Frank Sinatra Capitol recordings project with the utmost care and respect for the 20th century icon. As an artist, Frank Sinatra brilliantly interpreted some of America's greatest songs, preserving them for generations to come. On Sinatra's Capitol recordings: his voice, phrasing and excellent musical taste are all on full display.

Also Available: MoFi 24k Gold CD Version. Click here.

Frank Sinatra Nice 'n' Easy Track Listing

1. Nice 'n' Easy
2. That Old Feeling
3. How Deep Is the Ocean?
4. I've Got a Crush on You
5. You Go to My Head
6. Fools Rush In
7. Nevertheless (I'm in Love with You)
8. She's Funny That Way
9. Try a Little Tenderness
10. Embraceable You
11. Mam'selle
12. Dream

On Tigerlily, Natalie Merchant's warm, mellow voice, and mesmerizing yet gracefully understated musical textures are sure to please even the most discerning and contemplative music listeners. Stand out tracks include the radio hits "Wonder" and "Jealousy" which have a similar sonic signature to the unique folk rock mastery of 10,000 Maniacs and "River" an absolutely touching tribute to the late River Phoenix. Mobile Fidelity's heralded GAIN 2 mastering technique has extracted every tender nuance and note from this enduring '90s classic.

San Andreas Fault
Wonder
Beloved Wife
River
Carnival
I May Know The Word
The Letter
Cowboy Romance
Jealousy
Where I Go
Seven Years

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Little Feat's self-titled debut instantly established the band as a fresh slice of musical Americana. Steeped in their love of rock, R&B, blues and country with just a pinch of New Orleans spice - the album received nearly unanimous critical acclaim!
* New liner notes by legendary producer Russ Titelman. (Mofi exclusive)
* Numbered Limited Edition “Japanese Mini Sleeve” gatefold packaging

1. Snakes on Everything
2. Strawberry Flats
3. Truck Stop Girl
4. Brides of Jesus
5. Willin’
6. Hamburger Midnight
7. Forty Four Blues/How Many More years
8. Crack in Your Door
9. I’ve Been the One
10. Takin’ My Time
11. Crazy Captain Gunboat Willie

Idlewild South, the sophomore release from America's sovereign Southern rock band the Allman Brothers, is easily their greatest studio album. Unlike the band's labyrinthine live shows, which are distinguished by their immense, walloping swamp rock, this album focuses on the considerable songwriting capabilities of Gregg Allman and Dicky Betts. Plus, it showcases the band’s original lineup, before multiple tragedies began taking their toll: The lightning slide guitar of Duane Allman, the vocals and Hammond B-3 of his brother Greg Allman, lead guitarist Dickey Betts, bassist Berry Oakley, and the thunderous drum tandem of Butch Trucks and Jaimoe Johanson. This album lays bare their talent for weaving disparate but distinctly Southern elements of rock, gospel, soul, jazz, and R&B into a cohesive and original whole. The legendary Engineer/Producer Tom Dowd oversaw these sessions, which resulted in the Bible-thumping "Revival," the smash hit "Midnight Rider," the dirty blues of "Don't Keep Me Wonderin'," the soul-soothing "Please Call Home," and the legendary "In Memory of Elizabeth Reed," which would go on to become the penultimate Allman Brothers' concert war-horse.

1. Revival
2. Don't Keep Me Wonderin'
3. Midnight Rider
4. In Memory Of Elizabeth Reed
5. Hoochie Coochie Man
6. Please Call Home
7. Leave My Blues At Home

After her breakthrough on Capitol Records with The Stone Poneys (Different Drum) plus some acclaimed solo releases, Linda Ronstadt jumped to David Geffen’s bourgeoning Asylum roster, joining The Eagles and Jackson Browne to form the genesis of the California Country-Rock sound. Don’t Cry Now, her first for Asylum was released in 1973 and would help solidify Ronstadt as one of the premiere female pop vocalists for the next two decades. This is one of the most exceptional sounding female vocalist recordings of the 1970's. Various tracks were produced by John Boylan, J. D. Souther; and, for the first time in what would be a long and highly successful relationship, British musician (Peter & Gordon) Peter Asher. The album spent more than a year on the Billboard chart and peaked at No. 45. Featured hit singles are the Eagles' Desperado, Bonnie Raitt’s Love Has No Pride, Randy Newman’s sly observation on slavery and southern culture Sail Away plus a nod to both Dusty Springfield and the Grand Ole Opry with Silver Threads and Golden Needles. Guest appereances include guitar work by both the Eagles’ Glenn Frey and super-sessionman Larry Carlton, plus harmonica by the Nitty Gritty Dirt Band’s Jimmy Fadden, bass and drums by L.A.A-teamers Lee Sklar and Russ Kunkel respectively, plus last but certainly not least, the legendary Sneeky Pete adding his tasteful pedal steel throughout.

1. I Can Almost See It
2. Love Has No Pride
3. Silver Threads And Golden Needles
4. Desperado
5. Don't Cry Now
6. Sail Away
7. Colorado
8. The Fast One
9. Everybody Loves A Winner
10. I Believe In You

Sahara represents the best that jazz had to offer in the early '70s. Rooted in modality, Tyner's playing is thick, chromatic and cavernous. A prominent virtue of this album lies within its eclectic, aural landscape. For example, if you desire Tyner's infamous 'thunder (chords) and lightning (right-hand runs)', cue up 'Ebony Queen' and 'Rebirth' (Sonny Fortune's saxophone playing is absolutely scorching on these tracks!). Prefer some spiritually inspired solo piano? Then melt into the mellow mood manifested on 'A Prayer for My Family.'

Looking for something 'different?' Then EXPERIENCE the 23-minute title track, which has reedman, Sonny Fortune, playing flute, bassist, Calvin Hill, playing reeds, and drummer Alphonse Mouzon employing a variety of percussion effects. If all this isn't enough, on 'Valley of Life,' Tyner picks up a kyoto and produces a gentle, hypnotic impressionistic sketch, aided again by Fortune on flute. On Sahara, the musicians weren't afraid to wail spontaneously, yet Tyner maintains a clear focus on the effort and in doing so expanded the very definition of jazz itself. Mission accomplished.

Personnel: McCoy Tyner (piano, koto, flute, percussion); Sonny Fortune (soprano & alto saxophones, flute); Alphonse Mouzon (trumpet, reeds, drums, percussion); Calvin Hill (reeds, bass, percussion). Recorded at Decca Recording Studios, New York, New York in January 1972.

Upon its release in 1986, the Cowboy Junkies’ riveting debut sounded like nothing else at the time. Gloriously, it still doesn’t. Haunting, harrowing, eerie, and gorgeous, the soft-toned album reinterprets eight classic blues in a ghostly manner that combines Delta traditions, European classical minimalism, roots country, and thoroughly understated ambience.

The album’s spare, hyper-realistic approach stood as a proud contrast (and still does) to the overly polished, studio-slick blues, pop, and rock efforts mainlined out of high-tech studios. Recorded in just seven hours with an ambisonic microphone, Whites Off Earth Now!! is one of the most acoustically resplendent and dynamically rich records ever cut. The Canadian band’s intentional attempt to reclaim purity has made WOEN a cult classic and audiophile favorite.

Comprised of three siblings and a bassist friend, Cowboy Junkies stuck to songs that they had been playing live since 1985 when it came time to solidify their existence with an actual album. They favored potent standards such as Robert Johnson’s “Me and the Devil Blues” and “Crossroads,” John Lee Hooker’s “Decoration Day” and “Forgive Me,” Bruce Springsteen’s “State Trooper,” and Big Joe Williams’ “Baby Please Don’t Go.” In the Junkies’ hands, these tunes take on newfound ethereal power and riveting danger. Sung in a hushed lullaby voice by singer Margo Timmins, lyrical meanings change and emotional chills increase. Subtle illusions of calmness hold steady, but droning guitars and short bursts of bruised feedback generate a tension that drives these songs into our subconscious.

