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  • Bringing It All Back Home Bringing It All Back Home Quick View

    $49.99
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    Bringing It All Back Home

    Ranked 31/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    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.

    1. Subterranean Homesick Blues
    2. She Belongs To Me
    3. Maggies Farm
    4. Love Minus Zero/No Limit
    5. Outlaw Blues
    6. On the Road Again
    7. Bob Dylans 115th Dream
    8. Mr. Tambourine Man
    9. Gates of Eden
    10. Its Alright, Ma (Im Only Bleeding)
    11. Its All Over Now, Baby Blue
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Sinatra's Swingin' Session Sinatra's Swingin' Session Quick View

    $34.99
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    Sinatra's Swingin' Session

    Mastered from the Original Master Tapes


    Legend has it that when Frank Sinatra initially stepped into the recording studio for the first of four sessions, he asked Nelson Riddle to speed up the tempos to the songs that landed on Sinatra's Swingin' Session!!! It's safe to say that the arranger followed orders and that the results-buoyant, cheery, fun, exuberant, zesty, and wonderfully jazzy-speak for themselves. This 1961 effort remains the Chairman's fastest, hardest-swinging set. And oh, how it swaggers.


    Mastered from the original master tapes, Mobile Fidelity's numbered limited edition 180 gram LP of this gem possesses a punchiness, immediacy, forcefulness, and dynamic heft that rivals even what's heard on a pristine original Capitol pressing-provided you can even find one. The reissue will help convert your room into a studio stuffed with horn players and percussionists, with Sinatra, decked out in a trademark fedora and suit, holding court at the center of it all. Sinatra's Swingin' Session!!! isn't a live album, but it hits with the gusto and tang of one.


    Forget about incorrect rumors that state that this album was only completed due to contractual obligations and that Sinatra hurried through the material. No matter the circumstances, nothing here is tossed-off or rushed. As always, Sinatra takes it all seriously, pouring his all into each of the dozen tracks here. He wouldn't have it any other way. Name another singer from his era (or any) that could possibly keep time with these uptempo beats and sound as if he isn't even breaking a sweat. Needless to say, Sinatra has a blast making it all happen.


    Riddle's arrangements help push forward the tunes, whether they be happy standards such as "When You're Smiling (The Whole World Smiles With You)," optimistic finger-snappers like "S'posin'," or the evergreen "Blue Moon," punctuated with a memorable tenor sax solo. Melodies unfurl like red ribbons on packages; grooves alternate between galloping and gallivanting; even ballads can't resist moving to joyous rhythmic patterns. Throughout, Sinatra's casual, uninhibited singing rises above the band, producing emotions that are at once frisky, lighthearted, pleasurable, and contagious. Dust off your dancing shoes.


    This title is not eligible for discount.

    1. When You're Smiling (The Whole World Smiles With You)
    2. Blue Moon
    3. S'posin'
    4. It All Depends on You
    5. It's Only a Paper Moon
    6. My Blue Heaven
    7. Should I?
    8. September in the Rain
    9. Always
    10. I Can't Believe That You're in Love With Me
    11. I Concentrate on You
    12. You Do Something to Me
    Frank Sinatra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Live At Carnegie Hall Live At Carnegie Hall Quick View

    $49.99
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    Live At Carnegie Hall

    Stupendous 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
    Bill Withers
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Ricky Sings Again Ricky Sings Again Quick View

    $14.99
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    Ricky Sings Again

    Ricky Nelson Ricky Sings Again on Numbered Limited Edition LP from Mobile Fidelity Silver Label


    Foundation-Establishing Rock n' Roll Album Includes Eternal Hit "Lonesome Town"


    A Late 1950s Vocal and Instrumental Touchstone: Nelson Comes Into His Own, Moving Away from Teen Pop and Towards Serious Rockabilly


    Stellar Backing Band Includes Elvis Presley Sideman/Guitarist James Burton and Backing Vocalists the Jordanaires


    Also Includes Top 10 Singles "Believe What You Say," "It's Late," and "Never Be Anyone Else But You"


    Superb Sound: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI


    Ricky Nelson will forever be identified with the ageless single "Lonesome Town." The career-defining smash is included here, on a record that arguably remains the picturesque idol's peak moment, a 1959 set on which the singer moves away from teen pop and towards serious rock n' roll and rockabilly on par with the likes of Elvis Presley and Buddy Holly. Loaded with material expressly written for Nelson as well as tunes penned by Hank Williams and Johnny Cash, and featuring an all-star session musician band, Ricky Sings Again is a foundation-building 1950s album.


    Exceeding the fidelity of any prior analog pressing and affording a warmth missing from Capitol's out-of-print digital reissues, this Silver Label LP-pressed at RTI and mastered on Mobile Fidelity's internationally acclaimed mastering system-teems with detail, presence, dynamics, and authority. With help from his legendary father, Ozzie, Nelson enjoyed superb studio production, heard here in the form of balanced instrumentation, natural tonalities, wide and deep soundstages, and you-are-there vocals. Studio dimensions, too, come across with palpable body and precision. Since the record is a collection, some of the tracks are in mono, others in early stereo.


    Backed by a stellar band that includes Elvis Presley guitarist James Burton and in-demand studio bassist James Kirkland, Nelson delivers what remains a 1950s classic that stands up to everything recorded by his famous contemporaries. Burton mimics the sound of a train on "One Of These Mornings," just one of the myriad tunes here on which the Rock and Roll Hall of Fame member lays down fabulous lines and rockabilly licks that both shade and support the concise melodies. While largely recognized for the melancholy ballad "Lonesome Town," one of four Top 10 singles on the set, Ricky Sings Again is as much about early rock n' roll and extraordinary singing. About that voice.


    Simultaneously tender and rollicking, innocent and mature, Nelson conveys a rainbow of emotions, pouring over country-flavored weepers and beat-driven rockabilly numbers with equal parts sensitivity, smoothness, and sincerity. A surfeit of heavenly background harmonies and innovative guitar-led breaks make masterpieces out of upbeat offerings such as "You Tear Me Up" as well as slow-dance invitations like "Old Enough to Love." Add the Jordanaires on back-up vocals, and there's something for everyone here.


    No matter the performance, Nelson demonstrates time and again on Ricky Sings Again why he was inducted into the Rock and Roll Hall of Fame in the institution's second year of existence-and why, even more so than Elvis during 1958-59, he was the period's leading singles artist.



    This title is not eligible for discount.

    1. It's Late
    2. One of These Mornings
    3. Believe What You Say
    4. Lonesome Town
    5. Trying to Get to You
    6. Be True to Me
    7. Old Enough to Love
    8. Never Be Anyone Else But You
    9. I Can't Help It (If I'm Still In Love With You)
    10. You Tear Me Up
    11. It's All in the Game
    12. Restless Kid
    Ricky Nelson
    $14.99
    Vinyl LP - Sealed Buy Now
  • Sketches of Spain Sketches of Spain Quick View

    $34.99
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    Sketches of Spain

    Ranked 356/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Davis Third and Final Pairing With Arranger Gil Evans Yields Watershed Innovations


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


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


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


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


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


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


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


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


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


    This title is not eligible for discount.

    1. Concierto de Aranjuez (Adagio)
    2. Will O the Wisp
    3. The Pan Piper
    4. Saeta
    5. Solea
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • For LP Fans Only (Speakers Corner) For LP Fans Only (Speakers Corner) Quick View

    $34.99
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    For LP Fans Only (Speakers Corner)

    Along with the album A Date With Elvis (RCA LPM-2011), For LP Fans Only is one of the most important special productions of the young King of Rock'n'Roll. Because Elvis had been conscripted into the US army, no new recordings could take place, and so record producers delved deep into the sound archives and dug out a few singles from his Sun Records days, mixed them with a couple of early RCA songs and a number from the Love Me Tender soundtrack, and, hey presto! a new Elvis LP was born. The overwhelming success of this album is not solely confined to the stylistic homogeneity of this collection of fresh, youthful songs. Far more, it's because for many fans the record offered the only substitution for the highly coveted but rare original singles That's All Right, Mystery Train and My Baby Left Me.



    Not without reason has today's 'bits-and-bytes' generation ignored the words on the cover and produced several re-releases. Which just goes to emphasise the widespread opinion that this is one of Elvis's very best albums and at the same time one of the most important in the whole of rock'n'roll - especially in the present vinyl pressing.





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Various Bands







    About Speakers Corner



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



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



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



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



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



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



    1. That's All Right

    2. Lawdy, Miss Clawdy

    3. Mystery Train

    4. Playing For Keeps

    5. Poor Boy

    6. My Baby Left Me

    7. I Was The One

    8. Shake, Rattle And Roll

    9. I'm Left, You're Right, She's Gone

    10. You're A Heartbreaker
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Layla (Pre-Order) Layla (Pre-Order) Quick View

    $49.99
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    Layla (Pre-Order)

    Ranked 115/500 On Rolling Stone Magazine's List Of The 500 Greatest Albums Of All Time.



    Eric Clapton and Duane Allman in the Same Band for the Only Time: Derek and the Dominos' Layla a Timeless Batch of Fire-Pot Blues, Poignant Gospel, Searing Rock, and Lustful Emotion


    Mastered from the Original Master Tapes and Pressed at RTI: Mobile Fidelity 180g 2LP of Layla Is the Definitive-Sounding Analog Edition, Presents Music With Immersive Detail and Realism


    The reputation of Derek and the Dominos' Layla and Other Assorted Love Songs, their lone record, precedes it. Eric Clapton performing in the studio with Duane Allman, Bobby Whitlock, Carl Radle, and more for the only time. A batch of fire-pot blues, poignant gospel, and searing rock - all birthed from the leader's insatiable lust for his friend George Harrison's wife. Now, experience it all, and one of the most famous guitar solos and codas in history, in unsurpassed sound courtesy of this quintessential Mobile Fidelity reissue.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 2LP set exposes the brilliance of Tom Dowd's original production and the scope of the virtuoso musicians' playing. You've never been closer to the aching vocals, stinging leads, tormented emotions, or wowing intensity that grace every track. Clapton's tones emerge with unprecedented soulfulness. Afforded their own space in the mix, Allman's slide-guitar passages crackle with urgency. All-important sonic components such as soundstaging, imaging, and dynamics transport you to the actual event. Mobile Fidelity's analog version testifies on behalf of why fans deemed Clapton god.


    Then, of course, there's the title track - crowned the 27th greatest song of all time by Rolling Stone. What to say about the outro - arguably the most famous, passionately penetrating, visceral, double-edged guitar solo in history. Clapton's strings weeping with longing, hope, regret, unrequited love. It deserves the best-possible sonic platform, and receives it here, on a pressing that brings Slowhand's every finger moment into great relief. Get inside Clapton's head, burrow into the conflicted emotions fluttering in his heart as he pines for his another man's wife, and in the process, produces an album that forever lives in the souls of anyone who's ever loved and lost.


    Clapton's pained yearning permeates everything here. Works such as the swampy Tell the Truth, the pleading Why Does Love Got to Be So Sad?, and blues-drenched Have You Ever Loved a Woman? attest to his raw-nerve discomfort, guilt, and desire. He leaves teardrops on the microphone stand and blood on the floor, singing and playing as if his life depends on it and if, by some miracle, the music will serve as both a confessional and apology to Harrison. It's all magnified by Clapton achieving a spiritual and sonic oneness with his band, which matches his high-stakes precision with a rolling, tumbling looseness.


    Allman adds firepower and achieves a still-unrivaled simpatico bond with Clapton, but each participant soars. Consider: The call-and-response, Sam and Dave-derived vocal exchanges between Whitlock and Clapton. Rich, creamy, Southern-stoked blends of R&B, blues, and soul. Vibrant tapestries in which the pianos, bass, guitars, and voices explode with ravishing fervor, naturalism, and desperation. Indeed, maybe a combo this great was only intended one shot in the studio. Perhaps the paralyzing degree of potency on display here, and the musicianship that remains the standard by which any blues-rock is judged, is meant to be preserved as one standalone record. Whatever the case, this is the analog version to own.

    1. I Looked Away
    2. Bell Bottom Blues
    3. Keep on Growing
    4. Nobody Knows You When You're Down and Out
    5. I Am Yours
    6. Anyday
    7. Key to the Highway
    8. Tell the Truth
    9. Why Does Love Got to Be So Sad?
    10. Have You Ever Loved a Woman
    11. Little Wing
    12. It's Too Late
    13. Layla
    14. Thorn Tree in the Garden
    Derek & The Dominos
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Eat A Peach Eat A Peach Quick View

    $49.99
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    Eat A Peach

    Allman 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.

    1. Ain't Wastin' Time No More
    2. Les Brers in A Minor
    3. Melissa
    4. Mountain Jam
    5. One Way Out
    6. Trouble No More
    7. Stand Back
    8. Blue Sky
    9. Little Martha
    The Allman Brothers Band
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • No One Cares No One Cares Quick View

    $34.99
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    No One Cares

    Mastered from the Original Master Tapes


    Sometimes it's okay to judge a book by its cover. Depicting a down-and-out Frank Sinatra entrenched in his own private world while glamorous couples dance and swirl around him, oblivious to his presence and condition, the artwork to the aptly titled No One Cares testifies on behalf of the music and moods within the record's grooves. One of the crooner's top-flight ballads efforts, the 1959 Capitol effort again finds him pairing with sympathetic arranger Gordon Jenkins and inhabiting each note of every song.


    Hear the fruits of this timeless collaboration in fresh light on Mobile Fidelity's numbered, limited edition 180 gram LP. Mastered from the original master tapes, this newly minted version of No One Cares caresses the senses via its profound instrumental depth, widescreen soundstage, front-to-back perspective, transparent high-frequency responses, and dynamic midrange. Neither too close-up nor too distant, Sinatra's voice is rendered with realistic scale and gorgeous balance to the extent that nothing is artificially sweetened or heightened. Akin to Mobile Fidelity's previous Sinatra reissues, this LP is meticulously rendered to the highest-possible standards, ensuring that the fidelity is in line with the timeless performances and the iconic singer's exacting standards.


    Often viewed as the sister album to 1957's Where Are You?, this third pairing of Sinatra and Jenkins yields slower tempos, more deliberate textures, and lonelier emotions. A profound sense of tragedy burrows into both the luscious strings and Sinatra's timbre, laced with ache, wanderlust, and dismay. Jokingly referred to by Ol' Blue Eyes as one of his "suicide albums," it instead harnesses the wrenching agony, painful solitude, and desolate helplessness that accompany romantic loss and failure of fulfillment. They're universal sentiments, and sensations Sinatra convincingly conveys, envisioning himself as the protagonist in each of the songs.


    Rich and fully developed, the arrangements consistently trace Sinatra's footsteps rather than ever overwhelming or competing with him. Instrumental flourishes accent the Voice's own swells and silences, while a classically stated elegance and plaintive devices contribute to an underlying subtlety. Rare has a singer achieved frank introspection and reflective intimacy in such hurtful, believable fashion. Sinatra's voice comes on without a hiccup, his phenomenal baritone and breath control epitomizing ageless singing. You don't want to be without this one.


    This title is not eligible for discount.

    1. When No One Cares
    2. A Cottage for Sale
    3. Stormy Weather
    4. Where Do You Go?
    5. I Don't Stand a Ghost of a Chance With You
    6. Here's That Rainy Day
    7. I Can't Get Started
    8. Why Try to Change Me Now?
    9. Just Friends
    10. I'll Never Smile Again
    11. None But the Lonely Heart
    Frank Sinatra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Foreigner Foreigner Quick View

    $34.99
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    Foreigner

    Blockbuster 1977 Debut Packed With Anthemic Classic Rock Hits and Heroic Guitar Riffs



    Feels Like the First Time: You've Never Heard Foreigner Sound So Immediate, Detailed, Warm, and Dynamic in Analog



    System-Testing Sonics: Half-Speed Mastered from the Original Master Tapes



    Blissful feelings arise at the mere mention of 70s arena rock. It gives listeners the permission to have fun, sing along to aircraft-hangar-size choruses, play air guitar solos, forget about any troubles, recall the experience of a first kiss, and quite simply, rock out. Few albums better instill these pleasures than Foreigners 1977 self-titled debut album, a five-times platinum blockbuster chock full of salacious riffs, soaring vocals, edgy beats, and lyrics that practically demand to be shouted. And while the record has always boasted clean, immediate production, never before has it exploded with the dynamic intensity and rich transparency now made possible on Mobile Fidelitys dynamic 180g LP. This is what rock n roll dreams are made of.



    Spearheaded by guitar hero Mick Jones, fresh off success with Spooky Tooth, Foreigner rallied around a talented collective pulled from the U.S. and U.K. Joining up with former King Crimson instrumentalist Ian McDonald and drummer Dennis Elliott, as well as keyboardist Al Greenwood and bassist Ed Gagliardi, Jones completed the puzzle with the addition of extraordinary singer Lou Gramm, whose vocal timbre and limitless pipes remain one of the most instantly identifiable combinations in music. Before long, two eternal radio classicsFeels Like the First Time and Cold As Ice, composed on a miniature piano and inspired by Hollywood star Joan Crawfordwere in the bag. Eight more tunes, each as solid as those that came before, followed, and Foreigner quickly became an overnight rock sensation.



    In contrast to much of the eras angrier fare and crudely produced music, Foreigner stood out by way of its clean, muscular, professional production. Still, Mobile Fidelity believed that underneath the surfaces, an even fresher, bigger-sounding record loomed. Half-speed mastered from the original master tapes, MoFis 180g LP presents the sextets roof-raising anthems and scintillating blend of guitars, synths, and Gramms soulful vocals across a wider, deeper soundstage than ever before imagined. Instrumental separation, tonal balance, and imaging are absolutely superb. Better still, the songs come across with an assertive liveliness that adds to their enjoyment, structure, and melodic character. The accessory flutes, saxophones, and synthesizer solos have never sounded so enmeshed within the overall sonic fabric.



    Get ready to hear your new favorite 70s rock album and push the limits of your systems dynamics.


    This title is not eligible for discount.

    1. Feels Like the First Time
    2. Cold as Ice
    3. Starrider
    4. Headknocker
    5. The Damage Is Done
    6. Long, Long Way from Home
    7. Woman Oh Woman
    8. At War with the World
    9. Fool for You Anyway
    10. I Need You
    Foreigner
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dire Straits (45 RPM) (Pre-Order) Dire Straits (45 RPM) (Pre-Order) Quick View

    $49.99
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    Dire Straits (45 RPM) (Pre-Order)


    Dire Straits' Self-Titled 1978 Debut Distinguished By Jazz-Inflected Mix Of Folk, Blues, Country, And Rock: Guitarist Mark Knopfler Displays Uncanny Precision, Intricacy, And Texture


    Mastered From The Original Master Tapes And Pressed At RTI For Optimal Sound: Mobile Fidelity 45RPM 2LP Set Engages With Natural Tones, Superb Balances, Reference Imaging, Sterling Clarity


    Breakout Dire Straits Album Includes Sultans Of Swing And Down To The Waterline: Band's Shuffles, Boogies, And Ballads Spark With Crispness, Soulfulness, Coolness


    Dire Straits' arresting self-titled debut arrived in the midst of punk's reign but couldn't have been further removed from the era's slash-and-burn style. Recorded in West London in February 1978, the band's tasteful, jazz-inflected set embraces folk, blues, and pub rock while also tracing a direct line back to the beat-oriented sound of early rock n' roll. Country and roots accents further distinguish the British quartet's stripped-down music from any 1970s peers, as does the transparent production, which has remained revered among audiophiles the world over - and which has never been better than on this meticulous analog pressing.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Dire Straits features natural tonalities, superb balances, you-are-there imaging, deep-black backgrounds, and pristine clarity. Even if you've heard this album hundreds of times before, you've never experienced it with such lifelike sonics and premium richness. This numbered, limited-edition collector's set immerses you within the smoky, laidback atmospherics of every song. This is how all vinyl should sound.


