Mobile Fidelity / MoFi Record Vinyl Records

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.

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

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.

Track Listing:
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

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.

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

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.

Track Listing:
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)

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.

Track Listing:
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

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.

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)

This title is not eligible for further discount.

Track Listing:
1. I Hadn't Anyone Till You
2. Night and Day
3. Misty
4. Stardust
5. ome 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

Live In Paris (2 LPs) 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

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

(Sings For) Only The Lonely
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)

1981 Album a Return to Pop and a New-Wave Landmark

A return to form after the departure that was 1980’s muddled Panorama, the Cars’ Shake It Up bursts forth with a rich assembly of synthesizers, drum machines, electronic blips, and catchy melodies that make it an early 80s pop staple. Known the world over, the famous title track proves the band’s arrangement skills were in perfect shape and set the stage for a record overflowing with memorable hooks and complementary rock riffs.

Shake It Up also plays witness to primary songwriter/vocalist Ric Ocasek’s increased cynicism and biting wit. While the Cars never took a rosy-eyed view of romance, the songs here impart a newfound sense of sympathy, regret, limbo, and reservation. The beauty of the Cars—and all ten tunes here—is that the music suggests something else entirely. Such subliminal emotions and dynamic contrasts act as a magnet, and the band plays as if it’s in on the secret.

“They've always cultivated a dark side--girls make boys want to end it all even after the boys have grown up. They've always basked in the shadow of Roxy Music, too. But they've never been so stylishly nightmarish--except for the title cut, even the fast ones don't aim for fun.” –Robert Christgau, The Consumer Guide

Apart from the party vibe of the title cut, the Cars aim for deeper targets and smarter undertones. Shake It Up is defined by an urban edginess and modern feel that comes alive on tunes such as “Cruiser” and circular “I’m Not the One,” a pop gem laded with stacked vocals and keyboard lines that double as a horn section. The band’s arrangements have never been better—or more involved. Absent the cheesiness that would mar the group’s late-period work, the songs ride on the strength of keyboard-heavy lines and layered harmonies. You will not be disappointed.

Half-speed mastered from the original analog tapes, Mobile Fidelity’s numbered limited-edition LP focuses on the myriad pitch changes that control the musical directions. Recorded at the band’s Synchro Sound studios by famed Queen producer Roy Thomas Baker, the album takes advantage of electronic textures and varying timbres in immersing the listener in accessible albeit abstract washes of sound. MoFi’s engineers made sure to capture every note and nuance; this marks the first time that Shake It Up has been remastered in any way, let alone from the original tapes.

Track Listing:
1. Since You're Gone
2. Shake It Up
3. I'm Not the One
4. Victim of Love
5. Cruiser
6. A Dream Away
7. This Could Be Love
8. Think it Over
9. Maybe Baby

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

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

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).

Track Listing:
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

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)

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.

Track Listing:
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

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".

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

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

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

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

This title not eligible for further discount.


Track Listing:

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

Sinatra's 1966 Live Album With Count Basie and Quincy Jones as Good as Music, Performance, and Chemistry Get

Half-Speed Mastered from the Original 4-Track Master Tapes for Breathtaking Sound

Audiophiles Will Be in the Copa Room With Sinatra Standing in Front of Them

Frank Sinatra. Count Basie. Quincy Jones. Las Vegas. Combinations and circumstances don’t get any better. And by every measure, Sinatra at the Sands is as good as music gets. Comprised of live material recorded at five nights in early 1966 at the famed Copa Room, Ol’ Blue Eyes’ 22-song album stands as one of his pinnacle achievements, the results a blend of superb chemistry, sparkling arrangements, infallible singing, and contagious energy. As part of its continuing series of essential Sinatra recordings, Mobile Fidelity is proud to offer the record in the most definitive-sounding edition available. Listeners will be transported to a table close to the stage, with the image of a tuxedo-clad Sinatra unfolding right in front of them.

