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  • Brothers And Sisters Brothers And Sisters Quick View

    $34.99
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    Brothers And Sisters

    Brothers and Sisters on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    1973 Affair Introduces Southern Rock to Popular Parlance


    Unrivaled Sonics: Mastered from the Original Master Tapes, Mobile Fidelity Edition Provides Window Into What Transpired in Macon Studios


    Dickey Betts Leads Group Through Mellower Country Rock, Pairs With Pianist Chuck Leavell


    Chart-Topping Album Includes Smash "Ramblin' Man" and Favorites "Jessica" and "Southbound"


    Brothers and Sisters is significant for myriad reasons. It's the first album the Allman Brothers Band made in its entirety after Duane Allman's death. It also came after bassist Berry Oakley's spookily similar passing, yet he appears on two of the songs. The 1973 set also marks the emergence of guitarist Dickey Betts as the collective's leader. And pianist Chuck Leavell's arrival. But for than anything else, the record remains noteworthy for its incredible soulfulness and completeness.


    Mastered from the original master tapes and pressed on dead-quiet vinyl RTI, Mobile Fidelity's 180 gram LP of Brothers and Sisters joins the unparalleled reissue imprint's other Allman titles in presenting the superlative ensemble's work in the most lifelike, uncompromised fidelity possible. Whether it's the feather-light harmonic layering of the collective's background vocals, echoing cavity of Leavell's gospel-tinted piano, skin-against-skin smack of Jaimoe's congas, or sweet dobro lines laid down by Betts, this version betters all previous pressings by bringing you, the listener, as close to the studio as any record feasibly can.


    Having stayed at the top of the Billboard charts for five consecutive weeks, Brothers and Sisters constitutes the Allman Brothers Band's biggest commercial triumph. Given the circumstances surrounding its creation, such an accomplishment hardly seemed possible. Fresh from licking their wounds over Duane's tragic motorcycle accident, the group experienced dÉjà vu when Oakley met the same fate just blocks away from where his mate was killed. Rather than collapse, the Allman Brothers Band tightened up and mellowed out, inviting Leavell to join instead of recruiting another guitarist.


    What the sextet gets in return for its troubles is music that marks the concrete beginnings of a form that soon become known as Southern rock. Leavell and Betts exchange notes as if the pair has been trading ideas since they were children. Slide guitars still tread over greasy grooves, yet the Allman Brothers Band digs deeper into country dirt, parlaying a twang anchored by Betts' picking and abetted by Gregg's organic, shot-of-blues vocals. The laidback vibe manifests on the signature "Ramblin' Man," a hit evocative of the record's breezy melodies and friendly interplay.


    The cover art further reveals the Allman Brothers Band's mindset. Golden, tranquil, idyllic, Southern, loving: It's a paradise-longing view that would soon come crashing down in the group's lives but one that, for the duration and existence of Brothers and Sisters, remains gloriously undisturbed.


    This title is not eligible for discount.

    1. Wasted Words
    2. Ramblin' Man
    3. Come and Go Blues
    4. Jelly, Jelly
    5. Southbound
    6. Jessica
    7. Pony Boy
    The Allman Brothers Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Toto IV (Speakers Corner) Toto IV (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Toto IV (Speakers Corner)

    Anyone who gives the dull name "Four" to their rock album must either be very sure of success or already have resigned. The group Toto may well have experienced such extremes as there was an enormous cleft between their amazing financial success and the crushing negative opinions voiced by the critics. Billboard criticised the superficial lyrics as being void of any sort of emotional weight while the Los Angeles Times aimed their fire at the musicians themselves, slamming them as dubious artists with a commercialised mentality.



    To this Toto struck back with their fourth album, which was an unparalleled success and brought them six Grammy awards. For a whole ten months Africa reigned at Number 1 on the charts and together with the super-hit Rosanna the two smash hits were a constant presence, backed up by a collection of impressive rock classics. A trip to the record shop is all that is needed to prove that this is unlikely to change in the near future. The bright red cover with its depiction of a sword will catch your eye, as though saying: It's got to be the Fourth!



    Musicians:



    • Steve Porcaro, David Paich (keyboard, vocal)

    • Steve Lukather (guitar, vocal)

    • Bobby Kimball (vocal)

    • David Hungate (bass)

    • Jeff Porcaro (drums, percussion)





    Recording: 1982 at Sunset Sound, Los Angeles, by David Leonard, Peggy McCreary & Terry Christian and Record One, Los Angeles, by Jamie Ledner, Niko Bolas & Lon LeMaster

    Production: Toto




    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. Rosanna
    2. Make Believe
    3. I Won't Hold You Back
    4. Good For You
    5. It's a Feeling
    6. Afraid Of Love
    7. Lovers In The Night
    8. We Made It
    9. Waiting For Your Love
    10. Africa

    Toto
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Kind Of Blue (Box Set) Kind Of Blue (Box Set) Quick View

    $59.99
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    Kind Of Blue (Box Set)

    Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time


    Best-Selling Album in Jazz History Receives the Prestigious Mobile Fidelity Treatment: Mastered from the Original Master Tapes


    Mobile Fidelity 180 gram 45RPM 2LP Box Set is Definitive Analog Version and Intended to Be Passed on to Generations


    If Theres a Stairway to Heaven, This is the Soundtrack: Epochal 1959 Record the Mt. Rushmore of Jazz Sessions


    Dream Team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb Make History


    How does one properly introduce an epochal record? Perhaps by unequivocally stating that it is the best-selling jazz album in history. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. Theres also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Yes, Kind of Blue is utterly inimitable.


    Part of Mobile Fidelity's Miles Davis catalog restoration series, the landmark has been given the ultimate white-gloves treatment. Half-speed mastered from the original master tapes, and pressed on 45RPM LPs at RTI, this sumptuous box set of the often-reissued album is a must for even fans that already possess multiple versions. Such is the illuminating transparency, reference dynamics, organic warmth, and instrumental detail exposed by the thoroughly scrupulous mastering process. If theres a stairway to heaven, this is the soundtrack.


    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 took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber.


    While no one has ever completely identified the magic behind the records allurethe otherworldly nature is part of its inherent charmmuch of the success lies with the band members. Davis intentionally handpicked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.


    An audiophile favorite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelitys reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, youll feel as if youve been whisked away to a jazz holy land. Quintessential.



    This title is not eligible for discount.

