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Originally released in 2001, Nigeria 70 was the first compilation of its kind to explore in depth the fertile music scene in Lagos as domestic artists mixed highlife and traditional rhythms with soul, funk, rock and jazz. While Western audiences were already familiar with Fela Kuti and his life story, the album placed the spotlight on some of the other great musicians and bandleaders in Nigeria during the "70s period: Joni Haastrup, Peter King, Segun Bucknor, Bala Miller, Blo, King Sunny Ade, Tunji Oyelana and many more.Three further volumes followed, exploring the far corners of original Afrobeat, juju, funk and soul.

Repress due in soon, this one on red vinyl, note new price. For fans of Jesus Lizard, Melvins, Korn, Nick Cave, and, The Flenser. Must anticipated debut full-length from Oklahoma-based noise rock band. Multiple vinyl pressing of the band’s EPs on cult noise rock label Reptilian Records have quickly sold out. There’s a sick irony to how a country that extols rhetoric of individual freedom, in the same gasp, has no problem commodifying human life as if it were meat to feed the insatiable hunger of capitalism. If this is American nihilism taken to its absolute zenith, then God’s Country, the first full length record from Oklahoma City noise rock quartet Chat Pile is the aural embodiment of such a concept. Having lived alongside the heaps of toxic refuse that the band derives its name from, the fatalism of daily life in the American Midwest permeates throughout the works of Chat Pile, and especially so on its debut album. Exasperated by the pandemic, the hopelessness of climate change, the cattle shoot of global capitalism, and fueled by “...lots and lots and lots and lots and lots and lots of THC,” God’s Country is as much of an acknowledgement of the Earth’s most assured demise as it is a snarling violent act of defiance against it. Within its over forty minute runtime, the album displays both Chat Pile’s most aggressively unhinged and contemplatively nuanced moments to date, drawing from its preceding two EPs and its score for the 2021 film, Tenkiller. In the band’s own words, the album is, at its heart, “Oklahoma’s specific brand of misery.” A misery intent on taking all down with it and its cacophonous chaos on its own terms as opposed to idly accepting its otherwise assured fall. This is what the end of the world sounds like.

Welcome to the Parish. Come, gather round dear lambs, as today’s sermon is about to begin. Crypt of the Wizard proudly presents the highly anticipated debut LP from pastoral proto-metal power trio Parish, available to pre-order on vinyl now. The two years since the release of their EP God's Right Hand have proved to be no fallow period for the band, who used the time to write and hone the 10 songs laid out on their self-titled debut. They returned to the majestic Holy Mountain to record the album. Making use of the studio's bumper crop of vintage equipment, Parish were able to unearth a sound that draws on the roots of heavy metal. The band's lyrics continue to revel in notions of the pastoral. Themes concerning the works of witches and the changing of the seasons are explored with economic and elegant storytelling. Songs of villagers besieged by strange travellers and poor wretches locked away in gaol conjure up a feeling of uncanny dread. Elsewhere, other songs suggest a sacerdotal attitude towards the earth and those who walk it. Parish stir up sweet memories of those subtle moments of perfection found deep in the discographies of heavy metal’s historic luminaries. Their sound reaches into places previously ventured by the likes of Wishbone Ash, Pagan Altar and Budgie, as well as folk revivalists Fairport Convention - a less obvious resource for heaviness, but a fine repository for musical depth. With any luck, Parish will in time join the aforementioned bands whose records will be played on repeat, locked in the unchangeable hearts of those unbothered by novelty and changes in musical fashions. Now our sermon has come to a close, peace be with you, and go forth in glory.