Disgusted with what they rightly perceived as the contrived, overly processed sound of 80s recordings, the group agreed to let producer/engineer Peter Moore experiment with an unconventional recording technique. The decision proved a stroke of genius. Set up in an uncomfortably hot garage padded with carpets and materials to dampen echoes, the foursome gathered around a single Caltrec Ambisonic Microphone—the quartet recorded direct-to-two-track. The results are magical, the natural and unimpeded sound that audiophiles dream about.

Mastered from the original tapes by Mobile Fidelity, this numbered limited-edition 180-gram LP captures every last finite detail and note. Microdynamics and sonic cues abound. The sticking together of Timmins’ lips from the heat and sweat right before she begins to sing on both Johnson tunes; the sound of drummer Pete Timmins putting his sticks down at the end of “I’ll Never Get Out of These Blues Alive”; myriad creaks, shuffles, and vibrations. What was a stunning headphone record is now an unreal stereo experience. This is what in-the-room presence is all about; albums don’t get more realistic-sounding. The sense of space is staggering.

Track Listing:

1. Shining Moon
2. State Trooper
3. Me And The Devil
4. Decoration Day
5. Baby Please Don't Go
6. I'll Never Get Out Of These Blues Alive
7. Take Me
8. Forgive Me
9. Crossroads

Milt Jackson Sextet - Invitation Gets a Huge Upgrade from Mobile Fidelity!

Numbered, Limited-Edition of 2500!

Discovered by Dizzy Gillespie (whose 40's rhythm section left to form the initial line-up of the esteemed Modern Jazz Quartet) , Milt 'Bags' Jackson was a preeminent vibes virtuoso and enjoyed over forty years as one-fourth of the MJQ (Modern Jazz Quartet). Jackson also enjoyed decades of solo work for great jazz labels such as Savoy, Riverside and Atlantic and one of his crowning achievements occurred over a three day session booked for Riverside in 1962. Answering his 'Invitation' were fellow all-stars Kenny Dorham, Jimmy Heath, Ron Carter and Tommy Flanagan. The trumpet/tenor tandem uniquely augment Jackson's vibraphone, creating a driving, free-wheeling, classic blowing session. Now you can hear every little detail from these sessions on this Mobile Fidelity 180g LP.

1. Invitation
2. Too Close For Comfort
3. Ruby, My Dear
4. The Sealer
5. Poom-A-Loom
6. Stella By Starlight
7. Ruby
8. None Shall Wander

BONUS TRACKS
9. Ruby, My Dear (alt. take)
10. None Shall Wander (alt. take)

Through his early days in Fairport Convention, to his huge success as a solo artist, Richard Thompson has proven to be one of the most enduring and prolific singer/songwriter/guitarists of our time. Mobile Fidelity Sound Lab is proud to release Some Enchanted Evenings on Limited Edition EP, cut at 45 RPM, on Mobile Fidelity’s GAIN 2 Ultra Analog Vinyl featuring MFSL's exclusive and legendary 1/2 Speed Mastering process. The repertoire for this release was compiled from live performances (circa 1985-2003) and selected by the artist himself from his own personal archives. These selections include interesting covers of the Beatles “It Won’t Be Long” and a fun cover of Brittany Spears’ timeless masterpiece “Oops! I Did It Again”.

1. From Galway to Graceland
2. 1952 Vincent Black Lightning
3. Opps! I Did it Again
4. It Won't Be Long
5. Shoot Out the Lights

Patricia Barber resides in the vanguard of the new school of female jazz vocalists. It all began with Café Blue in 1994. It hit like something inexplicable, introducing a voice one critic described as 'a pure dark whisper straight up from the soul' and a distinct onstage persona that has been characterized as 'a beat musician and a bop intellectual.' Barber has been exploring intriguing improvisational terrain beyond classic balladry and bop-infused standards for the last decade. Each album is more ambitious than the last, taking her deeper into avant-garde territory both lyrically and instrumentally. Verse is no exception. Ms. Barber continues releasing albums combining her uncanny ability to stake new claims on contemporary tunes with her prowess for composing witty and gorgeous tunes of her own. This new MoFi 45 RPM Audiophile 2LP set reveals all the subtle details in her playing and her vocal interpretations. This one really places the listener in the studio with the band. Phenomenal!

'The way I was hearing the songs in my head had more to do with the guitar than the piano. In a loose way, Verse is a Patricia Barber homage to Joni Mitchell.' – Patricia Barber

1. Moon
2. Lost in This Love
3. Clues
4. Pieces
5. I Could Eat Your Words
6. Fire
7. Regular Pleasures
8. Dansons la Gigue
9. You Gotta Go Home
10. If I Were Blue

Marc Cohn's debut album is masterfully produced and features brilliantly crafted musical arrangements that perfectly accentuate his soulful, rich baritone timbre and graceful, contemplative piano performances.

Marc Cohn (born July 5, 1959 in Cleveland, Ohio) is a sophisticated singer-songwriter, famous for his song 'Walking in Memphis' from his self titled debut. The album is masterfully produced and features brilliantly crafted musical arrangements that perfectly accentuate Marc's soulful, rich baritone timbre and graceful, contemplative piano performances - all tastefully brought to full and exceptional sonic fruition via the Mobile Fidelity Sound Lab proprietary G.A.I.N. (Greater Ambient Information Network 2) mastering process. Songwritng styles vary from the Memphis/Elvis/Graceland mythic imagery of the hit single to the seemingly Springsteen inspired writing of 'Silver Thunderbird'.

*In 1992 Marc Cohn won the Grammy Award for Best New Artist

*In 1993 Marc Cohn won an achievement award from VH1.

1. Walking in Memphis
2. Ghost Train
3. Silver Thunderbird
4. Dig Down Deep
5. Walk on Water
6. Miles Away
7. Saving the Best for Last
8. Strangers in a Car
9. Twenty-Nine Ways to My Baby's Door
10. Perfect Love
11. True Companion

Limited Edition GAIN 2™ Ultra Analog 180g LP From Mobile Fidelity

In 1958, Frank Sinatra recorded Frank Sinatra Sings for Only the Lonely, one of five collections recorded for Capitol, consisting of saloon songs and bluesy ballads, lamenting lost love and heartache. Recorded over three days in Capitol's famous Studio A, Only the Lonely features sumptuous arrangements by Nelson Riddle who co-conducts here with Sinatra's resident concertmaster Felix Slatkin. The result is arguably his greatest ballads album.

Sinatra's tour de force versions of “What's New,” “Blues in the Night,” “Spring is Here,” “One For My Baby (and One More for The Road),” “Guess I'll Hang My Tears Out to Dry” and “Good-bye,” all became staples hereafter. Never forcing the emotion out of the lyric, 'The Chairman of the Board' let's it all flow naturally here and the result is a heartfelt affair, an ideal late-night album.

Mobile Fidelity mastering engineers have painstakingly re-mastered the titles in the Frank Sinatra Capitol recordings project with the utmost care and respect for the 20th century icon. As an artist, Frank Sinatra brilliantly interpreted some of America's greatest songs, preserving them for generations to come. On Sinatra's Capitol recordings: his voice, phrasing and excellent musical taste are all on full display.

