Intervention Records is absolutely thrilled to introduce another classic record in it's (Re)Discover Series, Joan Armatrading. Produced and recorded by legend Glyn Johns, Joan Armatrading is the breakout record that saw Joan assume full command of her extraordinary talents and leap to the forefront of rock's great female stars. A soulful, soaring voice and a powerful and evocative songwriter. The smash hits include 'Love and Affection,' 'Down to Zero,' and 'Somebody Who Loves You.' Joan Armatrading's 180-gram LP is 100% Analog Mastered by Kevin Gray at CoHEARent Audio from the best source available- phenomenal-sounding 1/2' safety copy of the original stereo master tape. The remastering is amazing! Thanks to Glyn Johns' recording and production work, Joan's vocals and guitar playing have never sounded so rich, resonant and dynamic. This is an audiophile demo disc all the way. Gray mastered the hybrid CD/SACD Direct-to-DSD from analog tape, using the same mastering as the amazing-sounding LP. It will be housed in a super jewel box.

Pop-Rock Classic Epitomizes Timeless Early 1970s AM Radio Sounds and Includes Four Top 40 Hits: Bread's Baby I'm-A Want You Features Finessed Playing, Sturdy Melodies, Passionate Harmonies Mastered from the Original Master Tapes and Limited to 2,000 Copies: Mobile Fidelity Numbered-Edition Hybrid SACD Plays with Engrossing Warmth, Clarity, Nuance, Smoothness, and BalanceSmash 1972 Album Features Four Top 40 Hits: 'Baby I'm-A Want You,' 'Everything I Own,' 'Diary,' and 'Mother Freedom'Any way you slice it, the template for the mellow sounds that dominated AM radio in the 1970s starts with Baby I'm-A Want You. Bread's finest effort stands the test of time by way of the band's sturdy melodies, the former studio professionals' finessed playing, and some of the choicest harmonizing to ever come out of Los Angeles. Anchored by four Top 40 hits, the pop-rock classic radiates with golden-hued textures and pitch-perfect tones - particularly on this long-overdue reissue.Mastered from the original master tapes and strictly limited to 2,000 copies, Mobile Fidelity's numbered-edition hybrid SACD delivers engrossing levels of warmth, clarity, nuance, and smoothness that elevate Bread's 1972 release to audiophile heights. For the first time, the quartet's polished musicianship and vocal blends come across as if you're hearing them happen live in the studio. Previously muddled elements are clarified, and the band's choruses and treble-ringing notes opened up so they can fully blossom, pulling you closer to the combination of serious emotion and comic-infused romance. In particular, leader David Gates' quasi-falsetto and other vocal touches get their just due.

The Cars: Ric Ocasek (vocals, guitar); Benjamin Orr (vocals, bass); Elliot Easton (guitar, background vocals); Gregg Hawkes (keyboards, saxophone, percussion, background vocals); David Robinson (drums, percussion, background vocals). Recorded at AIR Studios, London, England in Feburary, 1978. All tracks have been digitally remastered using HDCD technology. The Cars: Ric Ocasek (guitar, vocals), Elliot Easton (lead guitar, background vocals), Gregg Hawkes (keyboards, saxophone, percussion, background vocals), Benjamin Orr (bass, vocals), David Robinson (drums, percussion, background vocals). Recorded at AIR Recording Studios, London, England in February, 1978. Digitally remastered by Steve Hoffman (February 1993). The Cars: Ric Ocasek (vocals, guitar); Benjamin Orr (vocals, bass); Elliot Easton (guitar); Greg Hawkes (keyboards); David Robinson (drums). Producer: Roy Thomas Baker. Compilation producer: David McLees. Ric Ocasek's songs were influenced by the Velvet Underground and the punk rock movement, but had a slick pop/rock sheen which proved very successful. After a demo version of "Just What I Needed" became a listener favorite on WBCN in Boston (the bands' homebase), they were pursued by record companies. THE CARS was recorded in 2 weeks in London, England. This ranks as one of the best debut albums from a rock band. The Cars are filed under rock, but they are closer to power pop than any other genre. Ric Ocasek sounded like a cross between the Raspberries and Television, punk sound with a pop attitude. The giveaway was the irresistible harmony-ridden hooks in just about every one of his songs. Listen again to "You're All I've Got Tonight," "Just What I Needed" or "My Best Friend's Girl" and be thrilled. Lots of chunka chunka guitar and Mamas And Papas harmonies, and rarely a dull moment. They managed only six albums in 20 years, but they never bettered this.