-4 Songs from Upcoming Albums. -Pressed at 45 RPM for High Fidelity. -Strictly limited to 150 copies. Top 4 features four songs from four forthcoming LP's on the Cold Busted label. To start the series off we have beats from label favorites Sim Nagai, Mister T., and Emapea plus two artists who were recently signed to the label: Goodge and MichRyc. Sim's latest album, Equator Hotline, features exotica-fueled beatscapes and transportive vibes. The equator itself is breached on "Deep in the Rainforest" as busy percussion playfully accompanies the downtempo drum beat. Goodge's jazz-funk dreamscape is sonically interpreted through the grooves in tracks like "Heart of the City" from the forthcoming album Echoes of Yesteryear. Here, cool electric piano keys, a snazzy saxophone, and scratchy guitar are buoyed by an uptempo drum track that transmits a cool inner city feel. MichRyc's friend Emapea helps out with "Monkeys in the Jungle," from Under the Surface, a deep instrumental hip hop cut that almost sounds influenced by Saharan guitar bands like Mdou Moctar. Mister T. returns to Cold Busted with Synchronized Roots, another fantastic album encompassing the many styles of the prolific producer. "Looking Above" continues on a dubby tip, delivering a more heady and smoked-out feel. Each record is limited and pressed at 45 RPM with two tracks on each side for maximum fidelity.

Widely regarded as a modern day classic. First repress (in nearly twenty tears) of this highly sought after treasure. Limited edition vinyl with original, single sleeve, artwork.

Bitty McLean’s rebirth as a bona fide hit-making lovers rock singer, since his link up with Daddy Peckings’ sons Duke and Chris, has been particularly sweet, due in no small part to his superior talents in the vocal department, and his accomplishment in the studio, but also because he is a humble soul whose talent has often been overshadowed by the perception of him as something of a reggae lightweight, due to the commercial success he experienced back in the early nineties with It’s Raining. Bitty’s credentials far outstrip any of his detractors though, and with the release of the superb single Walk Away From Love, he’s proved beyond doubt his worth as an interpreter of classic songs and a gifted songwriter in his own right. Kicking off with the hit single which utilised the classic original 1967 Treasure Isle rhythm to Alton Ellis’ Rocksteady. All selections revive original Duke Reid rhythms created by Tommy McCook & The Supersonics including the beautiful Ranglin On Bond Street (Tell Me), Those Guys (Baby Tonight), Moonlight Lover (To Fall In Love), Inez (My Lovers Call), Queen Majesty (a wicked version of Bread’s Make It With You featuring some beautiful overdubs from Dean Fraser), I’ll Get Along Without You (I’ve Got Love), Lonely Street, and a cover of Smokey Robinson’s Cruisin’. An album to cherish for young and old alike.

R3volution H3roes Vol.3 concludes the second AA.VV. trilogy which includes special tracks created by some of the best artists on the techno scene.

The lineup of this release consists of 6 artists:

In Logo Side, the EP opens with a masterpiece by Dutch Boss Dimi Angelis, making his debut on

On the other side (Info Side), we find the Australian Vohkinne. Follow another debut on

Dark night creatures creep through the tunnels and chambers in the abandoned sites of the former dwarven industry. Greenish-black energy flows through the empty halls as skeletons of the dead rise to dance, accompanied by the shaking of skulls, and the rattling of bones. Be warned, this spectacle is not for the faint of heart. Necromancy is an impressive school of magic, but also a dangerous one – it is better not to mess with necromancers.

K.O.P. 32, a studied alchemist of sound prepared this mythical and enchanting debut 12-inch filled with fast-paced tribal rhythm sorcery, psyish texture spells and mushroom spore acid.

Mana Abundance assumes no responsibility for zombifications, mummifications, or paralyzations. All claims for due compensation in silver are entirely excluded, including (but not limited to) shapeshifting processes such as converting into a werewolf or changeling. Under no circumstances should students of magic under the age of 18 attend the ceremony! Additionally, house elves and other magical creatures are to be kept away from this record.

Soma welcome the debut album from the ever-growing roster of youthful talent as Lewis Fautzi drops The Gare Album, named in homage to The Gare Club, Porto, where Lewis made his discovery of Techno. A bold 4 track single debut gave rise to the album process midway through 2013 and under the careful supervision of Soma, Lewis has provided a definitive peak in his sound cultivated on the back of years of studio work. A collection of deep, dark and twisted techno awaits.

A definite maturity in production shines through on this fantastic LP from Fautzi as he creates a cold and calculating output, clearly focused on the future. The Gare Album has allowed Fautzi to express himself fully through electronic music, a task that he has taken to whole-heartedly.
The Gare Album will be released on limited double LP.

