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

Dont 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 Raitts Love Has No Pride, Randy Newmans 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 Bands 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 albums 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 bands 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 Johnsons Me and the Devil Blues and Crossroads, John Lee Hookers Decoration Day and Forgive Me, Bruce Springsteens State Trooper, and Big Joe Williams Baby Please Dont 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 Microphonethe 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 Ill 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 dont 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

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 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 1980s 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 bands 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 Ocaseks 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 Carsand all ten tunes hereis that the music suggests something else entirely. Such subliminal emotions and dynamic contrasts act as a magnet, and the band plays as if its 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 Im Not the One, a pop gem laded with stacked vocals and keyboard lines that double as a horn section. The bands arrangements have never been betteror more involved. Absent the cheesiness that would mar the groups 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 Fidelitys numbered limited-edition LP focuses on the myriad pitch changes that control the musical directions. Recorded at the bands 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. MoFis 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

Original Analog Masters Located After 18 Years and Used for Remaster

Half-Speed Mastering Yields Unprecedented Sound

Also Available on Limited Edition MoFi Hybrid SACD!

The opening instrumental to Bossanova makes it clear that the Pixies werent about to take the same crazed approach on their major-label debut as they did on their initial standout efforts, 1987's Surfer Rosa and 1989's Doolittle, also available from Mobile Fidelity on 180g LP. More straightforward, linear, fluid, subtle, and dreamy, Bossanova finds the band exploring pop structures, dropping psychedelic accents, and satisfying surf-rock urges. While it often verges off-the-beaten path, particularly for mainstream tastes circa 1990, the set is the most accessible and hook-ridden record the Pixies ever made.

Black Francis surreal narratives and breathy delivery flavor tunes like Is She Weird, Velouria, and The Happening, all of which sonically and/or lyrically tie into themes of aliens and sex. Macabre fixations and noisy outbursts take a backseat to tunefulness, putting a spotlight on Joey Santiagos underrated guitar work and Kim Deals complementary back-up vocals. Recognizing the changes, producer Gil Norton bestowed Bossanova with spacious dynamics and wide-open arrangements that allow the music to breathe.

The analog masters for Bossanova had been missing for 18 years before finally being located in 2008 in the WEA tape archives in Los Angeles. This release marks the first time that the original ½-inch analog master tapes have been used since Bossanova was originally released in August 1990. Be assured that this is the very finest version of Bossanova you will ever hear. At long last, the staggering dimensions of the Pixies canyon-wide soundscapes and three-dimensional atmospherics of their nuanced vocals are faithfully reproduced.

An essential document of one of the 20th centurys most vital bands, these numbered limited edition copies will sell out.

Track Listing:
1. Cecilia Ann
2. Rock Music
3. Velouria
4. Allison
5. Is She Weird
6. Ana
7. All Over The World
8. Dig For Fire
9. Down To The Well
10. The Happening
11. Blown Away
12. Hang Wire
13. Stormy Weather
14. Havalina

Anyone put-off by Barber�s artsy flights on her other records will want to put such reservations aside. The Cole Porter Mix is more about the song that how one develops and arrives at an arrangement. There�s no high-arch poetry here, just sumptuous melodies and subtle rhythmic devices. Solo saxophone flights by guest Chris Potter and understated guitar work by longtime Barber foil Neal Alger fill the arrangements with an ideal balance of grit and grace. Factor in Barber�s erotic tones, playful humor, and fine piano playing, and this set of pop standards is love at first listen.

�But like all great jazz artists, Barber in The Cole Porter Mix has brought her own vision to the music at hand, and in so doing she has reinvented works that we might have thought we already knew. If the first line of credit goes to Porter, for having penned lyrics and melodies that withstand constant re-examination, Barber has met the man on his own terms. In effect, she radically has reworked familiar music without crushing the spirit of the originals, a significant achievement.� �Howard Reich, Chicago Tribune, September 2008

And now, that achievement sounds just absolutely brilliant. Half-speed mastered from the original master tapes and pressed on quiet slabs of 180-gram vinyl, Mobile Fidelity�s two-LP edition of The Cole Porter Mix will rival the best-sounding vocal records in your collection. Realizing how crucial Barber�s distinctive phrasing, soft-spoken expressions, and intimate timbre are to the material, MoFi engineers did everything to ensure that every last microtone and microdetail of this close-up recording comes through cleanly, clearly, and accurately.

Track Listing:
1. Easy to Love
2. I Wait for Late Afternoon and You
3. I Get a Kick Out of You
4. You're the Top
5. Just One of Those Things
6. Snow
7. C'est Magnifique
8. Get Out of Town
9. I Concentrate On You
10. In the Still of the Night
11. What Is This Thing Called Love?
12. Miss Otis Regrets
13. The New Year's Eve Song

Originally promoted as twelve of the most uninhibited things Sinatra ever recorded, Swing Along With Me pairs the legendary singer with arranger Billy May, who leads an orchestra that just doesnt quit. Just as impressive, the album features the incredible production standards for which the era is famous. The result: Tour de force vocals, fabulous rhythms, grand interpretations, and vivid sonics.

Of course, the album is true to its title. Sinatra rarely, if ever, swung so hard (and effortlessly) as he does here. Whether its his timing and voice control (Dont Cry Joe), diction and feeling (Please Dont Talk About Me When Im Gone), or note-perfect baritone (Granada), the Chairman makes the most out of Mays brassy arrangements. Several unexpected touchesclassically themed instrumental introductions, Spanish-influenced accentsadd to the allure.

Viewing the record as delivering one giant, swaggering groove after another is simplifying the magic contained within. But Swing Along With Me claims a big-band looseness and nightclub panache that makes it incredibly easy to enjoy. At the time, Sinatra was in the midst of his high-flying Rat Pack days, and he brings that same ring-a-ding-ding spirit to every tune here.

As is the case with all of its Sinatra series reissues, Mobile Fidelitys numbered, limited-edition 180g analog version is mastered from the original master tapes and tops all previous incarnations. The audiophile label is honored to have the opportunity to present this timeless music in pristine fidelity that enhances the transparency, fullness, timbres, and soundstage so that listeners can experience Sinatra as if he and Mays orchestra were only feet in front of them. The connection to the music, and the emotion, is riveting.

Try not to swing along!

Track Listing:
1. "Falling in Love with Love" (Richard Rodgers, Lorenz Hart) 1:49
2. "The Curse of an Aching Heart" (Henry Fink, Al Piantadosi) 2:06
3. "Don't Cry Joe" (Joe Marsala) 3:05
4. "Please Don't Talk About Me When I'm Gone" (Sidney Clare, Sam H. Stept) 2:56
5. "Love Walked In" (George Gershwin, Ira Gershwin) 2:19
6. "Granada" (Dorothy Dodd, Agustín Lara) 3:38
7. "I Never Knew" (Ted Fio Rito, Gus Kahn) 2:14
8. "Don't Be That Way" (Benny Goodman, Mitchell Parish, Edgar Sampson) 2:41
9. "Moonlight on the Ganges" (Sherman Myers, Chester Wallace) 3:18
10. "It's a Wonderful World" (Harold Adamson, Jan Savitt, Johnny Watson) 2:17
11. "Have You Met Miss Jones?" (Richard Rodgers, Lorenz Hart) 2:30
12. "You're Nobody 'Til Somebody Loves You" (James Cavanaugh, Russ Morgan, Larry Stock) 4:09

Miss Sinatra couldn't be more on the nose. Recorded onto 35mm film in 1963 at the Goldwyn Studios Soundstage, the record pairs the Voice with longtime collaborator Nelson Riddle and a gigantic orchestra. Consequently, the album's name refers not to a live performance but the music's epic grandness and the orchestra's huge size. Captured over four sessions in four days, the undertaking involved upwards of 60 musicians.

Thematically, half of the album features Rodgers and Hammerstein compositions while the other half also pulls from popular Broadway shows. True to the theatrical adage of leaving the audience wanting more, The Concert Sinatra will have every listener wishing it lasted forever. Everything here is utterly magnificent. Using his unparalleled breath control techniques and in the best voice of his career, Sinatra matches Riddle's sweeping arrangements, turning in resplendent performances that are as powerful, majestic, and dynamic as Riddle's surging instrumental support.

A number of pieces here-the delicate romanticism of "Bewitched, Bothered and Bewildered" and tremendously poignant "Soliloquy" are commonly cited by Sinatraphiles as among the greatest work Sinatra ever did. But nothing tops the definitive version of "Ol' Man River," revered for the way Sinatra holds the notes, phrases the syllables, and brings the standard's goosebump-inducing emotion to the fore. It's as perfect of a song as you will ever hear.

And hear it you will, with unprecedented clarity, transparency, and detail, on Mobile Fidelity's 180g LP. Mastering from the original tapes, Mobile Fidelity engineers realized how beloved The Concert Sinatra is to music listeners around the world. They invested tremendous care and effort in maximizing every opportunity to draw as much richness, verve, and range as possible from the source material.

So whether you have a later-era 1970s LP pressing, any of the CD versions (including the 2009 remaster), or even a rare 1960s original LP, this edition is the one to own. And if you don't own a copy-well, here's your chance to experience what's possibly the greatest pop album ever made. Prepare to have shivers run down your spine.

Track Listing:
1. "I Have Dreamed" (Richard Rodgers, Oscar Hammerstein II) 3:01
2. "My Heart Stood Still" (Rodgers, Lorenz Hart) 3:06
3. "Lost in the Stars" (Maxwell Anderson, Kurt Weill) 4:11
4. "Ol' Man River" (Hammerstein, Jerome Kern) 4:29
5. "You'll Never Walk Alone" (Rodgers, Hammerstein) 3:11
6. "Bewitched, Bothered and Bewildered" (Rodgers, Hart) 3:02
7. "This Nearly Was Mine" (Rodgers, Hammerstein) 2:49
8. "Soliloquy" (Rodgers, Hammerstein) 8:05

Half-speed mastered from the original analog master tapes, Mobile Fidelitys numbered limited-edition 180g LP possesses a warmth, immediacy, and intimacy that surpasses that available on any of Taylors prior albums, Rhinos analog reissues included. The singers comforting voice, breath control, and enchanting guitar lines sound as if they pour right out of the studio control room, and the splendid array of backing instrumentation is balanced, vivid, and dynamic. Youve never heard Taylor this realistic, warm, or lively.

More than any other of his records, the triple-platinum JT features all sides of Taylors lyrical persona. Optimistic, content material fills half of the set while Taylor also reveals a darker, moodier identity on a number of songs that keep the 12-track set alternating between shade and light, shadow and sun. He turns romantic and blissful on the touching ballad There We Are, praises the power of love on Your Smiling Face, and enchants with the graceful Secret OLife.

In addition to the domestic bliss, Taylor also expresses surprise and cynicism on Honey Dont Leave L.A., delves into despair on Another Grey Morning, and invites sardonic tones on Bartenders Blues. The result is a complete picture of an extraordinary songwriter, and accurate sketches of the mixed emotions so many of us feel. Taylors ability to capture deep-seeded feelings, and set them to lyrical and musical poetry, explains why we relate to him on such a meta-level. Its also why his music, particularly JT, remains timeless.

Taylor doesnt do it all alone. JT benefits from an all-star support cast. Iconic singers Carly Simon and Linda Ronstadt supply background vocals, saxophone great David Sanborn plays the horn, Russ Kunkel mans the percussion, and legendary arranger David Campbell oversees the strings and woodwinds. Its no wonder why many fans consider this gorgeous collection of Laurel Canyon pop-rock Taylors finest.

Mobile Fidelity is honored to have given this easy listening late-70s gem the sonic restoration befitting its brilliant musical content. Whether youve never heard this record or know it inside and out, this 180g analog reissue will open your ears to previously hidden details ranging from pedal-steel guitar accents to honky-tonk tonalities that add to the overall enjoyment. Taylors funky rhythms, too, gain in stature, as does his meticulous command of pace and tempo. Bliss.

Track Listing:
1. Your Smiling Face
2. There We Are
3. Honey Don't Leave L.A.
4. Another Grey Morning
5. Bartender's Blues
6. Secret O' Life
7. Handy Man
8. I Was Only Telling a Lie
9. Looking for Love on Broadway
10. Terra Nova
11. Traffic Jam
12. If I Keep My Heart Out of Sight

Half-speed mastered from the original master tapes, Mobile Fidelitys collectible audiophile edition of this longtime favorite classic-rock staple bursts with tremendous dynamics, soaring vocal timbres, punchy dynamics, and newfound instrumental separation. With more emphasis placed on Mick Jones guitar riffs and meatier grooves, you may just find yourself investing in a new power amp to get every last degree of detail thats been uncovered! Longtime fans will be thrilled to hear the subtle nuances now fully discernible amidst a gargantuan soundstage.

Joined by new bassist Rick Wills, and guided by Queen producer Roy Thomas Baker, Foreigner goes for broke, ratcheting up the muscularity on hard-hitting fare such as the hit single Dirty White Boy, Seventeen, and the aptly titled Rev on the Red Line. However, the group maintains its trademark equilibrium, pushing the limits on toughness yet retaining a diamond-in-the-rough smoothness that allows the bands hummable choruses and winding hooks to take hold.

Moreover, the band expands its use of synthesizers to wonderful effect. The smash title track, through which mesmerizing keyboard passages coarse, is a prime example of Foreigners slight albeit thrilling sonic evolution, the net result upping the drama, fanfare, and color. At the time, the combination was a breakthrough idea. Is it any wonder Head Games sold more than 5 million copies?

None, however, sound anywhere near as lifelike, involving, and rich as Mobile Fidelitys remaster. Part of the reason why late 70s arena rock remains beloved, and why its so fun, owes to the go-for-broke nature of the arrangements, decibel-clearing volume levels, and free license to just let loose. By digging in and revealing all the musical information the master tapes provide, Mobile Fidelitys analog 180g LP amplifies the pleasure principle by tenfold!

Track Listing:
1. Dirty White Boy
2. Love on the Telephone
3. Women
4. I'll Get Even with You
5. Seventeen
6. Head Games
7. The Modern Day
8. Blinded by Science
9. Do What You Like
10. Rev on the Red Line

Half-speed mastered from the original master tapes, Mobile Fidelitys collectible audiophile 180g LP of this longtime favorite classic-rock staple bursts with tremendous dynamics, soaring vocal timbres, bottom-end punch, and newfound instrumental separation. Sure, you may have heard songs such as Double Vision and Hot Blooded countless times, but trust us, youve never really heard them (outside of an arena setting, stadium amplifiers blaring) like this. You may just find yourself investing in a new power amp to get every last degree of detail thats been uncovered!

Synonymous with AOR (album-oriented rock), Foreigner essentially perfects the style throughout this concise, focused, down-and-dirty ten-song set. The key to any memorable 70s rock record is a catchy single, and the quintet has several lying in the waiting. The title track, inspired by New York Rangers goalie John Davidson getting whacked in the head by a hockey puck, spills over with double-entendre meaning, tough-cut riffs, and a rotating groove, not to mention a mystical keyboard refrain. Equally memorable, and a permanent part of any radio stations rotation, Hot Blooded is the ideal come-on, the groups open-ended rhythm and dance-inspiring beats pouring with promise, salaciousness, and ass-kicking sexuality. A terrific power ballad infused with woe and longing, Blue Morning, Blue Day features insistent harmonies and piano notes that grab you by the collar and doesnt let go.

Of course, great songs alone dont make for great records. The bands chemistry and performance needs to be on par with that of the material. And what else can be said of leather-lunged vocalist Lou Gramm and guitar-hero Mick Jones save for the fact the pair combine for a legendary one-two punch, leading their mates through sensational melodies and swaggering leads. Seldom has the balance between tough and polished, light and heavy, fun and reserved been better established and maintained.

Ready to rock out? Wait until you hear Mobile Fidelitys analog remaster. Itll bring back (double) visions of hot stage lights, dry-ice fog, feel-good times, and amplifiers cranked to 10only this time, the experience will take place inside the confines of your own home. Check it and see!

Track Listing:
1. Hot Blooded
2. Blue Morning, Blue Day
3. You're All I Am
4. Back Where You Belong
5. Love Has Taken Its Toll
6. Double Vision
7. Tramontane
8. I Have Waited So Long
9. Lonely Children
10. Spellbinder

Half-speed mastered from the original master tapes, Mobile Fidelitys 180g LP presents 4 in a room-filling, stadium-big sound that simply crushes whats heard on all prior versions. Replete with energetic rockers such as Urgent, Night Life, and Woman In Black, the record benefits from a sonic facelift that opens up the previously compressed dynamics, expands the dimensions of the soundstage, dials in a clear path to the instrumental images, and erases the ceiling that pressed down on Lou Gramms superhuman vocals. For the first time, Langes obsessive, detail-oriented production can be enjoyed in all its splendid glory.

Fresh off blockbuster success with AC/DCs Back In Black, Lange uses his magic touch on 4, pairing with guitarist Mick Jones who, armed with the best batch of riffs of his career, shared a the producers sentiment for discipline, efficiency, and cleanliness. And so, on crisp tunes like Break It Up, pianos and hard-hitting guitars share the same space without ever impinging on one another or overstepping boundaries. The winning formula also propels Top 5 hits like the wildly funky Urgent, sent to new heights by Walkers dazzling saxophone solo, and the touching Waiting for a Girl Like You, a crossover smash that introduced Foreigner to soft-rock and adult-pop audiences.

Simply stated, 4 has everything: Rowdy frustration-releasing cuts, fiery rock n roll tunes, heartfelt torch songs, and synth-drenched pop numbers. The playing throughout positively smokes, as the one-two punch of Gramm and Jones lands with both emotional and musical impact every time. There's not a single wasted note. And, reduced to a quartet, Foreigner seems bent on making more with less, just as Lange does with the polished production. This is 42 minutes of hard-rocking bliss.

Accept no substitute. Mobile Fidelitys collectible audiophile edition will rattle your walls and shake your windows. Be prepared to tap every reserve available from your amplifiers. And play it LOUD!

Track Listing:
1. Night Life
2. Juke Box Hero
3. Break It Up
4. Waiting for a Girl Like You
5. Luanne
6. Urgent
7. I'm Gonna Win
8. Woman in Black
9. Girl on the Moon
10. Don't Let Go

Midler's Grammy-Winning 1972 Debut Announces the Birth of a Superstar

Record Overflows With Energy and Personality: Torch Songs, Girl-Group Classics, Campy Remakes, Theatrical Pieces Delivered With Supreme Emotion Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (Best Plant in North America): Midler's Voice Upfront and Centered, Every Nuance of Her Phrasing Laid Bare

Oh, behave! Bette Midler's sparkling, energy-pulsing 1972 debut features the singer honing her trademark brassy personality as well as showing off an intimate, raw edge that fell by the wayside later in her career. Witness her forlorn, melancholic, and heartbroken moods, all conveyed with supreme emotion on several riveting ballads. But this LP is no downer. Midler offsets any bleakness with playfully campy songs laced with unadulterated enthusiasm and joyous defiance. This is a diva lover's delight. The music is astonishingly alive. A superstar is born!

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents The Divine Miss M with the warmly cozy and front-row perspective that the music demands. Midler's voice is transparent and full, the timbrel shadings colorfully outlined, the vocal images appearing as if she's singing just a few feet away. Similarly, her cast of back-up vocalists (the Harlettes) receives ample face time on songs that come across as if performed by a girl-group revue. Midler has cut many records in her career but none are this entertaining, diversified, and, now, sonically spectacular.

There's always risk associated with interpreting other artists' classics and hits, but Midler makes every song here her own. She injects "Chapel of Love" with extra swagger and feminine gusto. In her hands, the Carpenters' "Superstar" becomes more heartbreaking, filled with desolate sentiment and lonesome ache. John Prine's ballad "Hello In There" echoes, as if sung to an empty room, with forlorn emotion. The 50s smash "Leader of the Pack" positively stomps and declares, her band in tow, that she's not going to be stopped. Indeed, Midler's interpretations of these staples surpass the previous versions, mostly due to her impeccable strong vocals and contagious passion. She doesn't quit. And don't you dare decline her offer on "Do You Want to Dance!"

What else can be said of her trademark "Boogie Woogie Bugle Boy," her update of the Andrews Sisters' jazzy hit landing in the Top 10, featuring a scat vocal (!), and smartly walking the line between campy fun and serious reverence. Similarly, Midler's two takes of "Friends"--the first off-the-cuff, wild, snappy, and humorous; the second slightly cooler and infused with gorgeous harmonies--remain modern marvels. There's not a bad note on this incredible record.

The Divine Miss M has always been prized for its clear, clean production. Mobile Fidelity's Silver Series LP further improves the sound, which, in combination with Midler's performances, make this collectible reissue an absolute no-brainer!

Track Listing:
1. Do You Want to Dance? (Bobby Freeman)
2. Chapel of Love (Jeff Barry, Ellie Greenwich, Phil Spector)
3. Superstar (Bonnie Bramlett, Leon Russell)
4. Daytime Hustler (Jeff Kent)
5. Am I Blue (Jarry Akst, Grant Clark)
6. Friends (Mark Klingman, Buzzy Linhart)
7. Hello In There (John Prine)
8. Leader of the Pack (Jeff Barry, Ellie Greenwich, George Morton)
9. Delta Dawn (Larry Collins, Alex Harvey)
10. Boogie Woogie Bugle Boy (Don Raye, Hughie Prince)
11. Friends (Reprise) (Mark Klingman, Buzzy Linhart)

Guilty Pleasure Records Don't Come Better Than This Freewheeling 1975 Set

Party On: Smash Hits "Get Down Tonight, "That's the Way (I Like It)", "Boogie Shoes" Are All Here

Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (America's Best Record Plant): Wait Until You Hear How Deep and Low the Grooves Go

It's okay to admit it. While few openly confess their love for KC and the Sunshine Band, who among us doesn't light up the instant that the super-catchy "Get Down Tonight" or giddy sing-a-long invitation "That's the Way (I Like It)" begins to play? Yeah, just by reading that last sentence, it's likely you're already humming the tune in your head, or feeling a twitch in your feet. The music is that addictive. And that universally recognized. It's time you finally enjoy it on a pressing that brings everything that's been buried in those deep grooves to the surface.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents the 1975 triple-platinum smash in the absolute best sound it's ever had. The ensemble's brassy horns, funky guitars, tropical percussion, and snappy vocals take their respective place amidst a gargantuan soundstage that, in your listening room, will double as a discotheque. Get your dancing shoes ready!

Coming from a musical strain then known as the Miami Sound, KC and the Sunshine Band perfected its mix of boisterous rhythms, disco-floor grooves, slick funk riffs, R&B hooks, carefree choruses, and dance commands on this self-titled release. The world immediately took notice. Focused on nothing but fun, letting go, and channeling feel-good emotions, the group revolutionized pop music by getting even the most hardened, resistant rock purists to embrace its appeal.

There isn't a better record with which to start or continue a party. Synonymous with celebrations, commemorations, and just blowing off steam, mega-hits "That's the Way (I Like It)" and "Get Down Tonight" transcend boundaries and generations. If youâre within earshot, you will get up and dance. In addition to being utterly irresistible songs, guilty pleasure or not, the fare on KC and the Sunshine Band qualifies as simply great pop, the arrangements, playing, and consistency as good as it gets. As for the grooves? Man, keep 'em flowing.

Rather than live in secrecy or settle for an inferior version, go ahead, indulge yourself, and grab this 70s classic on remastered, audiophile-grade vinyl. You'll be surprised at the amount of new information that's revealed, whether it's the depth of the low frequencies or timbrel properties of the horns.