Frank Sinatra Sings for Only the Lonely Track Listing

1. Only the Lonely
2. Angel Eyes
3. What's New?
4. It's a Lonesome Old Town
5. Willow Weep for Me
6. Goodbye
7. Blues in the Night
8. Guess I'll Hang My Tears Out to Dry
9. Ebb Tide
10. Spring Is Here
11. Gone With the Wind
12. One for My Baby (And One More for the Road)

"Peyroux is the real deal. She brushes off comparisons to Billie Holiday, but it's certainly not bad company to keep. This is a beautiful record flowing with sparse arrangements and sultry vocals. If you like Norah...wait until you hear this! The 12 songs found on Carless Love feature a mix of acoustic blues, country ballads and torch songs showcasing Peyroux's sultry alto. Highlights include "Dont' Wait Too Long" composed by Perouyx, producer Larry Klien (of Joni Mitchell fame) and Jesse Harris (best know for his contributions to Norah Jones' hit album, Come Away With Me). Also exemplary are Peyroux's warm renditions of Leonard Cohen's "Dance Me to the End of Love" and a lightly-swinging arrangement of Bob Dylan's "You're Gonna Make Me Lonesome When You go"." MFSL

Dance Me To The End Of Love
Don't Wait Too Long
Don't Cry Baby
You're Gonna Make Me Lonesome When You Go
Between The Bars
No More
Lonesome Road
J'ai Deux Amours
Weary Blues
I'll Look Around
Careless Love
This Is Heaven To Me

"Live is the first collection of live recordings ever released from Alison Krauss + Union Station. Recorded on their spring 2002 tour, this 3-LP set, includes versions of classic AKUS songs such as "When You Say Nothing At All" and "Baby Now That I've Found You" from their double-platinum Now That I've Found You; "The Lucky One" and "Let Me Touch You For Awhile" from last year's gold-selling New Favourite; and "I'm A Man of Constant Sorrow" and "Down to the River to Pray" from the O' Brother, Where Art Thou? soundtrack. The outstanding set from Mobile Fidelity captures Alison Krauss and her band Union Station on the heels of their most successful release, New Favorite. The spaciousness of this recording and intimacy of the performance can be easily heard on this amazing remastering job by Mobile Fidelity and the GAIN 2 system. Twenty-five career spanning tracks, from their traditional bluegrass roots to their more recent pop-oriented tunes, the recording, the playing and the voices are all impeccable." MFSL

LP 1

Let Me Touch You For Awhile
Choctaw Hayride
The Lucky One
Baby, Now That I’ve Found You
Bright Sunny South
Every Time You Say Goodbye
Tiny Broken Heart
Cluck Old Hen
Stay
Broadway

LP 2

Ghost In This House
Forget About It
Faraway Land
A Tribute to Peador O’Donnell / Monkey Let The Hogs Out
The Boy Who Wouldn’t Hoe Corn
Take Me For Longing
I Am A Man of Constant Sorrow
Maybe

LP 3

We Hide & Seek
But You Know I Love You
When You Say Nothing At All
New Favorite
Oh, Atlanta
Down To The River To Pray
There Is A Reason

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"Available for the very first time on vinyl. This is the best AKUS album to date. (AKUS is the band's own acronym for Alison Krauss & Union Station). The best songs, the best playing, the best singing and the best sound! This must have 2-LP set gets more addictive with every play. Call it bluegrass or call it acoustic pop, either way Alison Krauss and Union Station have created an incredible montage of music. As usual, it is Alison's beautiful vocals that gives it that "high, lonesome sound."

There are thirteen vocal songs and one instrumental on this two-record set. Krauss is the lead vocalist on eight of the songs and Union Station members share the other lead vocals. The virtuoso musicians comprising the group are Barry Bales (acoustic bass), Ron Block (banjo, guitar), Adam Steffey (mandolin), and Dan Tyminski (guitar). Of course Krauss started her career as a violinist (fiddler to the bluegrass world) and she doesn't leave that instrument out either. Due to the unmatched resolution of the Gain 2 Ultra Analog Cutting System, all the acoustic instruments and voices on the record are reproduced with an exceptional sense of space and clarity.

The tunes are mostly new material and alternate from bluegrass to acoustic pop. The standouts on the album are Alison's numbers: "It Doesn't Matter," "Looking in the Eyes of Love," and the gospel "There is a Reason." These are all quiet, reflective pieces with the haunting, almost angelic quality of Krauss' voice demonstrated to its fullest. The harmony singing on every cut shows off the vocal prowess of the entire ensemble. The title track in particular stands out for its use of harmony and incredible accurate presentation of acoustic instruments. The male vocalists are superb in their own right and each of the band members has the spotlight somewhere on the album." MFSL

Track Listing

So Long So Wrong
No Place to Hide
Deeper Than Crying
I Can Let Go Now
The Road Is a Lover
Little Liza Jane
It Doesn't Matter
Find My Way Back to My Heart
I'll Remember You Love in My Prayers
Looking in the Eyes of Love
Pain of a Troubled Life
Happiness
Blue Trail of Sorrow
There Is a Reason

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Mobile Fidelity does an amazing mastering job on this incredible female vocal recording! Madeleine Peyroux, the smokey-voiced singer, guitarist and songwriter, nails her follow-up to her multi-platinum selling 2004 breakthrough Careless Love. Half the Perfect World showcases Peyroux’s uncanny gift for exploring the emotional core of songs by other singers and songwriters she’s admired, and also displays her talents as a writer on four songs she co-wrote.

Many of the album’s songs explore romantic relationships from a distinctly female perspective. As Peyroux says “These love songs come from an extremely personal place, and therefore allowed me a most intimate reading.”

Produced by Larry Klein, the 12-track album finds Peyroux lending her sublime vocals to songs by artists she has cherished throughout her lifetime such as Leonard Cohen, Tom Waits, Fred Neil and Joni Mitchell. Peyroux wrote the upbeat “I’m All Right” with Klein and Steely Dan’s Walter Becker, and three other songs with Klein and Jesse Harris (who co-wrote “Don’t Wait Too Long” on Careless Love).

1. I’m All Right
2. River
3. The Summer Wind
4. Blue Alert
5. Everybody’s Talkin’
6. A Little Bit
7. Once in a While
8. The Heart of Saturday Night
9. Half the Perfect World
10. La Javanaise
11. California Rain
12. Smile

Skin O' My Teeth
Symphony of Destruction
Architecture of Agression
Foreclosure of a Dream
Sweating Bullets
This Was My Life
Countdown to Extinction
High Speed Dirt
Psychotron
Captive Honour
Ashes In Your Mouth

Bonus Tracks
Crown of Worms (previously unreleased in U.S.)
Countdown To Extinction - (demo, previously unreleased)
Symphony of Destruction (demo, previously unreleased in the U.S.)
Psychotron (demo, previously unreleased)

Numbered Limited Edition LP Packaging!

After much success (and a little luck) with our Little Richard hits packages, MoFi next visited the Sony vaults to identify and audition the original masters of another rock pioneer. This famous Roy Orbison collection had originally been compiled by Monument Records in 1972 and has stayed in print ever since. Before being wooed away by the old MGM Records label, Orbison experienced an astonishing run for Monument, placing fifteen singles (all included here) in the Top 100 on the pop and country charts.

1. Only The Lonely
2. Leah
3. In Dreams
4. Uptown
5. It's Over
6. Crying
7. Dream Baby
8. Blue Angel
9. Working For The Man
10. Candy Man
11. Running Scared
12. Falling
13. Love Hurts
14. Shahadaroba
15. I'm Hurtin'
16. Mean Woman Blues
17. Pretty Paper
18. The Crowd
19. Blue Bayou
20. Oh, Pretty Woman

Originally released the same month as their incendiary set at Woodstock, this impressive debut for Columbia kick-started a Hall of Fame legacy that lasts still today. Establishing one of the most instantly recognizable sounds in rock; Carlos’ signature tone and phrasing coupled with Afro-Cuban percussion virtually launched Latin-Rock fusion. Both AM and FM airwaves were scorched in the ensuing months with their charted singles "Evil Ways" (#9) and Jingo (#93) plus "Soul Sacrifice", a favorite after it’s featured spot in the Woodstock movie and soundtrack.

1. Waiting
2. Evil Ways
3. Shades of Time
4. Savor
5. Jingo
6. Persuasion
7. Treat
8. You Just Don't Care
9. Soul Sacrifice

By 1980, Rush was experiencing the mid-point of what would be their golden period of recording (1976-1982). Released in January that year, Permanent Waves was a transitional exercise that moved them further from the 'prog-rock' lump-labeling and pointed the way for their next masterpiece the following year, Moving Pictures.