VINYL COLOUR IS SNOW WHITE! As a founding member of Bauhaus, David J helped spearhead the post-punk scene of the early ‘80’s with a string of innovative work, including Bauhaus’ defining moment, a bona fide classic and feasibly the pinnacle of the entire goth scene: the nine minute plus epic slab of industrial dub “Bela Lugosi’s Dead,” featuring David’s lyrics and bass guitar work. Bauhaus propelled to the upper echelons of the UK charts before reaching their zenith in the summer of ’83 and imploding – shattering into fragments of individual talent. This implosion gave rise to David's wide-ranging solo career. The first of Bauhaus’ members to actively release music outside of the band, David went on to put out solo work and collaborations with various authors, poets and infamous indies such as 4AD. In 1985, David regrouped with two former Bauhaus members to form the hugely successful Love and Rockets. Since then, David has continued to produce his trademark brand of deeply heartfelt and darkly sophisticated music. Highlights of What The Patrons Heard include a timely rendition of Neil Young’s “Vampire Blues” delivered with penetrating intensity; “Gimme Some Truth,” which brings new urgency and potency to the John Lennon classic; and “Lay Over And Lay,” which delivers folk-punk that only musicians from the British Isles can get right.

Glasgow's First Lady of Jazz Carol Kidd, whose string of successful Linn recordings in the 1980's have made her a staple of international audiophile artists, returns with an all-new collection of delectable jazz and pop standards delivered in her inimitably smooth and heartfelt style.

Kidd has always been an artist celebrated for her cool, controlled phrasing and easy-going balladry, and her lovely new recording, BOTH SIDES NOW, is replete with her trademark inflection and warmth spread over classic songs by everyone from Rodgers & Hammerstein, Billy Joel, Joni Mitchell, and Richard Thompson. A songwriter of note, Kidd herself contributes two new tracks co-authored with Chris Anthony.

Impex's exclusive 180-gram 33 rpm LP, mastered by the superlative Kevin Gray at Cohearent Audio, features brilliantly detailed mid-tones, effortlessly stable bottom end, and crisp overtones. RTI's peerless pressing brings it all together for your listening pleasure.

Carol Kidd is an international award winning singer. She has been named 'Best Vocalist' at the British Jazz Awards on four occasions and was appointed MBE for Services to Jazz. In 2006, Carol was a winner of the prestigious Nordoff-Robbins Tartan Clef Music Award and in 2017 she received a Lifetime Achievement Award at the Scottish Jazz Awards. Renowned for her impeccable phrasing and delivery along with an unforgettable ability to breathe fresh life into any jazz standard, Carol has cut a distinctive path through the Great American Songbook throughout her career with orchestral and trio backing, as well as performing as a unique and intimate duo with guitarist Nigel Clark.

A long line of admirers has included Tony Bennett, Vic Damone and Frank Sinatra, who invited her to open for him at a stadium concert where he remarked that, "Carol Kidd is the best kept secret of British jazz." After a sensational performance at the Tribute to Johnny Mercer show at the Royal Concert Hall in Glasgow, Sir Michael Parkinson observed from the stage that "If there is a better jazz singer out there I have yet to hear them!" Luminaries who have performed alongside Carol as her guests include George Shearing, Georgie Fame, Annie Ross, Benny Carter, Joe Temperley, Bobby Watson and Martin Taylor.

Following a battle with cancer, Carol returned to the stage triumphant in the summer of 2013 to give a powerful, emotional performance at the Glasgow Jazz Festival. In the wake of this homecoming, it is impossible to deny that Kidd is one of the most remarkable artists and performers of our time.

