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ourced from the Original Master Tapes and Pressed at RTI: Limited to 4,000 Numbered Copies, Mobile Fidelity 180g SuperVinyl LP Presents 1985 Blockbuster in Audiophile Sound

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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.

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80-gram 45 RPM 2LP Ultradisc One-Step Pressing

Pressed at RTI on Mofi Supervinyl

Limited to 10,000 numbered copies!

Demonstrating a deep-seated flair for soul and R&B, Paul Simon recruited gospel backup singers and traveled to the Muscle Shoals Sound Studios to further refine the vibrant sounds he desired for There Goes Rhymin' Simon. Clearly, his instincts proved correct. Many rightly consider the iconic singer-songwriter's third album a masterpiece — one that, per critic Robert Christgau, "suggests a new grace and flexibility for the mass-pop mode, and invests small subjects and emotions with an almost luminous wit and awareness."

Limited to 10,000 numbered copies, pressed on MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180-gram 45RPM 2LP collector's edition makes for an extraordinary listening experience. It strips away any remaining barriers to provide a clear, super-dynamic view of a record nominated for two Grammy Awards and that climbed to the No. 2 position on the Billboard charts. The expanse and depth of the soundstage, fullness of detail, varied textures of the percussion, and natural rise and decay of individual notes reach demonstration-grade levels.

Visually, the lavish packaging and gorgeous presentation of the UD1S There Goes Rhymin' Simon 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. Aurally and visually, this UD1S reissue exists as a curatorial artifact 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 images to the finishes.

The newly revealed transparency, presence, balance, immediacy, and dark-black backgrounds provided by Mobile Fidelity's UD1S set showcase the scope and craft of Simon's alluring melodies — not to mention the vocal performances that, arguably, remain the album's standout element. Simon's singing hits peaks on There Goes Rhymin' Simon that equal or best those on any of his other works, Simon and Garfunkel included. Assured, natural, and supple, his baritone resonates with a realism and extension that immerse you in the song. At certain times, he lets loose; during others, he becomes a gentle balladeer on par with a prized jazz chanteur. Such versatility alone remains staggering, but he also receives support on two tracks by the legendary Dixie Hummingbirds. The pairing is nothing short of magical.

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180-gram 45 RPM double LP

Ranked No. 40 on Rolling Stone's 500 Greatest Albums list

Love anticipates late 1960s turbulence with prophetic songs, dark themes

Any discussion about the finest psychedelic rock record ever recorded is incomplete if it doesn't grant consideration to Love's Forever Changes. Ranked by Rolling Stone as the 40th greatest album ever made, and named by Mojo the second-greatest psychedelic set in history, the effort is an internationally recognized seminal work of art.

Nearly unlimited headroom, vast instrumental separation, transparent clarity, artifact-free atmospherics, and faithful balances appear out of jet-black backgrounds. The music appears to float on clouds, with the woody tones emanated by the acoustic guitars and brassy signatures of horns emerging with lifelike detail. Turn it up as loud as you want; the sole limitation will be your system's potential.

Commercially ignored upon release in November 1967, Forever Changes confronts the alienation, paranoia, violence, and strife that would soon plague the countercultural movement and send the Summer of Love into a tailspin. Apart from its lyrical themes and prescient malaise, the record's enduring nature equally owes to intertwined arrangements sewn together with Latin guitar-picked lines, finessed folk harmonies, mariachi-inspired horn charts, and subdued strings.

Much of the contrast owes to leader Arthur Lee's mental state and pertinent observations. Lee, whose suppressed romanticism often surfaces even amidst the blackest shadows and most cynical moments, believed he would soon die, and hence channeled everything from lasting hopes to acid-addled decay to the chilling testimony of a Vietnam veteran in his narratives.