Peaking at Number 4 on the Billboard's Album chart, Permanent Waves spawned such perennial concert staples as “Freewill” and “Spirit of Radio”. Well-beyond the power-trio of old, Geddy Lee, Alex Lifeson and Neil Peart each contributed equally, with multiple instrumentation and arranging approaches. With Terry Brown, (on board from their 1974 debut through 1982's Signals) again producing, each album was a leap forward in mixing and production values, helping elevate the group to the upper echelons of rockdom. The combination of songwriting, arranging and production indeed renders it "an undisputed rock classic".

1. The Spirit Of Radio
2. Freewill
3. Jacob's Ladder
4. Entre Nous
5. Different Strings
6. Natural Science

One of rock’s true masterpieces, this stunning sophomore effort was released in September, 1970 to unanimous accolades and went to Number One on the Billboard Pop Album chart. Utilizing the studio more in overall production than on their debut (especially in mixing and using cross-fades) the band and producer Fred Catero (Janis Joplin, BS&T, Chicago) still maintained the street energy and ethnic roots, while elevating Carlos’ guitar passages to god-like status; resulting in the pinnacle of their album output. Wicked re-worked arrangements of songs as dichotomatic as the connecting of Peter Green’s "Black Magic Woman" with Gabor Szabo’s "Gypsy Queen" in medley, followed directly in sequence on side one with Tito Puente’s "Oye Como Va" (charting at #13), was both brilliant and on-par with anything going down in music at the time, period.

1. Singing Winds, Crying Beasts
2. Black Magic Woman/Gypsy Queen
3. Oye Como Va
4. Incident At Neshabur
5. Se A Cabo
6. Mother's Daughter
7. Samba Pa Ti
8. Hope You're Feeling Better
9. El Nicoya

Released in 1972, Little Feat's groundbreaking sophomore album, Sailin’ Shoes displayed an extraordinary growth in the band from their critically praised 1971 self-titled debut. Sailin' Shoes was the final recording made by the original quartet and it features a stellar set of songs from Lowell George (Mothers Of Invention) that included "Willin," "Cold, Cold, Cold," "Tripe Face Boogie," "Apolitical Blues" and "Teenage Nervous Breakdown” among others. Now avaiable on Mobile Fidelity Numbered Limited Edition 180g Vinyl!

Track Listing:

1. Easy To Slip
2. Cold, Cold, Cold
3. Trouble
4. Tripe Face Boogie
5. Willin'
6. A Apolitical Blues
7. Sailin' Shoes
8. Teenage Nervous Breakdown
9. Got No Shadow
10. Cat Fever
11. Texas Rose Cafe

Angel Dust is the fourth studio album by Faith No More and it was the second to feature Mike Patton on vocals and the final with long time guitarist Jim Martin. To this day it is still held in very high regard as one of the most influential records of the '90s and many consider this album to be Faith No More at their finest. It was on Angel Dust that Mike Patton really came into his own and Billy Gould, Roddy Bottum and Mike "Puffy" Bordin, thanks to the success of The Real Thing, had more confidence in their ability to create the album they truly wanted to. At the same time, guitarist Jim Martin began to become dissatisfied with the direction that their music was going and after touring to support Angel Dust in the summer of 1992, he exited the band due to internal conflicts. Here on Mobile Fidelity Numbered Limited Edition 180g Double LP!

Track Listing:

1. Land Of Sunshine
2. Caffeine
3. Midlife Crisis
4. R.V.
5. Smaller And Smaller
6. Everything's Ruined
7. Malpractice
8. Kindergarten
9. Be Aggressive
10. A Small Victory
11. Crack Hitler
12. Jizzlobber
13. Midnight Cowboy

After the success of Heart Like A Wheel, Linda Ronstadt released Prisoner In Disguise in 1975, which further fortified her standing as one of America's most popular interpretive singers. The album yielded two strong singles, her beautiful renditions of the Motown classics "Heat Wave" and "Tracks of My Tears." In addition the album included a banjo-strumming version of Neil Young's "Love Is a Rose," a plaintive pop reading of Jimmy Cliff's reggae classic "Many Rivers to Cross" and a lovely cover of Dolly Parton's "I Will Always Love You." On Prisoner In Disguise Ronstadt delivers another collection of well-crafted, carefully arranged rock, pop and country songs that wonderfully exemplify her fine talent and taste. Now available on Mobile Fidelity Numbered Limited Edition 180g Vinyl!

Track Listing:

1. Love Is A Rose
2. Hey Mister, That's Me Up On The Jukebox
3. Roll Um Easy
4. Tracks Of My Tears
5. Prisoner In Disguise
6. Heat Wave
7. Many Rivers To Cross
8. The Sweetest Gift
9. You Tell Me That I'M Falling Down
10. I Will Always Love You
11. Silver Blue

Art Pepper The Way It Was! On Numbered Limited Edition 180g Vinyl LP

Art Pepper’s The Way it Was! was recorded for Contemporary between 1956-60 and the album is built around four previously un-released tunes pairing Pepper with the tenor of Warne Marsh. Filling out the program are three incredible tracks from Pepper's 1960 masterpieces Gettin' Together and Intensity as well as a cut from his 1957 release Meets the Rhythm Section. Supported by the likes of Paul Chambers, Philly Joe Jones, Wynton Kelly, Jimmy Cobb and Red Garland, their workouts on the standards “The Man I Love,” “Autumn Leaves” and especially “The Way You Look Tonight” establish a brilliant east-coast meets west-coast summit. Art's creamy alto more than holds it's own with some of New York's bop-elite, resulting in a masterpiece in its own right. Now here on Mobile Fidelity Numbered Limited Edition 180g Vinyl!

Track Listing:

1. I Can't Believe You're In Love With Me
2. All The Things You Are
3. What's New
4. Tickle Toe
5. The Man I Love
6. Autumn Leaves
7. The Way You Look Tonight

Foghat Fool For The City On Numbered Limited Edition 180g Vinyl LP

Foghat's fortunes turned around with their 1975 release Fool For the City, which was their first album to go platinum and it introduced the band to Top 40 radio with the enduring rock favorite "Slow Ride." Fool For The City still stands as the group's finest achievement and its well-crafted and ambitious set of tunes is the perfect representation of the road-tested band and of '70s hard rock. Now here on Mobile Fidelity Numbered Limited Edition 180g Vinyl!

Track Listing:

1. Fool For The City
2. My Babe
3. Slow Ride
4. Terraplane Blues
5. Save Your Loving
6. Drive Me Home
7. Take It Or Leave It

Marshall Crenshaw Marshall Crenshaw On Numbered Limited Edition 180g Vinyl LP

Bored with his role as John Lennon in the musical Beatlemania in February of 1980, Marshall Crenshaw decided to try his hand at songwriting. By August of that year, he was playing his songs at gigs around Manhattan with his drummer brother, Robert and bassist Chris Donato. After singer Robert Gordon recorded three of his tunes, Crenshaw was signed by Warner Brothers and this, his self titled debut album was released in 1982. It was immediately lauded as a pop masterpiece and Crenshaw was recognized as a first-rate songwriter, singer and guitarist. Gems like "Someday, Someway," "She Can't Dance" and "Not for Me," all remain timeless classics that add up to one of the finest debuts of its day. Now here on Mobilie Fidelity Numbered Limited Edition 180g Vinyl!

Track Listing:

1. There She Goes Again
2. Someday, Someway
3. Girls
4. I'll Do Anything
5. Rockin' Around in N.Y.C.
6. Usual Thing, The
7. She Can't Dance
8. Cynical Girl
9. Mary Anne
10. Soldier of Love
11. Not For Me
12. Brand New Lover

"Mobile Fidelity is back...BIG TIME! In continuation of the world's most sought after series of the world’s finest LP reissues, MFSL returns with one of rock and roll’s most important visionaries and a rock classic no collection should be without: John Lennon - Imagine. No one needs to be reminded of the historical significance of this masterpiece from one of music's most influential artists. For the very first time, Imagine is reproduced with clarity never before heard. Mastered from the original master tape from Yoko Ono's recent remix, this MFSL UltraAnalog GAIN 2™ LP version fleshes out deep, tuneful bass, unprecedented instrument spatiality and a vocal clarity that finally does justice to John's brilliant vocals. From ferocity to fragility, MFSL’s mastering refines the wide emotional range and sheer beauty that is John Lennon’s Imagine. The title cut alone may be the most important single from any of the individual members of the Beatles! We highly recommend keeping an extra sealed copy around!" MFSL

Imagine
Crippled Inside
Jealous Guy
It's So Hard
I Don't Wanna Be A Solider Mama
GImme Some Truth
Oh My Love
How Do You Sleep?
How?
Oh Yoko!