By 1966, Sinatra had conquered the world. His tenure as a teen idol and maturing crooner behind him, he was confident, assured, focused, and quite simply, untouchable. Music’s top arrangers and composers came to him, knowing the magic that he’d bring to their labors of love. It’s for these reasons that Count Basie and his orchestra backs Sinatra here, and why Jones, in demand by everyone, chooses instead to lend his arrangement insights onstage at the Sands. Indeed, Sinatra at the Sands harkens back to the day’s when concerts were a true event, and the album is nothing short that promise. This is a happening you won’t want to miss.

Containing many of Sinatra’s most well-known and celebrated performances--“I’ve Got a Crush on You,” “Fly Me to the Moon (In Other Words),” “Luck Be a Lady” among them--Sinatra at the Sands finds the entertainer in immaculate voice. He improvises lines with effortless and ease, casually adorns lyrics with hidden rhythms, stretches notes to instill meaning and emotion, and utilizes his impeccable knack for phrasing to turn a line and beget instrumental responses that complement each song’s mood. Meanwhile, Basie and Co. swing on uptempo numbers and lay back on melancholy tunes that still bring a tear to the eye.

Warner Bros. executive Stan Cornyn, writing about these very shows, observed that, doing more than sing, “Sinatra turns actor. The man whose broad’s left him with some other guy and all of the loot…And there is silence about, for this audience is watching a man become that last lucked-out guy at the bar, the last one, with no where to go but sympathy city.” And so it goes, Sinatra proving it’s the singer and the song, demonstrating a seemingly unlimited range as he transports you to saloons, romantic parks, lonely streets, and bustling cities. Everything—the pacing, structure, passion, interpretation—is perfect.

Mobile Fidelity has half-speed mastered this exquisite analog set from the original four-track master tapes, originally recorded by engineer Lowell Frank. Clear, big, and sumptuous, Sinatra at the Sands now resonates with previously unheard details, transparency, imaging, projection, smoothness, and dimensionality. Capturing a human voice remains the most difficult recording task. Suffice it to say that this 2LP set will join the ranks of the very best recordings you own.

Track Listing:
1. Come Fly with Me (Jimmy Van Heusen, Sammy Cahn)
2. I've Got a Crush on You (George Gershwin, Ira Gershwin)
3. I've Got You Under My Skin (Cole Porter)
4. The Shadow of Your Smile (Johnny Mandel, Paul Francis Webster)
5. Street of Dreams (Victor Young, Samuel Lewis)
6. One for My Baby (Harold Arlen, Johnny Mercer)
7. Fly Me to the Moon (Bart Howard)
8. One O'Clock Jump(Instrumental) (Count Basie)
9. The Tea Break (Sinatra Monologue)
10. You Make Me Feel So Young (Josef Myrow, Mack Gordon)
11. All of Me (Instrumental) (Gerald Marks, Seymour Simons)
12. The September of My Years (Jimmy Van Heusen, Sammy Cahn)
13. Luck Be a Lady (Frank Loesser)
14. Get Me to the Church on Time (Frederick Loewe, Alan Jay Lerner)
15. It Was a Very Good Year (Ervin Drake)
16. Don't Worry 'Bout Me (Rube Bloom, Ted Koehler)
17. Makin' Whoopee(Walter Donaldson, Gus Kahn)
18. Where or When (Richard Rodgers, Lorenz Hart)
19. Angel Eyes (Earl Brent, Matt Dennis)
20. My Kind of Town (Jimmy Van Heusen, Sammy Cahn)
21. A Few Last Words (Sinatra Monologue)
22. My Kind of Town (Reprise)

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

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

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

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

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?

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

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

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

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

Rickie Lee Jones' Pirates arrives like a cloudburst in the desert of Eighties formula pop music and recycled heavy-metal rock.” So wrote Stephen Holden in Rolling Stone in his five-star review of the eclectic artist’s sophomore album, a set that continues to defy eras and styles. While less-well known than her 1979 self-titled debut, the ambitious 1981 record remains Jones’ definitive statement—an effort steeped in biographical details, fictional circumstances, and classic literary elements.

