Mobile Fidelity::MFSL Super Record Wash-32oz

$59.95

This is a flat-out killer and a must-own. Ray Charles is in top form on this famous version that was supposed to have Gladys Knight singing the part of Bess. Gladys, having just had the hit "Midnight Train To Georgia," was not available for the part after her management insisted to Ray that she own the master tapes. If you know much about Ray Charles' story, you know that he always owned his own masters. So, Ray's next choice was Cleo Laine, who did a beautiful job of singing the part.

This two-LP set was mastered from the original analog tapes.

"I have to tell you man. In listening to sound, I guess what I'm after is the closest thing that I can get to reality. Now, I know it's not going to be reality, cause the thing gotta go through wires and gotta go through filters and this and that. I understand all that. But what I really like is to get as close to the natural sound of the instruments as possible. That's why I like analog as opposed to digital. Because I don't give a shit what anybody tells you man, I know what you guys are going to tell me...'Oh yeah, but it's clean Ray!' Well it's clean but it don't got no balls!!!" - 1999 interview with Ray Charles by Michael Hobson of Classic Records
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$38.59

50th Annual Grammy Awards
Best Engineered Album, Non-Classical
Beauty & Crime
Tchad Blake, Cameron Craig, Emery Dobyns & Jimmy Hogarth, engineers (Suzanne Vega)

Beauty and Crime is possibly Suzanne Vega's best effort since her debut album and likely even better than the highly acclaimed Solitude Standing. Mixed by Tchad Blake and recorded at both Sear Sound in New York and Olympic Studios in London, the sound of this record is full of depth and nuance that every audiophile and music lover will love. Mastered and cut on Classic Records' "All Tube" cutting system by Bernie Grundman, this LP release is a must-have and not to be missed.
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$49.95

Numbered Limited-Edition 180-gram 2-LP Set Sourced from Original Master Tapes

Beck’s Sea Change remains the best record of the indie icon’s career. And how. The sonic chameleon shocked the world in 2002 with this warm-sounding folk-pop album a sincere, honest, and mature meditation on the end of a nine-year relationship with his girlfriend. As for the vocalist’s trademark irony, sarcasm, and humor? Not here. In their place is an affecting emotionalism to which anyone who’s ever been in (or out) of love will relate. The music is equally personal and meditative. Gorgeous string arrangements come courtesy of his father, David Campbell, and illustrate the heartbreak that informs the beautiful melodies and tranquil moods.

Best of all, this album is anything but a bummer. Intending to be heard to from start to finish, Beck begins the record with songs conveying emptiness and loss, and gradually moves on to narratives that detail what changes are necessary to regain a sense of identity, purpose, and feeling. By the time he reaches the concluding Little One, the healing has begun. Consider this Beck’s mellowest gold a feat confirmed by its selection as the #2 record of 2002 on Village Voice’s all-encompassing Pazz & Jop poll.
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