"Sometimes overlooked, John Lennon's Mind Games draws upon an immediate kinship with Plastic Ono Band & Imagine and features several of Lennon's best work including the title track, "I Know (I Know)", "You Are Here", and "Out Of The Blue" among others. MFSL consulted heavily with the staff at Abbey Road Studios to ensure the best GAIN (Greater Ambient Information Network) 2 remastering possible on this Ultra Analog LP. The result is a new sonic standard for this underappreciated 70's rock classic." MFSL

Mind Games
Tight As
Aisumassen (I'm Sorry)
One Day (At A Time)
Bring On The Lucie (Freda Peeple) Nutopian International Anthem (three seconds of silence)
Intuition
Out The Blue
Only People
I Know (I Know)
You Are Here
Meat City

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"The intense emotional intimacy of this timeless masterpiece is fully realized via Mobile Fidelity's proprietary GAIN 2 (Greater Ambient Information Network) mastering process which enables the maximum amount of musical information to be extracted from the original master recording. Introspective and painfully personal, Plastic Ono Band is an extremely courageous solo debut for a man who was already subjected to an unprededented level of public scrutiny. Yet there is no conflict or compromise here between art and commerce here - Lennon clearly serves his muse. Where as the Beatles sang of a pending social revolution, on Plastic Ono Band, Lennon unleashed one. Musically, diverse elements of rock & roll, folk, and heartfelt balladeering are melded together and anchored by John’s haunting voice and melodic brilliance. Thankfully, the timeless intimacy and thoughtful meaning behind these songs are finally unveiled via Mobile Fidelity’s GAIN 2 Ultra Analog mastering process." MFSL

Mother
Hold On
I Found Out
Working
Isolation
Remember
Love
Well, Well, Well
Look at Me
God
My Mummy's Dead
Power to the People
Do the Oz

This title not eligible for further discount.

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.

Track Listing:

1. Debaser
2. Tame
3. Wave Of Mutilation
4. I Bleed
5. Here Comes Your Man
6. Dead
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
13. Hey
14. Silver
15. Gouge Away

"Bachelor No. 2 or the last remains of the dodo was recorded at the same time as Aimee Mann's soundtrack to the film Magnolia (in fact, this album contains four of the same songs). The multi-layered keyboards and interwoven guitars provided this former 'Til Tuesday lead singer and songwriter with the perfect backdrop for her distinctive and intimate voice.

Not quite a song cycle, the dark and incisive lyrics are melded with gorgeous melodies. Her collaborators include producer Jon Brion, Heartbreaker pianist Benmont Tench, singers Juliana Hatfield and Grant Lee Phillips, and most significantly in many capacities, Michael Penn. The meticulously mix was handled by Bob Clearmountain.

From Rolling Stone’s four-star review to Entertainment Weekly’s picking it as one of the top 10 albums of 2000 to England’s Mojo describing its “scintillating brilliance,” this disc is universally acclaimed as the work of one of America’s most exquisite songwriters. The complete illustrated lyrics are included." MFSL

1. How Am I Different
2. Nothing Is Good Enough
3. Red Vines
4. The Fall Of The World's Own Optimist
5. Satellite
6. Deathly
7. Ghost World
8. Calling It Quits
9. Driving Sideways
10. Just Like Anyone
11. Susan
12. It Takes All Kinds
13. You Do

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Let the Good Times Roll: Half-Speed Mastered LP Sounds Amazing!

The Cars’ Classic 1978 Debut a Veritable Greatest Hits Album: Nearly Every Song a Radio Staple

"My Best Friend's Girl," "Just What I Needed," "You're All I've Got Tonight" Among the Tunes on the Hit Parade

One of the most successful and enjoyable debuts in history, The Cars’ self-titled album doubles as a greatest-hits collection. That’s because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became America’s most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: “You’re All I’ve Got Tonight.” “Good Times Roll.” “Just What I Needed.” “Moving in Stereo.” “My Best Friend’s Girl.” “Don’t Cha Stop.” If you’re a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.

Led by Ric Ocasek and Benjamin Orr, the Cars managed to unite then-disparate styles: bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orr’s low, understated singing and Ocasek’s cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accents—country-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.

The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. It’s impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Baker’s stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Baker’s trademark touches with harmony vocals abound.

And now, The Cars sounds better than it has in any previous incarnation. Half-speed mastered from the original analog tapes, Mobile Fidelity’s numbered limited-edition LP allows the music’s oscillating rhythms, futuristic keyboard passages, panned stereo images, and rippling textures to be experienced like never before. The songs take on a surreal quality, the Cars manipulating the vibrant music at will to mesmerize the listeners’ senses and hold them at bay. Mobile Fidelity’s unparalleled pressing epitomizes the sensation of “moving in stereo!”

Track Listing:

1. Good Times Roll
2. My Best Friend's Girl
3. Just What I Needed
4. I'm in Touch With Your World
5. Don't Cha Stop
6. You're All I've Got Tonight
7. Bye Bye Love
8. Moving in Stereo
9. All Mixed Up

How did the Cars move beyond their smash 1978 debut (also available on Mobile Fidelity 180-gram LP) and secure their status as one of music’s leading bands for years to come? Look no further than the quadruple-platinum Candy-O. Continuing along the streamlined pop paths of its predecessor, the sophomore effort is preoccupied with desirable women that are as mysterious, sexy, and cool as the group’s music—and the record’s pin-up cover.

With rare exception, few new-wave artists enjoyed much of a career outside of a one-hit wonder. Candy-O proves the Cars were anything but. It’s loaded with minimalist atmospherics, pulsing bass lines, catchy refrains, and labyrinthine synthesizers that stick in your mind for days. And while retaining a simplicity that’s a Cars hallmark, the album also takes myriad stylistic detours: the glam-rock accents of “Dangerous Type,” a song whose title references the record’s mysterious and lusty matter; the percolating riffs of the contagious title track; the dizzying garage-rock nature of the upbeat “Got a Lot on My Mind,” complete with a tooting Farfisa organ. Nothing drags or feels out of place.

Through it all, vocalists Benjamin Orr and Ric Ocasek keep their heads about themselves, singing in direct albeit detached tones that convey the tension, excitement, and risky promise inherent in the lyrics. Hook-laced choruses abound. Yet all is not what it seems.

“Hooks are mechanical by nature, but the affectlessness of these deserves special mention; only listeners who consider "alienation is the craze" a great insight will find much meaning here. On the other hand, only listeners who demand meaning in all things will find this useless. Cold and thin, shiny and hypnotic, it's what [the Cars] do best--rock and roll that is definitely pop without a hint of cuteness.” –Robert Christgau, The Consumer Guide

Half-speed mastered from the original analog tapes, Mobile Fidelity’s numbered limited-edition LP brings the Cars’ distinctive melodies and exotic arrangements to the fore in ways that have never been heard outside of the recording studio. For the first time, Roy Thomas Baker’s vocal production shines, with each member’s contributions rescued from a cold sonic murk that detracted from the music’s impact on both vinyl and the extremely compressed CD. Once you hear the newly uncovered dynamics and rich textures, you’ll be wondering where they were all of these years. Chalk this up as an essential addition to your pop collection.