    Crucial to every arrangement, Mark Knopfler's winding guitar lines emerge with supreme transparency and multi-hued textural detail. His intricate playing comes across as if it's being transmitted via his 60s-era Fender Vibrolux amplifier placed right before you. The cleanliness, dimensions, and live feel are that good. His bandmates, too, benefit from the extra groove space afforded by this 45RPM edition. Rhythms skate and swirl; percussive effects resonate with crispness and attack; the leading edges of notes naturally decay.


    Dire Straits' strong, well-edited batch of original material further enhances the overall enjoyment and makes the record one whose pleasures go far beyond the organic sonics. Just as Knopfler's narratives pour forth with poetic and surrealist texts, the musical settings - an intoxicating combination of easygoing shuffles, back-hall boogies, and pop-honed ballads - mirror the old-fashioned soulfulness inherent in the classic recordings of the late 50s and early 60s. The lyrics are equally captivating.


    Drawing from his time as a youth in Newcastle, Leeds, and London, Knopfler invests tunes with an autobiographical slant and emotional connectivity that become obvious the moment he opens his mouth to sing. Down to the Waterline, Wild West End, and Lions all feature colloquial touches that add to their reach. By extension, In the Gallery functions as a tribute to Leeds sculptor Harry Phillips (father of future Knoplfer collaborator, Steve Phillips) while the record's breakout smash, Sultans of Swing, pays homage to struggling bar bands.


    Through it all, Dire Straits performs with a subtle cool and clever poise that no band ever matched. Just how good is the chemistry? Bob Dylan heard the quartet and invited Knopfler and drummer Pick Withers to play on Slow Train Coming. But even Dylan himself didn't hear Dire Straits sound this magnetic back in its original heyday. Now, everyone can.

    1. Down to the Waterline
    2. Water of Love
    3. Setting Me Up
    4. Six Blade Knife
    5. Southbound Again
    6. Sultans of Swing
    7. In the Gallery
    8. Wild West End
    9. Lions
    Dire Straits
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed PRE-ORDER Buy Now
  • Bob Dylan's Greatest Hits Bob Dylan's Greatest Hits Quick View

    $49.99
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    Bob Dylan's Greatest Hits

    Bob Dylan's Greatest Hits on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Mastered from the Original Master Tapes, Five-Times Platinum Collection of Dylan's World-Changing Singles Spanning 1963 Through 1966


    Experience These Precedent-Setting Songs in the Best Fidelity Possible: Wider Grooves Translate into More Information, Detail


    Includes Anthems Such as Blowin' in the Wind, The Times They Are A-Changin', Like A Rolling Stone, and Mr. Tambourine Man


    Ten songs that ultimately changed the world. Ten songs pulled from precedent-establishing albums recorded between 1963 and 1966. More than five-million copies sold. In every way, Bob Dylan's Greatest Hits is a fundamental collection for every music lover, and the perfect choice for those seeking an introduction into the legend's vast career. For this is a collection so prized, even the cover photo won a Grammy.


    Mastered from the original master tapes on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored 45RPM analog version offers listeners of all stripes to hear some of the world's most important music ever recorded in supreme fidelity. While the tracks stem from several different albums, on this release, they share more in common than Bob Dylan-they share rich, sonic traits steeped in astounding dynamics, great balances, tremendous soundstaging, and realistic imaging. Wider grooves mean more information reaches your ears.


    Greatest-hits volumes are often hit-and-miss propositions not because of what they contain, but because of what's missing. Filtering the top selections from the six formative, life-altering albums Dylan made between 1963 and 1966 is an arbitrary process but one performed impeccably on this set. Home to his biggest chart successes as well as his most influential songs, Bob Dylan's Greatest Hits is a veritable template for any aspiring singer-songwriter, an American history lesson, and a seminal release for anyone new to his work-as well as for audiences that find some of his deeper cuts an acquired taste.


    Every signature facet of Dylan is represented, and done so authoritatively. Serious, protest folk anthems ("Blowin' in the Wind," "The Times Are A-Changin'") sit alongside defiant rock statements ("Positively Fourth Street"), landscape-changing epics ("Like a Rolling Stone"), beautiful blues-inspired odes ("I Want You"), and surrealist dreamscapes ("Subterranean Homesick Blues"). Infused with literary poetry, impassioned emotion, and career-making performances, this material doubles as a definitive account of American culture and society, and functions as a soundtrack to the era's social movements.


    Gathered in one place, it's no wonder the songs here gave Dylan what remains the biggest-selling album of his career. Accept nothing less than the best version in existence.


    This title is not eligible for discount.

    1. Rainy Day Women #12 & 35
    2. Blowin' In The Wind
    3. The Times They Are A-Changin'
    4. It Ain't Me, Babe
    5. Like A Rolling Stone
    6. Mr. Tambourine Man
    7. Subterranean Homesick Blues
    8. I Want You
    9. Positively 4th Street
    10. Just Like A Woman
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Shake It Up Shake It Up Quick View

    $34.99
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    Shake It Up

    Sonically Spectacular LP Half-Speed Mastered from the Original Tapes!


    1981 Album a Return to Pop and a New-Wave Landmark


    A return to form after the departure that was 1980s muddled Panorama, the Cars Shake It Up bursts forth with a rich assembly of synthesizers, drum machines, electronic blips, and catchy melodies that make it an early 80s pop staple. Known the world over, the famous title track proves the bands arrangement skills were in perfect shape and set the stage for a record overflowing with memorable hooks and complementary rock riffs.


    Shake It Up also plays witness to primary songwriter/vocalist Ric Ocaseks increased cynicism and biting wit. While the Cars never took a rosy-eyed view of romance, the songs here impart a newfound sense of sympathy, regret, limbo, and reservation. The beauty of the Carsand all ten tunes hereis that the music suggests something else entirely. Such subliminal emotions and dynamic contrasts act as a magnet, and the band plays as if its in on the secret.


    They've always cultivated a dark side--girls make boys want to end it all even after the boys have grown up. They've always basked in the shadow of Roxy Music, too. But they've never been so stylishly nightmarish--except for the title cut, even the fast ones don't aim for fun. Robert Christgau, The Consumer Guide


    Apart from the party vibe of the title cut, the Cars aim for deeper targets and smarter undertones. Shake It Up is defined by an urban edginess and modern feel that comes alive on tunes such as Cruiser and circular Im Not the One, a pop gem laded with stacked vocals and keyboard lines that double as a horn section. The bands arrangements have never been betteror more involved. Absent the cheesiness that would mar the groups late-period work, the songs ride on the strength of keyboard-heavy lines and layered harmonies. You will not be disappointed.


    Half-speed mastered from the original analog tapes, Mobile Fidelitys numbered limited-edition LP focuses on the myriad pitch changes that control the musical directions. Recorded at the bands Synchro Sound studios by famed Queen producer Roy Thomas Baker, the album takes advantage of electronic textures and varying timbres in immersing the listener in accessible albeit abstract washes of sound. MoFis engineers made sure to capture every note and nuance; this marks the first time that Shake It Up has been remastered in any way, let alone from the original tapes.


    This title is not eligible for discount.

    1. Since You're Gone
    2. Shake It Up
    3. I'm Not the One
    4. Victim of Love
    5. Cruiser
    6. A Dream Away
    7. This Could Be Love
    8. Think it Over
    9. Maybe Baby
    The Cars
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Cars The Cars Quick View

    $34.99
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    The Cars

    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
    The Cars
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bill Withers' Greatest Hits Bill Withers' Greatest Hits Quick View

    $34.99
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    Bill Withers' Greatest Hits

    Bill Withers Bill Withers' Greatest Hits on Numbered Limited Edition 180g LP from Mobile Fidelity


    Bill Withers' Smooth Soul Voice, Mellow Grooves, and Gospel Accents Inform Beloved Work: Booker T. Jones, Al Jackson, and Stephen Stills Among Guest Instrumentalists on Greatest Hits


    Essential Bill Withers' Greatest Hits Compilation Includes Ubiquitous Classics Such as Ain't No Sunshine, Lean on Me, Lovely Day, Use Me, and Grandma's Hands


    Mobile Fidelity 180g LP Pressed at RTI: Roots R&B Has Never Sounded Better on Any Format


    Bill Withers created mellow, downhome-style soul for barely more than a decade before retreating from the industry to pursue craftsman interests. Yet over the course of the handful of albums he made for Sussex and CBS, the Appalachian native struck lasting emotional chords in legends ranging from Booker T. Jones to Stephen Stills - not to mention the millions of listeners that fell under the spell of now-standard tracks such as Lean on Me, Use Me, and Ain't No Sunshine. The antithesis of the sweaty R&B shouter that prowled the edge of stages, Withers dealt in calm and vulnerability, qualities that come to fore on the seminal Bill Withers' Greatest Hits.


    Pressed on 180g LP at RTI, Mobile Fidelity's vinyl reissue of the 1981 compilation 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. Always prized for its naked honesty and pure conviction, Withers' music positively caresses the senses on this LP, the unadulterated production and beautiful soundscapes revealed anew with each listen.


    Incredibly, Withers almost never got a shot at recording. After receiving a deal from Sussex while laboring as a toilet-seat manufacturer, he landed in the care of Stax bandleader Booker T. Jones, who gathered most of his fellow MG members - along with Stills and Jim Keltner - to assist in Withers' debut. Two takes from those sessions, the Grammy-winning Ain't No Sunshine and devotional Grandma's Hands, are included here, and showcase the vocalist's incredible breath control, folksy drawl, and restrained phrasing. They also indicate his penchant for converting biographical experience into eminently catchy combinations of pop, gospel, blues, and soul.


    Evidence of Withers' crossover appeal is found not only via his chart successes on both the pop and R&B charts, but in the DNA of his best work. There's not one forgettable moment on Greatest Hits. Covered by the likes of Fiona Apple, Mick Jagger, Isaac Hayes, Alicia Keys, and dozens more, Use Me rides a riveting clarinet riff and urban tempo to express the double-edged feelings associated with an edgy relationship. On the loping Who Is He (And What Is He to You?), Withers again splits the bitter and sweet. For the Latin-tinged Lovely Day, Withers holds a single note for 18 seconds and composed a song that's been sampled and rerecorded countless times by artists spanning Diana Ross to R. Kelly. And with Lean on Me, the West Virginian devised a masterpiece that's been for more than four decades part of the classic American songbook, an updated hymn carried to immortality by members of the Charles Wright & 103rd Street Rhythm Band.


    A veritable template for British soul contemporaries like Sam Smith and an extension of the timeless fare explored by Van Morrison, Curtis Mayfield, and Al Green, Bill Withers' Greatest Hits belongs in every music lover's library.


    This title is not eligible for discount.

    1. Just the Two of Us

    2. Use Me

    3. Ain't No Sunshine

    4. Lovely Day

    5. I Want to Spend the Night

    6. Soul Shadows

    7. Lean on Me

    8. Grandma's Hands

    9. Hello Like Before

    10. Who Is He (And What Is He to You)?
    Bill Withers
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Document (Awaiting Repress) Document (Awaiting Repress) Quick View

    $34.99
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    Document (Awaiting Repress)

    Ranked 470/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Urgent 1987 Breakthrough Catapulted Band to Stardom: Includes Classics Such as "The One I Love" and Unforgettable "It's the End of the World As We Know It"


    Half-Speed Mastered From the Original Master Tapes: RTI-Pressed 180 gram LP Abounds With Incredible Dynamics, Faithful Tonalities, and Tremendous Imaging


    Scott Litt-Produced Set Overflows With Mature Creativity, Fiery Intent, Catchy Hooks, and Stellar Songwriting


    The last album R.E.M. made before migrating to Warner Bros., and very arguably the last start-to-finish masterpiece the band created in its acclaimed career, Document turned Georgia's celebrated sons into mainstream stars. Musically unadulterated and sonically pure, the group's 1987 work epitomizes the unmistakable sound and feeling of college rock during a period where innocence, experimentation, and adventurousness freely collided before being co-opted and branded as "alt-rock." Document is the record to which everyone refers when citing R.E.M. as the premier example of how a respected band is expected to behave, evolve, and maintain its integrity after experiencing mass success.


