Mobile Fidelity Sound Lab HHV Records 123 Items

Mobile Fidelity’s UltraDisc One-Step 180g 45rpm 2LP box set of Off the Wall is sourced from the original master tapes, housed in a deluxe slipcase, and pressed on MoFi SuperVinyl at Fidelity Record Pressing. The keepsake packaging of this Off the Wall Ud1s set further befits the album’s preeminent status. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful graphics. Aurally and visually, this reissue is made for everyone who desires to immerse themselves in everything involved with the nine-timesplatinum landmark — including the iconic album cover with Jackson dressed in a tuxedo. Michael Jackson’s Reign as the King of Pop Starts Here: RIAA-Certified Nine-Times-Platinum Off the Wall Blends Funk, Disco, Soul and R&B in Visionary Ways, Features “Don’t Stop ‘Til You Get Enough” and “Rock With You” 1979 Landmark Presented in Audiophile Sound for the First Time: Mobile Fidelity’s UltraDisc One-Step 180g 45rpm 2LP Box Set Explodes with Energy, Plays with Superb Clarity and Detail 1/4" / 30 IPS analog master to DSD 256 to analog console to lathe Mobile Fidelity’s UltraDisc One-Step 180g 45rpm 2LP box set of Off the Wall is sourced from the original master tapes, housed in a deluxe slipcase, and pressed on MoFi SuperVinyl at Fidelity Record Pressing. The keepsake packaging of this Off the Wall Ud1s set further befits the album's preeminent status. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful graphics. Aurally and visually, this reissue is made for everyone who desires to immerse themselves in everything involved with the nine-times-platinum landmark — including the iconic album cover with Jackson dressed in a tuxedo.

Michael Jackson’s Reign as King of Pop Starts Here: RIAA-Certified Nine-Times-Platinum Off the Wall Blends Funk, Disco, Soul, and R&B in Visionary Ways, Features “Don’t Stop ‘Til You Get Enough” and “Rock With You” 1979 Landmark Presented in Audiophile Sound: Mobile Fidelity’s Numbered-Edition Hybrid Sacd Explodes with Energy, Plays with Tremendous Clarity, Detail, and Dynamics Mobile Fidelity’s numbered-edition hybrid Sacd of Off the Wall is sourced from the original master tapes and housed in mini-LP-style packaging. This reissue is made for everyone who desires to immerse themselves in everything involved with the nine-times-platinum landmark — including the iconic album cover with Jackson dressed in a tuxedo.

Strictly Limited TO 5,000 Numbered Copies Mobile Fidelity UltraDisc One-Step Process Instead of utilizing the industry-standard three-step lacquer process, UltraDisc One-Step (ud1s) uses only one step and bypasses two processes of generational loss. In addition to revealing extra musical detail and dynamics otherwise lost due to the standard copying process, the Ud1s technique produces a final LP with the lowest noise floor possible today.

• Miles Davis Double Album Remains the Template for Jazz Fusion: Bitches Brew Still Sounds Ahead of Its Time and Features ‘The Greatest Rock and Roll Band You Ever Heard’ • Strictly Limited to 5,000 Numbered Copies and Pressed at Fidelity Record Pressing: 55th Anniversary Edition Mobile Fidelity UltraDisc One- Step 180g 33rpm 2LP Set Demands You Heed Davis’ Call to ‘Listen to This’

“Listen to This.” As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered history, and still sounds ahead of its time. The template for jazz fusion, Bitches Brew is rightly ranked by virtually every significant music outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark explores distant universes and uncharted territories. At once hypnotizing and grooving, it blends quixotic rock, funk, and R&B elements into what Davis called “a novel without words.” Sourced from the original analog master tapes, pressed at Fidelity Record Pressing, and released in celebration of the record’s 55th anniversary, Mobile Fidelity’s numbered-edition UltraDisc One-Step 180g 33rpm 2LP set enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, ample separation between instruments, and a broad dynamic range. Benefitting from the ultra-low noise floor of this edition, Davis’ distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint canvases laden with millions of colors and shades. Here’s your round-trip ticket to travel to a thrilling galaxy far from planet earth.

