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Forever Changes Ranked #40 on Rolling Stone's List of the 500 Greatest Albums of All Time: Love Anticipates Late 1960s Turbulence Via Prophetic Songs and Dark Themes. 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. \u003cbr\u003e\u003cbr\u003eAny discussion about the finest psychedelic rock record ever recorded is incomplete if it doesn't grant consideration to Love's Forever Changes. Ranked by Rolling Stone as the 40th greatest album ever made, and named by Mojo the second-greatest psychedelic set in history, the effort is an internationally recognized seminal work of art. Transcending language and convention, it's magnitude and magnificence need to be heard again and again. \u003cbr\u003e\u003cbr\u003eFor here is an effort whose mind-boggling acoustic complexities and kaleidoscopic nuances are tailored for high-fidelity playback. Mastered from the original master tapes, Mobile Fidelity's numbered limited-edition 180g 45RPM 2LP set affords the masterpiece the white-gloves treatment and golden-hued analog sonics it has always deserved. Nearly unlimited headroom, vast instrumental separation, transparent clarity, artifact-free atmospherics, and faithful balances appear out of jet-black backgrounds. The music appears to float on clouds, with the woody tones emanated by the acoustic guitars and brassy signatures of horns emerging with lifelike detail. \u003cbr\u003e\u003cbr\u003eTurn it up as loud as you want; the sole limitation will be your system's potential. Commercially ignored upon release in November 1967, Forever Changes confronts the alienation, paranoia, violence, and strife that would soon plague the countercultural movement and send the Summer of Love into a tailspin. Apart from it's lyrical themes and prescient malaise, the record's enduring nature equally owes to intertwined arrangements sewn together with Latin guitar-picked lines, finessed folk harmonies, mariachi-inspired horn charts, and subdued strings. The seemingly opposing combination - ominous, dark reflections situated amidst lush, light melodic beds - affords Forever Changes a distinguished tension of claustrophobia and openness, dourness and ecstasy, ugliness and elegance enjoyed by no other record in the rock canon. \u003cbr\u003e\u003cbr\u003eMuch of the contrast owes to leader Arthur Lee's mental state and pertinent observations. 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Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project. Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities. No other version outside of this analog copy brings you face-to-face with these two jazz giants' sonic communion, a kind of spiritual musical summit on which Evans' deft keyboard touches and Hall's reliably subtle phrasings seamlessly mesh and wonderfully dance, the compositions streaked with natural instrumental decay, full-frequency extensions, and poignant emotionalism that, on this LP, you can feel. While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation - such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty. In tackling standards such as Rodgers and Hart's 'My Funny Valentine' and the Broadway classic 'Darn That Dream,' as well as the Hall original 'Romain,' the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title. 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Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for it's historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45 RPM 2-LP set. Mastered from the original master tapes and pressed on 180 gram vinyl at RTI, this collectable audiophile version of Filles de Kilimanjaro joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Loaded with revealing signatures, the record takes on even greater import when heard the way Davis and his mates discerned it in the studio. Backgrounds are squid-ink black, pianissimo lines shimmer, and the electric piano emerges with tube-amp warmth. Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968. The final appearance of Davis' classic second quintet bears fruit on three of the record's cuts, including the title track and R\u0026amp;B-tinted 'Frelon Brun.' Sparked with restrained funk, driving grooves, and bluesy accents, Filles de Kilimanjaro maintains an instinctive flow and controlled freedom that permit Davis to oversee an innovative blending of alterations, improvisation, and cycles. Comprised of multiple sections, 'Petits Machins' is a lesson in perfectly played melodic complexity, with chromatic riffs, dominant chords, syncopated progressions, and switching meters forming a singular mosaic. Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. 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The third of five albums devised by Miles Davis' legendary second quintet – and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz – the 1967 magnum opus mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity's definitive 45RPM pressing.\u003cbr\u003e\u003cbr\u003eMastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectible audiophile edition of Sorcerer joins other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set's warm compositions together are rendered with utmost realism.\u003cbr\u003e\u003cbr\u003eThis is a reference-standard reissue. You'll hear poetic lyricism pouring out of Wayne Shorter's horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams' rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock's piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer.\u003cbr\u003e\u003cbr\u003ePrizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad \"Pee Wee,\" an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another's moves with guile and purpose. The opening \"Prince of Darkness\" showcases the ensemble's reach and communication, every musician going in seemingly different directions yet ending up on the same page.\u003cbr\u003e\u003cbr\u003eA lasting example of Davis' visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing \"Nothing Like You\" – a brief tribute to Davis' eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough – the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history. 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At the least, it proved the icon still relevant, and his wits still in tact. And it immediately followed what remains the artist's biggest disaster, the yet-unexplained and forever puzzling Self Portrait, a nearly unlistenable attempt that caused many to wonder whether Dylan had lost his mind. If intended as a joke, it bombed, making the sublime New Morning all the more important to restore faith in the singer's creativity and songwriting prowess. It did all this and more, and stands as his finest studio effort during a five-year span.\u003cspan\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eMastered on Mobile Fidelity's renowned mastering system in California and pressed at Fidelity Record Pressing, this restored version spotlights the open, woozy sound that welcomes wholeheartedly Dylan's piano, several eager guitars, female background singers, Al Kooper's organ, and snappy drumming into a world of their own. New Morning remains one of Dylan's loosest and jovial affairs, the instruments retaining an off-the-cuff sensibility relating to a nightclub atmosphere or live stage feel. On this reissue, notes naturally dangle and fade, allowing the playful vibes and humor to come through like never before. Consequently, the album can be experienced with a new perspective.\u003cspan\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e'Many of the songs seem to have been made up on the spot, with confidence in the ability of first-rate musicians to move in any direction at any time,' wrote Dylan expert and cultural critic Greil Marcus in his original review for the New York Times. 'The riffs, inventions, and studio jams of New Morning have their own personality... The full joy of anticipating the right move and the exhilaration of hitting it square and bouncing off a chord into a new lyric.'\u003cspan\u003e \u003c\/span\u003eThese observations hold true today, for the 1970 effort claims a daring flair Dylan rarely exhibited on albums before or since. Enthusiasm and excitement surround his singing, and his work on the 88s underlines the liberating arrangements. Offbeat and eclectic, the record frolics and swings, with the Bard and his crack band pursuing jazzy steps ('Sign on the Window'), shuffling spoken-word experiments ('If Dogs Run Free'), and soulful rock ('The Man in Me,' used to wonderful and prominent effect in the Coen Brothers film The Big Lebowski).\u003cspan\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eThroughout, Dylan's phrasing communicates joyousness and simplicity seemingly carried over from the stripped-down John Wesley Harding and Nashville Skyline. The record's dominant sentiments trace to the lead track, 'If Not For You,' one of the singer's all-time greatest singles, stitched with country threads and warmth that pervades everything that follows. New Morning may lack the iconic status of some of Dylan's better-known records. Yet the underdog stature makes repeat listens all the more rewarding.\u003cspan\u003e \u003c\/span\u003e1\/4' \/ 15 IPS analog copy to DSD 64 to analog console to lathe.\u003cbr\u003e\u003cbr\u003eTrack Listing:\u003cspan\u003e \u003c\/span\u003eSide A:\u003cspan\u003e \u003c\/span\u003e1. If Not for You\u003cspan\u003e \u003c\/span\u003e2. Day of the Locusts\u003cspan\u003e \u003c\/span\u003e3. Time Passes Slowly\u003cspan\u003e \u003c\/span\u003e4. Went to See the Gypsy\u003cspan\u003e \u003c\/span\u003e5. Winterlude\u003cspan\u003e \u003c\/span\u003e6. If Dogs Run Free\u003cspan\u003e \u003c\/span\u003eSide B\u003cspan\u003e \u003c\/span\u003e7. New Morning\u003cspan\u003e \u003c\/span\u003e8. 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Here's your chance. Featuring Mutt Lange's spotless production, contributions from Motown legend Junior Walker and new-wave icon Thomas Dolby, no less than three huge singles, and Foreigner's most economical performances, 4 is classic-rock nirvana, a model of crystalline pop-rock melodies and lighter-flicking balladry. More than six million copies later, the 1981 record is still rightly discussed as a front-to-back masterpiece of precision, power, and economy. It's an album that demands to be experienced in the highest-possible fidelity. Half-speed mastered from the original master tapes, Mobile Fidelity's 180g LP presents 4 in a room-filling, stadium-big sound that simply crushes what's heard on all prior versions. Replete with energetic rockers such as 'Urgent,' 'Night Life,' and 'Woman In Black,' the record benefits from a sonic facelift that opens up the previously compressed dynamics, expands the dimensions of the soundstage, dials in a clear path to the instrumental images, and erases the ceiling that pressed down on Lou Gramm's superhuman vocals. For the first time, Lange's obsessive, detail-oriented production can be enjoyed in all it's splendid glory. Fresh off blockbuster success with AC\/DC's Back In Black, Lange uses his magic