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Classic Black Vinyl, DL card. Jane Weavers experimental ensemble in collaboration with Peter Philipson and Raz Ullah, Fenella returns with a hallucinogenic excursion into ambient textures and hypnagogic drones on new album 'The Metallic Index'. Taking further steps into their combined compositional universe with this follow-up to 2019's acclaimed Fehérlófia album. Loosely based on a genuine story accounting the short-lived abilities of a young psychic nurse in 1920's London, Fenella's niche muse justifies this celebratory return to vinyl but not once does it fall into the supposed tropes of staid hauntological-plunderphonics which repeatedly come to muddy our thirsty streams. Fenella make spirited melodic progressive pop music that pulsates with the same magnetism that fans of Jane Weaver's own The Silver Globe and Modern Kosmology have come to expect and hold closely. Handcrafted using a generous archive of some of the best vintage equipment in the country (partly recorded at Soundgas studios in Darkest Derbyshire) the sound structures you hear at the heart of this album form the basis for Fenella's best work yet, while the individual spectral vocalisations and ethereal electronics that circle the room capture this trio's return, as peripheral visions, in full-phantasmic bloom. "A sonic exaltation and refinement of craft, going further into the realms of atmospheric abstract cosmology blissfully morphed with the mythopoetic" The Quietus

The trashed hotel room and communal living depicted on the cover of the J. Geils Band's sophomore album tell you all you need know about the music, spirit, and energy spilling from within The Morning After. Shot through with raw, lean rock n' roll sparked by juke-joint blues and loose rhythms, the 1971 set comes on like the most fun, party-still-raging hangover any group in the 70s enjoyed. And now it rolls with an abandon that takes you inside the sweaty, smoky roadhouses and wall-to-wall-packed clubs the group dominated in its heyday.

Mastered from the original master tapes, pressed at RTI, and limited to 3,000 numbered copies, Mobile Fidelity's 180g vinyl LP achieves a sonic acumen that brings you face-to-face with the sextet's white-hot instrumental prowess and magnetic personalities. It's always been difficult to single out just one member of the band given the cohesive bluster the ensemble achieves as a whole, but this collectible audiophile edition allows you to do just that if you so choose, by way of superb imaging and separation. As for the band's trademark dynamics? Here, they feel like they're on the verge of exploding.

So go ahead. Twist the volume knob to the right as much as you want. You'll lose none of the focus, detail, placement, or presence no matter how high the decibels climb. The Morning After spills forth with previously unheard tonalities, ranging from the distinctive swells of Seth Justman's slow-burn organ to the live-wire spark of Geils' own downed-power-line-jumpy guitar work to the mooring hi-hat/cymbal/snare combinations of arrangement-steadying drummer Steven Bladd. Friends, this is raw rhythm n' blues, this is how it should feel, and, man, this is how it should sound.

Not for nothing did the Massachusetts-based collective name the album The Morning After. The music within doesn't abide by rules, ignores speed limits, flips the bird at curfews, and digs deep down into America's blues roots to yield organic material at once fresh, exciting, traditional, and original. The back-porch punch provided by the combination of "Magic Dick" Salwitz's searing, melodic, snake-like harmonica and vocalist Peter Wolf's animated, barely controlled deliveries is alone enough to make anyone with a faint pulse to stomp their feet, climb atop a kitchen table, and kick their boot heels until the neighbors call the cops.

Just witness the deceptive smoothness of the snake-like "So Sharp" or Maxwell Street zest of the aptly titled Magic Dick showcase "Whammer Jammer," which will leave you gasping for breath before it even ends. J. Geils Band also knew its way around deep-cut soul. The ensemble's Top 40, howling, adrenaline-to-the-heart rendition of the Valentinos' "Looking for a Love" and swirling, romantic take on Don Covay's "The Usual Place" seamlessly balance drive and emotion. Coupled with rafter-shaking originals such as "Floyd's Hotel" and the riff-propelled "I Don't Need You No More," sent up with typical Wolf vocal flair, and the record parks the band's all-night festivities and go-for-broke attitudes right on your front lawn.

One last word of warning to the uninitiated: The Morning After is not the slick-pop J. Geils Band of "Centerfold." And that is a very good thing.

In an age where most contemporary bluesmen strive to mimic the past and pattern their music after the greats, Keb' Mo' is content to be himself. Original, charismatic, and immensely gifted, the guitarist/vocalist (born Kevin Moore) brings country blues in the late 20th century on his stunning self-titled Epic debut, which quickly climbed the charts and turned the former backing instrumentalist into a household name. Replete with gritty textures, close-up vocals, and resplendent acoustics, Mobile Fidelity's scintillating version of this 1994 set finally possesses the fidelity that brings Mo's Delta strains out of the backwoods and onto a lively back porch.