Track List • Miles Davis Double Album Remains the Template for Jazz Fusion: Bitches Brew Still Sounds Ahead of Its Time and Features ‘The Greatest Rock and Roll Band You Ever Heard’ • Strictly Limited to 5,000 Numbered Copies and Pressed at Fidelity Record Pressing: 55th Anniversary Edition Mobile Fidelity UltraDisc One- Step 180g 33rpm 2LP Set Demands You Heed Davis’ Call to ‘Listen to This’

Tracklist

Limited to 3000 copies. The impact, influence, and importance of Run-D.M.C.'s self-titled debut – the album that invented hardcore hip-hop and bridged rap, rock, and funk in then-unparalleled ways – cannot be measured. The first full-length record released by Profile Records, the 1984 set permanently changed the sound of music, broadcast streetwise wisdom to every corner of the country, and made the notion of a one-man band a distinct reality. Produced by Russell Simmons and Larry Smith – and bolstered by an incendiary blend of staccato deliveries, stark beats, aggressive exchanges, evocative hooks, and socially conscious messages – Run-D.M.C. still hits listeners in the jaw with the same intensity it did nearly 40 years ago when it could be heard booming from ghetto blasters carried around city blocks nationwide.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g SuperVinyl 33RPM LP is the definitive-sounding version of this groundbreaking work.

Vinyl LP repressing. Screaming for Vengeance is the eighth studio album by British heavy metal band Judas Priest, originally released on 17 July 1982. The album, considered the band's commercial breakthrough, sold in excess of five million units worldwide and has been certified double platinum in the United States of America as well as platinum in Canada. The album includes the hit single "You've Got Another Thing Comin'", which became one of the band's signature songs and a perennial radio favorite. Screaming for Vengeance was recorded at Ibiza Sound Studios, Ibiza, Spain (during this period, it was commonplace for UK-based musicians to record in continental Europe for tax purposes) and mixed at Beejay Recording Studios and Bayshore Recording Studios in Coconut Grove, Florida. Stylistically, Screaming for Vengeance showcased a harder, heavier sound than British Steel and saw the band quickly reverse direction back into straight heavy rock after the melodically styled direction of Point of Entry.

Carlos Santana and Company Return to a Dynamic Blend of R&B, Latin, Funk, and Rock: Amigos Aims for the Hips, Spreads Joy, and Includes “Europa (Earth’s Cry Heaven’s Smile)” Mobile Fidelity’s Reissue of the 1976 Effort Plays with Involving Energy, Presence, and Depth: 180g 33rpm LP Is Strictly Limited to 3,000 Numbered Copies 1/4" / 15 IPS / Dolby A Analog Copy to DSD 256 to analog console to lathe Amigos has been beloved for decades by both long-time and recent Santana admirers, with multiple generations of fans drawn in by the record’s contagious blend of R&B, Latin, rock, and funk elements. As well as its immense accessibility. Coming off a series of albums that heavily leaned into jazz fusion, the band returns to the more dynamic and concise approaches of its earlier works without losing the sense of adventurousness, craftsmanship, and virtuosity that turned it into a juggernaut embraced by both the mainstream and experimentally minded communities. Mastered at Mobile Fidelity’s in-house studio in California, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33rpm LP of Amigos presents the 1976 album in audiophile sound for the first time on a domestic release. Part of the reissue label’s Santana series, this collectible version features quiet surfaces and black backgrounds that help reveal the intricate details, distinguished tones, and cohesive interplay that cause Santana’s music to take flight. The enhanced aural perspectives extend not only to Carlos Santana’s intoxicating fills and solos, but to the rich tapestry of the rhythmic, melodic, and vocal elements that help Amigos feel as fresh today as it did several decades ago. This LP shines a beaming light on the surrounding musicians that simultaneously feed off and inspire their bandleader. The solidity and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the grip and weight of the low-end frequencies; and, possibly the most enticing traits, the textures of the acoustic guitars, numerous percussive devices, and then-modern synthesizers: all come across with tremendous presence and energy. Entirely appropriate for a set that kicks from the start, with the opening “Dance Sister Dance (Baila Mi Hermana)” true to the song title’s combination directive-invitation meaning. Tropical, soulful, upbeat, and liberating, it beckons hips to shake and delicious libations to pour. Clinking cowbells, spirited background vocals, hand-tapped congas, and Carlos Santana’s six-string magma pour forth with abundance. The song sets the mood and expectations for a record that contains not an ounce of filler, and which inspires and spreads joy at practically every turn. On the gold-certified Amigos, the ensemble never seems to run short of zest or happiness. Key in on the Latin bite and searing guitar architecture of “Take Me With You,” an instrumental that shifts tempo at its midpoint and sparkles with a samba-like outro that aims to put everyone in earshot on the dance floor. Surrender to the slow-burn of “Tell Me You Are Tired,” sent up with Greg Walker’s sympathetic vocals and spun around with whirling funk accents. Marvel at the Spanish guitar introduction, Mexican folk foundation, group vocals, and extroverted grooves of the forward-propulsive “Gitano,” with lead singing by conga/bongo expert Armando Peraza. Having reached the Top 10 in the United States and spawned the hit “Let It Shine,” Amigos marked the final stint for bassist David Brown, the last of the group’s famed Woodstock lineup to depart. His contributions feel especially spirited throughout the album, compass readings that the group uses to chart their course. Just listen to how his passages pop on “Let Me” and frame the can’t-get-it-out-of-your-head “what you need is what you want” refrain. And while Carlos Santana remains the centerpiece of the brilliant and meditative “Europa (Earth’s Cry Heaven’s Smile),” Brown serves as a trustworthy anchor and friendly advocate. Amigos? Si de hecho.