    Mastered from the original master tapes and carefully pressed at RTI, Mobile Fidelity's numbered limited-edition 180g LP edition of this breakthrough set explodes with unrivaled instrumental signatures, deep soundstages, and faithful tonalities that allow listeners insight into the actual makes and models of the guitars utilized on the recording. Sharp and clean, Scott Litt's widescreen production throws the band into clear relief, magnifying its razor-edged melodies and drummer Bill Berry's foundation-establishing beats. R.E.M. has never sounded so muscular or righteous.


    Indeed, the quartet plays as if on a mission, its electrified energy teeming with a contagious fervor that helps fuel political numbers such "Welcome to the Occupation," "Exhuming McCarthy," "Disturbance at the Heron House," and "King of Birds." R.E.M. comes into its own, peeling back the layers on vagueness and utilizing Michael Stipe's biting lyrics and Mike Mills' amped-up guitar riffs to punctuate its catchy fare. Aptly, songs dance around a central image of fire.


    The group's hallmark jangle-pop motifs and swooning refrains remain, yet they exhibit a determined attitude and wily quality that brings everything up to another notch. Toss in surf-rock fills, feedback accents, deep-South rootsiness, and subversive undertones, and Document stands as near-flawless statement: A reaction to the social and material currency of its era, a call-to-arms to overcome trauma via hope, humor, and justified anger.


    All these characteristics bleed into the manic anthem "It's the End of the World As We Know It (And I Feel Fine)," a renegade shot of beat poetry, delirious delivery, punk-infused vitality, and bounce-around-the-room chaotic abandon that never grows stale. Is R.E.M. serious or joking? Or both? Part of the genius is that it's still impossible to tell. R.E.M. delights in taking listeners for a ride on Document, the swerving, drifting, stylistic interplay, and brief detours all of a whole, the group relishing in the fun of going for broke and succeeding at all of its goals.


    We don't need to go on about R.E.M.'s standing as a group that's influenced countless artists and inspired millions of listeners. If you own just one of the quartet's albums, it should be Document.


    This title is not eligible for discount.

    1. Finest Worksong
    2. Welcome to the Occupation
    3. Exhuming McCarthy
    4. Disturbance at the Heron House
    5. Strange
    6. It's the End of the World As We Know It (And I Feel Fine)
    7. The One I Love
    8. Fireplace
    9. Lightnin' Hopkins
    10. King of Birds
    11. Oddfellows Local 151
    R.E.M.
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Kansas City Revisited (Pure Pleasure) Kansas City Revisited (Pure Pleasure) Quick View

    $34.99
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    Kansas City Revisited (Pure Pleasure)

    Cool jazz meets swing on this memorable but long out-of-print LP. Valve trombonist Bob Brookmeyer, tenors Al Cohn and Paul Quinichette, pianist Nat Pierce, guitarist Jim Hall, bassist Addison Farmer and drummer Osie Johnson perform four songs associated with the late-'30s Count Basie Orchestra plus a couple of numbers (A Blues and Travlin' Light) that are sung by the underrated vocalist Big Miller who was making his recording debut at the time.




    Musicians:



    • Bob Brookmeyer (trombone)

    • Al Cohn, Paul Quinichette (tenor saxophone)

    • Nat Pierce (piano)

    • Jim Hall (guitar)

    • Addison Farmer (bass)

    • Osie Johnson (drums)

    • Big Miller (vocal)



    Recording: October 1958 at Olmsted Studios, New York City, by Dick Olmsted

    Production: Jack Lewis




    About Pure Pleasure



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



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



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



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



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



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



    1. Jumping At the Woodside
    2. A Blues
    3. Blue and Sentimental
    4. Doggin' Around
    5. Moten Swing
    6. Travlin' Light
    Bob Brookmeyer
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Skull & Roses Skull & Roses Quick View

    $49.99
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    Skull & Roses

    Numbered Limited Edition 180g 2LP Set


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


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


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


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


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


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


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


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


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


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


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


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


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


    This title is not eligible for discount.

    Side 1

    1. Bertha

    2. Mama Tried
    3. Big Railroad Blues

    4. Playing in the Band


    Side 2
    1. The Other One


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


    Side 4
    1. Wharf Rat

    2. Not Fade Away/Goin' Down The Road Feeling Bad

    Grateful Dead
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Spinners The Spinners Quick View

    $34.99
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    The Spinners


    The Spinners Spinners On Numbered Limited Edition 180g LP From Mobile Fidelity


    Spinners' Silky Smooth 1972 Self-titled Record Birthed The Philadelphia Soul Sound: Includes Top 5 Hits I'll Be Around And Could It Be I'm Falling In Love


    Mastered From The Original Master Tapes: Mobile Fidelity 180g LP Presents Groundbreaking Soul Album With Pristine Detail, Soothing Warmth, And Involving Emotionalism


    Sweeping Strings, Funk Rhythms, Brassy Rejoinders, Immaculate Harmonies, And Satiny Lead Singing Fill Thom Bell's Melodic Arrangements: Few Albums Sound Creamier Than This Watershed Effort


    The timeless music and expert arrangements are about the only things smoother than the powder-blue suits sported by the Spinners on the cover of their resplendent self-titled 1972 record. The band's first album for Atlantic after departing Motown, Spinners ranks as an all-time soul classic - a filler-free set boasting immaculate harmonies, sweet melodies, and impeccably matched vocals. Thom Bell's flawless production puts it all over the top. Yielding an ideal balance of lushness and grit, the collaboration between the Detroit-based group and studio veteran yielded a record that birthed the celebrated Philadelphia Sound. Now, you can finally experience it in audiophile-grade sonics.


    Mastered from the original tapes and pressed at RTI, Mobile Fidelity's numbered limited-edition 180g LP of Spinners presents the quintet's magnum opus with pristine detail, soothing warmth, and involving emotionalism. Free of previously constraining ceilings, highs soar to their intended heights. Each singer's voice can be distinctly heard amidst the expert mix. Superb dynamics, soundstaging, and imaging highlight Bell's gorgeous orchestrations as well as the Spinners' pillow-soft mellifluousness. Backing instrumentation, ranging from rolling bass lines and punctual horns to swaying strings and crisp high-hat beats, unfolds with reference-caliber purity and transparency. Not many 1970s albums of any genre sound silkier, creamier, or more tonally rich than this LP.


