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Mobile Fidelity / MoFi Record Vinyl Records
Paradise & LunchDesert Island-Worthy Paradise and Lunch Will Renew Your Faith in Music: Diverse 1974 Ry Cooder Set Comes on Like a Secret History of Song, Features Exquisite Interplay and Inspirational Harmonies
Paradise and Lunch Mastered on 180g Vinyl from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Mobile Fidelity LP Graced With Organic Sound
Ry Cooder's exceptional Paradise and Lunch takes a popular precept – music as the common denominator across all languages and styles – to extremes few artists have envisioned let alone fulfilled. Considered by many diehards to be the California native's finest hour, the 1974 set unfurls with rarified levels of joyousness, ingenuity, and sophistication. A prime contender for any Desert Island list and an album that repeatedly restores your faith in the inimitable effects experienced upon listening to special performances, Paradise and Lunch is an eternal "musicians' musician" record – an adventurous, ambitious, soulful leap down roads well-traveled and paths less known.
Such eclecticism, virtuosity, and ebullience resonate with unmatched verve on Mobile Fidelity's 180g LP reissue. Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, this vinyl LP boasts dead-quiet surfaces, superb transient response, front-to-back soundstaging, and an organic immediacy that heightens the enjoyment, character, and craft of the arrangements. Cooder's inspired guitar playing sounds tremendously lifelike, replete with proper scale, full-bodied tones, and a sense of decay that presents the trail ends of each note. Horns pop with three-dimensional detail and brassy colors. Akin to the contributions of all the all-star participants, Jim Keltner's percussion benefits from added stability and depth. Paradise and Lunch has never been more transparent.
On the surface a collection of seemingly disparate jazz, blues, spiritual, and roots songs, the diversified album comes across as a secret history of music. It remains a paragon of seamless convergence in which sonic DNA differences reveal shared traits and quilt a fabric united by feeling, reinvention, and elation. Beginning with a recast rendition of a traditional folk number, "Tamp ‘Em Up Solid," believed to be a close descendant of the group-vocal tune sung by field hands when they stacked bales of cotton, and ending with a stirring stripped-down cover of Arthur Blake's "Ditty Wah Ditty" – a show-stealing duet sent up with just an acoustic guitar and jazz icon Earl "Fatha" Hines' spritely walking-the-line piano riffs – Paradise and Lunch charms with exquisite interplay, inspirational harmonies, and innate flair.
At no point do the experimentations sound forced, artificial, or retro. Cooder transforms what initially appear to be obscurities into coherent, approachable songs that could have been recorded yesterday – or decades ago. In his world, a marvelous reggae-spiced and R&B-driven rendition of Bobby Womack's "It's All Over Now" coexists with a sanctified, harmony-based march through the gospel hymn "Jesus on the Mainline" anchored by restrained Dixieland accents and tolling bells. Another standard, albeit more modern, Burt Bacharach's "Mexican Divorce" strolls across dusty plains via gently clopping beats, shimmering Spanish motifs, and sympathetic support vocals.
Cooder also turns up the electricity a smidge for his idea of Bobby Miller's "If Walls Could Talk," a melodic snapshot of doo-wop shot through with reverb-drenched grooves. He rains funky vibes, chicken-scratch slide guitar, and churchgoing lessons down on a top-to-bottom remake of Blind Willie McTell's "Married Man's a Fool," the revision evocative of the imagination, proficiency, and blending that help make Paradise and Lunch an absolute must-own album – and now, an audiophile choice for those wished-for Desert Island trips.
This title is not eligible for discount.1. Tamp 'Em Up Solid
3. Married Man's a Fool
4. Jesus on the Mainline
5. It's All Over Now
6. Fool for a Cigarette/Feelin' Good
7. If Walls Could Talk
8. Mexican Divorce
9. Ditty Wah Ditty
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now
Boomer's StoryRy Cooder Is A Master Sonic Archeologist And Cultural Historian On Boomer's Story: Guitarist Pays Tribute To The Past And Updates Music For Future On Rustic Record Steeped In Folk, Blues, And Soul
Mastered From The Original Master Tapes, Pressed At RTI, And Strictly Limited To 3000 Numbered Copies: Mobile Fidelity 180g LP Of Boomer's Story Sounds Fantastic With Vibrant Textures
Ry Cooder's development as a peerless musician capable of grasping virtually any style began with his time spent with Taj Mahal and Captain Beefheart, but for all intents and purposes reaches epic proportions on Boomer's Story. With two ambitious albeit uneven studio albums behind him, the California native plunged into roles that still define him today – that of sonic archaeologist and cultural historian, shaping his 1972 Reprise effort with enlightened selections carved into the bedrock of America's folk, blues, and soul landscapes. Inspired, virtuosic, and poignant, Boomer's Story endures as a ravishing portrait of inspired translation and inventive craftsmanship that after years of neglect finally boasts sonics deserving of the performances.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, Mobile Fidelity's 180g LP of Cooder's breakout teems with natural tones, front-to-back imaging, and vintage tube warmth. Boomer's Story benefits from vibrant textures and organic openness, two prized traits that come to fore with breathtaking realism on this analog reissue. Details ranging from the audible resonance of the drum skins, drifting reverb on the guitar, and the inner cavity of the piano take up residence on deep-black soundstages. Individual notes appear and recede with lifelike decay. Cooder and company sound as if they're in the room, playing in real time with one another. This record has never been more dynamic or involving.
Having initiated his self-taught learning of customs established by the likes of Josh White, Woody Guthrie, Charlie Johnson, and Robert Johnson as early as age four, and grown up a son of parents obsessed with Folkways Records, Cooder never suffers from the retro rehash fakery plaguing countless contemporary revivalists. A true original, the guitarist simultaneously pays tribute to the past and updates it for the future. Boomer's Story brims with traditional tunes (the title track, "Good Morning Mr. Railroad Man"), classic blues ("Ax Sweet Mama," "Cherry Ball Blues"), and World War II standards ("Comin' in on a Wing and a Prayer").
A spellbinding blend of personality, respect, and innovation grace every song. Evoking the timeless rusticism and "weird, old America" vibe of Bob Dylan and the Band's Basement Tapes, Boomer's Story unfolds with a relaxed ease and back-porch chemistry underlined by the musicians' unpretentious demeanors and potent abilities. Drummer Jim Keltner, percussionist Milt Holland, and bassist Jim Dickinson (also a producer) are among the cast fleshing out Cooder's visions. The headliner also welcomes country-blues legend Sleepy John Estes to sing on his own "President Kennedy" and leans on pianist Randy Newman to help him transform the normally bellicose "Rally ‘Round the Flag" into a patient, mournful protest.
Cooder attains equally meaningful, emotional results on a definitive wordless interpretation of the staple soul ballad "The Dark End of the Street," expressing unfathomable depths of regret and longing via slide-guitar work that draws a line back to Blind Willie McTell's immortal spiritual "Dark Was the Night" – a song Cooder called "the most transcendent piece in all American music." Indeed, the degree of interplay attained by twinkling keys, rambling beats, brass accents, and dazzling guitar lines – also finger-picked and strummed – on Boomer's Story breathes with a rare air increasingly endangered in an era of on-demand immediacy and auto-tuned imitation. This, as it's said, is the real deal.
This title is not eligible for discount.1. Boomer's Story
2. Cherry Ball Blues
3. Crow Black Chicken
4. Ax Sweet Mama
5. Maria Elena
6. The Dark End of the Street
7. Rally ‘Round the Flag
8. Comin' in on a Wing and a Prayer
9. President Kennedy
10. Good Morning Mr. Railroad Man
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now
Screaming For Vengeance (Awaiting Repress)Screaming for Vengeance on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Double-Platinum 1982 Blockbuster Remains Judas Priest's Most Commercially Successful LP
Includes "Electric Eye," "Screaming for Vengeance," "You've Got Another Thing Comin'"
Dual Magnesium-Burn Guitars, Leather-Tough Percussion, Molten-Hot Melodies Help Form Triangular Equilibrium of Speed, Accessibility, and Attitude
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
You’ve got another thing comin’! Distinguished by dual magnesium-burn guitars, leather-tough percussion, molten-hot melodies, and the unmistakable piercing falsetto of operatic vocalist, Screaming for Vengeance became the soundtrack to millions of music lovers’ lives in the early 1980s as Judas Priest continued to lay waste to its contemporaries’ softer, cheesier hard-rock styles. An effort on which precision-based speed, mainstream accessibility, and resilient attitude meet in triangular equilibrium, the 1982 set remains the British metal legends’ top-selling record.
Mastered on Mobile Fidelity’s world-renowned mastering system and pressed at RTI, this Silver Series numbered limited edition LP shows off the grand intersection of daring adventure and commercial purpose achieved via ironclad production values and entrenched grooves. The latter particularly benefit from this analog pressing, as the group never overlooks the importance of rhythm and pace even when stoking tempos to engine-combusting levels. Leagues ahead of the sonics gracing its peers’ albums from the time, the sense of balance, separation, and realism is on par with that of big-budget rock creations.