Alternatively sad and beautiful, the album-opening and flamenco-inspired "Alone Again Or" establishes the mood for what follows. Vocals overlap and soar; tempos rise and fall; surrealism trades places with reality. Forever Changes thrives both because of and in spite of a surfeit of labyrinthine chords and difficult notes that never repeat. No wonder that, in the twilight of his troubled career, Lee performed the record in its entirely during concerts met with overwhelming critical acclaim.

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Numbered, limited edition 180-gram 45 RPM LP

Final effort with Davis' classic second quintet, Davis looking to the past and the future

Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort.

The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on "Paraphernalia," blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.

Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro–the albums that precede and follow, respectively, this watershed title. Commonly branded a "transitional" work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging "Stuff" and frisky "Paraphernalia" glancing toward the future while keeping solid footing in the past.

Similarly, so do "Country Boy" and "Black Comedy." In his original review for jazz authority DownBeat, Larry Kart observes: "Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on ‘Country Boy' recalls a fragment from his "Summertime" solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on ‘Black Comedy,' his most straightahead solo here, the orderly pattern of the past is displaced and fragmented."

Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.

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Mastered from the original master tapes and limited to 10,000 numbered copies

Eric Clapton’s Unplugged is far more than an album. It remains a majestic picture of a moment in time; an unvarnished glimpse into the soul of one of music’s most legendary artists; a visionary journey into the inspirations that helped shape Clapton’s character; a re-exploration and re-evaluation of deep-seated roots; a continuation of critical blues heritage; a building block on which a sub genre sprouted; a launching pad for both a later-career resurgence and discovery. A perennial audiophile favorite and the best-selling concert release of all time, Unplugged now takes on an irresistible luster that veritably gives you a front-row seat at Bray Film Studios.

Strictly limited to 10,000 numbered copies, pressed on MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity’s ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector’s edition enhances the blockbuster work for today – and the ages to come. Surpassing the sonics of any prior version, it peels away any remaining limitations to provide a transparent, lively, ultra-nuanced presentation of a record that won six Grammy Awards – including prizes for Album of the Year, Best Male Rock Vocal Performance, and Best Rock Song. The expanse and depth of the soundstage, fullness of tones, natural snap and extension of the guitar strings, realistic rise and decay of individual notes, and roll of Clapton’s vocals all attain demonstration-grade levels.

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Whitney did more than turn Whitney Houston into a pioneering sensation known around the world by her first name. Originally released in June 1987, the singer's blockbuster sophomore record became the first album by a female artist to debut at No. 1 on the Billboard 200 chart — a position it claimed for a total of 11 weeks en route to selling more than 10 million copies in the U.S. The Diamond platinum effort also contains four No. 1 Hot 100 hits that, when combined with the three chart toppers from her 1985 debut, gave her seven consecutive No. 1 singles — an accomplishment that no other artist has accomplished. Commercially and creatively, Whitney stands on hallowed ground — especially now that the record plays with a sound that puts into perspective just how extraordinary, engaging, and vital Houston's music remains.

Mastered from the original master tapes and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's 180-gram 33 1/3 RPM SuperVinyl LP of Whitney invites listeners to experience the Rock & Roll Hall of Fame inductee's pivotal album in audiophile quality for the very first time. Free of the dynamic limitations and tonal flatness prevalent on prior vinyl and CD pressings, it lets the music breathe and reveals the copious detail, nuance, and texture within the immaculately produced songs. MoFi's SuperVinyl profile offers further advantages in the forms of a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition.

In addition to featuring extreme clarity and immediacy, this numbered-edition reissue does wonders for the attribute that inspired more than 20 million people around the globe to add Whitney to their record collections: that inimitable voice. Houston's trademark mezzo-soprano — an acrobatic instrument equally capable of taking off on fantastic flights and unwinding for hushed meditations — benefits from the fantastic airiness and transparency afforded by this meticulously restored edition. Whitney has never sounded or looked better. The crossover landmark deserves nothing less.