Track Listing:

1. "Let's Go"
2. "Since I Held You"
3. "It's All I Can Do"
4. "Double Life"
5. "Shoo Be Doo"
6. "Candy-O"
7. "Nightspots"
8. "You Can't Hold On Too Long"
9. "Lust for Kicks"
10. "Got A Lot On My Head"
11. "Dangerous Type"

One of the most acclaimed albums of his career, Sinatra & Strings is a brilliant collection of standards sung with spectacular passion and feeling by Frank Sinatra, who at the time of the November 1961 recording, was in peak condition. The 1962 set is Sinatra’s first with arranger Don Costa, and stands as their finest collaboration.

Every song here is a classic ballad, every performance an elegant masterstroke. Sinatra achieves sublime perfection, and several tracks here became the definitive versions with which he’s now forever associated. For instance, the rendition of “Night and Day” is the singer’s third on record, but it’s the best. So, too, is Sinatra’s run through “All or Nothing At All,” preceding the swinging version by five years. And the bold interpretation of “Stardust,” on which Ol’ Blue Eyes only croons the verses, stands as a testament to the natural chemistry between Sinatra and Costa.

Most importantly, Sinatra infuses the material with the rarified kind of genuine emotion, evocative phrasing, universal pathos, and gorgeous tones that made him legend. His deepening baritone provides a keen match with Costa’s lush string arrangements and methodical pace. Anyone who believes that Sinatra’s best work was during his time with Capitol needs to hear this grand, magnificent album, which is as good as anything he ever recorded. Love songs don’t come any more sincere, romantic, dramatic, or intense.

Half-speed mastered from the original analog tapes, Mobile Fidelity’s numbered limited-edition 180-gram LP presents Sinatra & Strings with a premium sonic fidelity that no other edition, including the original vinyl, has ever had. Aware of the high quality demanded by discerning Sinatra fans, MoFi engineers took their time in extracting every possible detail and nuance from this gem, resulting a pressing that makes Sinatra and the orchestra come alive in your room. Nothing is artificially exaggerated or boosted; what you hear is what the artists intended, and the rich sound on this vocal album will satisfy your every need and desire. For Sinatraphiles, this is the ultimate.

Track Listing:

1. "I Hadn't Anyone Till You"
2. "Night and Day"
3. "Misty"
4. "Stardust"
5. "Come Rain or Come Shine"
6. "It Might as Well Be Spring"
7. "Prisoner of Love"
8. "That's All"
9. "All or Nothing at All"
10. "Yesterdays"

When you think about great live albums, several immediately come to mind. The Who’s Live at Leeds. James Brown’s Live at the Apollo. The Allman Brothers Band’s Live at Fillmore East. Kiss’ Alive! Nirvana’s Unplugged. And, while it is sometimes unjustifiably forgotten, Little Feat’s Waiting for Columbus. The last essential album the rootsy California band made, it stands as the group’s peak accomplishment—a 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 ages—and 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 band’s 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.

Track Listing:

1. Join The Band
2. Fat Man In The Bathtub
3. All That You Dream
4. Oh, Atlanta
5. Old Folks Boogie
6. Time Loves A Hero
7. Day Or Night
8. Mercenary Territory
9. Spanish Moon
10. Dixie Chicken
11. Tripe Face Boogie
12. Rocket In My Pocket
13. Willin'
14. Sailin' Shoes
15. Feats Don't Fail Me

Largely written on tour in hotel rooms and on the bus, Elvis Costello’s Armed Forces takes personal politics to a new level. A supremely melodic and hook-laden record, the 1979 set is a showcase of scintillating keyboard lines, sharp guitar work, and the most cohesive arrangements of Costello and the Attractions’ career. In every way, this is a pop masterpiece, defined by hits such as “Accidents Will Happen,” “Oliver’s Army,” and the anthemic “What’s So Funny ‘Bout Peace Love and Understanding?” You need this record.

While less musically intense than the preceding This Year’s Model, Armed Forces doesn’t let up in the lyric department. Costello’s narratives are loaded with paranoia, irony, bitterness, and scathing humor. Originally titled Emotional Fascism, the singer’s third consecutive masterpiece is inspired by billboard sign slogans, insular observations, and social behavior that Costello found applicable to his own situation. “Oliver’s Army,” “Green Shirt,” and “Senior Service” address systemic governmental control. “Big Boys,” “Two Little Hitlers,” and “Accidents Will Happen” also concern control and betrayal—but that of the interpersonal nature.

Given the luxury of six weeks in the studio, Costello and the Attractions responded with spacious arrangements and a few extra touches and instrumental colors that add to the songs’ charm. Steve Nieve employs a monophonic Minimoog keyboard and pianos patterned after Abba’s sweet pop; whispers are exaggerated into black comedy shouts on “Goon Squad”; layered and echoed vocals provide the illusion of several Costello voices on multiple tracks. The band is of a piece, constantly in harmony and on the same page.

Half-speed mastered from the original tapes, Mobile Fidelity’s numbered limited-edition 180-gram LP presents the vibrant dynamics of Armed Forces’ timeless pop songs in the highest possible fidelity. This album has never sounded so full, rich, airy, spacious, detailed, or necessary. The textures and voicings of Nieve’s keyboards are alone worth the investment. This pressing will have you dancing in the aisles and analyzing Costello’s brilliant turns of phrase for years to come.

Track Listing:

1. Accidents Will Happen
2. Senior Service
3. Oliver's Army
4. Big Boys
5. Green Shirt
6. Party Girl
7. Goon Squad
8. Busy Bodies
9. Sunday's Best
10. Moods For Moderns
11. Chemistry Class
12. Two Little Hitlers
13. (What's So Funny 'Bout) Peace, Love And Understanding?

The first record he made with his legendary backing band the Attractions, This Year’s Model is Elvis Costello’s most explosive and urgent album. Picking up where his fine My Aim Is True left off, the British singer/guitarist blasts through 13 excellent tracks with the fervent purpose and headlong pace of someone who has a cab waiting for him outside.

Stylistically versatile, deeply varied, and melodically catchy, this where Costello came into his own—and where the chemistry between virtuosic keyboardist Steve Nieve, bassist Bruce Thomas, and drummer Pete Thomas produced one of rock’s best groups. A dynamic maelstrom of emotional spite, bitter frustration, sexual angst, and caustic political commentary, the 1978 set boosted Costello’s star and yielded innumerable standards: the undying MOR protest “Radio Radio,” fervent “Pump It Up,” smart “(I Don’t Want to Go to) Chelsea,” and spunky “No Action” are all here.

While often cited as Costello’s “angry” record, This Year’s Model has more to do with disappointments and denials. The album bursts forth with a savage energy not possible without the Attractions, which are responsible for the songs being built from the ground up. Where Costello’s voice and twangy guitar dominate My Aim Is True, here, sizzling rhythms and Nieve’s colorful organ runs anchor the foundations. This is a group effort, with Costello’s biting lyrics taking chances and forcing the listener to mull double meanings all the while the music zooms by at a fast clip.

More than 30 years after its original release, This Year’s Model will still leave you breathless. Railing against unachievable desires, Costello and company delight in the anguish, and spit such torment back out in the form of hook-ridden music that functions as a brilliant form of situational confirmation and emotional catharsis.

Half-speed mastered from the original tapes, Mobile Fidelity’s numbered limited-edition 180-gram LP brings This Year’s Model’s vicious songs to the forefront like never before. Punchier, gutsier, and livelier than any of the myriad CD remasters, this analog edition offers a transparent window onto the Attractions' loose interplay, Nieve's carnivalesque organ work, and rabid pounce of the Thomas-Thomas rhythm section. Here, for the first time, are previously buried tones, textures, and details. It took years to happen, but this is how This Year’s Model was always supposed to sound.

Track Listing:

1. No Action
2. This Year's Girl
3. The Beat
4. Pump It Up
5. Little Triggers
6. You Belong to Me
7. Hand in Hand
8. (I Don't Want to Go To) Chelsea
9. Lip Service
10. Living in Paradise
11. Lipstick Vogue
12. Night Rally
13. Radio, Radio

Elvis Costello’s 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 hasn’t 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 singer’s 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 isn’t 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 couldn’t 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 band—Clover, 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 weren’t 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 tapes—not from copies as so many other versions are—and 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 Costello’s 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.