Track Listing:
1. Let It Go (Part One)
2. That's the Way (I Like It)
3. Get Down Tonight
4. Boogie Shoes
5. Ain't Nothin' Wrong
6. I'm So Crazy ('Bout You)(Casey, Finch, Willie Clarke)
7. What Makes You Happy
8. I Get Lifted
9. Let It Go (Part Two)

Rod the Mod's Definitive Album: Timeless Feel-Good Set Contains Eternal Chart-Topper "Maggie May," Introspective "(Find A) Reason to Believe"

Ranked #172 on Rolling Stone's List of The 500 Greatest Albums of All Time

Stewart's Band Includes His Faces Mates: Ron Wood, Ian McLagan Shine

Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (The Best Plant in America): LP Boasts Organic Warmth and Full-Range Extension

Rod Stewart owned the early 1970s. When he wasn't recording great sets with the Faces, he was redefining how folk, country, and soul music could be folded under rock's umbrella. Filled with first-rate originals and terrific interpretations of classics, Every Picture Tells A Story remains Stewart's watershed moment, a brilliant synthesis of organic warmth, earthy tones, raucous romance, and loose performances. Those who only know Stewart from his later evolution into a sappy balladeer will be overwhelmed.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in America), MoFi Silver Labels' numbered limited edition LP presents the 1971 smash in the most transparent, warm, and full-range sound the music has ever enjoyed. Stewart's supremely soulful vocals come on with insouciant passion and joyous persuasion, the detail allowing listeners to hear into his lungs and feel every breath he draws. His equally superb band is presented amidst an expanded soundstage that's free of artificial ceilings and harshness introduced by several digital remastering editions. The explosive sound is akin to watching a fledgling group come into its own in a small club.

Kicking up the tempo and slightly increasing the edge from his previous solo effort, Stewart transforms blues, folk, country, and soul into a hard-rocking hybrid that maintains acoustic properties but isn't afraid to step out and report on what it's like to have a night out on the town. Anchored by Mick Waller's free-swinging percussion, every song triumphs, with Stewart's slightly hoarse and eminently emotive vocals communicating each word as if they're literally sewn as hearts on his sleeve. Ron Wood's slide guitar and gritty chords complement the singer's earnest conviction, and Ian McLagan's organ adds bittersweet accents. Nothing here is blue; Every Picture Tells A Story is a celebration.

Stewart combines American and British folk styles on the strolling "Mandolin Wind," the touching song epitomizing the simple, direct approach that underpins the entire album. On the breathless title track, Stewart embraces his inner playboy, the tune's likable crude-and-rude swagger sent up on crackling rhythms and visceral harmonies. The British native handles Bob Dylan's "Tomorrow Is A Long Time" and the evergreen "That's All Right" as if he wrote them. The best aspect of Every Picture Tells A Story relates to how genuine and believable Stewart and his good-natured company sound throughout. If you are a fan of rock, soul, folk, or the blues, you owe it to yourself to have a superb copy of this timeless record that shows off its translucent and organic tones, extraordinary vocal performances, and crack backing band. Mobile Fidelity's Silver Label numbered limited edition LP does just that. And it restores one of the most iconic album covers in history. As for that "Classic Edition" statement that's always hovered at the top of the record? Never truer than now.

Track Listing:
1. Every Picture Tells a Story (Rod Stewart, Ronnie Wood)
2. Seems Like a Long Time (Theodore Anderson)
3. That's All Right (Arthur Crudup)
4. Amazing Grace
5. Tomorrow Is a Long Time (Bob Dylan)
6. O. Henry (Martin Quittenton)
7. Maggie May (Rod Stewart, Martin Quittenton)
8. Mandolin Wind (Rod Stewart)
9. I Know) I'm Losing You (Norman Whitfield, Eddie Holland, Cornelius Grant)
10. Reason to Believe (Tim Hardin)

Jam until the break of dawn! Released in 1980, Stevie Wonders brilliant Hotter Than July followed up with a bang a film soundtrack that witnessed the end of the legendary artists Classic Period. And how. Excited after meeting Bob Marley, Wonder embraced reggaes sunnier feel and colorful look on the album, which yielded for Top Ten singles in the U.K. and three charting singles in the U.S. Hotter Than July remains the peerless composers last true masterpiece.

Possessing a slightly faster and jam-oriented direction that Wonders other trademark efforts, the record finds the singer doing what he does best: Crafting memorable arrangements and addictive grooves, all the while ignoring the musical trends that surrounded him at the time. Wonder flirts with a disco pulse on All I Do, yet the main attractions relate to his irrepressible soulfulness. Rather than play everything himself, he switches up his prior methods by employing all-star backing choirs and abundant rhythm sections that grace songs with insouciant tunefulness and buoyant hooks. More than a dozen backing vocalists (including Michael Jackson, Eddie Levert, and Angela Winbush) as well as multiple handclap percussionists are involved in the process.

Historically, Hotter Than July not only marks a return to form, but a launching pad for the now-observed Martin Luther King holiday. With the anthemic Happy Birthday, Wonder issued a call to action and ultimately, got it. The song is line with the mood of the majority of the album: celebratory, positive, and lively. Wonder, however, doesnt abandon his penchant for social critique, as Cash In Your Face stands as a protest against housing discrimination. Simply put, Hotter Than July has it all, and more than 30 years after its original release, continues to burn brightly.

Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition LP of Wonders timeless R&B-bursting work reveals previously obscured colors, tonalities, textures, and dimensions. Sonically, this version is signed, sealed, and delivered, with the express purpose of turning your system into a spirited lounge where Wonder sits at the piano and some of the funkiest, soulful musicians put on a show youll never forget.

Track Listing:
1. Did I Hear You Say You Love Me
2. All I Do
3. Rocket Love
4. I Ain't Gonna Stand for It
5. As If You Read My Mind
6. Master Blaster (Jammin')
7. Do Like You
8. Cash in Your Face
9. Lately
10. Happy Birthday

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

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

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 dont 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. Musics top arrangers and composers came to him, knowing the magic that hed bring to their labors of love. Its 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 days when concerts were a true event, and the album is nothing short that promise. This is a happening you wont want to miss.

Containing many of Sinatras most well-known and celebrated performances--Ive 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 songs 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 broads left him with some other guy and all of the lootAnd 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 its the singer and the song, demonstrating a seemingly unlimited range as he transports you to saloons, romantic parks, lonely streets, and bustling cities. Everythingthe pacing, structure, passion, interpretationis 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)

Never before properly remastered, Mobile Fidelity secured the original master tapes to present this 1973 singer-songwriter masterwork in unparalleled fidelity. The cavity of Joels piano, tension of the strings, and reach of his voice are astounding on this numbered limited-edition LP pressing. The New York native finally seems as if hes playing in your room rather than down the hall.

After the commercial failure of his debut, and resulting legal disputes with his label, a determined Joel took up a six month residency as a lounge singer in Los Angeles. The vocalist continued to pen songs, including his signature track, Piano Man, a fictional narrative motivated by the real-life stories and actions of the patrons he witnessed during his cocktail club residency. Joel also drew inspiration from a fellow peer with whom hed ultimately collaborate on a series of highly successful tours that continue to this day: Elton John. The Englishmans Tumbleweed Connection fueled a creative spurt in Joel, who extends the records Western imagery and bluesy themes.

Ignoring introspection in favor of rich character sketches, Joel utilizes his knack for melodic flair, filling out the songs with comprehensive arrangements and a swift sense of purpose. His talesThe Ballad of Billy the Kid, Captain Jack, Aint No Crimeare supported with phenomenal harmonies and thematic flavors that arrive courtesy of instrumental accents from first-rate players that include guitarist Larry Carlton, banjoist Fred Heilbrun, and drummer Ron Tutt. Joel supplies the requisite emotions, and Piano Man oozes with life.

Mobile Fidelitys 180g LP possesses a warmth that, until now, none of Joels records possess. Soundstaging, imaging, and immediacy are refined and mannered, and the enthusiasm and completeness of Joels craft come into supreme focus.

No fan of 70s rock or pop should be without this stellar pressing!

Track Listing:
1. Travelin' Prayer
2. Piano Man
3. Ain't No Crime
4. You're My Home
5. The Ballad of Billy the Kid
6.Worse Comes to Worst
7. "Stop in Nevada
8. If I Only Had the Words (To Tell You)
9. Somewhere Along the Line
10. Captain Jack

1961 Album of Standards Established Darin As A Sophisticated Singer

Concept Effort Divided Into Halves That Explore the Emotional Gamut of Romance: One Side Upbeat, the Other Heartbreaking

Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI (Best Record Plant in America): Darins Voice, Torrie Zitos Orchestral Arrangements Set Up Shop In Your Listening Room

Bobby Darin didnt want to be simply known as the singer that scored the novelty hit Splish Splash. Determined to be recognized as a top-tier vocalist on par with the likes of Frank Sinatra and Tony Bennett, the Bronx native set out to put an authoritative stamp on pop standards. And did just that with Love Swings. Divided into two conceptual halves, the 1961 masterpiece is the singers defining statement, a splendidly effective and smartly performed record that addresses the wild emotional fluctuations associated with romance and finds Darin nailing every note.

Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents Darins buoyant album with all the brassiness, boldness, and lushness any fan of vocal pop music would ever want. His voice is transparent and immediate, the diversified instrumental arrangements are placed in sharp relief, the songs replete with airiness, warmth, and the sough-after breath of life. The sound is so good that this somewhat-forgotten LP should now finally gain the recognition its long deserved.

Yes, love swings, but like a pendulum: back and forth, state the records liner notes, explaining the concept behind a set that is split into two thematically connected halves. On the first side, Darin delves into the giddy feelings and incredible happiness associated with romances first bloom. Infatuation, devotion, and gaiety take hold, Darin conveying every ounce of joy and pleasure tied to gliding, uptempo staples such as Rodgers and Harts I Didnt Know What Time It Was and the lounge-bound sway of Long Ago (And Far Away). Darins voice, and his ebullient support band (conducted by Torrie Zito), epitomize glee, delight, and bliss.

On the flip side, Darin, ever the realist and proving himself capable of sophisticated material, probes loves disillusions and heartache with incredible panache. The pace slows, the mood darkens, and the lights dim. Zitos orchestrations embrace denser, more poignant tones, and Darin delivers sad, aching tunes like In Love In Vain and Something to Remember You By with stunning realism and haunting impact. Its as cohesive of a vocal performance as youll hear from the era, a journey that takes you from the highs to the lows, and everything in between.

Yes, the human voice is the most difficult element to accurately reproduce on record. Yet Mobile Fidelitys Silver Label LP does wonders with this Darin classic, opening up the highs, clearing out a previously foggy midrange, and, as importantly, restoring to print in analog a vocal tour de force. Unavailable on vinyl for eons, Love Swings demands to be heard on this sumptuously remastered LP, which runs circles around its digital brethren.

About Silver Series: New from Mobile Fidelity Sound Lab, the MoFi Silver Label Vinyl Series will feature an eclectic mix of recordings. This series is mastered and cut on the famous Mobile Fidelity Sound Lab state-of-the-art Tim de Paravacini-designed mastering system. Vinyl will be pressed at RTI on audiophile-grade standard vinyl and will be numbered limited-editions. Future releases will continue to stretch stylistic boundaries, as the MoFi Silver Label continues to explore music from many different genres. Expand your musical horizons with the Silver Label!

Track Listing:
1. Long Ago and Far Away
2. I Didn't Know What Time It Was
3. How About You
4. The More I See You
5. It Had To Be You
6. No Greater Love
7. In Love Vain
8. Just Friends
9. Something To Remember You By
10. Skylark
11. Spring Is Here
12. I Guess I'll Have To Change My Plan

Ranked at #152 on Rolling Stones List of the 500 Greatest Albums of All Time

Delightfully Campy, Intentionally Goofy, Lyrically Kitschy: 1979 Set Is Nothing But a Good Time

Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI (America's Best Record Plant): LP Bursts Forth With the Color and Vibrancy of the Brilliant Pop Within

Boffo! Beehive hairdos, goofy sci-fi humor, lava-lamp kitsch, thrift-store fashions, party-starting tunes, unconventional perspectives, and the unique blending of the underground aesthetic with mainstream accessibility: The B-52s mix all this and more into a dizzying cocktail on their self-titled debut, which remains one of the most ahead-of-its-time, endlessly enjoyable, and vividly colorful albums ever released.

Ranked at #152 on Rolling Stones list of the 500 Greatest Albums of All Time, The B-52s has its roots in the bands improbable genesis, itself reflective of the records gleeful moods and quirky charms. The five members first played after sharing a tropical alcoholic beverage at a Chinese restaurant, the ironic silliness and spontaneous irreverence indicative of the music on its breakthrough record. Not to mention how it mirrors the unusual hodgepodge of instrumentation: organs, walkie talkies, bongos, glockenspiels, tambourines, toy pianos, smoke alarms, and more!

Musically, the band proves just as adventurous and whimsical. Using pleasant harmonies as a backdrop and Kate Piersons squealing organ as a starting point, the B-52s draw upon surf-rock grooves, beach-bound soul-pop, herky-jerky funk riffs, minimalist rhythms, and Ricky Wilsons unusual guitar lines to craft songs that tower above the sarcastic suggestiveness and campy declarations. Of course, the latter are plenty entertaining on their own, but theres no denying the dance-bound persuasiveness and melodic shimmy associated with the classic cult single Rock Lobster and splendid cover of the ubiquitous Petula Clark standard Downtown. Youve never heard anything like this.

Indeed, the B-52s were about a decade ahead of the alt-rock revolution when they recorded this delightfully campy, intentionally goofy, lyrically tawdry, and undeniably harmonic 1979 new-wave set that comes off as the best dance party you might ever hear. This is 40 minutes of nothing but a good time.

Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (America's best record plant), Silver Label numbered limited edition LP presents the B-52s brilliant debut in a fidelity its never previously enjoyed. So detailed and realistic are the timbres, accents, and harmonies, youll think the bands bright outfits are appearing right in front of you. Plus, the LP is worth the cost alone for the iconic album cover, which spotlights those bouffant dos.

About Silver Label: New from Mobile Fidelity Sound Lab, the MoFi Silver Label Vinyl Series will feature an eclectic mix of recordings. This series is mastered and cut on the famous Mobile Fidelity Sound Lab state-of-the-art Tim de Paravacini-designed mastering system. Vinyl will be pressed at RTI on audiophile-grade standard vinyl and will be numbered limited-editions. Future releases will continue to stretch stylistic boundaries, as the MoFi Silver Label continues to explore music from many different genres. Expand your musical horizons with the Silver Label!

Track Listing:
1. Planet Claire
2. 52 Girls
3. Dance This Mess Around
4. Rock Lobster
5. Lava
6. There's a Moon in the Sky (Called the Moon)
7. Hero Worship
8. 6060-842
9. Downtown

1987 Pop-Rock Blockbuster A Seamless Fusion of Dance Beats, Sleek Riffs, Soaring Hooks, and Horn-Fueled R&B

Spawned Four Top 5 Hits: Need You Tonight, Devil Inside, New Sensation, Never Tear Us Apart Are Pop Genius

Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI (America's Best Record Plant): Silver Label LP Sounds Incredible, Replete With Dynamic Midrange

The last throes of Reagans presidency, big hair, carefree existence, the promise of a booming economy, preppy clothes, Nintendo 8-bit gaming systems, and MTVs seemingly limitless reign: All happy memories conjured by INXS Kick, on the creative level of anything Madonna, Prince, or Michael Jackson recorded at the time. More than six million copies sold, four Top 5 singles, and still, nearly 25 years later, not one feeble moment, justify the 1987 records status as pure pop genius.

Anchored by the sensual purr of vocalist Michael Hutchence and frisky drumming (recorded in analog) of Jon Farriss, Kick taps into a hybrid style that freshly stays away from the eras plastic, manufactured sounds and narrow-minded, vacant aesthetic. A seamless fusion of dance beats, sleek rock riffs, soaring hooks, horn-fueled R&B, and string-laden accents, the 12-track set is an irresistibly catchy and liquidly fluid sonic miasma that contains every single element a classic contemporary pop work requires.

Above all, every song boasts a different feel and distinctive pace, characteristics that arent forced but natural results of the collectives chemistry. The sexy, breathy pop-funk Need You Tonight clicks with interlocking arrangements and murmured vocals. The atmospheric, synth-drum-punctuated Meditate hallucinates with stream-of-conscious vocals and percolating grooves. Well-placed pauses, hypnotic flanged guitar passages, and so-funky-youll-sweat saxophone breaks pepper the liberating rock smash New Sensation.

INXS also kicks out upbeat dance-inflected jams on the brassy skirt-swaying title track, syncopated Calling All Nations, and elsewhere, but doesnt forget the importance of a bleeding-heart ballad. Hence, the devastatingly moving Never Tear Us Apart, the knifing strings and guitar twang proving dramatic, direct, and honest. The late 1980s produced a handful of more commercially successful pop records, but none is better than Kick.

Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (America's best record plant), Silver Label numbered limited edition LP presents INXS studio masterpiece with the tremendous punch, transparent midrange impact, and involving depth the record has always deserved but, until now, never possessed. Textural details, Hutchences creamy vocals, and Farris diversified percussion positively explode and engage in the manner that only the best pop-rock can.

About Silver Series: New from Mobile Fidelity Sound Lab, the MoFi Silver Label Vinyl Series will feature an eclectic mix of recordings. This series is mastered and cut on the famous Mobile Fidelity Sound Lab state-of-the-art Tim de Paravacini-designed mastering system. Vinyl will be pressed at RTI on audiophile-grade standard vinyl and will be numbered limited-editions. Future releases will continue to stretch stylistic boundaries, as the MoFi Silver Label continues to explore music from many different genres. Expand your musical horizons with the Silver Label!

Track Listing:
1. Guns in the Sky
2. New Sensation
3. Devil Inside
4. Need You Tonight
5. Mediate
6. The Loved One
7. Wild Life
8. Never Tear Us Apart
9. Mystify
10. Kick
11. Calling All Nations
12. Tiny Daggers

Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI

Just as Dead Can Dance were utterly distinctive, so too, is the group's Into the Labyrinth, the scintillating 1993 album that catapulted the Australian duo to greater mainstream success. Widely considered the group's best work, the album finds members Gerald Perry and Lisa Gerrard moving away from the Renaissance style of their earlier albums and finding new ways of fusing ethnic sounds. Ethereal, textured, and deeply spiritual, Into the Labyrinth is one of the most gorgeous albums you will ever hear.

Anchored by Gerrard's stunning glossolalia vocals-her language-defying singing on tracks such as "Aridane" meets every definition of speaking in tongues-and Perry's kaleidoscopic arrangements, the record's exotic soundscapes mesmerize at every turn. What's most amazing is that Gerrard and Perry play all of the instruments on the album, which was recorded in the Quivvy Church in Ireland, resulting in optimum sound quality, natural resonance, and lifelike dimensions.

Each song is an exercise in atmosphere, emotion, and beauty. Perry contributes gothic-style vocals to the alternative radio hit and biting "The Ubiquitous Mr. Lovegrove," an Indian-flavored tune informed by raga drones, orchestral swells, and a gradual pace. Similarly, he channels his key influence-Joy Division's Ian Curtis-on "The Carnival Is Over," which balances circus melodies against spry keyboard riffs. A smart commentary on mankind, "How Fortunate the Man with None" is a haunting adaptation of the Berthold Brecht classic that will stick with you for days. In other places, the album comes off as an autumnal film soundtrack replete with Gregorian chants, swirling sounds, and cerebral pop.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), Silver Labels' numbered limited edition 2 LP set presents Dead Can Dance's studio masterpiece with awe-inspiring clarity and unprecedented depth. Largely dependent on delicate nuances and containing countless examples of otherworldly textural detail, the music takes on an even deeper meaning and significance that's on the level of majestic transcendence. Silver Series' unsurpassed analog version of Into the Labyrinth is one of the reasons you own a hi-fi system.

About Silver Series: New from Mobile Fidelity Sound Lab, the MoFi Silver Label Vinyl Series will feature an eclectic mix of recordings. This series is mastered and cut on the famous Mobile Fidelity Sound Lab state-of-the-art Tim de Paravacini-designed mastering system. Vinyl will be pressed at RTI on audiophile-grade standard vinyl and will be numbered limited-editions. Future releases will continue to stretch stylistic boundaries, as the MoFi Silver Label continues to explore music from many different genres. Expand your musical horizons with the Silver Label!

Track Listing:
1. Yulunga (Spirit Dance)
2. The Ubiquitous Mr Lovegrove
3. The Wind That Shakes the Barley
4. The Carnival Is Over
5. Ariadne
6. Saldek
7. Towards the Within
8. Tell Me About the Forest (You Once Called Home)
9. The Spider's Stratagem
10. Emmeleia
11. How Fortunate the Man With None

Dead Can Dance's Swan Song the Sonic Equivalent of An Engaging Journey Down the Nile River

Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (America's Best Record Plant): 2LP Set Flush With Incredibly Lifelike Sound

Into the Labyrinth Also Available on 2LP Set from Silver Label

The sonic equivalent of an engaging journey down the Nile River, Spiritchaser is Dead Can Dance's unforgettable swan song. The percussive-based 1996 set finds the world-fusion group fashioning thematic songs around rhythmic structures and tribal beats, creating atmospheric soundscapes that take the listener through Africa, South America, England, and Europeâsometimes within the same movement.

Blurring the lines between styles and genres so that they become irrelevant, Dead Can Dance members Lisa Gerrard and Gerald Perry generate the illusion of being lost amidst a peaceful rain forest that's yet to be discovered by man. Spiritchaser is the sound of a lost culture, where ethereal singing, overlapping harmonies, and trance-like tempos serve to calm, relax, and enchant. Gerrard's phonetic singing-often taking the form of prayer-is grand albeit understated, as much spiritual as it is natural. Just like the music itself.

Exotic instrumentation abounds, but nothing seems out of place. A Turkish clarinet, finger cymbals, and a borrowed melody from the Beatles' "Within You Without You" informs the mystery of tracks such as "Niereka," which epitomizes Dead Can Dance's incomparable blend of ancient and modern, alien and familiar, spooky and freeing, serene and intense. Throughout, Spiritchaser strives for a transcendental sense in which music speaks to a higher power and greater purpose than most artists would like to believe-or dare capture. Dead Can Dance's ambition extended to the production.

Consider what 4AD record label founder Ivo Watts-Russell had to say about the band's late-period albums and approach to sonics: "They were both extreme perfectionists and it was the ability to record things better, the ability to understand acoustics and the environment, to get things down onto tape in a really top-notch way, that probably influenced the sound and direction of their records as much as what they were thinking about musically."

Watts-Russell's observations can be experienced first-hand like never before on Silver Series' numbered limited-edition 2LP set. Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best pressing plant), this pristine vinyl version presents Dead Can Dance's farewell statement in stunning detail. Recorded at Quivvy Church in Ireland, Perry's home studio, every note floats and naturally decays, voices carry, guitars shimmer, and the percussive imaging is focused and constant. You've never heard Dead Can Dance sound this good! The intricacies that have been uncovered will pull you in as if you're in the studio.

Track Listing:
1. Nierika
2. Song of the Stars
3. Indus
4. Song of the Dispossessed
5. Dedicace Outo
6. The Snake and the Moon
7. Song of the Nile
8. Devorzhum

Paint It Black: 1985 Debut Is Penultimate Goth-Rock Album

Andrew Eldritch's Ghostly Vocals, Static Beats, Melodic Guitar Jangle Create Hauntingly Atmospheric Soundscapes

Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (Best Record Plant in America): First Time Any Sisters of Mercy Record Given Audiophile Treatment on LP

The template for all goth-rock records that followed, Sisters of Mercy's First And Last And Always stands as one of the-if not the most-influential albums of its kind ever released. Distinguished by Andrew Eldritch's ghostly singing, which gives the impression of hearing a forlorn ghoul croon from a foggy English graveyard, the 1985 set is drenched in gloom, claustrophobia, black humor, and dance-ready beats that provide exhilarating contrasts. Fans of the Cure, Depeche Mode, Love and Rockets, Peter Murphy, mid-period Nick Cave, and Joy Division will find it to be a new favorite record.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents First And Last And Always with a fuller, richer sound that positively obliterates the thin, feeble sonic perspectives that have limited the music until now. Every aspect from Eldritch's haunting singing to the group's jangling guitars and prancing bass lines finally gain genuine definition. Yet what's most improved is the sense of atmosphere: Sisters of Mercy revel in painting tone poems, where the feel and effect are as essential as the notes that are played. This is now an atmospheric tour de force.

