The Eagles On the Border Numbered Limited Edition 180g 45rpm SuperVinyl 2LP Box

Limited to Just 10,000 Numbered Copies! MoFi SuperVinyl Pressed At RTI! Mastered from the 1/4″ / 15 IPS Dolby A Analog Master to DSD 256 to Analog Console to Lathe with Mobile Fidelity’s One-Step Process: Mobile Fidelity UD1S 180g 45rpm 2LP Set Features Opulent Box and Foil-Stamped Jackets A Rock-Driven Paragon of Musical Diversity, Unerring Consistency, Balanced Interplay, and Emotional Depth: Double-Platinum 1974 Album Marks the Debut of Don Felder, Features “Already Gone”, “James Dean” and “Best Of My Love” 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. Strictly limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the 1/4″ / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe, 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 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 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. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today. MoFi SuperVinyl Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog 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. Features Numbered, Limited Edition – Only 10,000 Copies MoFi SuperVinyl Pressing UltraDisc One-Step 180g Vinyl 45rpm Speed Edition 2LP Box Set Mastered from the 1/4″ / 15 IPS Dolby A analog master to DSD 256 to Analog Console to Lathe Opulent Box Special Foil-Stamped Jackets Production & Mastering by Mobile Fidelity Sound Lab Pressed at RTI Selections Already Gone You Never Cry Like A Lover Midnight Flyer My Man On The Border James Dean Ol’ ’55 Is It True? Good Day In Hell Best Of My Love