Limited numbered edition hybrid SACD mastered from the original master tapes. The Mofi version lavishes Chicago VI with a clarity, transparency, and detail no previous digital edition has ever enjoyed. As the first album to be recorded at producer/manager James William Guercio's custom-built Caribou Studios, the 1973 set features remarkable harmonic extension, terrific separation, and finely sculpted images. All of these facets and more are improved and further brought into balance on this SACD, which throws the septet's phenomenal interplay and skyscraping vocals into unopposed relief on wide, extra-deep soundstages. Chicago VI can be viewed as a perfect summation of the band's many strengths. While the extended arrangements are slimmed down, there's no shortage of horn-stoked rock momentum or head-turning jazz/pop fusion.

Digitally remastered and expanded two CD set including eight bonus tracks. Hybrid Dual-Layer CD/SACD Disc, Compatible with all CD and SACD Players Starfish is the fifth album by The Church, originally released in April 1988. The band's international breakthrough album, Starfish went gold in America and has remained their most commercially successful release. First single, "Under the Milky Way", charted in the US Billboard Hot 100, peaking at #24.

No album personifies the relaxed, loose, albeit troubled early 1970s California aura like If I Could Only Remember My Name. Hallucinogenic, trippy, and akin to a foggy dream you want to last for hours, David Crosby's blissed-out solo debut transcends time and remains a key influence on the contemporary freakfolk scene. The unique set lingers as a beautiful convergence of spontaneity, collaboration, circumstance, and recording-studio acumen. From the slack acoustic underpinnings of the ragalike opener to the improvised 'cosmic skydrop' that serves as the closer, nothing in any artist's oeuvre orbits the same galaxy as the 1971 effort. This journey demands to be heard in full, an expressive adventure whose paths are lined with sublime harmonies, acoustic guitars, repeated chants, and tasteful percussion.Mastered from the original master tapes, Mobile Fidelity's hybrid SACD underlines the escapist peace of the music and brilliance of Stephen Barncard's engineering. Equally important, the reissues reveal Crosby's unsurpassed vocal performances and the inspired contributions of the illustrious Bay Area colleagues and friends that allow the record to function as an alteredconsciousness paean to community, harmony, and necessary emotional release. Listeners can now fully witness the notes seemingly dissolve into thin air, and perceive why Barncard cited the echo chamber at Wally Heider Recording as 'probably the best chamber I've used anywhere, anytime. It was magic.' The same can be said for these reference-grade versions.

CSN's 1977 album is a milestone in music. CSN was the last recording on which the three principals handled all the vocal parts. "Just a Song Before I Go" was the latest Graham Nash's radio-friendly, acoustic masterpiece and a top ten single. "See The Changes", "Fair Game" and "Dark Star" ranked with the best of Stephen Still's compositions, while David Crosby contributes three distinctive classics "Shadow Captain", "Anything At All" and "In My Dreams". Nash's multi-part "Cathedral" is still a staple of the group's live performances. This is a classic in every sense.

Mobile Fidelity Numbered Limited Edition Hybrid CD/SACD. Mastered from the Original Master Tapes.

Miles Davis Four & More on Numbered Edition Hybrid SACDExhilarating and Immediate: Live Set Documents One of Davis' Final Excursions With a Program of StandardsGiven his gargantuan recorded output, Miles Davis seldom abandoned a conceptual vision in the studio, particularly after the turn of the 1960s. Which makes a live document such as Four & More all the more valuable for the manner in which it portrays the legendary trumpeter removed from thematic demands and interior confines, and instead letting loose onstage with a program of stellar material that he'd soon abandon in favor of experimentalism. Part of our Miles Davis catalog restoration series, Four & More engages with electrifying speed and palpable punch, the effort now claiming vastly improved imaging, deeper soundstaging, and startling clarity. Mastered from the original master tapes, this unsurpassed digital edition teems with the urgency demonstrated by Davis and his band - notes flooding the listener with an attack only possible from sound featuring full frequency extension, tremendous spacing, and you-are-there immediacy. Recorded on February 12, 1964 in Philharmonic Hall at New York's Lincoln Center, Four & More bookends My Funny Valentine. Whereas the latter spotlights ballads, this thrilling souvenir is all about quick tempos, rushing solos, left-hook rhythms, and hard-bop grooves. Drawing largely on mid- and late-1950s material, Davis - accompanied by bassist Ron Carter, drummer Tony Williams, saxophonist George Coleman, and pianist Herbie Hancock - approaches standards such as 'So What, ' 'Seven Steps to Heaven, ' and 'Four' with biting tenacity and furious passion, the individual themes racing by as the collective barges in to take rapid, punctuation-asserting solos. Few, if any, live Davis performances match the hurricane-generating intensity and dynamic aggressiveness captured here. One reason for the vigor? Davis waived he and his musicians' fees for the concert, taking place under the auspices of a political benefit, a decision that angered some of his sidemen. Whatever the cause, Hancock swings, Coleman flexes muscles, Carter bows instructive passages, and the 19-year-old phenom Williams throws down with breathtaking agility. Amidst the melodic tangents and galloping exchanges, the quintet retains gripping control, with eight-bar dialogues between the instrumentalists and positive vamps supplying cues and endings.At last, these historic recordings are afforded the breathing room and acoustic perspective they've always deserved. For listeners that may be unfamiliar with this title, prepare to be blown away - literally and figuratively. Aficionados know what to expect on the music front, but our reissue ratchets up the thrills by several levels. Don't miss this gem.