Ever since it's release, First And Last And Always has been aptly shrouded in mythology. Eldritch pushed the envelope during the recording sessions, literally walking into walls and repeatedly unable to maintain his focus. Strung out on amphetamines, dazed by days of no sleep, upset by a recent breakup, and eating little, the vocalist channeled his discord into somber lyrics and brooding singing. He's framed by pulsing albeit lean, spare rhythms, patient tempos, and the clatter of a programmed drum machine that, in spite of its mechanical operation, sounds strangely organic. The songs evoke wet dungeons, walls-closing-in paranoia, and late-night strolls amidst the U.K.'s mysterious underground.

Despite its overall dark character, the record's arrangements value spaciousness, putting a premium on room and minimalism that makes each note count. As a result, twinkling pianos and keyboards parallel steel-cutting guitars and low-tuned bass lines that, in combination with Eldrtich's baritone, suggest glimmers of hope among the decay. Songs such as the shaking "Possession," dramatic "Some Kind of Stranger," and desperate "Marian" remain models of the gothic and post-punk disciplines more than 25 years after their debut. It's no surprise that, given all of the tension and personality that infuse the album, Sisters of Mercy disbanded just months after its release.

It's unlikely that any goth-rock album has ever sounded this good. This MoFi Silver Label LP will turn your room into rainy, dreary England, circa 1985, and expose you to one of the most harrowing vocal performances on record.

Track Listing:
1. Black Planet
2. Walk Away
3. No Time to Cry
4. A Rock and a Hard Place
5. Marian (version)
6. First and Last and Always
7. Possession
8. Nine While Nine
9. Amphetamine Logic
10. Some Kind of Stranger

Stevie Wonder established an incredible precedent between 1971 and 1976, releasing six of the most groundbreaking, genre-blurring, genius albums ever made. Composed and written at a time when his marriage was his collapsing, the largely uplifting and eminently soulful Talking Book is arguably the best of those trailblazing records. Wonder manages to not only to restore faith in love, he also includes smart political commentary, personal-is-political messages, empowering statements, and exorcises the frustrations associated with heartbreak. Few efforts are more emotionally intense and consistently enriching.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in North America), the MoFi Silver Labels' numbered limited edition LP presents the 1972 landmark in the most transparent, warm, and natural sound the music has ever enjoyed. Every nuance and detail is flushed out and an enmeshed part of the supremely balanced whole. Wonder's vocals, meanwhile, are immediate and lively, the singer seemingly only several feet away, surrounded by world-class musicians.

In addition to striking diversity and passionate reach, Talking Book continues to speak to listeners nearly 40 years later because of how much of Wonder himself is invested in the songs. With everlasting proclamations like "I Believe (When I Fall In Love It Will be Forever)" and "You and I (We Can Conquer the World," Wonder transcends his excruciating pain and clung to the concept of love as a higher power. Similarly, he stakes an equal part of himself in fare that confronts woe head-on ("Tuesday Heartbreak") and reels off one of the most famous ballads ("You Are the Sunshine of My Life") in history.

Musically, Wonder is clearly tapped into a spiritual plane, the arrangements encompassing an array of moods and styles: rocking and funky ("Superstition"), mellow and poignant, grooving and exuberant. Jeff Beckâs guitar solo on "Lookin' for Another Pure Love" takes the song to a new level, and guests David Sanborn, Buzzy Fenton, and Ray Parker Jr. round out whatâs an almost impossibly perfectly unified album.

Don't settle for inferior-sounding versions of this visionary creation. Silver Series' LP brings Wonder's impeccably written and performed classics to life with utmost realism and warmth. No matter what mood you're in, Talking Book is made for you.

Track Listing:
1. You Are The Sunshine Of My Life
2. Maybe Your Baby
3. You And I
4. Tuesday Heartbreak
5. You've Got It Bad Girl
6. Superstition
7. Big Brother
8. Blame It On The Sun
9. Lookin' For Another Pure Love
10. I Believe (When I Fall In Love It Will Be Forever)

Party Out of Bounds! Eclectic Groups Sophomore Album The Equal of Its Smash Debut

Boffo Encore: Surf, Pop, Dance, Kitsch, Cabaret, and Psychedelia Unite With Giddy Vocals and Ricky Wilsons Still-Underrated Guitar Playing

Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI: 1980 Smash Now Possesses Jump-Out-of-Your-Seat Sonics

Party out of bounds! Not only is this sentiment one of the B-52s directives on their ceaselessly fun sophomore album, its one of the records hit songs, and perfectly summarizes the spirit and intent behind this new-wave classic. Completely up to task in following up their kitschy debut, the B-52s step everything up a notch: Songwriting, humor, exaggeration, melodies, hooks, and group interplay. Wild Planet also finds the band embracing stronger psychedelic accents that seamlessly mesh with its lava-lamp colors and textures. What an album.

Rollicking, rousing, and riotous, Wild Planet soars on vocal efforts put forth by the delightfully campy chanteuses Cindy Wilson and Kate Pierson, whose innocent girly tonalities wonderfully match up with Fred Schneiders effeminate deliveries and manic presentations. While the sheer exuberance and giddy nature of the music tends to make them an afterthought, the trios harmonies are utterly amazing. Add in Ricky Wilsons propulsive beach-bound guitar riffs, random squealing synthesizers, and a surfeit of danceable rhythms, and you have nothing less than a 1980s masterpiece that, due to its optimistic vibes and buoyant grooves, only gets better with time.

As for clever humor and quirky character? Everywhere. Mentions of an icebox, fruit punch, and surprise greetings kick off the defining Party Out of Bounds. Private Idaho is an instant mix-tape essential, sent up with declamatory refrains and insouciant beats. Not to be outdone, the B-52s tackle the subject of devilish possession on the witty Devil In My Car and get hysterical on Strobe Light, surely the finest tune ever written about making love in the shadow of a pulsating illumination device. Schneider is on fire, embracing his sexuality while pushing his mates to new limits. Theres no serious matter here; Wild Planet is all about celebrating, and few records do a better job of capturing such a mood.

Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI, Silver Series numbered limited edition LP presents the B-52s 1980 classic in a rousing fidelity that will have you wanting to jump off your furniture, lampshade on head. The all-important bass lines, divergent vocal timbres, and usually unnoticed guitar lines attain an unprecedented level of balance and realism. And, few bands took advantage of the large-format LP cover art like the B-52s. The cover portrait of these fashionistas is reason enough to get these extraordinary reissue, which takes great pride in reproducing the original art right down to the last smear of eyeliner of Piersons face.

Track Listing:
1. Party Out of Bounds
2. Dirty Back Road
3. Runnin' Around
4. Give Me Back My Man
5. Private Idaho
6. Devil in My Car
7. Quiche Lorraine
8. Strobe Light
9. 53 Miles West of Venus

Pure and Good: 1987 Breakthrough a College-Rock Staple and Bands Introduction to Mainstream

Natalie Merchants Socially Relevant Poetic Lyrics and Luscious Timbres Delightfully Meld With Gorgeous Folk-Rock

Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI: First Time This Landmark Set Boasts Room-Filling Sound

R.E.M. Vocalist Michael Stipe, Legendary Linda Ronstadt Producer Peter Asher Help Shape Record

Along with R.E.M. and XTC, 10,000 Maniacs epitomized 1980s college rock in terms of sound, style, expression, and attitude. A staple of the underground, independent, and university scenes, In My Tribe remains a landmark recording, an ideal synthesis of fundamental eclecticism, roots music, and personalized narratives anchored by Natalie Merchants inimitable singing.

Unlike most of their contemporaries, and in particular, the alt-country acts that followed in their wake, 10,000 Maniacs were truly a product of their environmenta small-town Appalachian setting that informs their songwriting, approaches, and arrangements. In reflecting on the bands ascendance, Merchant described the groups essence as such:

We called the music we made proletariat, aware of the fact that we were blue-collar small-town dwellers, geographically and culturally isolated. We were beginning to feel the countrys shift to the right at the threshold of the Reagan-Bush era. We had a growing understanding that the recession of post-industrial towns like ours might not be temporary and we were coming of age in an atmosphere of nostalgia and decay. --Merchant, liner notes to Campfire Songs: The Popular, Obscure & Unknown Recordings of 10,000 Maniacs

Seemingly coming from a different landscape, nothing about the 10,000 Maniacs fare is typicalfor its era or now. Theres a genuine nature to the material on In My Tribe that directly relates to time and place, personal emotion and devout introspection. Probing issues of child abuse (Whats the Matter Here), alcoholism (Dont Talk), illiteracy (Cherry Tree), and the environment (Campfire Song), the ensemble ushered in a period of artistic political correctness and high creativity during an era short on both.

Refraining from preaching and focused on pure rhythms, catchy melodies, and inoffensive rock structures, the band channels an inherent folk goodness thats forever tethered to Merchants mellifluous vocals and heartfelt cadences. Veteran arranger David Campbell (Becks father) organizes the strings, and producer Peter Asher (Linda Ronstadt) smooths over the edges just enough to give In My Tribe the ideal sound. R.E.M. frontman Michael Stipe lands a welcome hand.

Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI, Silver Labels collectable version of this 1987 masterwork captures the delicate nuances of Merchants voice as well as the full scope of the strings with amazing detail and clarity. No existing 10,000 Maniacs record, digital or analog, claims such revealing sonics or expansive imaging. Whether youre a longtime fan or new to the album, youll be blown away the organic presence and balanced soundstage. Not to mention the indelible music.

Track Listing:
1. What's the Matter Here?
2. Hey Jack Kerouac
3. Like the Weather
4. Cherry Tree
5. The Painted Desert
6. Don't Talk
7. Gun Shy
8. My Sister Rose
9. A Campfire Song
10. City of Angels
11. Verdi Cries

Rod the Mods 1970 Landmark Set Tone for All Folk-Rock Albums That Followed

Evocative, Low-Key, and Rustic: Gasoline Alley Finds Stewart At His Peak

Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI: LP Has Never Sounded More Organic, Warm, or Transparent

Backed By Fellow Faces Ron Wood, Ronnie Lane, Ian MacLagan, Kenny Jones

Stewarts Equally Iconic Every Picture Tells A Story Also Available on LP from Silver Label

No matter what era or phase of Rod Stewart you prefer, nearly everyone is unanimous in choosing the artists early 1970s output as his very finest. Proof comes courtesy of Gasoline Alley. A 1970 record that literally set the template for all folk-rock efforts that followed, the critically acclaimed album has been cited as one of the 1001 Albums You Must Hear Before You Die and remains a blueprint for evocative vocals, low-key presentation, and incredible interpretation.

Barely removed from his debut, Stewart comes into his own on Gasoline Alley, essentially a largely unplugged record on which the singer surrounds himself with a transcendent blend of acoustic guitars, mandolin, fiddle, piano, and understated percussion and channels the music with a gritty, rock n roll attitude. The results? Tough, organic, warm, swaggering, and unfettered songs that bow to country, rockabilly, blues, and folk influences all the while managing to belong to their own genre. Its just one of the reasons why Gasoline Alley remains a study in distinctive excellence.

Another is due to Stewarts passionate singing. Sensitive, understated, wistful, and raggedly worn, he inhabits the role of a journeyman that inhabits the narratives on standard-bearing covers of Bob Dylans Only a Hobo, Elton Johns Country Comforts, and the R&B shuffle Cut Across Shorty. He conveys a bevy of complex emotionssadness, regret, optimism, sorrow, loss, humor, yearningwith a poignancy that suggests every song here is disarmingly personal. Of course, having a band sympathetic to his desires and directions, and one that claims the talent of players such as guitarist Ronnie Wood and organist Ian MacLagan, doesnt hurt matters.

Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition LP allows Gasoline Alley to come across with unrivaled warmth, organic tones, and transparent presence. The signature acoustic-electric blend of rock, blues, soul, and country crackles with energy; midrange and highs are vastly improved, affording listeners a clearer image of the Faces dynamic contributions and chemistry. And Stewarts vocals take place right in your room. Wait until you hear the inflections and contrasts.

Dont hesitate on this all-time rock and folk classic.

Track Listing:
1. Gasoline Alley
2. It's All Over Now
3. Only A Hobo
4. My Way Of Giving
5. Country Comforts
6. Cut Across Shorty
7. Lady Day
8. Jo's Lament
9. You're My Girl (I Don't Want To Discuss It)

The First of Wonders Five Consecutive Classic Period Albums

1972 Masterpiece Signaled New Direction for Motown, Includes Incredible Synthesizer Textures

Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI: This Pressing Bests All Prior Analog and Digital Editions

Talking Book Also Available on LP from Mobile Fidelity Silver Label

Ranked #284 on Rolling Stones list of the 500 Greatest Albums of All Time, and the beginning of the legends unsurpassed classic period, Stevie Wonders Music of My Mind remains a touchstone of American R&B. The records liner notes aptly sum up its genius: The sounds themselves come from inside his mind/The man his own instrument. The instrument is an orchestra.

Indeed, save for segments on two songs, Wonder played all of the instruments himself, demonstrating his newfound freedom of artistic control and upping the ante in terms of composition, performance, and execution. He draws from a diverse toolboxwarm drums, vibrant bongos, breezy harmonicas, Fender Rhodes organs, tonally resonant pianosand of course, lays on his trademark, buttery smooth vocals. Yet Music of My Mind also features the first extensive use of synthesizers in black music. Wonder reveals the magic thats contained within Moog and Arp models, conscientious of the benefits and careful not to taint whats otherwise among the most organic soul and funk ever created.

Stretching out, Wonder lets several songs go beyond the five-minute mark. He employs the services of guitarist Buzz Felden, trombonist Art Baron, and an uncredited choir of background voices, but mostly, this is his show. Affectingly tender, I Love Every Little Thing About You and Seems So Long melt with conviction; Happier Than The Morning Sun epitomizes the contagious mood and upbeat emotions present throughout, Wonder delighting in mixing traditional melodies with then-unheard-of arrangements into a seamless whole.

For the first time ever, Mobile Fidelitys Silver Label pressing affords listeners the opportunity to hear Wonders aural orchestra with a clarity, range, and expressiveness never before made possible by prior pressings. Frequency-rich harmonics are one of the keys on this 1972 gem, and this editions ultra-clean surfaces and wide grooves unveil more music. Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition LP presents the first of Wonders five must-own records in truly extraordinary sound.

Track Listing:
1. Love Having You Around
2. Superwoman (Where Were You When I Needed You)
3. I Love Every Little Thing About You
4. Sweet Little Girl
5. Happier Than The Morning Sun
6. Girl Blue
7. Seems So Long
8. Keep On Running
9. Evil

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. Thats because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became Americas most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: Youre All Ive Got Tonight. Good Times Roll. Just What I Needed. Moving in Stereo. My Best Friends Girl. Dont Cha Stop. If youre 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. Orrs low, understated singing and Ocaseks 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 accentscountry-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. Its impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Bakers 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. Bakers 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 Fidelitys numbered limited-edition LP allows the musics 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 Fidelitys 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. Its loaded with minimalist atmospherics, pulsing bass lines, catchy refrains, and labyrinthine synthesizers that stick in your mind for days. And while retaining a simplicity thats a Cars hallmark, the album also takes myriad stylistic detours: the glam-rock accents of Dangerous Type, a song whose title references the records 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 Fidelitys 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 Bakers vocal production shines, with each members contributions rescued from a cold sonic murk that detracted from the musics impact on both vinyl and the extremely compressed CD. Once you hear the newly uncovered dynamics and rich textures, youll 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 hes now forever associated. For instance, the rendition of Night and Day is the singers third on record, but its the best. So, too, is Sinatras 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 Costas lush string arrangements and methodical pace. Anyone who believes that Sinatras 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 dont come any more sincere, romantic, dramatic, or intense.

Half-speed mastered from the original analog tapes, Mobile Fidelitys 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 agesand one of a certain distinctive era.

The abundance of great music, the culture of drugs, and the politics of Richard Nixon, which had everyone polarized and created more of a sense of community, all contributed to this incredible feeling that somehow we were on a collective journey. Waiting for Columbus is one of the last parts of that journey, and among the last vestiges of that scene. Little Feat keyboardist Bill Payne, as told to Bud Scoppa

Amazingly, the set came together under less-than-ideal conditions. In the months leading up to the seven 1977 Washington D.C. and London concerts that were taped for the record, leader Lowell George had removed himself from the bands affairs. The chemistry was fractured, but the shows functioned as a molding agent. And did Little Feat ever respond. With every member of the sextet playing like their life depended on it, and a guest appearance by ex-Rolling Stone Mick Taylor, this is a must-have set.

Track Listing:
Side One
1. "Join The Band" (Traditional) 1:50
2. "Fat Man in the Bathtub" (George) 4:50
3. "All That You Dream" (Barrère, Payne) 4:25
4. "Oh Atlanta" (Payne) 4:09
5. "Old Folks' Boogie" (Barrère, G. Barrère) 4:22

Side Two
6. "Time Loves a Hero" (Barrère, Gradney, Payne) 4:20
7. "Day or Night" (Payne, F. Tate) 5:23
8. "Mercenary Territory" (George, E. George, Hayward) 4:27
9. "Spanish Moon" (George) 4:49

Side Three
10. "Dixie Chicken" (George, Kibbee) 9:00
11. "Tripe Face Boogie" (Hayward, Payne) 7:02
12. "Rocket in My Pocket" (George) 3:42

Side Four
13. "Willin'" (George) 4:42
14. "Don't Bogart That Joint" (E. Ingber, L. Wagner) 0:57
15. "A Apolitical Blues" (George) 3:41
16. "Sailin' Shoes" (George) 6:18
17. "Feats Don't Fail Me Now" (Barrère, George, Kibbee) 5:17

While less musically intense than the preceding This Years Model, Armed Forces doesnt let up in the lyric department. Costellos narratives are loaded with paranoia, irony, bitterness, and scathing humor. Originally titled Emotional Fascism, the singers third consecutive masterpiece is inspired by billboard sign slogans, insular observations, and social behavior that Costello found applicable to his own situation. Olivers Army, Green Shirt, and Senior Service address systemic governmental control. Big Boys, Two Little Hitlers, and Accidents Will Happen also concern control and betrayalbut 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 Abbas 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 Fidelitys 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 Nieves keyboards are alone worth the investment. This pressing will have you dancing in the aisles and analyzing Costellos 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 ownand where the chemistry between virtuosic keyboardist Steve Nieve, bassist Bruce Thomas, and drummer Pete Thomas produced one of rocks best groups. A dynamic maelstrom of emotional spite, bitter frustration, sexual angst, and caustic political commentary, the 1978 set boosted Costellos star and yielded innumerable standards: the undying MOR protest Radio Radio, fervent Pump It Up, smart (I Dont Want to Go to) Chelsea, and spunky No Action are all here.

While often cited as Costellos angry record, This Years 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 Costellos voice and twangy guitar dominate My Aim Is True, here, sizzling rhythms and Nieves colorful organ runs anchor the foundations. This is a group effort, with Costellos 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 Years 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 Fidelitys numbered limited-edition 180-gram LP brings This Years Models 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 Years 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 singers best-known and most beloved tunes: the poisoned ballad Alison, voyeuristic Watching the Detectives, slinky (The Angels Want to Wear My) Red Shoes, and rave-up Mystery Dance included. There isnt a bad note here.

The history behind My Aim Is True is as rich as the songs. Before landing at then-fledgling English indie label Stiff Records, Costello had been laboring as a computer operator housed next door to a lipstick factory. The conditions couldnt be riper for the cynical blue-collar observations and fierce humor that pierce tracks like Welcome to the Working Week and Less Than Zero. Costello took inspiration from London subway rides, venomous politics, and surrounding vanity. Having been rejected by what he estimated amounted to every other label in the city, Costello began calling in sick to his day job in order to record material for what become My Aim Is True.

Made for just 1000 pounds and over the course of four six-hour sessions, the experience found Costello recording his parts in a room the size of a telephone booth. His backing bandClover, not the Attractions (save for on Watching the Detectives, left off the original UK release)rounded out the slinky, melodic songs with spare details such as fuzztone pedal steel guitar and organ. The minimal budget ensured that nothing extra or fancy was employed. Overdubs werent really an option; what was played is basically what you hear.

Notorious for being reissued umpteen times, Mobile Fidelity is thrilled to present the one edition of My Aim Is True that every fan needs to own. Half-speed mastered from the original master tapesnot from copies as so many other versions areand pressed on 180-gram vinyl, this numbered limited-edition LP is the definitive My Aim Is True. No compromises, no tricks. Just the music delivered with peerless clarity, purity, and transparency. The rawness of Costellos voice, jangle of the rhythms, hum of the organs, and even the impact of the drumsticks have never been experienced with such realism. This is what organic-sounding albums are supposed to sound like. You will hear this again for the first time. And of course, there's the iconic cover art, presented in full-scale perspective.

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 Georges 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 doesnt 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 rollfunny, smart, relaxing, cohesive, melodic, smooth, stylish, engaging.

Mastered from the original master tapes, Mobile Fidelitys 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 Becks mellowest golda feat confirmed by its selection as the #2 record of 2002 on Village Voices 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 its 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 artists 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 statementan 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 records 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 youll hear. Fans of Steely Dan, Joni Mitchell, Randy Newman, Carole King, and Sarah Vaughan should consider this requisite listening. MoFis mini-LP style packaging only adds to the allure.

So dont hesitate: Be the Lucky Guy that Jones sings about on the record by securing your lowest-numbered copy of Mobile Fidelitys 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 shes among the premier vocal jazz singers on the planet with Half the Perfect World and Careless Loveboth available as limited-edition 180-gram LPs from Mobile FidelityMadeleine 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 Peyrouxs most soul-baring effort.

The records 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 Cant Do Me with Steely Dan legend Walter Becker. As expected, a tart wittiness defines the lyrics, demonstrating Peyrouxs 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. Peyrouxs 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 Peyrouxs tradition of making some of the best-sounding albums around. Her tunesdirect, emotional, beautiful, detailedbenefit 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.

Its hard to imagine a candlelit cocktail bar that wouldnt benefit from playing Madeleine Peyrouxs 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 Fidelitys 180-gram 2-LP set enhances the experiences of hearing Peyrouxs 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. Its that good.

Mobile Fidelitys collector's vinyl editions of Peyrouxs earlier hit studio albums have sold quickly. Dont 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

1961 Collection Gathers 12 Must-Have Songs from Charles' Peak Era

Mobile Fidelity Has Righted the Sonic Wrongs That Plagued Earlier Versions - You Won't Find a Better-Sounding Ray Charles LP

Genius doesnt even begin to describe the greatness of The Genius Sings the Blues. Comprised of a dozen songs Ray Charles made between 1952 and 1960, the collection was released in 1961 by Atlantic Records to counter the singers migration to rival ABC Paramount. What Atlantic originally underestimated is that the album contained many of Charles greatest works, all unified by their bluesy emotions and stirring arrangements. A classic of the soul and R&B canon, The Genius Sings the Blues is a snapshot of the evolution of timeless American music captured by the pianists indelible rhythmic pace, gospel roots, jazz backgrounds, and Southern-styled accents. And its never sounded so good.

From the iconic cover art (a photo of Charles taken by legendary photographer Lee Friedlander) to the distinguished music within, everything about the thematic record is iconic. Now, nearly 50 years later, it can be heard in pristine fidelity sourced from the original mono master tapes. Mobile Fidelitys engineers have taken great pains to ensure that every clink of the piano keys, ache of Charles rolling voice, and rush of the backing arrangements sounds better than they have since first being recorded in the studio. This 180g LP simply lays waste to the competition.

Previous editions of The Genius Sings the Blues, including a remastered digital edition from Rhino, suffered from varying levels, distracting static and noise, and inconsistent vocal balances. Mobile Fidelity has gone back to the original mono master tapes to correct these problems, giving music lovers what is now unquestionably the best-sounding Charles album to stem from his peak era. And these performances are simply on fire.