touch on 4, pairing with guitarist Mick Jones who, armed with the best batch of riffs of his career, shared a the producer's sentiment for discipline, efficiency, and cleanliness. And so, on crisp tunes like 'Break It Up,' pianos and hard-hitting guitars share the same space without ever impinging on one another or overstepping boundaries. The winning formula also propels Top 5 hits like the wildly funky 'Urgent,' sent to new heights by Walker's dazzling saxophone solo, and the touching 'Waiting for a Girl Like You,' a crossover smash that introduced Foreigner to soft-rock and adult-pop audiences. Simply stated, 4 has everything: Rowdy frustration-releasing cuts, fiery rock n' roll tunes, heartfelt torch songs, and synth-drenched pop numbers. The playing throughout positively smokes, as the one-two punch of Gramm and Jones lands with both emotional and musical impact every time. There's not a single wasted note. And, reduced to a quartet, Foreigner seems bent on making more with less, just as Lange does with the polished production. This is 42 minutes of hard-rocking bliss. Accept no substitute. Mobile Fidelity's collectible audiophile edition will rattle your walls and shake your windows. Be prepared to tap every reserve available from your amplifiers. And play it LOUD! \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFormat \/ \u003cstrong\u003eLP\u003c\/strong\u003e\u003cbr\u003eReleased \/ \u003cstrong\u003e0\u003cmeta charset=\"utf-8\"\u003e6\/25\/2013\u003c\/strong\u003e\u003cbr\u003eCatalog \/ \u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003eMOFY-343\u003c\/strong\u003e\u003cbr\u003eBarcode \/ \u003cstrong\u003e821797134316\u003c\/strong\u003e \u003cbr\u003eArtist \/ \u003cstrong\u003eForeigner\u003c\/strong\u003e \u003cbr\u003eLabel \/ \u003cstrong\u003eMobile Fidelity Sound Lab\u003c\/strong\u003e \u003cbr\u003eGenre \/ \u003cstrong\u003ePop \/ Rock\u003c\/strong\u003e \u003cbr\u003e\u003c\/p\u003e","brand":"Music Direct","offers":[{"title":"Default Title","offer_id":8445778395197,"sku":"AUD-F-821797134316","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1487\/4550\/products\/0d6799fd3c2e11efb0b0842f20abfe71.jpg?v=1527451030"},{"product_id":"b-grateful-dead-b-br-i-workingmans-dead-2lp-45-rpm-i","title":"Grateful Dead - Workingman's Dead [2LP,  45 RPM]","description":"\u003cp style=\"text-align: justify;\"\u003e Sublime, Stripped-Down 1970 Americana Classic Steeped in Country, Blues, and Folk\u003c\/p\u003e\n\u003cp\u003eYou've Never Heard This Roots-Based Marvel Sound Better: Mastered from the Original Master Tapes and Given Extra-Wide Grooves on 45RPM LP\u003cbr\u003eRanked #264 on Rolling Stone's List of the 500 Greatest Albums of All Time: Airy Harmonies, Simple Structures, Concise Arrangements, and Burnished Tones Anchor Songs\u003cbr\u003e\u003cstrong\u003e1\/4\" \/ 15 IPS \/ Dolby A analog master to analog console to lathe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eWorkingman's Dead defies the erroneous belief that the Grateful Dead never attained brilliance in the recording studio. Forever prized for natural sonics, Workingman's Dead attains audiophile reference status courtesy of this first-ever 45RPM version. As flawless as any rustic album ever released, the 1970 set now brims with soaring harmonies, organic execution, intertwined textures, and uncomplicated structures that furnish the songs a transcendence associated with timeless American music. Colorful, relatable characters seemingly torn from working-class histories and old-time fables inhabit the narratives.\u003cbr\u003e\u003cbr\u003eMastered from the original master tapes and pressed on 180g LPs at RTI, Mobile Fidelity's numbered edition of this period-defining recording renders the stripped-down fare with immense detail, rich airiness, and reach-out-and-touch-it realism. Longtime Deadheads and newcomers alike will hear significantly more information, experience wider and deeper soundstages, and become swept away by incredible tonal and vocal balances—traits made possible by the format's wider grooves. Instrumental melds and refined accents, such as guest David Nelson's nimble fills on \"Cumberland Blues,\" are part of a larger whole that gives the impression you are witness to the world's coziest campfire session. Frontier tales and refined performances further this feeling.\u003cbr\u003e\u003cbr\u003eThe first Grateful Dead album to eschew cosmic jams and complex signatures, Workingman's Dead stakes its existence to great songs, homespun warmth, and bare essentials. Its wistful, relaxed state—immediately apparent via the innocent album-opening invitation \"Will you come with me?\" on \"Uncle John's Band\"—owes to the circumstances and conditions surrounding its creation. At the time, the Dead owed a considerable financial debt to Warner Bros. and were hobbled by a recent drug bust and financial scandal. Most significantly, the band was recovering from—and reacting to—the tragic events of the Altamont Music Festival and symbolic end of the peace and love era.\u003cbr\u003e\u003cbr\u003eAs such, Workingman's Dead acts as a retreat from chaos and uncertainty, its songs emblems of simpler times and pleas for compassion in the face of hardship. Lyricist Robert Hunter said he aimed to capture the vintage elements of late 1940s country-and-western jukebox singles as well as old blues classics. In that vein, fare such as the Bakersfield-leaning \"Cumberland Blues,\" pastoral ballad \"Dire Wolf,\" and bluesy \"Easy Wind\" hit the mark. 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