Limited 180gm Mobile Fidelity vinyl LP pressing. Filled with harmonious performances that reflect the definition of it's title - a place at which ideas, products, and culture are freely traded - Caravanserai marks the start of Carlos Santana's foray into the jazz-fusion territory that would inform his career for the better part of the next two decades. Inspired by Miles Davis' pioneering period work, and aiming to discover and develop inner peace within a musical realm, the guitarist sets off on a quest to find his equivalent of the spiritual dimensions John Coltrane channels on A Love Supreme. The daring move paid dividends: The namesake band's 1972 album landed in the Top 10, sold more than a million copies, and established Santana as a visionary who refused to cater to commercialism.

SOURCED FROM THE ORIGINAL MASTER TAPES AND PRESSED ON MOFI SUPERVINYL
1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe



Run-D.M.C.'s Raising Hell remains the turning point at which hip-hop crashed through mainstream barriers and never left. Anchored by the crossover smash "Walk This Way," the 1986 blockbuster still sounds like a revolution unfolding in real time. It has everything – hard-rock riffs, turntable scratching, itchy rhythms, hit singles – not the least of which are the trio's invigorating raps and inseparable chemistry. And now it's the first rap record afforded audiophile treatment, courtesy of Mobile Fidelity.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, the reissue label's numbered-edition 180g 33RPM SuperVinyl LP elevates Raising Hell to sonic heights on par with its musical and cultural significance. Ranked the 123rd Greatest Album of All Time by Rolling Stone, 43rd on Pitchfork's Greatest Albums of the 1980s, one of the Top 100 Albums of All Time by TIME – and included on "Best of" lists by Spin, Paste, XXL, Entertainment Weekly, and basically every other significant media outlet – the triple-platinum effort rocks the house.

Benefitting from the ultra-low noise floor and groove definition of SuperVinyl, Raising Hell unleashes a torrent of massive dynamics and tsunami of frequency-plumbing details underlined by Rick Rubin's taut, crisp, albeit raw and streetwise production. Just as the Queens-based group both defined what hip-hop could represent – and displayed just how big it could get – Rubin's work melded ear-worm hooks, savvy drum loops, metal-leaning guitars, and, of course, Run and D.M.C.'s cross-fire lyrical interplay into watertight frameworks bursting with ideas, tones, samples, and beats. Heard anew on Mobile Fidelity vinyl, Raising Hell is in every regard the aural equivalent of a direct-to-console 1970s classic. And it sounds as fresh as hell.

As for the music, it ranks among the most influential, inventive, and invigorating ever released – rap or otherwise. Vanguard artists such as Ice-T, Eminem, Jay-Z, and Public Enemy's Chuck D – who declared it his all-time favorite and "the first record that made me realize this was an album-oriented genre" – have testified on behalf of its brilliance. And never mind the presence of the Top 5 single "Walk This Way," whose power helped make Aerosmith's Steven Tyler and Joe Perry relevant for the first time in nearly a decade – and literally put Run-D.M.C. in bedrooms ranging from the Bronx to Bartlett to Bad Axe.

Look instead to the rest of the entirely filler-free set, be it the corkscrew turns, slippery wordplay, and "My Sharona"-meets-"Mickey" mixology of the boisterous "It's Tricky," the fat-but-minimized bass grooves and warped turntable wobble of the hysterical "You Be Illin'," chimes-accented inertia and boombox-on- shoulder thunder of the now-iconic "Peter Piper," or voice-as-percussion attack of the funky "Is It Live." With Raising Hell, the answer to the question is always affirmative – a sensation bolstered by the fact the group always had something to say.

The definition of Golden Age Hip-Hop in every way, Run-D.M.C. avoids the negativity and misogyny that later plagued the style, spinning assertive tales about identity (the biographical and culture-changing "My Adidas"), work ethics ("Perfection"), and, most notably, pride (the Harriet Tubman- and Malcom X.-referencing "Proud to Be Black"). Pavement-packed inner cities, tree-lined suburbs, and cornfield-rimmed rural areas would never again be the same. And rocking a rhyme that's right on time would become trickier than ever.