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Miles Davis' In A Silent Way on numbered limited edition 180-gram vinyl

Mastered from the original master tapes

Miles Davis' famous mid-1960s quintet, featuring saxophonist Wayne Shorter and pianist Herbie Hancock, was intact until just a few weeks before his new, electric ensemble recorded In a Silent Way. Legendary as a line-in-the-sand release that challenged jazz fans during the ascendance of electrified psychedelic rock, In a Silent Way hints at the repetitive polyrhythms Davis would employ throughout the early 1970s. It also partook of electric piano and bass, and rekindled the tonal palette that Davis explored famously with Kind of Blue.

But In a Silent Way remains a clearly electric jazz record, part ambient color exploration, part rock-inflected energy and vibe, and part outright maverick creativity. Davis takes many long, breathy solos that glisten in a burnished blue against his new group's intoxicating mixture of musical moods. Davis replaces the rhythms and harmonies of bebop with a hypnotic, subliminal dance pulse and an airy, celestial drone of electric keyboards. It is one of the most daringly beautiful and enduring creations of his career.

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Numbered, limited edition 180-gram LP

Audiophile reference sonics, lean, stripped-down open sound

Startling immediacy and realism!

"I compared this reissue to the 1A original and both have their good qualities but the Mobile Fidelity reissue is more dynamic, has far deeper and more articulate bass and blacker backgrounds. It's somewhat brighter and more open on top too, which will either be good or not depending upon your system. Was great on mine! Another great Mobile Fidelity Miles Davis reissue. There's not a bad one in the group (so far), many of which are better than the originals." — Music = 9/11; Sound = 9/11 — Michael Fremer, AnalogPlanet.com. Read the whole review here.

A bold claim to be sure, but Miles Davis' A Tribute to Jack Johnson is the best jazz-record ever made.

Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard" as well as his adoration of Johnson, Davis created a hard-hitting set that spills over with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio. Mobile Fidelity's sterling reissue brings it all to fore with unsurpassed realism.

Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson to finally cross the divide between rock and jazz. Davis explodes in white-hot trumpet solos like never before. Bristling with exuberance, his high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimensional bass lines emerge amidst an ink-black background.

Producer and journalist Michael Cuscuna may have summed up the record's significance in 2003: "The dense textures introduced and developed the prior fall on the Bitches Brew recording sessions gave way to a lean, stripped-down, guitar-heavy sound. There was now only one drummer, and that kept the groove more pronounced and defined. The three-keyboard configuration appears only on the last session; the rest have none, one, or two, and they are used sparingly."

By any measure, A Tribute to Jack Johnson is a monster album. Experience it the way Davis would've wanted you to hear it.

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	1. Batuka
	2. No One to Depend On
	3. Taboo
	4. Toussaint L'Overture
	5. Everybody's Everything
	6. Guajira
	7. Jungle Strut
	8. Everything's Coming Our Way
	9. Para los Rumberos

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	1. Eldorado Overture
	2. Can't Get It Out of My Head
	3. Boy Blue
	4. Laredo Tornado
	5. Poor Boy (The Greenwood)
	6. Mister Kingdom
	7. Nobody's Child
	8. Illusions in G Major
	9. Eldorado
	10. Eldorado Finale

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Grateful Dead's American Beauty on numbered limited edition double LP

180-gram 45 RPM LPs pressed at RTI

1/4" / 15 IPS analog master direct to lathe

Indelible harmonies, spare playing, and gorgeous textures surround masterfully crafted songs

American Beauty is the most perfectly realized, superbly played, and openly natural folk-rock record ever released. They don't make albums like this anymore, but thankfully, Mobile Fidelity's extraordinary LP reissue allows you to experience this 1970 masterpiece with unrivaled intimacy, realism, detail, and perspective.

Made just months after its companion release, Workingman's Dead, the San Francisco legends' second 1970 masterpiece furthers the former work's close-knit relationship between country and folk while adding extra rock and bluegrass currents.