Filled with aural magic and enchanting musical spells, Sorcerer is true to it's name. 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 pressing.Mastered from the original master tapes, this collectable audiophile edition of Sorcerer joins the ranks of eleven 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.A 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. Mobile Fidelity is proud to give the record the treatment it's long deserved.

Hybrid SACD pressing. Mobile Fidelity Hybrid SACD Is the definitive-sounding digital edition, teems with clarity and detail. The clarity afforded by history proves Miles Davis' second great quintet vying for the unofficial honor of being the finest small jazz combo to ever record to tape. Originally released in 1966, Miles Smiles is largely responsible for the feat, as it commences a series of five groundbreaking albums - chronologically rounded out by Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro - guided not by chordal patterns but open responses to melodies. Music would never again be the same. Davis and company play against coal-black backgrounds that serve to illuminate every detail, texture, and nuance. Superb separation and plentiful air allow instruments to fully blossom, effectively taking you into Columbia's 30th Street Studio to watch the legendary combo transpire before your eyes. Like the other iconic Davis titles in Mobile Fidelity's reissue series, this analog version also puts a premium on tonality and preservation of individual notes, which arc and decay with uncanny realism.

Miles Davis and Gil Evans' Porgy and Bess Is a Landmark of Arrangement, Performance, and Emotion: 1959 Adaptation of George Gershwin Opera Advances Jazz Idioms and Modal PlayingMastered from the Original Master Tapes, Mobile Fidelity Reissues Play with Reference-Level Tonality, Depth, and Openness: Strictly Limited to 3,000 Numbered Copies on Hybrid SACDDavis' First Great Quintet Delivers Soul, Sweetness, Spirituality, and Intensity: Unsurpassed Jazz Dance Includes the Eternal 'Summertime' and Harmonic 'Prayer'If a more significant, influential, and lasting result of a creative musical partnership exists than that of Miles Davis and Gil Evans' Porgy and Bess, society hasn't seen it. It's impossible to overstate the importance of the pair's collaboration on the landmark 1959 update of George Gershwin's opera. Transcending genre, time, and place, the profound statement finds Evans and Davis implementing modal approaches in a mainstream context and advancing jazz idioms that would become the foundation of the form's still-classic era. Davis and Evans' adaptation of Porgy and Bess remains of a piece, an American touchstone that immediately separated itself from the multiple other versions released during the same period. And that's saying nothing of the soulful playing-legendary performances by Davis' first great quintet that can now be heard in pristine detail courtesy of these definitive editions.Mastered from the original tapes and strictly limited to 3,000 numbered copies on hybrid SACD, Porgy and Bess attains previously unheard degrees of clarity, openness, immediacy, and depth on Mobile Fidelity's meticulous reissues. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional images. Davis' iconic solo passages take on borderline-surreal qualities of realism and shape. The magisterial scope of the Evansconducted orchestra emerges with room-filling bloom, color, and dynamics. At once sweet and spiritual, sure and steady, graceful and exuberant, happy and sad, Porgy and Bess is a phenomenal jazz dance that has never been equaled. You can't afford not to hear it in the finest-possible fidelity.

Limited Mobile Fidelity hybrid SACD pressing. Mastered from the original master tapes. 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, this SACD 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. 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.