    While the career-defining performances within the grooves cannot be overlooked, Spinners remains equally notable for its historical importance. At the dawn of the 70s, Motown still held sway as the dominant soul style. Yet the Spinners' decision to move to Atlantic - prompted by a suggestion by Aretha Franklin - and refashion their approach with Bell signaled a sea change that ushered in a smoother, sweeter variety of R&B punctuated with sweeping strings, jazzy flourishes, brassy replies, and funk rhythms. Few, if any, vocal groups mesh these traits more convincingly, pleasingly, and naturally than the Spinners on this watershed effort.


    Anchored by Top 5 smashes like Could It Be I'm Falling In Love, Spinners signaled the beginning of a partnership with Bell that lasted seven years and elevated the band to stardom. Indeed, even in spite of the four hit singles, the record remains defined by an artistic consistency, watertight focus, and collective unity that make everything here deserving of close attention. Flush with catchy hooks and pop accents, each song is treated as a potential anthem. Laden with depth and richness, Bell's savvy, wide-open arrangements frame the Spinners' satiny singing with sensual class and refined delicacy.


    Heaven-sent voices do the rest. Making his first appearance on record as a member, Philippe Wynne treats the carefully honed material as a breakout session for his dulcet tenor on tracks such as One of a Kind (Love Affair). Not to be outdone, the equally measured Bobbie Smith mesmerizes with his deft phrasing, reedy timbre, and sparkling clarity, never finer than on the million-selling I'll Be Around. Solo or paired together, Wynne and Smith's glorious leads run the gamut from upbeat and optimistic to sad and forlorn, forming the backbone of a masterwork that addresses romance (Just You and Me Baby), regret (How Could I Let You Get Away), and social ills (Ghetto Child) with consummate passion.


    This title is not eligible for discount.

    1. Just Can't Get You Out of My Mind
    2. Just You and Me Baby
    3. Don't Let the Green Grass Fool You
    4. I Could Never (Repay Your Love)
    5. I'll Be Around
    6. One of a Kind (Love Affair)
    7. We Belong Together
    8. Ghetto Child
    9. How Could I Let You Get Away
    10. Could It Be I'm Falling In Love
    The Spinners
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Stranger The Stranger Quick View

    $49.99
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    The Stranger

    Ranked 67/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Joels Breakthrough Record Loaded With Smash Hits: Movin Out (Anthonys Song), Just the Way You Are, Only the Good Die Young, Shes Always a Woman


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


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


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


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


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


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


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


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


    This title is not eligible for discount.

    1. Movin Out (Anthonys Song)
    2. The Stranger
    3. Just the Way You Are
    4. Scenes From an Italian Restaurant
    5. Vienna
    6. Only the Good Die Young
    7. Shes Always a Woman
    8. Get It Right the First Time
    9. Everybody Has a Dream/The Stranger (Reprise)
    Billy Joel
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • An Innocent Man An Innocent Man Quick View

    $49.99
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    An Innocent Man

    An Innocent Man on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Infectious Doo-Wop, Carefree Soul, Harmonious Pop a Testament to Music of Joel's Childhood


    Album Sounded Mediocre For the Longest Time-No Longer: Mobile Fidelity Reissue Allows You to Hear This Pleasing Set With Fresh Ears


    Another Joel Blockbuster: Seven-Times Platinum 1983 Affair Includes "Uptown Girl," "For the Longest Time," "An Innocent Man," "Tell Her About It"


    After making The Nylon Curtain, Billy Joel felt the need to exhale and get back to the carefree music of his childhood. He also met supermodel Christie Brinkley, who brought serious degrees of levity and romance to his world. In love, relaxed, and out to have fun, the singer crafted An Innocent Man, arguably the most easygoing and pleasing album of his career. Featuring four Top 40 pop singles and the same number of Top 5 Adult Contemporary hits to grace the Billboard charts, the record remains a commercial staple.


    An essential title in Mobile Fidelity's Billy Joel catalog restoration series, An Innocent Man is mastered from the original master tapes and pressed on 180 gram LP at RTI. The resulting presentation effortlessly outshines that heard on all previous editions of this 1983 set. Particularly, the effervescent harmonies now possess an airiness and extension that lends to realistic tonal decay. Instruments are balanced and placed on a wider, deeper soundstage, contributing improved to improved imaging and spaciousness. Joel's voice, too, comes across with tremendous clarity, presence, and body. These songs have never sounded so contagious.


    Per usual, Joel proves a melodic jukebox. The vocalist's grasp on structure, hooks, and delivery help make this batch of songs among his most beloved, easy to hum, and impossible to ignore. Much of the appeal resides in Joel's understanding of the early rock and roll, doo-wop, and soul that he grew up hearing in New York, and the manners in which the popular songwriters favored simplicity over complexity, good-natured vibes over seriousness, and romantic charm over introspective sadness.


    Whether floating on a cloud on the giddy "Uptown Girl" (check out his falsetto), doubling as both the lead and background vocalist on the reminiscent-themed "The Longest Time," or tapping gospel undercurrents on the tribute "Keeping the Faith," Joel revels in 50s and 60s pop constructs, turning out amiable refrains and unforgettable moods. Love perfumes the air, and Joel can't get enough, and it's a feeling he passes on to his listeners.


    As the calm before stormier periods in his life, and a timeless connection to America's finest pop music traditions, An Innocent Man is indeed innocent-a guiltless pleasure that keeps on giving.


    This title is not eligible for discount.

    1. Easy Money
    2. An Innocent Man
    3. The Longest Time
    4. This Night
    5. Tell Her About It
    6. Uptown Girl
    7. Careless Talk
    8. Christie Lee
    9. Leave a Tender Moment Alone
    10. Keeping the Faith
    Billy Joel
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Idlewild South Idlewild South Quick View

    $34.99
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    Idlewild South

    Idlewild South, the sophomore release from America's sovereign Southern rock band the Allman Brothers, is easily their greatest studio album. Unlike the band's labyrinthine live shows, which are distinguished by their immense, walloping swamp rock, this album focuses on the considerable songwriting capabilities of Gregg Allman and Dicky Betts. Plus, it showcases the bands original lineup, before multiple tragedies began taking their toll: The lightning slide guitar of Duane Allman, the vocals and Hammond B-3 of his brother Greg Allman, lead guitarist Dickey Betts, bassist Berry Oakley, and the thunderous drum tandem of Butch Trucks and Jaimoe Johanson. This album lays bare their talent for weaving disparate but distinctly Southern elements of rock, gospel, soul, jazz, and R&B into a cohesive and original whole. The legendary Engineer/Producer Tom Dowd oversaw these sessions, which resulted in the Bible-thumping Revival, the smash hit Midnight Rider, the dirty blues of Don't Keep Me Wonderin', the soul-soothing Please Call Home, and the legendary In Memory of Elizabeth Reed, which would go on to become the penultimate Allman Brothers' concert war-horse.


