Vinyl. Our way of life since 2004 (877) 929-8729

VPI Dealer Authorized & Certified
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
LP20 - 20% Off Vinyl
Home > Products for: '

Mobile Fidelity Vinyl

'
Results per page:
  • True Colors (On Sale) True Colors (On Sale) On Sale Quick View

    $24.99 $22.49 Save $2.50 (10%)

    Buy Now
    x

    True Colors (On Sale)

    A Vocal Tour de Force: 1986 Sophomore Effort Stacked With Big-Name Guests and Ambitious Arrangements


    Grammy-Nominated Double-Platinum Set Includes Internationally Recognized Title Track Plus Top 10 Singles "What's Going On" and "Change of Heart"


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


    Cyndi Lauper could've easily played up the independent wild-child pop persona she established on her breakthrough debut until the trend faded. Instead, on her superb sophomore effort, the charismatic artist opts for a more mature and creatively ambitious program, inviting big-name guests and pursuing deeper instrumental textures on a set that goes far beyond the well-known title track. True Colors is a vocal tour de force, an expressive statement on which Lauper showcases singing steeped in emotion, phrasing, and earnestness.


    Bringing Lauper's rich timbre to the fore, and mastered on Mobile Fidelity's world-renowned mastering system, this RTI-pressed LP presents the 1986 album in the finest fidelity it's ever enjoyed. Period touches such as synthesized drumbeats and layered keyboards no longer sound blatantly artificial or canned. Instruments now possess a warmer, fuller roundness that fleshes out their role in the compositions. And Lauper's vocals-at times balladic, soaring, plaintive, stylish, and celebratory-occupy a defined place in the mix, anchoring songs etched with tonal expressiveness and diverse arrangements.


    An all-star cast aids Lauper in shaping what remains a colossally underrated record. Billy Joel (vocals), Adrian Belew (guitar), the Bangles (vocals), Aimee Mann (vocals), Nile Rodgers (guitar), and Rick Derringer (guitar) are among the guests. So is Pee Wee Herman, whose telephone operator role at the conclusion of "911" speaks to the fact that Lauper didn't abandon her whimsical nature even as she pressed forward. Cajun accents, soulful motifs ("What's Going On"), and joyous covers of traditional fare ("Iko Iko") keep the album pleasantly varied and accessibly offbeat.


    Of course, Lauper also turns in, with "True Colors," what's arguably her career-defining moment, the chart-topping single radiating with gorgeous elegance and graceful phrasing that forced audiences to regard the performer in a different light. For her boldness, Lauper was rewarded with two Grammy nominations and a song that has since been covered by artists such as Phil Collins and appeared as the theme for the 1988 Olympic Games and 2003 Rugby World Cup.


    Don't miss this chance to hear True Colors in the three-dimensional detail one gets from a high-definition television picture.


    This title is not eligible for further discount.

    1. Change of Heart
    2. Maybe He'll Know
    3. Boy Blue
    4. True Colors
    5. Calm Inside the Storm
    6. What's Going On
    7. Iko Iko
    8. The Faraway Nearby
    9. 911
    10. One Track Mind
    Cyndi Lauper
    $24.99 $22.49 Save $2.50 (10%)
    Vinyl LP - Sealed Buy Now
  • Layla (Awaiting Stock) (On Sale) Layla (Awaiting Stock) (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    x

    Layla (Awaiting Stock) (On Sale)

    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.


    This title is not eligible for further discount.

    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 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING STOCK Buy Now
  • Sketches of Spain (On Sale) Sketches of Spain (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

    Buy Now
    x

    Sketches of Spain (On Sale)

    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 further discount.

    1. Concierto de Aranjuez (Adagio)
    2. Will O the Wisp
    3. The Pan Piper
    4. Saeta
    5. Solea
    Miles Davis
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rock 'N Soul Part 1 (On Sale) Rock 'N Soul Part 1 (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

    Buy Now
    x

    Rock 'N Soul Part 1 (On Sale)

    Rock 'N Soul Part I On Numbered Limited Edition 180 Gram LP From Mobile Fidelity


    The Definitive Hall and Oates Greatest-Hits Compilation: Rock 'n Soul Part I Loaded With Nine Top 10 Singles, Including Kiss On My List and Private Eyes


    Mastered From the Original Master Tapes and Pressed On 180 Gram LP At RTI


    All The Signature Songs From The 1970s And 80s Are Here, From Sara Smile And She's Gone To Maneater


    Other compilations have longer track lists and go farther back into their career, but no Hall and Oates greatest-hits collection surpasses Rock 'n Soul Part I. Originally released at the height of the duo's career in fall 1983, the 12-song set functions as a time machine back into an era when Daryl Hall and John Oates dominated the charts with songs that have long since become standards. While a majority of the anthology draws from the group's trio of mammoth RCA albums spanning 1980 through 1982, it also includes the pair's only three Top 10 smashes from the 1970s: Sara Smile, She's Gone, and the chart-topping Rich Girl. One-stop shopping for the absolute best of Hall and Oates doesn't come any easier.


    Mastered from the original master tapes and pressed on 180g LP at RTI, Mobile Fidelity's analog reissue presents nine Top 10 Hall and Oates singles with awe-inspiring detail and palpable realism. Lifelike tones grace the array of guitars, pianos, basses, and voices placed against synthesized backdrops. Each member's singing claims enhanced intimacy and balance. The collective harmonies sound sharper, the dynamics richer, and the soundstages wider and deeper. While the tandem's peers often relied on robotic mechanisms and now-dated keyboard devices, Hall and Oates wisely merge the period's savvy styles with tried-and-true soulful instrumentation.


    Indeed, with one listen to this definitive-sounding version of Rock 'n Soul Part I, and you'll understand why the duo's music not only ruled radio and record stores in the Reagan era but also continues to be referenced by influential artists today. You already likely know every song - or nearly every one of them - here by heart. Arriving upon a near-flawless fusion of dance grooves, soft rock rhythms, smooth vocals, romantic sentiments, catchy beats, and spotless hooks with #1 singles such as Kiss On My List and Private Eyes, the collaborators simultaneously crossed over into multiple markets and eradicated boundaries.