Making Movies marks a magnificent turning point in Dire Straits' career. Considered by many fans to be the group's most complete album, the 1980 set witnesses leader Mark Knopfler greatly expanding his songwriting palette and setting his storytelling amidst more complex, involving arrangements. Dire Straits also benefits from crucial contributions from Bruce Springsteen pianist Roy Bittan and the departure of rhythm guitarist David Knopfler. The songs spark with a melange of poetry, passion, and cohesion that engages the senses and begs to be experienced again and again.You know you're in the presence of sonic greatness as soon as the first few seconds of the opening 'Tunnel of Love' pass, as the introductory passage built on organ and piano - new additions to Dire Straits' palette - intertwine with the unmistakable coil-spring twang of Knopfler's guitar. The three-dimensional, full-bodied presentation of the latter instrument on this Mobile Fidelity SACD is alone worth the price of admission. Crisp, rich, and balanced, the sound brings Knopfler's Fender Vibrolux and Music Man HD130 amplifiers into your room. The romanticism of Bittan's piano, precision timekeeping of drummer Pick Withers, and steady roll of bassist John Illsley come across with similar potency, scale, and verve.Always more about the whole than the sum of their individual parts, Dire Straits demonstrate that while Knopfler is the lynchpin, this record is a true band effort. Bittan's role cannot be overstated. His melodicism poetically complements Knopfler's subtle staccato rhythms and more than makes up for the exit of David Knopfler. Expansive and cinematic, the aptly titled Making Movies puts a premium on interrelated subjects (love, relationships, heartbreak) and deep-seated emotions that play out in heartfelt lyrics, intense singing, and epic frameworks. Everything clicks.The album's power isn't lost on Iovine, who later told Rolling Stone: 'The right people were in the room together. It really was making a record in the pure sense of the term. The whole thing sounds like one song. But you what that is? That's the writing, the guy who wrote it. He wrote the album like that; he wanted to make the album like that.'Indeed, the first five tracks - 'Tunnel of Love,' 'Romeo and Juliet,' 'Skateaway,' 'Expresso Love,' 'Hand in Hand' - comprise a mini-suite united by theme, harmony, and spirit. Every member of the newly configured Dire Straits has a say in the shaping of the material. There's not a note out of place. Iovine and Knopfler's standout production puts it over the top.

Love Over Gold is all about contrast, tension, and crafty composition. Dire Straits' fourth album finds the band continuing to evolve by welcoming increasingly bold arrangements and exploring moody variations. Parts edgy and sharp, and part seductive and relaxed, the five lengthy songs on Love Over Gold sprawl out like a long, winding road cutting through a pastoral landscape. The addition of a new rhythm guitarist, Hal Lindes, encourages deeper atmospheric interplay while the presence of engineer Neil Dorfsman - his first appearance in what would be a long string of collaborations with Mark Knopfler - ensures stunning sonic properties that now come to life like never before.On this audiophile disc, everything Knopfler does seemingly turn to gold. Gearheads will hear the unique characteristics afforded by his use of a Mesa Boogie Mark II guitar amplifier (soon again employed on Brothers in Arms) and carefully chosen selection of Schecter Stratocasters, 1937 National steel guitar, and Ovation six- and twelve-string models. Reference-level separation and lifelike imaging place Knopfler and company in your room, while tube-like warmth, spaciousness, and airiness causes the music to breathe anew. This SACD will be in your rotation for months.It doesn't take long to realize Love Over Gold is like no other Dire Straits album - and a staunch proclamation of independence from a band that continued to take longer creative strides with each successive project. Fearlessly extending over metaphoric hills, valleys, and plains for nearly 14-and-a-half minutes, the opening 'Telegraph Road' is a guitar hero's dream and exhilarating showcase for Lindes' give-and-take capabilities. In tandem with keyboardist Alan Clark, Lindes provides the ideal foil for not only Knopfler but the long-time rhythm section of bassist John Illsley and drummer Pick Withers.Taking it's time to arrive at destinations, the quintet paints evocative musical and lyrical portraits steeped in patience, drama, and, often times, sadness. Desolate emotions color the sweeping 'Telegraph Road' and barren 'Private Investigations,' which finds Knopfler in the role of a tired private eye contemplating the emptiness and scars of his profession. Vocally, the Dire Straits leader remains in top form throughout, his whiskey-coated rasp conveying romantic ache, ongoing frustration, and what Rolling Stone beautifully deemed 'wracking schizophrenia between the heart and the heartless, the loving and the pain.'

Bob Dylan Another Side of Bob Dylan on Numbered Limited Edition Hybrid SACD The ever-evasive Bob Dylan never explicitly stated exactly what represented the "another side" of himself referenced in the title to his second 1964 record. Yet the whimsical moods, hallucinogenic prose, humorous angles, transparent mistakes, and noncommittal themes give a pretty clear idea at what the Bard hinted as he emerged from being labeled as a reluctant generation spokesperson and folk savior after releasing two highly intellectual, socially pioneering sets replete with protest songs. Dylan needed to take a breath, step back from the drama, and reevaluate his surroundings. Another Side of Bob Dylan is all that and more. As part of it's Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic album from the original master tapes and making it available on hybrid SACD. The end result is the very finest, most transparent digital stereo edition of Another Side of Bob Dylan ever produced. Be there as the Minnesota native spends the evening of June 9, 1964 in Columbia's Studio A and, displaying an openness he'd never before revealed in a formal environment, lays down the songs that compromise his fourth album. Featuring minimal editing, Another Side of Bob Dylan is naked, truthful, and whimsical. Mobile Fidelity's reissue illuminates the artist's condition-he laughs in the midst of songs, experiences a few false starts, hits a couple of bum notes, occasionally sings as if he's stumbling down a Manhattan sidewalk after having one too many at a smoky pub, prizes rawness over perfection-with microscopic accuracy. Indeed, Dylan's slightly woozy and completely playful state related to his having downed a handful of bottles of Beaujolais during the sessions.