    1. So What
    2. Freddie Freeloader
    3. Blue in Green
    4. All Blues
    5. Flamenco Sketches
    Miles Davis
    $59.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM Box Set - 2 LPs Sealed Buy Now
  • Eat A Peach Eat A Peach Quick View

    $49.99
    Buy Now
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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
  • The Graduate (Speakers Corner) (On Sale) The Graduate (Speakers Corner) (On Sale) On Sale Quick View

    $34.99 $27.64 Save $7.35 (21%)

    Buy Now
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    The Graduate (Speakers Corner) (On Sale)

    With his film The Graduate, which was crowned with an Oscar and five Golden Globes, director Mike Nichols created far more than just the story of the erotic initiation of the college graduate Benjamin. Not only the scenario but also the production modalities were revolutionary. For the very first time the crusted morals of the American upper class were attacked by means of film, an Alfa Romeo - a European car - was advertised most effectively, and a soundtrack was put together from already existent, successful pop numbers. No words are really necessary about the music, since numbers such as Sound Of Silence, Mrs. Robinson and Scarborough Fair have entered into the annals of musical culture ever since they were used in the film. It is astounding to note how seamlessly the various works fit snugly into the film's context, as though they had been specially written for the scenes.



    This soundtrack is a monument to Dustin Hoffman, who played his first big role in the film, and it catapulted Simon & Garfunkel right to the top of the list of ballad singers. But it also recalls to memory the peppy, instrumental insertion numbers by Dave Grusin, who virtually fell into oblivion after all the hype about this provocative movie.



    Musicians:



    • Paul Simon (guitar, vocal)

    • Art Garfunkel (vocal)

    • Dave Grusin




    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.The Sound Of Silence - Simon And Garfunkel
    2. The Singleman Party Foxtrot - David Grusin
    3. Mrs. Robinson - Simon And Garfunkel
    4. Sunporch Cha-Cha-Cha - David Grusin
    5. Scarborough Fair / Canticle (Inerlude) - Simon And Garfunkel
    6. On The Strip - David Grusin
    7. April Come She Will - Simon And Garfunkel
    8. The Folks - David Grusin
    9. Scarborough Fair / Canticle - Simon And Garfunkel
    10. A Great Effect - David Grusin
    11. The Big Bright Green Pleasure Machine - Simon And Garfunkel
    12. Whew - David Grusin
    13. Mrs. Robinson - Simon And Garfunkel
    14. The Sound Of Silence - Simon And Garfunkel
    Simon & Garfunkel
    $34.99 $27.64 Save $7.35 (21%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Heaven Up Here Heaven Up Here Quick View

    $24.99
    Buy Now
    x

    Heaven Up Here

    Numbered Limited Edition



    Ranked 471/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    English Band's 1981 Sophomore Record A Superbly Articulate Expression of Post-Punk Gloom, Despair, and Melancholy That's Shot Through With Hope



    Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (America's Best Record Plant): LP Illuminates Myriad Textures, Atmospherics

    How strong and looming of an influence is Echo and the Bunnymen? Strong enough to be the one band name-dropped in a great piece of dialogue from the music-loving film High Fidelity, whereupon Jack Black's quipping record store clerk character cites the band as legitimate taste makers for much of the cutting-edge music that happened in the late 80's and beyond.



    And on no record is the English quintet's greatness more apparent than on 1981's sophomore Heaven Up Here, the group's first effort to chart in the U.S. and a Top 10 smash in its native U.K. The record's merits are legion-and timeless: vocalist Ian McCulloch's cavernous croon; dream-weaving guitar lines pushed through ominous, melodic soundscapes; neopsychedelic dirges and self-aware lyrics; glamorous drama and tortuous tension. These characteristics and more turn the music restrained euphoria and what the band called black magic.



    Rife with thick atmospherics and brooding dreamscapes, the harrowing songs clatter amidst arrangements infused with requisite air, space, and chamber echoes. Silhouetted guitar leads help convey moody dampness, despair, dread, and disgust, the themes directly connected to narratives that tackle distrust, dishonesty, betrayal, and arrested dreams. Cloudy and jagged for certain, but the majesty of Heaven Up Here relates to how, in spite of the haunted arrangements and claustrophobic feel, ribbons of light and hope illuminate its shadowy corners and nocturnal glow.



    Sharing much in common with Joy Division's period output and a precursor to later work by The Jesus and Mary Chain, The Cure, Love and Rockets, Ride, and countless other U.K. artists, Heaven Up Here soars on Will Seargant's angular six-string blues, McCulloch's vampiric grayness, and etched, stair-stepping bass movements.



    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), Silver Label numbered limited edition LP presents Echo and the Bunnymen's breakthrough in an involving fidelity that blows away what's on the original pressings and annihilates Rhino's CD remaster. Listeners will revel in the opened-up reverb, sound effects, complex tonalities, swimmy textures, and crafty overdubs that are so essential to the music. This is an 80's landmark, and if you like early U2, you need this album.



    About Silver Series: New from Mobile Fidelity Sound Lab, the MoFi Silver Label Vinyl Series will feature an eclectic mix of recordings. This series is mastered and cut on the famous Mobile Fidelity Sound Lab state-of-the-art Tim de Paravacini-designed mastering system. Vinyl will be pressed at RTI on audiophile-grade standard vinyl and will be numbered limited-editions. Future releases will continue to stretch stylistic boundaries, as the MoFi Silver Label continues to explore music from many different genres. Expand your musical horizons with the Silver Label!


    This title is not eligible for discount.

    1. Show of Strength
    2. With a Hip
    3. Over the Wall
    4. It Was a Pleasure
    5. A Promise
    6. Heaven Up Here

    7. The Disease
    8. All My Colours
    9. No Dark Things
    10. Turquoise Days
    11. All I Want
    Echo And The Bunnymen
    $24.99
    Vinyl LP - Sealed Buy Now
  • Eye in the Sky (Speakers Corner) (Awaiting Repress) Eye in the Sky (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Eye in the Sky (Speakers Corner) (Awaiting Repress)

    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 AWAITING REPRESS Buy Now
  • Brothers In Arms Brothers In Arms Quick View

    $49.99
    Buy Now
    x

    Brothers In Arms

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


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


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


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


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


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


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


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


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


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

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

    $24.99
    Buy Now
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    Listen Like Thieves

    Listen Like Thieves on Numbered Limited Edition LP from Mobile Fidelity Silver Label


    Breakthrough 1985 Album Charted Three Great Singles


    Australian Band Finds Its Groove With Bluesy Grooves, Pop Hooks


    Includes "What You Need," "Listen Like Thieves," and "Kiss the Dirt"


    Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI


    True to the title of the record's smash single, INXS gives you what you need on Listen Like Thieves. Originally released in 1985, the breakthrough album marked the group's deserved entrance into the mainstream radio sphere and commercial charts. With its sound honed from prior records, INXS develops an enviably balanced combination of dance grooves, bluesy persuasion, acoustic framing, and pop bluster on this batch of supremely catchy fare, equally memorable for its melodic nature and stylistic fusion.


    Working with producer Chris Thomas (John Cale, Pete Townshend, Roxy Music), INXS expands its versatility and reach. Vocalist Michael Hutchence, too, comes into his own, singing more confidently, soulfully, and warmly than in the past. While avoiding cheap imitation, the Aussies turn to the Rolling Stones as influences, churning out thick riffs and slithering rhythms that aim for the hips and stimulate the feet. Hutchence splits the difference between the sexual bravado of Mick Jagger and primal depth of Jim Morrison, and in doing so, establishes himself as an original who's always careful not to overdo anything or overstay his welcome.


    Bolstered by a series of can't-miss singles-the swaggeringly funky "What You Need," sharp thrust of "Listen Like Thieves," and wistful "Kiss the Dirt"-Listen Like Thieves teems with glorious hooks and intertwining instrumentation that cross-pollinates jazz, R&B, new-wave, and pub rock. Honking saxophone lines surge throughout, punctuating the spare chords and driving bridges with an insouciant edge missing from most of the decade's pop. A knack for atmospheric production also plays a large role. On "Shine Like It Does," a majestic moodiness takes hold, while "This Time" gives U2 a run for its money.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, Silver Series' numbered limited edition LP significantly enhances the midband, textural qualities, and ample spaciousness-all previously boxed-in on prior editions. The character of the bass notes, as well as the depth and breathiness of the vocals are also noticeably improved, bringing out the music's personality and dynamics like never before.


    This title is not eligible for discount.

    1. What You Need
    2. Listen Like Thieves
    3. Kiss the Dirt (Falling Down the Mountain)
    4. Shine Like It Does
    5. Good & Bad Times
    6. Biting Bullets
    7. This Time
    8. Three Sisters
    9. Same Direction
    10. One X One
    11. Red Red Sun
    INXS
    $24.99
    Vinyl LP - Sealed 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
  • Tigerlily (Awaiting Repress) Tigerlily (Awaiting Repress) Quick View

    $49.99
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    Tigerlily (Awaiting Repress)


    Natalie Merchant Tigerlily On Numbered Limited-Edition 180g 45RPM 2LP


    Half-Speed Mastered From The Original Master Tapes For Astounding Sonics And Detail


    Five-Times Platinum! 1995 Gem A Vocal Tour-De-Force


    The 10,000 Maniacs were at their peak when group founder and scintillating vocalist Natalie Merchant announced that she was leaving the band to pursue a solo career. It took her four months to record Tigerlily, a gorgeously detailed folk-pop debut that became a permanent fixture on the album charts for a year after its 1995 release.


    The five-times platinum set spawned three giant hits-"Wonder," "Carnival," and the haunting "Jealousy"-that simultaneously crossed over to the pop, adult-contemporary, and mainstream singles charts. It's easy to understand why. On Tigerlily, Merchant turns in a vocal performance for the ages, spinning majestic webs of mellow atmosphere woven with rhythmic textures and low-key movements. This is a mood masterpiece.


    Remastered from the original analog tapes, Mobile Fidelity's collectable version of Tigerlily mines every last nuance and delicate tone from this intimate gem. Merchant's beautiful voice-her precious coos, soulful inflections, and whisper-soft purrs harken back to the Jazz Era-is presented with an up-close clarity and full-bodied richness that enhance the album's deeply emotional feel. She uses volume and pitch as a painter utilizes shades on a canvas. Subtle and tender, her phrasing and crescendos underscore the personal nature of the lyrics. Merchant sings about mature topics most songwriters lack the courage to explore, probing the painful loss of a longtime partner on "Beloved Wife," actor River Phoenix's tragic death on "River," and life-altering myths on "San Andreas Fault."


    The vocalist's bracing conviction is matched by small-scale acoustic frameworks that don't let a note go to waste. And Mobile Fidelity's engineers worked to make sure you hear all of them. Aligned on a wide soundstage, the discerning mix of Hammond organs, pianos, chamber percussion, and bluesy guitars come across with their understated intentions intact. Balances are superb, dynamics are grand. There is no better way to experience and enjoy the rich sonic fabrics on this album. The results will leave you hypnotized.


    This title is not eligible for discount.

    LP 1
    1. San Andreas Fault
    2. Wonder
    3. Beloved Wife
    4. River
    5. Carnival


    LP 2
    1. I May Know The Word
    2. The Letter
    3. Cowboy Romance
    4. Jealousy
    5. Where I Go
    6. Seven Years

    Natalie Merchant
    $49.99
    180 Gram Audiophile Virgin Vinyl 45RPM -2 LPs Sealed AWAITING REPRESS Buy Now
  • Bob Dylan Bob Dylan Quick View

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    Bob Dylan

    Bob Dylan on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Understated 1962 Debut Launched Immeasurably Influential Career


    Album Stands as Clearest Connection to Dylan's Purist Folk Roots


    Ghosts of Woody Guthrie and Blues Legends Appear Throughout Recording of Originals and Covers


    Transparent to the Source: Hyper-Detailed 45RPM Pressing Brings the Simple Sounds of Dylan's Voice, Acoustic Guitar, and Harmonica into Lifelike Perspective


    Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored 180 gram 45RPM 2LP analog version brings the contents of this seminal release as closest as they've ever come to master tape-quality. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and dimensions-the "husk and bark" to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background noise. Wider grooves mean more information reaches your ears.


    Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.


    By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.


    As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin." It all starts here.

    1. You're No Good
    2. Talkin' New York
    3. In My Time of Dyin'
    4. Man of Constant Sorrow
    5. Fixin' to Die
    6. Pretty Peggy-O
    7. Highway 51
    8. Gospel Plow
    9. Baby, Let Me Follow You Down
    10. House of the Risin' Sun
    11. Freight Train Blues
    12. Song to Woody
    13. See That My Grave Is Kept Clean
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • New Morning New Morning Quick View

    $34.99
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    New Morning

    Sublime 1970 Album Among Loosest, Jovial of Dylan's Career


    Includes Hit Single If Not for You and The Man In Me, Featured in the Film The Big Lebowski


    Dylan's Phrasing and Piano Playing Parallel Efforts of His Crack Backing Band


    Stunning Reissue Boasts Phenomenally Open Sound: New Morning Has Never Enjoyed Better Fidelity


    The album might have saved Bob Dylan's career. At the least, it proved the icon still relevant, and his wits still in tact. And it immediately followed what remains the artist's biggest disaster, the yet-unexplained and forever puzzling Self Portrait, a nearly unlistenable attempt that caused many to wonder whether Dylan had lost his mind. If intended as a joke, it bombed, making the sublime New Morning all the more important to restore faith in the singer's creativity and songwriting prowess. It did all this and more, and stands as his finest studio effort during a five-year span.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored analog version spotlights the open, woozy sound that welcomes wholeheartedly Dylan's piano, several eager guitars, female background singers, Al Kooper's organ, and snappy drumming into a world of their own. New Morning remains one of Dylan's loosest and jovial affairs, the instruments retaining an off-the-cuff sensibility relating to a nightclub atmosphere or live stage feel. On this reissue, notes naturally dangle and fade, allowing the playful vibes and humor to come through like never before. Consequently, the album can be experienced with a new perspective. Wider grooves mean more information reaches your ears.


    "Many of the songs seem to have been made up on the spot, with confidence in the ability of first-rate musicians to move in any direction at any time," wrote Dylan expert and cultural critic Greil Marcus in his original review for the New York Times. "The riffs, inventions, and studio jams of New Morning have their own personality the full joy of anticipating the right move and the exhilaration of hitting it square and bouncing off a chord into a new lyric."


    These observations hold true today, for the 1970 effort claims a daring flair Dylan rarely exhibited on albums before or since. Enthusiasm and excitement surround his singing, and his work on the 88s underlines the liberating arrangements. Offbeat and eclectic, the record frolics and swings, with the Bard and his crack band pursuing jazzy steps ("Sign on the Window"), shuffling spoken-word experiments ("If Dogs Run Free"), and soulful rock ("The Man In Me," used to wonderful and prominent effect in the Coen Brothers film The Big Lebowski).


    Throughout, Dylan's phrasing communicates joyousness and simplicity seemingly carried over from the stripped-down John Wesley Harding and Nashville Skyline. The record's dominant sentiments trace to the lead track, "If Not For You," one of the singer's all-time greatest singles, stitched with country threads and warmth that pervades everything that follows. Yes, New Morning may lack the iconic status of some of Dylan's better-known records. Yet the underdog stature makes repeat listens all the more rewarding.


    This title is not eligible for discount.

    1. If Not for You
    2. Day of the Locusts
    3. Time Passes Slowly
    4. Went to See the Gypsy
    5. Winterlude
    6. If Dogs Run Free
    7. New Morning
    8. Sign on the Window
    9. One More Weekend
    10. The Man In Me
    11. Three Angels
    12. Father of Night
    Bob Dylan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Another Side Of Bob Dylan (Mono) (Pre-Order) Another Side Of Bob Dylan (Mono) (Pre-Order) Quick View

    $49.99
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    Another Side Of Bob Dylan (Mono) (Pre-Order)

    Dylan's Second 1964 Album Expands Songwriting Themes and Adds Levity


    Mono 2LP Mastered from the Original Master Tapes: Strictly Limited to 3,000 Copies, Vinyl Delivers Whimsical Feel, Surrealist Lyrics, On-the-Fly Fluidness in Sound Dylan Intended


    Includes I Shall Be Free No. 10, It Ain't Me Babe, My Back Pages, Chimes of Freedom


    The ever-evasive Bob Dylan never explicitly stated exactly what represented the another side of himself referenced in the title to his second 1964 record. Yet the whimsical moods, hallucinogenic prose, humorous angles, transparent mistakes, and noncommittal themes give a pretty clear idea at what the Bard hinted as he emerged from being labeled as a reluctant generation spokesperson and folk savior after releasing two highly intellectual, socially pioneering sets replete with protest songs. Dylan needed to take a breath, step back from the drama, and reevaluate his surroundings. Experienced in mono, Another Side of Bob Dylan is all that and more.


    Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 copies, Mobile Fidelity's 180g 45RPM 2LP set illuminates Dylan's emotional condition - he laughs in the midst of songs, experiences a few false starts, hits a couple of bum notes, occasionally sings as if he's stumbling down a Manhattan sidewalk after having one too many at a smoky pub, prizes rawness over perfection - with microscopic accuracy and unparalleled directness. The preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, this mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album - making the mono mix all the more historically valuable and truthful.


    The uninhibited joie de vive is discernible in the rattling piano lines on Black Crow Blues, seemingly subconscious ramble of the hysterical folk rhyming of Motorpsycho Nightmare, bluesy dream sequencing throughout I Don't Believe You, and intentionally out-of-tune yodeling during All I Really Want to Do. On a majority of the prized set, Dylan lets his guard down, but does so in clever manners that speak to his surrealist imagination and biting wit. He possesses the rare ability to make planned strategies appear spontaneous, to challenge audiences with stinting wordplay and minimalist melodies that provide a deceptive false security.


    And so the apparently autobiographical and self-aware My Back Pages, one of the earliest examples of Dylan's immersion into symbolist prose and abstract metaphor, remains controversial for its on-the-surface denouncement of his earlier condemnations of social institutions and injustices. Peeled back, the tune is a brilliant release - an essential escape hatch for Dylan to both relieve himself of unneeded pressures and distance himself from pundits. As an indelible piece of art, it succeeds in masquerading obvious meaning while simultaneously forcing listeners to question their own actions.


    As is the trifecta of relationship-themed compositions that closes the record, as well as the eternal Chimes of Freedom, the standard that journalist Paul Williams dubbed Dylan's Sermon on the Mount. Its inseparable conjunction of apocalyptic imagery, personal emotion, allusive lyricism, balladic alliteration, and inclusive sympathy signaled that, having already eviscerated the rules associated with pop and folk music, Dylan had just begun his assault on our consciousness, making Another Side of Bob Dylan that much more mysterious, unequivocal, and requisite.


    This title is not eligible for discount.

    1. All I Really Want to Do
    2. Black Crow Blues
    3. Spanish Harlem Incident
    4. Chimes of Freedom
    5. I Shall Be Free, No. 10
    6. To Ramona
    7. Motorpsycho Nightmare
    8. My Back Pages
    9. I Dont Believe You
    10. Ballad in Plain D
    11. It Aint Me Babe
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed PRE-ORDER Buy Now
  • Blonde On Blonde (Box Set) (Awaiting Repress) Blonde On Blonde (Box Set) (Awaiting Repress) Quick View

    $84.99
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    Blonde On Blonde (Box Set) (Awaiting Repress)

    Ranked 9/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    That Thin, That Wild Mercury Sound: Dylans Ground-Shaking 1966 Double LP Sent Tremors Throughout the World


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


    Recorded With One of The Most Ear-Awakening Lineups Ever Assembled: Al Kooper, Pig Robbins, Joe South, Kenny Buttrey, and The Bands Rick Danko and Robbie Robertson Among Musicians


    Vaudeville, Contemporary Pop, Fiery Rock and Roll, Memphis Blues, Folk-Derived Sagas Among Enriched Palette of Styles


    Blonde on Blonde: A double album that transcends time, defies space, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didnt know. Professor Sean Wilentz, historian-in-residence for Bob Dylans Web site, comes as close to summing up its brilliance in his superb Bob Dylan In America as any whove tried: The songs are rich meditations on desire, frailty, promises, boredom, hurt, envy, connections, missed connections, paranoia, and transcendent beautyin short, the lures and snare of love, stock themes of rock and pop music, but written with a powerful literary imagination and played out in a pop netherworld. No lie.


    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 Blonde on Blonde ever produced. Forever renowned for what the Bard deemed that thin, that wild mercury sound, the albums famed aural character lives and breathes on this superb version, with wider and deeper grooves affording playback of previously buried information and lifelike presentation of the studio sessions.


    Forever prized for a unique sound that cultural critic Greil Marcus tagged the most glamorous record imaginable; listening you [can] see the checkered jesters suit Dylan had worn on stage for the nine previous, furious months, Blonde on Blonde is to music, production, prose, and performance as what hydrogen is to water. The secret to its inimitable aural character partially stems from Dylans request in Nashville to producer Bob Johnston to remove the baffles from the studio room, allowing the musicians to interact as well as the music to assume a more organic quality that drifts from one microphone to another. Mobile Fidelitys reissue captures this ensemble ambience, with echoes, resonation, and some of the most natural timbres youll ever hear in plain sight.


    The story of Blonde on Blonde is almost as compelling as the music within. Dylan, frustrated with how initial attempts fared in New York, relocating to Tennessee and pairing with Nashvilles top session players as well as members of what would become the Band, feverishly chasing perfectionism while also arriving at an on-the-fly feel that remains a reference point for recorded music. The Bard sweated over lyrics, demanded his band get the exact sounds he heard in his head, and limited most takes to a handful at most. A majority of songs were recorded long after midnight, the post-A.M. vibe reflected in the nocturnal aura, woozy optimism, inversion of intervals, and spiritual soulfulness of the playing.


    As for the tunes? Chapters of books and lengthy theses are dedicated to the sheer conscious-altering power, mythical weight, character cast, and convention-obscuring magnetism of the lyricsto say nothing of the sophisticated albeit pure playing within, as arrangements touch upon gospel, R&B, pop, traditional and contemporary blues, vaudeville, folk, and more. Then theres Dylans inventive phrasing, his manipulation of pitch and locution, helping the narratives to take on epic, inchoate, and cryptic meanings that continue to be deciphered to this day. Punch lines occur as frequently as romantic declarations, all delivered with salient references, traditional parallels, and elusive interpretations on par with those of Shakespeare.


    Visions of Johanna. I Want You. Rainy Day Women #12 & 35. Sad Eyed Lady of the Lowlands. Absolutely Sweet Marie. We could go on. Essential doesnt even begin to cover the genius of this record that, now, sounds better than Dylan himself can imagine.


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



    This title is not eligible for discount.

    1. Rainy Day Women #12 & 35
    2. Pledging My Time
    3. Visions of Johanna
    4. One of Must Know (Sooner or Later)
    5. I Want You
    6. Stuck Inside of Mobile With the Memphis Blues Again
    7. Leopard-Skin Pill-Box Hat
    8. Just Like a Woman
    9. Most Likely You Go Your Way (And Ill Go Mine)
    10. Temporary Like Achilles
    11. Absolutely Sweet Marie
    12. 4th Time Around
    13. Obviously 5 Believers
    14. Sad Eyed Lady of the Lowlands
    Bob Dylan
    $84.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 3 LPs Sealed AWAITING REPRESS Buy Now
  • Filles De Kilimanjaro Filles De Kilimanjaro Quick View

    $49.99
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    Filles De Kilimanjaro

    Numbered, Limited Edition


    Davis' Self-Proclaimed "Directions in Music" March Begins Here


    Mastered from the Original Master Tapes: Abundant Jazz, Funk, and Rock Textures Rotate Around a Luscious Tonal Center


    Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion: Exotic Suite-Like Album Beautiful, Intense, Adventurous


    Miles Davis' move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for its historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45RPM 2LP set.


    Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Filles de Kilimanjaro joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Loaded with revealing signatures, the record takes on even greater import when heard the way Davis and his mates discerned it in the studio. Backgrounds are squid-ink black, pianissimo lines shimmer, and the electric piano emerges with tube-amp warmth.


    Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968.


    The final appearance of Davis' classic second quintet bears fruit on three of the record's cuts, including the title track and R&B-tinted "Frelon Brun." Sparked with restrained funk, driving grooves, and bluesy accents, Filles de Kilimanjaro maintains an instinctive flow and controlled fredom that permit Davis to oversee an innovative blending of alterations, improvisation, and cycles. Comprised of multiple sections, "Petits Machins" is a lesson in perfectly played melodic complexity, with chromatic riffs, dominant chords, syncopated progressions, and switching meters forming a singular mosaic.


    Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis' desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.


    More than 40 years ago, this record epitomized the future of jazz. Davis even announced such aspirations with the tagline "Directions in Music." With the jazz world still trying to wrap its collective mind around its genius, it still does.


    This title is not eligible for discount.

    1. Frelon Brun
    2. Tout de Suite
    3. Petits Machins
    4. Filles de Kilimanjaro
    5. Mademoiselle Mary
    Miles Davis
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Such Sweet Thunder (Pure Pleasure) Such Sweet Thunder (Pure Pleasure) Quick View

    $34.99
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    Such Sweet Thunder (Pure Pleasure)

    This music counts among Ellington's most well-realized 'concept projects', all inspired by Shakespeare's work and filled with memorable melodies and ample opportunities for solos by Cat Anderson, Johnny Hodges, Paul Gonsalves, and Quentin Jackson. The Ellington-Strayhorn compositions treat their soloists like actors doing scenes and, in effect, playing parts, even quoting lines after a fashion - Clark Terry 'plays' Puck in Up and Down, Up and Down (I Will Lead Them Up and Down), and Johnny Hodges turns in one of the most sensuous performances of his career for Half the Fun, from Antony and Cleopatra.



    Musicians:



    • Duke Ellington (piano)

    • Johnny Hodges

    • Russell Procope (saxophone)

    • John Sanders (trombone)

    • Britt Woodman (trombone)

    • Ray Nance (trumpet)

    • Clark Terry (trumpet)

    • Jimmy Wood (bass)

    • Sam Woodyard (drums)



    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.



    Side 1:
    1. Such Sweet Thunder
    2. Sonnet For Caesar
    3. Sonnet To Hank Cinq
    4. Lady Mac
    5. Sonnet In Search of A Moor
    6. The Telecasters

    Side 2:
    1. Up And Down, Up And Down (I Will Lead Them Up And Down)
    2. Sonnet For Sister Kate
    3. The Star-Crossed Lovers
    4. Madness In Great Ones
    5. Half The Fun
    6. Circle of Fourths

    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 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
  • Nefertiti Nefertiti Quick View

    $49.99
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    Nefertiti


    Final All-Acoustic Outing from Davis' Classic Second Quintet


    Mastered from the Original Master Tapes: Record's Tonal Shadings, Gradations, and Textures Come Alive


    Confident 1967 Effort Steeped in Inquisitive Interplay and Subconscious Impressionism


    Nefertiti will always be known as the final all-acoustic record made by Miles Davis' classic second quintet. A thematic bookend to the preceding Sorcerer, the 1967 set shares much in common with its equally nuanced predecessor yet deviates by way of its focus on rhythm and exploratory soundscapes. The low-key music blooms with colorful bouquets of shadings, gradations, and overtones that on Mobile Fidelity's analog edition bring listeners to closer to the creative passions than ever before.


    Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile version of Nefertiti joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Afforded supreme dynamics and full-range extension, cyclical melodies resonate with a moody character and ambience normally only heard in small jazz clubs. Instrumental pitch, too, is spot-on accurate, a measuring stick for how all acoustic-based passages should be experienced.


    As he does on Sorcerer, Davis again cedes all compositional duties to his all-star band mates and focuses on his trumpet. Familiar albeit slightly dissonant, rooted in hard bop yet signaling the onset of fusion, the songs are grounded in inquisitive interplay and subconscious impressionism. Nefertiti reveals fresh devices and new directions every time you visit its cerebral worlds. And while each musician is given ample room to solo, the effort stands as an example of groupthink in that no individual stands out or shows off. The groundbreaking title track-during which the horn section recurrently repeats the melody as drummer Tony Williams and bassist Ron Carter improvise, thus inverting the conventional sense of a rhythm section-shines as a textbook example of such chemistry and unity.


    Throughout, the players' confidence, and Davis' trust in them, stamps every piece with rare self-assurance and authoritativeness. In particular, Williams and Carter bring rhythms to the forefront as the horns hypnotize and Herbie Hancock's piano points in several different directions like a compass gone crazy. Responsible for "Madness" and "Riot," Hancock contributes brief bursts of speed and slight aggression, but on a record on which complexity and introspection take precedent over blowing hot, the aural steam ultimately becomes opportunity for burrowing into unpredictable turns and deep grooves.


    Indeed, the thrilling sense of interplay and inclination of the ensemble to keep searching, moving forward in a concerted manner to uncover then-unheard jazz discoveries, marks Nefertiti as one of Davis' quintessential efforts. For historians, it's the signpost to the pioneering fusion the leader would begin to pursue with greater commitment on the record's follow-up, Miles in the Sky. For the rest of us, the album is music and music-making at its intriguing best.


    This title is not eligible for discount.

    1. Nefertiti
    2. Fall
    3. Hand Jive
    4. Madness
    5. Riot
    6. Pinocchio
    Miles Davis
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Highway 61 Revisited Highway 61 Revisited Quick View

    $49.99
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    Highway 61 Revisited

    Highway 61 Revisited on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Dylan's First Entirely Rock-Backed Album Marks Sea Change in Sound and Potential of Popular Music


    Ranked #4 on Rolling Stone's 500 Greatest Albums of All Time List


    Album-Opening Like a Rolling Stone Challenging, Bold, Revolutionary-And Arguably the Best Rock Song Ever Recorded


    Widescreen Sonics: Brilliant Collision of Evocative Poetry, Swirling Roots-Based Soul, and Hard-Driving Blues Sounds Incredible on MoFi 45RPM Pressing


    1965 Set Also Includes Ballad of a Thin Man, Desolation Row, and Just Like Tom Thumb's Blues


    Its title references the road that spans North Minnesota to the Mississippi Delta, and the formative blues, country, and roots sounds connected to its existence. The highway also lays claim to towering musical myths and deaths, many tied to the blues lexicon and narrative. All figure prominently on the revolutionary beacon that is Highway 61 Revisited, the 1965 set that overturned rules, upended preexisting limits, and utterly changed everything in its path. Ranked the fourth-greatest album ever made by Rolling Stone, its reach, power, and content boggle the mind nearly five decades after its release.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed on 180 gram LP at RTI, this restored 45RPM analog version presents the life-altering music in reference-quality sound-so much so that the record's famous first lightning-strike note is now indeed the "snare shot that sound[s] like somebody'd kicked open the door to your mind," as once described by Bruce Springsteen.


    Teeming with organic energy, palpable voltage, and countless textures, the LP faithfully recreates the dimensions, vibes, and events associated with the six days Dylan and Co. spent at Columbia's Studio A. Everything from the soundstages to dynamics, instrumental separation to balances, resonates with enormous might and insightful perspective. Wider grooves mean more information reaches your ears.


    Recorded amidst a time of unfathomable turmoil and frustration that witnessed Dylan booed by fans, labeled a traitor, and call into question his work, Highway 61 Revisited roars and snarls, jabs and criticizes. Its bonfire of cynicism, fury, indignation, and absurdity forever transformed rock, what it could mean, and what it could do. Supported by a thundering, commanding band that included guitarist Mike Bloomfield and organist Al Kooper, Dylan hopscotches between tempos, moods, and melodies. The symmetry of the songs references a scattered hybrid of R&B, blues, folk, soul, gospel, vaudeville, and garage rock pieces that Dylan assembles in the shape of a brilliant, mind-teasing aural puzzle.


    Outside of "Like a Rolling Stone"-the six-minute-plus anthem that both challenged and chewed up all preconceived notions of an acceptable radio single by way of its length, ambition, and vitriol-every tune was captured shortly after Dylan's contentious performance at the Newport Folk Festival. The lingering impact of the hostility comes through in both the searing music and rich, literate, zinging poetry. Dylan's sneering tones, raucous arrangements, and unmistakable resentment toward both the establishment and counterculture that adopted him, and assume the form of songs such as "Ballad of a Thin Man," "Queen Jane Approximately," "Tombstone Blues," and the stupefying "Desolation Row."


    At its core, Highway 61 Revisited is about experience, reality, and the cruelties and truths that lie outside soporific safety nets and bourgeois ideals. These reasons-and the bold musicianship, ace performances, inimitable sonics, and vast lyrical expanses-are why the album means as much today as it did in the mid-1960s. Akin to Sgt. Pepper's Lonely Hearts Club Band and Dark Side of the Moon, this is an album that everyone needs to own and hear in the best-possible fidelity.