Half-speed mastered from the original tapes, this numbered edition 180g LP represents the very first time that Mo's watershed album has been given a much-needed sonic facelift. Gone are the hazes that obscured his singing, artificial ceilings that blunted the highs, and digital fog that interfered with the multitude of illuminating tones, details, and notes. What's revealed is startling intimacy and soothing emotion, Mo's gorgeous vocal timbres and inflections given equal space with his guitar, harmonica, and pace. Finally, a great-sounding contemporary blues record that doesn't resort to derivative recycling and bland revivalism.

The son of Southern parents, Mo' channels his heritage via a batch of superb folksy songs that relax, refresh, and regale. While he's since traveled in a more commercialized pop-oriented direction, Mo's initial salvo is nothing but raw, pure blues played with unbridled passion, tremendous conviction, and what is best deemed the essence of heart and soul. Keb' Mo' engages with a compelling mix of tradition and modernity, the headliner refraining from any attempt at assuming an artificial personality and instead basing his reputation on quality songs. As such, Mo's material resonates with deep, mellow vibes and extraordinary National steel guitar work, which complements his fluid, acoustic finger-picking and soulful strumming.

Mo' occasionally teams with an ensemble. But this record is mostly all about the basics: guitar, voice, and harmonica. Tunes such as "Victims of Comfort" and "Angelina" testify on behalf of his phenomenal country-blues songwriting; his covers of Robert Johnson's "Come On In My Kitchen" and "Kindhearted Woman Blues" speak to his reverence for the past. Shuffles, ballads, dance songs – Mo nails them all.

Keb' Mo' remains one of the finest blues albums made in the post-Stevie Ray Vaughan era. Don't miss this American gem that so many have since tried to copy.

Celebrate the technical expertise of the world's finest LP pressing plant — Quality Record Pressings — with the finest LP sampler ever assembled!

The Wonderful Sounds Of Quality Record Pressings includes music hand-picked by Acoustic Sounds CEO Chad Kassem and classical music tracks chosen by the team at Reference Recordings.

Every song meets the criteria of excellent performance, perfect recording and flawless mastering. What better way to celebrate such a monumental anniversary for one of the absolute leading brands in analog high fidelity than with this to-die-for LP sampler? Contains most genres of music — blues, jazz, classical, R&B and female vocal. From now on, you'll only need to carry one demo record around with you.

Vinyl expert Michael Fremer, of Analogue Planet and Stereophile, gives you a track-by-track tour of the history and production of the songs on this special album.

What separates our world-renowned Quality Record Pressings LPs from other manufacturers? Since Acoustic Sounds CEO Chad Kassem launched QRP in 2011, the focus has been on producing consistently virtually silent vinyl playing surfaces, as well as reproducing details that were hallmarks of vintage labels — the "deep groove" label of Blue Note LPs, for example.

The craft of pressing fine vinyl is perfected in such details. Such as plating lacquers within 24 hours of their arrival at the plant. Cut grooves are prone to change with temperature fluxuations, high humidity and time. The sooner that lacquers are plated, the better the fidelity of the final pressing. Other keys include using a proprietary silver spray formulation, made fresh daily. And incorporating computer microprocessors on our presses to precisely control press functions with absolute precision. And an imbedded temperature sensor in the dye cycles the press with just as much control. The result — more consistency in each LP, high fidelity and reduced distortion. The ultimate sonic advantage.

With its name indicative of the music's boundary-testing diversity and Southwestern inspiration, On the Border finds the Eagles leaving everything on the table and embracing a harder edge that takes the band out of more relaxed territory and establishes it as a group that knows how – and wants – to rock. Glenn Frey, Don Henley, new member Don Felder, and company immediately announce their intent on the defiant album-opening hit "Already Gone" and never look back, crafting a gem of a record that from start to finish is arguably their most consistent and balanced effort.

Limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's significance and enhances the experience for generations to come. Playing with reference sonics that elevate an effort revered by audiophiles, it provides a lively, dynamic, transparent, and intimate view of a release whose contemporary importance continues to grow. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and gorgeous presentation of the UD1S On the Border pressing befit its select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic Navajo cover painting to the meticulous finishes.

And with On the Border, there's plenty to take in and soak up. Declared by famed critic Robert Christgau as "the Eagles' best album," the 1974 set claims a rich backstory. Initially recorded amid tumultuous sessions with producer Glyn Johns in London shortly after the release of the group's sophomore Desperado set, On the Border took a new turn after the band elected to scrap most of the prior work, return to its native California, and team with producer Bill Szymczyk to give the material less of a smooth, polished sheen and more toughness. Szymczyk also afforded the Eagles more input and freedom in the arrangements, and suggested adding another guitarist to play on "Good Day in Hell." Felder got the call, and so won over the Eagles with his skills, he quickly became the fifth member of the band.

While the late-arriving Felder only plays on one other album cut, "Already Gone," his mates more than prove their muster on the remainder of a double-platinum affair that established the Eagles as a force whose range transcended the calmer country-leaning style it perfected on their first two LPs. Primarily written by Jackson Browne and shelved during the Desperado sessions due to its higher-energy nature, the throttle-twisting "James Dean" ricochets with barbed riffs and rebellious swagger. Listen without limits to how Szymczyk's raw production stamps the song with a leather-and-jeans cool befitting its protagonist. Similarly rugged, the slide-guitar-fueled "Good Day in Hell" boasts its own mean streak. And the funk-laced, boot-stomping title track cautions "don't you tell me 'bout your law and order." Throughout On the Border, the Eagles are in no mood to mess around.

Not that the band skirts sentimental territory. On one of the era's finest covers, the Eagles nail the bittersweet feelings and bring high-definition detail to the vivid scenery of Tom Waits' "Ol' '55," a song the group makes its own. The rustic ballad "My Man" serves as a tribute to the recently deceased Gram Parsons, with singer-guitarist Bernie Leadon taking the lead on the microphone as he pours his heart out to his former Flying Burrito Brothers mate. And when it comes to romance, is it possible to top "Best of My Love"? Graced with Henley's honey-dipped vocals, refined wordless group harmonies, brushed drums, and the gentle strum of acoustic guitars, the Johns-produced cut soared to Number One and set the stage for what would soon be the Eagles' reality: global dominance.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master recording. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

The instrumentals Hip Hop label CDR-SI has the honor of advertise the new double LP of the successful collections of Hip Hop instrumentals. Now is the turn of the CLAN!!! Here you have the Vol.2 containing the most importants tracks of the legendary Hip Hop band WU - TANG CLAN, the most importants cuts and tracks of its trayectory in instrumental version in a double lp format. This is a esential and powerful weapon for all the Hip Hop creators and DJ's.

This time it’s a double vinyl with early hardcore tracks

Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines. Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno. Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Jalea is the affectionate term used by seafood-craving Peruvians for one of the country's signature dishes. In this jalea the menu consists of four original tracks highlighting the artist's career on one side, and four selected remixes by iconic producers from Mexico, Argentina, and Peru. Tribi arrived on the scene as digital cumbia was busy spreading its wings from Buenos Aires, soon to take over Latin America (and later the world), with Lima the next city to catch the bug. Ernesto had been DJ'ing in clubs since the mid-90s, and experimenting with Peruvian cumbia since the mid-00s, but the birth of his alias Tribilin Sound allowed him to go wholesale into his beloved chicha, reinterpreting grooves by classic Peruvian groups like La Pintura Roja, Los Titanes and Chacalón y la Nueva Crema, as well as proving to be a dab hand at a mash-up. Soon, he found himself at the heart of a like-minded community, releasing a debut self-titled album with Peruvian label, Terror Negro, and following it up with Aquí Siempre Bailamos (2014) for pan-Latin collective Sello Regional. Coming from a club background, rhythm has always been central to Ernesto's approach, his adopting of Peruvian styles never deviating from the necessity to get bodies moving, and the remixers here seem to take delight in stretching out his rhythms. Mexico's Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines; another Mexican, Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian thunder-duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno..