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SOURCED FROM THE ORIGINAL MASTER TAPES: 2LP SET PRESENTS 1991 ALBUM IN 45RPM SPEED FOR FIRST TIME.

PCM Digital Master to Analog Console to Lathe.

Dire Straits never made a big to-do about its final run. In classic understated British fashion, the band simply let its music speak for itself. And how. Originally released in September 1991, On Every Street became the group’s swan song – a lasting testament to the influence, musicianship, and integrity of an ensemble whose merit has never been tainted by cash-grab reunions or farewell treks. It remains an essential part of the Dire Straits catalog and a blueprint of the distinctive U.K. roots rock the collective played for its 15-year career.

Sourced from the original master tapes, housed in gatefold packaging, and pressed at RTI, Mobile Fidelity’s 180g 45RPM 2LP set of On Every Street presents the album like it has always been meant to be experienced: in reference-grade audiophile sound. Recorded at AIR Studios in London and produced by Dire Straits leader Mark Knopfler, it features all of the band’s sonic hallmarks – wide instrumental separation, visceral textures, seemingly limitless air, broad soundstages, atmospherics that you can almost reach out and feel. Each element is made more vibrant, physical, and lifelike on this collectible reissue, which marks the first time this 60-minute work has been available at 45RPM speed.

Afforded generous groove space and black backgrounds, the songs from On Every Street burst with nuanced details and vibrant colors. Dire Straits’ playing appears to float, their intricate performances organized amid hypnotic, fluid, three-dimensional arrangements. Mobile Fidelity’s definitive-sounding set also brings into transparent view Knopfler’s finely sculpted guitar lines, expressive tones, and laid-back vocals – as well as the balanced accompaniment from his band mates. Here’s a record on which you can hear the full blossom and decay of individual notes, and imagine the size and shape of the studio. It is in every regard a demonstration disc. And it happens to be filled with timeless fare.

Remarkably, On Every Street almost never came to light. Dire Straits initially dissolved in September 1988 after touring behind its blockbuster Brothers in Arms and suffering the departure of two members. At the time, Knopfler professed his desire to work on solo material; bassist John Illsley also explored side projects. But Knopfler’s decision in 1989 to form the country-leaning Notting Hillbillies reignited a spark to reconvene his primary band and craft a fresh batch of songs. Six years removed from Brothers in Arms, Knopfler, Illsley, keyboardist Alan Clark, and keyboardist Guy Fletcher teamed with A-list session pros – steel guitarist Paul Franklin, percussionist Danny Cummings, saxophonist Chris White, guitarist Phil Palmer included – to create what still stands as an unforgettable farewell.

The platinum record brings the band full circle in that it returns Dire Straits to a quartet formation; finds the group refreshingly out of step with the era’s prevailing trends; and sees Knopfler and Co. knocking out song after song with the deceptive ease of a punter tossing back a pint at a pub. That subtle cool, clever poise, and innate control – signature traits that no other band ever matched – dominate On Every Street. Knopfler’s clean, virtuosic six-string escapades unfurl with dizzying melodicism and economical efficiency. Led by his winding fills and focused solos, Dire Straits traverse a hybrid landscape of rock, jazz, country, boogie, blues, and pop strains with near-faultless prowess.

More than any other entry in the group’s oeuvre, On Every Street welcomes quick detours down back alleys and into the depths of human souls. What makes it more brilliant is its staunch refusal to cater to commercial expectations or take advantage of prior successes; every passage feels true, every measure echoed in the service of song. It’s evident in the humorous satire of “Heavy Fuel,” closeted desperation of the witty “Calling Elvis,” and shake-and-bake bounce of “The Bug.” It pours from the album’s darker corners, as on the high-and-lonesome melancholy of the title track and bruised emotionalism of “When It Comes to You.”

Hinting at the open-minded approaches and boundless curiosity he’d embrace as a solo artist, Knopfler doesn’t limit himself when it comes to style or subject matter. Look no further than “You and Your Friend,” a shuffle whose all-inclusive lyrics encourage an array of interpretative meanings. Another of the album’s deep cuts, “Iron Hand,” comes on as one of the band’s most memorable moments – the narrative addressing the abuses of power at the 1984 Battle of Orgreave during the U.K. miners’ strike. Given cinematic heft by the expert production, the true-fiction account puts into perspective the richness, poetry, and depth of On Every Street.