    All the trademarks - swinging verse structures, call-and-response choruses, stick-in-your-head bridges, sleek keyboard layers, doo-wop fills, and, in some places, reggae-nodding accents or cool saxophone lines to stir up the mood and atmosphere - that make the duo's music irresistible pulse throughout Rock 'n Soul Part I. Eight of the singles included here cracked the Top 5. They remain prototype intersections of blue-eyed soul, edge new wave, and dance, blueprints for pop mastery that catapulted Hall and Oates to becoming the most successful duo in rock history.


    Hear the Rock and Roll Hall of Fame inductees' standard-setting equilibrium between polish, melody, muscle, and craft on their signature hits like never before.


    This title is not eligible for further discount.

    1. Say It Ain't So
    2. Sara Smile
    3. She's Gone
    4. Rich Girl
    5. Kiss On My List
    6. You Make My Dreams
    7. Private Eyes
    8. Adult Education
    9. I Can't Go For That (No Can Do)
    10. Maneater
    11. One on One
    12. Wait for Me
    Hall and Oates
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • No Direction Home (200 Gram) (On Sale) No Direction Home (200 Gram) (On Sale) On Sale Quick View

    $149.99 $118.49 Save $31.50 (21%)

    Buy Now
    x

    No Direction Home (200 Gram) (On Sale)

    The seventh volume of Bob Dylan's Bootleg Series doubles as the soundtrack to No Direction Home, Martin Scorseses's feature-length documentary covering Dylan's career from its beginnings to 1966 (it was aired in two parts on PBS in September 2005 and released in expanded form on DVD that same month). Unlike the previous three installments of The Bootleg Series, which focused exclusively on live concerts, No Direction Home is assembled from a variety of sources, including home recordings, publishing demos, alternate studio takes, and live recordings, with the first disc devoted to early acoustic recordings and the second to electric music. In fact, No Direction Home proceeds chronologically, filling in gaps between the proper albums or, more often, providing a parallel history of the most productive era of Dylan's career. All of this material -- with the exception of Song to Woody, taken from his debut, and a cataclysmic version of Like a Rolling Stone taken from the Royal Albert Hall show that was released as Bob Dylan Live '66 -- is previously unreleased, and much of it has not been widely bootlegged (and the cuts that have been bootlegged, such as Dink's Song, have never been heard in such crystal-clear fidelity). Where the inaugural edition of The Bootleg Series had many previously unreleased Dylan originals, there is only one here, the tentative opener, When I Got Troubles, a sweet, simple 1959 song that finds Dylanin his formative stage. In place of unheard songs are a slew of alternate versions of familiar tunes. On the first two LP's, these are largely live versions of such warhorses as Blowin' in the Wind, Masters of War, and A Hard Rain's a-Gonna Fall, recorded when the songs were still fresh. These live performances have an immediacy and intimacy that not only illustrate what a powerful folksinger Dylan was, but also suggest how the songs might have sounded when they were new tunes. Toward the end of the second LP, alternate versions that are significantly different from the final versions begin to surface with an early take on Mr. Tambourine Man recorded at the Another Side of Bob Dylan sessions with Ramblin' Jack Elliott on second guitar and backing vocals. The third and fourth LP's contain several alternates that are similarly notably different, highlighted by a lively, careening It Takes a Lot to Laugh, It Takes a Train to Cry with a different final verse, a Desolation Row with electric guitar, Highway 61 Revisited without the siren whistle, a slower, heavier, blusier take on Leopard-Skin Pill Box Hat, a relaxed version of Stuck Inside of Mobile with the Memphis Blues Again that lacks the carnivalesque swirl of sound from the Blonde on Blonde version, and a lean, insistent Visions of Johanna.

    Everything here is uniformly excellent and worth hearing well more than once. That alone, of course, would make this yet another worthwhile addition to any serious Dylan collection, but what makes No Direction Home noteworthy as an album is that it is the first Dylan record to offer an aural biography of Dylan. This does a superb job of tracing the development of Dylan as a musician, taking him from a young folkie singing standards, through the rush of his early standards, and to the visionary music he made once he went electric. Put in this context, the electric music on the third and fourth LP's sounds as bracing and brilliant and surprising as it did in the '60s, while the acoustic folk on LP's one and two sounds vibrant, pure, and alive. After all these years, that's a hard accomplishment to pull off, and to the credit of everybody involved in this terrific release, they've been able to make even the most familiar Dylan tunes feel new again.


    As usual, this deluxe edition comes from the original mix down masters and was transferred by Bernie Grundman to lacquer on on Classic's all tube analog cutting system. This deluxe 4-LP set includes two alternate cover art gatefold jackets (Blonde on Blonde and Bringing it all Back Home), a 60+ page 12 x12 booklet all housed in an a special outer box.


    This title is not eligible for further discount.

    LP 1
    1. When I Got Troubles (1959)
    2. Rambler, Gambler (Home Recording)
    3. This Land is Your Land (Live)
    4. Song to Woody
    5. Dink's Song (Home recording)
    6. I Was Young When I Left Home (Home recording)
    7. Sally Gal (Alternate Take)
    8. Dont' Think Twice, It's Alright (Demo)
    9. Man of Constant Sorrow
    LP 2
    1. Blowin' In The Wind (Live)
    2. Masters of War (Live)
    3. Hard Rains A-Gonna Fall (Live)
    4. When the Ship Comes In (Live)
    5. Mr. Tambourine Man (Alternate Take)
    6. Chimes of Freedom (Live)
    7. It's All Over Now, Baby Blue (Alternate Take)
    LP 3
    1. She Belongs To Me (Alternate Take)
    2. Maggie's Farm (Live)
    3. It Takes A Lot To Laugh, It Takes A Train To Cry (Alternate Take)
    4. Tombstone Blues (Alternate Take)
    5. Just Like Tom Thumb's Blues (Alternate Take)
    6. Desolation Row (Alternate Take)
    7. Highway 61 Revisited (Alternate Take)
    LP 4
    1. Leopard-Skin Pill-Box Hat (Alternate Take)
    2. Stuck Inside of Mobile with the Memphis Blues Again (Alternate Take)
    3. Visions of Johanna (Alternate Take)
    4. Ballad of a Thin Man (Live)
    5. Like A Rolling Stone (Live)
    Bob Dylan
    $149.99 $118.49 Save $31.50 (21%)
    200 Gram Audiophile Virgin Vinyl LP - 4 LPs Box Set Sealed Buy Now
  • Ellington At Newport (On Sale) Ellington At Newport (On Sale) On Sale Quick View