Run-D.M.C. leaves no doubt about its intent on King of Rock. The New York trio's hard-hitting sophomore album begins with a statement of purpose ("Rock the House") that serves as a stereophonic primer for the title track, a hybrid warning-anthem-theme song that swarms with justified boasts, heavy metal riffs, booming beats, cowbell accents, and dance-worthy grooves. The back-to-back tunes set the tone for a 1985 record that largely established the blueprint for the hip-hop that would follow for the next two decades – and which helped make rap a mainstream currency via the previously off-limits channels of radio, TV, and the national stage. "It's not Michael Jackson/And this is not Thriller," the group broadcasts early on in the record. Truer words – and music recorded with such honesty, pride, rawness, and integrity – have seldom been committed to tape.

The best-selling album in jazz history receives the prestigious Mobile Fidelity treatment: mastered from the original master tapes.
Deluxe 180g 45RPM 2LP box set is definitive version: your choice seat to hear the dream team of Miles Davis, John Coltrane, Bill Evans, and more make history
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Mastered from the Original Master Tapes: Mobile Fidelity LP Presents the 1984 Mutt Lange-Produced Heartbeat City In Extraordinary Sound.

180 Gram 45RPM Audiophile Vinyl, limited/numbered

180 Gram Audiophile Vinyl, Numbered Limited-Edition

An Intense Journey into Toxic Relationships Balanced with Gorgeous Arrangements and Dark Humor: Lou Reed's Conceptual Berlin Features A-List Cast and Bob Ezrin Production Sourced from the Original Master Tapes: Mobile Fidelity's 180g 33RPM Vinyl 2LP Presents the Singer-Songwriter's Landmark 1973 Album in Audiophile Quality for the First Time Like the records he made with his first band, Berlin finds Lou Reed decades ahead of the times. Though dismissed upon it's original release in 1973, the former Velvet Underground member's third solo effort ultimately landed on Rolling Stone's 500 Greatest Albums of All Time and remains one of his most lauded works. Addressing mature issues in stark fashion, the rock opera blends autobiographical reality, poetic license, and ambitious arrangements to tell the story of a couple's toxic relationship and it's fallout. Produced by Bob Ezrin and featuring an array of ace musicians, Berlin is an emotionally harrowing and sonically eclectic journey into the many of the worst tendencies of the human condition. Sourced from the original master tapes, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180g LP of Berlin presents the landmark recording in audiophile quality for the first time. The scope, balance, and reach of Ezrin's explosive production comes to the fore. As does the ample spaciousness and separation that help give the songs breathing room even when the music builds to an orchestral pitch. Reed's distinctive voice - central to every track - sounds direct, immediate, centered. The realism and clarity of his tone make it appear as if he's entered the room. You can trace his breath control, reserved coolness, and commanding phrasing. And sense the implied violence, delusion, and sorrow in the questions and statements he issues in the persona of the protagonist Jim - as well as the empathy, fatigue, confusion, and frustration he projects in his guise as Caroline. Mobile Fidelity's reissue also puts into a new, improved light the brilliant contributions of the standout session players. Steve Winwood (Hammond organ), Michael Brecker (tenor saxophone), Randy Brecker (trumpet), and Procol Harum drummer B.J. Wilson play key roles. The core band assisting Reed and Ezrin on a majority of Berlin - Alice Cooper guitarists Dick Wagner and Steve Hunter, drum maven Aynsley Dunbar, Cream bassist Jack Bruce - turn in a collective performance for the ages. None more so than Bruce, whose bass lines resonate on this LP with a roundedness, fatness, tautness, and control that give songs added depth and foundation. Ezrin's restrained piano, full of body and decay, performs a similar function. Expanding on the gritty themes he explored with the Velvet Underground, and arranging them into a conceptual tale, Reed transforms Berlin into a candid report of what was happening behind closed doors everywhere. Deemed by the Chicago Tribune as 'a spare, understated song cycle of nearly suicidal intensity about a crumbling marriage,' it deals head-on with heavyweight topics such as domestic abuse, drug addiction, mental illness, custodial rights, prostitution, and depression. Reed's purple narratives detail issues that would attract mainstream attention many years later - and which continue to spur vital conversations. Akin to a classic film noir or hardboiled novel, Berlin skirts any attempt to varnish it's rough interiors. Functioning as both a contrast and counterweight, the record's beautiful, symphonic-leaning exteriors somehow both heighten and lessen the severity of the vignettes. The theatrical swells of woodwinds, strings, and brass feature the same streaks of black humor that inform Reed's writing. That edginess and eccentricity, and Reed's investment in the album's three characters and situations, function as magnets that draw us in even when the sadness, meanness, and darkness prompt us to look away. Save for the opening romance of the title track and false hope of the damning (and downright nasty) 'Sad Song,' Berlin largely trades in doom and depression. A record that starts off with a muted celebration and fond recollection ends with motherless children, slashed-wrists suicide, and a callous partner who feels no remorse for his brutal actions but professes gratitude for what becomes an unmiigated disaster. 'Life is meant to be more than this,' Reed sings in combination protest and resignation on the ironically gorgeous 'Caroline Says II.' Before the next song finishes - a bleak chronicle of behaviors and decisions relayed with intentional misogyny, hatred, and shaming, and whose subdued tenor gets fractured by the sounds of wailing children crying for their mother - that life has gotten far worse. Minutes later, when Reed and company shape the swirling fever dream called 'The Bed,' that life is snuffed out. Oh, oh, what a feeling, indeed.

THE 1968 ALBUM ON WHICH JOHNNY CASH BECAME A LEGEND: AT FOLSOM PRISON AMONG THE MOST IMPORTANT AND POTENT STATEMENTS OF THE 20th CENTURY Mastered on MoFi's Mastering System: Mobile Fidelity Numbered-Edition 180g 45RPM 2LP Set Plays with Arresting Immediacy, Spaciousness, and Directness Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution's forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He'd played there two years prior. But this time was different. Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and it's commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century. Mastered on MoFi's renowned mastering system at it's California studio and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180g 45RPM 2LP set of At Folsom Prison veritably places you in the cafeteria with the hootin' and hollerin' prisoners with which Cash felt a mutual chemistry, sympathy, and spirit. A through-line to the no-frills rawness that helps make this landmark record among the most genuine documents ever committed to tape, this audiophile reissue presents what transpired that winter day with a fullness, directness, spaciousness, and dynamic absent prior editions. You can hear it echo off the walls of the room; pulse through the Tennessee Three's itchy, acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash's knockout singing. The bedrock foundation of all his music, the singer's baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him - and the extent he was living the narratives. Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions - mental, emotional, physical, geographical, legal, social - the inmates confronted on a daily basis. Beginning with the explicit messages of the opening 'Folsom Prison Blues, ' Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That's how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs. Listen to the sorrow, regret, pity, and loneliness of Merle Travis' 'Dark as the Dungeon, ' Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as 'pleasures are few' and 'the sun never shines.' Witness the isolation, dejection, and sadness punctuating the walking-blues 'I Still Miss Someone, ' matched in gravity by a solemn reading of 'The Long Black Veil' - a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of 'Send a Picture of Mother' and plainspoken version of Harlan Howard's 'The Wall, ' detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation. In chronicling temptations, mistakes, mortality, punishment, and life 'inside' - for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant - At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of 'Cocaine Blues, ' taking extra satisfaction in it's dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of '25 Minutes to Go'; quicksilver accents and resigned acceptance of 'I Got Stripes'; train-whistle blare and twangy locomotion of 'Folsom Prison Blues' - all fight the law only to see the law win. Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day's first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black's soon-to-be-wife, June Carter. The couple's fiery duet on 'Jackson' scorches; their combination of surrender and fortitude 'Give My Love to Rose' puts us in the dying protagonist's shoes. And with the closing 'Greystone Chapel, ' famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he'd return for the remainder of his illustrious career. Numbered 180g 45RPM Vinyl 2LP NUMBERED SPECIAL EDITION 1/4' / 15 IPS analog copy to DSD 256 to analog console to lathe Track List Side One: 1. Folsom Prison Blues 2. Dark as the Dungeon 3. I Still Miss Someone 4. Cocaine Blues Side Two: 1. 25 Minutes to Go 2. Orange Blossom Special 3. The Long Black Veil Side Three: 1. Send a Picture of Mother 2. The Wall 3. Dirty Old Egg-Suckin' Dog 4. Flushed from the Bathroom of Your Heart 5. Jackson Side Four: 1. Give My Love to Rose 2. I Got Stripes 3. Green, Green Grass of Home 4. Greystone Chapel

