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The Genius Sings the BluesNumbered Limited-Edition 180g LP from Mobile Fidelity
1961 Collection Gathers 12 Must-Have Songs from Charles' Peak Era
Mobile Fidelity Has Righted the Sonic Wrongs That Plagued Earlier Versions - You Won't Find a Better-Sounding Ray Charles LP
Genius doesnt even begin to describe the greatness of The Genius Sings the Blues. Comprised of a dozen songs Ray Charles made between 1952 and 1960, the collection was released in 1961 by Atlantic Records to counter the singers migration to rival ABC Paramount. What Atlantic originally underestimated is that the album contained many of Charles greatest works, all unified by their bluesy emotions and stirring arrangements. A classic of the soul and R&B canon, The Genius Sings the Blues is a snapshot of the evolution of timeless American music captured by the pianists indelible rhythmic pace, gospel roots, jazz backgrounds, and Southern-styled accents. And its never sounded so good.
From the iconic cover art (a photo of Charles taken by legendary photographer Lee Friedlander) to the distinguished music within, everything about the thematic record is iconic. Now, nearly 50 years later, it can be heard in pristine fidelity sourced from the original mono master tapes. Mobile Fidelitys engineers have taken great pains to ensure that every clink of the piano keys, ache of Charles rolling voice, and rush of the backing arrangements sounds better than they have since first being recorded in the studio. This 180g LP simply lays waste to the competition.
Previous editions of The Genius Sings the Blues, including a remastered digital edition from Rhino, suffered from varying levels, distracting static and noise, and inconsistent vocal balances. Mobile Fidelity has gone back to the original mono master tapes to correct these problems, giving music lovers what is now unquestionably the best-sounding Charles album to stem from his peak era. And these performances are simply on fire.
Whether inhabiting the sadness in Night Time (Is the Right Time) or personifying the loss of Hard Times, Charles invests each song with supreme emotion and undeniable conviction that makes the lyrics ring true and the blues resonate with cathartic pathos. Uptempo country blues numbers (Im Movin On, Early in the Mornin) balance the mournful slow fare, and again prove Charles a master composer, interpreter, and musician who could make any style his own. The Genius Sings the Blues also speaks to legendary jazz pianist Billy Taylors initial impressions of Charles upon hearing him in a way in which few other Charles recordings do.
Taylor recalled: While playing through some new music for a projected Ruth Brown record date, I was asked to listen to an original song played and sung by a young composer and pianist from Seattle, Washington. I can still remember how surprised I was to hear this kind of music from a Northwesterner. He reminded me of Charles Brown, another pianist-singer who was very popular in the Forties, but he had a very personal sound and there was something different about his rhythmic approach. In his handling of melody he seemed to be using devices similar to those used by Dinah Washington and a small group of popular singers who allowed their gospel singing backgrounds to influence their interpretation of popular songs... I was intrigued by the emotional quality projected by both his piano playing and his unusual voice and was not surprised when Ahmet ErtegÜn said that he wanted to let the young musician record some of his own material. He communicates just like the old blues singers, Ahmet said.
Indeed, that innate blues aesthetic dominates this collection, as does Charles distinctive rhythmic mannerisms. Finally, hear them as theyve always been intended to be experienced.
This title is not eligible for discount.1.Early in the Mornin'
2.Hard Times (No One Knows Better Than I)
3.The Midnight Hour
4.(Night Time Is) the Right Time
7.I'm Movin' On
8.I Believe to My Soul
10.Mr. Charles' Blues
11.Some Day Baby
12.I Wonder Who$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Upstairs At Eric's (Awaiting Repress)An 80s Landmark: Ex-Depeche Mode Member Vince Clarke and Vocalist Alison Moyet Create Synthpop Classic
Smoky Blues Purring, Cool Jazz Vibes, Disco-Tinged Beats, and Dancefloor Minimalism Add Up to Electropop Genius
All the Grooves Hit the Low-Frequency Targets: LP Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI
Includes Hits Don't Go, Situation, and Only You
The 1980s will forever be remembered for electropop sensations, yet few, if any, are quite as sensational as Yazs Upstairs at Erics. A standard-setting mÉlange of smoky blues singing, jazzy arrangements, disco-tinged beats, and dancefloor vibes, the smash debut fits equally as well at a late-night club as it does in a living room, where the records complexity and exoticism takes listeners hostage. No wonder the 1982 landmark remains one of the decades most essential albums.
Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI, this numbered limited edition Silver Label LP breathes with a decongested openness, textural richness, and tonal palette never before experienced on previous analog or digital editions. Alison Moyets inimitable vocals, such a huge part of the records appeal, are dramatically enhanced, her sensual timbre, bittersweet crooning, and knockout range now encompassing the full frequency spectrum and projecting outward in a way that traverses the flatness of the original pressings.
Indeed, her bluesy deliveries are at once elegant and exuberant, and give collaborative partner Vince Clarke free range to construct beat architectures that encompass freewheeling disco, house music, uptempo dance, and chilled-out pop. The former Depeche Mode member also layers on elegant keyboard melodies, establishing contagious hooks and electronic-laced landscapes that preceded the techno explosion and do so with a cooler elegance. Tape loops, random field-noise dialogues, and synth-stroked bass notes add to whats nothing less than a perfect collusion of moody paranoia and soulful warmth.
While a cousin to synth-pop LPs by the likes of the Eurythmics, Soft Cell, OMD, and Depeche Mode, Yazs Upstairs at Erics is singular for its chemistry between Moyet and Clarke and an insouciant batch of songs high on emotion, style, and substance.
This title is not eligible for discount.1. Don't Go
2. Too Pieces
3. Bad Connection
4. I Before E Except After C
6. In My Room
7. Only You
8. Goodbye Seventies
10. Winter Kills
11. Bring Your Love Down (Didn't I)$24.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
MUSD-MFSL-430xJerry Garcia And David Grisman
Jerry Garcia And David Grisman
Numbered Limited Edition 180g 2LP from Mobile Fidelity
Contemporary Interest in Roots Music Kick-Started by Stellar Grammy-Nominated 1991 Collaboration
Recording Now As Realistic, Natural, Close-Up, Intimate, and Enveloping as Any Acoustic Record Released: 1st Time-Ever on LP
Garcia and Grisman Put on Virtuosic Performance, Make Way Through Pop Standards, Blues Classics, Folk Staples, Bluegrass Jaunts, and More
Jerry Garcia achieved monumental accomplishments over a prolific career, yet the guitarist never sounded better than on his first official collaboration with longtime friend and fellow instrumental maestro David Grisman. Indeed, contemporary interest in roots music can be directly traced to this stellar Grammy-nominated 1991 collaboration. Putting distinctive rustic spins on pop standards, blues classics, and folk staples, the kindred musical spirits' earnest authenticity and relaxed intimacy are matched only by virtuosic playing and superb production. As realistic, warm, close-up, and immersive as any acoustic album, Mobile Fidelity's reissue raises the bar on the meaning of reference-standard.