Whether inhabiting the sadness in Night Time (Is the Right Time) or personifying the loss of Hard Times, Charles invests each song with supreme emotion and undeniable conviction that makes the lyrics ring true and the blues resonate with cathartic pathos. Uptempo country blues numbers (Im Movin On, Early in the Mornin) balance the mournful slow fare, and again prove Charles a master composer, interpreter, and musician who could make any style his own. The Genius Sings the Blues also speaks to legendary jazz pianist Billy Taylors initial impressions of Charles upon hearing him in a way in which few other Charles recordings do.

Taylor recalled: While playing through some new music for a projected Ruth Brown record date, I was asked to listen to an original song played and sung by a young composer and pianist from Seattle, Washington. I can still remember how surprised I was to hear this kind of music from a Northwesterner. He reminded me of Charles Brown, another pianist-singer who was very popular in the Forties, but he had a very personal sound and there was something different about his rhythmic approach. In his handling of melody he seemed to be using devices similar to those used by Dinah Washington and a small group of popular singers who allowed their gospel singing backgrounds to influence their interpretation of popular songs... I was intrigued by the emotional quality projected by both his piano playing and his unusual voice and was not surprised when Ahmet Ertegün said that he wanted to let the young musician record some of his own material. He communicates just like the old blues singers, Ahmet said."

Indeed, that innate blues aesthetic dominates this collection, as does Charles distinctive rhythmic mannerisms. Finally, hear them as theyve always been intended to be experienced.

Track Listing:
1.Early in the Mornin'
2.Hard Times (No One Knows Better Than I)
3.The Midnight Hour
4.(Night Time Is) the Right Time
5.Feelin' Sad
6.Ray's Blues
7.I'm Movin' On
8.I Believe to My Soul
9.Nobody Cares
10.Mr. Charles' Blues
11.Some Day Baby
12.I Wonder Who

Mobile Fidelity has gone back to the original master tapes to present Joels encompassing music the way it was always intended to be experienced: Intimate, detailed, expressive, warm. The records widescreen sonics are at last properly cinematic, flush with colors, textures, and atmosphere.

Progressing away from sensitivity, Joel casts his eye towards broader horizons. For him, that meant moving from the West Coast back to his native New York and embracing the citys doo-wop, Broadway, and R&B heritage. Joels diversity comes through in a spectacle of memorable tunes, including the infectious All You Wanna Do Is Dance, acerbic Angry Young Man, and gorgeous Ive Loved These Days.

Still, no song better illustrates the allureand breadthof Turnstiles more than Say Goodbye to Hollywood, bathed in the sort of fabulous Phil Spector sound, huge drum echoes, and Brill Building orchestral sweep that Joel grew up on. Similarly, the sprawling ballad New York State of Mind clearly states the singers vision and mood. On the definitive track, Joel luxuriates in full string accompaniment and soulful saxophone playing that gives the pop standard its foundation. Not for nothing did Joel insist on keeping his touring band for the album, a decision that resulted in the firing of the records original producer.

Supported by talents such as arranger Kenny Ascher, guitarist James Herb Smith, and percussionist Mingo Lewis, Joel succeeds in wrapping his head around a rich swath of American pop music, stopping by way of New Orleans, Kansas City, Memphis, Chicago, and other cities on his way from California back to the Garden State. While lacking the fame of the subsequent The Stranger and 52nd Street, Turnstiles is in every way their equal.

Finally, the delicate nuances of Joels phrasing, pregnant pauses, and introspective emotion can be experienced in three-dimensional fidelity. In addition, the spectrum of the orchestras power and finesse, ravishing poignancy of the lyrics, and bittersweet qualities of the melodies bloom with unforced immediacy. The previous veiled sonic character and stultifying dryness have been corrected, presenting Joel and his crack band with illuminating precision and feeling.

Turnstiles has never sounded betterand it never will.

Track Listing:
1. Say Goodbye to Hollywood
2. Summer, Highland Falls
3. All You Wanna Do Is Dance
4. New York State of Mind
5. James
6. Prelude/Angry Young Man
7. I've Loved These Days
8. Miami 2017 (Seen the Lights Go Out on Broadway)

Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited-edition 180g LP of Kings second solo masterpiece is rife with intimacy, transparency, soulfulness, and you-are-there sound. Never before remastered, Music seems like a brand-new album, Kings familiar voice, intelligent arrangements, and ravishing support band presented on a deep, three-dimensional soundstage. Your appreciation for and understanding of Kings inspirational lyrics and ravishing performances will increase tenfold. Mobile Fidelitys 180g LP brings you that much closer.

Accompanied by percussionist Bobbye Hall, drummer Russ Kinkel, guitarist/vocalist James Taylor, and a cavalcade of professional wind musicians, King delves further into R&B and jazz-derived pop, coming up aces every time. Warm, intelligent, and cohesive, songs echo with simplicity and honesty. And as is typical of much of Kings work, several of tunes here were later covered by other artists, including Its Going To Take Some Time (the Carpenters). Yet the originals trump the later renditions, and the rendition of the standard Some Kind of Wonderful stands as the best ever recorded.

With Taylor lending more of a hand on Music than he does on Tapestry, King expands her confident reach on the piano and peppers the songs with graceful touches of saxophone, flute, pedal-steel guitar, and woodwinds. Ballads sway (Surely), gospel brightness lifts spirits (Brighter), and backup vocals float heavenly pop (Song of Long Ago). Yet the best aspect is Kings voice, infused with fondness, concern, joy, and a quiet power that parallels the delicacy and deliberate nature that define Music.

Mobile Fidelitys audiophile edition is free of the limiting artifacts that have helped keep this record in the dark for the better part of the past few decades. Previously diminished, acoustic guitars, subtle brass elements, and soft percussion contribute to the enjoyment of the songs, and Kings voicepleasant, assuring, emotionalcomes through with incredible clarity and inflection. The brilliance of the legendary Lou Adlers original production is restored to its full glory.

If its at all possibleand it isthis treasure now sounds even more heartwarming than it did upon original release. The companion to Tapestry, Music is an auraland sonicdelight.

Track Listing:
1.Brother, Brother
2.It's Going to Take Some Time
3.Sweet Seasons
4.Some Kind of Wonderful
5.Surely
6.Carry Your Load
7.Music
8.Song of Long Ago
9.Brighter
10.Growing Away from Me
11.Too Much Rain
12.Back to California

Half-Speed Mastered from the Original Tapes: Intimate Sonics Make It Seem Like King is Sitting Five Feet Away

Stripped-Down Songs Teem With Warmth, Nuance, Emotion; James Taylor Also Appears

Every so often, a from-the-vault release captures our hearts, minds, and attention in such a way that its impossible not to tell all family, friends, and neighbors about its existence. Originally issued to commemorate the 25th anniversary of Tapestry, Carole Kings The Carnegie Hall Concert: June 18, 1971 is such a record, a fortunate document of an absolutely magical period in the singer-songwriters legendary career and a revealing look at the then-stagefright artist turning in a commanding performance just as she was becoming a superstar.

Half-speed mastered from the original tapes, Mobile Fidelitys numbered limited-edition 180g LP of this compelling concert album brims with liveliness, depth, dimension, detail, and transparency. The nuances of Kings spare performances and warm vocals emanate as if shes sitting five feet away. Stripped down even further than they are on the studio albums, songs breathe with palpable earnestness and emotion, the subtle differences from their more polished studio brethren allowing listeners an insight into Kings creative genius.

At the time of its recording, King still suffered from shynessand who could blame her? She had been accustomed to penning lyrics for other artists and sitting behind a desk in the Brill Building. Only recently did King strike out on her own and enter the public realm. This set encapsulates this contrast in thrilling fashion. Disarmingly genuine and daringly honest, The Carnegie Hall Concert: June 18, 1971 benefits from the inclusion of Kings nervous between-song banter that exposes who she is as a person and performer. Most importantly, despite her anxiety, she turns out stirring renditions of tunes from 1970s Writer, Tapestry, and even a few from Music.

Her control is demonstrated on the records six opening cuts, which feature King alone at her piano. For the remainder of the program, shes accompanied by guitarist Danny Kortchman, bassist Charles Larkey, and a string quartet, which enter and exit according to arrangement. As such, the concert is profoundly intimate and personal, an unplugged session that predated the use of the term by nearly two decades. Longtime collaborator James Taylor joins her for a memorable medley of some of her biggest hitsWill You Love Me Tomorrow/Some Kind of Wonderful/Up on the Roofthe chemistry evident of why the duos 2010 tour was one of the most in-demand outings in years.

Mobile Fidelitys remastered sound ties everything together and is what makes this release extra special. By going to the original source, the audiophile label considerably opens up the sonic perspectives, revealing the spacious acoustics of the famed venue that act in concert with Kings music. In particular, the songs from Writer benefit from the no-nonsense production. You can literally picture Kings piano beside her, and her voicesincere, tender, melodicis rich, full-bodied, and penetrating. Listeners can even hear it crack on occasion, the results a consequence of her nerves. Unpolished and non-synthetic, the performance is better for it.

No, they dont make albums like this anymore. The Carnegie Hall Concert: June 18, 1971 as real as it gets. And so is the sound. Get your collectible copy now!

Track Listing:
1.I Feel the Earth Move
2.Home Again
3.After All This Time
4.Child of Mine
5.Carry Your Load
6.No Easy Way Down
7.Song of Long Ago
8.Snow Queen
9.Smackwater Jack
10.So Far Away
11.It's Too Late
12.Eventually
13.Way over Yonder
14.Beautiful
15.You've Got a Friend" [Performed with James Taylor]
16.Will You Still Love Me Tomorrow?"/"Some Kind of Wonderful"/"Up on the Roof" [medley; performed with James Taylor]
17.(You Make Me Feel Like) A Natural Woman

Half-speed mastered from the original master tapes, and pressed on two 45RPM LPs to replicate the very first promotional pressing in the UK, the 1980 LP has never sounded better on any format. Rather than cram nearly 50 minutes of music and 20 songs onto a single record, Mobile Fidelity has gone the extra mile and back to the album's UK roots with two 45RPM discs. For the first time, listeners can home in on the records signature sound that relates to the decision to record the vocals in a studios glass strings room. In addition, the dimensions and images associated with Steve Nieves penetrating organ, Pete Thomas punchy drumming, and Costellos bounding vocals know no limits. The music simply leaps off the proverbial page, the uptempo rhythms jumping and nimble bass lines kicking.

Clearly, the group is motivated, and the leader brings some of his very finest songs to the table, including High Fidelity, Riot Act, Motel Matches, and The Imposter. While some believe the drunken incident caused Costello to shelve a planned new-wave-leaning effort for the soul-stoked Get Happy!!, the vocalist claims that his ability to find so many great soul records in America from 1977 through 1979 inspired the group to change course. Whatever the cause, Get Happy!! is a start-to-finish wonder.

Paying homage to Northern soul, Motown, Stax, and Southern soul strains, and infused with smooth and gritty arrangements, Get Happy!! runs on an efficient R&B motor. Subtle tributes abound. High Fidelity quotes a Supremes song; Love for Tender borrows a Supremes riff; Opportunity tips its hat to Al Green; Clowntime Is Over bows to Curtis Mayfield. And two covers, of Sam & Daves I Cant Stand Up for Falling Down and the Merseybeats I Stand Accused, are recast as quick, R&B rave-ups. Theres not a misplaced note or bad step on this record. And for history buffs, the closing, searing ballad Riot Act is Costellos response to his hypocritical critics and finger-pointers.

As essential as anything in Costellos catalog, and one of the truly great records of the 1980s, you owe it to yourself to experience Get Happy!! in the supreme sonic fidelity that this numbered limited edition Mobile Fidelity double-LP pressing affords. For those intimately familiar with its contents, listening will be a revelation. And for fans that have never heard the record, prepare to be wowed.

Part of Mobile Fidelitys Costello catalog restoration series, Get Happy!! will make you positively ecstatic.

Track Listing:
1. Love for Tender
2. Opportunity
3. The Imposter
4. Secondary Modern
5. King Horse
6. Possession
7. Men Called Uncle
8. Clowntime Is Over
9. New Amsterdam
10. High Fidelity
11. I Can't Stand Up For Falling Down
12. Black & White World
13. 5ive Gears in Reverse
14. B Movie
15. Motel Matches
16. Human Touch
17. Beaten to the Punch
18. Temptation
19. I Stand Accused
20. Riot Act

Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited-edition 180g LP presents Bennett in to-die-for sound. Amazingly, this landmark recording has lavished in the vaults over the years and longed for the restoration that meticulous engineering can bring. Gone is the veiled haze that hung over the orchestrations, artificial ceiling that held back the highs, and cloudiness that obscured the entire range of Bennetts vocals. And were not just talking about the inferior digital editions. Previously unheard degrees of warmth, expressiveness, and detailing are just some of the newly uncovered aspects of this majestic recording.

Pairing again with producer Ernie Altschuler and pianist Ralph Sharon, and adding the skills of expert arranger Marty Manning, Bennett navigates his way through heavenly pop territory, turning phrases that bridge myriad moods and feelingswistful, romantic, sentimental, longing, happy, autumnalwhile making listeners feel each and every word that seemingly tumble out of his mouth. Bennett fully invests himself in the performances. And part of the appeal is just how relaxed he remains, a trait that helped him propel both the title track and The Good Life into Top 20 hits.

Decades before hed join the likes of Bono for a Duets album that reprised some of the classic material found here, Bennett perfected on I Wanna Be Around a traditional vocal pop sound that is best described as the touch of velvet. His mellow singing spans from conversational to soaring, his timbre sensational and note-perfect. Bennett inhabits the lyrics as if every song were expressly written for his voice. Whats more, the arrangements remain sympathetic, neither over- nor underdone, resulting in a superb combination of color, style, sophistication, and suaveness.

Mobile Fidelitys collectible 180g LP resonates with standard-setting transparency, imaging, projection, smoothness, and dimensionality. Capturing a human voice remains the most difficult recording task. Suffice it to say that this LP will join the ranks of the very best recordings you own. And of course, the music is on the same elevated level as the sound.

Track Listing:
1. The Good Life
2. If I Love Again
3. I Wanna Be Around
4. I've Got Your Number
5. Until I Met You
6. Once Upon a Summertime
7. If You Were Mine
8. I Will Live My Life for You
9. Someone to Love
10. It Was Me
11. Quiet Nights of Quiet Stars
12. Autumn in Rome

Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited-edition 180g LP presents Bennett in the finest sound hes ever enjoyed. Amazingly, this landmark recording has lavished in the vaults over the years and longed for the restoration that meticulous engineering can bring. Gone is the veiled haze that hung over the orchestrations, artificial ceiling that held back the highs, and cloudiness that obscured the entire range of Bennetts vocals. Previously unheard levels of warmth, expressiveness, and detailing are just some of the hallmarks of this terrific audiophile delight.

At the time of the albums sessions, Bennett found himself caught between the need to sing thin uptempo numbers in order to appease the marketplace and the desire to move beyond the jazzier material he tackled in the late 50s. Unwilling to compromise his will to sing ballads and swing, Bennett, along with producer Ernest Altschuler and arranger/pianist Ralph Sharon, found the perfect combination on I Left My Heart In San Francisco, replete with expansive orchestration, period echo, anthemic ballads, and lush pop arrangements that still leave plenty of room for intimacy and delicacy.

Theres little left to say about the timeless title track, amidst the most definitive songs ever recorded. Similarly, the closing The Best Is Yet to Come ranks equally high, with Bennetts rendition coming a full two years before Frank Sinatras version. Its no wonder why The Voice deemed Bennett his favorite singer. The proof is everywhere, whether on the brassy Rules of the Road, big-band bossa nova send-up of Cole Porters Love for Sale, tender Have I Told You Lately?, or the white-gloves treatment of the Broadway tune Once Upon a Time. Bennetts charismatic personality and refined singing ring true throughout, his burnished baritone as clear as spring water.

Now, hear this triumphant performance as if Bennett is singing to you on a private stage. Witness every breath, and experience the thrill of the singer holding a note for what seems like eternity on Im Always Chasing Rainbows without flinching. Seldom, if ever, has a vocalists singing sounded so effortlessly natural and innate. Mobile Fidelitys 180g LP is simply unmatched in terms of sonics, spaciousness, and sensation.

One of the five-best vocal albums ever made. Order your collectors copy today!

Track Listing:
1. I Left My Heart in San Francisco
2. Once Upon a Time
3. Tender Is the Night
4. Smile
5. Love for Sale
6. Taking a Chance on Love
7. Candy Kisses
8. Have I Told You Lately?
9. Rules of the Road
10. Marry Young
11. I'm Always Chasing Rainbows
12. The Best Is Yet to Come

1982 Smash Propelled Two-Tone Ska Revivalists to Commercial Fame: Police, Jam, Specials Fans Need This LP

Record Contains Irresistible Original Version of "Save It For Later," Longtime Pearl Jam Concert Staple

Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (Best Plant in America): Spaciousness Amidst Instruments, Midrange Dynamics Vastly Improved

In the early 1980s, many bands began borrowing styles initially made popular in other regions of the world, spicing their own sound up with exotic textures and foreign rhythms. Few groups perfected the mix-and-match hybrid with more everlasting appeal and contagious melodicism than The English Beat, a multi-cultural ensemble whose Special Beat Service dominated the charts, scored with the critics, and captivated listeners.

Blending jazzy saxophones, pop hooks, calypso accents, firm beats, jangly guitars, and scores of other creative devices, the 1982 set has always been ripe for sonic restoration. Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP brings the music's colorful flair and cross-continental vibes to the fore, eliminating the haze and artificial ceilings that flaw previous pressings. The Caribbean flavors, dub pulses, and irresistible refrains now jump with palpable energy and feet-tapping verve. You'll be addicted as soon as the needle drops into the first grooves of the record.

A feel-good set from start to finish, Special Beat Service bows down to the power of great pop. But within this framework, The English Beat weaves in brilliant threads of music plucked from Jamaica (reggae and dub), its native England (new wave and Merseybeat), and the United States (post-punk and Motown). While many recognize them as Two-Tone ska revivalists, the group's arrangements reach far beyond any label, a breadth immediately recognized on multifaceted tracks such as "Sugar & Stress," "Ackee 123," and "Sole Salvation."

In particular, the band's "Save It For Later" became an anthem that is still heard today. A precursor to the influential Britpop sound that followed nearly a decade later, the hit rides on a flexible bass line, sly sexual lyrics, and rolling guitar-driven lines that even the Beatles would envy. Years ago, Pearl Jam resurrected the classic by tacking it onto the end of its "Betterman" in concert, and to this day, it remains a live favorite. You need to experience the original in the highest-possible fidelity.

No mere revivalists or retro-minded purveyors, The English Beat created a true 80s pop masterpiece with Special Beat Service. Mobile Fidelity Silver Series' LP presents the songs as they were meant to be heard, and will have you dancing in no time. If you're a fan of the Police, Madness, The Specials, The Clash, The Jam, or the Wailers, you need this LP.

Track Listing:
1. I Confess
2. Jeanette
3. Sorry
4. Sole Salvation
5. Spar Wid Me
6. Rotating Head
7. Save It for Later
8. She's Going
9. Pato and Roger a Go Talk
10. Sugar and Stress
11. End of the Party
12. Ackee 1-2-3

Precedent-Setting 1969 Release One of the Five Best Live Albums Ever Recorded

Half-Speed Mastered from the Original Master Tapes: Invite the Dead Into Your Living RoomYou Wont Believe How Good This Pressing Sounds

Pinnacle First-Era Grateful Dead Record Captures Best of Both Worlds: Bands Improvisational and R&B-Based Blues Sides on Display

Ranks #244 on Rolling Stones List of the 500 Greatest Records of All-Time

Part of Mobile Fidelitys Amazing Grateful Dead Reissue Series: Skull and Roses, From the Mars Hotel, Wake of the Flood, and In the Dark Also Available on 180g LP

If you want to experience why on any given night the Grateful Dead was the best live band going in 1969, you need to hear Live/Dead. If you want to understand how personal chemistry, symbiotic interplay, and otherworldly energy can lead to a near-extinct onstage combination of soulfulness, surprise, and suspense, you need to hear Live/Dead. Ranked by Rolling Stone on the magazines list of the 500 Greatest Records of All Time. Universally acclaimed by both Deadheads and non-devotees alike. The perfect synthesis of the legendary groups first-era vital characteristics and cosmic faculties. A gorgeously recorded sonic artifact and more, Live/Dead is outright essential.

Half-speed mastered from the original master tapes with the utmost care, and part of Mobile Fidelitys unprecedented Grateful Dead reissue series, this numbered limited edition 180g 2LP version of Live/Dead raises the iconic albums lofty prestige even higher. Recorded at three San Francisco concerts in early 1969 with a mobile 16-track studio, the 7-song set has always possessed excellent fidelity in large part because of a mic splitterspecially created for the projectthat fed both into the PA system and record inputs, allowing the engineers to capture the shows without any loss in quality.

Seldom have venue dimensions, acoustic properties, spatial characteristics, low-frequency resonances, amplifier tonalities, soundstage balances, and vocal timbres been so faithfully reproducedor enhanced. Mobile Fidelitys version elevates Live/Dead into the revered pantheon of the most respected reference audiophile LPs. Close your eyes and youre dead center, ten rows back in two of the Bay Areas most beloved halls: Fillmore West and Avalon Ballroom. The degrees of realism are utterly staggering; no, you dont need any, ahem, chemical assistance to facilitate the transcendent experience.

Renowned for contagious communication between its members, the Dead operates on a interstellar plane throughout Live/Dead. Witnessing the ebb-and-flow manners in which guitarist Jerry Garcia, bassist Phil Lesh, and drummer Billy Kreutzmann respond to one anothers passages and blur the lines between jazz, psychedelia, and rock disciplines. Meandering jamming this is not. Solos burn, rhythms thunder, bass lines roll, melodies twist. Dark Star remains the touchstone for whats possible in epic frameworks, with notes climbing, darting, and skittering amidst a dark canvas seared with mystic vibes and punctuated with blossoming instrumentals. Along with the inseparable pairing of St. Stephen and The Elevena sequence that highlights the raw gospel beauty of Garcia, Lesh, and Bob Weirs harmonies as well as breathtaking tightrope seguesthe explorative excursion epitomizes the Deads progressive inclination, cohesion, and ability.

Live/Dead isnt all about the art of the improvisation. R&B-driven electric blues comes courtesy of organist/vocalist Ron Pigpen McKernan, still in excellent health, and pianist Tom Constanten, who departed the band shortly after these shows occurred. The latters counterpoint playing and spiritual accents shadow the shivering ballad Death Dont Have No Mercy and underscore a rousing, percussive-laden marathon take of Turn on Your Love Light. Call-and-response segments, spontaneous exchanges, and joyous merry-making doesnt come any better. Live/Dead is a landmark in every sense; it remains the first 16-track album released. Its impact is still felt today.

From the illustrative cover art (hint: the word Dead subtly spells out Acid on the back cover) to the gatefold graphics and the extraordinary sonics, Mobile Fidelitys 180g 2LP edition ranks among the labels best releases. Ever. Secure your lowest-numbered edition by ordering now!

Track Listing:
Side 1
1. Dark Star

Side 2
1. St. Stephen
2. The Eleven

Side 3
1. Turn On Your Love Light

Side 4
1. Death Don't Have No Mercy
2. Feedback
3. And We Bid You Goodnight

1971 Double Live Album Presents Legendary Bands Expansion Into Country Rock, Traditional Rock and Roll, and Roots Folk

Half-Speed Mastered from the Original Master Tapes: Ultra-Quiet Pressing Features Spacious, Transparent, Illuminating, and Organic Sound

Prototype Document of the Deads Second-Era Sound and Lineup: More Accessible, Concise, and Stripped-Down Performances

Includes Many Longtime Staples of the Bands Live Repertoire: Playing in the Band, The Other One, Me and My Uncle, Bertha, Wharf Rat, and More

Part of Mobile Fidelitys Amazing Grateful Dead Reissue Series: Live/Dead, From the Mars Hotel, Wake of the Flood, and In the Dark Also Available on 180g LP

The Grateful Dead took to the start of the 1970s as a different albeit equally thrilling and eminently broader-reaching band than the ensemble that revolutionized psychedelia in the late 1960s. Made evident in the back-to-back studio releases Workingmans Dead and American Beauty, the group increased its mastery of harmony-driven roots songs distinguished by catchy signatures, more concise arrangements, and impossibly organic textures. Captured live in spring 1971 and featuring not a single repeated song from Live/Dead, the expressive performances on Skull & Roses document this stylistic expansion in unsurpassed fashion. The double-LP constitutes the no-limits sound of an iconic band coming in to its own.