“Every victory has a taste that’s bittersweet,” sings Knopfler on the title track. At least that bittersweetness seldom sounded so damn good on record.

All the music from the iconic Mr Benn cartoons, available for the only time. Recorded in two sessions - Olympic Studios in 1969, and Gateway Studios in 2004. All the music was written by Duncan Lamont, and featured some iconic session musicians including

Kenny Wheeler, Ray Swinfield and Duncan Lamont himself. Ray Swinfield used the same instruments as he used on The Beatles Penny Lane on these recordings. Mr Benn has an enduring popularity, and was shown on The BBC every year from 1971 - 1999, then on Nick Jnr till 2010. The sessions have ben fully remastered, and sound fabulous! It was due to Nick Jnr that a 14th Mr Benn cartoon was made, and the second session features re-working of some of the original tunes as well as lots of new tunes for Gladiator.

The packaging features an insert with Mr Benn dressed in all his adventure outfits, and a game to match all the souvenirs to each adventure. Not to be missed. A must for everybody that grew up with Mr Benn. All the sleeve notes have been written by The Mr Benn cartoon producer Clive Juster, and are full of insights from the recording sessions.

Seven suites of deep and sprawling sonic meditations built around ‘call and response’ improv sessions between Randy Raine-Reusch and Michael Red.

Slow and tempered recordings of Asian flutes, African harps, temple gongs and a myriad of obscure instruments from Randy Raine-Reusch's deep collection mutate and ebb into swirling gossamers of tone. Sonic incantations stretched and magnified further by Red's Sends. An otherworldly play between light and shadow worlds; at times idyllic and light-filled, at times dark and eerie– all engrossing. Dream-reality reconciliations weave between the spectral world of Michael Red's sound processes and the direct physicality of Raine-Reusch's playing. The tension across the pieces builds between the live playing and processing techniques, dutifully revealing a growing familiarity with collective transcendence through sound (bigger than the sum of its parts). Real-time interactive dream music.

Initially realized over the course of a few days in Randy’s instrument museum in Vancouver BC December, 2014 'ERAS' is made up of processed, and sometimes multi tracked, improvisations between Randy and Michael. Through these sessions Randy would choose instruments he sensed possibilities within, and Michael then revealed and sculpted these possibilities. Both resonating, sensing sonic structures, environmental nuances, and further worlds in each other’s art, all within the moment. Being present for each other, they acted on instinct, trusting a first thought, trusting each other; committing, responding to that commitment, then mutating and letting go. Always moving forward, synthesizing and letting the living moment lead the way.

The recordings were left to distill and mature for many years before the composers felt it was ready. With minimal judicious edits and a very light dusting of FXs, both careful to preserve the direct and intuitive process that permeates the recording, ERAS now emerges.

Originally reissued as part of the Promise Kept: The Complete Artist House Recordings boxed set, now available separately. LP contains the original 4 tracks – CD/Digital include an additional 6 bonus tracks. Remastered by Grammy® winner Michael Graves, with vinyl cut by Jeff Powell.

Heart Food is 100% Analogue Mastered directly from the original analogue master tapes by Kevin Gray at CoHEARent Audio. The master tapes are in fine shape, and listeners will be blown away by the increased inner detail and three-dimensionality of these achingly gorgeous recordings. This Intervention reissue represents THE definitive listening experience for this classic LP!

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
The Lamb Lies Down On Broadway — Genesis' gold-selling sixth studio album!
180-gram 45 RPM 4LP
Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

Genesis' sixth studio album was released as a double album in November 1974 by Charisma Records and is the last to feature original frontman Peter Gabriel. The group's longest album to date, The Lamb Lies Down on Broadway peaked at No. 10 on the U.K. Albums Chart and No. 41 on the Billboard 200 in the U.S..

The album is a concept album and tells the surreal story, devised by Gabriel, of a young Puerto Rican named Rael who embarks on a journey through a series of strange and bizarre events in New York City.

Musically, the album is a departure from the band's previous works, incorporating a wide range of styles including progressive rock, art rock, funk, and jazz fusion. The album features complex rhythms, intricate melodies, and dense layers of instrumentation, showcasing the band's virtuosic musicianship.

The album is notable for its use of storytelling, with each track contributing to the larger narrative of Rael's journey. The lyrics are often cryptic and abstract, and the album's surreal imagery has been interpreted in a variety of ways by listeners and critics.

The Lamb Lies Down On Broadway gained acclaim in the years after its release, reaching gold certification for sales in the U.K. and U.S.. In 1978, Nick Kent wrote for NME that it "had a compelling appeal that often transcended the hoary weightiness of the mammoth concept that held the equally mammoth four sides of vinyl together." In a special edition of Q and Mojo magazines titled Pink Floyd & The Story of Prog Rock, The Lamb ranked at No. 14 in its 40 Cosmic Rock Albums list. The album came third in a list of the 10 best concept albums by Uncut magazine, where it was described as an "impressionistic, intense album" and "pure theatre (in a good way) and still Gabriel's best work." A Rolling Stone poll to rank readers' favourite progressive rock albums of all time placed The Lamb fifth in the list.

The Lamb Lies Down On Broadway is widely regarded as one of Genesis's most important and influential works, inspiring generations of progressive rock musicians.

Featuring a fabulous mix of R&B classics such as "That's the Way of the World" (Earth Wind & Fire), "Lovely Day" (Bill Withers), "You're the One I Love" (Barry White), "Kiss" (Prince) with more contemporary pop material like "I Belong to You" (Lenny Kravitz), "It Runs Through Me" (Tom Misch), "Roads" (Portishead) and others, Vanessa and Tim Pierce (arranger) have delivered a supremely satisfying and ultra-rewarding album, one that is also beautifully recorded (tracked and mixed by maestro Michael C. Ross).

Many plaudits must also be directed at the magnificent group of creme de la creme LA-based session musicians who are backing Vanessa's latest effort. This is basically the same outstanding group that played on her previous album (GRV1200 I Want You): Tim Pierce (guitars), Alex Al (bass), Victor Indrizzo (drums), Jeff Babko (keyboards), Felipe Menolio (acoustic guitars), and Luis Conte (percussion). Felipe, a brilliant young guitarist from Brazil, is the one new addition and delivers some truly incredible playing - wait till you hear his solo on the samba-driven version of "It Runs Through Me"!

Melanie Martinez’s debut album “Cry Baby” has remarkably kept growing in stature since its 2015 release, now approaching its high-water mark of 1 BILLION global audio streams for the second consecutive year. The RIAA recently re-certified the record at 2x platinum, in large part due to TikTok trending moments for several of the album’s tracks. These trending moments, occurring over the course of 2020-1, most notably included the digital bonus cut “Play Date,” which became a TikTok phenomenon and is now Melanie’s most popular song with over 700M streams.
On this expanded deluxe edition, “Play Date” and 2 additional digital bonus tracks (“Teddy Bear” and “Cake”) are – for the first time – added to the original, standard vinyl album. These songs were only previously available on vinyl on the now out-of-print, limited edition Extra Clutter EP from 2016.
With an expanded booklet featuring 3 new illustrations for the 3 bonus tracks, this deluxe edition will be the one, primary Cry Baby vinyl product moving forward.

Upstate NY heavyweights 38 Spesh and Conway The Machine have joined forces for a collaboration album fans did not see coming. Having recorded with each other for well over a decade, these two lyrical powerhousesstyles mesh effortlessly on this 10-track offering. The soundbeds for the illustrious affair are provided by Spesh himself with the help of a producer he has championed for years, Jimmy Dukes. Instead of continuing to mine the '90s like their contemporaries, the duo bring a sound that calls back to early '00s Hip-Hop. On top of verses that will etch themselves in your mind courtesy of Spesh and Conway, the project includes standout bars and hooks by the likes Lloyd Banks, Pharoahe Monch, Benny The Butcher, Che Noir, ElCamino, and Emanny.