    $24.99 $22.49 Save $2.50 (10%)

    Buy Now
    x

    Ellington At Newport (On Sale)

    Numbered, Limited Edition Mono LP


    Pandemonium: Historic 1956 Live Set Triggered Spontaneous Audience Outburst That Fed Directly into Feel, Outcome of Performance


    Ellington's Legendary Comeback Punctuated by Paul Gonsalves' 27-Chorus Saxophone Solo


    Unrivaled Analog Transparency: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI


    One of the Most Riveting and Important Jazz Recordings Ever Made


    It spurred Duke Ellington's comeback into the mainstream. It captures a performance so energetic, wild, unexpected, and unprecedented that the music literally caused thousands of people to jump up and stand on their chairs, worrying officials that a riot might ensue. It is jazz of the highest order, played at an almost rock n' roll pace, and with an enthusiastic pep that confirms Ellington and his ensemble fed off the crowd's reaction as the collective lit into each new stanza. It is Ellington's best-selling album. It is Ellington at Newport.


    Like few records before or since, the 1956 set owes as much to context and circumstance as it does instrumental execution. Years prior to his appearance in Rhode Island, Ellington had suffered lackadaisical record sales and a falling out of the public eye, as bop and hard bop supplanted tradition big bands. Yet in preparation for the event, Ellington worked on experimental ideas and a reshaping of some of his standards.


    The iconic arranger/composer's foresight comes into fruition throughout the white-hot set, never more so than on "Diminuendo and Crescendo In Blue," on which tenor saxophonist Paul Gonsalves erases all rules and outlays a 27-chorus solo that left everyone in awe-and prompted them to stand on chairs, dance feverishly, and hoot and holler to an extent that caused Ellington to ultimately cool things off. The improvisational flight epitomizes boldness, freedom, risk, and, to the bandleader, an assuredly loud response to the critics that had believed his well was tapped.


    The songs in advance of the climactic moment are no less exciting; Ellington and his 15-piece collective manhandle notes with ease, swinging and sliding through "Festival Junction" with a requisite balance of poise and panache, and kicking heels on Newport Up via Ellington's spry piano riffs, Jimmy Hamilton's spicy clarinet feeds, and Clark Terry's trumpet runs. In every way, Ellington at Newport is as quintessential as Kind of Blue, Giant Steps, and Way Out West.


    And now, the 1956 classic can be experienced in an analog fidelity never before as authentic or transparent on any pressing. Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition Silver Series LP of Ellington's triumph boasts tremendous separation, deeper low frequencies, clearer highs, and front-to-back dynamics. Horns blare with multi-hued color, the Duke's 88s ring out with treble finesse, and the rhythm section claims an added presence buried on previous editions. Musically and sonically, you need this LP. It's that simple.


    This title is not eligible for further discount.

    1. Festival Junction
    2. Blues to Be There
    3. Newport Up
    4. Jeep's Blues
    5. Diminuendo and Crescendo In Blue
    Duke Ellington
    $24.99 $22.49 Save $2.50 (10%)
    Vinyl LP Mono - Sealed Buy Now
  • 52nd Street (On Sale) 52nd Street (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
    x

    52nd Street (On Sale)

    Ranked 352/500 on Rolling Stone's List of the 500 Greatest Albums of All Time


    52nd Street on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Mainstream Perfection: Melodic Devices, Passionate Singing, Sophisticated Arrangements, Jazzy Backdrop Walk Down 52nd Street


    Commanding Sonics: Mobile Fidelity Edition Sets the New Standard in How Joel's 1978 Classic Should-and Does-Sound


    Chart-Topper Certified Seven-Times Platinum: Includes "Big Shot," "Honesty," "My Life"


    Some artists embrace their success by repeating the steps that originally granted them fame. Billy Joel did the opposite, refusing to be contained by prescribed approaches or constrained by a given label. The follow-up to the breakthrough The Stranger, 52nd Street further expands on its predecessor's bold production techniques and inventive arrangements, incorporating more sophisticated textures as well as reflecting a jazz edge gleaned from New York City's thriving club scene.


    A key component of Mobile Fidelity's Billy Joel catalog restoration series, The Stranger is mastered from the original master tapes and pressed on 45RPM 180 gram LP at RTI. The wider and deeper grooves-as well as the meticulous mastering process-yield resplendent dynamics, broad soundstages, three-dimensional perspectives, and tonal balances absent from prior editions. Indeed, Joel wouldn't sound more realistic if were playing ten rows away from you onstage. This is how you want to experience the 1978 LP that captured the Grammy Award for Album of the Year.


    Teaming again with producer Phil Ramone, Joel capitalizes on his momentum, churning out another direct-sounding affair replete with captivating melodic devices, showmanship accents, and penetrating lyrics. The singer's concision and focus is evident via the tune's lengths, with only "Until the Night" breaking the six-minute mark. Hit singles "Big Shot" and "My Life" rattle forth with an urgency and intensity that Joel had not previously demonstrated, the combination of passionate deliveries, snide overtones, and insistent grooves setting the table for what follows.


    Broadening his palette, and drawing from New York's thriving jazz club scene and the city's late-70s grit, Joel splashes Latin and jazz colors on several pieces-even employing veterans such as Dave Grusin and Freddie Hubbard to contribute along with a cast that includes a team of background vocalists and horn players. Everything is tastefully appointed, and yet the vocalist's trademark Broadway gaze and knack for the grand gesture coincide with the straight-ahead swagger.


    52nd Street is one of the main reasons why Joel has always been championed for consistency. Everything here, from the production to the stand-up songs, helped redefine mainstream pop-rock. More than three decades later, it's finally available in fidelity that rivals that of those Columbia Records' master tapes produced right on 52nd Street. Mobile Fidelity takes you there and Joel sweeps you away.


    This title is not eligible for further discount.

    1. Big Shot
    2. Honesty
    3. My Life
    4. Zanzibar
    5. Stiletto
    6. Roaslinda's Eyes
    7. Half a Mile Away
    8. Until the Night
    9. 52nd Street
    Billy Joel
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Marshall Crenshaw (Awaiting Repress) (On Sale) Marshall Crenshaw (Awaiting Repress) (On Sale) On Sale Quick View

    $19.99 $17.99 Save $2.00 (10%)

    Buy Now
    x

    Marshall Crenshaw (Awaiting Repress) (On Sale)

    Marshall Crenshaw Marshall Crenshaw On Numbered Limited Edition 180g Vinyl LP


    Bored with his role as John Lennon in the musical Beatlemania in February of 1980, Marshall Crenshaw decided to try his hand at songwriting. By August of that year, he was playing his songs at gigs around Manhattan with his drummer brother, Robert and bassist Chris Donato. After singer Robert Gordon recorded three of his tunes, Crenshaw was signed by Warner Brothers and this, his self titled debut album was released in 1982. It was immediately lauded as a pop masterpiece and Crenshaw was recognized as a first-rate songwriter, singer and guitarist. Gems like Someday, Someway, She Can't Dance and Not for Me, all remain timeless classics that add up to one of the finest debuts of its day. Now here on Mobilie Fidelity Numbered Limited Edition 180g Vinyl!


    This title is not eligible for further discount.

    1. There She Goes Again
    2. Someday, Someway
    3. Girls
    4. I'll Do Anything
    5. Rockin' Around in N.Y.C.
    6. Usual Thing, The
    7. She Can't Dance
    8. Cynical Girl
    9. Mary Anne
    10. Soldier of Love
    11. Not For Me
    12. Brand New Lover
    Marshall Crenshaw
    $19.99 $17.99 Save $2.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • KC & The Sunshine Band (Awaiting Repress) (On Sale) KC & The Sunshine Band (Awaiting Repress) (On Sale) On Sale Quick View

    $24.99 $22.49 Save $2.50 (10%)

    Buy Now
    x

    KC & The Sunshine Band (Awaiting Repress) (On Sale)

    Numbered Limited Edition



    Guilty Pleasure Records Don't Come Better Than This Freewheeling 1975 Set



    Party On: Smash Hits Get Down Tonight, That's the Way (I Like It), Boogie Shoes Are All Here



    Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (America's Best Record Plant): Wait Until You Hear How Deep and Low the Grooves Go



    It's okay to admit it. While few openly confess their love for KC and the Sunshine Band, who among us doesn't light up the instant that the super-catchy Get Down Tonight or giddy sing-a-long invitation That's the Way (I Like It) begins to play? Yeah, just by reading that last sentence, it's likely you're already humming the tune in your head, or feeling a twitch in your feet. The music is that addictive. And that universally recognized. It's time you finally enjoy it on a pressing that brings everything that's been buried in those deep grooves to the surface.



    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents the 1975 triple-platinum smash in the absolute best sound it's ever had. The ensemble's brassy horns, funky guitars, tropical percussion, and snappy vocals take their respective place amidst a gargantuan soundstage that, in your listening room, will double as a discotheque. Get your dancing shoes ready!



    Coming from a musical strain then known as the Miami Sound, KC and the Sunshine Band perfected its mix of boisterous rhythms, disco-floor grooves, slick funk riffs, R&B hooks, carefree choruses, and dance commands on this self-titled release. The world immediately took notice. Focused on nothing but fun, letting go, and channeling feel-good emotions, the group revolutionized pop music by getting even the most hardened, resistant rock purists to embrace its appeal.



    There isn't a better record with which to start or continue a party. Synonymous with celebrations, commemorations, and just blowing off steam, mega-hits That's the Way (I Like It) and Get Down Tonight transcend boundaries and generations. If youâre within earshot, you will get up and dance. In addition to being utterly irresistible songs, guilty pleasure or not, the fare on KC and the Sunshine Band qualifies as simply great pop, the arrangements, playing, and consistency as good as it gets. As for the grooves? Man, keep 'em flowing.



    Rather than live in secrecy or settle for an inferior version, go ahead, indulge yourself, and grab this 70s classic on remastered, audiophile-grade vinyl. You'll be surprised at the amount of new information that's revealed, whether it's the depth of the low frequencies or timbrel properties of the horns.


    This title is not eligible for further discount.

    1. Let It Go (Part One)
    2. That's the Way (I Like It)
    3. Get Down Tonight
    4. Boogie Shoes
    5. Ain't Nothin' Wrong
    6. I'm So Crazy ('Bout You)(Casey, Finch, Willie Clarke)
    7. What Makes You Happy
    8. I Get Lifted
    9. Let It Go (Part Two)
    KC & the Sunshine Band
    $24.99 $22.49 Save $2.50 (10%)
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Call Me (Speakers Corner) Call Me (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Call Me (Speakers Corner)

    What connects celebrity chefs and pop stars is their fine nose for ingredients, especially when hot and spicy ones are mixed with milder elements to create an aromatic result. A combination of 'sweet' and 'funky' is the secret of Al Green's gloriously sentimental and sensual pop songs, which in the sexually free Seventies were often referred to as »songs to make love by«. What swings along gently is, however, Al Green's subtly controlled falsetto, which he can tone right to the threshold of audibility. But watch out! This music belts out some fiery sounds right from the very first number. The sinuous, swinging request in the brilliant hit single Call Me, the relaxed and groovy Stand Up, with its sharp wind interjections which demand one's unerring attention, are typical for Green's style, just as is his almost disturbing capability to gain comfort from loneliness (I'm So Lonesome, I Could Cry). This rhythmically powered music can best be described as light, intensive, dynamic but never flashy (Your Love Is Like The Morning Sun). It finds its earthly culmination in soul (I'm Waiting) and spiritual depth.



    Musicians:



    • Al Green (vocal)

    • James Mitchell (bassoon, arranger)

    • Andrew Love (tenor sax)

    • Jack Hale (trombone)

    • Wayne Jackson (trumpet)

    • Mabon Hodges (guitar)

    • Charles Hodges (keyboards)

    • Archie Turner (piano)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)

    • The Memphis Strings



    Recording: 1973 at Royal Recording Studios, Memphis, TN, by Willie Mitchell

    Production: Al Green and Willie Mitchell




    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. Call Me (Come Back Home)
    2. Have You Been Making out O.K.
    3. Stand Up
    4. I'm So Lonesome I Could Cry
    5. Your Love Is Like the Morning Sun
    6. Here I Am (Come and Take Me)
    7. Funny How Time Slips Away
    8. You Ought to Be with Me
    9. Jesus Is Waiting
    Al Green
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In A Silent Way (On Sale) In A Silent Way (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

    Buy Now
    x

    In A Silent Way (On Sale)

    Float Into the Ether: Gorgeous 1969 Experimental Treasure Among the Most Atmospheric Jazz Albums Ever Recorded


    Delicate, Immersing, Dynamic: Mobile Fidelity Reissue Magnifies the Bold Textures, Soothing Ambience, and Transcendent Moods


    Davis First Fusion Album Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams


    Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and Four & More Also Available from Mobile Fidelity


    Shhh. The command to be quiet is no just part of the title of one of the two sprawling compositions on this pioneering album. Its also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis first full-on fusion effort and part of his electric era, the 1969 landmark claims a Whos Who lineup that sends the music into an ethereal stratosphere.


    Part of Mobile Fidelitys Miles Davis catalog restoration series, In a Silent Way now immerses the listener in linoleate landscapes starlit by the intuition, suspension, and paradoxes wrought by a once-in-a-lifetime collective. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of jazz, rock, and ambience, following a loose theory Davis dubbed New Directions.


    Few albums are so delicately textured. And on Mobile Fidelitys meticulous analog reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams inventive percussive touch he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Hollands extrapolative bass, and the mosaic of keys.


    If the records only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons not the least of which is the seemingly telepathic communicative methods employed by the groups members. The lineup is great on paper, but, if its even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.


    Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis decorative spirals. And as color is the primary unit of currency on Davis Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the sets maverick reputation attained via musings on solitude rather than explosions of noise.


    Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producers could attempt and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.


    This title is not eligible for further discount.

    1. Shhh/Peaceful
    2. In a Silent Way/Its About That Time
    Miles Davis
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Inner Mounting Flame (Speakers Corner) The Inner Mounting Flame (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Inner Mounting Flame (Speakers Corner)

    The liner notes for The Inner Mounting Flame were written by the guru Sri Chinmoy - now that's a real sales point! The music too burns right from the very first note to the last as though it were licked by the flames of hell fire.



    The wealth of ideas, sheer vitality and supreme soloistic virtuosity of the five top-notch musicians from four different countries is absolutely first class. In addition there is their truly dreamlike interplay; one could say they were born and grew up with the same 'spirit'. Meeting Of The Spirit, The Dance Of Maya and You Know You Know are the highlights of this first Mahavishnu Orchestra.



    Aspiration - struggle, hope and desire - is seen as an inner mounting flame which takes man towards 'divine perfection'. Well, opinions differ of course. But what is certain is that this music from 1971 is still amazingly fresh and creative even 36 years later - and luckily it is available once again in the form of a vinyl disc.



    Musicians:



    • John McLaughlin (guitar)

    • Jan Hammer (piano)

    • Jerry Goodman (violin)

    • Rick Laird (bass)

    • Billy Cobham (drums)




    Recording: August 1971 in New York City by Don Puluse

    Production: John McLaughlin





    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. Meeting of the Spirits
    2. Dawn
    3. Noonward Race, The
    4. A Lotus on Irish Streams
    5. Vital Transformation
    6. Dance of Maya, The
    7. You Know You Know
    8. Awakening
    Mahavishnu Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Live at Fillmore East (On Sale) Live at Fillmore East (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
    x

    Live at Fillmore East (On Sale)

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


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


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


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


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


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


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


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


    This title is not eligible for further discount.

    1. Statesboro Blues
    2. Done Somebody Wrong
    3. Stormy Monday
    4. You Don't Love Me
    5. Hot 'Lanta
    6. In Memory of Elizabeth Reed
    7. Whipping Post
    The Allman Brothers
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Round About Midnight (Awaiting Repress) (On Sale) Round About Midnight (Awaiting Repress) (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

    Buy Now
    x

    Round About Midnight (Awaiting Repress) (On Sale)

    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 further 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 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • MFSL Record Brush MFSL Record Brush Quick View

    $19.99
    Buy Now
    x

    MFSL Record Brush

    The Mobile Fidelity Record Brush is Our All-Time Best-Selling LP Brush! Heres an inexpensive tool for keeping all of your irreplaceable records clean and cared for! We are very proud to offer the latest in essential record care products: The MoFi LP Record Brush! Easy to use, easy to clean; this record brush is guaranteed to keep all of your LPs clean and quiet! It gets really deep into the grooves and helps scrub all that nasty, noisy dirt out. The key to its great vinyl cleaning is found in Mobile Fidelitys proprietary cleaning pad and ergonomic brush handle. Its been designed for multi-purpose use: it can be used as a wet-cleaning brush (we recommend using it as part of your intensive record cleaning machine workout) or as simply the best dry record brush ever designed. One cleaning pad will clean hundreds of your favorite LP's. For best results, we recommend the use of a simple, single step record cleaning fluid like our best selling Mobile Fidelity fluids. Not only is the best record brush ever designed, its also the cheapest! Stock up on a few of these brushes and keep you records in pristine condition!


    For cleaning: We recommend keeping an unused toothbrush around for cleaning the pads on the MD LP Brush. Remember...a clean brush is a happy brush...and one that will not transfer debris onto other records!

    Accessories
    $19.99
    MFSL Record Brush Buy Now
  • Mobile Fidelity PLUS Enzyme LP Cleaning Fluid Mobile Fidelity PLUS Enzyme LP Cleaning Fluid Quick View

    $29.99
    Buy Now
    x

    Mobile Fidelity PLUS Enzyme LP Cleaning Fluid

    Mobile Fidelity PLUS Enzyme LP Cleaning Fluid Removes All Organic Materials Embedded in the Grooves of Your Precious Vinyl Records. Nothing on the Market Works as Well to Remove Oils, Sweat, Smoke and Mold!


    Mobile Fidelity PLUS Enzyme Cleaner for all Vinyl LPs is a revolution in record cleaning! PLUS uses enzymes to more completely clean records than any other fluid we've found.


    Most sound degrading contaminants found on records are organic in nature, oils and sweat from hands, skin, hair and other minuscule particles of dust are attracted by electrostatic charges on the vinyl and can become deeply embedded in the vinyl. The best way to remove these is with an enzyme specifically designed for this purpose. By coating the play surface with PLUS Enzyme Cleaning Fluid and allowing it to sit on the record surface for 3-5 minutes, the enzymes will break the particles down and loosen them from the grooves.


    Highly purified, high surface tension water is used as the base for PLUS - water that will bead up, removing contaminants and holding them in the water beads, rather than allowing them to settle back into the grooves.


    Using PLUS is a revelation, even on a clean record, the improvement is shocking. Drastically lower noise floor, increased dynamic range, richer tonal balance and clear undistorted peaks. Put simply, PLUS reveals more of the information that's been hiding in the grooves.


    To get the most out of PLUS, we highly recommend using Mobile Fidelity PURE Record Rinse. PURE is ultra-pure water that has gone through four stages of deionization, after which it is triple-distilled, then treated with high intensity ultraviolet light to kill all bacteria and microbiological particles. This intense and thorough process leaves nothing in PURE to harm your vinyl.


    Mobile Fidelity has a history of setting industry standards. We are the first to provide this quality of care in our base and rinse water. The ultraviolet light purification sets the bar for the competition to once again play catch-up. Call us today to learn more about how analog lovers can benefit from Mobile Fidelity PLUS Enzyme Cleaning Fluid.

    Mobile Fidelity
    $29.99
    Record Cleaning Fluid Buy Now
  • Chicken Skin Music (Pre-Order) (On Sale) Chicken Skin Music (Pre-Order) (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

    Buy Now
    x

    Chicken Skin Music (Pre-Order) (On Sale)


    Give Yourself Goosebumps: Ry Cooder's Cross-Cultural Chicken Skin Music Mixes Hawaiian, Gospel, Conjunto, Folk, and Blues Styles into a Visionary Roots-Music Tapestry


    Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Natural-Sounding 180g Vinyl LP Features Defined Textures, Intricate Details, Ample Airiness


    The title of Ry Cooder's Chicken Skin Music - Hawaiian slang for goosebumps - serves as a direct, simple description of the album's emotional appeal. But it barely scratches the surface of a 1976 effort that triggered an interest in world music a decade before the term became commonplace and a genre into and of itself. Part of a series of inimitable mid-1970s records on which Cooder ignored traditional boundaries and instigated lasting cross-cultural communication, Chicken Skin Music blends gospel, Hawaiian, folk, blues, and Tex-Mex styles into a brilliant roots stew distinguished with virtuosic playing and inspired contextual surprises.


    Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, Mobile Fidelity's 180g vinyl LP of Chicken Skin Music brings the brilliant instrumental textures and lively tonalities to the fore like no prior analog edition. Graced with silent, black backgrounds and generous soundstages, this reissue particularly underscores the depth of Flaco Jimenez's accordion contributions. You'll hear the air flowing through the reeds, pressure resonating from the bellows, and the wide-spanning timbres emanating from the register stops.


    Equally transfixing are the lifelike manners in which the rich assortment of guitars come alive, with each note occupying its own space and portraying a character unique to the individual instrument, be it a slack-key, steel, or acoustic guitar. The result is a multi-detailed, organic-sounding musical tapestry that dazzles by way of beautiful interplay, unexpected dialogue, and connective eclecticism that proves music is indeed a common language when executed with a collaborative mindset, innovative exploration, and respectful authenticity - no easy feats, but achievements fully on display on Chicken Skin Music.


    Jimenez, now a legend that's performed with everyone from the Rolling Stones to Dr. John, remains one of the keys to Cooder being able to successfully carry out what the latter deemed a mutuality in music vision. Cooder first heard conjunto accordion fare on a Mexican radio station in his car and proceeded to teach himself the instrument while committing himself to embracing the then-local, regionalized style for the set that became Chicken Skin Music. Jimenez graces three tracks, including a ravishing interpretation of Ben E. King's Stand by Me transformed into a spiritual grounded by a norteno structure and a romantic take on Jim Reeves' He'll Have to Go recast with a bolero rhythm and saxophone-accordion duet.


    Chicken Skin Music isn't limited to South of the Border geography and tradition. Steel-guitarist and vocalist Gabby Pahinui and slack-key guitar great Atta Isaacs represent the 50th state on stripped-down renditions of Hank Snow's smash Yellow Roses and the wordless Chloe. Elsewhere, gospel singers team with Cooder on the Appalachian-tinted Always Lift Them Up, the midsection of which features the Hawaiian standard Kanaka Wai Wai.


    Cooder bookends everything with a pair of Leadbelly numbers - The Bourgeois Blues and Goodnight Irene - chosen after the headliner witnessed Jimenez and his band perform at a local dance. Given their ordering on the album, techniques they employ, and themes, the songs also further tighten the thematic connection the headliner makes with the standout guests. In many ways, Chicken Skin Music is the equivalent of Buena Vista Social Club more than 20 years before the latter emerged. Experience it the way Cooder and company meant it to be heard - in unparalleled fidelity.