Half-speed mastered from the original master tapes with the utmost care, and part of the labels unprecedented Grateful Dead reissue series, Mobile Fidelitys numbered limited edition 180g 2LP version of Skull and Roses presents the downsized Dead lineups most memorable songs in previously unimaginable fidelity. From the moment Jerry Garcias guitar pick touches a string at the outset of the scampering Bertha, the improvements are palpable: Life-size images, airy vocals, subterranean bass lines, incredibly spacious separation, tube-amp warmth, faithful tones, and balanced dynamics lead a crystal clear path to the music and the Deads extraordinary collective spark.

Originally captured on a 16-track recorder, the songs brim with rarified levels of you-are-there realism and reach-out-and-touch immediacy. Notorious for its exacting sound demands, the Dead achieves the kind of instrumental and frequency-range transparency that many dedicated audiophiles spend their entire lives dreaming about. Skull and Roses is a kernel of sonic truth. Such is the pressings degree of detail and insight that listeners will be able to debate what gauge guitar strings the members are using as they savor every last breath, riff, and snare hit.

Thankfully, the bands perfectionist attitude toward sound doesnt literally transfer over to its music approach. Loose, lively, playful yet earthy, focused, and committed, the Dead crackles with boogie-based moxie, greasy soulfulness, and swaggering bravado, each note seemingly exploding like tiny pieces of magic that hover in the air and cast hypnotic spells. The groups embrace of leaner, tighter, more melodically incisive songs and the swaying rhythms that accompany the approach directly relate to two key lineup changes: the temporary departure of drummer Mickey Hart and permanent leave of keyboardist Tom Constanten. As a result, the Dead toured as a quintet, with Bill Kreutzmann the sole percussionist and Garcia, bassist Phil Lesh, guitarist/singer Bob Weir, and keyboardist/vocalist Ron Pigpen McKernan rounding out the barer-bone cast.

Not only do Garcia, Lesh, and Weir show tremendous growth as singers, the Dead as a whole further invest in folk, country, R&B, rock, and blues traditionsvia Garcias sweeter tones and Bakersfield picking, Weirs cowboy twang and increasingly confident counterpoints, Kreutzmanns hang-fire beats and scurrying grooves, Leshs weighty sway, McKernans foreshadowing spiritual timbres. Inspired covers of tunes by Merle Haggard (a frisky and defiant Mama Tried), Willie Dixon (the comfortably rumbling, boozy honky tonk Big Boss Man), Kris Kristofferson (the dusty, peaceable tale Me and Bobby McGee), Chuck Berry (a supercharged romping Johnny B. Goode), and Buddy Holly (Not Fade Away, segued into Goin Down the Road Feeling Bad) announce the Deads intent to make practically every style of contemporary American music their own, and in the processto paraphrase the great Bill Grahambe the only ones that did what they did.

A similar attitude informed the records genesis. The group originally lobbied to call the album Skullfuck before the record label, at an allegedly chaotic meeting at the infamous Hyatt Hotel, dissuaded the humorous ploy. While technically named Grateful Dead, the album is commonly known as Skull and Roses due to Alton Kelly and Stanley Mouses now-iconic cover art. Trivia buffs might know the latter is based on an illustration for an antique edition of the Rubaiyat of Omar Khayyam.

The 1971 effort also has another huge claim to fame: It included the message DEAD FREAKS UNITE. Who are you? Where are you? How are you? Those simple lines, and the invitation to respond, created of the Deadhead subculture and biggest fan list in history, utterly pioneering the industry overnight.

Get it allthe dazzling graphics, dizzying performances, deft sonicsby ordering your prized collectable edition of Skull and Roses today!

Track Listing:
Side 1
1. Bertha
2. Mama Tried
3. Big Railroad Blues
4. Playing in the Band

Side 2
1. The Other One

Side 3
1. Me and My Uncle
2. Big Boss Man
3. Me and Bobby McGee
4. Johnny B. Goode

Side 4
1. Wharf Rat
2. Not Fade Away/Goin' Down The Road Feeling Bad

Here Comes Sunshine: 1973 Set Launches Dawning of New Era, Revamped Lineup

Half-Speed Mastered from the Original Master Tapes: Larger-Scale Arrangements, Brass Accents, Woodwind Passages Emerge Like Never BeforeTremendous Sound

Album Presents the Dead in All Its Incarnations: Country-Rock Merry Makers, Gospel-Sent Balladeers, Folk-Rock Storytellers, Psychedelic Innovators

Part of Mobile Fidelitys Amazing Grateful Dead Reissue Series: Live/Dead, Skull and Roses, From the Mars Hotel, and In the Dark Also Available on 180g LP

For the Grateful Dead, Wake of the Flood ushered in an exciting new era of change and potential. The band elected to depart Warner Bros. and start its own record label. A new lineup emerged after keyboardist/vocalist Ron Pigpen McKernan passed away and the group landed jazz-schooled pianist Keith Godchaux and his wife, Donna, who gave the ensemble a new option in the form of a dedicated backing vocalist. Having road-tested a batch of new originals, the collective eagerly sought to expand its broad musical palette in the form of a large-scale studio LP that involves horn sections, violin, and choral figures. Diverse, unique, and mellow, 1973s Wake of the Flood overflows with the luminous vision, stellar songwriting, and ensemble reciprocity made possible by its historical circumstances and inspired creators.

Half-speed mastered from the original master tapes and part of the labels unprecedented Grateful Dead reissue series, Mobile Fidelitys numbered limited edition 180g LP of Wake of the Flood presents the Deads family-styled blend in supreme fidelity. More than any other Dead studio effort, Wake of the Flood utilizes the myriad alternatives offered by the studio setting. Recording to 24-track, the group invited no fewer than six horn players to the fray, with saxophones, trumpets, and trombones synching up with the six-piece band on two songs. In addition, virtuoso violinist Vassar Clements makes a guest appearance and Texas legend Doug Sahm lays down 12-string guitar, contributing to an amalgamation thats nothing short of epic in ambitionand, in the case of the thematic Weather Report Suite, epic in length.

Mobile Fidelitys engineers recognize how beloved this iconic effort is to so many people. Approaching the mastering process with the same type of focus, perception, and foresight that the Dead bring to the compositions, their painstaking work reveals previously obscured details, timbres, movements, and sounds that greatly add to Wake of the Flood. You can hear and sense it in terms of the LPs poetic sensibility, arching scope, mythological illusion, and emotional impact, all as natural as the rustic images portrayed on the albums artwork.

Bass fanatics, take note: During the sessions, Phil Lesh was in the midst of utilizing an Alembic Quad bass equipped with four pickups to allow each string to be recorded individually, or, one per track. The oceanfloor-deep bass frequencies on this pressing will loosen anything not properly tethered in your room. Jerry Garcia, too, debuts a new Alembic-produced guitar on the album; his rich tonalities swim in the currents of every song here.

And every tune here is first-rate, good ol Grateful Dead. Two separate albeit symbiotically related songwriting teamsGarcia/Hunter and Weir/Barlowguide excursions into forget-all-your-troubles country-rock (Mississippi Half-Step Uptown Toodeloo), spirit-boosting funk-cum-psychedelia (Eyes of the World), mournfully bracing blues balladry (Stella Blue), and reassuring folk-rock (Here Comes Sunshine). Akin to the albums overall mood, the latter track progressively unfolds, each passage blooming with additional optimism, fortitude, and purpose.

Similarly, the lyrical clouds and thunder ultimately pass on Weirs beautifully complex and terrifically executed three-part Weather Report Suite, a team effort that represents one of the rare occasions of the Dead pairing with a horn section. A live favorite for many years, the tune never possessed onstage the atmosphere-filling soundscapes and theme-enhancing instrumental elements that it does here. Is there a better way to conclude a masterpiece that subconsciously reflects dawning of a new era and the indefatigable hope that comes with it? Doubtful.

Bask in the glory that is Wake of the Flood with this incredible 180g LP pressing. Get your collectable copy and lowest-numbered available version by ordering today!

Track Listing:
1. Mississippi Half-Step Uptown Toodeloo
2. Let Me Sing Your Blues Away
3. Row Jimmy
4. Stella Blue
5. Here Comes Sunshine
6. Eyes of the World
7. Weather Report Suite
Prelude
Part I
Part II (Let It Grow)

Wave That Flag: 1974 Set Spotlights Elementary Strengths of Each Member and Features U.S. Blues, Unbroken Chain, China Doll, Ship of Fools, and More

Half-Speed Mastered from the Original Master Tapes: New Pressing of Longtime Audiophile Favorite Boasts Dynamic, Clear, and Smooth Sound

Bassist Phil Leshs Finest Hour on a Dead Studio Record, Includes His Last Lead Vocal Performances for Decades

Part of Mobile Fidelitys Amazing Dead Reissue Series: Live/Dead, Skull and Roses, Wake of the Flood, and In the Dark Also Available on 180g LP

Welcome, friend. Youve just checked into the Mars Hotel. The Wall of Sound, the greatest PA system ever constructed, is freshly built and ready to go. Phil Lesh is busy experimenting with a low-frequency concept known as Earthquake Bass. Jerry Garcia is smiling, fresh from blaring a tongue-in-cheek anthem titled U.S. Blues thats both an irresistible rallying cry of pride and ironic commentary. And the Deads interplay continues to wow, peaking on Unbroken Chain, the most obvious example yet of the groups shared chemistry and individual talents. Yes, were certain youll enjoy your stay. In the lobby, youll find decoratively funky Scarlet Begonias. Do we need even mention that the music, performances, and sights now sound and look better than ever?

Half-speed mastered from the original master tapes with the utmost care, and part of the labels unprecedented Grateful Dead reissue series, Mobile Fidelitys numbered limited edition 180g LP of From the Mars Hotel is both an audiophile delight and Deadheads dream. Vastly improving upon the long-out-of-print 1980 MoFi version that currently commands upwards of $300 on the aftermarket, the new version takes advantage of enhancements to our cutting system, pressing process, and mastering gear. MoFis engineers have taken every precaution in perfecting the sound and feel of this classic.

Originally made in a modern facility dubbed Studio Aa large cinderblock room that Columbia Records specially outfitted for Simon and Garfunkel, who, ironically, split up before they could use itFrom the Mars Hotel was primarily recorded live to 16-track machines. After laying down the basic structures, a few overdubs were added, most notably in the form of John McFees rustic pedal-steel guitar accents on one track and Ned Lagins spacey synthesizer passages on another. Always prized for its superb fidelity, the effort possesses an uncanny sense of airiness around the vocals, brilliant microdynamics, excellent transients, reference-caliber balance, accessible tonalities, and most importantly, the distinctive sound of a real band playing in a defined space.

With Keith Godchauxs spry quick-finger piano notes adding a barroom blues feeling and wife Donna Godchauxs soaring background vocals bring up the rear, the Dead puts a vibrant spring into the step of contagious fare such as the rousing U.S. Blues, down-and-dirty funky soul of Loose Lucy, and slippery-grooved Money Money. These songs stand as some of the loosest black-inspired music the Dead composed. And why not? True to the eras burgeoning mix of soul, R&B, psychedelic, and dance, the collective places its own memorable stamp on the days popular fusion.

Yet From the Mars Hotel earns its stripes as a must-own album for Deadheads and normal listeners alike because of the manners in which the six band members communicate, bond, react, and create. Singing lead on the high country of Pride of Cucamonga and interlocking centerpiece Unbroken Chain while threading the records golden tapestries with silvery bass lines that cradle, shift, and anchor the arrangements, Lesh turns in one of the most heroic individual performances in history.

Each of his mates maximize their own techniques: Garcia lending equal doses of sincerity and salaciousness; Bob Weir hunting, pecking, and jabbing guitar phrases into the flux; drummer Billy Kreutzmann demonstrating jazz-like flair, flawless timing, and rhythmic wit. Its no wonder that many Deadheads, if forced to choose, would select Unbroken Chain as the premier example of third-era Dead interaction. Relatively concise, eminently soothing, and named for a crumbling hotel down the street from Studio A, From the Mars Hotel forever dispels the tired notions that the Dead never succeeded in the studio after leaving Warner Bros. and drifted aimlessly (the longest track here clocks in at a scant 6:45). Just try not to become addicted to the sound.

Book your reservation at the Mars Hotel by ordering the lowest-numbered copy available today. Youll check in and never want to leave.

Track Listing:
1. U.S. Blues
2. China Doll
3. Unbroken Chain
4. Loose Lucy
5. Scarlet Begonias
6. Pride of Cucamonga
7. Money Money
8. Ship of Fools

The Dead Will Survive: 1987 Album Gave Band New Lease on Life, Best Studio Effort in More Than a Decade

Half-Speed Mastered from the Original Master Tapes: Jerry Garcia and Bob Weirs Dynamic Magnified, Bluesy Riffs Properly Textured

In the Dark Contains Touch of Grey: Deads Only Top 40 Hit

Entire Album Boasts Continuity, Flow, and Cheer of a Memorable Live Show: After More Than a Decade, Group Finally Tallied Another Studio Masterwork

Part of Mobile Fidelitys Amazing Grateful Dead Reissue Series: Live/Dead, Skull and Roses, Wake of the Flood, and From the Mars Hotel Also Available on 180g LP

In the Dark will forever be known as the Grateful Dead record that propelled the iconic band into the mainstream conscious more than two decades after its career began. Thanks to undeniable hooks, sing-a-long refrains, and shrug-it-off sentiments on the survivalist anthem Touch of Grey, the Dead was exposed to new generations of listeners and, in the process, became celebrity figures that packed football stadiums with fans. But In the Dark remains significant for many other, more important reasonsJerry Garcias stunning recovery from a coma, Garcia and Bob Weirs compelling dynamic, and an impeccable batch of tunes. It also stands bar-none as the sextets finest output since 1975.

Half-speed mastered from the original master tapes and part of the labels unprecedented Grateful Dead reissue series, Mobile Fidelitys numbered limited edition 180g LP of In the Dark presents the Deads long-overdue breakthrough in attention-grabbing fidelity. Even in an era in which the most revered artists succumbed to the days prevailing sound (namely, slick textures and artificial keyboard-heavy production that evoked the feel of Saran-Wrap) the band remained obstinate in its allegiance to revealing fidelity. As it happened, the Dead recorded most of the record live onstage at Marin Civic Auditorium using the then-newly introduced Dolby SRa technology that permitted astounding instrumental separation, even when playing live. The groups inimitable blend now sounds better, more immediate, and natural than ever.

Everything including the clip-clop of cowbells, Mickey Hart and Billy Kreutzmanns rhythm-devil grooves, Phil Leshs supple bass lines, Garcias sweetened timbre, and Brent Mydlands pastel-shaded keyboard melodies converges into a delightfully balanced, animate entity. The music possesses tube-like warmth and glow, and the bands renewed vigor and, particularly, Garcias mellifluous guitar tones and rippling passages, come across with irresistible immediacy, heft, and vitality. Several effectsthe revving of a motorcycle engine, which moves with precise imaging across an extremely wide soundstage and various synthesizer interjections among themhighlight lyrical turns and add winking humor. In the Dark is a late-80s anomaly: A great and great-sounding rock album that isnt the least bit dated.

While theres no single secret behind the records success and its position as the greatest studio achievement of the Deads last two decades, In the Dark boils down to the essential ingredients of great songwriting and the kind of loose, spirited, frolicking chemistry that the sextet so often demonstrated onstage. Weir and Garcia engage in a friendly competition of gamesmanship. The rhythm guitarists cleverly cynical Hell In a Bucket is one of the toughest, nastiest songs in the Deads catalog; Throwing Stones, his image-laden treaty on greed, politics, responsibility, and the environment, benefits from a complex arrangement sent up with marching bridges and spidery guitar work.

For his part, Garcias haunting slow blues West L.A. Fadeaway makes room for Weirs skillful slide-guitar fills while the poignant, merciful reflection Black Muddy Riverdressed in gospel gowns and Biblical allusionscompletes the circle the Dead began back in the late 1960s when the group ended its marathon shows with the traditional spiritual And We Bid You Good Night. The white-bearded legend clearly has fun throughout, and, obviously energized by a second chance on life, pours his soul into the music.

Mydlands performance and presence aren't to be overlooked. Equipped with the vocal harmony potential of a choir of angels, his poignant backing singing on Black Muddy River aches with beauty. Similarly evocative, his lead on the hobo country-blues Tons of Steel evokes equal parts move-on sympathy and regrettable loss. It can be strongly argued that his piano lines and right-hand fills throughout constitute the most valuable the Dead ever received on a record. Chalk them up to an integral part of an album on which every star aligned, good fortune prevailed, and the Dead finally achieved the widespread recognition it had long been overdue.

The prototypical portrait of final-era Grateful Dead, In the Dark belongs in every record collection. Get your collectable copy today!

Track Listing:
1. Touch of Grey
2. Hell in a Bucket
3. When Push Comes to Shove
4. West L.A. Fadeaway
5. Tons of Steel
6. Throwing Stones
7. Black Muddy River

Record Shivers With Raw Emotions, Dark Confessionals, and Intense Singing

Half-Speed Mastered from the Original Analog Tapes: Transcendent Sound

A sharp stylistic and thematic detour away from its first two albums, the Bands Stage Fright is a compelling snapshot of a group coping with massive success and internal changes. Recorded in 1970 at the Woodstock Playhouse, the set shivers with raw emotions, dark confessionals, and intense singing. Largely devoid of the quintets trademark all-for-one harmony vocals, Stage Fright is an utterly distinctive piece of the Bands catalogand a historic landmark thats a necessary part of any music collection.

When Stage Fright came about, all I was doing was feeling my way along. But, where everybody was in a huddle on both Big Pink and The Band, with Stage Fright it didnt feel like we were all connected in the same kind of way. In this period of experimentation in life, in music, in drugs, people kept wanting to stretch and reach and go somewhere and try things and, in the course of that, some real alienation can take place as well. When these things are chemically induced, you can feel an incredible shutdown of communication. guitarist Robbie Robertson, as told to Rob Bowman

Such splintered camaraderie and personal demons appear in now-famous songs such as the title track, The Shape Im In, and The W.S. Walcott Medicine Show. The music is rife with palpable tension, and as a credit to the Bands unique sound, absolutely singular. Its impossible to think of any other group playing these tunes. Robertsons balladic ode to his daughter, All La Glory, featuring a gorgeous vocal turn from Levon Helm, provides a sunny contrast to the darker compositions.

Circumstances behind the recording sessions also reflected the mood. While the Band had intended to capture the album in one take in front of a small crowd at the theater, the town residents vetoed the idea due to concerns over being inundated by too many visitors. Consequently, the Band played to an audience of no one, sometimes with the curtains closed and other times, with them open. Todd Rundgren, who engineered the album, couldnt even see what was going onhe was sitting in a canvas prop tent that became the control room, behind the theater.

As always, Mobile Fidelity half-speed mastered this numbered limited-edition 180g LP from the original master tapes for a superior sonic experience. This analog edition of Stage Fright bursts with supreme tonal clarity and an airiness that brings the genius of Rundgrens preservation of high frequencies to complete realization. Even the fine textures of the hand drums on the stunning Daniel and the Sacred Harp come to light with microscopic detail. Perfectly blended, MoFis Stage Fright takes its place as the most balanced and punchy record in the Bands oeuvre.

Stage Fright is part of Mobile Fidelitys effort to present the Bands timeless music in the highest fidelity possible. Get your copy of the 1970 recordas well as MoFi editions of the Bands Music From Big Pink, Cahoots, Northern LightsSouthern Cross, and Rock of Ages today!

Track Listing:
1. Strawberry Wine
2. Sleeping
3. Time to Kill
4. Just Another Whistle Stop
5. All La Glory
6. The Shape I'm In
7. The W.S. Walcott Medicine Show
8. Daniel and the Sacred Harp
9. Stage Fright
10. The Rumor

Narratives on 1979 Gem Peer into the Heart of Everyman and Everywoman

Mastered from the Original Master Tapes: Sonics As Mellifluous As Taylor's Voice on a Cool Summer Night

JT and Dad Loves His Work Also Available on 180g LP from Mobile Fidelity

James Taylor was an interesting place when he recorded the colossally underrated Flag. Fresh off his double-platinum J.T. (also available from Mobile Fidelity), the artist who defines the singer-songwriter genre had just collaborated with Art Garfunkel and Carly Simon, undertaken a Broadway musical, and become more active in political affairs. All these factors contribute to this 1979 treasure, which finds Taylor plying more of his trademark mellow vibes and insightful, soul-gazing lyrics.

While Flag has been previously remastered for CD, its never been sourced from the original analog master tapes. Mobile Fidelitys brilliant-sounding 180g LP is, and the results are as spectacular as chilling out to Taylors mellifluous voice on a summer night. Flush with exquisite acoustic textures, beautiful tonalities, and studio-perfect dynamics, this audiophile version brings Taylors music to life like never before.

Having landed in the Top Ten and sold more than two million copies, Flag nonetheless remains one of Taylors most under-appreciated efforts. And its not because the content is lacking. The beloved singer enters his hallmark storytelling mode on Sleep Come Free Me and dizzies the senses with the beloved Rainy Day Man. Drawing from his musical Working (based on legendary author Studs Terkels book of the same name), Millworker and Brother Trucker are lessons in character studies, Taylors narratives peering into the heart of blue-collar America and reflecting his knack for the everymanand everywoman.

Similarly, a pair of coversUp on the Roof and Day Trippershow his knack for reverent interpretation as well as originality. Flag reveals why we love JT. The literary descriptiveness, at-home folk arrangements, soft-rock fireplace coziness, captivating emotion, faithful tones, and stellar sense of instrumental placement, be it backing vocals, nuanced percussion, pedal-steel guitar, or subtle horns, the latter courtesy of do-it-all saxophonist David Sanborn. Alas, many of these facets have long gone unnoticed.

Ever since its original release, Flag has been plagued with muddled sound. No longer. Mobile Fidelitys analog reissue unlocks the well-kept sonic secrets and floods the record with the intimacy and impact that have always lurked underneath the surface. Finally, Taylors finite acoustic playing, well-mannered melodies, reflective words, and refined singing are experienced as a whole. The amount of new musical information thats been uncovered will boggle the minds of even the most ardent Taylor fans.

Trust us: Flag is one of Taylors finest works. After three decades, hear it all for yourself. And discover what is certain to become of your new favorite records.

Track Listing:
1. Company Man
2. Johnnie Comes Back
3. Day Tripper
4. I Will Not Lie for You
5. Brother Trucker
6. Is That the Way You Look?
7. B.S.U.R.
8. Rainy Day Man
9. Millworker
10. Up on the Roof
11. Chanson Française
12. Sleep Come Free Me

Mastered from the original master tapes by Mobile Fidelity, A Good Day sounds positively exquisite on 180g LP, the very first time this sure-to-be audiophile vocal favorite has been made available on vinyl. While Mobile Fidelity typically issues albums that are at least a decade old, the label's engineers and decision makers felt too strongly about Ahn's 2008 album to squander any opportunity to release it. Such is the capacious amount of low-level detail, acoustic information, timbral presence, natural dynamics, and wide-spectrum frequency response present on a vocal-dominant effort that sparkles sonically as well as musically. A Good Day is the kind of airy album meant for high-end turntables, analog-friendly amplifiers, a cozy seat, and glass of fine Bordeaux.

Helmed by noted producer and Beck colleague Joey Waronker, A Good Day teems with understated string sections, fingerpicked arpeggios, rustic atmospherics, and confident harmonies. Ahn's relaxed, rural-based childhood memories work their way into delicate ballads and cozy midtempo strummers, as does her more recent stint in California's sun-baked environs. Simultaneously innocent and experienced, she's equally at home with tender love-struck admissions as she is with tough-skinned declarations. Always in control, her lyrics and music belie her then-24-year-old age.

Fans of Joni Mitchell, Carole King, and Laura Nyro should immediately be drawn to Ahn's personal, intimate vibes. The upstart multi-instrumentalist not only plays guitar but also masters autoharp, piano, ukulele, Wurlitzer organ, bells, and glockenspiel on tracks rife with texture and color. Yet the main attraction remains Ahn's wispy, clear, dream-like voice. Soft and sensual, spirited and soothing, her coos, whispers, and wordless flights take off like a breeze on a clear summer day, gently blowing against fields of golden flowers and pillowy clouds.

Indeed, Ahn's is a comforting voice you'll want to experience in the highest-possible fidelity. Experience the blissful aural sensations and myriad sonic hues delivered by Mobile Fidelity's numbered limited-edition 180g LP, and luxuriate in acoustic folk-pop that brightens moods, massages the senses, and clings to the soul as well as any you've heard in recent memory.

Track Listing:
1. Dream
2. Wallflower
3. I Don't Think So
4. Masters in China (Benji Hughes)
5. Leave the Light On
6. Red Cape
7. Astronaut (G. Seyffert, Priscilla Ahn)
8. Lullaby
9. Find My Way Back Home
10. Opportunity To Cry (Willie Nelson)
11. A Good Day (Morning Song)

Last Album Made By Original Members Ronnie Van Zant and Allen Collins

Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI

Triple-Guitar Front of Steve Gaines, Gary Rossington, and Collins Remains Rocks Most Formidable Assembly of Six-String Players

Street Survivors remains Lynyrd Skynyrds finest hour, and for many reasons. The last album recorded with original vocalist Ronnie Van Zant and guitarist Allen Collins, who passed away in a tragic plane accident three days after its release, the 1977 set is both mythical for its historical significance as well as infallible songwriting quality. Then theres the triple-guitar front of Collins, Gary Rossington, and Steve Gaines, which, together, comprise the most formidable combination of lead six-string players assembled on an original album. Add in freshly inspired performances and classic Muscle Shoals production, and you have a timeless work of art.

Mastered from the original master tapes and pressed at RTI (the best record plant in North America), Mobile Fidelity Silver Series' limited edition LP presents Skynyrds landmark effort in a dynamic, organic, soulful, and balanced sound that puts the musicians on a wide soundstage that will make you think they are standing on a stage in your room. In particular, Van Zants reenergized singing comes through with utmost clarity and verve. The complex web of guitars is now unraveled, with each of the instrumentalists possessing their own space, allowing their contributions to assume a transparency that further lends to the musics impact. Background vocals, too, rise up above what had heretofore been an artificial ceiling.

Produced by iconic producer Tom Dowd, Street Survivors is drenched in earthy vibes and live-from-the-floor rawness, the sense of spontaneity and interplay underlining the groups taut albeit loose material. Rebounding from 1975s solid yet semi-formulaic Nuthin Fancy and the following years equally lukewarm Gimme Back My Bullets, Skynyrd comes out firing on Street Survivors and never let up. The septets nucleus was never betterits lamentable that this stands as the lineups only studio record together, but the music here makes you all the more thankful for the chance to at least here them reach their potential at least once.

Gaines incredible abilities spur on his mates, which respond with strong ideas and even stronger performances. Melodies are sharp, hooks are abundant, rhythms in command. A miasma of blues, rock, country, gospel, and soul informs the arrangements, and those three guitarists play as if their lives depended on getting everything just right. Songs flow with an effortless ease, and whether its the slithering organ-backed rollick of I Never Dreamed, swampy drug-abuse warning That Smell, or autobiographical honky-tonk Aint No Good Life, Skynryd clicks on all cylinders. Swagger, swing, and strut. What an album.

Honor Van Zant and Collins memories, and revisit a Southern rock masterpiece, by acquiring this collectable version of Street Survivors.

Track Listing:
1. What's Your Name
2. That Smell
3. One More Time
4. I Know A Little
5. You Got That Rig
6. I Never Dreamed
7. Honky Tonk Night Man
8. Ain't No Good Life

Its 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. Sinatras 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, Sinatras 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 Fidelitys 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

Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited-edition 180g LP marks the first time this classic has been properly remastered. Far exceeding the sonics of Sonys CD reissue, this audiophile version lifts up the cover on a world of sound, with Taylors mellow finger-picked guitar melodies, gently reassuring vocals, and bittersweet deliveries brought to the fore. Listeners will also be able to relax amidst the soft clouds of comforting background singing by ace guests Jennifer Warnes, J.D. Souther, and Peter Asher.

With the title reflecting the singers answer to his then-wife, Carly Simon, Dad Loves His Work remains a statement of certainty and priority that Taylor invests with devastating poignancy, physiological soulfulness, and universal pathos. Balancing the biting edginess and forlorn despair with equal parts self-deprecating humor and rapier wit, Taylors songwriting on such nuggets as Hard Times, Hour That the Morning Comes, and charged Stand and Fight is among the best of his career.

No surprise, then, that Taylor wasnt only looking at and reflecting upon his own life, but that of his relationship with his own father and ancestors. The emotional repercussions involved with such looming themes trickle through the harmony-laden music, spurred by the vocalists trademark acoustic guitar, shivering harmonicas, Rhodes pianos, myriad percussive devices, and tasteful synthesizer passages.

Taylors definitive duet with Souther on Her Town Too bridged both the pop and adult-contemporary charts, catapulting Dad Loves His Work in the Top Ten and past sales of one million copies. Similarly, Taylor expands his horizons on the politically motivated Sugar Trade, co-written by Jimmy Buffett.

Mobile Fidelitys collectible audiophile 180g LP brings you into Taylors private world with unparalleled intensity and extreme closeness. Taylor feels every word he sings on this record, and now, thanks to meticulous remastering efforts, his expressiveness and sensitivity coming through via unencumbered transparency and dynamic acoustics. This edition of Dad Loves His Work is not to be missed!

Track Listing:
1. Hard Times
2. Her Town Too
3. Hour That the Morning Comes
4. I Will Follow
5. Believe It or Not
6. Stand and Fight
7. Only for Me
8. Summer's Here
9. Sugar Trade
10. London Town
11. That Lonesome Road

Marvin Gayes Whats 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 Stones 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)

Half-speed mastered from the original master tapes, Learning to Crawl finally possesses the combination of whisper-in-your-ear intimacy and nerve-checking toughness that it's always demanded on Mobile Fidelity's super-quiet analog LP. Leader Chrissie Hynde's voice is made viscerally apparent, wavering between vigorous determination and solemn reflection, while drummer Martin Chamber's punchy backbeats register with requisite punch. To say nothing of how fresh the effort's hit singles ("Middle of the Road," "Back on the Chain Gang") and incredible deep cuts sound.

The story behind Learning to Crawl is directly connected to the powerful, moving music within. After releasing two records that swept the world by storm (Pretenders and Pretenders II, the latter available on hybrid SACD from Mobile Fidelity), the group's fortunes reversed after guitarist James Honeyman-Scott was found dead of a drug overdose in 1982. Shortly thereafter, founding member Pete Fardon, fired just two days before his partner's death, also succumbed to an overdose, leaving the band's state in tatters. Would there still be a Pretenders?

Hynde answers this question with a resounding "yes" on Learning to Crawl, which still contains signs of the band's early, street-wise rawness but also adds new wrinkles, with more streamlined melodies, sensitive ballads, and reflective tones. "Back on the Chain Gang," the Pretenders' most commercially successful hit, functioned as a bittersweet tribute to her ex-mates while the Christmas-themed "2000 Miles" holds rank as one of the most effecting, penetrating love songs of Hynde's career. Throughout the record, the Pretenders are again one.

New guitarist Robbie McIntosh supplies simpler, bluesier, basic guitar lines and the foursome know how to all-out rock, with the furious "Middle of the Road" and socially conscious "My City Was Gone" testifying to a stinging, thrilling sensibility that can exist only because of the devastation that the band survived. Call it the rise of the phoenix or triumph of the human will, but any way you see it, Learning to Crawl occupies a rare territory--akin to the space referred to on the superb cover of "Thin Line Between Love and Hate"--that registers in the pits of the human soul.

Whether you've grown up with this album, heard it in college, or are just learning about it now, Mobile Fidelity's expertly mastered 180g LP version is the only analog edition worth owning. Hear Hynde and Co.'s cathartic, transcendent effort in all its full splendor, and, like the Pretenders, refuse to settle for less.

Track Listing:
1. Middle of the Road
2. Back on the Chain Gang
3. Time the Avenger
4. Watching the Clothes
5. Show Me
6. Thumbelina
7. My City Was Gone
8. Thin Line Between Love and Hate
9. I Hurt You
10. 2000 Miles

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, its also the late instrumentalists hands-down best workand 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 critics 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 jazzs heaviest hitters: pianists Herbie Hancock and Brad Mehldau, drummer Jack DeJohnette, guitarist Pat Metheny, and bassist John Patitucci. No, it doesnt 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 Breckers 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 lifean 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 Coltranes 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 Fidelitys 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

This title is not eligible for discount.

Track Listing:
My Aim Is True

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

Armed Forces

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?

This Year's Model

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

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

Lets Get It On was released on August 28, 1973 and quickly became the biggest-selling recording of Marvin Gayes 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. Lets Get It On contains 3 top 100 hits, Lets 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

Meat Loaf Producer Jim Steinman and New York Choral Society Among Collaborators on Vast-Reaching LP

Lush, Huge, Balanced: LP Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI

1987 Effort Includes Insurmountably Influential Opus The Corrosion

The Sisters of Mercy emerged from a brief hiatus and lineup overhaul in spectacularly grand fashion on Floodland, an epic album that stands as the groups commercial breakthrough as well as one of the periods monumental productions. Having witnessed his bandmates leave, singer Andrew Eldritch recruited bassist Patricia Morrison, utilized a groundbreaking drum machine, and hooked up with Meat Loaf collaborator Jim Steinman to attain a glorious, bombastic, and irrepressible marriage of gothic rock and sumptuous balladry.

Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI, this Silver Label LP improves the records splendid dynamic contrasts, low-end thrust, expansive dimensionality, and moody atmospherics. Steinmans unforgettable sonic contributions finally receive proper due in the form of towering choruses and operatic heft. The groups signature epic The Corrosion, described by Eldritch as a narrative about power in the face of misery, sounds downright staggering, with an awe-inspiring performance by the New York Chorale Society and blooming classicism.

Throughout, the Sisters of Mercy traverse myriad styles in breaking down goth-rock conventions. As on the bands noisier debut First and Last and Always, also available on Silver Series LP, brooding emotions, nocturnal episodes, and dim sentiments gloss over the songwriting. Yet theres a colossal amplification of evocative spirituality, delicate accents and anthemic riffs that combine with funky drum-machine beats and visceral tension to yield music that dares listeners not to dance and/or lift their hands skyward.

Rhythms play as large a role as the leaders trademark stentorian vocals, with thundering grooves and crashing percussion illuminating incisive lyrics and industrial-tinted scenery. Whether felt via the dramatic waves of Lucretia My Reflection, balladic sweep of 1959, or charging protest of Dominion/Mother Russia, Floodland is a touchstone, topped off by iconic cover art that fits in with todays vampire-obsessed society as well as it did upon release in 1987.

Track Listing:
1. Dominion/Mother Russia
2. Flood I
3. Lucretia My Reflection
4. 1959
5. This Corrosion
6. Flood II
7. Driven Like the Snow
8. Never Land (A Fragment)
9. Torch
10. Colours

Midler Steps Into Persona of Janis Joplin on Record Steeped in Rock n Roll, Pounding R&B, and Memphis Blues

Contagious Sound That Spotlights Midlers Potent Voice: LP Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI

Bette Midlers first leading role in a musical remains her best. As the soundtrack for that film, The Rose spotlights The Divine Miss Ms outstanding performance as a character in the persona of Janis Joplin. Midler received an Oscar nomination for Best Actress, and while the record contains no visuals, it punctuates the raw emotion and show-stopping persuasion that the singer brings to upbeat, rollicking fare composed in tribute to the late Joplin. Her reading of When A Man Loves a Woman remains definitive and unique for being sung from a females perspective.

Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI, this Silver Label LP allows listeners to hone in on Midlers voice like never before. Kernels of previously unheard tonalities, richer hues of her bluesy timbre, and better-defined contours of her phrasing come to foreas do the contributions of guitarist Steve Hunter and drummer Whitey Glan, both members of Lou Reeds Rock n Roll Animal tour. No, The Rose isnt your conventional adult-contemporary pop offering from Midler. Its much more.

Always a natural-born theatrical star, Midler demonstrates these abilities to wondrous effect throughout, pouring herself into the painful sentiments of Stay With Me and raising hell on raucous numbers such as Sold My Soul to Rock N Roll and Keep On Rockin. Muscle Shoals sounds and Memphis-birthed shuffles keep Midler balanced and engaged. Producer Paul Rothchild, who helmed Joplins final salvo, matches the headliners zest by keeping tight-fisted control over the material selection and sonics. Never does Midler seem as if shes merely paying tribute or playing a part; she makes listeners feel every note.

Its apt, then, that shes afforded carte blanche on the title track, a gorgeous and career-defining moment of immense proportions and the only song here not performed in the persona of Joplin. Theres no better way to wrap up an album of nearly shamanic power, and an effort that, along with The Divine Miss M, remains Midlers peak.

Track Listing:
1. Whose Side Are You On
2. Midnight In Memphis
3. Concert Monologue
4. When a Man Loves a Woman
5. Sold My Soul to Rock N Roll
6. Keep on Rockin
7. Love Me With a Feeling
8. Camelia
9. Homecoming Monologue
10. Stay With Me
11. Let Me Call You Sweetheart
12. The Rose

Quintuple Platinum 1978 Set Finds Nelson Interpreting Fare From Likes of Kurt Weill, Hoagy Carmichael, and Irving Berlin

Sumptuous Sound Elevates Booker T. Jones Production: Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI

As a Singer, Nelson Never Better: Gets Inside the Phrasing, Lyrics, and Emotions of Songs

Why be predictable?, Willie Nelson asked Columbia Records executive Nick Blackburn, after the latter resisted the Red Headed Strangers decision to make an album of classic pop tunes. Talk about outlaw country. Cutting against the genres traditions and Music Row conventions, Nelsons Stardust remains a genius-level creation as well as the icons most commercially successful release, a truly gorgeous record infused with ultimate respect for composers and lyrics and many of the finest performances of his career. It is a quintessential part of any catalog.

Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI, this Silver Label LP dazzles with dead-quiet surfaces, tube-like warmth, and an enhanced soundstage. Further exposing the delicate touches abounding in Stax legend Booker T. Jones production, this edition brings out the textured kernels of Nelsons voiceand the deep-seeded dignity, austerity, devotion, grit, sensitivity, grace, and plaintiveness within it. His brilliant phrasing throughout is on par with that of Frank Sinatra and Ray Charles, two giants that influenced this project and his willingness to pair with strings and small combo to wondrous effect.

Having met Jones while living in Malibu, Nelson established a relationship with the musician that extended to roles as producer, arranger and band mate. Jones superior knowledge of the American Songbook comes through via the materials economy of scale and sympathetic approach. Acoustic guitar arpeggios, contrasting breaks, bluesy harmonicas, glowing organs, R&B-tinged horns, brushed drums, and relaxed bass lines trickle throughout the songs, all distinguished by Nelsons intimate timbre and absolutely astonishing vocal expressiveness.

In redefining and reimagining standards such as Irving Berlins Blue Skies, Hoagy Carmichaels Georgia On My Mind, and the age-old All of Meall of which landed in the Top 5 of the Country singles chartNelson wedded together pop, country, jazz, folk, and blues in a manner in which no artist had ever before done. He gained considerable rewards for his exquisite efforts: Stardust sold more than five million copies and, incredibly, stayed on the Country album charts for more than ten years.

This is a record no one should be without. Hear the definitive analog pressing.

Track Listing:
1. Stardust
2. Georgia On My Mind
3. Blue Skies
4. All of Me
5. Unchained Melody
6. September Song
7. On the Sunny Side of the Street
8. Moonlight In Vermont
9. Dont Get Around Much Anymore
10. Someone to Watch Over Me

1974 Masterpiece Won Three Grammy Awards, Including Album of the Year

Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI: LP Bursts With Color, Tonality, Texture, and Openness

Wonder Probes Romantic Feelings and Features Jackson 5 and Other Soul Icons as Guests

Boogie on! Warm, personal, stripped-down, and mainly playful: Stevie Wonders Fulfillingness First Finale primarily finds the legendary vocalist tracing the arcs of relationships on a spirited record that has gone down in history as one of the most cohesive, fully realized soul sets ever made. The fourth in Wonders five-album series of classic period creations, the 1974 landmark won three major Grammy Awards: Album of the Year, Best Male Pop Vocal, and Best Male Rhythm and Blues Performance.

Indeed, theres not one note out of place on the extraordinary ten-song set, notable for the way in which Wonder uses sparer arrangements to his advantage. Not that the overall tone is bleak or angry. Coming off of 1973s socially biting Innervisions, Wonder intentionally returns to love-related fare here, investigating a surfeit of emotions involved with romance and passion. As had become his trademark, he handles a bulk of the songwriting, production, and performance chores but gets help from a few choice friends.

Appearances by singers Minnie Riperton, Paul Anka, Deniece Williams, and the Jackson 5 lend extra weight and breadth to the harmonies. Iconic Motown bassist James Jamerson and guitarist Sneaky Pete Kleinow lend instrumental support, but, as expected, Wonder is the center of his own universe. He nails the feelings of being in love, falling in it, realizing when its gone away, and wondering how to properly express it. Fulfillingness First Finale also benefits from Wonders continuing forays into social consciousness. The number-one smash You Havent Done Nothin toasted the Nixon administration in classic style and bookends his previous topical cuts such as Living for the City.

Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition LP of Wonders seminal creation bursts with color, tonality, texture, and openness. Deep electronic grooves, lively percussion, gospel-sent backing vocals, and involving bass notes pour out like cleansing rain. Above all, Wonders mellifluous vocals soar, taking on an intimate quality rarely heard on any soul or pop record.

Track Listing:
1. Smile Please
2. Heaven Is 10 Zillion Light Years Away
3. Too Shy to Say
4. Boogie On Reggae Woman
5. Creepin'
6. You Haven't Done Nothin'
7. It Ain't No Use
8. They Won't Go When I Go
9. Bird of Beauty
10. Please Don't Go

Half-speed mastered from the original master tapes and meticulously pressed at RTI, Mobile Fidelitys 180g LP version of this masterwork allows the records expressive punchiness, dynamic extension, treble-driven jangle, and more forceful playing to be experienced as originally intended. Indeed, Lifes Rich Pageant is notable for its production: Board operator Don Gehman lends the group a harder edge and cleaner sound than it had in the past. On this audiophile-grade reissue, the results come to the fore in the form of contemporary-sounding arrangements, cohesive structures, and cleaner tonalities. If anything, this LP helps make the case for the many that Lifes Rich Pageantnot Murmur or Reckoningstands as the bands finest hour.

Lyrically, R.E.M. hits upon more concrete themes, and while Stipes occasionally mumbled singing still lacks clear enunciationa trait that adds to the songs mystique and surrounding texturestheres no mistaking the overt political and environmental sentiments in tunes such as the hit Fall on Me and gorgeous Cuyahoga. Similarly, Flowers of Guatemala epitomizes R.E.M.s hallmark ability to turn allegory into dreamy poetry, the counterpoint melodies, atmospheric guitar fills, and majestic bridges all enchanting devices of a band that manages to get its point across via spiritual performances and indirect suggestiveness.

Such qualities lie at the heart of Lifes Rich Pageant, on which subtle details and concerted purposes unite to make transcendent, lasting art. Bolder, more pronounced, refined, and immediate than that on previous efforts, Mike Mills bass lines and Peter Bucks swelling guitar passages augment the hard-driving beats as well as Stipes increasingly upfront vocals. Disposing with the intentional murkiness and subconscious approach of earlier records, R.E.M. goes in attack mode here, with even mellow numbers resonating with an attention-getting kick. It doesnt hurt that the band covers the field with expertly executed songs that comprise garage rock, jangle pop, rustic country, and more. What a record.

We dont need to tell you about R.E.M.s importance to modern music. And this record plays a large role in establishing the groups reputation.

Track Listing:
Side One Dinner Side
1. Begin the Begin
2. These Days
3. Fall on Me
4. Cuyahoga
5. Hyena
6. Underneath the Bunker

Side Two Supper Side
1. The Flowers of Guatemala
2. I Believe
3. What If We Give It Away?
4. Just a Touch
5. Swan Swan H
6. Superman (Mike Bottler and Gary Zekley)

Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity

Recorded in One Day: Whimsical Feel, Surrealist Lyrics, On-the-Fly Fluidness Grace the Bards Loosest 1960s Effort

Includes I Shall Be Free No. 10, It Aint Me Babe, My Back Pages, Chimes of Freedom

The Freewheelin Bob Dylan, Bringing It All Back Home, Blonde on Blonde, Blood on the Tracks, and The Basement Tapes Also Available from Mobile Fidelity

The ever-evasive Bob Dylan never explicitly stated exactly what represented the another side of himself referenced in the title to his second 1964 record. Yet the whimsical moods, hallucinogenic prose, humorous angles, transparent mistakes, and noncommittal themes give a pretty clear idea at what the Bard hinted as he emerged from being labeled as a reluctant generation spokesperson and folk savior after releasing two highly intellectual, socially pioneering sets replete with protest songs. Dylan needed to take a breath, step back from the drama, and reevaluate his surroundings. Another Side of Bob Dylan is all that and more.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Another Side of Bob Dylan ever produced. Be there as the Minnesota native spends the evening of June 9, 1964 in Columbias Studio A and, displaying an openness hed never before revealed in a formal environment, lays down the songs that compromise his fourth album.

Featuring minimal editing, Another Side of Bob Dylan is naked, truthful, and whimsical. Mobile Fidelitys reissue illuminates the artists conditionhe laughs in the midst of songs, experiences a few false starts, hits a couple of bum notes, occasionally sings as if hes stumbling down a Manhattan sidewalk after having one too many at a smoky pub, prizes rawness over perfectionwith microscopic accuracy. Indeed, Dylans slightly woozy and completely playful state related to his having downed a handful of bottles of Beaujolais during the sessions.

The uninhibited joie de vive is discernable in the rattling piano lines on Black Crow Blues, seemingly subconscious ramble of the hysterical folk rhyming of Motorpsycho Nightmare, bluesy dream sequencing throughout I Dont Believe You, and intentionally out-of-tune yodeling during All I Really Want to Do. On a majority of the prized set, Dylan lets his guard down, but does so in clever manners that speak to his surrealist imagination and biting wit. He possesses the rare ability to make planned strategies appear spontaneous, to challenge audiences with stinting wordplay and minimalist melodies that provide a deceptive false security.

And so the apparently autobiographical and self-aware My Back Pages, one of the earliest examples of Dylans immersion into symbolist prose and abstract metaphor, remains controversial for its on-the-surface denouncement of his earlier condemnations of social institutions and injustices. Peeled back, the tune is a brilliant releasean essential escape hatch for Dylan to both relieve himself of unneeded pressures and distance himself from pundits. As an indelible piece of art, it succeeds in masquerading obvious meaning while simultaneously forcing listeners to question their own actions. Quintessential Dylan.

As is the trifecta of relationship-themed compositions that closes the record, as well as the eternal Chimes of Freedom, the standard that journalist Paul Williams dubbed Dylans Sermon on the Mount. Its inseparable conjunction of apocalyptic imagery, personal emotion, allusive lyricism, balladic alliteration, and inclusive sympathy signaled that, having already eviscerated the rules associated with pop and folk music, Dylan had just begun his assault on our consciousness, making Another Side of Bob Dylan that much more mysterious, unequivocal, and requisite.

Given the sonic and artistic merit of this album, we anticipate huge demand.

Track Listing:
1. All I Really Want to Do
2. Black Crow Blues
3. Spanish Harlem Incident
4. Chimes of Freedom
5. I Shall Be Free, No. 10
6. To Ramona
7. Motorpsycho Nightmare
8. My Back Pages
9. I Dont Believe You
10. Ballad in Plain D
11. It Aint Me Babe

Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity

Recorded With One of Most Ear-Awakening Lineups Ever Assembled: Al Kooper, Pig Robbins, Joe South, Kenny Buttrey, and The Bands Rick Danko and Robbie Robertson Among Musicians

Vaudeville, Contemporary Pop, Fiery Rock and Roll, Memphis Blues, Folk-Derived Sagas Among Enriched Palette of Styles

Ranked 9 on Rolling Stones List of the 500 Greatest Albums of All Time

The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blood on the Tracks, and The Basement Tapes Also Available from Mobile Fidelity

Blonde on Blonde: A double album that transcends time, defies space, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didnt know. Professor Sean Wilentz, historian-in-residence for Bob Dylans Web site, comes as close to summing up its brilliance in his superb Bob Dylan In America as any whove tried: The songs are rich meditations on desire, frailty, promises, boredom, hurt, envy, connections, missed connections, paranoia, and transcendent beautyin short, the lures and snare of love, stock themes of rock and pop music, but written with a powerful literary imagination and played out in a pop netherworld. No lie.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog edition of Blonde on Blonde ever produced. Forever renowned for what the Bard deemed that thin, that wild mercury sound, the albums famed aural character lives and breathes on this superb version, with wider and deeper grooves affording playback of previously buried information and lifelike presentation of the studio sessions.

Forever prized for a unique sound that cultural critic Greil Marcus tagged the most glamorous record imaginable; listening you [can] see the checkered jesters suit Dylan had worn on stage for the nine previous, furious months, Blonde on Blonde is to music, production, prose, and performance as what hydrogen is to water. The secret to its inimitable aural character partially stems from Dylans request in Nashville to producer Bob Johnston to remove the baffles from the studio room, allowing the musicians to interact as well as the music to assume a more organic quality that drifts from one microphone to another. Mobile Fidelitys reissue captures this ensemble ambience, with echoes, resonation, and some of the most natural timbres youll ever hear in plain sight.

The story of Blonde on Blonde is almost as compelling as the music within. Dylan, frustrated with how initial attempts fared in New York, relocating to Tennessee and pairing with Nashvilles top session players as well as members of what would become the Band, feverishly chasing perfectionism while also arriving at an on-the-fly feel that remains a reference point for recorded music. The Bard sweated over lyrics, demanded his band get the exact sounds he heard in his head, and limited most takes to a handful at most. A majority of songs were recorded long after midnight, the post-A.M. vibe reflected in the nocturnal aura, woozy optimism, inversion of intervals, and spiritual soulfulness of the playing.

As for the tunes? Chapters of books and lengthy theses are dedicated to the sheer conscious-altering power, mythical weight, character cast, and convention-obscuring magnetism of the lyricsto say nothing of the sophisticated albeit pure playing within, as arrangements touch upon gospel, R&B, pop, traditional and contemporary blues, vaudeville, folk, and more. Then theres Dylans inventive phrasing, his manipulation of pitch and locution, helping the narratives to take on epic, inchoate, and cryptic meanings that continue to be deciphered to this day. Punch lines occur as frequently as romantic declarations, all delivered with salient references, traditional parallels, and elusive interpretations on par with those of Shakespeare.

Visions of Johanna. I Want You. Rainy Day Women #12 & 35. Sad Eyed Lady of the Lowlands. Absolutely Sweet Marie. We could go on. Essential doesnt even begin to cover the genius of this record that, now, sounds better than Dylan himself can imagine.

Given the sonic and artistic merit of this album, we anticipate huge demand.

Track Listing:
1. Rainy Day Women #12 & 35
2. Pledging My Time
3. Visions of Johanna
4. One of Must Know (Sooner or Later)
5. I Want You
6. Stuck Inside of Mobile With the Memphis Blues Again
7. Leopard-Skin Pill-Box Hat
8. Just Like a Woman
9. Most Likely You Go Your Way (And Ill Go Mine)
10. Temporary Like Achilles
11. Absolutely Sweet Marie
12. 4th Time Around
13. Obviously 5 Believers
14. Sad Eyed Lady of the Lowlands

Presence, Immediacy, Naturalness, Realism in Spades: Mobile Fidelity Reissue Makes Blood on the Tracks Among Most Lifelike-Sounding Albums Youll Ever Hear

Songs Flow Like Rivers, Acoustic and Electric Elements Merge Like Bezels on a Diamond

Ranked 16 on Rolling Stones List of the 500 Greatest Albums of All Time

Includes Tangled Up In Blue, Simple Twist of Fate, Idiot Wind, Buckets of Rain

The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and The Basement Tapes Also Available from Mobile Fidelity

Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decades unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.

A start-to-finish cycle that documents a lovers pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bards career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains its a work of fiction, but its evident close-vested autobiographical premise is what helps make it universal: Its the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of loves darker sides and the consequences of what happens when dreams unravel.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of Blood on the Tracks ever producedand the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.

For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogs, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylans songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honor, poignancy, and fairnessall traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blameinstill the record with equilibrium on par with the consistency of the flowing melodies.

Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colors, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Browns flexible albeit subtle bass, Buddy Cages country-streaked pedal-steel guitar, and Paul Griffins soul-baring organan instrument used to shadow, tuckpoint, and illuminate here as effectively as any time in rock historyDylan pours soulful emotion, open his veins, and bleeds.

Ranked 16 on Rolling Stones list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,

Given the sonic and artistic merit of this album, we anticipate huge demand.

Track Listing:
1. Tangled Up in Blue
2. Simple Twist of Fate
3. Youre A Big Girl Now
4. Idiot Wind
5. Youre Gonna Make Me Lonesome When You Go
6. Meet Me in the Morning
7. Lily, Rosemary and the Jack of Hearts
8. If You See Her, Say Hello
9. Shelter From the Storm
10. Buckets of Rain

Audiophile Sound at Last: Sonic Subtleties, Loose Interplay, Organic Spirit, Warm Textures Presented Like Never Before on Definitive Mobile Fidelity Reissue

Dylan at His Most Humorous, Unguarded, Loose: Folk Tales, Weird Narratives, Rock Ballads, Inside Jokes, Allusions Pepper Alchemic Material

Includes This Wheels on Fire, You Aint Goin Nowhere, Tears of Rage, Million Dollar Bash, Yazoo Street Scandal

Ranked 291 on Rolling Stones List of the 500 Greatest Albums of All Time

The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and Blood on the Tracks Also Available from Mobile Fidelity

Basements have long been associated with raw, off-the-cuff rock n roll, the damp and dark spaces serving as the woodshedding venues for countless bands. Yet no basement is more famous, and none yielded music as familiarly weird, wholesomely American, joyously loose, and identifiably humorous as that in the upstate New York house dubbed Big Pinkthe location where, during the summer and early fall of 1967, Bob Dylan and The Band played a vivid tapestry of covers, originals, and traditionals that signaled the advent of Americana. Once again, the Bard changed the world.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of The Basement Tapes ever producedand the first-ever analog reissue. Inimitable, the particulars of The Basement Tapesespecially, the gather-round-in-a-huddle assembly of the instrumentalists, home-made character, domestic vibe, and low-volume nature of the recordingscome to fore here in a manner that takes the listener down the stairs at 2188 Stoll Road and brings the images of Dylan, Rick Danko, Robbie Robertson, and Co. to life.

Fresh off experiencing a motorcycle accident and the wrath of audiences hostile to his embrace of amplified music, Dylan elected to retreat to the comforts of rural and family life. He soon began collaborating with members of the Band in his house, ultimately moving the sessions to Big Pink. Informal, peaceful, relaxed, open-minded: The collaborations blanket country stomps, roots hootenannies, forgotten spirituals, earthy originals, chaotic marches, dreamscapes, dance tunes, folk laments, catch-as-you-can improvisations. On The Basement Tapes, mythical ghosts and dead legends reappear, reveling in the absurdity, comedy, mystery, aura, and alchemy.

In Invisible Republic, his scintillating book about the sessions, cultural critic Greil Marcus states: At a time when the country was tearing itself apart in a war at home over a war abroad, the music was funny and comforting; it was also strange, and somehow incomplete. Out of some odd displacement of art and time, the music seemed both transparent and inexplicable when it was first heard, and it still does. Indeed, The Basement Tapes appear to emanate from an indefinable chasm between modern and ancient, self-evident and mysterious, shapeless and fully formed, abstract and concrete, histories unwritten and chronicled. But every note chimes with freenessa liberating fun, humble simplicity, and bond-creating camaraderie felt in every hoot, holler, laugh, and false start.

The Basement Tapes capacity to remain so gloriously honest and timelessperformances that genuinely couldve been made today, ten years from now, or back in the 1930shelps account for their emotional resonance and unsurpassed reputation as a snapshot of how unencumbered American music, and art with deep historical roots and connective cultural tissues, is supposed to sound.

Mobile Fidelitys reissue squares away the late-night bleariness, jovial atmosphere, low-ceiling dimensions, and ensemble-based perspective of the sessions, allowing the listener to become Hamlet, the dog who slept nearby Dylan, Robertson, and Co. as it all went down. This is not to be missed.

Given the sonic and artistic merit of this album, we anticipate huge demand.

Track Listing:
1. Odds and Ends
2. Orange Juice Blues (Blues for Breakfast)
3. Million Dollar Bash
4. Yazoo Street Scandal
5. Goin to Acapulco
6. Katies Been Gone
7. Lo and Behold
8. Bessie Smith
9. Clothes Line Saga
10. Apple Suckling Tree
11. Please Mrs. Henry
12. Tears of Rage
13. Too Much of Nothing
14. Yea! Heavy and a Bottle of Bread
15. Aint No More Cane
16. Crash on the Levee (Down in the Flood)
17. Ruben Remus
18. Tiny Montgomery
19. You Aint Goin Nowhere
20. Dont Ya Tell Henry
21. Nothing Was Delivered
22. Open the Door, Homer
23. Long Distance Operator
24. This Wheels on Fire

Delicate, Immersing, Dynamic: Mobile Fidelity Reissue Magnifies the Bold Textures, Soothing Ambience, and Transcendent Moods

Davis First Fusion Album Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams

Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and Four & More Also Available from Mobile Fidelity

Shhh. The command to be quiet is no just part of the title of one of the two sprawling compositions on this pioneering album. Its also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis first full-on fusion effort and part of his electric era, the 1969 landmark claims a Whos Who lineup that sends the music into an ethereal stratosphere.

Part of Mobile Fidelitys Miles Davis catalog restoration series, In a Silent Way now immerses the listener in lineolate landscapes starlit by the intuition, suspension, and paradoxes wrought by a once-in-a-lifetime collective. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of jazz, rock, and ambience, following a loose theory Davis dubbed New Directions.

Few albums are so delicately textured. And on Mobile Fidelitys meticulous analog reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams inventive percussive touchhe causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlightis broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis nocturnal trumpet, Wayne Shorters ribbon-unfurling saxophone, Dave Hollands extrapolative bass, and the mosaic of keys.

If the records only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasonsnot the least of which is the seemingly telepathic communicative methods employed by the groups members. The lineup is great on paper, but, if its even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.

Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Coreas Fender Rhodes phrases to Davis decorative spirals. And as color is the primary unit of currency on Davis Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the sets maverick reputation attained via musings on solitude rather than explosions of noise.

Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producers could attemptand how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.

Track Listing:
1. Shhh/Peaceful
2. In a Silent Way/Its About That Time

Mobile Fidelity 180g 45RPM 2LP Box Set is Definitive Analog Version and Intended to Be Passed on to Generations

If Theres a Stairway to Heaven, This is the Soundtrack: Epochal 1959 Record the Mt. Rushmore of Jazz Sessions

Dream Team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb Make History

How does one properly introduce an epochal record? Perhaps by unequivocally stating that it is the best-selling jazz album in history. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. Theres also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Yes, Kind of Blue is utterly inimitable.

Part of Mobile Fidelitys Miles Davis catalog restoration series, the landmark has been given the ultimate white-gloves treatment. Half-speed mastered from the original master tapes, and pressed on 45RPM LPs at RTI, this sumptuous box set of the often-reissued album is a must for even fans that already possess multiple versions. Such is the illuminating transparency, reference dynamics, organic warmth, and instrumental detail exposed by the thoroughly scrupulous mastering process. If theres a stairway to heaven, this is the soundtrack.

In its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber.

While no one has ever completely identified the magic behind the records allurethe otherworldly nature is part of its inherent charmmuch of the success lies with the band members. Davis intentionally handpicked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.

An audiophile favorite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelitys reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, youll feel as if youve been whisked away to a jazz holy land. Quintessential.

Track Listing:
1. So What
2. Freddie Freeloader
3. Blue in Green
4. All Blues
5. Flamenco Sketches

Ranked #34 on Rolling Stone's List of the 500 Greatest Albums of All Time

Half-Speed Mastered from the Original Master Tapes and Pressed at RTI

Includes "The Weight," "I Shall Be Released," "This Wheel's On Fire"

Youve likely heard the story. Now hear the results of one of the most famous sessions in history with a clarity and warmth never thought possible.

In late 1965 and early 1966, Bob Dylan shattered the boundaries between folk and rock music on a controversial tour that found the generation spokesman plugging in and shocking purist audiences that reviled in horror at the sight of their hero playing electric with a bunch of ragtag Canadian mates. Then known as the Hawks, the Band was that backing group, serving Dylan not only on the road but, playing with him after his motorcycle accident, on his seminal Basement Tapes collection.

Recorded in 1968 and ranked #34 on Rolling Stones 500 Greatest Albums of All Time list, The Bands Music From Big Pink stems from the same localea pink farmhouse in upstate Woodstock, New Yorkas the Basement Tapes and is just as rustic, timeless, and mysterious as Dylans celebrated work. A debut for the ages, the album features two songs co-written with DylanThis Wheels on Fire, Tears of Rageas well as whats universally recognized as the definitive version of Dylans I Shall Be Released. More famously, it also includes The Weight, a standard covered by everyone from the Grateful Dead to Weezer to Aretha Franklin. But the power of this set doesnt lie in one song but the entire album.

A groundbreaking statement, Music From Big Pink lays bare the magnetism of the American South, Appalachian traditions, and country-rock innovations. That guitarist Robbie Robertson, pianist Garth Hudson, bassist Rick Danko, drummer/vocalist Levon Helm, and organist Richard Manuel are all household names only adds to the proof of this must-have records everlasting appeal. This is the majesty of what Greil Marcus called the old, weird America.

Half-speed mastered from the original master tapes and pressed at RTI, Mobile Fidelity's analog version practically gives you a spot on the floor at Big Pink as the sessions went down. Curl up, close your eyes, and listen as the music's sublimely organic sounds appear with full-range dynamics, life-size imaging, and tremendous soundstaging. This is one of the reasons why you have a turntable. Prepare for your system, and your ears, to glow.

Track Listing:
1. Tears Of Rage
2. To Kingdom Come
3. In A Station
4. Caledonia Mission
5. The Weight
6. We Can Talk
7. Long Black Veil
8. Chest Fever
9. Lonesome Suzie
10. This Wheel's On Fire
11. I Shall Be Released

Getting It Right: Mobile Fidelitys Half-Speed Mastered Version Brings Phil Ramones Celebrated Production into Full-Color Detail

Ranked 67 on Rolling Stones List of the 500 Greatest Albums of All Time

1977 Set a Grammy Winner for Record of the Year and Song of the Year

Billy Joel entered 1977 with a great track record but in need of breakthrough. Pairing with producer Phil Ramone (Carly Simon, Simon & Garfunkel), who developed the requisite ingredients missing from Joels formula, the singer-songwriter became a household name and chart-topping success courtesy of The Stranger. Ranked 67 on Rolling Stones list of the 500 Greatest Albums of All Time and certified ten-times platinum, Joels artistic and commercial smash remains a pop-rock benchmark. Better still, it now sounds astonishing.

An integral part of Mobile Fidelitys Billy Joel catalog restoration series, The Stranger is mastered from the original master tapes and pressed on 180g LP at RTI. Far superior to the previous Sony and Simply Vinyl analog reissues, this edition emphasizes the crucial touches and insightful techniques Ramone brought to a batch of material that ranks among Joels most clever, catchy, and sagacious.

Whereas a handful of Joels preceding efforts feature a near-flawless mix of melodic arrangements and poignant lyrics, the aspects he sought in order to graduate into a more serious artist arrive here via Ramones more muscular, fleshed-out, and rock-enabling production. The streamlined approach slightly strips back the sweeping developments heard on Piano Man and Turnstiles, and on this edition, lays bare the core of the material, allowing the vocalists bittersweet yearning, rollicking 88 notes, and working-class conviction to emanate with full-bodied detail, vivid color, and grand-scale dynamics.

A Grammy winner for both Record and Song of the Year, Just the Way You Are epitomizes Joels balladic reach, his ability to transfer wistful sentiments and lovelorn emotions. He also flashes a mean streak. The animated Only the Good Die Young bounces and hops to an updated classic-R&B rhythm and, underneath its beauty, Shes Always A Woman hints at trouble underfoot. And then theres the New York-centric, character-rich poetry of the vignettes.

Akin to many of his influences, Joel nails the grit, personality, specificity, descriptiveness, and behavior of protagonists that populate Movin Out (Anthonys Song) and Scenes From an Italian Diner, each equally at home on The Stranger as well as on a Broadway play or on a golden-era Hollywood film soundtrack. No wonder that, just months after its original release, Joel was no longer a stranger to any of the music-loving public. He would never look back.

Dont pass up this seminal pop-rock work in the best fidelity its ever enjoyed.

Track Listing:
1. Movin Out (Anthonys Song)
2. The Stranger
3. Just the Way You Are
4. Scenes From an Italian Restaurant
5. Vienna
6. Only the Good Die Young
7. Shes Always a Woman
8. Get It Right the First Time
9. Everybody Has a Dream/The Stranger (Reprise)

#166 on Rolling Stones List of the 500 Greatest Albums of All Time; Record Topped Village Voices Pazz & Jop Critics Poll In Year of Its Original Release

Lavish Instrumentation, Involved Arrangements, and Piano-Based Melodies Frame Ambitious Songs That Address Domestic Malaise While Coming Off as Upbeat

Half-Speed Mastered from the Original Master Tapes: Imperial Bedroom Joins Mobile Fidelitys Pristine LP Reissues of Costellos My Aim Is True, This Years Model, Armed Forces, Get Happy!!, and Almost Blue

Recorded with famed Beatles engineer Geoff Emerick, Imperial Bedroom stands as Elvis Costello and the Attractions most highly decorated traditional pop album. Boasting sumptuous arrangements, large-scale instrumentation, ambitious layers, Tin Pan Alley melodies, and orchestrated devices, the 1982 record is a testament to studio creativity and ornate production. Amidst the lavish settings beats the heart of Costellos biting, brutal lyrics that confront domestic malaise and sober emotional reflection. Its little wonder the intelligent effort took top honors in the Village Voices Pazz & Jop Critics Poll.

Not that audiences back in the day ever had the privilege of hearing Imperial Bedroom at its maximum potential. Now they can. Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited edition 180g LP opens up the soundstages, expands the depth, and brings the genius of the grand arrangements into clear focus. In particular, the sound of the piano will have you believe that the 88s are situated right in your room, and never before has Emericks crafty sonic precision been so readily apparent. This is a huge-sounding record that demands full frequency extension and astute separation. Mobile Fidelitys reissue delivers on all fronts. You need to hear this!

Ranked in 2005 by Rolling Stone at #166 on the magazines prestigious list of the 500 Greatest Albums of All Time, Imperial Bedroom overflows with contagious pop, savvy torch, cabaret, chamber, and jazz-influenced fare. If its details you seek, then look no further. With Emericks assistance, each tune is distinguished with painstaking sonic accents, blended rhythms, counterpoint bass lines, dazzling passages, and inventive motifs. Accordions, tremolo guitars, organs, harpsichords, marimbas, horns, and an assortment of other instruments help color the subtly dark canvases. A 40-piece orchestra graces the gorgeous And In Every Home.

Originally intended to be a stripped-down affair, Imperial Bedroom reflects Costellos migration to composing on piano as well as his listening tastes at the time: Billie Holliday, Cole Porter, Frank Sinatra, Debussy. Intricate, expansive, and complex without ever sounding inaccessible, the record includes the now-classic Man Out of Time, Beyond Belief, and Almost Blue, the latter a ballad that Chet Baker included in his live sets until he passed away. In another stroke of brilliance, Costello used the record as an opportunity to address the melancholic changes in both his own personal situation as well as that of England, the songs functioning as smart, sometimes satirical dialogues on issues such as disenchantment, identity, and relationships.

Still considered by many the finest record released in 1982, dont pass up this extraordinary-sounding reissue.

Track Listing:
1. Beyond Belief
2. Tears Before Bedtime
3. Shabby Doll
4. The Long Honeymoon
5. Man Out of Time
6. Almost Blue
7. ...And in Every Home
8. The Loved Ones
9. Human Hands
10. Kid About It
11. Little Savage
12. Boy with a Problem
13. Pidgin English
14. You Little Fool
15. Town Cryer

Expertly Played 1981 Set Marks the Second of the Encyclopedic Pop Musicians Many Forays Into Multiple Styles

Half-Speed Mastered from the Original Master Tapes: Knockout Sonics Present Costellos Close-Up Vocals, Steve Nieves Piano, and the Pedal-Steel Guitars in Great Relief

Elvis Costello was so enamored with American country music when he finally discovered it, he was motivated to record Almost Blue. Renowned as one of the most passionate and enthusiastic covers albums ever made, the 12-song set finds the iconic singer/songwriter interpreting standards by the likes of Hank Williams, Gram Parsons, George Jones, Merle Haggard, and other legends. Replete with heartbreak, lonesomeness, boozing, cheating, and dreaming, its laden with country and westerns customary themes and dignified by one of the finest performances of Costello and the Attractions peerless career.

Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited edition 180g LP opens up the soundstages, clears previously muddled midrange frequencies, and places the imaging of the various country-tuned instruments into clear focus. For the first time, listeners can hear just how much of himself Costello invests in the vocal performances, while the Attractions dont miss a beat, particularly pianist Steve Nieve and guest musician John McFee. Moreover, the strings (when employed) take on new life, and the records cover art, a take-off on Kenny Burrells Midnight Blue, is faithfully reproduced.

At the time of the albums recording in 1981, Costello was admittedly emotionally shattered. The title of the effort isnt merely coincidental. Feeling dejected and disenchanted, the vocalist had been put through the ringer: His pop stardom yielded one incredible record after another, but Costellos marriage was in tatters, his behavior deplorable, and his reputation tarnished by a famous drunken incident that shamed him for decades. In addition, he chose to follow his string of original LPs up with the soul- and R&B-minded Get Happy, a creative masterwork that nonetheless caused some of his mainstream fans to believe hed abandon his hit-making pedigree.

So he did what any self-respecting, astute musician would want to do: Cut a country and western record steeped in heartbreak, fragility, sadness, despair, and beer-glass-raising spirit. Largely informed by the stacks of country LPs he bought in used shops during U.S. tours, and in the ideal frame of mind, Costello sought out not to make standards such as Sweet Dreams, Too Far Gone, Honey Hush, and Tonight the Bottle Let Me Down his own but to put a unique spin on the darkness, surprise, soulfulness, foreboding, and authenticity that they contain within.

With each note, Costello succeeds and exceeds expectations, turning in versions that sound both old and new. Such timelessness, and the confluence of contemporary and traditional, distinguishes Almost Blue from nearly every other country tribute album made by pop/rock artists before and since. Costello and the Attractions embody the deep sentiments attached to these weeping ballads, tear-jerking lullabies, honky-tonk rave-ups, and playful shuffles in an incredibly convincing manner. Producer George Sherrill, famous for working with the likes of Tammy Wynette, George Jones, and Marty Robbins, and brought on board specifically for the project, frames the music with the perfect blend of grit and professionalism.

