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  • Return Of The Boom Bap Return Of The Boom Bap Quick View

    $29.99
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    Return Of The Boom Bap

    1993's Return of the Boom Bap is the debut solo album from former Boogie Down Productions leader and rap pioneer KRS-One. Enlisting outside producers here such as Gang Starr's DJ Premier and Kid Cupri gives the music the weight to contend with KRS-One's cutting and socially conscious lyrics, making for a hard-hitting and thrilling ride in hip-hop history.
    1. KRS-One Attacks
    2. Outta Here
    3. Black Cop
    4. Mortal Thought
    5. I Can't Wake Up
    6. Slap Them Up
    7. Sound Of Da Police
    8. Mad Crew
    9. Uh Oh
    10. Brown Skin Woman
    11. Return Of The Boom Bap
    12. P Is Still Free
    13. Stop Frontin'
    14. Higher Level
    KRS One
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Return Of The Boom Bap Return Of The Boom Bap Quick View

    $36.99
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    Return Of The Boom Bap

    Import


    Limited Edition Of 1,000 Copies On 180 Gram Transparent Vinyl, Black Vinyl Thereafter


    Return of the Boom Bap is KRS-One's first official solo album, released in 1993. It peaked on the Billboard 200 charts at position 37 and the album has sold over 300,000 copies.


    Unlike the majority of the Boogie Down Productions LP's, KRS here takes a step back from the production duties and invites rising underground stars DJ Premier, Showbiz and Kid Capri to handle the beats in addition to his four contributions. The track P Is Still Free appeared on the Menace to Society Original Soundtrack [MOVATM152] labeled as a B.D.P. track. The track Black Cop was originally released as a 12 single and a track for the CB4 movie soundtrack, thus also labeled as a B.D.P. track.


    The album was selected as one of The Source's 100 Best Rap Albums. The record was originally rated 4 mics in The Source in 1993.

    LP 1
    1. KRS-One Attacks
    2. Outta Here
    3. Black Cop
    4. Mortal Thought
    5. I Can't Wake Up
    6. Slap Them Up
    7. Sound Of Da Police


    LP 2
    1. Mad Crew
    2. Uh Oh
    3. Brown Skin Woman

    4. Return Of The Boom Bap
    5. "P" Is Still Free
    6. Stop Frontin'
    7. Higher Level

    KRS One
    $36.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Mos Def & Talib Kweli Are Black Star Mos Def & Talib Kweli Are Black Star Quick View

    $24.99
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    Mos Def & Talib Kweli Are Black Star


    Limited Edition Two-Tone Black On Black Picture Disc


    Universal Music Enterprises (UMe) will continue its "Respect the Classics" tribute to many of hip-hop's finest with the vinyl release of rap icon Talib Kweli's
    four historic Rawkus Records albums, including the underground classic, Mos Def & Talib Kweli are Black Star, in a limited edition two-tone black on black
    picture disc.


    Mos Def & Talib Kweli are Black Star was originally released on August 18, 1998, to critical acclaim. The title is a reference to the Black Star Line, a shipping
    company founded by Pan-Africanist Marcus Garvey. The album deals with modern-day issues, philosophies and life in Brooklyn. The two MCs had
    planned to release solo albums around the same time, but decided instead to collaborate on a full-length album. The first single, "Definition (song)," is a
    reaction to hip-hop's fascination with death, dedicated to both Tupac Shakur and the Notorious B.I.G., with a chorus that gives a nod to Boogie Down
    Productions' "Stop the Violence." "Children's Story" is a re-imagination of the Slick Rick original, featuring Mos Def cautioning against materialism. The
    second single, "Respiration," featuring Common, includes a Hi-Tek produced beat that samples Don Randi's "The Fox" and another from the hip-hop
    documentary Style Wars. The track offers a melancholy ode to city life, with references to organic life functions such as breathing, eating and sleeping,
    but with an ominous edge, as Kweli raps about "sitting on shitty steps/we stooped to new lows, hell froze/the night the city slept." The album peaked at
    No. 53 on the Billboard Top 200 and No. 13 on the Hip-Hop Albums chart, but has become considered a classic since then.