Narratively blending West Side Story and Romeo and Juliet while also exploring spirit worlds and her breakup with Tom Waits, Pirates is at its core an idiosyncratic fusion of possibilities. And does Jones deliver! Accompanied by an all-star lineup that includes trumpeter Randy Brecker, Steely Dan icon Donald Fagen, drumming colossus Steve Gadd, session pro Victor Feldman, and legendary jazz arranger Ralph Burns, the singer-songwriter achieves a musical nirvana that encompasses post-bop, coffeehouse folk, bohemian pop, romantic soul, Beat poetry, and Broadway showtunes.

Harmonized vocals and jive talking bring the piano-based record’s rich characters to life, making it seem as if listeners are overhearing conversations between strangers. In more than one way, Pirates is a self-contained theatrical production in which Jones’ singing is the star attraction. Her moody whispers, cries, and coos are the voices of spurned lovers, alienated outcasts, and unlikely heroines. Albums with this kind of stylistic magnitude, close-up intimacy, and emotional intensity come around only once or so a decade.

Mobile Fidelity is proud to have had the opportunity to remaster Pirates from the original analog master tapes and produce a version that captures every nuance of this great-sounding studio masterpiece. Co-produced by Russ Titelman and Lenny Waronker (whose long list of credits include Randy Newman, James Taylor, and Eric Clapton records), trust us when we say that this 180-gram LP is one of the finest-sounding pop records you’ll hear. Fans of Steely Dan, Joni Mitchell, Randy Newman, Carole King, and Sarah Vaughan should consider this requisite listening. MoFi’s mini-LP style packaging only adds to the allure.

So don’t hesitate: Be the “Lucky Guy” that Jones sings about on the record by securing your lowest-numbered copy of Mobile Fidelity’s half-speed mastered LP of Pirates today!

Track Listing:
1. We Belong Together
2. Living It Up
3. Skeletons
4. Woody and Dutch on the Slow Train to Peking
5. Pirates (So Long Lonely Avenue)
6. A Lucky Guy
7. Traces of the Western Slopes
8. The Returns

Extraordinary Sound Transports Listeners to a Small Coffeehouse: You Need to Hear This on Vinyl!

Peyroux's Half the Perfect World and Careless Love Also Available on MoFi 180-gram LP

Having proven several times over that she’s among the premier vocal jazz singers on the planet with Half the Perfect World and Careless Love—both available as limited-edition 180-gram LPs from Mobile Fidelity—Madeleine Peyroux makes her mark as a songwriter on the exquisite Bare Bones, her first album of originals. A thematic record that begins with wariness, moves to loss, builds to acceptance, and finishes with hope, the critically acclaimed set is Peyroux’s most soul-baring effort.

The record’s title says it all. Deeply personal and eminently mature, the chanteuse strips everything down, from her emotional guard to the arrangements. Peyroux penned many of the songs with longtime producer Larry Klein (Joni Mitchell), and also co-wrote the standout “You Can’t Do Me” with Steely Dan legend Walter Becker. As expected, a tart wittiness defines the lyrics, demonstrating Peyroux’s continual growth as an artist. Becker's contributions also spice the title track, while noted tunesmiths Joe Henry and Julian Coryell assist on other songs. As usual, the singer enjoys the sparse, elegant backing of a small group of first-rate musicians. Peyroux’s alto vocals shine.

The empress of the jazzy, languid groove does what she has done on her two bestsellers (and her half-forgotten 1996 debut); purr intimately about life and the iniquities of love over retro backings of brushed drums and polite piano that evoke Billie Holiday. –Neil Spencer, The Observer, March 2009

Sonically, Bare Bones continues Peyroux’s tradition of making some of the best-sounding albums around. Her tunes—direct, emotional, beautiful, detailed—benefit from production that emphasizes her strengths and puts a spotlight on the songs, not on any unnecessary tricks or embellishments. This is strictly about the music, its emotional effects on the listener, and the universal healing power of feelings associated with lost love and recovery.