Limited Mobile Fidelity SACD hybrid disc. Mastered from the original master tapes. Love And Theft is the 31st studio album rock icon Bob Dylan. It was originally released on September 11, 2001 by Columbia Records. It featured backing by his touring band of the time, with keyboardist Augie Meyers added for the sessions. It peaked at #5 on the Billboard 200. The album continued Dylan's artistic comeback following 1997's Time Out of Mind and was given an even more enthusiastic reception. The title of the album was apparently inspired by historian Eric Lott's book Love & Theft: Blackface Minstrelsy and the American Working Class, which was published in 1993.

Limited Mobile Fidelity SACD hybrid pressing. The ever-evasive Bob Dylan never explicitly stated exactly what represented the another side of himself referenced in the title to his second 1964 record. Yet the whimsical moods, hallucinogenic prose, humorous angles, transparent mistakes, and noncommittal themes give a pretty clear idea at what the Bard hinted as he emerged from being labeled as a reluctant generation spokesperson and folk savior after releasing two highly intellectual, socially pioneering sets replete with protest songs. Dylan needed to take a breath, step back from the drama, and reevaluate his surroundings. The uninhibited joie de vive is discernible in the rattling piano lines on 'Black Crow Blues', seemingly subconscious ramble of the hysterical folk rhyming of 'Motorpsycho Nightmare', bluesy dream sequencing throughout' I Don't Believe You', and intentionally out-of-tune yodeling during 'All I Really Want to Do'. On a majority of the prized set, Dylan let's his guard down, but does so in clever manners that speak to his surrealist imagination and biting wit. He possesses the rare ability to make planned strategies appear spontaneous, to challenge audiences with stinting wordplay and minimalist melodies that provide a deceptive false security.

Bob Dylan's Pat Garrett & Billy the Kid Is Much More Than a Soundtrack to Sam Peckinpah's Western Film: Grammy-Nominated Effort Brims with Outlaw Adventure and Sense of Place Mastered from the Original Master Tapes for Unsurpassed Sound: Hybrid SACD Capped at 2,500 Numbered Copies Includes Original Version of 'Knockin' on Heaven's Door' and Country-Flavored Instrumentals: A-List Cast of Musicians Features Roger McGuinn, Jim Keltner, and Booker T. Jones On the surface, Bob Dylan's Pat Garrett & Billy the Kid serves as a potent soundtrack to Sam Peckinpah's western of the same name. Yet the Grammy-nominated set is much more, remaining distinctive and intriguing because of the cast Dylan assembled for it's creation-and their collective performances. The 10-track album effortlessly breathes with country, folk, blues, and old-time pop flavors. A-list collaborators, including drummer Jim Keltner, fiddler Byron Berline, and Byrds legend Roger McGuinn, assist Dylan in making instrumental portraits teem with detail, character, and a definite sense of place. Then there's 'Knockin' on Heaven's Door.' Transcending the status of song, the Bard's poignant tune has gone on to become nothing short of an anthem-a symbolic hymn whose expressiveness encompasses resilience, sorrow, forgiveness, readiness, and more. Heard anew on exquisite analog and digital editions, everything here takes on deeper meaning and conveys elevated levels of enjoyment. Mastered from the original master tapes, and strictly limited to 2,500 copies on hybrid SACD, Mobile Fidelity's reissues feature reference-level instrumental separation and full-bodied tones that allow the songs to blossom amidst soundstages whose dimensions are limited only by the breadth of your stereo system. The flinty, raw acoustic edge of Dylan and Bruce Langhorne's guitars come into immediate relief. Booker T. Jones' relaxed albeit taut bass, Jolly Roger's downhome banjo, Russ Kunkel's textured bongos, and the crucial string accompaniments flourish. In every regard, Pat Garrett & Billy the Kid has never sounded better.

Eagles' Self-Titled Debut Mastered from the Original Analog Master Tapes for Definitive Sound: First in an Unprecedented Series from the Band and Mobile Fidelity. Numbered-Edition MoFi Hybrid SACD Plays with Reference-Level Clarity, Balance, Detail, and Dynamics. Harmony-Rich 1972 Album Changed Mainstream Music: Includes 'Take It Easy,' 'Witchy Woman,' and 'Peaceful Easy Feeling'.

Eagles' Desperado Mastered from the Original Analog Master Tapes for Definitive Sound: Second in an Unprecedented Series from the Band and Mobile Fidelity. Experience the Iconic Record Like Never Before: MoFi Numbered-Edition Hybrid SACD Plays with Stunning Transparency, Detail, and Presence. Western-Themed 1973 Album Pioneered Country Rock and the Don Henley-Glenn Frey Songwriting Partnership: Includes 'Tequila Sunrise' and the Title Track.