Staked by the breakout “You’ve Got Another Thing Comin’,” which burns white-hot with foot-pounding riffs, prize-fighting percussion, and singer Rob Halford’s gun-for-hire blare, Screaming for Vengeance clutches hold of the jugular and doesn’t let go. A return to the band’s gritty, purist roots, the record revisits the themes of darkness, menace, and the unknown firmly established on the pioneering Stained Class and Killing Machine. Along with those albums, and British Steel, Screaming for Vengeance is the template for the catchy albeit uncompromisingly heavy crossover success Metallica, Megadeth, and Anthrax enjoyed years later.
With the one-two opening tandem of the instrumental “The Hellion” and stomping “Electric Eye,” overseen by Halford as if he’s embodying the persona of a wicked James Bond villain, Priest sounds utterly futuristic and terrifying, the instruments seemingly on a swivel and the sawed-off tones flooding the guitar solos with intimidation. A classic head-out-to-the highway anthem (“Riding on the Wind”), a racing proto-thrash banger (“Screaming for Vengeance”), and a scorching exorcism (“Devil’s Child”) function as the metal-hued bolts that hold the foundations of this Top 20-charting benchmark in place.
Perhaps more so here than on any other record, Priest spit-shines hooks and collusive six-string harmonic leads to perfection, giving listeners ying-yang doses of pain and pleasure, sweet and bitter. Songs at once invite sing-a-longs and fist-pumping responses. Screaming for Vengeance marked the last time Priest would sound this heavy in the 80s. No wonder it was voted the 12th best metal album of all time in Martin Popoff’s definitive book of the same name.
This title is not eligible for discount.1. The Hellion
2. Electric Eye
3. Riding on the Wind
5. (Take These) Chains
6. Pain and Pleasure
7. Screaming for Vengeance
8. You’ve Got Another Thing Comin’
10. Devil’s Child
$24.99Vinyl LP - SealedAWAITING REPRESS Buy Now
This Time I'm Swingin'Numbered Limited Edition 180g LP from Mobile Fidelity
Legendary Crooner Backed by Orchestra Conducted by Nelson Riddle
1960 Capitol Album of Then-Recent and Classic Standards Arguably Martin's Most Timeless Set: MoFi Edition Includes Bonus Track "Ain't That a Kick in the Head"
Mastered from the Original Master Tapes: No Martin Album Sounds Like This
Dean Martin was always at his best when he sounded effortless, when the singing required no exertion—just the same amount of investment required to order a martini. Confident, refined, breezy, and easygoing, this 1960 Capitol album epitomizes the crooner’s charm. In pairing with arranger and Frank Sinatra right-hand-man Nelson Riddle, Martin strikes all the right notes on this collection of then-recent and retro standards.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity’s 180g LP gets inside the core being of Martin’s impeccably smooth, relaxed singing by presenting every phrase, dip, and inflection with lifelike realism. The LP does similar wonders for Riddle’s backing orchestra. Horns teem with punch and midrange; rhythms possess incredible pacing; strings saunter and float. No Martin album has ever sounded like this. Mobile Fidelity also secured the rights to a bonus track, "Ain't That a Kick in the Head," left off the album and released as a single in order to promote the movie Ocean's Eleven.
While Martin enjoyed his biggest commercial success at Reprise, the aptly titled This Time I’m Swingin’ is considered by many critics and vocal-pop fans to be his finest studio hour. He approaches each song with supreme confidence and debonair control, never overreaching his limits or breaking a sweat. Here, he more than lives up to his nickname: The King of Cool. Charismatic, assured, and note-perfect, the album belongs alongside any of the period sets cut by his pal and once-and-future labelmate Sinatra. No wonder that his most recognized hit, the aforementioned and included “Ain’t That a Kick in the Head,” was actually cut at these sessions.
Riddle’s expert ordering of the charts and direction of horns, strings, and piano equates to jazz and swing genius. Brass blows hard and strong during breaks, calm down for verses during which slinky 88s and swaying strings join the dance, and then rise up, the mix elegantly performed and irresistibly catchy. If you’re not snapping your fingers and instantly transported to a swank nightclub within the first few passages of the opening “I Can’t Believe That You’re In Love With Me,” check your system’s setup.
Yet Martin is the real star. Hearing him handle such classics as the devotional “I’ve Grown Accustomed to Her Face,” upbeat “You’re Nobody ‘Til Somebody Loves You,” hopeful “Someday (You’ll Want Me to Want You),” bluesy “You’re Mean to Me,” and clever “Please Don’t Talk About Me When I’m Gone” with such aplomb—and now, in such ravishing detail—will remind you why you love music, and why nothing of this ilk will likely ever be made again.
Martin convincingly conveys the mood each song demands, but a sense of optimism, playfulness, and feel-good romance pervade this stylish effort. If you are a fan of real singing and emotional crooning, you cannot live without this analog edition. A veritable gem.
This title is not eligible for discount.1. I Can't Believe That You're In Love With Me
2. True Love
3. You're Nobody 'Til Somebody Loves You
4. On the Street Where You Live
6. (It Will Have to Do) Until the Real Thing Comes Along
7. Please Don't Talk About Me When I'm Gone
8. I've Grown Accustomed to Her Face
9. Someday (You'll Want Me to Want You)
10. Mean to Me
11. Heaven Can Wait
12. Just In Time
13. Ain't That a Kick in the Head
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now
American BeautyThe Most American Folk-Rock Ever Made: Indelible Harmonies, Spare Playing, and Gorgeous Textures Surround Masterfully Crafted Songs
Close Your Eyes As the Dead Serenade You in Your Room: MoFi Edition of American Beauty Epitomizes Realistic Space, Vocals, Instrumentation, and Ambience
Ranked #261 on Rolling Stone’s List of the 500 Greatest Albums of All Time: Includes “Truckin’,” “Sugar Magnolia,” “Friend of the Devil,” “Ripple”
American Beauty is the most perfectly realized, superbly played, and openly natural folk-rock record ever released. They don’t make albums like this anymore, but thankfully, Mobile Fidelity’s extraordinary 180g 45RPM 2LP set allows you to experience this 1970 masterpiece with unrivaled intimacy, realism, detail, and perspective. The Dead might as well be sitting on a Persian carpet right in your living room.
The pinnacle of the Dead’s studio output, American Beauty lives up to its name—as well as that of the “American Reality” ambigram on the iconic cover. Airy vocal harmonies blow like fresh breezes. Strummed acoustic guitars amicably intermingle with plaintive percussive beats. Warmth, relaxation, and poignancy envelop the performances and create sensations of bliss, peace, and honesty. Songs flower with majestic melodies and emotionally direct lyrics. It’s a rare album that invites and makes you feel, restores one’s faith, and renews one’s appreciation for all life offers.
Mastered from the original master tapes and pressed on 180g LP at RTI, this deluxe analog set possesses seemingly limitless dynamics, reference-grade presence, and expansive soundstages. The seamless, effortless integration of the group’s vocals has always been a high point of American Beauty, and when you hear it here, you’ll want every record you own to sound half as good. Every member’s distinctive singing resounds with tube-like clarity; the intended expressionism is as plain as day. Instruments, too, resonate in glorious Technicolor. The supple tension of Phil Lesh’s bass lines, charismatic timbres of Jerry Garcia’s pedal-steel fills, and interwoven dialogue between the pianos and percussion are rendered with lifelike scale and tone.
Made just months after its companion release, Workingman’s Dead, the San Francisco legends’ second 1970 masterpiece furthers the former work’s close-knit relationship between country and folk while adding extra rock and bluegrass currents. Understated amplified passages, graceful melodies, layered singing, and old-time string flavors—including mandolin work from masterful guest David Grisman—bestow the material with easygoing, comfortable vibes. Again taking advantage of the best songwriting of Robert Hunter’s career, the Dead turns in its most collective studio performance, with every individual contributing equally and focusing on nothing but the songs at hand.
Indeed, Garcia doesn’t even indulge in a single guitar solo on the record. A majority of fare lacks any significant instrumental breaks. The Dead recorded the foundations (drums, bass, acoustic guitars) of nearly every track live, which helps explain why American Beauty sounds so powerfully rich and clear. Coupled with the band’s personal reflections of the circumstances surrounding them—Bob Weir’s parents had died, Garcia’s mother and Lesh’s father were in the process of passing, Ron “Pigpen” McKernan’s health was in decline—these characteristics combined to yield a purity of heart that exceeds that managed by Dead peers (and roots revivalist leaders) The Band and Bob Dylan.
From Garcia’s breathtaking gospel-laden homage to his mother (“Brokedown Palace”) to Lesh’s healing salve in the form of the groove-based “Box of Rain,” from Weir’s jaunty and free-wheeling summer escape “Sugar Magnolia” to McKernan’s eloquently simple homespun plea “Operator,” all the way to the closing autobiographical anthem “Truckin’,” American Beauty feels like the warm, spirit-infusing embrace of a loved one after a long journey away. Welcome home.
This title is not eligible for discount.1. Box of Rain
2. Friend of the Devil
3. Sugar Magnolia
7. Brokedown Palace
8. Till the Morning Comes
9. Attics of My Life
$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs SealedBuy Now
Rumor and SighThe Most Cohesive and Accessible Album of Richard Thompson's Career: Brilliantly Diverse, Savagely Witty Rumor and Sigh Includes All TIME 100 Song "1952 Vincent Black Lightning"
Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Rumor and Sigh on 180g Vinyl 2LP for the First Time, Features Dynamic Production
Richard Thompson manages all of his usual superhuman feats on Rumor and Sigh. Rippled, vibrant guitar lines that sound like they're coming from four guitars? Check. Lyrics that expose the delicate quirks of human behavior in witty, truthful manners? Here. Engaging vocals that arrive as if they are sung only to you, the words doubling as whispered thoughts in your own head? Yep. But Rumor and Sigh goes further by featuring astute, lively production and well-planned arrangements that turn the 1991 album into one of the – if not the – most cohesive and accessible efforts of Thompson's storied career. And now, courtesy of Mobile Fidelity, it's his best-sounding record.