Mastered from the original master tapes, Mobile Fidelity's 180g 2LP of Garcia/Grisman takes a record forever renowned for breathtaking sonics to another level. Originally released on Grisman's fabled Acoustic Disc label and recorded at his plush studios, the album now sounds even more realistic-with distinctive tones, palpable air, smooth vocals, three-dimensional soundstaging, balanced imaging, and timbral extension that mirror the feeling and experience of hearing live music in a small space.
Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Mobile Fidelity's meticulous pressing also marks the first time this delightfully joyous affair has been issued in analog form. You will never hear a better-sounding Americana-styled recording.
Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.
Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia"-complete with a section based on a Cuban fold theme-is alone enough worth the price of admission to this sensational session. But there's so much more.
The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavors ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.
This title is not eligible for discount.1. The Thrill Is Gone
2. Grateful Dawg
3. Two Soldiers
4. Friend of the Devil
5. Russian Lullaby
6. Dawg's Waltz
7. Walkin' Boss
8. Rockin' Chair
9. Arabia$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Head GamesHead Games on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
Foreigner's 1979 Effort Its Edgiest, Heaviest, Hardest-Hitting Album
Band Pairs Synthesizers With Guitars on Record to Mesmerizing Effect
Head Games, Dirty White Boy Continue Group's Hit Streak
Half-Speed Mastered from the Original Master Tapes: Roy Thomas Baker's Original Production Shines Like Never Before
The moment Head Games begins, a nastier, grittier tone is established, and it becomes apparent that Foreigner is bringing something new to the table. Namely, an edgier, leaner sound built around stronger guitars and harder rhythms. The heaviest record of the bands career, the 1979 effort functions as irrefutable proof that the quintet rocked as hard as anybody in the mainstream and did so without losing sight of the melodies that put it at the top of the charts. And with Head Games, there Foreigner would stay.
Half-speed mastered from the original master tapes, Mobile Fidelitys collectible audiophile edition of this longtime favorite classic-rock staple bursts with tremendous dynamics, soaring vocal timbres, punchy dynamics, and newfound instrumental separation. With more emphasis placed on Mick Jones guitar riffs and meatier grooves, you may just find yourself investing in a new power amp to get every last degree of detail thats been uncovered! Longtime fans will be thrilled to hear the subtle nuances now fully discernible amidst a gargantuan soundstage.
Joined by new bassist Rick Wills, and guided by Queen producer Roy Thomas Baker, Foreigner goes for broke, ratcheting up the muscularity on hard-hitting fare such as the hit single Dirty White Boy, Seventeen, and the aptly titled Rev on the Red Line. However, the group maintains its trademark equilibrium, pushing the limits on toughness yet retaining a diamond-in-the-rough smoothness that allows the bands hummable choruses and winding hooks to take hold.
Moreover, the band expands its use of synthesizers to wonderful effect. The smash title track, through which mesmerizing keyboard passages coarse, is a prime example of Foreigners slight albeit thrilling sonic evolution, the net result upping the drama, fanfare, and color. At the time, the combination was a breakthrough idea. Is it any wonder Head Games sold more than 5 million copies?
None, however, sound anywhere near as lifelike, involving, and rich as Mobile Fidelitys remaster. Part of the reason why late 70s arena rock remains beloved, and why its so fun, owes to the go-for-broke nature of the arrangements, decibel-clearing volume levels, and free license to just let loose. By digging in and revealing all the musical information the master tapes provide, Mobile Fidelitys analog 180g LP amplifies the pleasure principle by tenfold!
This title is not eligible for discount.1. Dirty White Boy
2. Love on the Telephone
4. I'll Get Even with You
6. Head Games
7. The Modern Day
8. Blinded by Science
9. Do What You Like
10. Rev on the Red Line$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
MUSD-MFSL-398xThe Allman Brothers Band
Eat A PeachAllman Brothers Band Eat a Peach on Numbered Limited Edition 180 Gram 2LP from Mobile Fidelity
1972 Double LP Split Between Live and Studio Fare
Last Appearance of Fallen Member Duane Allman on an Official Release
Sonic Spectacular: Mastered from the Original Master Tapes, Mobile Fidelity Edition Captures Grit of Live Tracks and Organic Soul of Studio Cuts
Includes Standout 33-Minute-Plus Epic "Mountain Jam"
Features Complete, Accurate Reproduction of Gatefold Artwork
Tributes to fallen icons don't come any more poignant or illustrative than Eat a Peach. Released in early 1972, slightly more than three months after guitarist Duane Allman died in a motorcycle accident, the double album honors the musician via sides he recorded in the studio as well as several live performances that didn't fit on the mammoth At Fillmore East. The Allman Brothers Band, determined to press on, also contributes a trio of songs completed after their soulmate's passing. Its execution is near perfect, its concept timeless.
Mastered from the original master tapes and pressed on dead-quiet vinyl RTI, Mobile Fidelity's 180 gram 2LP of Eat a Peach joins the unparalleled reissue imprint's other Allman titles in presenting the superlative ensemble's work in the most lifelike, uncompromising fidelity possible. Not only is the punch of the concert fare transmitted with full-range dynamics and realistic spaciousness, but the studio cuts-in particular, the acoustically framed "Melissa" and "Little Martha"-come through with astounding clarity and body, replete with textural richness that affords listeners images of fingers on frets and sticks hitting drum skins.
In all probability, the Allman Brothers Band would've leapt to the fore of music's commercial and critical elite had it not been for Duane's fateful motorcycle accident that altered history and the trajectory of the group's course. A statement of purpose and homage, Eat a Peach extends the guitarist's legacy in the form of three heart-racing live tunes recorded at Fillmore East, none more important than the nearly 34-minute harmonic showcase "Mountain Jam." Begun at the end of "Whipping Post" during the final show of the group's four-gig stand, the tour de force improvisation finds the band at the peak of its telepathic aural and communicative capacities.
Not that the three studio originals with Duane are by any means forgettable. "Blue Sky" epitomizes the gorgeously elegant colors with which the late virtuoso could paint while the heart-stopping sentimental feel of "Little Martha" finds just he and Dickey Betts engaged in spiritual communion. To this extent, the band continues a mellower vibe on the hit "Melissa," a country-rock ballad that taps into a melancholy feel largely courtesy of Gregg Allman's weary vulnerability and Betts' lyrical, slap-back-echoing guitar lines.