    1. Intro
    2. Astronomy (8th Light) [feat. Weldon Irvine]
    3. Definition
    4. Re:Definition
    5. Children's Story
    6. Brown Skin Lady
    7. B Boys Will B Boys
    8. K.O.S. (Determination) [feat. Vinia Mojica]
    9. Hater Players [feat. Apani Emcee]
    10. Yo Yeah
    11. Respiration [feat. Common]
    12. Thieves In The Night
    13. Twice Inna Lifetime [feat. Punch]
    Black Star
    $24.99
    Vinyl LP Picture Disc - Sealed Buy Now
  • Blues From The Gutter (Pure Pleasure) Blues From The Gutter (Pure Pleasure) Quick View

    $34.99
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    Blues From The Gutter (Pure Pleasure)

    This is the 1958 masterwork album of Champion Jack Dupree's long and prolific career. Cut in New York with a blasting band that included saxist Pete Brown and guitarist Larry Dale, the Jerry Wexler-produced Atlantic collection provides eloquent testimony to Dupree's eternal place in the New Orleans blues and barrelhouse firmament. There's some decidedly down-in-the-alley subject matter -- Can't Kick the Habit, T.B. Blues, a revival of Junker's Blues -- along with the stomping Nasty Boogie and treatments of the ancient themes Stack-O-Lee and Frankie & Johnny.



    Musicians:



    • Champion Jack Dupree (piano, vocal)

    • Pete Brown (alto saxophone)

    • Ennis Lowery (guitar)

    • Wendell Marshall (bass)

    • Willie Jones (drums)



    Recording: 1958 in New York by Tom Dowd
    Production: Jerry Wexler




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.


    1. Strollin'
    2. T.B. Blues
    3. Can't Kick the Habit
    4. Evil Woman
    5. Nasty Boogie
    6. Junker Blues
    7. Bad Blood
    8. Goin' Down Slow
    9. Frankie and Johnny
    10. Stack-O-Lee
    Champion Jack Dupree
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prom King Prom King Quick View

    $14.99
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    Prom King

    When Ryan DeRobertis announced the name change of his project from Saint Pepsi to Skylar Spence, there was no indication of any stylistic departure, though the change arrived with a musical shift toward faster tempos and more pristine production. Whereas Saint Pepsi had often used decades-old boogie, disco, and new wave as grist for the sampling mill, Skylar Spence is intent on trafficking more overtly in those genre aesthetics through his own production techniques and vocal contributions. With 'Prom King,' DeRobertis reorients his music for his new full-band live act and winds up with an album full of tight and enveloping dance tunes. Working with Carpark Records "gave me the confidence to 'go big' with the new material: to write pop songs with universal messages in the sonic wrapping paper that I've grown accustomed to," DeRobertis says. "A few songs on 'Prom King' are about specific events in my life-a party where I got too messed up, watching a friend's life spiral out of control and trying to help-but I tried hard not to be too autobiographical because I want my music to unite, above all else. I'm much more interested in connecting with the listener than mystifying my personality."

    While DeRobertis' previous long-players have been more amorphous collections in the style of beat tapes, 'Prom King' is compact and cohesive, with the album's varied stylistic references (new wave, UK garage, boogie) united through strong guitar melodies and Todd Edwards-ian cobblings-together of tiny vocal samples. "I slowed some music down and called myself an artist," DeRobertis sings on lead single "Can't You See," acknowledging in his lyrics what is already apparent in the music's tone-he can maintain fidelity to his vision while working in more uptempo, disco-based song structures. "Ridiculous!" and "Bounce Is Back" are big groovers that capitalize on jacking hi-hats and hand drumming, respectively, and both have an air of Balearic warmth and smoothness. On the title track, DeRobertis entwines a chorus of unintelligible but expressive samples with his own vocals-what feels like a synthesis of two approaches-and the result is an affecting pattern of build and release. More contemplative sophisti-pop numbers like "Fall Harder" and "Affairs" add a realist's breadth of scope: thoughts of past foibles bleed into present-dwelling and dancing. 'Prom King' is DeRobertis making sense of missed opportunities. His high school did not have a prom king; he has filled the position with an imaginative album of personal and musical revisionism.

    1. Intro
    2. Can't You See

    3. Prom King

    4. I Can't Be Your Superman

    5. Ridiculous!

    6. Fall Harder

    7. Bounce is Back

    8. Affairs

    9. All I Want

    10. Cash Wednesday

    11. Fiona Coyne
    Skylar Spence
    $14.99
    Vinyl LP - Sealed Buy Now
  • Over There ... And Over Here Over There ... And Over Here Quick View

    $21.99
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    Over There ... And Over Here

    Paradise of Bachelors presents the first-ever reissue of the previously obscure 1983 LP by the Red Rippers. Written and recorded by Navy pilot Ed Bankston, the album's nine battle-scarred country-boogie/psych dispatches chronicle the experiences of Bankston and his fellow vets during the Vietnam War and back home. Produced in collaboration with the artist, the package includes extensive liner notes, archival photos, and (with the vinyl) a digital download coupon.


