Rolling Stone's Top 500 Albums

Ranked 327/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

25th Anniversary Reissue Of Influential Landmark Album

Certified Gold In 1998

Remastered By Emily Lazar At The Lodge

“Maybe the greatest work of traditional American indie rock that anyone has ever made. It’s also probably the best road-trip album of its generation and the signal of a rare talent’s arrival. It deserves to be celebrated. Let’s do that.” — Stereogum

“A landmark of foul-mouthed, compromised intimacy, a tortured confessional, a workout in female braggadocio, and a wellspring of penetrating self-analysis and audacity.” — The New Yorker

“Exile is just one perfect song after another” — Rolling Stone

“The genius of Liz Phair’s debut is its wonderful simplicity. Phair was as straightforward as you could get-- her music was incredibly catchy, rootsy pop, fueled by timeless, original melodies and lyrics whose honesty was refreshing and, occasionally, shocking.” — Pitchfork, #5 in the list of top 100 albums of the ‘90s

2018 marks the 25th anniversary of Liz Phair’s landmark Exile in Guyville album. On May 4th, Matador Records will reissue the album on vinyl and CD. Re-mastered by Emily Lazar at The Lodge, the album is set for a remembrance worthy of its greatness. In addition to the straight reissue, Matador is also releasing Girly-Sound To Guyville, an extensive vinyl box set to celebrate the anniversary.

Originally released in 1993, Exile In Guyville is a seminal album and a feminist landmark. Its legendary status has only grown over the years. It’s continually included in countless lists…Rolling Stone’s 500 Greatest albums of all time + 100 best albums of the 90s, Pitchfork’s Top 100 albums of the 90s, etc. Numerous essays and think pieces have been written about it and the number of accolades piled on is endless.

Since the release of Exile in Guyville, Liz Phair has continued to defy expectation and break barriers. She has released five albums and is currently working on a new one. She has also composed music for television shows and received awards for that work. In November, it was announced that she would be fulfilling a longtime dream to be an author, having received a two-book deal with Random House. Her first book will be called Horror Stories which focuses on “heartbreak, motherhood, and everything in between”.

*Please note that release dates are subject to change.

HALF-SPEED MASTER : (2LP) reissue of 1972 album, mastered at Abbey Road Studios from the original tapes & pressed on 180-gram audiophile quality vinyl! Includes 'Tumbling Dice' & 'Happy'.

One of the most enduring musical partnerships of our time, Rock and Roll Hall of Famers Crosby, Stills & Nash (CSN) are revered for their peerless vocal harmonies, inspired songwriting and musical virtuosity. When the trio first sang together at a friends Laurel Canyon house in 1968, their uncanny harmonic convergence was immediately apparent, and CSN took shape. Each member came to the new venture from other high-profile bands, Crosby from the Byrds, Stills from Buffalo Springfield and Nash from the Hollies, and together they formed that rarest of musical entities, a supergroup that lived up to its billing.

CSNs stunning 1969 self-titled debut album is one of the true masterpieces of the rock n roll canon. The album made it all the way to #6 on the Billboard charts and delivered two Top 40 Pop singles with Marrakesh Express and Suite: Judy Blue Eyes. Also features the CSN classics Guinnevere, Wooden Ships, Helplessly Hoping and Long Time Gone.

Crosby, Stills & Nash are a most important part of the brilliant history at Atlantic Records. The uniqueness of their vocal blend, as well as the uniqueness of each solo voice, made them the top vocal group in the world, and they are still today thrilling millions of fans they have accumulated over the years. Ahmet Ertegun

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.

The Minutemen's revolutionary working-man's jazz/punk/rock 1984 album Double Nickels On The Dime sprawls across 43 angry, literate, incredibly short tracks. Underscored by George Hurley's crisp, off-kilter drumming, the tight clarity of these compositions is still stunning. The finest album of the Minutemen's career, Double Nickels On The Dime is remarkably as impressive as it is ambitious.

Gatefold Cover

Meat Loaf's Bat Out Of Hell will forever be one of rock music's most enduring masterpieces. Sung and performed by Meat Loaf, composed by Jim Steinman & produced by Todd Rundgren, this 1977 forty times plus platinum classic will stand always as one of the most successful albums in recording history.With its rock opera anthems like the ultimate power ballad Two Out Of Three Ain't Bad, + Paradise By The Dashboard Light & of course the stellar heavy metal title track, Meat Loaf delivered his entire persona into each and every track. Included with ltd. gatefold cover + mastering by Joe Reagoso.

Rumours is the eleventh studio album by the British-American rock band Fleetwood Mac. Largely recorded in California during 1976, it was produced by the band with Ken Caillat and Richard Dashut and was released on 4 February 1977 by Warner Bros. Records. The record reached the top of both the United States Billboard chart and the United Kingdom Albums Chart. The songs "Go Your Own Way", "Dreams", "Don't Stop", and "You Make Loving Fun" were released as singles. Rumours is Fleetwood Mac's most successful release; along with winning the Grammy Award for Album of the Year in 1978, the record has sold over 40 million copies worldwide, making it one of the best-selling albums of all time. Rumours has received diamond certifications in several countries, including the US, Canada, and Australia.

The band wanted to expand on the commercial success of the 1975 record Fleetwood Mac, but struggled with relationship breakups before recording started. The Rumours studio sessions were marked by hedonistic behaviour and interpersonal strife among Fleetwood Mac members; these experiences shaped the album's lyrics. Influenced by pop music, the record's tracks were recorded using a combination of acoustic and electric instruments. The mixing process delayed the completion of Rumours, but was finished by the end of 1976. Following the album's release in 1977, Fleetwood Mac undertook worldwide promotional tours.

Rumours garnered widespread critical acclaim. Praise centred on its production quality and harmonies, which frequently relied on the interplay among three vocalists. The record has inspired the work of musical acts in different genres. Often considered Fleetwood Mac's best release, it has featured in several publications' lists of the best albums of the 1970s and the best albums of all time.

Heavyweight 180 Gram Vinyl

Gatefold Sleeve

Certified Triple Platinum

Reached Number One In The UK And The Us

The Wall is the eleventh studio album by the English progressive rock band Pink Floyd. It is the last studio album released with the classic lineup of guitarist David Gilmour, bassist/lyricist Roger Waters, keyboardist Richard Wright and drummer Nick Mason before Wright left the band. Released as a double album on 30 November 1979, it was supported by a tour with elaborate theatrical effects, and adapted into a 1982 feature film, Pink Floyd – The Wall. The album features the band's only number one single; "Another Brick in the Wall Part 2".

As with Pink Floyd's previous three albums, The Wall is a concept album and explores themes of abandonment and personal isolation. The album is a rock opera that follows Pink, a character whom Waters modelled after himself and the band's original leader, Syd Barrett. Pink's life begins with the loss of his father during the Second World War and continues with abuse from his schoolteachers, an overprotective mother, and the breakdown of his marriage; all contribute to his eventual self-imposed isolation from society, represented by a metaphorical wall. Waters conceived the album during Pink Floyd's 1977 In the Flesh Tour, when his frustration with the audience became so acute that he imagined a wall between the audience and the stage.

The Wall features a harsher and more theatrical style than Pink Floyd's previous albums. Wright left the band during its production but remained as a salaried musician, performing with Pink Floyd during the Wall tour. The album was one of the best selling of 1980, and by 1999 it had sold over 23 million RIAA-certified units (11.5 million albums), making it the third highest certified album in the United States. Rolling Stone placed The Wall at number 87 on its list of "The 500 Greatest Albums of All Time".

The Blueprint is the sixth studio album by American rapper Jay-Z, released September 11, 2001 on Roc-A-Fella Records in the United States. Its release was set a week earlier than initially planned in order to combat bootlegging. Recording sessions for the album took place during 2001 at Manhattan Center Studios and Baseline Studios in New York City. Contrasting the radio-friendly sound of Jay-Z's previous work, The Blueprint features soul-based sampling and production handled primarily by Kanye West and Just Blaze. At the time of its recording, Jay-Z was awaiting two criminal trials, one for gun possession and another for assault, and had become one of hip hop's most dissed artists, receiving insults from rappers such as Nas, Prodigy, and Jadakiss.

Mastered by George Marino at Sterling Sound

The original master tapes for this title had not been used since 1980 previous to this reissue. Also, for this Analogue Productions reissue the decision was made to master and present this album as it was originally mixed to master tape. With very few exceptions all versions of this title to date, including the original, have had the channels incorrectly reversed. With this version, you'll hear this title as it was intended to be heard, without the channels reversed. And again, those reissues you've heard up until now - definitely still breathy, warm and rich - were made from something less than the master. Prepare to hear the veil removed.

Astrud Gilberto says that her husband, Joao, informed Stan Getz that she "could sing at the recording." Creed Taylor recalls that it took Getz's wife, Monica, to get both Astrud and Joao into the recording studio; Mrs. Getz had a sense that Astrud could make a hit. And Getz himself is on record saying that he insisted on Astrud's presence over the others' objections. So who's right? What does it matter? The Gilbertos, Getz and the legendary Antonio Carlos Jobim followed up the bossa nova success of Jazz Samba with this, the defining LP of the genre. With one of the greatest hit singles jazz has ever known - each one who hears it goes "Ahhh!"

Originally released in 1963.

This title is not eligible for discount.

Dylan's 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form

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

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

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

Numbered, Limited Edition

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

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

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

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

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

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

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

This title is not eligible for discount.

Dylans 1963 Sophomore Effort Marks the Beginning of a Cultural Sea Change

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

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

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

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

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

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

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

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

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

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

This title is not eligible for discount.

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

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

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

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

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

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

This title is not eligible for discount.

Californication is the seventh studio album by great American rock band Red Hot Chili Peppers.

It was released on June 8, 1999, on Warner Bros. Records and was produced by the much admired Rick Rubin.

Californication marked the return of John Frusciante, who had previously appeared on Mother's Milk and Blood Sugar Sex Magik; to replace Dave Navarro as the band's guitarist. Frusciante's return was credited with changing the band's sound altogether, producing a notable shift in style from the music recorded with Navarro.

The album's subject material incorporated various sexual innuendos commonly associated with the band, but also contained more varied themes than previous albums, including lust, death, contemplations of suicide, California, drugs, globalization, and travel.

Californication is the Chili Peppers' most commercially successful studio release, with over 16 million copies sold worldwide, and more than 5 million in the United States alone. As of 2002, the album had sold over 4 million copies in Europe.

The record produced several hits for the band, including "Otherside", "Californication" and the Grammy Award-winning "Scar Tissue". Californication peaked at number three on the U.S. Billboard 200. The record marked a significant change in style for the band, displaying a decidedly more spiritual rock n roll side.

Ranked 118/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

All things wonderful about Sly & The Family Stone in the first years of their existence came together on their 1969 album 'Stand!'. The enthusiasm, the blurring of lines, the testing of boundaries; it all blends together in the Funk of the Family Stone…

'Stand!' is one of those records that came to define the flower power generation; the activism in 'Don't Call Me Nigger, Whitey', the psychedelic pulsating dance rhythms in 'I Want To Take You Higher', the spirit of belonging in 'Everyday People'. Stand! isone of the most sampled records in Hip Hop and R&B. This is the pinnacle of Sly The Family Stone's career, and it has a rightful place in music history.

Inducted into the Grammy Hall Of Fame in 1999 & Ranked #99 on Rolling Stone's 500 Greatest Albums Of All Time!

More than four decades after they first stormed the Pop and R&B charts in the winter of 1968 with “Dance To the Music” – a groundbreaking jam that has the distinction of being chosen for the Grammy Hall Of Fame, the Rock And Roll Hall Of Fame’s "500 Songs That Shaped Rock," and Rolling Stone magazine’s "500 Greatest Songs Of All Time" – the music of Sly and the Family Stone is more vital than ever.

The band's catalog (every single composition penned by Sylvester Stewart aka Sly Stone) includes their three career-defining RIAA gold Billboard #1 Pop/ #1 R&B smashes, “Everyday People,” “Thank You (Falletinme Be Mice Elf Again)” and “Family Affair,” and their signature Top 40 hits that began with “Dance To the Music” and went on to include “Stand!,” “Hot Fun In the Summertime,” “Runnin’ Away,” “If You Want Me To Stay,” “Time For Livin’," and more.

Those songs not only inspired an era of youthful rebellion and independence, but also had a potent effect on the course of modern music in general. A dazzling fusion of psychedelic rock, soul, gospel, jazz, and Latin flavors, Sly’s music brought the next step – funk – to a disparate populace of hip artists. From Miles Davis and Herbie Hancock, to the halls of Motown and George Clinton’s P-Funk, from Michael Jackson and Curtis Mayfield, down the line to Bob Marley, the Isley Brothers, Prince, Public Enemy, Red Hot Chili Peppers, Arrested Development, the Black Eyed Peas, the Roots, OutKast and on and on, Sly’s DNA is traceable to every cell of the musical stratosphere.

Since it took almost two years to make, the fifth album by bonafide superstars Sly and the Family Stone had everyone salivating in anticipation. Needless to say, Sly did not disappoint! 1971's There's A Riot Goin' On finds the Bay Area-based genius getting funkier than ever before, even as his artistic vision becomes progressively darker. Some may have been disappointed that Sly didn't simply re-create the chart successes of earlier singles, but who can argue with the flat-out brilliance of turning recent big hit "Thank You (Falettinme Be Mice Elf Agin)" on its head to create the mind-boggling "Thank You For Talkin' To Me Africa."

Two of this hypnotic album's best tunes "Family Affair" and "Runnin' Away" were gigantic chart hits, and There's A Riot Goin' On hit #1 Pop/ #1 R&B within a few weeks of its release in November, proving beyond any shadow of a doubt that Sly Stone could totally deliver the goods! A transformative masterpiece, There's A Riot Goin' On was inducted into the Grammy Hall Of Fame in 1999, and is ranked #99 on Rolling Stone magazine’s '500 Greatest Albums Of All Time.'

Ranked 309/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time.

Although Jane's Addiction's 1987 self-titled debut was an intriguing release (few alternative bands at the time had the courage to mix modern rock, prog rock, and heavy metal together), it paled in comparison to their now classic major-label release one year later, Nothing's Shocking. Produced by Dave Jerden and Jane's Addiction vocalist Perry Farrell, the album was more focused and packed more of a sonic wallop than its predecessor; the fiery performances often create an amazing sense that it could all fall apart at any second, creating a fantastic musical tension. Such tracks as "Up the Beach," "Ocean Size," and one of alt-rock's greatest anthems, "Mountain Song," contain the spaciousness created by the band's two biggest influences, Led Zeppelin and the Cure. Elsewhere, "Ted, Just Admit It..." (about serial killer Ted Bundy) and the haunting yet gorgeous "Summertime Rolls" stretched to epic proportions, making great use of changing moods and dynamics (something most alt-rock bands of the time were oblivious to). An incredibly consistent and challenging album, other highlights included the rockers "Had a Dad" and "Pigs in Zen," the horn-driven "Idiots Rule," the jazz instrumental "Thank You Boys," and the up-tempo "Standing in the Shower...Thinking." Like most great bands, it was not a single member whose contribution was greater: Perry Farrell's unique voice and lyrics, Dave Navarro's guitar riffs and wailing leads, Eric Avery's sturdy basslines, and one of rock's greatest and most powerful drummers, Stephen Perkins. Nothing's Shocking is a must-have for lovers of cutting-edge, influential, and timeless hard rock.
-All Music Guide

180 Gram Double LP.

Famously produced without the use of computers The White Stripes' true breakout masterpiece puts a new spin on vintage. Chances are good we don’t have to tell you, but Elephant was miraculously made in just two weeks at a London studio outfitted with an eight-track tape machine and recording gear that predates the Beatles. While a loose concept album in theme, there’s no missing the back to basics sound in its physical creation that makes it perfect for the raw fullness of vinyl.