A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra's Eldorado Marries Rock and Symphonic Elements, Includes the Aptly Titled Hit 'Can't Get It Out of My Head'. Mastered from the Original Analog Master Tapes for Audiophile Quality: Mobile Fidelity 180g Vinyl LP and Hybrid SACD Reissues Play with Previously Unheard Dynamics, Rich Tones, and Bountiful Colors. Melodic, Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section: Arrangements and Lyrics Transport the Listener to Faraway Horizons. Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Beautiful yet fun, ambitious yet consistent, the concept album celebrates romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. Nearly 50 years later, the work's brilliance can be experienced like never before in cinematic fashion. Mastered from the original analog master tapes and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's 180g LP and complementary hybrid SACD allow the longtime audiophile staple to resonate with incredible dynamics, tones, and colors. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended. Distinguished with in-the-moment presence, grand-scale soundstaging, and instrumental balance, MoFi's Eldorado reissues also benefit from superb separation and immersive atmospherics. Like the man says, you won't be able to get it out of your head.

Aretha Franklin made her Hall of Fame reputation at Atlantic Records between 1967-1968. This astonishing two-year period witnessed the singer score nine Top 10 hits and define soul music. Pairing with producer Jerry Wexler and a flawless Muscle Shoals studio band, Franklin unleashed bolder sides of her artistry kept under wraps during her tenure at Columbia. The rest is history-a history that, until now, has never been in heard in true audiophile sound. And if there's any voice you want to experience to the most realistic extent, it's that of the vocalist Rolling Stone crowned the Greatest Singer of All Time. Mastered from the original master tapes, Mobile Fidelity's hybrid SACD of Aretha's Gold presents Franklin's most seminal early Atlantic songs with reference-standard sonics. Finally, hear the full range of the Queen of Soul's depth, reach, and expressiveness. Complementing her timeless classics with tremendous dynamics, restored balances, and stunning clarity, this collectable SACD sheds new light on Franklin's power and technique, honesty and confidence, enunciation and directness.

American Beauty is the fifth album by The Grateful Dead. It was recorded between August and September 1970 and originally released in November 1970 by Warner Bros. Records. The album continued the Folk Rock and Country Music explored on Workingman's Dead and features the lyrics of Robert Hunter prominently.

Wave That Flag: Grateful Dead's From the Mars Hotel Spotlights Elementary Strengths of Each Band Member, Features Longtime Concert Staples 'U.S. Blues,' 'Unbroken Chain,' 'China Doll,' and 'Ship of Fools'Mastered on Mobile Fidelity's World-Renowned Mastering System, Limited to 2,500 Numbered Copies: Hybrid SACD of Audiophile Favorite Boasts Tremendous TransparencyPrimarily Recorded Live, the 1974 Album Witnesses the Beloved Group Getting Loose While Mixing Soul, Funk, Psychedelia, Dance, and R&BWelcome, friend. You've just checked into the Mars Hotel. The Wall of Sound, the greatest PA system ever constructed, is freshly built and ready to go. Phil Lesh is busy experimenting with a low-frequency concept known as 'Earthquake Bass.' Jerry Garcia is smiling, fresh from blaring a tongue-in-cheek anthem titled 'U.S. Blues' that serves as both an irresistible rallying cry of pride and ironic commentary. And The Grateful Dead's interplay continues to wow, peaking on 'Unbroken Chain,' the most obvious example yet of the group's shared chemistry and individual talents. Yes, we're certain you'll enjoy your stay. In the lobby, you'll find decoratively funky 'Scarlet Begonias.' Do we need mention the music, performances, and sights sound and look better than ever?Mastered on Mobile Fidelity's world-renowned mastering system and strictly limited to 2,500 copies, Mobile Fidelity's hybrid SACD of From the Mars Hotel comes on as both an audiophile delight and Deadhead's dream. Vastly improving upon the long-out-of-print 1984 MoFi version that currently commands upwards of hundreds of dollars on the aftermarket, the new version takes advantage of enhancements to the cutting system, pressing process, and mastering gear. MoFi's engineers have taken every precaution in honing the sound and feel of the Dead classic.Originally made in a modern facility dubbed Studio A - a large cinderblock room that Columbia Records specially outfitted for Simon and Garfunkel, who, ironically, split up before they could use it - From the Mars Hotel was primarily recorded live to 16-track machines. After laying down the basic structures, a few overdubs got added, most notably in the form of John McFee's rustic pedal-steel guitar accents on one track and Ned Lagin's spacey synthesizer passages on another. Always prized for it's superb fidelity, the effort possesses an uncanny sense of airiness around the vocals, brilliant microdynamics, excellent transients, reference-caliber balance, accessible tonalities, and the distinctive aura of a real band playing in a defined space.With Keith Godchaux's spry quick-finger piano notes adding a barroom blues feeling and wife Donna Godchaux's soaring background vocals bringing up the rear, the Dead puts a vibrant spring into the step of contagious fare such as the rousing 'U.S. Blues,' down-and-dirty funky soul of 'Loose Lucy,' and slippery 'Money Money.' These songs stand as some of the loosest black-inspired music the Dead composed. And why not? True to the era's burgeoning mix of soul, R&B, psychedelic rock, and dance, the collective places it's own memorable stamp on the day's popular fusion.