    Scarce and seemingly inscrutable, the sole recording credited to the Red Rippers has long captivated and mystified record collectors. When we first encountered Over There and Over Here, we were fascinated by the prescient, genre-dredging synthesis of Waylonesque honky-stomp with early '80s new wave production values and eerie, out-of-time psychedelic guitar leads weirdly reminiscent of the Blue Öyster Cult, Dire Straits, and the Meat Puppets at their most desert-drunk. We were intrigued by the record's ambiguous provenance (Oracle Records?) and moved by its complex, apparently deeply personal articulation of an enlisted man's efforts to break on through his fear, anger, and disillusionment during and after the Vietnam War.


    Once we finally tracked down songwriter, singer, and guitarist Edwin Dale Bankston in Phoenix, Arizona, he told us that he wrote these nine potent blues during the decade following his return in 1972 from serving on the Navy aircraft carrier USS Kittyhawk in Vietnam. He recorded them while stationed in Pensacola, Florida and sold the resulting 1983 album through an advertisement in Soldier of Fortune magazine, largely to other veterans. The songs chronicle his own and other vets' harrowing experiences both in country and back home, and are utterly unlike most popular music commentaries on the Vietnam War. You've heard the strident protest songs blasted forth from that myth-shrouded era; many retain a visceral power and poetic outrage, but few, beyond a professed empathy for flimsy, victimized stock characters, accurately represent the actual lived experience and agency of soldiers.

    1. I Roll
    2. Soldier of Fortune
    3. Firefight
    4. Who Remembers
    5. Vietnam Blues
    6. The Dark and Bloody Road
    7. She's Been Down
    8. Body Bag
    9. Over The Edge
    The Red Rippers
    $21.99
    Vinyl LP - Sealed Buy Now
  • Live at Fillmore East (Awaiting Repress) Live at Fillmore East (Awaiting Repress) Quick View

    $49.99
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    Live at Fillmore East (Awaiting Repress)

    The Allman Brothers Band At Fillmore East on Numbered Limited Edition 180g Vinyl 2LP from Mobile Fidelity


    Telepathically Executed Double Album At Fillmore East Among Ten-Best Live Records Ever Made


    Ranks #49 on Rolling Stone's 500 Greatest Albums of All Time List: Includes Epic Takes of Whipping Post and In Memory of Elizabeth Reed


    Peerless Sonics: Mobile Fidelity Analog Reissue Provides Fifth-Row Seat to Historic March 1971 Concerts


    Fillmore East is synonymous with some of the greatest concerts ever staged. Yet the venue belongs to one group: The Allman Brothers Band. This groundbreaking double album is why. As the collective's breakthrough, it broadcasts to the world wowing improvisational flights and seamless musical fusion the likes of which no one had ever heard. In communion with the crowd, the band establishes an interactive blueprint for all shows that followed, while its high-wire displays of powerhouse soloing and time-stretching arrangements remain the stuff of hall-of-fame legend.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed on dead-quiet vinyl RTI, Mobile Fidelity's 180g 2LP of At Fillmore East joins the unparalleled reissue imprint's other Allman titles in presenting the inimitable ensemble's music in the most lifelike, uncompromising fidelity possible. Myriad versions of the 1971 set exist, yet none possesses the audiophile sensibilities found here - sonic traits that whisk the listener to the midst of the Fillmore East for four gigs performed on March 12 and 13, 1971, plunking them down in a fifth-row seat surrounded by fervent fans and a smoke-filled atmosphere. Every slippery bottleneck note, every aching vocal moan, every soulful purr from the organ, every gritty interlocking riff comes across with unfettered clarity and realism.


    While the record features multiple works the band never laid down in a studio, At Fillmore East is a meticulously conceived affair. The Allmans prepped rough sketches and layouts of the tunes, carving out spaces for each member's solos, and leaving the direction of such entirely up to the individual. As a result, the effort - anchored by iconic producer Tom Dowd's stellar production - presents a jazz-drifting rock band benefiting from both a sense of assured direction as well as opportunistic freedom.