Track Listing:

1. "Welcome To The Working Week"
2. "Miracle Man"
3. "No Dancing"
4. "Blame It On Cain"
5. "Alison"
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

Stuffed with first-rate songwriting, humorous lyrics, and laidback funk, Dixie Chicken is Little Feat’s pinnacle studio album. The easygoing 1973 classic benefits from the departure of bassist Roy Estrada in that his exit meant the arrival of three new musicians: guitarist Paul Barrere, percussionist Sam Clayton, and bassist Kenny Gradney. The new additions fill out the band’s sound and expand the stylistic palette, resulting in a more diversified rhythmic foundation and improved instrumental support. Little Feat also turn to New Orleans-rooted R&B for inspiration. It's this infatuation with the Big Easy, and supreme execution of the cajun-spiced style, that makes Dixie Chicken eminently enjoyable and soulful.

Leader and songwriter extraordinaire Lowell George is also at the top of his game. Standards such as the acoustic “Roll Um Easy,” keyboard-drenched “Kiss It Off,” and adroit title track hook the listener from the start, as does the timeless “Fat Man in the Bathtub,” a tune that continues George’s knack for twisted storytelling. Legendary New Orleans arranger Allen Toussaint contributes the intoxicating “On Your Way Down,” which the sextet turns into a slow dark blues that ripples with rock overtones. Thick grooves and sultry riffs abound throughout this brilliant set.

And ensemble playing doesn’t get any better. Splitting the line between taut studio perfection and loose jamming, Little Feat lays down some of the most exhilarating slide-guitar and colorful percussive work heard on record. Several distinguished guests contribute to the party: Bonnie Raitt, Bonnie Bramlett, ex-Rolling Stone Mick Taylor, and multi-instrumentalist Fred Tackett among them. In every sense, Dixie Chicken is the epitome of early 70s American rock and roll—funny, smart, relaxing, cohesive, melodic, smooth, stylish, engaging.

Mastered from the original master tapes, Mobile Fidelity’s numbered limited-edition 180-gram LP allows Dixie Chicken to be experienced like never before. The first available domestic remastering, and only edition restored from the original source tapes, this is the only version to own. The sonic improvements will have you jumping for joy.

Track Listing:

1. Dixie Chicken
2. Two Trains
3. Roll Um Easy
4. On Your Way Down
5. Kiss It Off
6. Fool Yourself
7. Walkin' All Night
8. Fat Man In the Bathtub
9. Juliette
10. Lafayette Railroad

Beck’s Sea Change remains the best record of the indie icon’s career. And how. The sonic chameleon shocked the world in 2002 with this warm-sounding folk-pop album—a sincere, honest, and mature meditation on the end of a nine-year relationship with his girlfriend. As for the vocalist’s trademark irony, sarcasm, and humor? Not here. In their place is an affecting emotionalism to which anyone who’s ever been in (or out) of love will relate. The music is equally personal and meditative. Gorgeous string arrangements come courtesy of his father, David Campbell, and illustrate the heartbreak that informs the beautiful melodies and tranquil moods.

Best of all, this album is anything but a bummer. Intending to be heard to from start to finish, Beck begins the record with songs conveying emptiness and loss, and gradually moves on to narratives that detail what changes are necessary to regain a sense of identity, purpose, and feeling. By the time he reaches the concluding “Little One,” the healing has begun. Consider this Beck’s mellowest gold—a feat confirmed by its selection as the #2 record of 2002 on Village Voice’s all-encompassing Pazz & Jop poll.

And now, thanks to truly painstaking remastering efforts, this embraceable and intimate gem sounds better than ever. No lie. Master tapes of every cut were delivered to Mobile Fidelity engineers on a separate reel, with the finished product taking months to perfect. Unlike previous digital versions, no compression or dynamic processing was used, making this half-speed mastered 180-gram 2-LP set not just the definitive version — it’s the only analog version worth owning!

Track Listing:

1. The Golden Age
2. Paper Tiger
3. Guess I'm Doing Fine
4. Lonesome Tears
5. Lost Cause
6. End Of The Day
7. It's All In Your Mind
8. Round The Bend
9. Already Dead
10. Sunday Sun
11. Little One
12. Side Of The Road

Live In Paris is Frank Sinatra’s definitive concert album. Yes, there are many good ones—Sinatra at the Sands is also among the finest—but none better captures the essence of the singer’s voice, showmanship, and command than this 1962 session, which remained unreleased until 1994. Backed only by a sextet, the main focus here is on Sinatra’s peerless singing, phrasing, and style. Needless to say, the iconic crooner doesn’t disappoint.

It’s impossible to overstate the magnificence of the interpretations on this set. Looking for the ultimate renditions of “My Funny Valentine,” “In the Still of the Night,” “One for My Baby,” “Night and Day,” and “Ol’ Man River”? Search no more. Sinatra’s readings of these classics exceed his superb studio versions, as well as those that appear on other live albums. And consider the setlist: “The Lady is a Tramp,” “Come Fly With Me,” “Chicago,” “I Could Have Danced All Night.” Superb. And Sinatra is simply “on,” bringing a combination of swinging enthusiasm, reverent charm, and dignified emotion to standards. He triumphs with a powerful voice yet affected by the ravages of time and cigarettes.

Fans of Sinatra at the Sands should take note. Sinatra in Paris is much more intimate, with the scaled-down arrangements and small band allowing songs to bask in the glory of Ol’ Blue Eyes’ voice. Yes, Sinatra’s period onstage comments can seem crude. But they take nothing away from the sheer superiority of this recording.

Ever since its release, the lone drawback to Sinatra in Paris has been that of the inferior sound quality. Lament the shortcoming no more. Half-speed mastered from the original tapes and pressed onto two slabs of quiet 180-gram vinyl, Mobile Fidelity’s numbered limited-edition 2-LP set lifts the veil on the music and allows it to soar with a richness, texture, openness, and presence that have until now gone missing. You will swoon over the improvements.

Track Listing:

1. Introduction - Charles Aznavour
2. Goody Goody
3. Imagination
4. At Long Last Love
5. Moonlight in Vermont
6. Without a Song
7. Day In - Day Out
8. I've Got You Under My Skin
9. I Get a Kick Out of You
10. Second Time Around
11. Too Marvelous for Words
12. My Funny Valentine
13. In the Still of the Night
14. April in Paris
15. You're Nobody 'Til Somebody Loves You
16. They Can't Take That Away from Me
17. Chicago
18. Night and Day
19. I Could Have Danced All Night
20. One for My Baby
21. Foggy Day
22. Ol' Man River
23. Lady Is a Tramp
24. I Love Paris
25. Nancy (With the Laughing Face)
26. Come Fly With Me

“I don't believe in overly moralistic philosophies. Have your sex, it can be exciting, if you're lucky. I hope the music that I present here makes you lucky.” - Marvin Gaye

Let’s Get It On was released on August 28, 1973 and quickly became the biggest-selling recording of Marvin Gaye’s tenure with Motown.

The album peaked at #2 on the Billboard Pop Albums chart and remained at the top of the Soul Albums chart for eleven weeks, making it the best-selling R&B album of 1973. At that time, the single "Let's Get It On" was Motown's largest-selling recording ever, selling over three million copies within 2 years of its release. Let’s Get It On contains 3 top 100 hits, “Let’s Get It On”, “Come Get To This” and “You Sure Love To Ball.”

Track Listing

1. Let's Get It On
2. Please Stay (Once You Go Away)
3. If I Should Die Tonight
4. Keep Gettin' It On
5. Come Get To This
6. Distant Lover
7. You Sure Love To Ball
8. Just To Keep You Satisfied

Mobile Fidelity Sound Lab has obtained the master tapes of this landmark album and for the first time What’s Going On will be released on 180g UTLRA ANALOG LP. As with all Mobile Fidelity Sound Lab releases, meticulous attention to detail is paid during the transfer process.