Mastered from the original master tapes, pressed at RTI, strictly limited to 3000 numbered copies, and on 180g vinyl 2LP for the first time ever to provide needed groove space, Mobile Fidelity's analog edition breathes with an effervescent openness that makes the music emerge with a livelier sheen, standout dynamics, and unstoppable energy. The dead-quiet pressing makes it immediately evident Rumor and Sigh endures as a very special album – a cohesive, varied, and fun set spiked with some of Thompson's finest compositions and an exoticism that extends to the modest use of the hurdy-gurdy, mandolin, concertina, and crumhorn.
Casual fans will likely even recognize the Mitchell Froom-produced release includes the incomparable "1952 Vincent Black Lightning," a motorcycle-based tale of desire, love, and death rightly recognized by TIME magazine as one of its All TIME 100 songs. It, and the other 13 tracks, takes on newfound radiance that showcases the brilliant range of Thompson's instrumentation and tone. You could plug in a guitar amplifier right next to you, connect a Fender, and strum. Yet you still wouldn't have the depth, intimacy, and detail afforded by this audiophile edition. It's that remarkable.
So is the diversity of the album's sonic signatures and themes. Opener "Read About Love" provides an electric-start jolt, its upbeat tempos, shimmering accents, and massive hooks framing Thompson's amusing story of an inexperienced introvert that applies pop-culture ideas of romance to the real thing. The master wordsmith finds similar ironies in the mischievous intent of "I Feel So Good," a Celtic-flavored tune whose uplifting emotions contrast with the character's out-of-control desires. Humor further wriggles in the jaunty "Psycho Street" and spirited "Don't Sit on My Jimmy Shands," an enduring tribute to the Scottish accordionist and the pursuit of collecting rare 78 records.
The singer-songwriter's knack for accentuating biting contrast – and for delving into darker regions where jealousy, bitterness, and self-deprecation reside – pervades Rumor and Sigh in the same manner his band shades his every move with narrative skill. Just listen to the faint keyboard cues on "I Misunderstood" or Jim Keltner's crisp, hi-hat cracks on "You Dream Too Much." Of course, everyone stands aside for the folk-leaning "1952 Vincent Black Lightning," a solo tour de force of musicianship and lyricism that confirms Rumor and Sigh survives not only as one of the finest records of the 1990s – but one of the best platters of the last three decades.
This title is not eligible for discount.1. Read About Love
2. I Feel So Good
3. I Misunderstood
4. Grey Walls
5. You Dream Too Much
6. Why Must I Plead
7.1952 Vincent Black Lightning
8. Backlash Love Affair
9. Mystery Wind
10. Don't Sit on My Jimmy Shands
11. Keep Your Distance
12. Mother Knows Best
13. God Loves a Drunk
14. Psycho Street
$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs SealedBuy Now
Shady GroveA Natural, Acoustic Portrait of American Folk, Country, and Bluegrass Standards by Two Virtuosos: Jerry Garcia and David Grisman's Shady Grove Filled with Endearing Joy and Spirited Playing
Mastered from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Mobile Fidelity 180g 2LP Set Sounds Incredibly Realistic, Features Deluxe Booklet in Gatefold Jacket
Jerry Garcia began recording with longtime friend David Grisman at the beginning of the last decade of his life, the refreshing excursions marking a full-circle return to the roots fare the white-bearded virtuoso originally performed before co-founding the Grateful Dead. Garcia's dalliances with Grisman also served another equally important purpose given they provided a much-needed outlet from the demanding pressures, schedules, and business affairs associated with his main band. The endearing joy, contagious enthusiasm, and free-spirited playing on Shady Grove attest to the collection serving as not only the finest musical snapshot of Garcia's final years, but among the best of his storied career.
Mastered from the original master tapes, available on vinyl for the first time, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g 2LP set presents the 1996 collection in exquisite sound. Originally recorded at Dawg Studios between August 1990 and June 1993, Shady Grove bowed as the first release of Grisman-Garcia collaborations in the wake of the iconic guitarist's August 1995 death – and remains, by way of its genre-specific organization, a passionate albeit naturally relaxed portrait of folk, country, and bluegrass standards that provide the foundation of American songbook. To experience it all in such brilliant fidelity is to pull up a chair at the sessions themselves and enjoy a transparent view into lasting tradition and instrumental virtuosity.
Entirely unplugged, the material emerges in three-dimensional detail on this very special audiophile pressing, the wooden tones and organic textures unfolding with wondrous openness, ease, and realism. Nothing is forced, brittle, or exaggerated. What you hear is on par with the acoustics you'd encounter at a world-class hall. Garcia and Grisman's clean, rustic picking on guitar, banjo, mandola, and mandolin harbors a rare intimacy mirrored by an equally uncommon chemistry evident by the seamless interplay.
These traits remain in tact even when the soul mates are occasionally joined by pals such as Jim Kerwin (acoustic bass) and Joe Craven (fiddle and percussion). Garcia's singing, replete with the slight, graceful, dignified shakiness that forever defined his deliveries, comes across with utmost purity and transparency. Emotions and eagerness pour over every note. At the end of several tracks, Garcia and company exchange remarks and laughter – all indicative of the camaraderie, looseness, and spirit that carries through each tune here.
Mobile Fidelity's audiophile edition of Shady Grove also features the kind of deluxe packaging only the best physical media can provide. Sixteen 12-inch x 12-inch pages bound to the gatefold jacket provide extraordinary insight into the songs, atmosphere, and history. Images of artifacts and telling photos serve as a visual guide. New Lost City Ramblers member John Cohen pens extensive liner notes that reveal the lasting importance and timelessness of the tunes herein. Among his observations:
"Jerry and David's performances of these traditional folk songs and ballads reconnect us all – folk singers, Deadheads, university students, hillbillies, country and western musicians – with the America [poet Kenneth] Rexroth wrote about; that [Carl] Sandburg wrote about; that the cynicism of American wars and politics, culture wars and culture politics just couldn't destroy."
Indeed, the versions of barn-dance tunes ("Shady Grove"), jug-band standards ("Stealin'," also performed in the early days of the Grateful Dead), Delta ballads ("Louis Collins"), Civil War era fare ("The Sweet Sunny South"), and campfire songs ("Down in the Valley") here astound with depth, soulfulness, and warmth. Deadheads will also find Garcia and Grisman putting a spin on two more tracks – "Casey Jones" and "Jackaroo" – long part of the iconic group's repertoire. In countless ways, Shady Grove is not to be missed, particularly on this unsurpassed pressing.
This title is not eligible for discount.1. Shady Grove
3. Off to Sea Once More
4. The Sweet Sunny South
5. Louis Collins
6. Fair Ellender
8. The Ballad of Casey Jones
9. Dreadful Wind and Rain
10. I Truly Understand
11. The Handsome Cabin Boy
12. Whiskey in the Jar
13. Down in the Valley
14. Hesitation Blues
$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs SealedBuy Now
Breakfast In America (Pre-Order)Supertramp's Blockbuster Features Catchy Hooks, Rhapsodic Melodies, Symphonic Bluster, Meticulous Production: Breakfast in America Includes "The Logical Song," "Take the Long Way Home"
Mastered from the Original Master Tapes for Supreme Sonics: Mobile Fidelity's 180g Vinyl LP Presents the Record's Famed Dynamics, Colors, Tones, and Instrumentation in Full-Range Glory
Supertramp's Breakfast in America has it all: Illustrious artwork. Sing-a-long hooks. Contagious melodies. Symphonic bluster. Rhapsodic thrust. Signature Wurlitzer electric piano sounds. Two Grammy Awards, including one for Best Engineered Album. More than 20 million copies sold. Four Billboard hit singles that continue to dominate radio airplay today. Every aspect of the chart-topping art-rock set screams blockbuster, not the least of which is the production, the result of painstaking studio setups and months of mixing. Now, you can experience the sonic brilliance in unprecedented clarity on Mobile Fidelity's definitive analog reissue.
Mastered from the original master tapes and pressed at RTI, this numbered, limited-edition 180g LP wrings out the record's dynamics, colors, and tones in all their full-range glory. Absent artificial ceilings, Breakfast in America unfolds with an expansiveness and radiance that parallels the vibrancy of its iconic New York-themed cover. Crucial traits such as imaging, separation, balance, transients, and openness achieve near-epic levels of realism and presence. Songs unfold and breathe on mammoth soundstages that put the effort's legendary production – and stellar playing – into proper perspective. The 1979 set has been reissued multiple times in the past, but it's never sounded so engaging, lifelike, or entertaining. If you think you know the record backwards and forwards, wait until you hear this version.
