Gabriel Mervine Say Somethin – PS Audio 180g Vinyl
Just released. A limited-edition, individually numbered, 180-gram collector’s vinyl. These won’t be around long.
At a time in music where history and originality rarely go hand in hand, trumpeter Gabriel Mervine brings both together as never before. We are proud to announce our vinyl re-release. Limited quantities available
Santana – Abraxas – 180g 33RPM Mofi SuperVinyl LP
BACK IN STOCK ORDER NOW!
Abraxas Remains The Consummate Latin Rock Record: Sophomore Santana Effort Includes “Black Magic Woman,” Ranks #334 On Rolling Stone’s List Of The Greatest Albums Of All Time
Sourced from the Original Analog Master Tapes for Exceptional Sound: Mobile Fidelity’s Numbered-Edition 180g 33RPM SuperVinyl LP Plays with Remarkable Clarity, Depth, Detail, and Presence
1/4″ / 15 IPS analog master to DSD 64 to analog console to lathe
The Cry! Prince Lasha Quintet – Contemporary Records (Acoustic Sounds Series)180g Vinyl
Contemporary Records Acoustic Sounds Series continues in 2024! Twelve standout albums from the Contemporary Records catalog reissued on 180-gram vinyl Titles featuring Art Pepper, Sonny Rollins, Helen Humes, Ben Webster and many more! Mastered AAA by Bernie Grundman from the original analog tapes 180-gram LPs pressed at Quality Record Pressings! Stoughton Printing gatefold old-style tip-on jackets Series supervised by Chad Kassem CEO of Acoustic Sounds
Continuing Craft Recordings’ celebration of seminal jazz artists from Contemporary Records
Jeff Beck – Jeff Beck with the Jan Hammer Group Live –Mofi Hybrid Stereo SACD
Now in stock.
Available in Audiophile Sound for the First Time and Limited to 2,000 Numbered Copies: Sourced from the Original Master Tapes, Mobile Fidelity’s Hybrid SACD Presents Collaborative Effort with Generous Sound-staging and Incredible Clarity
Jeff Beck with the Jan Hammer Group Live seldom appears on lists of the greatest live albums of all time. Amid an age where it seems every hidden or overlooked gem has already been rediscovered, this 1977 set remains a well-kept secret — a record filled with virtuoso performances, tremendous chemistry, high-wire improvisations, and explosive jazz-rock combinations. No wonder many listeners who came upon the effort in the late ‘70s admit to wearing out multiple copies and standing in awe of its powers. Wait ’til they hear this version.
Booker Little & Max Roach – Blue Note Tone Poet Series 180g Vinyl
Trumpeter Booker Little made only a few albums during his tragically short life including his astounding debut Booker Little 4 & Max Roach recorded in 1958 for United Artists. Little came to prominence in Max Roach’s band and the drummer joins him here along with George Coleman, Tommy Flanagan, and Art Davis.
This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.
Donald Byrd – Kofi – Blue Note Tone Poet Series 180g Vinyl
Drawn from two sessions in 1969 and 1970, Kofi found Donald Byrd in the early stages of his transformation from top-notch hard bop trumpeter to fusion pioneer. Byrd explores a variety of textures with bandmates including Frank Foster, Lew Tabackin, Duke Pearson, Ron Carter, Mickey Roker, and Airto Moreira.
This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.
Santana – Blues for Salvador – Mofi 180g 33RPM Vinyl LP
IN STOCK NOW
BLUES FOR SALVADOR EARNED CARLOS SANTANA HIS FIRST GRAMMY AWARD: 1987 “SOLO” ALBUM PURSUES JAZZ, FUSION, AND ROCK DIRECTIONS Sourced from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Mobile Fidelity’s 180g 33RPM Vinyl LP Presents the Largely Instrumental Record in Audiophile Quality for First Time Domestically 1/2” / 30 IPS / Dolby SR analog master to DSD 256 to analog console to lathe Few artists were more prolific than Carlos Santana during the 1970s and 80s. By the time he released Blues for Salvador, the fourth album billed to the Rock and Roll Hall of Famer as a lone solo artist, he kept a pace that saw him release LPs at a more than one record-per-year clip ever since the launch of his group’s 1969 debut. No wonder this 1987 effort would be Santana’s last work until 1990; he deserved the rest. And with the largely instrumental Blues for Salvador, he entered into the break on a high note — one that earned him his first Grammy Award.
Charlie Mingus – Oh Yeah – Analogue Productions (Atlantic 75 Series) 180g 45rpm 2 LP Vinyl
Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! A powerful, passionate and expressive album! 180-gram 45 RPM double LP Mastered by Kevin Gray at Cohearent Audio from the original analog master tape Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing
After several sessions with Columbia and Candid, Charles Mingus briefly returned to Atlantic and cut the freewheeling Oh Yeah, which AllMusic says has to rank as the wildest of all his classic albums. Mingus displays all of his vigorous jazz feeling on this album; he plays no bass whatsoever, hiring Doug Watkins to fill in while he accompanies the group on piano and contributes bluesy vocals to several tracks (while shouting encouragement on nearly all of them).
Run DMC – Run DMC – Mofi 180g 33RPM SuperVinyl LP
The Album That Invented Hardcore Hip-Hop: Run-D.M.C. Changed The Sound Of Music And Popular Culture
Run-D.M.C.’S 1984 Debut Benefits From Restorative Treatment On Mobile Fidelity’s 180G Supervinyl 33Rpm Lp: Limited To 3,000 Numbered Copies, Includes New Liner Notes
1/2″ / 15 IPS analog master to DSD 256 to analog console to lathe
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. 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.