Miles Davis Turns Balladic on My Funny Valentine: Live Album Is Distinguished with Deep Emotions, Spontaneous Brilliance, Poetic Elegance, and Sensitive Beauty Mastered at MoFi's California Studio and Pressed on MoFi SuperVinyl for Reference Sound: Mobile Fidelity's 180g 33RPM SuperVinyl LP 60th Anniversary-Edition Reissue ofthe 1965 Set Plays with Lifelike Clarity, Balanced Tones, and Acoustic Intimacy My Funny Valentine: Miles Davis in Concert marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps to Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis' oft-controversial avant-garde leanings. Most significantly, the richly textured set - the bookend to the fast-paced Four & More - captures the warm ballads and delicate pieces performed at a February 12, 1964 benefit concert at New York's then-new Philharmonic Hall that occurred just months after President Kennedy's assassination. Seemingly channeling divine inspiration, Davis never sounded more elegant or poetic, particularly given the uniqueness of this 60th Anniversary Edition pressing. Mastered at MoFi's California studio, housed in a Stoughton jacket, pressed at Fideltiy Record Pressing on MoFi SuperVinyl, and strictly limited to 3, 000 numbered copies, Mobile Fidelity's 180g 33RPM SuperVinyl LP plays with stunning depth, presence, dynamics, clarity, and ambience. Benefitting from SuperVinyl's low-as-possible noise floor and superb groove definition, this audiophile LP boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns are rendered with palpable detail. Held as a benefit to support voter registration in the South - and a fundraiser for NAACP, the Congress of Racial Equality, and SNCC - the concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. The unforeseen circumstances surrounding Kennedy's death further raised the stakes. Having professed admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (in particular, the title track) as an homage to the fallen leader. Nearing their one-year anniversary together, he and his band turned half the event into a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate these performances; Davis and his Harmon mute paint with intricate brushstrokes. Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader's equal. They would continue with Davis until later in the decade, helping form his Second Great Quintet. But the secret weapon on My Funny Valentine arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem 'one of the unsung heroes of modern jazz.' His lines are subtle and sophisticated, straight-ahead but capable of unanticipated direction. Here, Coleman comes into his own. The combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the group on My Funny Valentine exceeds that of any of Davis' live 1960s efforts. One listen confirms something special transpiring. And on this breathtaking reissue, those properties are rendered in a manner that's as transparent to the source. Here's your chance to experience them again and again. 1/4' / 15 IPS analog copy to DSD 64 to analog console to lathe Numbered 180g 33RPM SuperVinyl LP LIMITED EDITION OF 3, 000 Tracklist: Side One: 1. My Funny Valentine 2. All of You Side Two: 1. Stella by Starlight 2. All Blues 3. I Thought About You

* Fleetwood Mac Delivers Soft-Rock Bliss Amid Thematic Longing on Mirage: Double-Platinum 1982 Album Distills Band's Trademark Strengths, Features Addictive Pop Hooks and Three Top 25 Hits * Experience the Well-Recorded and Well-Crafted Set in Reference Sound: Mobile Fidelity's Numbered-Edition 180g 45RPM 2LP Is Sourced from the Original Master Tapes and Pressed at Fidelity Record Pressing If every significant artist has an underrated gem in it's catalog, then Mirage is that album for Fleetwood Mac. An obvious return to relative simplicity, the 1982 album finds the band re-grouping after a brief hiatus and again climbing to the top of the charts. Extremely well-crafted, well-produced, and well-performed, the double-platinum effort distills the group's hallmark strengths into a filler-free set that never runs short of addictive pop hooks or daft accents. Home to three Top 25 singles, Mirage rightfully resonated with the mainstream. And how, via a smart blend of sugary melodies, warm harmonies, interlaced notes, nimble rhythms, taut structures, and passionate vocals. Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton jacket, Mobile Fidelity's numbered-edition 180g 45RPM 2LP set presents Mirage in reference sound. The efforts co-producers/engineers Ken Caillat and Richard Dashut went to capture the splintered albeit formidable band can be heard with stunning accuracy, range, depth, and detail. Though Rumours has a permanent spot in the audiophile hall of fame, the smooth, clear, and dynamic sonics here confirm that what stood as Fleetwood Mac's last album for five years deserves a place in the same vaunted arena. The presence and imaging of Mick Fleetwood's percussion alone on this reissue might have you wondering how this slice of soft-rock bliss has gone under-noticed for decades. Other prized aural aspects - separation, definition, impact, tonal balance - are also abundant. 'Can't Go Back'? We beg to differ. 1/2' / 30 IPS Analog Master DSD 256 Analog Console Lathe Numbered 180g 45RPM Vinyl 2LP NUMBERED SPECIAL EDITION Track List Side A: Love in Store Can't Go Back That's Alright Side B: Book of Love Gypsy Only over You Side C: Empire State Straight Back Hold Me Side D: Oh Diane Eyes of the World Wish You Were Here

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T. Rex's Exotic Landmark Signals the Birth of Glam Rock, Features "Bang a Gong (Get It On)": Electric Warrior Swaggers with Libido, Flamboyance, Fantasy, Fun, Hooks, and Theatricality