Upstate NY heavyweights 38 Spesh and Conway The Machine have joined forces for a collaboration album fans did not see coming. Having recorded with each other for well over a decade, these two lyrical powerhousesstyles mesh effortlessly on this 10-track offering. The soundbeds for the illustrious affair are provided by Spesh himself with the help of a producer he has championed for years, Jimmy Dukes. Instead of continuing to mine the '90s like their contemporaries, the duo bring a sound that calls back to early '00s Hip-Hop. On top of verses that will etch themselves in your mind courtesy of Spesh and Conway, the project includes standout bars and hooks by the likes Lloyd Banks, Pharoahe Monch, Benny The Butcher, Che Noir, ElCamino, and Emanny.

Foreigner's debut spawned massive FM hits "Feels Like the First Time," and "Cold as Ice"
180-gram 45 RPM double LP
Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

Arena rock heroes Foreigner crushed with their 1977 self-titled album debut, spawning some of the biggest FM hits of that year, including the anthemic "Feels Like the First Time" and "Cold as Ice," both of which were anchored — like most of Foreigner's songs — by the muscular but traditional riffing of guitarist Mick Jones, the soaring vocals of Lou Gramm, and the state-of-the-art rock production values of the day, which AllMusic reviewer Andy Hinds says allowed the band to sound hard but polished.

The architect behind Foreigner's extraordinary catalog, Mick Jones has crafted some of rock music's most enduring songs. Grammy and Golden Globe-nominated songwriter, performer and producer and winner of the prestigious Ivor Novello songwriter award in 1998, Jones first began playing guitar in his early teens.

After starting his own rock band and opening for the Rolling Stones in pubs across South London, Mick's first big break came in 1964 when he moved to Paris and was hired to play with French singer Sylvie Vartan.

After a brief stint in England to reform the band Spooky Tooth, Jones moved to New York City and formed Foreigner with Ian McDonald and Dennis Elliott and Americans Lou Gram, Alan Greenwood and Ed Gagliardi.

Foreigner defined a generation of rock music to people across the globe. From its iconic debut album, the band moved on to record-breaking hits including "I Want To Know What Love Is," "Waiting for a Girl Like You," "Double Vision," "Hot Blooded," "Juke Box Hero" and many more.

Now on 180-gram 45 RPM double LP you'll hear Foreigner in all its phenomenal glory. Mastered from the original tape by Ryan K. Smith at Sterling Sound, this reissue rocks. Double LP cut at 45 RPM, pressed at Quality Record Pressings and RTI, and housed in a Stoughton Printing tip-on old style gatefold jacket. That's how you upgrade a classic.

Ever wondered what a Brian Wilson solo album
from 1969 would sound like?
Look no further. (No A.I. needed...)
Exquisitely arranged by ex-Animal Vic Briggs and
featuring several Wrecking Crew musicians who
also played on Pet Sounds, MARK ERIC’s A
Midsummer’s Day Dream is a unique blend of
Beach Boys/Four Freshmen sensibilities coupled
with wistful, lush surf psychedelia.
Defiantly soft, the 1969 LP captured the tail end
of L.A.’s pop innocence perfectly, just as it
slipped into infinity. First time on vinyl since its
original release.
Coming this summer! Our 2002 & 2009 CD reissues
of A Midsummer’s Day Dream caught the soft pop
collector’s world entirely off guard: Very few
were aware of the LP’s existence, and the
reaction was united: A masterpiece was
unleashed and a new generation of daydreamers
was born! The result was glowing reviews in MOJO
and UNCUT, a Japanese edition, as well as soaring
prices for the original long out-of-print vinyl
pressing. The full-colour gatefold jacket includes
EXCLUSIVE, rare photos, and UPDATED and
EXPANDED liner notes that feature the
participation of Mark Eric himself. Reissue
produced, annotated, and designed by STEVE
STANLEY.

Atomic City’, the brand new track from U2, is produced by Jacknife Lee and Steve Lillywhite and comes ahead of the band’s upcoming run of dates at Sphere in Las Vegas. This Limited Edition Photoluminescent Transparent 7’’ Vinyl, includes the original song, alongside an etching on the B-Side.