    This title is not eligible for further discount.

    1. The Bourgeois Blues
    2. I Got Mine
    3. Always Lift Him Up/Kanaka Wai Wai
    4. He'll Have to Go
    5. Smack Dab in the Middle
    6. Stand by Me
    7. Yellow Roses
    8. Chlo-e
    9. Goodnight Irene
    Ry Cooder
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Get The Knack (Pre-Order) (On Sale) Get The Knack (Pre-Order) (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

    Buy Now
    x

    Get The Knack (Pre-Order) (On Sale)


    One of the Most Instantly Successful and Highest-Selling Debut Albums in History: The Knack's Attitudinal Get the Knack Loaded With Power Pop, Catchy Hooks, Keen Melodies, and My Sharona


    Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Mobile Fidelity 180g LP of Get the Knack Teems with Abundant Energy


    Most everyone knows The Knack's Get the Knack because of the ubiquitous smash My Sharona, a contagious hit that still plays countless times everyday on radio stations nationwide. But the appeal and significance of the Los Angeles quartet's 1979 debut extend far beyond the career-making single. Loaded with tight power pop, hummable hooks, blunt lyrics, and precision playing, the controversy-igniting Get the Knack resonates with an ageless freshness that's influenced everyone from Kurt Cobain to modern indie artists such as the Mountain Goats.


    Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, Mobile Fidelity's 180g LP of Get the Knack brings the record's urgent harmonies, keen melodies, bell-clear tones, and snapping percussion out of the shadows and into the limelight. Graced with large-scale frequency extension and ample separation, the Knack's feisty music now teems with added energy, body, and immediacy. Absent the dynamic compression that squelched previous reissues, this numbered limited-edition audiophile analog version blossoms with detail, openness, and brashness. A guilty pleasure to some and new-wave classic to many others, Get the Knack is so attitudinal it spawned one of the industry's most famous backlashes.


    Released by Capitol Records after the Knack courted a dozen other offers, the 12-track set remains one of the most instantaneously successful debuts ever made. Aided by tongue-in-cheek marketing, a sly cover-art reference to the Beatles' Meet the Beatles, and Mack Truck-sized refrains that stick in your head for hours, Get the Knack went gold in days and, to date, has sold more than five million copies. The meteoric rise didn't sit well with detractors committed to ripping apart the band for its perceived arrogance (members refused to sit for interviews) and alleged misogynist stance. Needless to say, the boycotting campaigns fell on deaf ears.


    Holding down the top of the singles chart for six weeks, and the eventual number-one single on the year-end 1979 chart, My Sharona alone cemented the Knack's position in history. Written by lead singer and guitarist Doug Fieger about his lust for the then-underage 17-year-old Sharona Alperin, who ultimately became his fiancÉe, the anthem's suggestive themes carry throughout the record. Straightforward in its sleaziness and sexuality, Get the Knack pulls no punches about teenage frustrations, boy-girl one-upsmanship, sticky sweet romance, and unrequited passions for the opposite sex.


    Teasing, mischievous tracks such as (She's So) Selfish connect with Bo Diddley-inspired riffs and crude, hormonally charged lines that split the difference between manipulation, nastiness, and arousal. The Top 15 hit Good Girls Don't similarly confronts the pent-up carnal desires and libidinous emotions shared by youth of all generations, while That's What the Little Girls Do functions as a sly response. Your Number or Your Name dabbles in related subject matter, with sensitivity and hopefulness added for good measure. It's a perfect mix of agony and ecstasy, fear and confidence.


    Shot-through with yearning, every song bursts forth with undeniable catchiness, firecracker release, and sassy style - an approach Rolling Stone rightly says finds the band [winding] itself tighter than a hot pair of disco jeans, then [doing] its best to hold to that energy until its time to explode.


    This title is not eligible for further discount.

    1. Let Me Out
    2. Your Number or Your Name
    3. Oh Tara
    4. (She's So) Selfish
    5. Maybe Tonight
    6. Good Girls Don't
    7. My Sharona
    8. Heartbeat
    9. Siamese Twins (The Monkey and Me)
    10. Lucinda
    11. That's What the Little Girls Do
    12. Frustrated
    The Knack
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Eye in the Sky (Speakers Corner) Eye in the Sky (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    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
  • Eat A Peach (On Sale) Eat A Peach (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
    x

    Eat A Peach (On Sale)

    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.


    This title is not eligible for further discount.

    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 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Raspberries Best (On Sale) The Raspberries Best (On Sale) On Sale Quick View

    $24.99 $22.49 Save $2.50 (10%)

    Buy Now
    x

    The Raspberries Best (On Sale)

    Go All the Way: The Absolute Finest Singles from the 1970s Power-Pop Mavens


    Vocalist Eric Carmen and Co. Deliver One Punchy Chord and Contagious Melody After Another


    Britpop, Psychedelia, Pop, and Arena Rock Blends Drive Hits Such as "Go All the Way" and "I Wanna Be With You"


    Mellifluously Airy Harmonies: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI


    Red Colored Vinyl


    The matching Mod suits, trim haircuts, and youthful appearance weren't just for play. The Raspberries' looks extended to their irresistibly catchy and refreshingly concise music, a blend of bouncy Britpop, lazy-day psychedelia, mellifluous pop, and crunch arena rock that stands apart from the epic pomposity of most of the early 70s' commercial trends and continues to linger as some of the most expertly crafted sounds ever created. Over the course of four albums, the singles-minded group cut their share of memorable sides. They're all here on this 1976 compilation. And now, they possess a fidelity that even the original LPs lacked.


    Mastered on Mobile Fidelity's internationally renowned mastering system and pressed at RTI, this Silver Label LP extracts more information from the grooves, extending the spaces between instruments and breathing newfound life into the swirling vocal harmonies. The group's trademark singing is airier, the highs free of constraints, and the string-laden accents enriched with natural decay. Improved, too, are the quartet's amplifier-driven chords and frisky drumming, aspects that possess a palpable crunch typical of British Invasion acts.