Mastered on Mobile Fidelity's State-of-the-Art Mastering System: 180g 45RPM Vinyl 2LP Set Presents the 1971 Record's Reverb, Colors, Tones, and String Arrangements in Full-Tilt Glory

Bang a gong and get it on. At once sardonic, flamboyant, and trashy, T. Rex's uncommonly unique Electric Warrior catapulted leader Marc Bolan to stardom, triggered an ongoing fascination with glam rock, and launched a movement that soon involved David Bowie, Roxy Music, Mott the Hoople, and more. Yet none of those namesake artists ever released a record that out-glammed, out-innuendoed, out-thrusted, or out-camped Electric Warrior – named the 160th Greatest Album of All Time by Rolling Stone and included in the celebrated book 1001 Albums You Must Hear Before You Die.

Mastered on Mobile Fidelity's state-of-the-art mastering system, pressed on dead-quiet vinyl at RTI, and housed in a gatefold sleeve, the label's numbered-edition 180g 45RPM 2LP set gives the 1971 landmark the widescreen sound quality it has always deserved. Tony Visconti's warm, reverb-soaked production and Roy Thomas Baker's ace engineering remain two of the work's most famous and revered elements. Here, the production and music can be experienced in all its full-tilt glory, from the subtle albeit elegant classical touches to the instantly identifiable Les Paul guitar licks to Bolan's sensual, wispy, are-they-or-aren't-they-serious vocals.

As Sean Egan wrote in the liner notes of a long-out-of-print reissue: "The sound is recognizably rock, yet a previously unheard exotic variant, almost as if concocted by inhabitants of one of the Tolkien-esque worlds common in Bolan's lyrics. The strings are overt but discreet in shape and tone, injecting just the right amount of class." All these aspects and more come to life with a realism, vibrancy, detail, and textural palpability that surpass the presentation on any prior analog edition. If you can hear colors, this audiophile version of Electric Warrior will stimulate your inner synesthesia.

At the time of the album's creation, such cosmic-related phenomenon were well within Bolan's orbit. But the differences between Electric Warrior and the singer/guitarist's earlier works are as vast as those that divide high art and low-brow culture. Chief among them: Bolan's decision to channel his acoustic hippie-inspired visions into hyper-sexualized, metaphor-rich statements that benefit from amplified foundations. And still, part of the songs' charm relates to how they tread a fine line between rock and pop.

Save for the lashing out of "Rip Off," Electric Warrior retains a mellow core underlined by a gauzy tint, gossamer temperament, and crushed-velvet feel. The perception that he record contains blustery heaviness is furthered – and initiated – by the now-iconic album cover, which depicts a giant-sized Bolan standing in front of an equally giant amplifier stack, striking a rock-star pose and giving the impression everything within is designed to go to the proverbial 11 on the volume knob. Akin to a majority of the songs themselves, the visual functions as clever illusion, absurd humor, ostentatious simplicity, and playful pretense.

Bursting with excessive fun and unchecked libido, T. Rex's catchy boogies, shuffles, and vamps scoot by on a seemingly impossible blend of concise hooks, non-sequitur fantasies, and theatrical swagger. From the chart-topping "Bang a Gong (Get It On)" to the beautiful "Life's a Gas," the R&B-stoked hit "Jeepster" to the pout of "Motivator" and galactic soul of "Planet Queen," Bolan, percussionist Mickey Finn, and boards manipulator Visconti craft a rewardingly strange, parallel universe of sound, style, and sex that still has no equal.

Mastered from the Original Master Tapes for Unsurpassed Analog Sound: Mobile Fidelity's 180g 45RPM 2LP Set Opens Up Scale of Lush Orchestral Architecture and Elegant Baroque Textures.

180 Gram 45RPM Audiophile Vinyl, Numbered Limited-Edition

180 Gram 45RPM Audiophile Vinyl, Numbered Limited-Edition

180 Gram 45RPM Audiophile Vinyl, Numbered Limited-Edition

180 Gram 45RPM Audiophile Vinyl, Numbered Limited-Edition

2LP, 180 Gram Audiophile Vinyl, Numbered Limited-Edition

All the Grooves Hit the Low-Frequency Targets: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI!

A Timeless Reflection on America and Ourselves: Simon & Garfunkel’s Searching Bookends Searches and Asks Big Questions, Includes “Mrs. Robinson” and “A Hazy Shade of Winter”

Mastered on MoFi’s Renowned System and Limited to 4,000 Numbered Copies: Mobile Fidelity’s 180g SuperVinyl 33rpm LP Magnifies the Brilliance of the Original Recording Sessions

1/4" / 15 IPS analog copy to DSD 256 to analog console to lathe

Concept album, career-making moment, industry-defying creation, years-long pursuit of perfection: Simon and Garfunkel’s Bookends adheres to all those descriptions and more, the record at once a defining statement of the late 1960s and salient reflection on relationships, identity, society, and mortality whose enduring relevance attests to its exceptional merit. Ranked by countless sources as one of the greatest records of all time, the 1968 work transcends styles, trends, and generations.