Elephant won the 2004 Grammy Award for Best Alternative Music Album. In addition to the smash hit Seven Nation Army, which won for Best Rock Song, the group's fourth release and first for a major label is highlighted by the punked-out blues riffs of Black Math, the high-pitched Queen-like squall of There's No Home For You Her, and the spirited interpretation of Burt Bacharach's I Just Don't Know What to Do With Myself.

Blockbuster Album Defined Singer-Songwriter Movement, Swept Grammy Awards, Spawned Four Hit Singles, Sold More Than 25 Million Copies Worldwide

Ranked #36 on Rolling Stone's List of the 500 Greatest Albums of All Time

Carole King’s Tapestry is one of the rare albums that immediately plays in your head the moment its title, cover art, or songs are mentioned. Having achieved status of near-mythical proportions, it is the singer-songwriter record you’d bring to the proverbial desert island if you were limited to one choice. Renowned for its lifelike production, Tapestry now sounds clearer, richer, and more emotional courtesy of Mobile Fidelity’s 180g LP. Audiophiles, this is the version that brings Carole King right before your eyes and into your room. This is the edition you need. It’s the edition you deserve.

Faithful to original album producer Lou Adler’s vision of making King (and not just any pianist player) appear seated and playing in front of listeners, this numbered limited-edition 180g LP delivers utmost transparency, balance, warmth, intimacy, and perhaps most importantly, feeling. Aware of how many times this iconic work has been re-released, Mobile Fidelity engineers settled for nothing less than the absolute finest sonic presentation possible when mastering Tapestry from the original master tapes.

The results mirror what went down in the A&M Studios. Lean, simple, direct, and so nakedly real the sonics evoke what might be heard on a professional demo tape, this collectable LP gives what Rolling Stone deems the 36th Greatest Album of All Time the due it deserves. King’s personal singing, her graceful pianism, the integral rhythmic foundation provided by the likes of drummer Russ Kunkel and guitarist Danny Kortchmar, and the symmetrical contributions of guest instrumentalists ranging from saxophonist Curtis Amy to guitarist James Taylor resonate with three-dimensional imaging and cozy realism. Every note, every basic movement, accurately rendered with exquisite detail and full-bodied tonality.

Indeed, one reason—apart from the flawless songwriting, earnest deliveries, and eloquent performances—Tapestry endures is because of the naturalness of the production and songs. King’s unadulterated articulations on love, conviction, friendship, place, sadness, and companionship ring true because there’s no doubting their meaning, intent, or sincerity. Tapestry makes you feel, and compels you to get closer to the music, and the musicians performing. It is an album of organic nuances, suggestive intents, and engaging melodies.

This title is not eligible for discount.

2014 Remaster by Bob Ludwig at Gateway Mastering From The Original Analogue Tapes

Mastered For Vinyl by Doug Sax & Robert Hadley at The Mastering Lab, Inc, Ojai, CA

2014 version of the iconic 1973 Goodbye Yellow Brick Road album mastered for vinyl by Doug Sax and Robert Hadley at The Mastering Lab, California. This is two discs of heavy 180GM audiophile quality vinyl. Selling over 31 million albums worldwide and going platinum in the US seven times over, Goodbye Yellow Brick Road is widely regarded as the album that made Elton John a household name. Includes ‘Benny and The Jets’, ‘Goodbye Yellow Brick Road’, ‘Candle In The Wind’, ‘Saturday Night’s All Right For Fighting’ and ‘Harmony’.

Sundazed is proud to present the first-ever reissue of the original mono mix of this landmark double album, recorded in Nashville with Al Kooper, Robbie Robertson, and a cadre of top session cats. The result, later described by Dylan as "that thin, wild mercury sound," is a unique masterwork that sounds as vital today as when first released in 1966. This Sundazed edition is presented on 180 gram vinyl, from the absolute original analog mono masters.

An exact repro of Bob Dylan's 1963 breakthrough LP in accurate, vintage mono sound, with all-analog mastering from the original master tapes. The Freewheelin' Bob Dylan, his second album, is filled top to bottom with classics, including Blowin' In The Wind, Don't Think Twice, It's All Right, Masters Of War and A Hard Rain's A-Gonna Fall.

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.