    This title is not eligible for discount.

    1. Like a Rolling Stone
    2. Tombstone Blues
    3. It Takes a Lot to Laugh, It Takes a Train to Cry
    4. From a Buick 6
    5. Ballad of a Thin Man
    6. Queen Jane Approximately
    7. Highway 61 Revisited
    8. Just Like Tom Thumb's Blues
    9. Desolation Row
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Round About Midnight Round About Midnight Quick View

    $34.99
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    Round About Midnight

    Hipness Personified: Davis Columbia Records Debut Highlights His Diverse Palette and Famed Quintet


    Lifelike Sonics: Mobile Fidelity Presents This Standard with a Dynamic Sound That Allows You to Picture Davis Mouth as He Blows Harmon-Muted Trumpet


    Blowing Cool and Hot Jazz: Quintet Plays Reflective Ballads, Pop Standards, and Fervent Bop on One of Eras Only Complete Start-to-Finish Full-Length LPs


    Sketches of Spain, Milestones, Kind of Blue, Four & More, and In a Silent Way Also Available from Mobile Fidelity


    Miles Davis first album for Columbia, Round About Midnight, represents both the beginning of a three-plus-decade relationship with the famed label as well as the start of an extended collaboration with then-unknown saxophonist John Coltrane. As one of the eras only complete start-to-finish full-length LPs, the 1957 set stands as a hard-bop benchmarka summation of the styles that came before its creation, an immersion into the periods cutting-edge strains, and a hint of the rivoluse modalism that would follow.


    Part of Mobile Fidelitys Miles Davis catalog restoration series, Round About Midnight now resonates with a physical palpability and emotional heft never before experienced. Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition traces the individual paths each musician takes in contributing to the whole, whether its pianist Red Garlands left hand spinning actinoid chords or Coltrane infusing a tune with harmony-defying fills that suggest arabesque patterns. Recorded at three separate sessions, the music has never sounded so cohesive, immediate, or involving.


    Historically, few jazz records claim the significance boasted by Round About Midnight. The albums creationand the assembly of Davis quintet, which also includes Paul Chambers and Philly Joe Jonesstems from the headliners rousing rendition of the title-inspired track, Round Midnight, a Thelonious Monk standard, at the 1955 Newport Jazz Festival. Stunning the audience with an interpretation that witnessed him personalize the composition with a brooding tone made possible via employment of his soon-to-be-trademark Harmon mute, Davis redefined perspective and possibility, taking ownership of the ballad as his own, and further improving upon its reach in the studio. It wasnt the composers only surprise.


    'Round About Midnight thrives due to diversity and consistency, a rare combination epitomized by the first-rate selection and astonishing performance of pensive ballads, bebop classics, pop standards, and folk pieces. Witness the counterpoint exchanges during Ah-Leu-Cha and its Dixieland shades. Soak up the progressive drama and swinging tempos on All of You and Bye Bye Blackbird. Delight in the mÉlange of latticed textures and schematic moods throughout the sequence, here presented in gorgeous fidelity, zeroing in on Davis warm, plush, rich, and close-up trumpet timbres and how, by playing his instrument right near the microphone, he infuses the arrangements with the sort of daring intimacy embraced by two lovers.


    Tension, suggestiveness, calm, mystery, nostalgia: All here. Gather now, Round About Midnight. Slip on a pair of shades, draw the curtains, slouch into a chair, and light a cigarette. This is Miles and Co. at their best. Hipness personified.


    This title is not eligible for discount.

    1. Round Midnight
    2. Ah-Leu-Cha
    3. All of You
    4. Bye Bye Blackbird
    5. Tadds Delight
    6. Dear Old Stockholm
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Times They Are A-Changin' The Times They Are A-Changin' Quick View

    $49.99
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    The Times They Are A-Changin'

    The Times They Are A-Changin' on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Stark, Austere, Acoustic Record Dylan's First With All-Original Material


    Title Track, The Lonesome Death of Hattie Carroll, With God on Our Side Establish Dylan as Voice of Social Consciousness


    The Bard Addresses Issues Such as Equality, Racism, and Poverty and Helps Ignite 1960s Political Movements


    Faithful to the Source: Information-Rich 45RPM Pressing Brings the Simple Sounds of Dylan's Voice, Acoustic Guitar, and Harmonica into Lifelike Perspective


    Immediately distinguished by the you're-either-with-us-or-against-us messages of the landmark title track, Bob Dylan's The Times They Are A Changin' sounds an unmistakable clarion call on behalf of progress and its unstoppable advancement. One of the Bard's trademark songs, it remains a timeless anthem with a clear sense of common purpose, a musical line in the sand that helped unite various social movements and multiple generations. The reverential 1964 record feeds off the opening tune and its unmistakable sentiments, marching forward to confront racism, poverty, injustice, and upheaval in a stark, immediate manner unlike few albums before or since.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed on 180 gram LP at RTI, this restored 45RPM analog version delivers the landscape-shifting music in reference-quality sound that practically transports you to Columbia's Studio A. Reflecting the austerity of the topics and Dylan's mood, the sonics are direct and unadorned-each word hitting with weight, each phrase lingering until it pulls you under, each storyline echoing as fact. The hollow body of Dylan's guitar, internal mechanisms of his harmonica, and graininess of his throat come across in full-on detail. Wider grooves mean more information reaches your ears.


    Marking a shift from the looseness and comedy that pepper the preceding The Freewheelin' Bob Dylan, The Times They Are A-Changin' skirts any attempt at humor, sarcasm, or goofiness in favor of utmost seriousness and severity. Seemingly anticipating the dark events surrounding President Kennedy's assassination and the turmoil that followed, Dylan eliminates with conjecture and disguise. Akin to dispatches from the typewriter of literary icons John Steinbeck and William Faulkner, his songs give voices to the voiceless, challenge cultural precepts, upend traditional beliefs with rapier wit and truths, and underline tragedies swept under the rug.


    In doing so, Dylan creates stinging protest music that rallies against unchecked authority, discrimination, brutality, and division. A testament to the power of great art, The Times They Are A Changin' is a righteous assault on ignorance and agent for sweeping action, a necessary impetus for transformation and enlightenment. Via bold originals such as the nonfiction "The Lonesome Death of Hattie Carroll," assertive "Restless Farewell," and semi-autobiographical "North Country Blues," Dylan casts hardships, greed, and victimization in such relatable terms it's impossible to turn away and ignore their implications.