Yet nothing here eclipses the direct meaning and steadfast intent of the record-opening "Ain't Wastin' Time No More," a defiant showing of unity and understated anthem with which the band seemed to embrace as a motto. No one knew, however, that fate would again subvert the group's plans even if it could never take away the magic held within Eat a Peach, sonic and lyrical sorcery that extends to the legendary gatefold-artwork mural.
This title is not eligible for discount.1. Ain't Wastin' Time No More
2. Les Brers in A Minor
4. Mountain Jam
5. One Way Out
6. Trouble No More
7. Stand Back
8. Blue Sky
9. Little Martha$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
I Wanna Be AroundRecorded during his peak era, Tony Bennetts I Wanna Be Around continues the crooners upward trajectory as he nestles into a superb batch of heartfelt ballads, softly swinging pop, and frisky bossa nova with the kind of charm, control, and coolness reserved for a legend. The follow-up to the singers breakthrough I Left My Heart In San Francisco (also available from Mobile Fidelity on 180g LP), this 1963 set is every bit its predecessors equal. Read: A bonafide vocal classic.
Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited-edition 180g LP presents Bennett in to-die-for sound. Amazingly, this landmark recording has lavished in the vaults over the years and longed for the restoration that meticulous engineering can bring. Gone is the veiled haze that hung over the orchestrations, artificial ceiling that held back the highs, and cloudiness that obscured the entire range of Bennetts vocals. And were not just talking about the inferior digital editions. Previously unheard degrees of warmth, expressiveness, and detailing are just some of the newly uncovered aspects of this majestic recording.
Pairing again with producer Ernie Altschuler and pianist Ralph Sharon, and adding the skills of expert arranger Marty Manning, Bennett navigates his way through heavenly pop territory, turning phrases that bridge myriad moods and feelingswistful, romantic, sentimental, longing, happy, autumnalwhile making listeners feel each and every word that seemingly tumble out of his mouth. Bennett fully invests himself in the performances. And part of the appeal is just how relaxed he remains, a trait that helped him propel both the title track and The Good Life into Top 20 hits.
Decades before hed join the likes of Bono for a Duets album that reprised some of the classic material found here, Bennett perfected on I Wanna Be Around a traditional vocal pop sound that is best described as the touch of velvet. His mellow singing spans from conversational to soaring, his timbre sensational and note-perfect. Bennett inhabits the lyrics as if every song were expressly written for his voice. Whats more, the arrangements remain sympathetic, neither over- nor underdone, resulting in a superb combination of color, style, sophistication, and suaveness.
Mobile Fidelitys collectible 180g LP resonates with standard-setting transparency, imaging, projection, smoothness, and dimensionality. Capturing a human voice remains the most difficult recording task. Suffice it to say that this LP will join the ranks of the very best recordings you own. And of course, the music is on the same elevated level as the sound.
This title is not eligible for discount.1. The Good Life
2. If I Love Again
3. I Wanna Be Around
4. I've Got Your Number
5. Until I Met You
6. Once Upon a Summertime
7. If You Were Mine
8. I Will Live My Life for You
9. Someone to Love
10. It Was Me
11. Quiet Nights of Quiet Stars
12. Autumn in Rome$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
MUSD-MFSL-399xThe Allman Brothers Band
Brothers And SistersBrothers and Sisters on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
1973 Affair Introduces Southern Rock to Popular Parlance
Unrivaled Sonics: Mastered from the Original Master Tapes, Mobile Fidelity Edition Provides Window Into What Transpired in Macon Studios
Dickey Betts Leads Group Through Mellower Country Rock, Pairs With Pianist Chuck Leavell
Chart-Topping Album Includes Smash "Ramblin' Man" and Favorites "Jessica" and "Southbound"
Brothers and Sisters is significant for myriad reasons. It's the first album the Allman Brothers Band made in its entirety after Duane Allman's death. It also came after bassist Berry Oakley's spookily similar passing, yet he appears on two of the songs. The 1973 set also marks the emergence of guitarist Dickey Betts as the collective's leader. And pianist Chuck Leavell's arrival. But for than anything else, the record remains noteworthy for its incredible soulfulness and completeness.
Mastered from the original master tapes and pressed on dead-quiet vinyl RTI, Mobile Fidelity's 180 gram LP of Brothers and Sisters joins the unparalleled reissue imprint's other Allman titles in presenting the superlative ensemble's work in the most lifelike, uncompromised fidelity possible. Whether it's the feather-light harmonic layering of the collective's background vocals, echoing cavity of Leavell's gospel-tinted piano, skin-against-skin smack of Jaimoe's congas, or sweet dobro lines laid down by Betts, this version betters all previous pressings by bringing you, the listener, as close to the studio as any record feasibly can.
Having stayed at the top of the Billboard charts for five consecutive weeks, Brothers and Sisters constitutes the Allman Brothers Band's biggest commercial triumph. Given the circumstances surrounding its creation, such an accomplishment hardly seemed possible. Fresh from licking their wounds over Duane's tragic motorcycle accident, the group experienced dÉjà vu when Oakley met the same fate just blocks away from where his mate was killed. Rather than collapse, the Allman Brothers Band tightened up and mellowed out, inviting Leavell to join instead of recruiting another guitarist.
What the sextet gets in return for its troubles is music that marks the concrete beginnings of a form that soon become known as Southern rock. Leavell and Betts exchange notes as if the pair has been trading ideas since they were children. Slide guitars still tread over greasy grooves, yet the Allman Brothers Band digs deeper into country dirt, parlaying a twang anchored by Betts' picking and abetted by Gregg's organic, shot-of-blues vocals. The laidback vibe manifests on the signature "Ramblin' Man," a hit evocative of the record's breezy melodies and friendly interplay.
The cover art further reveals the Allman Brothers Band's mindset. Golden, tranquil, idyllic, Southern, loving: It's a paradise-longing view that would soon come crashing down in the group's lives but one that, for the duration and existence of Brothers and Sisters, remains gloriously undisturbed.
This title is not eligible for discount.1. Wasted Words
2. Ramblin' Man
3. Come and Go Blues
4. Jelly, Jelly
7. Pony Boy$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed 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 Sealed PRE-ORDER Buy Now
Heartbeat City (Awaiting Repress)Four-Times-Platinum Heartbeat City Survives as the Cars' Final Great Album Before Break-Up
Mastered from the Original Master Tapes: Mobile Fidelity LP Presents the 1984 Mutt Lange-Produced Heartbeat City In Extraordinary Sound
Loaded With Recognizable Hits: "Drive," "You Might Think," "Magic," "Hello Again," and "Why Can't I Have You" All Top 40 Singles
1984 will always be remembered for the debut of the Macintosh computer, the Summer Olympics in Los Angeles, and the ascent of MTV as the most powerful cultural medium of the era. The year is also recognized for the Cars' savvy contributions not only to the burgeoning music-video channel but to pop itself. Released in April, the four-times platinum Heartbeat City ultimately spawned five Top 40 singles-four of them landing in the Top 20, two in the Top 10-and serve as the final memorable record from the Boston group, which disbanded in 1987.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's numbered limited edition 180g LP of Heartbeat City revisits the landmark album via a rich fidelity unmatched by any prior edition. Signifying the first time the set has been available on vinyl in nearly three decades, this reissue opens up the soundstages, decongests the low frequencies, and shines a spotlight on Mutt Lange's pinpoint balances and glossy hooks. Indeed, the now-household-name producer would make a lasting mark with Heartbeat City, whose radio-friendly sound, multi-layered textures, and smooth, suave, synth-heavy pulses set a precedent for the period's hit-making pop.
Overflowing with a surfeit of finger-snapping beats, electro-pop effects, streamlined guitar notes, and bright melodies, Heartbeat City trades in efficiency, catchiness, and to-the-point craftiness. Unlike most mid-80s records, the electronic effects and sleek tonalities aren't dated due to both the focused production and irresistible songwriting. Leader Ric Ocasek penned all ten tunes, and while a mind-boggling five charted in the Top 40, what makes Heartbeat City such a staple is the fact that it's easy to imagine every song on it crashing the Billboard Hot 100. Call it the new-wave version of Thriller.
Indeed, the record's track list automatically triggers a mental jukebox. The spare simplicity and hopefulness of "Magic." The simultaneously sad longing and soothing somberness of the Benjamin Orr-sung "Drive." The shimmer and shuffling riff of "You Might Think." The ping-pong bounce and futuristic paranoia of "Hello Again." The atmospheric, arty title track. Heartbeat City is a veritable lesson in pop tunesmithship.
This title is not eligible for discount.1. Hello Again
2. Looking for Love
5. Stranger Eyes
6. You Might Think
7. It's Not the Night
8. Why Can't I Have You
9. I Refuse
10. Heartbeat City$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Natalie Merchant Tigerlily On Numbered Limited-Edition 180g 45RPM 2LP
Half-Speed Mastered From The Original Master Tapes For Astounding Sonics And Detail
Five-Times Platinum! 1995 Gem A Vocal Tour-De-Force
The 10,000 Maniacs were at their peak when group founder and scintillating vocalist Natalie Merchant announced that she was leaving the band to pursue a solo career. It took her four months to record Tigerlily, a gorgeously detailed folk-pop debut that became a permanent fixture on the album charts for a year after its 1995 release.
The five-times platinum set spawned three giant hits-"Wonder," "Carnival," and the haunting "Jealousy"-that simultaneously crossed over to the pop, adult-contemporary, and mainstream singles charts. It's easy to understand why. On Tigerlily, Merchant turns in a vocal performance for the ages, spinning majestic webs of mellow atmosphere woven with rhythmic textures and low-key movements. This is a mood masterpiece.
Remastered from the original analog tapes, Mobile Fidelity's collectable version of Tigerlily mines every last nuance and delicate tone from this intimate gem. Merchant's beautiful voice-her precious coos, soulful inflections, and whisper-soft purrs harken back to the Jazz Era-is presented with an up-close clarity and full-bodied richness that enhance the album's deeply emotional feel. She uses volume and pitch as a painter utilizes shades on a canvas. Subtle and tender, her phrasing and crescendos underscore the personal nature of the lyrics. Merchant sings about mature topics most songwriters lack the courage to explore, probing the painful loss of a longtime partner on "Beloved Wife," actor River Phoenix's tragic death on "River," and life-altering myths on "San Andreas Fault."
The vocalist's bracing conviction is matched by small-scale acoustic frameworks that don't let a note go to waste. And Mobile Fidelity's engineers worked to make sure you hear all of them. Aligned on a wide soundstage, the discerning mix of Hammond organs, pianos, chamber percussion, and bluesy guitars come across with their understated intentions intact. Balances are superb, dynamics are grand. There is no better way to experience and enjoy the rich sonic fabrics on this album. The results will leave you hypnotized.
This title is not eligible for discount.LP 1
1. San Andreas Fault
3. Beloved Wife
1. I May Know The Word
2. The Letter
3. Cowboy Romance
5. Where I Go
6. Seven Years$49.99180 Gram Audiophile Virgin Vinyl 45RPM -2 LPs Sealed Buy Now
MUSD-MFSL-453-45xBig Brother & The Holding Company feat. Janis Joplin
Cheap ThrillsRanked 338/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Quintessential 1968 Record a Potent Mix of Psychedelia, Blues, Folk, and Rock: Janis Joplin Delivers Cathartic Vocal Performance on Major-Label Debut That Includes Powerhouse Piece of My Heart
Mobile Fidelity 45RPM Vinyl Pressing Touts Superb Spaciousness, Punchiness, Dynamics, and Texture: Cheap Thrills Sounds As Close to Live as Music Gets and Features Robert Crumb Artwork
In many facets, Big Brother and the Holding Company's Cheap Thrills is the quintessential album to spring from the outcome of the Summer of Love. Best known as Janis Joplin's major-label debut, the 1968 set arrived when the countercultural movement was in full swing and before co-optation, drugs, and violence signaled the fall of the era. Ranked #338 on Rolling Stone's 500 Greatest Albums of All Time, it puts a female singer in the prominent position traditionally given to a male and showcases a band pouring a potent cocktail of fiery psychedelic, blues, and folk sounds that informed the unfettered creativity of the San Francisco scene. Produced by John Simon, Cheap Thrills also features one of the most iconic and elaborate album covers in history. Now, thanks to Mobile Fidelity, the instantly identifiable effort also possesses sonics equivalent to its visual and musical status.
Cut at 45RPM and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's analog reissue intensifies the quintet's storied sophomore effort. Due to the wider grooves, this pressing benefits from increased spaciousness, punchiness, energy, pacing, and dynamics. Joplin's hurricane-force singing reverberates with texture, grittiness, and volume. An arresting array of instrumental colors and tones comes on with clearer separation and depth. While previous pressings find the band and Joplin's voice in competition with one another for room, both emerge as distinct entities. Always noted for its rawness, Cheap Thrills sounds as close to live as it gets, an unadulterated portrait of nervy rock n' roll delivered with exuberant enthusiasm and all-out determination. This is music at is most visceral.
Having drawn national attention for their legendary performance at the Monterey International Pop Festival in 1967, Big Brother and Joplin faced huge expectations to deliver a studio set that would convey their onstage vibrancy and potency. Cheap Thrills does this and more, becoming one of 1968's most commercially successful releases that remained on the charts the week Joplin announced her separation from the ensemble. Contrary to popular belief, only one of the album's songs, Ball and Chain, was recorded live. Everything else owes to the unhinged, spirit-elevating performances and true collaboration between vocalist and band that manifests itself throughout the record's 37-minute-plus running time. Merging biker-babe ruggedness with wounded-bird poignancy, Joplin's expressive belting, mega-watt moaning, and sensitive crooning take center stage. Yet her bandmates match every step with explosive rhythms, heavy guitar-driven blues, and assertive solos that take inspiration from free-form jazz.
Indeed, Cheap Thrills still exhilarates not only due to Joplin's almighty singing but because of boundary-shredding arrangements that reflect the period's anything-is-possible mindset. More so than any other musicians Joplin encountered, the members of Big Brother pushed limits on convention via soirees into acid-dipped psychedelia and its orbiting sonic galaxies. Together, they aim and achieve an aural mythos that makes a permanent connection between artist and audience by way of eliminating traditional divisions. Such communal power is evident on the mind-bending version of Big Mama Thornton's Ball and Chain and insistent, sinewy I Need a Man to Love. It's also obvious during quieter moments, whether the tripped-out, twisted, and curvaceous contours of George and Ira Gershwin's Summertime or restrained, throwback acoustic blues of Turtle Blues.
Yes, Joplin presents - and rallies against - loneliness and desperation in a cathartic language few had heard before or since. What's even more significant is the fearlessness, toughness, synergy, and sexual danger pulsing through every song, including the take-on-all-comers challenge Piece of My Heart, which the collective attacks with career-making ferocity. Like Robert Crumb's daring pop-art illustrations that grace the cover, they simultaneously lure and dare the listener to enter a space where outsiders run free and where outlaws are heard above the mainstream din.
This title is not eligible for discount.1. Combination of the Two
2. I Need a Man to Love
4. Piece of My Heart
5. Turtle Blues
6. Oh, Sweet Mary
7. Ball and Chain$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
Live At Carnegie HallStupendous 1973 Concert Set Ranks Alongside James Brown's Live At The Apollo And B.B. King's Live At The Regal
Easygoing Portrait Of Down-home Soul Singer Coming Into His Own And Establishing An Indelible Bond Between Performer And Audience
Mastered From The Original Master Tapes: Mobile Fidelity Takes You Inside The Famed Venue And Lets You Be A Part Of The Event
On par with the most treasured concert albums of the 60s and 70s, Bill Withers' transformative Live at Carnegie Hall< is a forgotten classic--an easygoing portrait of a down-home soul artist coming into his own in front of an audience eager to share every moment of his brilliance. Soothing with subtlety, charming with calmness, and healing with a vocal timbre as relaxing as his grooves, Withers uses the stage to expand the range of favorites and engage in dialog with the crowd. Distinguished with sonics that restore the performances' balance and improve the soundstaging, this reissue takes you inside the venue.
Mastered from the original master tapes and pressed on 180g 2LP at RTI, Mobile Fidelity's 180g 2LP set of this extraordinary 1973 record provides a transparent view of Withers' relaxing timbre and the subtle grooves underlining his arrangements. Characteristics ranging from the tension of the guitars, funky bends of the bass, whisper-soft coo of the formal strings, airiness of the backing harmonies, and sharpness of the snare drum emerge with utmost clarity and lifelike presence.
Moreover, aspects that really make this concert document unique--the energetic crowd, Withers and his band's willingness to extend arrangements, and the undeniable communicative bond between the performer and his fans--are brought into fuller relief. While most live albums give you the sense of what transpired, Mobile Fidelity's reissue allows it to seem that what you're hearing and sensing is happening right now, in the moment. You are as much a participant as listener. For this reason and more, Live at Carnegie Hall ranks with James Brown's Live at the Apollo and B.B. King's Live at the Regal. No small claims, but the proof is in the grooves.
The antithesis of the sweaty R&B shouter that prowls the edge of stages, Withers deals in mellowness and vulnerability, qualities that come to fore. The songs here span soul, blues, and folk and often times, contain elements of all three styles. Live at Carnegie Hall also deals with serious subject matter with unflinching honesty and simple directness. Companionship, poverty, war, maturity, family, and love all crop up within Withers' tunes, yet the messages are never overly cumbersome or preachy. Credit goes to his easygoing style and relatable lyrics, not to mention a tight-as-a-vice band that on this night is simply on.
One more time? Withers asks in response to a request for another stanza during Use Me, and like the snap of fingers, his musicians are right back on cue, the crowd clapping along on every beat. This classic, as well as the instantly familiar Ain't No Sunshine, poignant Grandma's Hands, and all-time favorite Lean On Me are delivered with utmost soulfulness, passion, and electricity. Few, if any, live albums demonstrate such a bond between the crowd and artist as Live at Carnegie Hall. You'll definitely want to be there. Mobile Fidelity makes it happen.
This title is not eligible for discount.1. Use Me
2. Friend of Mine
3. Ain't No Sunshine
4. Grandma's Hands
5. World Keeps Going Around
6. Let Me In Your Life
7. Better Off Dead
8. For My Friend
9. I Can't Write Left Handed
10. Lean on Me
11. Lonely Town, Lonely Street
12. Hope She'll Be Happier
13. Let Us Love
14. Harlem/Cold Baloney$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
This Year's Model (Awaiting Repress)Ranked 98/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The first record he made with his legendary backing band the Attractions, This Years Model is Elvis Costellos most explosive and urgent album. Picking up where his fine My Aim Is True left off, the British singer/guitarist blasts through 13 excellent tracks with the fervent purpose and headlong pace of someone who has a cab waiting for him outside.
Stylistically versatile, deeply varied, and melodically catchy, this where Costello came into his ownand where the chemistry between virtuosic keyboardist Steve Nieve, bassist Bruce Thomas, and drummer Pete Thomas produced one of rocks best groups. A dynamic maelstrom of emotional spite, bitter frustration, sexual angst, and caustic political commentary, the 1978 set boosted Costellos star and yielded innumerable standards: the undying MOR protest Radio Radio, fervent Pump It Up, smart (I Dont Want to Go to) Chelsea, and spunky No Action are all here.
While often cited as Costellos angry record, This Years Model has more to do with disappointments and denials. The album bursts forth with a savage energy not possible without the Attractions, which are responsible for the songs being built from the ground up. Where Costellos voice and twangy guitar dominate My Aim Is True, here, sizzling rhythms and Nieves colorful organ runs anchor the foundations. This is a group effort, with Costellos biting lyrics taking chances and forcing the listener to mull double meanings all the while the music zooms by at a fast clip.
More than 30 years after its original release, This Years Model will still leave you breathless. Railing against unachievable desires, Costello and company delight in the anguish, and spit such torment back out in the form of hook-ridden music that functions as a brilliant form of situational confirmation and emotional catharsis.
Half-speed mastered from the original tapes, Mobile Fidelitys numbered limited-edition 180-gram LP brings This Years Models vicious songs to the forefront like never before. Punchier, gutsier, and livelier than any of the myriad CD remasters, this analog edition offers a transparent window onto the Attractions' loose interplay, Nieve's carnivalesque organ work, and rabid pounce of the Thomas-Thomas rhythm section. Here, for the first time, are previously buried tones, textures, and details. It took years to happen, but this is how This Years Model was always supposed to sound.
This title is not eligible for discount.1. No Action
2 .This Year's Girl
3. The Beat
4. Pump It Up
5. Little Triggers
6. You Belong To Me
7. Hand In Hand
8. Lip Service
9. Living In Paradise
10. Lipstick Vogue
11. Radio, Radio
$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
MFSL Original Master Record Sleeves (50)
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Imitation is the highest form of flattery, but don't be fooled! Only the Original Master Sleeves from Mobile Fidelity Sound Lab offer the finest protection for your valuable records. These imported, three-ply, anti-static, premium record sleeves have been used in MFSL LP packaging for decades and now you can use them to care for all your vinyl!$19.99Rice Paper Record Sleeves Buy Now
Cosmic Thing (Awaiting Repress)Follow Your Bliss: 1989 Favorite Contains Radio Anthems Roam and Love Shack
Party-Starting Band Steps Up the Kitsch, Hooks, and Fun on Dance-Friendly Multi-Platinum Set
Addictive Rhythms, Deep Grooves, Quirky Vibes: LP Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI
Mention the phrase Love Shack and anyone youre talking to will immediately know to what youre referencing. Few songs stick in the brain with such lasting power, fond memories, and sing-a-long potential as the B-52s blissful 1989 smash, one of the many moments that make the bands Cosmic Thing such a timeless affair. The groups melodies were never sharper, its vibes never as carefree, and attitude as joyous as on this multi-platinum affair that stayed on the charts for more than a year.
Mastered on Mobile Fidelitys world-renowned mastering system at pressed at RTI, this Sliver Label LP dazzles with glorious textures, deeper low-end frequencies, more pronounced midrange information, and enhanced vocal dynamics absent from prior editions. Especially noticeable is the additional color and sense of rhythmic involvement in the already-persuasive pop-rock tunes, guaranteed to lighten any mood and ignite any celebration.
Urging listeners to roam around the world on one of the two Top 5 singles here, the B-52s follow their own instructions, constructing lively fare assembled from quirky riffs, bizarre albeit smooth harmonies, strident lead vocals, jagged tempos, and infectious choruses. At heart, Cosmic Thing is a dance-your-ass-off soiree. Leader Fred Schneider delights in kitsch, his deliveries combining goofy pronouncements and half-rapped words that speak the co-ed ensembles long tradition of originality, flair, campiness, and irreverence.
Better still is the bands embrace of a shinier, funkier sound established by producers Don Was and Nile Rodgers. The production, exponentially improved on this reissue, complements the upbeat energy, well-crafted songwriting, and emotional exuberance demonstrated on everything ranging from the kick-starting Bushfire to rambunctious Junebug to wild, weird, and wonderful Love Shack. Just try not to smile after spinning this LP. Its impossible.
This title is not eligible for discount.1. Cosmic Thing
2. Dry Country
3. Deadbeat Club
4. Love Shack
8. Channel Z
10. Follow Your Bliss$24.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Chicken Skin Music
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 - Sealed 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 Sealed PRE-ORDER Buy Now
4 (Awaiting Repress)4 on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
#1 1981 Album Teems With Hits: Urgent, Waiting for a Girl Like You, Juke Box Hero
Foreigner's Most Consistent, Economical, and Cleanly Produced Record
Half-Speed Mastered from the Original Master Tapes: Sonics Open Window to Mutt Lange's Direct Production
Be A Juke Box Hero: Sound Will Rattle Your Walls and Shake Your Windows!
Want to be a juke box hero? Heres your chance. Featuring Mutt Langes spotless production, contributions from Motown legend Junior Walker and new-wave icon Thomas Dolby, no less than three huge singles, and Foreigners most economical performances, 4 is classic-rock nirvana, a model of crystalline pop-rock melodies and lighter-flicking balladry. More than six million copies later, the 1981 record is still rightly discussed as a front-to-back masterpiece of precision, power, and economy. Its an album that demands to be experienced in the highest-possible fidelity.
Half-speed mastered from the original master tapes, Mobile Fidelitys 180g LP presents 4 in a room-filling, stadium-big sound that simply crushes whats heard on all prior versions. Replete with energetic rockers such as Urgent, Night Life, and Woman In Black, the record benefits from a sonic facelift that opens up the previously compressed dynamics, expands the dimensions of the soundstage, dials in a clear path to the instrumental images, and erases the ceiling that pressed down on Lou Gramms superhuman vocals. For the first time, Langes obsessive, detail-oriented production can be enjoyed in all its splendid glory.
Fresh off blockbuster success with AC/DCs Back In Black, Lange uses his magic touch on 4, pairing with guitarist Mick Jones who, armed with the best batch of riffs of his career, shared a the producers sentiment for discipline, efficiency, and cleanliness. And so, on crisp tunes like Break It Up, pianos and hard-hitting guitars share the same space without ever impinging on one another or overstepping boundaries. The winning formula also propels Top 5 hits like the wildly funky Urgent, sent to new heights by Walkers dazzling saxophone solo, and the touching Waiting for a Girl Like You, a crossover smash that introduced Foreigner to soft-rock and adult-pop audiences.
Simply stated, 4 has everything: Rowdy frustration-releasing cuts, fiery rock n roll tunes, heartfelt torch songs, and synth-drenched pop numbers. The playing throughout positively smokes, as the one-two punch of Gramm and Jones lands with both emotional and musical impact every time. There's not a single wasted note. And, reduced to a quartet, Foreigner seems bent on making more with less, just as Lange does with the polished production. This is 42 minutes of hard-rocking bliss.
Accept no substitute. Mobile Fidelitys collectible audiophile edition will rattle your walls and shake your windows. Be prepared to tap every reserve available from your amplifiers. And play it LOUD!
This title is not eligible for discount.1. Night Life
2. Juke Box Hero
3. Break It Up
4. Waiting for a Girl Like You
7. I'm Gonna Win
8. Woman in Black
9. Girl on the Moon
10. Don't Let Go$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
King Of AmericaKing of America on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
Costello Teams With Musical Legends and Standout Producer T-Bone Burnett on Exemplary 1986 Album
Mastered from the Original Master Tapes: Mobile Fidelity LP Maximizes the Get-In, Get-Out, Live-In-the-Studio Immediacy and De-Congested Mix
Includes Introspective Songwriting Gems Such as "Indoor Fireworks," "Poisoned Rose," "Brilliant Mistake," and "Little Palaces"
Juggling Themes of Desire and Exile, Costello Strips Arrangements Down to Folk, Country and Pub-Rock Roots
Elvis Costello spent the year prior to recording King of America embarking on a solo tour, usually accompanied by producer/singer-songwriter T-Bone Burnett. The pair's decision to collaborate on Costello's 1986 album came naturally, and the music sounds it-emotional, effortless, literate, seemingly uncomplicated. Credit, however, not only goes to the best batch of Costello originals since 1982's Imperial Bedroom, but to the literally awesome and awe-inspiring cast of musicians Burnett invited to participate.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180 gram LP of this masterpiece broadens the live-in-the-studio intimacy and opens up the midrange, highs, and lows of Burnett's fabulously de-congested mix. Made with few overdubs or effects, King of America relishes organic approaches and faithful tones-as well as a vast spaciousness and balance not always evident on Costello's efforts with the attractions. Finally, Mobile Fidelity transports the listener to the semicircle of players that surrounded Costello in the studio, and highlights the benefits of the center-of-the-production miking technique employed on the singer's voice and guitar playing.
Given the brilliance of the performances, every music fan will want to be brought as near as possible to the purity of these sessions. A Hall of Fame-caliber list of instrumentalists accompany Costello, with Elvis Presley's T.C.B. mates Ron Tutt (drums), James Burton (guitar), and Jerry Scheff (bass) forming one band and drummer Earl Palmer (Little Richard), bassist Ray Brown (Oscar Peterson, Duke Ellington), pianist Tom Canning, and organist Mitchell Froom ready in waiting as another. Several of these musicians formed yet another band, joined by drummer Jim Keltner of Bob Dylan, George Harrison, and John Lennon fame. Oh-and the Attractions make a guest appearance on one track.
King of America-the title reflective of the threads of intentional, thought-provoking contradiction throughout-would be exemplary if just for the troupe. Yet it's the combination of chemistry, ability, sonics, and tunes that propel this watertight platter to iconic status. Unconcerned with writing a radio hit or adhering to a single musical theme, Costello wrote a majority of the material on acoustic guitar and on piano, tapping his pub-rock and folk roots in turning out songs that remain some of the catchiest, introspective, and deep of his career. Cuts such as "Indoor Fireworks," "Poisoned Rose," "Brilliant Mistake," and "Suit of Lights" epitomize Costello's inimitable manner of viewing adulthood, romance, and geographical transition through a transparent lens that blocks neither truth nor consequence.
As for the music? It swings (vide, Scheff's bass line on "Lovable"), swishes (Keltner's brushes on "I'll Wear It Proudly"), jumps (Brown's string bass on "Eisenhower Blues"), swoons ("Poisoned Rose"), and shuffles ("Jack of All Parades"). There's truly not a bum track here, and now, experienced in such high fidelity, the genius of every contributor can be easily heard and felt. Akin to Mobile Fidelity's other Costello reissues, this is not to be missed.
This title is not eligible for discount.1. Brilliant Mistake
3. Our Little Angel
4. Don't Let Me Be Misunderstood
5. Glitter Gulch
6. Indoor Fireworks
7. Little Palaces
8. I'll Wear It Proudly
9. American Without Tears
10. Eisenhower Blues
11. Poisoned Rose
12. The Big Light
13. Jack of All Parades
14. Suit of Lights
15. Sleep of The Just$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
MUSD-MFSL-434xThe Allman Brothers
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$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
The Cars (Awaiting Repress)Ranked 282/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Let the Good Times Roll: Half-Speed Mastered LP Sounds Amazing!
The Cars Classic 1978 Debut a Veritable Greatest Hits Album: Nearly Every Song a Radio Staple
My Best Friend's Girl, Just What I Needed, You're All I've Got Tonight Among the Tunes on the Hit Parade
One of the most successful and enjoyable debuts in history, The Cars self-titled album doubles as a greatest-hits collection. Thats because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became Americas most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: Youre All Ive Got Tonight. Good Times Roll. Just What I Needed. Moving in Stereo. My Best Friends Girl. Dont Cha Stop. If youre a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.
Led by Ric Ocasek and Benjamin Orr, the Cars managed to unite then-disparate styles: bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orrs low, understated singing and Ocaseks cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accentscountry-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.
The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. Its impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Bakers stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Bakers trademark touches with harmony vocals abound.
And now, The Cars sounds better than it has in any previous incarnation. Half-speed mastered from the original analog tapes, Mobile Fidelitys numbered limited-edition LP allows the musics oscillating rhythms, futuristic keyboard passages, panned stereo images, and rippling textures to be experienced like never before. The songs take on a surreal quality, the Cars manipulating the vibrant music at will to mesmerize the listeners senses and hold them at bay. Mobile Fidelitys unparalleled pressing epitomizes the sensation of moving in stereo!
This title is not eligible for discount.1. Good Times Roll
2. My Best Friend's Girl
3. Just What I Needed
4. I'm in Touch With Your World
5. Don't Cha Stop
6. You're All I've Got Tonight
7. Bye Bye Love
8. Moving in Stereo
9. All Mixed Up$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Santana (Awaiting Repress)Numbered, Limited Edition
Deluxe 45RPM Version Features Extra-Wide Grooves: Richest, Most Dynamic and Realistic Sound of Any Version
Lyrical, Splendorous, Rapturous, Psychedelic, and Bluesy Debut Set a New Musical Standard: Experience This Paradigm the Way the Artist Intended
Ranked #149 on Rolling Stone's List of the Greatest Albums of All Time
Santana's self-titled debut album announces the arrival of a new Guitar God. Made during the legendary bandleader's most fruitful and creative period, the classic 1969 set functions as an accessible entry point into the tangy worlds of Latin music by way of an intoxicating blend of Afro-Cuban percussion, jazzy tempos, exotic leads, bluesy riffs, and psychedelic accents. Befitting such a classic, Mobile Fidelity's 45RPM 2LP version of this epic work presents the music in the richest, most dynamic and realistic sound it's ever enjoyed.
Improving upon the label's critically acclaimed 180g LP pressing, this deluxe 45RPM set is mastered from the original master tapes and overflows with the information, textures, and colors afforded by wider grooves. The result: Spacious, airy, and you-are-there sonics that trump all prior versions. In addition to correcting the imaging, Mobile Fidelity's collectable version captures the full tonal range of Santana's guitar and nuances of his distinctive touch. It all brings you closer to the music and enhances your emotional connection to this stellar album.
Indeed, separation between Carlos Santana's fluid fills, spicy solos, and broiling grooves and pianist Gregg Rolie's soulful Hammond organ runs allows the music to come alive with a newfound freshness and radiance. Songs simmer, with each passage bursting forth with vibrant color. Just like the equally essential follow-up Abraxas, Santana also lays claim to one of the biggest (and unfortunate) production gaffes in music history. Until Mobile Fidelity fixed the error with its 180g LP and 24K Gold releases, Santana had never been heard correctly.
For nearly four decades, copies were produced with the left and right channels reversed, meaning that everything was placed in a backwards manner. This even extended to compilations on which individual songs from Santana were included. Rest assured that, in addition to boasting reference audiophile sonics, this 180g 45RPM 2LP set gets all the specifications exactly right. And with a record of this magnitude, you want everything to be perfect.
Bound by natural chemistry and earthy spirituality, the record's innovative synthesis of myriad styles goes beyond anything that came before-as well as nearly everything that's followed. Playing with the finest band that the iconic guitarist ever had, Santana doesn't water down any exotic roots or simply incorporate mainstream Western styles into a Latin framework. This is a true hybrid, responsible for opening up borders, transcending cultural divides, and, most importantly, exhilarating the senses.
Released weeks before the band blew minds at Woodstock, the groundbreaking record stands alongside Miles Davis' Bitches Brew and Jeff Beck's Beck-Ola as a pillar of rock fusion. Featuring the Top Ten radio smash "Evil Ways" and jam favorite "Soul Sacrifice," it hasn't aged a day. Hear like never before why Rolling Stone says Santana is #149 on its list of the Greatest Albums of All Time.
This title is not eligible for discount.1. Waiting
2. Evil Ways
3. Shades Of Time
8. You Just Don't Care
9. Soul Sacrifice$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
In A Silent Way (Awaiting Repress)Float Into the Ether: Gorgeous 1969 Experimental Treasure Among the Most Atmospheric Jazz Albums Ever Recorded
Delicate, Immersing, Dynamic: Mobile Fidelity Reissue Magnifies the Bold Textures, Soothing Ambience, and Transcendent Moods
Davis First Fusion Album Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams
Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and Four & More Also Available from Mobile Fidelity
Shhh. The command to be quiet is no just part of the title of one of the two sprawling compositions on this pioneering album. Its also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis first full-on fusion effort and part of his electric era, the 1969 landmark claims a Whos Who lineup that sends the music into an ethereal stratosphere.
Part of Mobile Fidelitys Miles Davis catalog restoration series, In a Silent Way now immerses the listener in linoleate landscapes starlit by the intuition, suspension, and paradoxes wrought by a once-in-a-lifetime collective. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of jazz, rock, and ambience, following a loose theory Davis dubbed New Directions.
Few albums are so delicately textured. And on Mobile Fidelitys meticulous analog reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams inventive percussive touch he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Hollands extrapolative bass, and the mosaic of keys.
If the records only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons not the least of which is the seemingly telepathic communicative methods employed by the groups members. The lineup is great on paper, but, if its even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.
Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis decorative spirals. And as color is the primary unit of currency on Davis Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the sets maverick reputation attained via musings on solitude rather than explosions of noise.
Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producers could attempt and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.
This title is not eligible for discount.1. Shhh/Peaceful
2. In a Silent Way/Its About That Time$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Gasoline AlleyNumbered Limited Edition LP
Rod the Mods 1970 Landmark Set Tone for All Folk-Rock Albums That Followed
Evocative, Low-Key, and Rustic: Gasoline Alley Finds Stewart At His Peak
Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI: LP Has Never Sounded More Organic, Warm, or Transparent
Backed By Fellow Faces Ron Wood, Ronnie Lane, Ian MacLagan, Kenny Jones
Stewarts Equally Iconic Every Picture Tells A Story Also Available on LP from Silver Label
No matter what era or phase of Rod Stewart you prefer, nearly everyone is unanimous in choosing the artists early 1970s output as his very finest. Proof comes courtesy of Gasoline Alley. A 1970 record that literally set the template for all folk-rock efforts that followed, the critically acclaimed album has been cited as one of the 1001 Albums You Must Hear Before You Die and remains a blueprint for evocative vocals, low-key presentation, and incredible interpretation.
Barely removed from his debut, Stewart comes into his own on Gasoline Alley, essentially a largely unplugged record on which the singer surrounds himself with a transcendent blend of acoustic guitars, mandolin, fiddle, piano, and understated percussion and channels the music with a gritty, rock n roll attitude. The results? Tough, organic, warm, swaggering, and unfettered songs that bow to country, rockabilly, blues, and folk influences all the while managing to belong to their own genre. Its just one of the reasons why Gasoline Alley remains a study in distinctive excellence.
Another is due to Stewarts passionate singing. Sensitive, understated, wistful, and raggedly worn, he inhabits the role of a journeyman that inhabits the narratives on standard-bearing covers of Bob Dylans Only a Hobo, Elton Johns Country Comforts, and the R&B shuffle Cut Across Shorty. He conveys a bevy of complex emotionssadness, regret, optimism, sorrow, loss, humor, yearningwith a poignancy that suggests every song here is disarmingly personal. Of course, having a band sympathetic to his desires and directions, and one that claims the talent of players such as guitarist Ronnie Wood and organist Ian MacLagan, doesnt hurt matters.
Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition LP allows Gasoline Alley to come across with unrivaled warmth, organic tones, and transparent presence. The signature acoustic-electric blend of rock, blues, soul, and country crackles with energy; midrange and highs are vastly improved, affording listeners a clearer image of the Faces dynamic contributions and chemistry. And Stewarts vocals take place right in your room. Wait until you hear the inflections and contrasts.
Dont hesitate on this all-time rock and folk classic.
This title is not eligible for discount.1. Gasoline Alley
2. It's All Over Now
3. Only A Hobo
4. My Way Of Giving
5. Country Comforts
6. Cut Across Shorty
7. Lady Day
8. Jo's Lament
9. You're My Girl (I Don't Want To Discuss It)$24.99Vinyl LP - Sealed Buy Now