It’s hard to imagine a candlelit cocktail bar that wouldn’t benefit from playing Madeleine Peyroux’s fourth album, Bare Bones. The ear loves to catch on the inflections of her supple alto, the clear picking on her acoustic guitar, the pacing as slow as a hand-stitched dress. –Margaret Wappler, Los Angeles Times, March 2009

Half-speed mastered from the original analog tapes, Mobile Fidelity’s 180-gram 2-LP set enhances the experiences of hearing Peyroux’s languorous gems. Transparent, airy, three dimensional, fully textured, and featuring extended response from the acoustic bass and guitars, this analog pressing puts you in the middle of a coffeehouse, with Peyroux and her small ensemble seated a few feet in front of you. It’s that good.

Mobile Fidelity’s collector's vinyl editions of Peyroux’s earlier hit studio albums have sold quickly. Don’t wait on this.

Track Listing:

1. Instead
2. Bare Bones
3. Damn the Circumstances
4. River of Tears
5. You Can't do Me
6. Love and Treachery
7. Our Lady of Pigalle
8. Homeless Happiness
9. To Love You All Over Again
10. I Must Be Saved
11. Somethin' Grand

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

Sinatra's 1963 Studio Record Features New Takes on His Best-Beloved Classics

Every Song Here Is a Pop Staple: Many of Sinatra's Finest Studio Performances

Half-Speed Mastered from the Original Master Tapes for Fabulous Sound

You can't argue with a legend. And you can't argue with success. So when Frank Sinatra noticed that his former labels, Columbia and Capitol, were banking on his earlier hits by issuing compilations of older material, he decided he'd one-up their strategy. The singer had just formed Reprise, his own imprint, and immediately took control. Released in 1963, Sinatra's Sinatra is true to its name: The enchanting album features Ol' Blue Eyes revisiting a dozen of his best tunes, all selected by the singer, and all deemed to be among his all-time favorites. But what's most important are the performances, and they are amazing, equaling or besting the originals in terms of scope, sound, and phrasing.

As it seems to be with a majority of Sinatra's finest efforts, the involvement of legendary collaborator, arranger and conductor Nelson Riddle looms large. Together, Riddle and Sinatra breathe new life into an incredible selection of pop staples: I've Got You Under My Skin, Witchcraft, Young at Heart, and All the Way among them. Sinatra's voice is richer and more mature here than on the original versions, and Riddle infuses the songs with a drive and tempo that add to their enjoyment.

Loving Sinatra's Sinatra is as simple as the record's concept: You know all of these songs, and Sinatra, motivated to show the world he was at the top of his game, performs the material with ingrained passion and peerless emotion. His vocal inflections, Riddle's brilliant arrangements, and the quality of the songs themselves make for an unbeatable combination. Of course, Sinatra spans a gulf of emotions and moods, be it romantic, ruminative, or playfully riled.

And now, Mobile Fidelity engineers have brought staggering sonics to the equation. Half-speed mastered from the original tapes, the 180g numbered limited-edition LP of Sinatra's Sinatra brings you closer to the music and The Voice. Riddle's arrangements have never sounded more spacious, and Sinatra's convincing timbre is clear, transparent, textured, and unbelievably present. Here is a vocal album that will soon become one of your reference favorites.

Don't wait: Rediscover many of Sinatra's best-known songs on an overlooked gem of a record that, for the first time ever, finally has the sound to go along with the tremendous performances!

Track Listing:
1. I've Got You Under My Skin
2. In the Wee Small Hours of the Morning
3. The Second Time Around
4. Nancy
5. Witchcraft
6. Young at Heart
7. All the Way
8. How Little It Matters How Little We Know
9. Pocketful of Miracles
10. Oh, What It Seemed to Be
11. Call Me Irresponsible
12. Put Your Dreams Away

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.

Track Listing:
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)

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

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 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

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

Track Listing:
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

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