Mega rare soundtrack to the obscure Venezuelan sexploitation film “Sobre la Hierba… Virgen” originally released in 1976 and almost impossible to find in any condition. The album includes a wide variety of music to enjoy, from thrilling psychedelic jazz-funk to spacey experimental tracks, killer drum-breaks or romantic instrumental tunes. Composer and keyboard player Schneider had an outstanding body of work for the TV/film industry and recorded with the likes of Baby Bell, Grupo Syma, Vytas Brenner as well as huge mainstream artists like José Luis Rodríguez and Pecos Kanvas. He was also producer to Phirpo Y Sus Caribes’s highly collectable only LP, a brilliant Afro-Latin funk masterpiece. His much sought-after 1975 solo album on Polydor anticipated the sounds comprised on “Sobre la Hierba… Virgen”, featuring a variety of exotic arrangements ranging from Latin mood to jazz funk to electronic psychedelic. “Sobre la Hierba… Virgen” is one of the best recordings of Pablo Schneider at the peak of his career.

The second incarnation of the mythical band of the eighties mod revival, active since 2013 under the leadership of Chris Pope. The English band offers us 4 tracks full of power-pop, punk 77 rage and classic melodies. The Chords UK are back in action with a new EP that keeps the bar high when it comes to punk-influenced power pop. The title track of the EP was originally composed and worked on in 1985 for the Arista label, with the collaboration in production of Tony James (Generation X, Chelsea...). It finally remained unreleased and is now, at last, seeing the light of day once re-imagined, re-arranged and re-recorded in April 2023. It's a fearsome shock of rock'n'roll rhythm and sharp, angular guitars with more than a nod to late 70's The Clash, all wrapped up in infectious vocal harmonies and anthemic choruses. "Veronica Jones" is a new mix of the celebrated cut from the band's 2022 album "Big City Dreams". This track was born as a punchy modern folk song, as it tells the story of a girl who is clearly out to have a good time, but this version is elevated with a garage rock approach, ably assisted by the keyboard talents of Mick Talbot, formerly of The Style Council and Merton Parkas. "Before Elvis" has its origins in a 2014 demo that eventually remained unreleased and is a raging rock track with a Stones-style beat and amps pushed to the limit. The EP closes with "All I Want is Everything" a high-tempo rock'n'roll reworking of the song that previously appeared on their 2018 album "Nowhere Land", with the bass-driven beat rising several notches as the guitar screams and wails.

Reissue of this super hard to find self-released Brazilian garage-beat 7" from 1965. Still very unknown even among hardcore collectors of the genre, but surely an amazing example of genuine teenage garage rock from 60s Brazil reissued for the first time The band would later become Loyce e os Gnomos, a cult band featured on the compilation Brazilian Guitar Fuzz Bananas. The reissue includes an insert with liner notes and a previously unseen photo of the band. Unearthing a forgotten chapter in Brazil's musical scene, Gatos Malucos emerges as an enigmatic garage/psychedelic band from the small city of Limera, in the Sao Paulo countryside. Comprising friends aged 14 to 16, Gatos Malucos combined their admiration for iconic acts like the Beatles and Yardbirds with an unmistakable Brazilian essence. Years later, two band members went on to form the amazing proto-punk band Loyce e os Gnomos. "I literally went crazy. I became a fanatic for the Beatles and proceeded on collecting everything related to them. Records, clothes, newspaper clippings and magazines and song lyrics. Even the Gretsch guitar, similar to the model that George Harrison played, I had the opportunity to pick up in the US. Then when the movies came up, it was pure bliss. The mood was set and, to assemble our band, it was a no brainer. After all, the music flowed harmoniously through our veins." Raphael (Gatos Malucos Guitarrist)

