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Aja — Steely Dan's landmark sixth studio album now on UHQR!
Definitive reissue Ultra High Quality Record, the pinnacle of high-quality vinyl!
45 RPM LP release limited to 30,000 numbered copies
Mastered by Bernie Grundman from an analog, non EQ'd tape copy
Pressed at Quality Record Pressings using 200-gram Clarity Vinyl®
Purest possible pressing and most visually stunning presentation and packaging!
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing
The Best "Aja" You Will Ever Hear and It's Not Even Close — Michael Fremer, TrackingAngle.com

"This one is the GOAT (Greatest of All Time). It is the top one. This is clear." — David Bianco, Safe & Sound Texas Audio Excursion. YouTube video 

"Truly, it's the best of all the worlds. … This is clearly superior." — Jason Gorber for 'That Shelf.' Youtube video

"… along with all this amazing new detail there's much more physicality, there's more depth … it's much fuller, the sound stage is broader and deeper than any of these other versions and it's it's like just sitting in front of a stage watching the band play. It is just incredible how wonderful this sounds. It's not rolled off on top but it is very easy on the ears and you can really hear more than the other version of Chuck Rainey's Bass playing. He was just, you know, he's phenomenal of course but you can hear how magic he plays and all these amazing lines — they kind of get lost on all the other versions — they're really prominent here, you can pick out every sound from every instrument. I think it's fantastic work they've done."— Ken Micallef, Jazz Vinyl Audiophile. Watch Micallef's YouTube video here.

"'Deacon Blues' takes up an entire UHQR 45rpm side … The 7:26 epic finally has room to breathe and express all of the tape's wondrous top end and dynamic authority. …Transients are so well defined. You're sure to hear newly resolved detail. Bernie Grundman did not appreciably mess with the EQ compared to his original 1977 cut because there was nothing wrong with what he originally did, but cutting at 45 and not having to cut to near the label has obvious benefits especially on 'Deacon Blues' but really on everything and the bottom end has definitely not been attenuated as it must have somewhat been on the originals. This Aja fulfills the UHQR promise as well if not better than has any in the series and there's plenty of stiff competition!" — Music = 11/11; Sound = 11/11 — Michael Fremer, TrackingAngle.com. Read the entire review here.

If you were an audiophile in the late 1970s, you owned Aja. Rolling Stone, which ranks 1977's Aja at No. 63 on its latest 500 Greatest Albums of All Time list, says "this was Walter Becker and Donald Fagen's no-holds barred stab at becoming a huge mainstream jazz-pop success.

"And sure enough, thanks to sweet, slippery tracks like 'Deacon Blues,' and 'Peg,' this collegiate band with a name plucked from a William Burroughs novel and a songbook full of smart, cynical lyrics became bona fide superstars, shooting to the Top Five and selling platinum. And yes, Aja even won a Grammy for Best Engineeed Album."

This landmark album in the band's career features a sophisticated, polished sound that reflects the band's meticulous attention to detail and the influence of jazz and fusion music.

Fagan and Becker would assemble a revolving cast of almost 40 session musicians to play on the album, consisting of some of the all-time greats, including Joe Sample, Larry Carlton, Wayne Shorter, Steve Gadd, Lee Ritenour, Timothy B. Schmidt — it's a long list. It's a Who's Who of session superstars.

The album name and its title track were inspired by a South Korean woman whom a high school friend's brother had married after serving in the army in her country. The chord progressions and melodies are so unique and so typically Steely Dan. The drum solo at the end of the title track by Steve Gadd is also astounding.

The album's title track, "Aja," opens with a serene piano introduction before building into a complex, multi-layered arrangement that features intricate drum patterns, subtle guitar lines, and a soaring saxophone solo. Other standout tracks include "Deacon Blues," a melancholy ballad with introspective lyrics, and "Peg," a catchy tune with a funky groove and infectious chorus.

Throughout the album, Steely Dan's lyrics explore themes of disillusionment, regret, and the quest for fulfillment. In "Black Cow," the opening track, the narrator laments the loss of a relationship, while in "Josie," the album's closing track, the band celebrates the freedom and excitement of a new love affair.

The album's meticulous production values, including multiple layers of instrumentation and intricate vocal harmonies, showcase Steely Dan's commitment to sonic perfection.

Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan's popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn't perform live between 1974 and 1993. But their popularity nevertheless grew throughout the '70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations.

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 30,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Overall, Aja represents a high-water mark in Steely Dan's career, showcasing the band's unique blend of jazz, rock, and pop influences in a polished, sophisticated package. The album has become a classic of the 1970s and remains a favorite among music lovers to this day.