    Adept at both gorgeous devotional ballads and upbeat, fist-pumping rockers, the Raspberries claim a multifaceted talent in leader Eric Carmen, a crooner whose capacity to turn on a dime from a sweet falsetto to searing cry infuses the band's tunes with emotional exuberance and bittersweet weight. He lends sentimental grace to epic piano weepers such as "Don't Want to Say Goodbye" and amiable snarl to carefree numbers like "I Wanna Be With You." However, the Raspberries' greatest asset relates to their harmonic prowess.


    Multi-part group vocals on bounding, surf-referencing fare ("Drivin' Around") and catchy, summery material ("Tonight") recall both the Beach Boys and Beatles. Yet the Raspberries bring a unique edge and R&B-etched rhythm to tunes that stand as proto power-pop staples. Thematically, the ensemble keeps lyrics as simple and memorable as its hooks, with a majority of songs speaking to the pleasures of romance and love. Breezy, fun, and indelible, it's music that never goes out of style.


    This title is not eligible for further discount.

    1. Go All the Way
    2. Tonight
    3. Ecstasy
    4. I Wanna Be With You
    5. I Can Remember
    6. Overnight Sensation
    7. Let's Pretend
    8. Drivin' Around
    9. Starting Over
    10. Don't Want to Say Goodbye
    The Raspberries
    $24.99 $22.49 Save $2.50 (10%)
    Colored Vinyl LP - Sealed Buy Now
  • Bare Bones (On Sale) Bare Bones (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
    x

    Bare Bones (On Sale)


    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 further 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 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Pearl (On Sale) Pearl (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
    x

    Pearl (On Sale)


    1971's Pearl Showcases Janis Joplin at Her Peak: Chart-Topping Record Includes Hits Me and Bobby McGee, Mercedes Benz, and Get It While You Can


    Mastered From the Original Master Tapes: Mobile Fidelity 45RPM Pressing is Definitive-Sounding Analog Version of Masterpiece Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time


    Joplin Displays Balance of Impeccable Timing, Devastating Vulnerability, and Raw Emotion: Full Tilt Boogie Band, Producer Paul Rothchild Complete Album Steeped in Soul and Loaded With Spirit


    Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work. Mobile Fidelity's 180g 45RPM 2LP presents the lasting artwork like never before.


    Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's analog reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than authentic, and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.


    While Joplin's electrifying vocal prowess is universally lauded - she's recognized as the greatest white female blues singer the world has ever seen - her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain - the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's Cry Baby, underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment - yet Joplin also reveals a sense of humor and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.


    Playfully introduced as a song of great social and political import, the acapella Mercedes Benz reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's Me and Bobby McGee signals a laidback demeanor and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as A Woman Left Lonely offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.


    Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band - the only group she ever considered to be her own - as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labors fill Pearl, be it the guardedly optimistic Get It While You Can or assertive, fleet-footed Move Over.


    Experienced in the new light brought to fore by this definitive Mobile Fidelity analog edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.


    This title is not eligible for further discount.

    1. Move Over
    2. Cry Baby
    3. A Woman Left Lonely
    4. Half Moon
    5. Buried Alive In The Blues
    6. My Baby
    7. Me And Bobby McGee
    8. Mercedes Benz
    9. Trust Me
    10. Get It While You Can
    Janis Joplin
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Music From Big Pink (On Sale) Music From Big Pink (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

    Buy Now
    x

    Music From Big Pink (On Sale)

    Ranked 34/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Take a Load Off with the Very Best-Sounding Analog Big Pink Ever Pressed


    Half-Speed Mastered from the Original Master Tapes and Pressed at RTI


    Includes The Weight, I Shall Be Released, This Wheel's On Fire


    Youve likely heard the story. Now hear the results of one of the most famous sessions in history with a clarity and warmth never thought possible.


    In late 1965 and early 1966, Bob Dylan shattered the boundaries between folk and rock music on a controversial tour that found the generation spokesman plugging in and shocking purist audiences that reviled in horror at the sight of their hero playing electric with a bunch of ragtag Canadian mates. Then known as the Hawks, the Band was that backing group, serving Dylan not only on the road but, playing with him after his motorcycle accident, on his seminal Basement Tapes collection.


    Recorded in 1968 and ranked #34 on Rolling Stones 500 Greatest Albums of All Time list, The Bands Music From Big Pink stems from the same localea pink farmhouse in upstate Woodstock, New Yorkas the Basement Tapes and is just as rustic, timeless, and mysterious as Dylans celebrated work. A debut for the ages, the album features two songs co-written with DylanThis Wheels on Fire, Tears of Rageas well as whats universally recognized as the definitive version of Dylans I Shall Be Released. More famously, it also includes The Weight, a standard covered by everyone from the Grateful Dead to Weezer to Aretha Franklin. But the power of this set doesnt lie in one song but the entire album.


    A groundbreaking statement, Music From Big Pink lays bare the magnetism of the American South, Appalachian traditions, and country-rock innovations. That guitarist Robbie Robertson, pianist Garth Hudson, bassist Rick Danko, drummer/vocalist Levon Helm, and organist Richard Manuel are all household names only adds to the proof of this must-have records everlasting appeal. This is the majesty of what Greil Marcus called the old, weird America.


    Half-speed mastered from the original master tapes and pressed at RTI, Mobile Fidelity's analog version practically gives you a spot on the floor at Big Pink as the sessions went down. Curl up, close your eyes, and listen as the music's sublimely organic sounds appear with full-range dynamics, life-size imaging, and tremendous soundstaging. This is one of the reasons why you have a turntable. Prepare for your system, and your ears, to glow.


    This title is not eligible for further discount.

    1. Tears Of Rage
    2. To Kingdom Come
    3. In A Station
    4. Caledonia Mission
    5. The Weight
    6. We Can Talk
    7. Long Black Veil
    8. Chest Fever
    9. Lonesome Suzie
    10. This Wheel's On Fire
    11. I Shall Be Released
    The Band
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Go to top