Marvin Gaye’s What’s Going On was a landmark recording and is considered one of the greatest albums ever made. Rolling Stone named it Album Of The Year when it came out and, in 2003, it was ranked number 6, the highest for a non-rock album, in Rolling Stone’s 500 Greatest Albums Of All Time. Originally, the title cut was recorded as a single, and Motown chief Berry Gordy refused to release it, citing that it was too personal and political. "What's Going On" became Motown's fastest-selling single at that point, going to the number one spot on the R&B charts for five weeks and number two for three weeks on the Pop listings, which lead Gordy to request a full album's worth of material.

“What's Going On”, the single, was recorded in June of 1970. The remainder of the album was recorded in March-May of 1971 and was released on May 21st of that year. It was produced entirely by Marvin Gaye.

1. What's Going On
2. What's Happening Brother
3. Flyin' High (In The Friendly Sky)
4. Save The Children
5. God Is Love
6. Mercy Mercy Me (The Ecology)
7. Right On
8. Wholy Holy
9. Inner City Blues (Make Me Wanna Holler)

On September 13, 1969, John Lennon stepped up onto a Toronto stage in front of 20,000 grateful fans. This was John’s first large-scale performance in over 4 years. This was to be the world’s first look at John and Yoko’s Plastic Ono Band. To make this show even more spectacular, John brought along Eric Clapton and his blistering guitar for the show! The band starts off with three incredible rock ‘n roll covers: “Blue Suede Shoes,” “Money,” and “Dizzy Miss Lizzy.” John is in great voice throughout the show and hearing him trade licks with Clapton is quite spectacular. Next up is a killer performance of “Yer Blues” from “The White Album” and John’s new original, “Cold Turkey.” John comes up to the mike and announces, “This is what we came for…really,” and launches into “Give Peace a Chance.” Then John announces, “Now Yoko is gonna do her thing…ALL OVER YOU!” That’s when things get a little interesting! Two cuts of Yoko’s improvisational “singing” filled with screams, chants and cries for peace. A little insight into the world’s perspective on John and Yoko’s relationship. Mobile Fidelity has done an incredible job re-mastering this album; the sound is a serious upgrade from the original release. Live Peace comes with the original calendar is updated for the year 2007. We strongly encourage everyone to check this one out!

Track Listing:

1. Blue Suede Shoes
2. Money
3. Dizzy Miss Lizzie
4. Yer Blues
5. Cold Turkey
6. Give Peace a Chance
7. Don't Worry Kyoko (Mummy's Only Looking for Her Hand in the Snow)
8. John, John (Let's Hope for Peace)

You Won't Believe Your Ears: Half-Speed Mastered Sound from Original Master Tapes is Remarkably Lifelike

Brecker's Last Work: Saxophone Legend's Grammy-Winning 2007 Album is an Acknowledged Masterpiece

Jazz Doesn't Get Better Than This: Limited Edition Pressing Will Test the Limits of Your System

Pilgrimage is the last album saxophone colossus Michael Brecker ever recorded. Released just months after he succumbed to leukemia in January 2007, it’s also the late instrumentalist’s hands-down best work—and truly, one of the finest jazz records made during the past 30 years. Winner of two Grammy Awards (Best Jazz Instrumental Album and Best Jazz Instrumental Solo for “Anagram”), Pilgrimage ranked #2 on the DownBeat critic’s poll and topped many year-end lists. And for good reason.

Nothing short of transcendent, the music soars on the resplendent playing of an astonishing quintet of jazz’s heaviest hitters: pianists Herbie Hancock and Brad Mehldau, drummer Jack DeJohnette, guitarist Pat Metheny, and bassist John Patitucci. No, it doesn’t get better than this. Mobile Fidelity is honored to offer this glorious statement on a sonically spectacular half-speed mastered 180-gram 2-LP set that, like Brecker’s swan song, is without equal. You will not believe your ears.

Devoid of melancholic emotion and self-pitying moods, Pilgrimage is a joyous affirmation of life—an invitation to embrace possibilities rather than a sad farewell. The performances are mesmerizing. None of the musicians here can do wrong, particularly the leader, whose solos both weave melodic yarns (“The Mean Time”) and create harmonic contrasts (“Five Months From Midnight”).

Realizing that these sessions would be his last, Brecker's mates match his passion and soul. Absolutely essential listening, Pilgrimage is the energetic sound of John Coltrane’s legacy, the culmination of a visionary talent high on the upbeat rhythms of life. You will feel better about everything in your world after hearing this album.

“On its own terms, Pilgrimage is a stunning achievement: 77 minutes of compelling original music that never loses its edge, solos that soar, dynamic group interplay that communicates wonderfully in the universal language.” –Steve Greenlee, Boston Globe, May 2007

Half-speed mastered from the original tapes and lovingly pressed onto supremely quiet 180-gram vinyl, Mobile Fidelity’s numbered limited-edition 2-LP set of Pilgrimage presents the entire tonal spectrum of the music amidst a wide, deep, natural soundstage. This is one of the best-sounding albums you'll ever hear. High and low frequencies are free of limiting ceilings. Instrumental separation and imaging are stunningly lifelike. Natural dynamics and details abound. Waiting for a truly great and great-sounding modern jazz album? This is it. Pilgrimage gets our highest recommendation.

DO NOT WAIT ON THESE. Once these numbered limited-edition copies are gone, they are gone forever.

Track Listing:

1. The Mean Time
2. Five Months from Midnight
3. Anagram
4. Tumbleweed
5. When Can I Kiss You Again?
6. Cardinal Rule
7. Half Moon Lane
8. Loose Threads
9. Pilgrimage

Make Haste! Grab the Limited-Edition 180g LP of this Classic Now!

Did any musician have more talent at their beckon call during the 70s than Linda Ronstadt? Absolutely not. Part of her impeccable string of mid-1970s albums that defined California’s soft-rock scene, the Grammy-winning Hasten Down the Wind is Ronstadt at her best—and that’s saying something. Consider the watertight repertoire: The Warren Zevon title track. Patsy Cline’s (by way of Willie Nelson) “Crazy.” Buddy Holly’s “That’ll Be the Day.” Nelson’s “Down So Low.” Karla Bonoff’s “If He’s Ever Near.” Ry Cooder’s “The Tattler.”

And then, there’s the supporting cast, which includes Eagles legend Don Henley on drums and harmony vocals, folk-rock legend Peter Asher on guitar, session drumming master Russ Kunkel, and multi-instrumentalist sensation Andrew Gold playing just about everything with strings or skins. Couple this with the thematically revealing cover—in a nod to the escapism of fantasy romance novels, the singer stands on a beach before an ocean and a running horse, her exposing dress a sign of the lovesick vulnerability that colors the songs—and Hasten Down the Wind is the complete package of sensuality, passion, and poignancy.

Now, due to Mobile Fidelity’s trademark sonic restoration, the album finally has the exquisite sound it has always deserved. Listeners can now literally feel Ronstadt’s deep-seeded emotions. Even better, her covers of affecting ballads and midtempo country-rock numbers intentionally revolve around vocal-heavy arrangements. It’s no wonder that the album, which topped the country charts, also yielded two Top 20 hits and resulted in the artist’s first platinum-record award.

But make haste! Quantities are limited, and, unlike Ronstadt’s timeless interpretations, this will not be around forever.

Track Listing:

1. Lose Again
2. The Tattler
3. If He's Ever Near
4. That'll Be The Day
5. Lo Siento Mi Vida
6. Hasten Down the Wind
7. Rivers of Babylon
8. Give One Heart
9. Try Me Again
10. Crazy
11. Down So Low
12. Someone To Lay Down Beside Me

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, 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

Track Listing:

1. Bone Machine
2. Break My Body
3. Something Against You
4. Broken Face
5. Gigantic
6. River Euphrates
7. Where Is My Mind?
8. Cactus
9. Tony's Theme
10. Oh My Golly
11. Vamos
12. I'm Amazed
13. Brick Is Red