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	1. Aquamarine (Isao Suzuki Quartet)
	2. Midnight Sugar (Tsuyoshi Yamamoto Trio)
	3. Midnight Sunrise (Tatsuya Takahashi & Tokyo Union)
	4. The Lady Is A Tramp (Ayako Hosokawa)
	5. La Fiesta (Toshiyuki Miyama & The New Herd)
	6. The Way We Were (Tsuyoshi Yamamoto Trio)
	7. When A Man Loves A Woman (Live in 5 Days in Jazz Vol. 1)
	8. Alone Together (Masaru Imada & George Mraz)
	9. Willow Weep For Me (Shoji Yokouchi Trio + 1)
	10. Misty (Tsuyoshi Yamamoto Trio)

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	1. The Healer
	2. I'm In The Mood
	3. Baby Lee
	4. Cuttin' Out
	5. Think Twice Before You Go
	6. Sally Mae
	7. That's Alright
	8. Rockin' Chair
	9. My Dream
	10. No Substitute

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	Side A
	1. Cheek to Cheek
	2. Stormy Monday
	3. Bridge Over Troubled Water
	Side B
	1. Fine and Mellow
	2. People Get Ready
	3. Blue Skies
	4. Tall Trees in Georgia
	Side C
	1. Fields of Gold
	2. Autumn Leaves
	3. Honeysuckle Rose
	Side D
	1. Take Me to the River
	2. What a Wonderful World
	3. Oh, Had I a Golden Thread

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	Side A
	1. Fields Of Gold
	2. Wade In The Water
	Side B
	1. Autumn Leaves
	2. Wayfaring Stranger
	3. Songbird
	Side C
	1. Time Is A Healer
	2. I Know You By Heart
	3. People Get Ready
	Side D
	1. Oh, Had I A Golden Thread
	2. Over The Rainbow

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	Side A
	1. Songbird
	2. Autumn Leaves – By Eva Cassidy, London Symphony Orchestra & William Ross
	3. People Get Ready
	Side B
	1. Waly Waly
	2. Time After Time
	Side C
	1. Tall Trees In Georgia
	2. Ain't No Sunshine
	Side D
	1. You've Changed
	2. I Can Only Be Me

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180-gram 45 RPM double LP
Mastered at AcousTech Mastering
Plated and pressed at Quality Record Pressings

It's back in stock! Newly repressed at 45 RPM by Quality Record Pressings. This recording was originally mastered at the former AcousTech Mastering facility and the sound is fantastic.

John Lee Hooker himself did not know his exact date of birth. If he hadn't died at around the age of 80, this ageless musician would still be easily pulling the next generation to his gigs. Hooker remains a phenomenon, a mysterious figure of black rhythm and blues, a charismatic king who reigns supreme in rock 'n' roll's Hall of Fame. John W. Peters described his music as a synthesis of scorching emotional ardour, unrelenting rhythmic intensity, and original poetry of a highly personal character. Anyone hearing him for the first time may well be startled at the unfiltered passion and power of his music.

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Now with Analogue Production's 45 RPM release, the best-sounding version of this classic double album gives listeners an even richer sonic experience. The dead-quiet 4LP set, with the music spread over four sides of vinyl at RTI, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Along with his work as a solo artist, Lofgren has marked more than 25 years as a member of Bruce Springsteen & The E Street Band as well as a former member of Crazy Horse and Grin. Lofgren joined Neil Young's band in 1968 at age 17, playing piano on the album After the Gold Rush. Lofgren would maintain a close musical relationship with Young, appearing on his Tonight's the Night album and tour among others. He was also briefly a member of Crazy Horse, appearing on their 1971 LP and contributing songs to their catalogue. From '71 to '74 Lofgren was active in Grin, the band he founded in '69. Solo albums and tours followed every year through the 1970s as Lofgren established himself as a top guitarist and live performer earning the respect and acclaim of his peers. Bruce Springsteen made the call in 1984 and Lofgren joined the E-Street Band for the Born in the USA tour. Lofgren was an instant hit with Springsteen's fans through his playing and vibrant on stage persona. Lofgren remains a stalwart of the E-Street Band to the present day.

"Acoustic Live is an interesting and charming album from Nils Lofgren in 1997 as he follow on in the Unplugged tradition that became popular in the 1990s. It was actually recorded at The Barns Of Wolftrap, Vienna in Virginia on January 18th, 1997." — bestlivealbums.com

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	Side A
	1. Very Early – Bill Evans
	2. Some Other Time – Leonard Bernstein – Betty Comden – Adolph Green
	Side B
	1. In A Sentimental Mood – Edward Kennedy Ellington
	2. My Funny Valentine – Richard Rodgers – Lorenz Hart
	Side C
	1. You’re Gonna Hear From Me – Andre Previn – Dory Previn
	2. Baubles, Bangles and Beads – George Forrest – Robert Wright
	3. These Foolish Things – Eric Maschwitz – Jack Strachey
	Side D
	1. What Kind of Fool Am I – Leslie Bricusse – Anthony Newley
	2. Turn Out The Stars – Bill Evans

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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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