Silver Biplanes are Tim Vass (one half of Razorcuts - the Creation-signed indie pop darlings) and Vanessa Vass (singer of Radcliffe jangle pop favourites The Melons. "A Moment In The Sun" is the debut long player by silver biplanes, a melodic indie band based in Bedfordshire, England. The band features wife-and-husband team Vanessa Vass and Tim Vass alongside drummer Rob Scott and the album is the pinnacle of a musical career which has previously seen Vanessa and Tim release songs on no fewer than 30 different labels between them! The band are lifelong fans of the highways and bi-ways of music and the album draws upon a wide range of influences. It's a heady mix of choruses, hooks and catchy tunes in which you'll hear traces of psychedelia, post-punk, krautrock and more. Tim was bassist and lyricist in cult indie band Razorcuts, co-writing all of their songs. Razorcuts releases regularly featured in the higher reaches of the independent charts throughout the late 80s, and included two top five albums recorded for the famous Creation label. Both albums were reissued in sellout deluxe vinyl editions in 2020. Razorcuts continue to appear on numerous compilations and their influence is often cited in books and internet articles. Tim has also played in Red Chair Fadeaway, Dandelion Wine and the Forever People. Vanessa was the singer in 90's indie band The Melons who are probably best remembered for their two legendary live sessions on Mark Radcliffe's Radio 1 show. The Melons released 6 singles and were regularly featured in the British music press.

Gonzalez Smith's debut album: "Roll Up A Song" is an album of classic popular songs with music by Jay Gonzalez and lyrics by Pete Smith. Best known as the guitarist/keyboardist for rockers Drive-By Truckers, Jay's musical tastes range from 'baroque' to 'A.M. Gold' and 'power' pop. His collaborations include local pop legends The Possibilities, power pop stalwart Scott McCaughey (The Young Fresh Fellows), and performances with Chris Stamey of The dB's and Bill Berry of R.E.M. Pete Smith, acclaimed lyricist, made waves with his contributions to the legendary jazz composer Gary McFarland's album "Butterscotch Rum". His journey led him to comedy writing for Adult Swim's animated shows. Classic pop composer Brent Cash's exceptional string arrangements elevate the album's depth and emotion, enriching Gonzalez and Smith's melodies and lyrics. Jay Gonzalez and Pete Smith are like a modern day Bacharach/David, if Burt spent his nights tearing it up with one of the best live rock bands in America, and Hal was a writer for Space Ghost Coast to Coast and The Brak Show. Their debut album as Gonzalez Smith, "Roll Up a Song," is a seamless fusion of power pop, piano ballads, bossa nova, and pure spun sugar confection. Jay brings the same multi-instrumental compositional skills found on his first three solo albums, and Pete pens lyrics by turns honest, romantic, arch and comedic, sometimes in the same verse. The results are so stellar, it's a shock to find out that the Drive-By Truckers guitarist/keyboardist and the Adult Swim comedy scribe haven't been writing together for decades. Arriving in December 2023, via Bobo Integral Records, "Roll Up A Song" transcends eras and genres. It's a harmonious journey, uniting melodies and lyrics into a timeless masterpiece. Get set to roll up the music, immersing in captivating soundscapes.

“Sono Stato Un Agente CIA” (1978), also known as “Covert Action”, is a twilight film directed by Romolo Guerrieri and set in Greece, starring David Janssen, in the role of a former Central Intelligence Agency agent who became a writer of incendiary books on prostitution and drug trafficking, flanked by Maurizio Merli, a colleague in possession of some compromising tapes, sentimentally linked to the romance novel character played by the seductive Corinne Cléry. The two are involved in a murky game: the stars and stripes secret services intend to eliminate those who could spread the dangerous content of the military plan designed to stem the advance of communism, to be implemented through the assassination of government officials.

It's not among the most famous crime stories. It's not even a real action movie. “Sono Stato Un Agente CIA” benefits, however, from the admirable compositional talent of Stelvio Cipriani. His soundtrack, released for the first time in full vinyl version, reveals an npredictable versatility. His 'classic' style expressed in the course of the scores for previous 'poliziotteschi' is enriched here with disco suggestions and Hellenic exoticisms. The writing on the staff of the Roman composer is effective and empathetic in commenting on every fold of the dark and violent story. A simple and catchy theme, even danceable. The atmospheric situations with guitars and synthesizers. Some funk echoes, tension peaks, melancholy notes. The constants of success.