The Dynamite Sound of 'Miss Rhythm' and the Singer That Helped Build an Iconic Label: Ruth Brown's Rock & Roll Bristles with Electrifying Emotion, Vocal Power, and R&B-Fueled Energy Reissued in Audiophile Quality in Partnership with Atlantic Records' 75th Anniversary: Mobile Fidelity 180g Mono LP Is Pressed at RTI and Strictly Limited to 2,000 Numbered Copies Rock & Roll, indeed. Ruth Brown's sizzling full-length debut - also known by it's eponymous title - symbolizes what was exciting, fresh, invigorating, and raw about the burgeoning style in it's halcyon days. Originally released in 1957, and reissued here in audiophile quality for the first time in partnership with Atlantic Records' 75th anniversary, the set remains a testament to one of the most pioneering and talented vocalists to ever command a stage. Mastered on Mobile Fidelity Sound Lab's renowned mastering system in California, pressed at RTI, housed in a Stoughton jacket, and strictly limited to 2,000 numbered copies, Mobile Fidelity's 180g mono LP of Rock & Roll plays with an immediacy, vibrancy, and fullness that showcase the reach, power, and emotionalism of Brown's voice. The sound of her support musicians - brassy horns, swinging rhythm combos, echoing backing vocalists, rollicking pianists, jaunty guitarists - is made clear and vivid, helping the upbeat fare to jump, juke, and jive with newfound energy and exuberance. In a related manner, Brown's slower, more understated material crackles with an intimacy and passion that let you know you're in the presence of a woman who has lived what she sings. The longtime Rock and Roll Hall of Fame member deserves nothing less. In an era dominated by big-throated vocalists, few - if any - came grander than Brown. The singer, whose repeat million-selling '50s success with Atlantic Records led many to call the then-indie label 'The House That Ruth Built,' charted two dozen R&B hits in the span of a decade for the fledgling imprint. Rightly coined 'Miss Rhythm,' the extroverted Brown put Atlantic on the national map, became the best-selling female musician of the '50s, and established a precedent that would ultimately lead to Grammy and Tony Awards. Her early works have lost none of their fire or flair.

Recorded When Miles Davis Opened for the Grateful Dead in San Francisco at Fillmore West: Black Beauty Surges into a Future Jazz World, Features Superb Performances and Rich Colors First-Ever Domestic Vinyl Release of 1973 Live Album: Mobile Fidelity's 180g 33RPM 2LP Set Plays with Captivating Energy, Presence, and Clarity Dateline: April 10, 1970. Setting: The storied Fillmore West in San Francisco, CA. Context: Miles Davis, three days removed from his first session for Jack Johnson and, with newly recruited soprano saxophonist Steve Grossman in tow, opening shows for countercultural heroes the Grateful Dead on the latter's home turf. Result: The initial rumblings of a thrilling era in which Davis and his cohorts would again upend jazz and popular conceptions of the genre with music steeped in groove, improvisation, and hang-on-for-your-life adventurousness. All captured on Black Beauty: Miles Davis at Fillmore West. Given Davis was only months away from releasing the pioneering Bitches Brew, it shouldn't come as a surprise that much of the fare here adheres to similar explorative approaches. Masted at MoFi's California studio, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity's 180g 2LP set helps bring what went down that spring evening in Bill Graham's venue to your listening room with exceptional clarity, balance, and presence. Originally only released in Japan in 1973 and unavailable in the United States until the late '90s on compact disc, this marks the first time Black Beauty has been issued on domestic vinyl. These LPs present the band's livewire energy and torrential storm of notes with captivating dynamics, pacing, and fullness. At it's core, this audiophile reissue takes you into the walls of sound erected by a band learning on-the-fly the sheer power, will, and breadth of the electric jazz Davis was orchestrating and realizing, on the spot, would reach rock audiences that until that point had only a faint awareness of his mad-scientist experimentation. 1/4' / 15 IPS ANALOG COPY DSD 256 ANALOG CONSOLE LATHE Numbered 180g 33RPM Vinyl 2LP NUMBERED SPECIAL EDITION Track List Disc One Side A: Black Beauty Part I Disc One Side B: Black Beauty Part II Disc Two Side A: Black Beauty Part III Disc Two Side B: Black Beauty Part IV

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