    This title is not eligible for discount.

    1. Revival
    2. Don't Keep Me Wonderin'
    3. Midnight Rider
    4. In Memory Of Elizabeth Reed
    5. Hoochie Coochie Man
    6. Please Call Home
    7. Leave My Blues At Home
    The Allman Brothers Band
    $34.99
    Gain 2 Ultra Analog 180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Communique (45 RPM) (Pre-Order) Communique (45 RPM) (Pre-Order) Quick View

    $49.99
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    Communique (45 RPM) (Pre-Order)


    Smooth, Effortless, Relaxed, Tuneful, And Deceivingly Simple: Dire Straits' Communique Teems With Technical Perfectionism, Southern-Styled Grooves, And Low-Key Blues


    Reference-Level Detail, Depth, Soundstaging, Balance, And Presence: Communique Has Never Sounded Better Than On Mobile Fidelity's 180g 45RPM 2LP Version


    Mark Knopfler's Mesmerizing Textures, Intricate Lines, And Crisp Tones Pair With Engaging Storytelling And Tight Rhythms: Every Song An Example Of Understated Virtuosity


    The performances on Dire Straits' Communique are so smooth and effortless, they were originally criticized for replicating the blueprints of the band's breakout debut. Time, however, has a way of changing perspectives and exposing the truth. More than 35 years after its original release in June 1979, Communique rightfully takes its place as the group's most underrated record - a nine-track set spiked with engaging storytelling, relaxed vibes, and deceiving simplicity.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of Communique elevates Dire Straits' sophomore album to an even higher plane. Recorded in the Bahamas by Muscle Shoals veterans Barry Beckett and Jerry Wexler, the songs benefit from a laidback approach that makes guitarist/vocalist Mark Knopfler and company's stellar playing seem even more fluent - particularly when experienced on this collector's 45RPM version, on which the wider grooves allow for more detail retrieval and deeper musical insight.


    Knopfler's mesmerizing guitar textures and composed vocals appear as if they're right in front of you, holding court amidst expansive soundstages and deep-black backgrounds. Details, imaging, and presence are on a level associated with the finest audiophile recordings. You'll be hard-pressed to find another LP with cleaner, pinpoint-accurate tones. Mobile Fidelity's LP also brings into transparent view Knopfler's seemingly perfect intricate lines as well as the simpatico accompaniment from his band mates. Whole, lively, and balanced, the bass and drums arrive with a solidity rarely heard on albums of this era. Communique has truly never sounded better.


    Of course, the audiophile sonics mean little if the artistic content is lacking. Needless to say, Dire Straits' technical perfectionism and creative elan prevail throughout. Knopfler's penchant for sketching cynical characters is further developed on moody tracks like Where Do You Think You're Going and News, while Wexler's presence at the boards ensures the band keeps the rhythms extra tight. The quartet's low-key blues and swampy, Southern-styled grooves turn every song into an exercise in understated virtuosity.


    Refusing to give into excess, magnetic tunes such as Lady Writer and Angel of Mercy split a fine line between insinuating and insisting. The group shows off a combination of control, virtuosity, and tunefulness that harkens back to a rock n' roll's classic period while also pointing the way ahead. Need indisputable evidence of Dire Straits' compositional strengths? Cue up the closing Follow Me Home on this pressing and get lost amidst the peacefulness of the gentle surf and chirping crickets that frame the song. Heavenly.


    The sequence serves as additional proof that Communique remains one of the best-sounding rock records ever made.

    1. Once Upon a Time in the West
    2. News
    3. Where Do You Think You're Going?
    4. Communique
    5. Lady Writer
    6. Angel of Mercy
    7. Portobello Belle
    8. Single-Handed Sailor
    9. Follow Me Home
    Dire Straits
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed PRE-ORDER Buy Now
  • Eye in the Sky (Speakers Corner) Eye in the Sky (Speakers Corner) Quick View

    $34.99
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    Eye in the Sky (Speakers Corner)

    Unimpressed and untouched by the glorification of individuals so typical for the music business, the Alan Parsons Project proved that even without spectacular light shows, rock celebrities in the band or self-composed songs it was possible to rise to stardom. Alan Parsons, who first took up an apprenticeship as a sound engineer at EMI and was later responsible for several Paul McCartney productions and the Pink Floyd album 'Dark Side Of The Moon' at the legendary Abbey Road Studios, drew upon his experience in order to further his solo career. While the co-producer Eric Woolfson wrote songs, Parsons who had an uncanny feeling for sound conjured up synthetic and natural sounds.



    As with all albums from the early years, 'Eye In The Sky' is inspired by important topics of the times. True to the 'no-future lifestyle' of the 80s, the songs impart a somewhat depressive character which serves as a stark contrast to the steely rock rhythms, free from electronic gimmicks. In addition one finds addictive harmony in the vocal polyphony ('Gemini'), blaring brass with a Spanish rhythm ('Silence And I') and a velvety string sound ('Old And Wise'). All in all a great achievement by the British wizard of sound at the mixing console.



    Musicians:



    • Alan Parsons (keyboards)

    • Eric Woolfson (keyboards, vocal)

    • Andrew Powell (arranger, conductor)

    • Ian Bairnson (guitar)

    • Mel Collins (saxophone)

    • David Paton (bass, guitar, vocal)

    • Stuart Elliot (drums, percussion)




    Recording: 1981 at Abbey Road Studios, London, by Alan Parsons

    Production: Alan Parsons and Eric Woolfson




    About Speakers Corner



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



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



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



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



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



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



    1. Sirius
    2. Eye in the Sky
    3. Children of the Moon
    4. Gemini
    5. Silence and I
    6. You're Gonna Get Your Fingers Burned
    7. Psychobabble
    8. Mammagamma
    9. Step by Step
    10. Old and Wise
    The Alan Parsons Project
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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