Understated amplified passages, graceful melodies, layered singing, and old-time string flavors — including mandolin work from masterful guest David Grisman — bestow the material with easygoing, comfortable vibes. Again taking advantage of the best songwriting of Robert Hunter's career, the Dead turns in its most collective studio performance, with every individual contributing equally and focusing on nothing but the songs at hand.

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Perfectionism, Innovation, and Reference-Setting Production Make the Alan Parsons Project's Conceptual I Robot a Timeless Classic: Sci-Fi Prog-Rock Landmark Steeped In Drama

Mastered from the Original Master Tapes, Strictly Limited to 10,000 Numbered Copies, and Housed in an Elegant Slipcase: Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP Elevates the Audiophile Standard While Offering One-Flip Convenience

Experience Immaculate Highs and Lows, Supreme Spaciousness, See-Through Transparency, and 3D Imaging: Dead-Quiet MoFi SuperVinyl LP Features Nearly Inaudible Noise Floor

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MASTERED FROM THE ORIGINAL ANALOG MASTER TAPES FOR SUPERIOR SOUND AND LIMITED TO 40,000 NUMBERED COPIES

Source: 1/2" / 30 IPS analog master to DSD 256 to analog console to lathe

Putting into perspective the incalculable impact and pioneering significance of the best-selling album of all time – Michael Jackson's Thriller – has never been easy. Though Thriller lays claim to mind-boggling statistics that serve as reminders of how pervasive and indispensable it remains to music snobs and casual listeners alike, its essence always traces back to the greatness, power, and scope of the music. Now, as it celebrates its 40th anniversary, the record that reimagined pop; united audiences; made strides towards achieving racial equality; established the video as an artistic and commercial format; and taught the world how to dance sounds even more invigorating than it did during the advent of the Walkman.

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MASTERED FROM THE ORIGINAL MASTER TAPES: 180G 45RPM 2LP SET PRESENTS MUSIC'S HALLMARK SMOOTHNESS, LUSHNESS, AND DETAIL IN REFERENCE SOUND

The opening track to the Alan Parsons Project's Eye in the Sky remains the most recognized instrumental in sports – fanfare inseparably tied with introducing NBA legend Michael Jordan and his six-time world-champion Chicago Bulls mates before games, and still used by many teams as an energy-raising prelude. Indeed, the subdued grandiosity, cosmic bluster, and lights-out wonder of "Sirius" also sets the table for the band's smash 1982 album, whose hallmark smoothness, lushness, and balance reach epic heights on Mobile Fidelity's analog reissue.

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MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED AT RTI FOR DEFINITIVE SOUND

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. No wonder the BAFTA Award-nominated work has long eclipsed the Bill Forsyth film in stature, merit, and popularity – and emerged as the basis of a stage musical that debuted in Scotland in 2019.

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Muddy Waters' Folk Singer remains rightly revered as the greatest-sounding blues album ever released—and, to date, one of the only bonafide audiophile records in the genre. Originally issued in 1964 by Chess Records, the all-acoustic work has made the rounds as a demonstration disc and benefitted from myriad reissues, all of which sought to improve upon Willie Dixon and Ralph Bass' legendary, subtlety-abundant production while bringing the musicians into your room. More than five decades after Waters, Buddy Guy, and company initially gathered in a Chicago studio in September 1963, those feats (and more) are finally accomplished in definitive, unsurpassed fashion courtesy of Mobile Fidelity.

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A VOCAL PERFORMANCE FOR THE AGES, SPINNING MAJESTIC WEBS OF MELLOW ATMOSPHERE WOVEN WITH RHYTHMIC TEXTURES AND LOW-KEY MOVEMENTS

The 10,000 Maniacs were at their peak when scintillating singer Natalie Merchant announced that she was leaving the band to pursue a solo career. On her gorgeously detailed folk-pop debut Tigerlily, Merchant turns in a vocal performance for the ages, spinning majestic webs of mellow atmosphere woven with rhythmic textures and low-key movements. This 1995 set is a mood masterpiece.