Indeed, aside from the undeniably catchy nature of the ten tracks, fun remains the most central element of Breakfast in America. The band even titled the record to fall in line with the overall joyful feeling of the material. About the latter: Few late 1970s rock albums feature a more cohesive, harmony-drenched parade of stunningly executed, wondrously arranged works. The collective offspring of members Rick Davies and Roger Hodgson, each tune reflects the creative pulses of each musician, with the resultant contrasts lending to their appeal. Davies' penchant for grittier, bluesy strands blends with Hodgson's witty, pop-leaning techniques. The combination proves unstoppable.
Home to a quartet of commercial staples – "The Logical Song," "Goodbye Stranger," "Take the Long Way Home," and the title track – Breakfast in America teems with arena-sized drama, meticulous craftsmanship, and mesmerizing refrains. Shrewd lyrical turns abound, whether on the phonetic, adjective-stacked "The Logical Song," life-in-America portrait "Child of Vision," or move-to-L.A. saga "Gone Hollywood." U.S. references also dot the smash title track, which reflects the glib humor, romantic fantasies, and pop culture permeating the record.
Breakfast in America also retains its vitality because of its expert instrumentation and placement. Deemed a "a textbook-perfect album of post-Beatles, keyboard-centered English art rock that strikes the shrewdest possible balance between quasi-symphonic classicism and rock & roll" by Rolling Stone shortly after its release, the record serves as a blueprint of reference-setting production and mixing. Check the scorching guitar outro on "Goodbye Stranger," gospel accents on "Lord Is It Mine," saxophone lines on "Take the Long Way Home," or chemistry of the choruses on basically every piece here. It's enough to make one long for the 70s again.
This title is not eligible for discount.1. Gone Hollywood
2. Logical Song, The
3. Goodbye Stranger
4. Breakfast in America
5. Oh Darling
6. Take the Long Way Home
7. Lord Is It Mine
8. Just Another Nervous Wreck
9. Casual Conversations
10. Child of Vision
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedPRE-ORDER Buy Now
Heart Like A WheelLinda Ronstadt's 1974 Breakthrough Remains a Paragon of Extraordinary Performance, Arranging, and Songwriting: Heart Like a Wheel Features an All-Star Instrumental Cast and Singer at Her Best
Audiophile Clarity, Profound Depth, Lifelike Naturalism, and Transfixing Warmth: Numbered, Limited-Edition Mobile Fidelity 180g LP Meticulously Mastered for Supreme Sound
How to put the ageless appeal, artistic splendor, and imaginative instrumental variety of Linda Ronstadt's Heart Like a Wheel in proper perspective more than four decades after its original release? For starters, the 1974 landmark earned three major Grammy nominations and won for Best Country Vocal Performance – Female. But that feat pales in comparison to what the record did for Ronstadt, who became the decade's most in-demand, multifaceted, and cherished female singer soon after it captured the public's attention. Or the fact that it remains a paragon of songwriting, arrangement, and performance – a trifecta that still holds sway in this era or any. Mobile Fidelity's reissue puts it over the top to stay.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed on dead-quiet 180g vinyl at RTI, this LP reissue presents Heart Like a Wheel with astounding clarity, depth, and naturalism. Still the most difficult instrument to accurately capture, the female voice is here conveyed with transfixing realism, warmth, and feeling. The inner beauty of Ronstadt's flawless phrasing and passionate inflections bears out with obvious candor, her tonality and emotiveness pouring through every lyric and wordless expression.
Yet the advantages of this limited, numbered-edition audiophile version extend far beyond the intimacy afforded Ronstadt's singing. Specifically, the majesty of Peter Asher's crafty arrangements now come to life like never before. Free of the fatiguing high frequencies and flat, dull responsiveness inherent on previous remasters and the original Capitol issue, respectively, this 180g LP sets the sonic standard and lets the extraordinary instrumental blends blossom with openness, airiness, and organic textures.
While Ronstadt's interpretive skills and stunning vocals remain front and center, the all-star cast of California-based musicians that helped transform Heart Like a Wheel into a 1970s mainstream pop-rock staple – and a lasting example of the period's laid-back West Coast sound – cannot be forgotten. Glenn Frey, Don Henley, Emmylou Harris, Maria Muldaur, Herb Pedersen, David Lindley, J.D. Souther, and Andrew Gold are just a few of the luminaries that ensure the Billboard chart-topping set rests on an unassailable foundation. Asher puts everything in the right place and, in concert with the headliner, chooses a repertoire of standards that both shakes up traditions and pays homage to them.
The other secrets to the record's distinctiveness lie with Ronstadt's versatility and passion, her uncanny ability to inhabit every lyric with conviction and believability, and her graceful technique. As Stephen Holden stated in his rave review of the album for Rolling Stone in early 1975, "No other pop singer so perfectly embodies the Western mythical girl/woman, heartbroken yet resilient and entirely feminine in the traditional sense. There is a throbbing edge to Ronstadt's honey-colored soprano that no other singer quite possesses – the edge between vulnerability and willfulness that I find totally, irresistibly sexy."
Ronstadt indeed proves seductive and inviting throughout, whether on the bluesy reading of Clint Ballad Jr.'s "You're No Good," harmony-rich treatment of Hank Williams' "I Can't Help It (If I'm Still in Love with You)," folk-rock lilt of Lowell George's "Willin'," or soulful send-up of Phil Everly's "When Will I Be Loved?" Complete with piano, double bass, cello, viola, and fiddle, as well as support vocals from Muldaur, the cover of Anna McGarrigle's title track reinforces the one-of-a-kind expanse and all-for-one chemistry evident throughout the double-platinum effort – the kind of record they just don't make anymore.
This title is not eligible for discount.1. You're No Good
2. It Doesn't Matter Anymore
3. Faithless Love
4. The Dark End of the Street
5. Heart Like a Wheel
6. When Will I Be Loved
8. I Can't Help It (If I'm Still in Love with You)
9. Keep Me from Blowing Away
10. You Can Close Your Eyes
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now
Layla (Awaiting Stock)Ranked 115/500 On Rolling Stone Magazine's List Of The 500 Greatest Albums Of All Time.
Eric Clapton and Duane Allman in the Same Band for the Only Time: Derek and the Dominos' Layla a Timeless Batch of Fire-Pot Blues, Poignant Gospel, Searing Rock, and Lustful Emotion
Mastered from the Original Master Tapes and Pressed at RTI: Mobile Fidelity 180g 2LP of Layla Is the Definitive-Sounding Analog Edition, Presents Music With Immersive Detail and Realism
The reputation of Derek and the Dominos' Layla and Other Assorted Love Songs, their lone record, precedes it. Eric Clapton performing in the studio with Duane Allman, Bobby Whitlock, Carl Radle, and more for the only time. A batch of fire-pot blues, poignant gospel, and searing rock – all birthed from the leader's insatiable lust for his friend George Harrison's wife. Now, experience it all, and one of the most famous guitar solos and codas in history, in unsurpassed sound courtesy of this quintessential Mobile Fidelity reissue.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 2LP set exposes the brilliance of Tom Dowd's original production and the scope of the virtuoso musicians' playing. You've never been closer to the aching vocals, stinging leads, tormented emotions, or wowing intensity that grace every track. Clapton's tones emerge with unprecedented soulfulness. Afforded their own space in the mix, Allman's slide-guitar passages crackle with urgency. All-important sonic components such as soundstaging, imaging, and dynamics transport you to the actual event. Mobile Fidelity's analog version testifies on behalf of why fans deemed Clapton god.
Then, of course, there's the title track – crowned the 27th greatest song of all time by Rolling Stone. What to say about the outro – arguably the most famous, passionately penetrating, visceral, double-edged guitar solo in history. Clapton's strings weeping with longing, hope, regret, unrequited love. It deserves the best-possible sonic platform, and receives it here, on a pressing that brings Slowhand's every finger moment into great relief. Get inside Clapton's head, burrow into the conflicted emotions fluttering in his heart as he pines for his another man's wife, and in the process, produces an album that forever lives in the souls of anyone who's ever loved and lost.
Clapton's pained yearning permeates everything here. Works such as the swampy "Tell the Truth," the pleading "Why Does Love Got to Be So Sad?," and blues-drenched "Have You Ever Loved a Woman?" attest to his raw-nerve discomfort, guilt, and desire. He leaves teardrops on the microphone stand and blood on the floor, singing and playing as if his life depends on it and if, by some miracle, the music will serve as both a confessional and apology to Harrison. It's all magnified by Clapton achieving a spiritual and sonic oneness with his band, which matches his high-stakes precision with a rolling, tumbling looseness.
Allman adds firepower and achieves a still-unrivaled simpatico bond with Clapton, but each participant soars. Consider: The call-and-response, Sam and Dave-derived vocal exchanges between Whitlock and Clapton. Rich, creamy, Southern-stoked blends of R&B, blues, and soul. Vibrant tapestries in which the pianos, bass, guitars, and voices explode with ravishing fervor, naturalism, and desperation. Indeed, maybe a combo this great was only intended one shot in the studio. Perhaps the paralyzing degree of potency on display here, and the musicianship that remains the standard by which any blues-rock is judged, is meant to be preserved as one standalone record. Whatever the case, this is the analog version to own.
This title is not eligible for discount.1. I Looked Away
2. Bell Bottom Blues
3. Keep on Growing
4. Nobody Knows You When You're Down and Out
5. I Am Yours
7. Key to the Highway
8. Tell the Truth
9. Why Does Love Got to Be So Sad?
10. Have You Ever Loved a Woman
11. Little Wing
12. It's Too Late
14. Thorn Tree in the Garden
$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs SealedAWAITING STOCK Buy Now
Get The KnackOne of the Most Instantly Successful and Highest-Selling Debut Albums in History: The Knack's Attitudinal Get the Knack Loaded With Power Pop, Catchy Hooks, Keen Melodies, and "My Sharona"
Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Mobile Fidelity 180g LP of Get the Knack Teems with Abundant Energy
Most everyone knows The Knack's Get the Knack because of the ubiquitous smash "My Sharona," a contagious hit that still plays countless times everyday on radio stations nationwide. But the appeal and significance of the Los Angeles quartet's 1979 debut extend far beyond the career-making single. Loaded with tight power pop, hummable hooks, blunt lyrics, and precision playing, the controversy-igniting Get the Knack resonates with an ageless freshness that's influenced everyone from Kurt Cobain to modern indie artists such as the Mountain Goats.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, Mobile Fidelity's 180g LP of Get the Knack brings the record's urgent harmonies, keen melodies, bell-clear tones, and snapping percussion out of the shadows and into the limelight. Graced with large-scale frequency extension and ample separation, the Knack's feisty music now teems with added energy, body, and immediacy. Absent the dynamic compression that squelched previous reissues, this numbered limited-edition audiophile analog version blossoms with detail, openness, and brashness. A guilty pleasure to some and new-wave classic to many others, Get the Knack is so attitudinal it spawned one of the industry's most famous backlashes.
Released by Capitol Records after the Knack courted a dozen other offers, the 12-track set remains one of the most instantaneously successful debuts ever made. Aided by tongue-in-cheek marketing, a sly cover-art reference to the Beatles' Meet the Beatles, and Mack Truck-sized refrains that stick in your head for hours, Get the Knack went gold in days and, to date, has sold more than five million copies. The meteoric rise didn't sit well with detractors committed to ripping apart the band for its perceived arrogance (members refused to sit for interviews) and alleged misogynist stance. Needless to say, the boycotting campaigns fell on deaf ears.
Holding down the top of the singles chart for six weeks, and the eventual number-one single on the year-end 1979 chart, "My Sharona" alone cemented the Knack's position in history. Written by lead singer and guitarist Doug Fieger about his lust for the then-underage 17-year-old Sharona Alperin, who ultimately became his fiancée, the anthem's suggestive themes carry throughout the record. Straightforward in its sleaziness and sexuality, Get the Knack pulls no punches about teenage frustrations, boy-girl one-upsmanship, "sticky sweet romance," and unrequited passions for the opposite sex.
Teasing, mischievous tracks such as "(She's So) Selfish" connect with Bo Diddley-inspired riffs and crude, hormonally charged lines that split the difference between manipulation, nastiness, and arousal. The Top 15 hit "Good Girls Don't" similarly confronts the pent-up carnal desires and libidinous emotions shared by youth of all generations, while "That's What the Little Girls Do" functions as a sly response. "Your Number or Your Name" dabbles in related subject matter, with sensitivity and hopefulness added for good measure. It's a perfect mix of agony and ecstasy, fear and confidence.
Shot-through with yearning, every song bursts forth with undeniable catchiness, firecracker release, and sassy style – an approach Rolling Stone rightly says finds the "band [winding] itself tighter than a hot pair of disco jeans, then [doing] its best to hold to that energy until its time to explode."
This title is not eligible for discount.1. Let Me Out
2. Your Number or Your Name
3. Oh Tara
4. (She's So) Selfish
5. Maybe Tonight
6. Good Girls Don't
7. My Sharona
9. Siamese Twins (The Monkey and Me)
11. That's What the Little Girls Do
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now
Rides AgainThe Joe Walsh-Led James Gang Balances Edgy Hard Rock and Sincere Country-Tinged Ballads on 1970 Classic: Rides Again Features the Radio Favorite "Funk #49" and Multi-Part "Bomber"
Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 4000 Numbered Copies: Mobile Fidelity 180g Vinyl LP of Rides Again Presents James Gang in Full-Scale Detail
Led by future Eagle Joe Walsh, the James Gang establishes a power-trio template for all times on its 1970 sophomore album. Home to the top-down favorite "Funk #49," Rides Again sparks with a stylistic versatility, hard-rocking edge, and balladic vulnerability united by tight-knit musicianship. The quartet's penchant for crunch-laden boogies and focused jamming pours out on the first half of the record before the band pulls its trick bag out on the second half and injects keyboards into the stylistically varied mix. From start to finish, Rides Again is a 70s rock classic – and, now, one that at last features first-rate sonics to match the music.
Recorded at the then-brand-new Record Plant, the songs sound more authoritative and fun than ever before on Mobile Fidelity's restored analog pressing. Mastered from the original analog tapes, pressed at RTI, and strictly limited to 4000 numbered copies, this 180g LP teems with involving textures, details, and depth hidden from view on prior pressings. The dimensional body and weight of the guitars, probing low-end of Dale Peters' bass lines, reedy timbre of Walsh's singing, and pacing of the crisp percussive cues are all enhanced. Increased separation between the instruments and airier, more open soundstaging add to the record's toe-tapping fun and seemingly unlimited groove quotient.
Walsh, without question, remains the biggest draw on Rides Again. The FM radio staple "Funk #49" – kick-started by the irresistible declaration "I sleep all day, out all night/I know where you're goin'" – continues to be identified by many as a Walsh solo tune. Yet it, as well as the sexual thrust of the head-bobbing "Woman" and proto-metal slash of the multi-part "The Bomber," fully represents the pure chemistry and locomotive momentum of the James Gang. With Walsh's Echoplex-equipped slide guitar making psychedelic- and blues-leaning comments, his mates pick up on the direction and answer with melodic responses.
Throughout the record, the trio's synergy clicks at every turn. Such interplay extends to the more diverse, country-tinged fare on Side B. Streaked with throaty organ passages and reflective moods, sincere midtempo ballads like "Tend My Garden" tease with rave-up structures and express a softer side of the group. Similarly, the acoustic-based "Garden Gate" and Jack Nitzsche-orchestrated "Ashes the Rain and I" showcase sincerity and diversity suggesting the James Gang prepared to defy limitations afforded most of its peers.
Yet Walsh's departure in 1971 changed the group's fortunes – and, by extension, upped the value of Rides Again, which survives as a near-flawless example of earnest 70s rock and organic playing.
This title is not eligible for discount.1. Funk #49
4. The Bomber
5. Tend My Garden
6. Garden Gate
7. There I Go Again
9. Ashes the Rain and I
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now
Chicken Skin Music (Pre-Order)Give Yourself Goosebumps: Ry Cooder's Cross-Cultural Chicken Skin Music Mixes Hawaiian, Gospel, Conjunto, Folk, and Blues Styles into a Visionary Roots-Music Tapestry
Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Natural-Sounding 180g Vinyl LP Features Defined Textures, Intricate Details, Ample Airiness
The title of Ry Cooder's Chicken Skin Music – Hawaiian slang for goosebumps – serves as a direct, simple description of the album's emotional appeal. But it barely scratches the surface of a 1976 effort that triggered an interest in "world music" a decade before the term became commonplace and a genre into and of itself. Part of a series of inimitable mid-1970s records on which Cooder ignored traditional boundaries and instigated lasting cross-cultural communication, Chicken Skin Music blends gospel, Hawaiian, folk, blues, and Tex-Mex styles into a brilliant roots stew distinguished with virtuosic playing and inspired contextual surprises.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, Mobile Fidelity's 180g vinyl LP of Chicken Skin Music brings the brilliant instrumental textures and lively tonalities to the fore like no prior analog edition. Graced with silent, black backgrounds and generous soundstages, this reissue particularly underscores the depth of Flaco Jimenez's accordion contributions. You'll hear the air flowing through the reeds, pressure resonating from the bellows, and the wide-spanning timbres emanating from the register stops.
Equally transfixing are the lifelike manners in which the rich assortment of guitars come alive, with each note occupying its own space and portraying a character unique to the individual instrument, be it a slack-key, steel, or acoustic guitar. The result is a multi-detailed, organic-sounding musical tapestry that dazzles by way of beautiful interplay, unexpected dialogue, and connective eclecticism that proves music is indeed a common language when executed with a collaborative mindset, innovative exploration, and respectful authenticity – no easy feats, but achievements fully on display on Chicken Skin Music.
Jimenez, now a legend that's performed with everyone from the Rolling Stones to Dr. John, remains one of the keys to Cooder being able to successfully carry out what the latter deemed a "mutuality in music" vision. Cooder first heard conjunto accordion fare on a Mexican radio station in his car and proceeded to teach himself the instrument while committing himself to embracing the then-local, regionalized style for the set that became Chicken Skin Music. Jimenez graces three tracks, including a ravishing interpretation of Ben E. King's "Stand by Me" transformed into a spiritual grounded by a norteno structure and a romantic take on Jim Reeves' "He'll Have to Go" recast with a bolero rhythm and saxophone-accordion duet.
Chicken Skin Music isn't limited to South of the Border geography and tradition. Steel-guitarist and vocalist Gabby Pahinui and slack-key guitar great Atta Isaacs represent the 50th state on stripped-down renditions of Hank Snow's smash "Yellow Roses" and the wordless "Chloe." Elsewhere, gospel singers team with Cooder on the Appalachian-tinted "Always Lift Them Up," the midsection of which features the Hawaiian standard "Kanaka Wai Wai."
Cooder bookends everything with a pair of Leadbelly numbers – "The Bourgeois Blues" and "Goodnight Irene" – chosen after the headliner witnessed Jimenez and his band perform at a local dance. Given their ordering on the album, techniques they employ, and themes, the songs also further tighten the thematic connection the headliner makes with the standout guests. In many ways, Chicken Skin Music is the equivalent of Buena Vista Social Club more than 20 years before the latter emerged. Experience it the way Cooder and company meant it to be heard – in unparalleled fidelity.
This title is not eligible for discount.1. The Bourgeois Blues
2. I Got Mine
3. Always Lift Him Up/Kanaka Wai Wai
4. He'll Have to Go
5. Smack Dab in the Middle
6. Stand by Me
7. Yellow Roses
9. Goodnight Irene
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedPRE-ORDER Buy Now
Blood On The Tracks (Awaiting Repress)Ranked 16/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Dylans Masterpiece Break-Up Album: Sentimental Redemption Arises Amidst Sorrow, Turmoil, Sadness, and Pain
Presence, Immediacy, Naturalness, Realism in Spades: Mobile Fidelity Reissue Makes Blood on the Tracks Among Most Lifelike-Sounding Albums You'll Ever Hear
Songs Flow Like Rivers, Acoustic and Electric Elements Merge Like Bezels on a Diamond
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.
This title is not eligible for discount.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
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedAWAITING REPRESS Buy Now
Sketches of SpainRanked 356/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Davis Third and Final Pairing With Arranger Gil Evans Yields Watershed Innovations
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.
This title is not eligible for discount.1. Concierto de Aranjuez (Adagio)
2. Will O the Wisp
3. The Pan Piper
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now
Ellington At Newport (Awaiting Repress)Numbered, Limited Edition Mono LP
Pandemonium: Historic 1956 Live Set Triggered Spontaneous Audience Outburst That Fed Directly into Feel, Outcome of Performance
Ellington’s Legendary Comeback Punctuated by Paul Gonsalves’ 27-Chorus Saxophone Solo
Unrivaled Analog Transparency: LP Mastered on Mobile Fidelity’s World-Renowned Mastering System and Pressed at RTI
One of the Most Riveting and Important Jazz Recordings Ever Made
It spurred Duke Ellington’s comeback into the mainstream. It captures a performance so energetic, wild, unexpected, and unprecedented that the music literally caused thousands of people to jump up and stand on their chairs, worrying officials that a riot might ensue. It is jazz of the highest order, played at an almost rock n’ roll pace, and with an enthusiastic pep that confirms Ellington and his ensemble fed off the crowd’s reaction as the collective lit into each new stanza. It is Ellington’s best-selling album. It is Ellington at Newport.
Like few records before or since, the 1956 set owes as much to context and circumstance as it does instrumental execution. Years prior to his appearance in Rhode Island, Ellington had suffered lackadaisical record sales and a falling out of the public eye, as bop and hard bop supplanted tradition big bands. Yet in preparation for the event, Ellington worked on experimental ideas and a reshaping of some of his standards.
The iconic arranger/composer’s foresight comes into fruition throughout the white-hot set, never more so than on “Diminuendo and Crescendo In Blue,” on which tenor saxophonist Paul Gonsalves erases all rules and outlays a 27-chorus solo that left everyone in awe—and prompted them to stand on chairs, dance feverishly, and hoot and holler to an extent that caused Ellington to ultimately cool things off. The improvisational flight epitomizes boldness, freedom, risk, and, to the bandleader, an assuredly loud response to the critics that had believed his well was tapped.
The songs in advance of the climactic moment are no less exciting; Ellington and his 15-piece collective manhandle notes with ease, swinging and sliding through “Festival Junction” with a requisite balance of poise and panache, and kicking heels on "Newport Up" via Ellington’s spry piano riffs, Jimmy Hamilton’s spicy clarinet feeds, and Clark Terry’s trumpet runs. In every way, Ellington at Newport is as quintessential as Kind of Blue, Giant Steps, and Way Out West.
And now, the 1956 classic can be experienced in an analog fidelity never before as authentic or transparent on any pressing. Mastered on Mobile Fidelity’s world-renowned mastering system and pressed at RTI (America’s best record plant), this numbered limited edition Silver Series LP of Ellington’s triumph boasts tremendous separation, deeper low frequencies, clearer highs, and front-to-back dynamics. Horns blare with multi-hued color, the Duke’s 88s ring out with treble finesse, and the rhythm section claims an added presence buried on previous editions. Musically and sonically, you need this LP. It’s that simple.
This title is not eligible for discount.1. Festival Junction
2. Blues to Be There
3. Newport Up
4. Jeep’s Blues
5. Diminuendo and Crescendo In Blue
$24.99Vinyl LP Mono - SealedAWAITING REPRESS Buy Now
Santana III (Awaiting Repress)Santana III on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Last Santana Album Recorded With Famed Woodstock Band
With Guitar Virtuoso Neal Schon in Fold, Santana Makes Musical Magic That Truly Spans the Globe years Before “World Music” Became a Genre
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI: LP Breathes With Sumptuous Warmth
The final Santana album recorded with the leader’s famed Woodstock lineup, one of the most capable and explosive bands ever assembled, Santana III (commonly referred to as The Third Album) is a beacon of Latin-tinged rock, melodic creativity, and cohesive interplay. The record also marks the debut of young guitar virtuoso Neal Schon, who functions as the ideal foil to Santana, whose playing on this 1971 set rivals that of the finest in his career. If not for arriving after the monumental Abraxas, it is likely Santana III would be mentioned in the same breath as groundbreaking psychedelic classics such as Bitches Brew. It’s that good.
Embracing the concept that all of the members should share their musical ideas, Santana added two crucial components to his band: Schon, discovered at the age of 15 playing in a Palo Alto club, and Thomas “Coke” Escovedo, who during the sessions temporarily replaced ill percussionist Chepito Areas, and whose percussive assistance helped define the album’s feel. With Schon in the fold, Santana strives for the unknown, and yet, manages to stave off the numbing excesses that define much of the period’s output.
From the opening “Batuka,” peppered with Schon’s stirring guitar lines, to the sensitive “Everything Is Coming Our Way,” infused with a mesmerizing Hammond organ underpinning that supports Santana’s vocal pathos, the record teams with inventiveness. Involving albeit accessible concoctions of funk, jazz, rock, blues, and soul run throughout the set. Spanish-styled flavors infuse a majority of the material, ranging from the salsa piano on “Guarjira” to the distinctive “No One to Depend On,” a lively take on the cha-cha-cha.
A globe-spanning armada of percussive instruments—timbales, congas, drums, vibes, tambourines, and more—as well as the existence of a three-person percussion team that fits in harmoniously with Santana, Schon, and company makes Santana III a masterful accomplishment in musical chemistry and the exploration of true world craft.
The Silver Label LP of Santana III breathes with sumptuous warmth and you-are-there realism. The tension of Schon’s guitar lines, the album’s open sound, and extensive use of studio echoes (check the presence of the backward echo on “No One to Depend On”) fill the soundstage, replete with the kind of depth and dynamics one expects from a first-rate audiophile recording.
This title is not eligible for discount.1. Batuka
2. No One to Depend On
4. Toussaint L'Overture
5. Everybody's Everything
7. Jungle Strut
8. Everything's Coming Our Way
9. Para los Rumberos
$24.99Vinyl LP - SealedAWAITING REPRESS Buy Now
E.S.P.Numbered, Limited Edition
Pressed At RTI
A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.
Pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of E.S.P. treats each phrase and every note as sacred communication. This meticulously restored audiophile version renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.
For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.
As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.
Interlocking lines drive "Little One," alternating rhythms pulse through the funky "Eighty-One," melodies soar on the balladic "Iris," the aptly titled "Mood" broods over minor-key structures, and "Agitation" – goosed by a two-minute percussive introduction by Williams – delivers on its promise. No record – and no group of musicians – have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.
This title is not eligible for discount.1. E.S.P.
3. Little One
$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs SealedBuy Now
Dire Straits (45 RPM) (Pre-Order)Dire Straits' Self-Titled 1978 Debut Distinguished By Jazz-Inflected Mix Of Folk, Blues, Country, And Rock: Guitarist Mark Knopfler Displays Uncanny Precision, Intricacy, And Texture
Mastered From The Original Master Tapes And Pressed At RTI For Optimal Sound: Mobile Fidelity 45RPM 2LP Set Engages With Natural Tones, Superb Balances, Reference Imaging, Sterling Clarity
Breakout Dire Straits Album Includes "Sultans Of Swing" And "Down To The Waterline": Band's Shuffles, Boogies, And Ballads Spark With Crispness, Soulfulness, Coolness
Dire Straits' arresting self-titled debut arrived in the midst of punk's reign but couldn't have been further removed from the era's slash-and-burn style. Recorded in West London in February 1978, the band's tasteful, jazz-inflected set embraces folk, blues, and pub rock while also tracing a direct line back to the beat-oriented sound of early rock n' roll. Country and roots accents further distinguish the British quartet's stripped-down music from any 1970s peers, as does the transparent production, which has remained revered among audiophiles the world over – and which has never been better than on this meticulous analog pressing.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Dire Straits features natural tonalities, superb balances, you-are-there imaging, deep-black backgrounds, and pristine clarity. Even if you've heard this album hundreds of times before, you've never experienced it with such lifelike sonics and premium richness. This numbered, limited-edition collector's set immerses you within the smoky, laidback atmospherics of every song. This is how all vinyl should sound.
Crucial to every arrangement, Mark Knopfler's winding guitar lines emerge with supreme transparency and multi-hued textural detail. His intricate playing comes across as if it's being transmitted via his 60s-era Fender Vibrolux amplifier placed right before you. The cleanliness, dimensions, and live feel are that good. His bandmates, too, benefit from the extra groove space afforded by this 45RPM edition. Rhythms skate and swirl; percussive effects resonate with crispness and attack; the leading edges of notes naturally decay.
Dire Straits' strong, well-edited batch of original material further enhances the overall enjoyment and makes the record one whose pleasures go far beyond the organic sonics. Just as Knopfler's narratives pour forth with poetic and surrealist texts, the musical settings – an intoxicating combination of easygoing shuffles, back-hall boogies, and pop-honed ballads – mirror the old-fashioned soulfulness inherent in the classic recordings of the late 50s and early 60s. The lyrics are equally captivating.
Drawing from his time as a youth in Newcastle, Leeds, and London, Knopfler invests tunes with an autobiographical slant and emotional connectivity that become obvious the moment he opens his mouth to sing. "Down to the Waterline," "Wild West End," and "Lions" all feature colloquial touches that add to their reach. By extension, "In the Gallery" functions as a tribute to Leeds sculptor Harry Phillips (father of future Knoplfer collaborator, Steve Phillips) while the record's breakout smash, "Sultans of Swing," pays homage to struggling bar bands.
Through it all, Dire Straits performs with a subtle cool and clever poise that no band ever matched. Just how good is the chemistry? Bob Dylan heard the quartet and invited Knopfler and drummer Pick Withers to play on Slow Train Coming. But even Dylan himself didn't hear Dire Straits sound this magnetic back in its original heyday. Now, everyone can.
This title is not eligible for discount.1. Down to the Waterline
2. Water of Love
3. Setting Me Up
4. Six Blade Knife
5. Southbound Again
6. Sultans of Swing
7. In the Gallery
8. Wild West End
$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs SealedPRE-ORDER Buy Now
Communique (45 RPM) (Pre-Order)Smooth, Effortless, Relaxed, Tuneful, And Deceivingly Simple: Dire Straits' Communique Teems With Technical Perfectionism, Southern-Styled Grooves, And Low-Key Blues
Reference-Level Detail, Depth, Soundstaging, Balance, And Presence: Communique Has Never Sounded Better Than On Mobile Fidelity's 180g 45RPM 2LP Version
Mark Knopfler's Mesmerizing Textures, Intricate Lines, And Crisp Tones Pair With Engaging Storytelling And Tight Rhythms: Every Song An Example Of Understated Virtuosity
The performances on Dire Straits' Communique are so smooth and effortless, they were originally criticized for replicating the blueprints of the band's breakout debut. Time, however, has a way of changing perspectives and exposing the truth. More than 35 years after its original release in June 1979, Communique rightfully takes its place as the group's most underrated record – a nine-track set spiked with engaging storytelling, relaxed vibes, and deceiving simplicity.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of Communique elevates Dire Straits' sophomore album to an even higher plane. Recorded in the Bahamas by Muscle Shoals veterans Barry Beckett and Jerry Wexler, the songs benefit from a laidback approach that makes guitarist/vocalist Mark Knopfler and company's stellar playing seem even more fluent – particularly when experienced on this collector's 45RPM version, on which the wider grooves allow for more detail retrieval and deeper musical insight.
Knopfler's mesmerizing guitar textures and composed vocals appear as if they're right in front of you, holding court amidst expansive soundstages and deep-black backgrounds. Details, imaging, and presence are on a level associated with the finest audiophile recordings. You'll be hard-pressed to find another LP with cleaner, pinpoint-accurate tones. Mobile Fidelity's LP also brings into transparent view Knopfler's seemingly perfect intricate lines as well as the simpatico accompaniment from his band mates. Whole, lively, and balanced, the bass and drums arrive with a solidity rarely heard on albums of this era. Communique has truly never sounded better.
Of course, the audiophile sonics mean little if the artistic content is lacking. Needless to say, Dire Straits' technical perfectionism and creative elan prevail throughout. Knopfler's penchant for sketching cynical characters is further developed on moody tracks like "Where Do You Think You're Going" and "News," while Wexler's presence at the boards ensures the band keeps the rhythms extra tight. The quartet's low-key blues and swampy, Southern-styled grooves turn every song into an exercise in understated virtuosity.
Refusing to give into excess, magnetic tunes such as "Lady Writer" and "Angel of Mercy" split a fine line between insinuating and insisting. The group shows off a combination of control, virtuosity, and tunefulness that harkens back to a rock n' roll's classic period while also pointing the way ahead. Need indisputable evidence of Dire Straits' compositional strengths? Cue up the closing "Follow Me Home" on this pressing and get lost amidst the peacefulness of the gentle surf and chirping crickets that frame the song. Heavenly.
The sequence serves as additional proof that Communique remains one of the best-sounding rock records ever made.
This title is not eligible for discount.1. Once Upon a Time in the West
3. Where Do You Think You're Going?
5. Lady Writer
6. Angel of Mercy
7. Portobello Belle
8. Single-Handed Sailor
9. Follow Me Home
$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs SealedPRE-ORDER Buy Now
Love Over Gold (45 RPM) (Pre-Order)Dire Straits Stretch Out With Extended, Ambitious Arrangements And Moody Atmospherics: Love Over Gold Mesmerizes With Tension, Contrast, Interplay, And Craftsmanship
Mobile Fidelity 45RPM 2LP Set Of Love Over Gold Touts Unsurpassed Spaciousness, Imaging, And Transparency: Mastered From The Original Tapes, Music Emerges With New Details And Tones
Love Over Gold Includes The Epic "Telegraph Road" And Aching "Private Investigations": Heartfelt Narrative Songs Steeped In Patience, Drama, Sadness, And Romance
Love Over Gold is all about contrast, tension, and crafty composition. Dire Straits' fourth album finds the band continuing to evolve by welcoming increasingly bold arrangements and exploring moody variations. Parts edgy and sharp, and part seductive and relaxed, the five lengthy songs on Love Over Gold sprawl out like a long, winding road cutting through a pastoral landscape. The addition of a new rhythm guitarist, Hal Lindes, encourages deeper atmospheric interplay while the presence of engineer Neil Dorfsman – his first appearance in what would be a long string of collaborations with Mark Knopfler – ensures stunning sonic properties that now come to life like never before.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Love Over Gold teems with superb balances, front-to-back soundstages, and crystalline purity. The dead-quiet surfaces and extra-wide grooves bring forward previously obscured details, extra information, and mastering-studio-quality transients. The distinctive textures of a host of instruments – marimbas, acoustic and electric guitars, vibes, synthesizers – further enhance the ambitiousness of the 1982 album.
On this audiophile pressing, everything Knopfler does seemingly turn to gold. Gearheads will hear the unique characteristics afforded by his use of a Mesa Boogie Mark II guitar amplifier (soon again employed on Brothers in Arms) and carefully chosen selection of Schecter Stratocasters, 1937 National steel guitar, and Ovation six- and twelve-string models. Reference-level separation and lifelike imaging place Knopfler and company in your room, while tube-like warmth, spaciousness, and airiness causes the music to breathe anew. This LP will be in your rotation for months.
It doesn't take long to realize Love Over Gold is like no other Dire Straits album – and a staunch proclamation of independence from a band that continued to take longer creative strides with each successive project. Fearlessly extending over metaphoric hills, valleys, and plains for nearly 14-and-a-half minutes, the opening "Telegraph Road" is a guitar hero's dream and exhilarating showcase for Lindes' give-and-take capabilities. In tandem with keyboardist Alan Clark, Lindes provides the ideal foil for not only Knopfler but the long-time rhythm section of bassist John Illsley and drummer Pick Withers.
Taking its time to arrive at destinations, the quintet paints evocative musical and lyrical portraits steeped in patience, drama, and, often times, sadness. Desolate emotions color the sweeping "Telegraph Road" and barren "Private Investigations," which finds Knopfler in the role of a tired private eye contemplating the emptiness and scars of his profession. Vocally, the Dire Straits leader remains in top form throughout, his whiskey-coated rasp conveying romantic ache, ongoing frustration, and what Rolling Stone beautifully deemed "wracking schizophrenia between the heart and the heartless, the loving and the pain."
Called Dire Straits' prog-rock statement, Love Over Gold is a classic that defies labeling and avoids aging.
This title is not eligible for discount.1. Telegraph Road
2. Private Investigations
3. Industrial Disease
4. Love Over Gold
5. It Never Rains
$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs SealedPRE-ORDER Buy Now
Making Movies (45 RPM) (Pre-Order)Dire Straits Expand Musical Framework And Come Into Own On Making Movies: Co-Produced By Jimmy Iovine, Thematic Album Soars With Personal Songwriting And Epic Arrangements
Cinematic Landscapes And Intricate Passages Sound Sublime: Mobile Fidelity 45RPM 2LP Pressing Of Making Movies Mastered From Original Master Tapes, Features Audiophile Dynamics
Bruce Springsteen Pianist Roy Bittan, Mark Knopfler's Guitar Playing, And Passionate Performances Turn Making Movies Into A Classic: Includes "Romeo And Juliet," "Tunnel Of Love," "Solid Rock"
Making Movies marks a magnificent turning point in Dire Straits' career. Considered by many fans to be the group's most complete album, the 1980 set witnesses leader Mark Knopfler greatly expanding his songwriting palette and setting his storytelling amidst more complex, involving arrangements. Dire Straits also benefits from crucial contributions from Bruce Springsteen pianist Roy Bittan and the departure of rhythm guitarist David Knopfler. The songs spark with a mélange of poetry, passion, and cohesion that engages the senses and begs to be experienced again and again.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of Making Movies breathes with reference-caliber airiness, spaciousness, dynamics, and separation. Produced by Jimmy Iovine and Knopfler, the record – which contains many Springsteen-esque elements – features the cleanliness and clarity that have long been Dire Straits trademarks. The extra-wide 45RPM grooves on this edition provide previously unattainable detail, information, and soundstaging. This is what audiophile recordings are all about.
You know you're in the presence of sonic greatness as soon as the first few seconds of the opening "Tunnel of Love" pass, as the introductory passage built on organ and piano – new additions to Dire Straits' palette – intertwine with the unmistakable coil-spring twang of Knopfler's guitar. The three-dimensional, full-bodied presentation of the latter instrument on this Mobile Fidelity LP is alone worth the price of admission. Crisp, rich, and balanced, the analog sound brings Knopfler's Fender Vibrolux and Music Man HD130 amplifiers into your room. The romanticism of Bittan's piano, precision timekeeping of drummer Pick Withers, and steady roll of bassist John Illsley come across with similar potency, scale, and verve.
Always more about the whole than the sum of their individual parts, Dire Straits demonstrate that while Knopfler is the lynchpin, this record is a true band effort. Bittan's role cannot be overstated. His melodicism poetically complements Knopfler's subtle staccato rhythms and more than makes up for the exit of David Knopfler. Expansive and cinematic, the aptly titled Making Movies puts a premium on interrelated subjects (love, relationships, heartbreak) and deep-seated emotions that play out in heartfelt lyrics, intense singing, and epic frameworks. Everything clicks.
The album's power isn't lost on Iovine, who later told Rolling Stone: "The right people were in the room together. It really was making a record in the pure sense of the term. The whole thing sounds like one song. But you what that is? That's the writing, the guy who wrote it. He wrote the album like that; he wanted to make the album like that."
Indeed, the first five tracks – "Tunnel of Love," "Romeo and Juliet," "Skateaway," "Expresso Love," "Hand in Hand" – comprise a mini-suite united by theme, harmony, and spirit. Every member of the newly configured Dire Straits has a say in the shaping of the material. There's not a note out of place. Iovine and Knopfler's standout production puts it over the top.
This title is not eligible for discount.1. Tunnel of Love
2. Romeo and Juliet
4. Expresso Love
5. Hand in Hand
6. Solid Rock
7. Les Boys
$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs SealedPRE-ORDER Buy Now
My Funny ValentineNumbered, Limited Edition
Historic Recording Captures Elegant Ballads Performed at February 1964 Concert
Audiophile Reference-Standard Sound: Album Boasts Lifelike Tones, Balances, Images, and Ambience
Davis Taps Divine Inspiration: Compositions Marked by Deep Emotions, Spontaneous Brilliance, Sensitive Beauty, and Sublime Poignancy
Miles Davis’ My Funny Valentine marks several historic turning points. For Davis, the live album represents the final time on record he’d perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps of Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis’ oft-controversial avant-garde leanings. Most significantly, however, the set captures the ballads performed at a benefit concert from New York’s then-new Philharmonic Hall just months after President Kennedy’s assassination. Tapping into a seemingly divine inspiration, Davis never sounded so elegant or poetic.
Boasting gorgeous sound and pressed on 180g LP at RTI, Mobile Fidelity’s choice reissue of the trumpeter’s scintillating work bookends the label’s release of Four & More from the same show and features similar enhancements relating to depth, presence, dynamics, clarity, and ambience. Presented in reference-standard fidelity, the record boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns—all are rendered with palpable detail. This is the very definition of reach-out-and-touch-it realism.
Staged as a benefit to support voter registration in the South, the February concert came amidst the height of the Civil Rights movement, a cause dear to Davis’ heart. Yet unforeseen circumstances raised the stakes. Having professed his admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (and, in particular, the title track) as homage to the fallen leader, a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate the performances; Davis and his Harmon mute paint with intricate brushstrokes.
Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader’s equal, and would continue with Davis until later in the decade, helping form what’s now known as the “second great quintet.” But the secret weapon on both My Funny Valentine and its sister Four & More arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem “one of the unsung heroes of modern jazz.” His lines are subtle and sophisticated, straight ahead but capable of unanticipated direction, and here, he comes into his own. As does the entire band.
Indeed, the combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the quintet on My Funny Valentine arguably exceeds that on any of Davis’ myriad other live efforts. One listen confirms something special transpiring, and on this Mobile Fidelity reissue, those properties are rendered in a manner that’s as transparent to the source as humanly possible. Do not miss this.
This title is not eligible for discount.1. My Funny Valentine
2. All of You
3. Stella By Starlight
4. All Blues
5. I Thought About You
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now
John Wesley Harding (Mono)Ranked 301/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time
John Wesley Harding On Numbered Limited Edition Mono 180 Gram 45 RPM 2LP From Mobile Fidelity
Stripped-Back, Unobtrusive 1967 Album A Mellow Return To Dylan's Roots And Harbinger of Country Rock
Includes Original Version Of "All Along The Watchtower"
Leave it to Bob Dylan to follow three of the most pioneering electric-based albums in history by deviating from the norm and straying from expectation – but continuing to work in the mono format. Hinting at a return to his folk roots and firmly pointing toward the field that became country rock, John Wesley Harding breathes with reassurance and freshness, the unobtrusive sound of an artist re-engaging with the past, forging a future, and stepping into new realms after recovering from an accident and unimaginable pressure.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 copies, this restored mono version presents the 1967 album with finite details and in the original sound Dylan intended. Immediately notable for the slimmed-down instrumentation, brisk flow, and simple approach, the record continues to endure via a rustic, era-defying naturalism tied to the organic sounds and warm production swathing Dylan's acoustic guitar, mellow voice, breezy harmonica, and minor accompaniments. All these traits translate with incredible realism and lifelike air on this reissue, which also brings out the low end of Charlie McCoy's bass with previously unheard character. With the advantage of wider and deeper grooves, the 45RPM pressing also affords the opportunity to detect more information and lavish in the extra richness.
The preferred mix at the time of the recording, the mono version presents Dylan with unparalleled directness. Since the separation of the stereo versions isn't as sharp, this mono edition places Dylan's vocals in the heart of the musical action and as one with the all-star accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. As much as any Dylan record, the music here fits the mono spectrum to a proverbial 't.'
Recorded around the same time as the sessions that yielded The Basement Tapes, John Wesley Harding came together after just three studio sessions and approximately 12 hours of time. While many specifics are shrouded in mystery, a majority of songs are tied to Biblical figures, ominous matters, and morality themes. Making not just a clear sonic break from his most recent efforts, but a songwriting transformation as well, Dylan embraces a strict economy of scale, dropping beat-poetry techniques in favor of stanzas that waste no words and progress narratives at every turn. It's as if the Bard is saying that truth is spoken here. Few, if any artists, have captured the American myth and its population of immigrants, drifters, and outlaws with such convincing scope and parabolic sagacity.
Combined with the lyrical evolution and unabashed move towards country conventions, Dylan manages to turn popular music on its side, forging a subdued hybrid style no other peers had yet attempted. Arriving during a period of intense experimentalism and psychedelia, John Wesley Harding functions as a sigh of relief, a piano- and pedal steel-flavored set steeped in requisite simplicity in an environment that was increasingly marked by chaos and madness.
Climbing to number two on the Billboard charts and quickly tallying one million in sales, the pared-down work resonated with a public ensnared by its myriad charms. Then, of course, there's the utter brilliance of every one of the songs here, each seemingly occupying a timeless space that suggests they could've been made in 1967, 1937, or 2007. With "All Along the Watchtower," Dylan landed upon a tune that would soon become one of the most-covered and revered tracks in history. And yet it isn't even a standout on an album on which every note just belongs.
This title is not eligible for discount.1. John Wesley Harding
2. As I Went Out One Morning
3. I Dreamed I Saw St. Augustine
4. All Along the Watchtower
5. The Ballad of Frankie Lee and Judas Priest
6. Drifter's Escape
7. Dear Landlord
8. I Am a Lonesome Hobo
9. I Pity the Poor Immigrant
10. The Wicked Messenger
11. Down Along the Cove
12. I'll Be Your Baby Tonight
$49.99180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs SealedBuy Now