Track Listing:
1. Why Don't You Love Me (Like You Used to Do)? (Hank Williams)
2. Sweet Dreams (Don Gibson)
3. Success (Johnny Mullins)
4. Hot Burrito #1 (Gram Parsons, Chris Ethridge)
5. Tonight the Bottle Let Me Down (Merle Haggard)
6. Brown to Blue (George Jones, Virginia Franks)
7. A Good Year for the Roses (Jerry Chesnut)
8. Sittin' and Thinkin' (Charlie Rich)
9. Colour of the Blues (Lawton Williams, George Jones)
10. Too Far Gone (Billy Sherrill)
11. Honey Hush (Lou Willie Turner)
12. How Much I Lied (Gram Parsons, Pam Rifkin)

Lifelike Sonics: Mobile Fidelity Presents This Standard with a Dynamic Sound That Allows You to Picture Davis Mouth as He Blows Harmon-Muted Trumpet

Blowing Cool and Hot Jazz: Quintet Plays Reflective Ballads, Pop Standards, and Fervent Bop on One of Eras Only Complete Start-to-Finish Full-Length LPs

Sketches of Spain, Milestones, Kind of Blue, Four & More, and In a Silent Way Also Available from Mobile Fidelity

Miles Davis first album for Columbia, Round About Midnight, represents both the beginning of a three-plus-decade relationship with the famed label as well as the start of an extended collaboration with then-unknown saxophonist John Coltrane. As one of the eras only complete start-to-finish full-length LPs, the 1957 set stands as a hard-bop benchmarka summation of the styles that came before its creation, an immersion into the periods cutting-edge strains, and a hint of the rivoluse modalism that would follow.

Part of Mobile Fidelitys Miles Davis catalog restoration series, Round About Midnight now resonates with a physical palpability and emotional heft never before experienced. Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition traces the individual paths each musician takes in contributing to the whole, whether its pianist Red Garlands left hand spinning actinoid chords or Coltrane infusing a tune with harmony-defying fills that suggest arabesque patterns. Recorded at three separate sessions, the music has never sounded so cohesive, immediate, or involving.

Historically, few jazz records claim the significance boasted by Round About Midnight. The albums creationand the assembly of Davis quintet, which also includes Paul Chambers and Philly Joe Jonesstems from the headliners rousing rendition of the title-inspired track, Round Midnight, a Thelonious Monk standard, at the 1955 Newport Jazz Festival. Stunning the audience with an interpretation that witnessed him personalize the composition with a brooding tone made possible via employment of his soon-to-be-trademark Harmon mute, Davis redefined perspective and possibility, taking ownership of the ballad as his own, and further improving upon its reach in the studio. It wasnt the composers only surprise.

'Round About Midnight thrives due to diversity and consistency, a rare combination epitomized by the first-rate selection and astonishing performance of pensive ballads, bebop classics, pop standards, and folk pieces. Witness the counterpoint exchanges during Ah-Leu-Cha and its Dixieland shades. Soak up the progressive drama and swinging tempos on All of You and Bye Bye Blackbird. Delight in the mélange of latticed textures and schematic moods throughout the sequence, here presented in gorgeous fidelity, zeroing in on Davis warm, plush, rich, and close-up trumpet timbres and how, by playing his instrument right near the microphone, he infuses the arrangements with the sort of daring intimacy embraced by two lovers.

Tension, suggestiveness, calm, mystery, nostalgia: All here. Gather now, Round About Midnight. Slip on a pair of shades, draw the curtains, slouch into a chair, and light a cigarette. This is Miles and Co. at their best. Hipness personified.

Track Listing:
1. Round Midnight
2. Ah-Leu-Cha
3. All of You
4. Bye Bye Blackbird
5. Tadds Delight
6. Dear Old Stockholm

Smoky Blues Purring, Cool Jazz Vibes, Disco-Tinged Beats, and Dancefloor Minimalism Add Up to Electropop Genius

All the Grooves Hit the Low-Frequency Targets: LP Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI

Includes Hits Dont Go, Situation, and Only You

The 1980s will forever be remembered for electropop sensations, yet few, if any, are quite as sensational as Yazs Upstairs at Erics. A standard-setting mélange of smoky blues singing, jazzy arrangements, disco-tinged beats, and dancefloor vibes, the smash debut fits equally as well at a late-night club as it does in a living room, where the records complexity and exoticism takes listeners hostage. No wonder the 1982 landmark remains one of the decades most essential albums.

Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI, this numbered limited edition Silver Label LP breathes with a decongested openness, textural richness, and tonal palette never before experienced on previous analog or digital editions. Alison Moyets inimitable vocals, such a huge part of the records appeal, are dramatically enhanced, her sensual timbre, bittersweet crooning, and knockout range now encompassing the full frequency spectrum and projecting outward in a way that traverses the flatness of the original pressings.

Indeed, her bluesy deliveries are at once elegant and exuberant, and give collaborative partner Vince Clarke free range to construct beat architectures that encompass freewheeling disco, house music, uptempo dance, and chilled-out pop. The former Depeche Mode member also layers on elegant keyboard melodies, establishing contagious hooks and electronic-laced landscapes that preceded the techno explosion and do so with a cooler elegance. Tape loops, random field-noise dialogues, and synth-stroked bass notes add to whats nothing less than a perfect collusion of moody paranoia and soulful warmth.

While a cousin to synth-pop LPs by the likes of the Eurythmics, Soft Cell, OMD, and Depeche Mode, Yazs Upstairs at Erics is singular for its chemistry between Moyet and Clarkeand an insouciant batch of songs high on emotion, style, and substance.

Track Listing:
1. Dont Go
2. Too Pieces
3. Bad Connection
4. I Before E Except After C
5. Midnight
6. In My Room
7. Only You
8. Goodbye 70s
9. Tuesday
10. Winter Kills
11. Bring Your Love Down (Didnt I)

A True Original: Lauper Bridges Rebellious New-Wave, Giddy Pop, and Girlish Vocals

Back on Vinyl for 1st Time in Decades: Mastered on Mobile Fidelitys World-Renown Mastering System and Pressed at RTI

Includes Top 5 Anthems Girls Just Want to Have Fun and Time After Time

Forget, for a moment, about the gypsy clothes, raspberry-pink hair, costume jewelry, and hyperactive behavior. No female artists debut better epitomized MTVs vivid heyday and the smart intersection of self-reliant female politics, savvy hooks, and vibrant imagery than Cyndi Laupers Shes So Unusual. Long before Lady Gaga, and before Madonna embraced any traits resembling punk, the New York native ushered in a new wave of commercial pop while flaunting an exuberant confidence that, overnight, influenced a generation to dye their hair and embrace life with newfound vibrancy. Girls, indeed, just wanted to have fun.

Mastered on Mobile Fidelitys internationally acclaimed mastering system and pressed at RTI, this Silver Label LP rescues the music from long-standing harshness and disadvantageous brittleness. Back on vinyl for the first time in decades, the multi-platinum 1984 blockbuster sounds completely anew, possessing crisper beats, a fleshed-out midrange, no artificial ceilings, and a clear alleyway to Laupers girlish voice. Finally, the sonics possess the wide spectrum of colors that flavor the songs.

Helmed by the anthem Girls Just Want to Have Fun, Shes So Unusual transformed pop culture by way of Laupers charismatic personality, whimsical attitude, lively performances, unique timbre, witty humor, and unabated passion. Throughout, shes a whirlwind of emotion and cyclone of spirit, tackling insouciant party tracks with the same verve she sings arresting ballads. And while for most it would be a deterrent, Lauper sculpts her chirpy, bop-friendly voice to her advantage, underscoring each songs combination of sentimentality and seditiousness.

With a voice that combined the cartoon soul of Little Eva and the wink-wink naughtiness of Betty Boop, Lauper may have backed away from the depth or urgency of the writers whose work she mainstreamed, but her transformation of their power into sheer pop was ultimately subversivegiggling all the way, she incited legions of mall rats into orange-hair rebellion and a measure of self-assertion, wrote Paul Evans for The New Rolling Stone Album Guide, hinting at the records normally unseen depth.

Whether viewed as a subversive new-wave crossover statement or simply as a celebratory declaration of individualism (or, both), Shes So Unusual is an 80s landmark and influential harbinger of the role women would play in both rock and pop.

Track Listing:
1. Money Changes Everything
2. Girls Just Want to Have Fun
3. When You Were Mine
4. Time After Time
5. She Bop
6. All Through the Night
7. Witness
8. Ill Kiss You
9. Hes So Unusual
10. Yeah Yeah

Contains Smash Hits Who Can It Be Now? and Down Under

Get in the Groove: Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI

New-Wave Classic Tinted With Quirky Rhythms, Guitar Hooks, Brassy Saxophones

They came from the land down under. And they conquered the charts like no band before or since, with a 1983 debut that shattered records by staying for 15 consecutive weeks at the pole position on the Billboard Top 100. They were Men at Work, a quirky bunch led by a Scottish-born vocalist whose humor, style, and distinguished singing helped the quintet become one of the 1980s definitive new-wave acts. And it all started with the irresistible Business As Usual.

Mastered on Mobile Fidelitys world-renowned mastering system at pressed at RTI, this LP retrieves an immeasurable amount of previously concealed details from the music. For the first time, the bands percolating rhythms, pulsating guitars, brassy horns, and whimsical beats come to fore without interference from congested mixes and a flat perspective. Spaciousness and imaging are restored, as is the rebirth of palpable dynamic contrast and instrumental separation. Above all, the record is more fun than ever before.

Anchored by two ubiquitous singles, Who Can It Be Now? and Down Under, both still FM radio staples, Business As Usual signified a changing of the guard on the new-wave landscape. With leader Colin Hays vocals bearing a passing resemblance to those of Sting, and his mates supplying what seems like a constant stream of keening pop-rock hooks, dance-baiting grooves, and brassy rejoinders, the record transcends any limitations and showcases a creative depth that extends to the album cuts. No wonder Men at Work soon shared stages with the likes of the Clash.

Further separating the group from the pack is its wit. Playful, carefree, and exuberant, the songs resonate with a looseness and joyousness with which the decade is forever associated. No deep thinking or profound analysisjust as the best pop tends to be!

Track Listing:
1. Who Can It Be Now?
2. I Can See It In Your Eyes
3. Down Under
4. Underground
5. Helpless Automation
6. People Just Love to Play With Words
7. Be Good Johnny
8. Touching the Untouchables
9. Catch a Star
10. Down By the Sea

Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity

Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo Thought Dream Odysseys on Side Two

Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories

The Freewheelin Bob Dylan, Another Side of Bob Dylan, Blonde on Blonde, Blood on the Tracks, and The Basement Tapes Also Available from Mobile Fidelity

Bob Dylans Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. Its a disarming broadcast that declares Dylans surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the albums you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.

The sonics are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of Columbias Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fan into a tizzy. And what better record to cause such enthusiastic reactions?

More than 45 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant whos privy to cerebral viewpoints, mental transferences, and thought dreams elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naiveté, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk musics imprisoning rules and bounding restrictivenessand a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.

Side One remains one of the boldest cohesive artistic statements ever assembled. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny Subterranean Homesick Blues before romping, slashing, and rolling through Maggies Farm, another fun albeit caustic indictment of homogenous thought and bohemian method. Dylans attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.

Ranked 31 on Rolling Stones list of the 500 Greatest Albums of All Time, Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums dont come more vetted. You deserve to experience it in the finest-possible quality.

Given the sonic and artistic merit of this album, we anticipate huge demand.

Track Listing:
1. Subterranean Homesick Blues
2. She Belongs To Me
3. Maggies Farm
4. Love Minus Zero/No Limit
5. Outlaw Blues
6. On the Road Again
7. Bob Dylans 115th Dream
8. Mr. Tambourine Man
9. Gates of Eden
10. Its Alright, Ma (Im Only Bleeding)
11. Its All Over Now, Baby Blue

Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity

Records Ambitious Poetry, Melodies, and Moral Conviction Transformed Songwriting, Folk, and Pop

Includes Masters of War, Blowin in the Wind, and A Hard Rains A-Gonna Fall

Ranked #97 on Rolling Stones List of the 500 Greatest Albums of All Time

Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, Blood on the Tracks, and The Basement Tapes Also Available from Mobile Fidelity

Its the album the ignited sea changes in pop culture, music, songwriting, poetry, and the social consciousness. Its the creation of a 22-year-old visionary still years away from casting a jaundiced eye to the media. Its the sound of change, the feeling of ground shifting beneath ones feet, and the entrance of an entirely new way of thinking. Its the effective beginning of whats arguably the boldest career in music history, the yawning vortex into the complex mind, supernatural wordplay, and folk techniques of a vocalist/guitarist whose name is forever associated with transformation. Its The Freewheelin Bob Dylan.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog edition of The Freewheelin Bob Dylan ever produced. Never before has the resonance of his nylon guitar strings, fingerpicked notes, shivering harmonica fills, or plainspoken timbre possessed such clarity, openness, body, or realism.

With the advantage of wider and deeper grooves, the 45RPM pressing affords the opportunity to detect more information and lavish in extra richness. Whether its the exaggerated nasal accents employed on Down the Highway or the decay of each strummed line on the entirely acoustic album, previously concealed details, microdynamics, and ambient cues surfaceenhancing the listeners experience and taking them inside Columbias Studio A where history was made by leaps and bounds.

Exponentially surpassing the potential he demonstrated on his debut, Dylan became a mirror of the concerns, issues, and feelings confronting the nation. Writing and singing with penetrating honesty, observational wit, moral conviction, and scathing emotion, he digs into the madness of war (Masters of War, A Hard Rains A-Gonna Fall), hypocrisy of segregation (Oxford Town), urgency of civil rights and freedom (Blowin in the Wind), and multiple angles of unrequited love (Girl From the North Country, Dont Think Twice Its All Right) with a literate astuteness and depth that, nearly 50 years later, still leave audiences slack-jawed. Satire, absurdist humor, and traditional blues also pepper the album, which rests upon graceful melodies and sparse, poignant patterns.

Viewed as protest songs, love songs, folk songs, or talking blues songs, the material on The Freewheelin Bob Dylan remains amongst the most astonishing and imaginative ever committed to tape. It deservesas much as you deservea fidelity that makes as closely intimate as possible the musics connection with you. You deserve this edition.

Given the sonic and artistic merit of this album, we anticipate huge demand.

Track Listing:
1. Blowin in the Wind
2. Girl From the North Country
3. Masters of War
4. Down the Highway
5. Bob Dylans Blues
6. A Hard Rains A-Gonna Fall
7. Dont Think Twice, Its All Right
8. Bob Dylans Dream
9. Oxford Town
10. Talking World War III Blues
11. Corrina, Corrina
12. Honey, Just Allow Me One More Chance
13. I Shall Be Free

Hear the Interior of Philharmonic Hall at New Yorks Lincoln Center Come Alive: Mobile Fidelitys Fastidious Reissue Illuminates Venue Acoustics, Musicians Phrasings

Whirlwind Uptempo Pace Prodded by Tenor Saxophonist George Coleman and Drummer Tony Williams

Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and In a Silent Way Also Available from Mobile Fidelity

Given his gargantuan recorded output, Miles Davis seldom abandoned a conceptual vision in the studio, particularly after the turn of the 1960s. Which makes a live document such as Four & More all the more valuable for the manner in which it portrays the legendary trumpeter removed from thematic demands and interior confines, and instead letting loose onstage with a program of stellar material that hed soon abandon in favor of experimentalism.

Part of Mobile Fidelitys Miles Davis catalog restoration series, Four & More engages with electrifying speed and palpable punch, the effort now claiming vastly improved imaging, deeper soundstaging, and startling clarity. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed analog edition teems with the urgency demonstrated by Davis and his bandnotes flooding the listener with an attack only possible from sound featuring full frequency extension, tremendous spacing, and you-are-there immediacy.

Recorded on February 12, 1964 in Philharmonic Hall at New Yorks Lincoln Center, Four & More bookends My Funny Valentine. Whereas the latter spotlights ballads, this thrilling souvenir is all about quick tempos, rushing solos, left-hook rhythms, and hard-bop grooves. Drawing largely on mid- and late-1950s material, Davisaccompanied by bassist Ron Carter, drummer Tony Williams, saxophonist George Coleman, and pianist Herbie Hancockapproaches standards such as So What, Seven Steps to Heaven, and Four with biting tenacity and furious passion, the individual themes racing by as the collective barges in to take rapid, punctuation-asserting solos.

Few, if any, live Davis performances match the hurricane-generating intensity and dynamic aggressiveness captured here. One reason for the vigor? Davis waived he and his musicians fees for the concert, taking place under the auspices of a political benefit, a decision that angered some of his sidemen. Whatever the cause, Hancock swings, Coleman flexes muscles, Carter bows instructive passages, and the 19-year-old phenom Williams throws down with breathtaking agility. Amidst the melodic tangents and galloping exchanges, the quintet retains gripping control, with eight-bar dialogues between the instrumentalists and positive vamps supplying cues and endings.

At last, these historic recordings are afforded the breathing room and acoustic perspective theyve always deserved. For listeners that may be unfamiliar with this title, prepare to be blown awayliterally and figuratively. Aficionados know what to expect on the music front, but Mobile Fidelitys 180g LP reissue ratchets up the thrills by several levels. Dont miss this gem.

Track Listing:
1. So What
2. Walkin
3. Joshua
4. Go-Go
5. Four
6. Seven Steps to Heaven
7. There Is No Greater Love
8. Go-Go

Sublime Sound: Mobile Fidelity Reissue Corrects the Dry Sound That Plagues Previous Editions

Flamenco-Themed 1960 Set Develops Synergy Between Orchestrations and Melancholic Jazz Phrasings

Urge by Davis to Develop Techniques Possessed by Forbearers Finds Him Expanding Palette, Spinning Webs of Lyrical Sound and Emotion

Kind of Blue, Milestones, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity

Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects a total of three times during their celebrated career. For their final act, they created Sketches of Spain, a peak moment in each luminarys career and a transformative album that weds Spanish themes, lush orchestrations, romantic timbres, and Davis increasingly lyrical methods in a tender ceremony that continues to resonate more than five decades after its original release.

Part of Mobile Fidelitys Miles Davis catalog restoration series, the genre-defying 1960 classic has been given the ultimate white-gloves treatment. Mastered from the original master tapes and pressed at RTI, this exquisite 180g LP significantly expands the soundstage that frames the orchestra and digs deep to eradicate a dryness that many critics have found as an anathema to its overall enjoyment. Here, at last, is the full-figured perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with previously unheard definition and detail.

Indeed, in its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers have taken every available measure to insert listeners into the space occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and the 18-piece orchestra. With both Evans and Davis attracted to the blues undercurrents permanently entrenched in the Spanish flamenco strains, listeners can finally wholly detect the myriad microdynamic tonalities, brooding ostinato devices, and minor pedal points that stamp the compositions with divine sensibility and goffered effect.

Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform the flamenco-spiced pieces, but so do unconventionally voiced instruments that come into full relief on this reissue. Davis Harmon-muted trumpet is abetted by an assortment of bassoons and French horns that create pleasing contrasts and sounds (pp, mf, ppp) that get to the heart of Sketches of Spain: splashes of color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out variegated shades, adamantine layers, and striated distinctions.

Whether its the somber mood piece of the standout Concierto de Aranjuez (Adagio), renowned forDavis flugelhorn performance, or the folktale-based Solea, Mobile Fidelitys enhanced Sketches of Spain transfixes with playing, ideas, and innovations that remain exclusive to this incomparable record.

Track Listing:
1. Concierto de Aranjuez (Adagio)
2. Will O the Wisp
3. The Pan Piper
4. Saeta
5. Solea

Party-Starting Band Steps Up the Kitsch, Hooks, and Fun on Dance-Friendly Multi-Platinum Set

Addictive Rhythms, Deep Grooves, Quirky Vibes: LP Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI

Mention the phrase Love Shack and anyone youre talking to will immediately know to what youre referencing. Few songs stick in the brain with such lasting power, fond memories, and sing-a-long potential as the B-52s blissful 1989 smash, one of the many moments that make the bands Cosmic Thing such a timeless affair. The groups melodies were never sharper, its vibes never as carefree, and attitude as joyous as on this multi-platinum affair that stayed on the charts for more than a year.

Mastered on Mobile Fidelitys world-renowned mastering system at pressed at RTI, this Sliver Label LP dazzles with glorious textures, deeper low-end frequencies, more pronounced midrange information, and enhanced vocal dynamics absent from prior editions. Especially noticeable is the additional color and sense of rhythmic involvement in the already-persuasive pop-rock tunes, guaranteed to lighten any mood and ignite any celebration.

Urging listeners to roam around the world on one of the two Top 5 singles here, the B-52s follow their own instructions, constructing lively fare assembled from quirky riffs, bizarre albeit smooth harmonies, strident lead vocals, jagged tempos, and infectious choruses. At heart, Cosmic Thing is a dance-your-ass-off soiree. Leader Fred Schneider delights in kitsch, his deliveries combining goofy pronouncements and half-rapped words that speak the co-ed ensembles long tradition of originality, flair, campiness, and irreverence.

Better still is the bands embrace of a shinier, funkier sound established by producers Don Was and Nile Rodgers. The production, exponentially improved on this reissue, complements the upbeat energy, well-crafted songwriting, and emotional exuberance demonstrated on everything ranging from the kick-starting Bushfire to rambunctious Junebug to wild, weird, and wonderful Love Shack. Just try not to smile after spinning this LP. Its impossible.

Track Listing:
1. Cosmic Thing
2. Dry Country
3. Deadbeat Club
4. Love Shack
5. Junebug
6. Roam
7. Bushfire
8. Channel Z
9. Topaz
10. Follow Your Bliss

Vanguard Sonics: Mobile Fidelity Reissue Presents The 1958 Standard with Unparalleled Sound Quality

In MONOYou Will Not Hear a Better Analog Edition

Only Record to Feature Davis Original Sextet, Including Rhythm Section of Paul Chambers and Philly Joe Jones

Title Track Stands as First-Ever Modal Composition Even as Blues and Hard-Bop Flavors Make LP One of Davis Most Explosive Affairs

Sketches of Spain, Kind of Blue, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity

Miles Davis created just one studio album with his original sextet. He made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Due to its sandwiched position between the more famous Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic.

Part of Mobile Fidelitys Miles Davis catalog restoration series, Milestones has been restored to mono for the first time as to expose the records standing as one of the all-time great jazz efforts.Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g mono LP edition grants each musician their own space in a well-defined, broadened soundstage. Colors, shapes, and dimensions appear in the manner they do when beheld from behind a studio-control rooms window.

Davis burnished trumpet? Rendered in three-dimensional perspective, coaxing his mates out to play with unburdened zest and commotion. Coltranes trademark saxophone? Witness it in life-size proportion, his solos working in tandem with and against the driving rhythms. Garlands swaggering piano lines? Visualize the 88 keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

If anything, Milestones is as famous for its title track as the players that produced it. The launching pad for many of Davis (and later, his contemporaries) improvisational flights, the singular piece invites the tessellated explorations Coltrane would forever chase as well as the headliners argyle solo work, who broaches territories that far exceed what he had done with his bop-rooted past. Every song is a highlight, whether its the bravado No Jackle, featuring a hot-foot pace and bebop strains, or Sids Ahead, which continues the albums blues theme while tossing around edgy harmonics and inside-out structures.

Then theres Straight, No Chaser, the absolutely definitive rendition of Thelonious Monks signature piece. Coltranes marbled playing pulls at the tunes lobed borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting When the Saints Go Marching In while demonstrating his knowledge of tradition and eye towards the future. A milestone if there ever was. And now, in resplendent mono.

Track Listing:
1. Dr. Jackle
2. Sids Ahead
3. Two Bass Hit
4. Milestones
5. Billy Boy
6. Straight, No Chaser