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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. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic fashion.

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MASTERED FROM THE ORIGINAL MASTER TAPES: 2LP SET PRESENTS 1972 ALBUM WITH FULL-RANGE DYNAMICS, LIFELIKE SEPARATION, AND ASTUTE CLARITY

"I sang my balls off for you baby." Harry Nilsson's bold proclamation on the opening track to Son of Schmilsson immediately makes it evident the singer had no intention to repeat the approach of his commercial breakout, the preceding Nilsson Schmilsson – and harbored no desire to hold back on any front or advance any traditional notion of a career. The madcap album goes all out, delivering a wild ride infused with horror-movie effects, crass jokes, then-shocking profanity, snoring, and even a belch – strangeness that belies the fact it went gold and landed a Top 40 single in the form of "Spaceman." Hindsight further shows the gonzo work endures as a stroke of defiant genius, ego-grounding facetiousness, and raucous fun – all the way down to the iconic artwork depicting Nilsson as a vampire.

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The core lineup – Jeff Beck, Rod Stewart, Mickey Waller, Ron Wood – responsible for the groundbreaking performances Truth alone qualifies as a watershed accomplishment. That the 1968 landmark predated and impacted Led Zeppelin's debut; involved members of Zeppelin, the Faces, and the Who; continues to be cited by many experts as the blueprint for hard rock; and unspools with indescribable guitar wizardry and primal energy put it into rarefied territory. Among the most influential sets ever released, Beck's solo debut has never spoken with more truth than on this exceptional analog reissue.

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THE CONSUMMATE VERSION OF TAPESTRY: DELUXE AUDIOPHILE PRESSING LIMITED TO 10,000 NUMBERED COPIES (LIMIT 2 PER HOUSEHOLD)

Carole King's Tapestry is the rare record that plays in your head the moment its title, cover art, or songs are mentioned. Ranked the 25th Greatest Album of All Time by Rolling Stone, it is the singer-songwriter LP you'd bring to the proverbial desert island if you were limited to one choice. Renowned for its lifelike production, Tapestry sounds clearer, richer, and more emotional than ever courtesy of Mobile Fidelity's UltraDisc One-Step reissue.

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MASTERED FROM THE ORIGINAL MASTER TAPES AND LIMITED TO 3,000 NUMBERED COPIES

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. Neither will experiencing Miles Smiles once you hear this definitive-sounding hybrid SACD reissue.

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As the 80s drew to a close it was difficult to escape the conclusion that Bob Dylan‘s muse had been largely AWOL since 1976’s Desire. Since that album’s release there had certainly been allusions to greatness but it was usually by way of songs that Dylan chose to omit from shoddy albums. As a result, despite Dyaln’s iconic stars, few held any real hope of a creative renaissance. There were still hints of promise though. After all, Dylan had contributed two not-bad-at-all tracks toTravelling Wilburys, Vol. 1 and the quality of his live shows had started to pick up. A little.

With 1989’s Oh Mercy Bob Dylan officially released some of his best work of the decade. Sure, not many would hold it up as utterly vital when compared to his mid-60s work or Blood on the Tracks, but Oh Mercy served notice that the man many considered to be the finest songwriter of his generation hadn’t completely lost his creative marbles. “Everything Is Broken”, “What Good Am I?” and “Shooting Star” are certainly considerably more solid than anything else he had produced in the last decade, but “Man In The Long Black Coat”, and the stunning “Most Of The Time” show that Dylan could still match his creative peaks when he stayed focused enough.

Admittedly much of the success of Oh Mercy was down to Daniel Lanios’ quite brilliant production job, which gave Oh Mercy its special ambiance which managed to convert a fair-to-middling song like “Disease Of Conceit” from merely passable to reasonably interesting. Oh Mercy is easily one of the best sounding Bob Dylan albums, and one of the only times that he has employed a big name producer and it has actually benefitted the music.