    As correctly relayed by Dylan expert and cultural critic Greil Marcus, "[The record] forever fixed Bob Dylan in the popular imagination: the protest singer, the young man 'able to see through metal' (again, from Chronicles), to see through the lie and find the truth, then to hammer the truth into words and send them out with a voice that would never break."


    This title is not eligible for discount.

    1. The Times They Are A-Changin'
    2. Ballad of Hollis Brown
    3. With God on Our Side
    4. One Too Many Mornings
    5. North Country Blues
    6. Only a Pawn in Their Game
    7. Boots of Spanish Leather
    8. When the Ship Comes In
    9. The Lonesome Death of Hattie Carroll
    10. Restless Farewell
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Bare Bones Bare Bones Quick View

    $49.99
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    Bare Bones


    Acclaimed 2009 Gem Is Jazz Chanteuse's First Album Of Originals


    Extraordinary Sound Transports Listeners To A Small Coffeehouse: You Need To Hear This On Vinyl!


    Peyroux's Half The Perfect World And Careless Love Also Available On Mofi 180-gram LP


    Having proven several times over that shes among the premier vocal jazz singers on the planet with Half the Perfect World and Careless Loveboth available as limited-edition 180-gram LPs from Mobile FidelityMadeleine Peyroux makes her mark as a songwriter on the exquisite Bare Bones, her first album of originals. A thematic record that begins with wariness, moves to loss, builds to acceptance, and finishes with hope, the critically acclaimed set is Peyrouxs most soul-baring effort.


    The records title says it all. Deeply personal and eminently mature, the chanteuse strips everything down, from her emotional guard to the arrangements. Peyroux penned many of the songs with longtime producer Larry Klein (Joni Mitchell), and also co-wrote the standout You Cant Do Me with Steely Dan legend Walter Becker. As expected, a tart wittiness defines the lyrics, demonstrating Peyrouxs continual growth as an artist. Becker's contributions also spice the title track, while noted tunesmiths Joe Henry and Julian Coryell assist on other songs. As usual, the singer enjoys the sparse, elegant backing of a small group of first-rate musicians. Peyrouxs alto vocals shine.


    The empress of the jazzy, languid groove does what she has done on her two bestsellers (and her half-forgotten 1996 debut); purr intimately about life and the iniquities of love over retro backings of brushed drums and polite piano that evoke Billie Holiday. Neil Spencer, The Observer, March 2009


    Sonically, Bare Bones continues Peyrouxs tradition of making some of the best-sounding albums around. Her tunesdirect, emotional, beautiful, detailedbenefit from production that emphasizes her strengths and puts a spotlight on the songs, not on any unnecessary tricks or embellishments. This is strictly about the music, its emotional effects on the listener, and the universal healing power of feelings associated with lost love and recovery.


    Its hard to imagine a candlelit cocktail bar that wouldnt benefit from playing Madeleine Peyrouxs fourth album, Bare Bones. The ear loves to catch on the inflections of her supple alto, the clear picking on her acoustic guitar, the pacing as slow as a hand-stitched dress. Margaret Wappler, Los Angeles Times, March 2009


    Half-speed mastered from the original analog tapes, Mobile Fidelitys 180-gram 2-LP set enhances the experiences of hearing Peyrouxs languorous gems. Transparent, airy, three dimensional, fully textured, and featuring extended response from the acoustic bass and guitars, this analog pressing puts you in the middle of a coffeehouse, with Peyroux and her small ensemble seated a few feet in front of you. Its that good.


    Mobile Fidelitys collector's vinyl editions of Peyrouxs earlier hit studio albums have sold quickly. Dont wait on this.


    This title is not eligible for discount.

    1. Instead

    2. Bare Bones

    3. Damn the Circumstances

    4. River of Tears

    5. You Can't do Me

    6. Love and Treachery

    7. Our Lady of Pigalle

    8. Homeless Happiness

    9. To Love You All Over Again

    10. I Must Be Saved

    11. Somethin' Grand

    Madeleine Peyroux
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Heartbeat City Heartbeat City Quick View

    $34.99
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    Heartbeat City

    Four-Times-Platinum Heartbeat City Survives as the Cars' Final Great Album Before Break-Up


    Mastered from the Original Master Tapes: Mobile Fidelity LP Presents the 1984 Mutt Lange-Produced Heartbeat City In Extraordinary Sound


    Loaded With Recognizable Hits: "Drive," "You Might Think," "Magic," "Hello Again," and "Why Can't I Have You" All Top 40 Singles


    1984 will always be remembered for the debut of the Macintosh computer, the Summer Olympics in Los Angeles, and the ascent of MTV as the most powerful cultural medium of the era. The year is also recognized for the Cars' savvy contributions not only to the burgeoning music-video channel but to pop itself. Released in April, the four-times platinum Heartbeat City ultimately spawned five Top 40 singles-four of them landing in the Top 20, two in the Top 10-and serve as the final memorable record from the Boston group, which disbanded in 1987.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's numbered limited edition 180g LP of Heartbeat City revisits the landmark album via a rich fidelity unmatched by any prior edition. Signifying the first time the set has been available on vinyl in nearly three decades, this reissue opens up the soundstages, decongests the low frequencies, and shines a spotlight on Mutt Lange's pinpoint balances and glossy hooks. Indeed, the now-household-name producer would make a lasting mark with Heartbeat City, whose radio-friendly sound, multi-layered textures, and smooth, suave, synth-heavy pulses set a precedent for the period's hit-making pop.


    Overflowing with a surfeit of finger-snapping beats, electro-pop effects, streamlined guitar notes, and bright melodies, Heartbeat City trades in efficiency, catchiness, and to-the-point craftiness. Unlike most mid-80s records, the electronic effects and sleek tonalities aren't dated due to both the focused production and irresistible songwriting. Leader Ric Ocasek penned all ten tunes, and while a mind-boggling five charted in the Top 40, what makes Heartbeat City such a staple is the fact that it's easy to imagine every song on it crashing the Billboard Hot 100. Call it the new-wave version of Thriller.


    Indeed, the record's track list automatically triggers a mental jukebox. The spare simplicity and hopefulness of "Magic." The simultaneously sad longing and soothing somberness of the Benjamin Orr-sung "Drive." The shimmer and shuffling riff of "You Might Think." The ping-pong bounce and futuristic paranoia of "Hello Again." The atmospheric, arty title track. Heartbeat City is a veritable lesson in pop tunesmithship.


    This title is not eligible for discount.

    1. Hello Again
    2. Looking for Love
    3. Magic
    4. Drive
    5. Stranger Eyes
    6. You Might Think
    7. It's Not the Night
    8. Why Can't I Have You
    9. I Refuse
    10. Heartbeat City
    The Cars
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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