    Indeed, At Fillmore East is the rare sound of a group letting it all go, fearlessly maneuvering through bluesy shuffles, exquisite laments, graceful instrumental passages, and frenetic swamp-laden boogies. Achieved via a combination of virtuosic skill, visionary ambition, and natural chemistry, the six-piece burns white-hot with intensity and persuades via a padlock-tight rhythm section on which Duane's searing slide playing and Gregg's bottom-of-the-stomach vocals glide, each aural utterance coaxing on their respective mates to strive for new heights.


    This title is not eligible for discount.

    1. Statesboro Blues
    2. Done Somebody Wrong
    3. Stormy Monday
    4. You Don't Love Me
    5. Hot 'Lanta
    6. In Memory of Elizabeth Reed
    7. Whipping Post
    The Allman Brothers
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Dire Straits (45 RPM) (Pre-Order) Dire Straits (45 RPM) (Pre-Order) Quick View

    $49.99
    Buy Now
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    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
    9. Lions
    Dire Straits
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed PRE-ORDER Buy Now
  • There And Back There And Back Quick View

    $29.99
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    There And Back

    Whenever Jeff Beck releases an album, it's always a musical event. As the third in a trilogy of multifaceted career defining albums, preceded by Blow By Blow and Wired, the iconic guitarist unleashed one of the most popular albums in his ever enduring catalog with 1980's There And Back.


    This masterwork unites the guitar hero with his powerful team of world class musicians, Jan Hammer (keyboards), Simon Phillips (drums), Tony Hymas (keyboards) and Mo Foster (bass). The brilliant guitar shredder and his quartet of amazing master musicians truly throw down some of his classiest and hardest driving repertoire for this Jeff Beck and Ken Scott (David Bowie/Kansas/Supertramp) production.


    The album begins with the rhythmic rocker Star Cycle. The tune finds Beck and Hammer dueling on some very solid power riffs making this a great opening track for the listener. The soulful vibe of Too Much To Lose has the tremendous voicing of Jeff's guitar with Hymas' fine keyboard elements and Phillips' wonderful drum work throughout.


    Always an astute bluesman, The Pump retains a solid groove which allows Beck to power away with some very intricate fret work, making this album the classic that it is. Hard rock fusion continues with more classics like You Never Know, El Becko and Space Boogie. These and his jazz rock leaning hits like The Golden Road and The Final Peace truly reward his fans with one of the finest albums in his decorated career!


    Friday Music proudly presents the limited edition 180g audiophile release of Jeff Beck's classic There And Back. As a continuation of their highly regarded Jeff Beck Friday Music 180 Gram Audiophile Series, this fine recording is mastered from the original Epic Records tapes by Joe Reagoso (Jeff Beck, Deep Purple, Yes) at Friday Music Studios with Kevin Gray.


    Also for this rare anniversary edition, Friday will be presenting the original artwork now in a very limited first time gatefold cover featuring all of the art elements you remember from this incredible 1980 career album for Jeff Beck.

    1. Star Cycle
    2. Too Much Too Lose
    3. You Never Know
    4. The Pump
    5. El Becko
    6. The Golden Road
    7. Space Boogie
    8. The Final Peace
    Jeff Beck
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • The Boss Of The Blues (Pure Pleasure) The Boss Of The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    The Boss Of The Blues (Pure Pleasure)

    Besides helping to invent rock 'n roll with his hit Shake, Rattle and Roll, Big Joe Turner was one of the most soulful blues shouters of all time. His best albums married the boogie-woogie piano stylings of the great Pete Johnson with a jazzy jumpin' horn section. Boss Of The Blues is arguably Joe's best recording, in part because he sang with particular gusto during these 1956 sessions. At the time, Boss Of The Blues marked a nostalgic return to the jump-blues style that Turner helped pioneer in the '40s. Besides Johnson, Boss featured some of Kansas City's finest ever jazzmen and various members of Count Basie's band, including Joe Newman (trumpet), Pete Brown (alto sax), Lawrence Brown (trombone), Frank Wess (tenor sax) and Freddie Green (guitar). The bawdy Cherry Red and the rollicking Roll 'Em Pete are my favorite Turner-Johnson collaborations. Both feature some incredible playing by the piano master. Turner's versions of I Want A Little Girl, Low Down Dog, You're Driving Me Crazy, and Morning Glories are definitive. If I had to compile a list of my 10 favorite albums, Boss Of The Blues would be there.



    Musicians:



    • Joe Turner (vocal)

    • Joe Newman (trumpet)

    • Lawrence Brown (trombone)

    • Pete Brown (alto saxophone)

    • Frank Wess (tenor saxophone)

    • Pete Johnson (piano)

    • Freddie Green (guitar)

    • Walter Page (bass)

    • Cliff Leeman (drums)




    Recording:1956 in New York by Len Frank

    Production: Nesuhi Ertegun & Jerry Wexler




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. Cherry Red
    2. Roll 'Em Pete
    3. I Want a Little Girl
    4. Low Down Dog
    5. Wee Baby Blues
    6. You're Driving Me Crazy (What Did I Do?)
    7. How Long Blues
    8. Morning Glories
    9. St. Louis Blues
    10. Piney Brown Blues
    Big Joe Turner
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brothers In Arms (Awaiting Repress) Brothers In Arms (Awaiting Repress) Quick View

    $49.99
    Buy Now
    x

    Brothers In Arms (Awaiting Repress)

    Blockbuster Brothers In Arms Helped Define 80s, Catapulted Dire Straits to Arena Status


    The End-All-Be-All Ultimate-Sounding Version of This Audiophile Standard: Mobile Fidelity 180g 45RPM 2LP Captures Nuances, Textures, Finite Information


    1985's Brothers In Arms Has Sold More Than Nine Million Copies in U.S. Alone, Ranked #351 on Rolling Stone's List of the 500 Greatest Albums of All Time


    There are hit records. And then there are blockbusters. One of the world's best-selling records, a winner of two Grammy Awards, an era-defining reference statement, an MTV favorite, and a set that catapulted an already-acclaimed band to arena status, Dire Straits' Brothers In Arms is the kind of epic spectacular that comes around only once or twice a decade. Surpassed only in fame and visibility during the period by Michael Jackson's Thriller, the 1985 album remains idiosyncratic for its covetable combination of adventurous songwriting, precision-based performances, and reference-caliber fidelity.


    Mastered from the original master tapes, pressed on 45RPM LPs at RTI, and possessing a richness befitting the album's stellar reputation, Mobile Fidelity's numbered limited-edition 180g 45RPM 2LP set of Brothers In Arms breathes with transparent highs, atmospheric heft, and lifelike tonalities. This is the hand-down ultimate-sounding version of this audiophile favorite ever made.


    The sense of realism this edition delivers will leave slack-jawed even the most hard-to-please audiophiles. As the recipient of the Grammy for Best-Engineered Recording, the album has always been a go-to sonic standard, but never has it sounded so reach-out-and-touch-it realistic as it does on this analog pressing. All of the hallmark characteristics-ample spaciousness, ideal balances, widescreen dynamics, immersive depth, lush production-are here in spades. As is music-making of enviable proportions.


    While it's easy to speculate that the colossal success of Brothers In Arms relates to its timing-its release during an era obsessed with catchy singles, flashy MTV videos, and whistle-friendly melodies-reasons for the album's chart-busting success primarily owe to the expertly crafted songs and memorable playing turned in by a group hitting its creative peak. Not to mention the spatial dimensions that cause instruments and vocals to naturally float in a fixed area.


    Anchored by "Money for Nothing," a caustically themed smash immediately identifiable via Mark Knopfler's resonant finger-picked guitar riff and Sting's "I want my MTV" vocal refrain, Dire Straits' fifth album is stuffed with bluesy signatures, jazz-rock motifs, clever lyrics, and organic accents. Diversity and consistency also extend to the songs' moods. Singing with his trademark light-to-the-touch timbre, Knopfler conjures feelings of poignancy, peacefulness, and mellowness, channeling wistfulness on the Top 10 single "So Far Away" and somber assurance on "Why Worry."


    Perfection abounds, not only in the manner in which the band nails its pop hooks and uptempo boogies with debonair flair-but also in the control room. Iconic session jazz drummer Omar Hakim supplies fluid beats and solid rhythmic foundations while Knopfler and Co. comb over grooves so smooth it seems that they're made of honey butter. Dire Straits would never play with such effortless again.


    Experience this era-defining classic in the best-possible fidelity!


    This title is not eligible for discount.

    1. So Far Away
    2. Money for Nothing
    3. Walk of Life
    4. Your Latest Trick
    5. Why Worry
    6. Ride Across the River
    7. The Man's Too Strong
    8. One World
    9. Brothers in Arms
    Dire Straits
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
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