While Oh Mercy is not an out and out classic, it was Bob Dylan’s best full album in well over a decade and as the next few years would bring the awful Under the Red Sky and his two frankly useless covers albums of traditional folk and blues material, it would be almost another full decade before he released anything else even half-decent.

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	Side 1
	Waiting
	Evil Ways
	Side 2
	Shades Of Time
	Savor
	Jingo
	Side 3
	Persuasion
	Treat
	Side 4
	You Just Don't Care
	Soul Sacrifice

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	1. Move Over
	2. Cry Baby
	3. A Woman Left Lonely
	4. Half Moon
	5. Buried Alive In the Blues
	6. My Baby
	7. Me and Bobby McGee
	8. Mercedes Benz
	9. Trust Me
	10. Get It While You Can

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	Side 1
	Move Over
	Cry Baby
	Side 2
	A Woman Left Lonely
	Half Moon
	Buried Alive In the Blues
	Side 3
	My Baby
	Me and Bobby McGee
	Side 4
	Mercedes Benz
	Trust Me
	Get It While You Can

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#97 on Rolling Stone's 500 Greatest Albums of All Time: 1963 Set Transformed Songwriting, Folk, and Pop

Originally experienced by everyone in direct, attention-getting mono sound, The Freewheelin' Bob Dylan is the album the ignited sea changes in pop culture, music, songwriting, poetry, and the social consciousness. It's the creation of a 22-year-old visionary still years away from casting a jaundiced eye to the media. It's the sound of change, the feeling of ground shifting beneath one's feet, and the entrance of an entirely new way of thinking. It's the effective beginning of what's arguably the boldest career in music history, the yawning vortex into the complex mind, supernatural wordplay, and folk techniques of a vocalist/guitarist whose name is forever associated with transformation.

We are humbled to have the privilege of mastering the iconic LP from the original master tapes, presenting it in its original take-notice mono sound, and pressing it on 45RPM LPs at RTI. Strictly limited to 3,000 copies, the end result is the finest, most transparent mono analog edition of The Freewheelin' Bob Dylan ever produced. Never before has the resonance of his nylon guitar strings, fingerpicked notes, shivering harmonica fills, or plainspoken timbre possessed such directness, clarity, openness, body, or realism.

As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. More intimate, focused, and direct than its stereo counterpart, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. With the advantage of wider and deeper grooves, the 45RPM pressing affords the opportunity to detect more information and lavish in extra richness. Whether it's the exaggerated nasal accents employed on "Down the Highway" or the decay of each strummed line on the entirely acoustic album, previously concealed details, microdynamics, and ambient cues surface – enhancing the listeners' experience and taking them inside Columbia's Studio A.

Exponentially surpassing the potential he demonstrated on his debut, Dylan became a mirror of the concerns, issues, and feelings confronting the nation. Writing and singing with penetrating honesty, observational wit, moral conviction, and scathing emotion, he digs into the madness of war ("Masters of War," "A Hard Rain's A-Gonna Fall"), hypocrisy of segregation ("Oxford Town"), urgency of civil rights and freedom ("Blowin' in the Wind"), and multiple angles of unrequited love ("Girl From the North Country," "Don't Think Twice It's All Right") with a literate astuteness and depth that, nearly 50 years later, still leave audiences slack-jawed. Satire, absurdist humor, and traditional blues also pepper the album, which rests upon graceful melodies and sparse, poignant patterns.

Viewed as protest songs, love songs, folk songs, or talking blues songs, the material on The Freewheelin' Bob Dylan remains amongst the most astonishing and imaginative ever committed to tape. It deserves – as much as you deserve – a fidelity that makes as closely intimate as possible the music's connection with you. You deserve this mono edition.

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