Joe Jackson ?- Body And Soul INTERVENTION RECORDS Genre: Jazz, Rock, Latin, Pop Vocals, Piano, Saxophone, Written-By, Arranged By - Joe Jackson

Billy Joel 52nd Street on Numbered Edition Hybrid SACDMainstream Perfection: Melodic Devices, Passionate Singing, Sophisticated Arrangements, Jazzy Backdrop Walk Down 52nd StreetSome 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 it's 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.52nd Street is mastered from the original master tapes and made available on transparent hybrid SACD. 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.

Still Rock and Roll to Him: Joel Toughens Up and Increases the Animosity, Sarcasm, Confidence, and Rock on 1980 SetAccessible and Angry: Phil Ramone's Stalwart Production Bristles With Boldness, Raucousness, and Directness on Definitive Mobile Fidelity ReissueChart-Topper Certified Seven-Times Platinum: Includes 'You May Be Right' 'It's Still Rock and Roll to Me,' 'Don't Ask Me Why'Elvis Costello long had a reputation for being the 'angry young man.' With apologies to the former Declan McManus, he had nothing on Billy Joel's Glass Houses. Fed up with inexcusable critical backlash and believing he'd still not been regarded as a serious artist, Joel ratcheted up the angst on the 1980 set that, oh, by the way, happened to sell another seven-million-plus copies and top the Billboard charts. Revenge is sweet.An integral part of Mobile Fidelity's Billy Joel catalog restoration series, Glass Houses is mastered from the original master tapes and made available on fully transparent hybrid SACD. Honing in on producer Phil Ramone's radio-tailored albeit looser, straightforward production, this edition opens up the previously veiled soundstages, spotlights the clean yet raucous arrangements, and decongests the imaging so that every note comes to the fore. Thanks to DSD technology and meticulous remastering, Joel's urgency and temperament have never sounded so vibrant. In addition to firing shots at detractors, Joel further solidifies his reputation as a pop maestro on the hit 'Don't Ask Me Why' and mellow classic 'C'etait Toi (You Were the One),' each replete with sparkling structures and shimmering melodies. Throughout, he dials down the grand gestures, focusing more on an attitude and directness. At the time, Joel was conscious of the punk movement, and seems inspired to follow that genre's preference for simplicity, frankness, and irritability. The album's legendary artwork-the singer preparing to toss a brick through the windows of his house-is a metaphor for Joel shattering his image as a cocktail-lounge pop crooner. Such changes are evident in the now-signature 'You May Be Right,' a hard-rocking and scathing rebuttal to a romantic partner on which Joel embraces the identity of a tough-skinned madman that won't stop at anything. He inhabits the role with convincing theatrics, his voice mixing pushiness, smugness, self-evident humor, and cool that fits the resistive tone of the record's songs. Glass Houses is Joel's megaphone for stubborn independence, dogged assertiveness, and blustery confidence. It's also an announcement of artistic intent, a statement that's simultaneously catchy and barbed, well-crafted and rowdy. And it succeeds on all levels, bringing to commercial pop-rock a brashness and grit often absent from fare that sticks in your head for days. Joel would never be seen the same way again.

Billy Joel An Innocent Man on Numbered Edition Hybrid SACDInfectious Doo-Wop, Carefree Soul, Harmonious Pop a Testament to Music of Joel's ChildhoodAfter making The Nylon Curtain, Billy Joel felt the need to exhale and get back to the carefree music of his childhood. He also met supermodel Christie Brinkley, who brought serious degrees of levity and romance to his world. In love, relaxed, and out to have fun, the singer crafted An Innocent Man, arguably the most easygoing and pleasing album of his career. Featuring four Top 40 pop singles and the same number of Top 5 Adult Contemporary hits to grace the Billboard charts, the record remains a commercial staple. An essential title in our Billy Joel catalog restoration series, An Innocent Man is mastered from the original master tapes and made available on fully transparent hybrid SACD. The resulting presentation effortlessly outshines that heard on all previous editions of this 1983 set. Particularly, the effervescent harmonies now possess an airiness and extension that lends to realistic tonal decay. Instruments are balanced and placed on a wider, deeper soundstage, contributing improved to improved imaging and spaciousness. Joel's voice, too, comes across with tremendous clarity, presence, and body. These songs have never sounded so contagious.Per usual, Joel proves a melodic jukebox. The vocalist's grasp on structure, hooks, and delivery help make this batch of songs among his most beloved, easy to hum, and impossible to ignore. Much of the appeal resides in Joel's understanding of the early rock and roll, doo-wop, and soul that he grew up hearing in New York, and the manners in which the popular songwriters favored simplicity over complexity, good-natured vibes over seriousness, and romantic charm over introspective sadness. Whether floating on a cloud on the giddy 'Uptown Girl' (check out his falsetto), doubling as both the lead and background vocalist on the reminiscent-themed 'The Longest Time,' or tapping gospel undercurrents on the tribute 'Keeping the Faith,' Joel revels in 50s and 60s pop constructs, turning out amiable refrains and unforgettable moods. Love perfumes the air, and Joel can't get enough, and it's a feeling he passes on to his listeners. As the calm before stormier periods in his life, and a timeless connection to America's finest pop music traditions, An Innocent Man is indeed innocent - a guiltless pleasure that keeps on giving.Billy Joel An Innocent Man Track Listing:

Intervention Records is thrilled to announce the newest release in it's (Re)Discover Series, Quincy Jones' 1981 visionary masterpiece 'The Dude' on hybrid CD/SACD. FEATURING SMASH HITS: 'Just Once' and 'One Hundred Ways''The Dude is a Quincy Jones solo project in name, but this post-disco pop-soul cornucopia of groove resonates as a testament to his ear for anticipating new sounds.' -Pitchfork'... a cross-cultural success blending jazz, Latin music, soul ballads, and straight pop... The Dude is an outstanding collection that was massively influential on the '80s R&B scene.' - AllMusicLegendary over decades as a composer, producer and performer, Quincy Jones changed the face of pop music in the early 1980s. A commercial and critical smash, 'The Dude' is the album Jones released in between producing Michael Jackson's 1979 breakthrough 'Off the Wall' and 1982's monster follow-up 'Thriller,' the best-selling non-compilation of all time.'The Dude's' lineup of writers and players is a staggering who's who of 70s and 80s pop and R&B, including Stevie Wonder, Herbie Hancock, Michael Jackson, James Ingram, Patti Austin and more. 3 Singles from the album charted in the US Top 40, including the smash hits 'Just Once' and 'One Hundred Ways.''The Dude' was nominated for 12 Grammy Awards, winning for Best Instrumental Arrangement, Best R&B Performance by a Duo or Group with Vocal, and Best Instrumental Arrangement. James Ingram's vocal performances from 'The Dude' earned him 3 of his own Grammy nominations and a win for Best Male R&B Vocal Performance for One Hundred Ways.'

Three years removed from crafting Dire Straits' third album, Making Movies, band leader Mark Knopfler elected to adhere to the record's title and try his hand at doing just that in an aural way. Written and performed to accompany the film Local Hero, the iconic guitarist's first soundtrack continues to serve as one of the decade's most prized scores. Seeking to expand beyond the parameters of his band, Knoplfer taps into a global economy of structures and sounds, and takes anyone with a sense of adventure along for the ride. And what a scenic trip it becomes via the broad palette of Celtic-themed effects, supplemental jazz accents, and folk inflections.Mastered from the original master tapes, Mobile Fidelity's numbered-edition hybrid SACD (limited to 2,500 numbered copies) give the beloved effort audiophile-grade sound on a par with the reference-quality sonics afforded Dire Straits' Mobile Fidelity reissues. In each arrangement, Knopfler's methodical guitar work emerges with supreme transparency and multi-hued textural detail. The intricate notes, finger-picked passages, and cosmopolitan lines come across as if they're transmitted just feet away. Knopfler's acoustically and electrically woven tapestries significantly benefit from the newfound airiness, openness, and balance. No matter the instrument or treatment, the music arrives with pinpoint imaging and vibrant liveliness. Close your eyes, and Local Hero projects movies in your head.

New Numbered Edition and Mini-LP Style Packaging1978 Set is One of the Best Live Albums EverWhen you think about the great live albums, several immediately come to mind. The Who's Live at Leeds. James Brown's Live at the Apollo. The Allman Brothers Band's Live at Fillmore East. Nirvana's Unplugged. And, while it is sometimes unjustifiably forgotten, Little Feat's Waiting for Columbus.The last essential album the rootsy California band made, it stands as the group's peak accomplishment-a staggering confluence of energetic performances, skilled improvisations, and thematic expansion. Joined onstage by the Tower of Power horn section, Little Feat accentuates and remakes familiar arrangements, using the stage as a laboratory for unbridled creativity, New Orleans-spiced fun, and spontaneous interaction.