Jeff Beck - Wired (1976) MFSL (1990)

Mobile Fidelity Sound Lab (MFSL, or "MoFi") is a company that produces audiophile releases of classic CDs and vinyl records.

Many commercial CDs undergo dynamic range compression in order to sound "louder" when played on radio or low-end systems. Some consider this detrimental to the sound quality when reproduced on high-quality equipment. Mobile Fidelity Sound Lab releases are highly desirable due to their attention to detail concerning the audio mastering process. Some of the techniques used are half-speed mastering and pressing gold-plated CDs. MFSL also releases record albums meant to be played at 45 RPM instead of the standard 33⅓ RPM, for better sound quality. These albums must be released on two or three discs, as less music can be held at increased speed.

MFSL only acquires the license to reproduce releases for a specific time period, and because of the limited quantities produced, they are highly sought after.

The Mobile Fidelity Sound Lab Philosophy

Mobile Fidelity Sound Lab's ongoing quest is to deliver the foremost sounding audio entertainment software that technological innovation can provide. From our first UHQR™ vinyl LP to our latest Ultradisc UHR™ SACD, we have been and will remain a steadfast innovator in the audiophile frontier. We further believe that technological development serves best when accompanied by a profound awareness and appreciation for the elusive magic and mystery that comprises music itself. Our greatest hope is that our products will serve as conduits for ears ands souls to experience premium, pure, natural sound reproduction of diverse, pre-eminent original master recordings across the entire musical spectrum


Geoffery Arnold "Jeff" Beck (born June 24, 1944 in Wallington, Surrey, England) is a rock guitarist who played in several influential bands in the 1960s and 1970s. He has maintained a sporadic solo career over the last 25 years. Despite never attaining the commercial visibility that some of his contemporaries did, Beck has gained widespread critical acclaim, especially in the guitar playing community. Not to be tied to one particular genre, he has experimented with blues rock, heavy metal, and jazz fusion. Most recently, he has absorbed the influence of techno, creating a groundbreaking blend of heavy guitar rock and electronica. He is constantly rated as one of the best players in guitar polls around the world.

Like many rock musicians in the early 1960s, he began his career working as a session guitarist. In 1965, following a gig with the Tridents, Beck was recruited to join the Yardbirds (after Eric Clapton had left the group for John Mayall's Bluesbreakers). It was during his tenure with The Yardbirds that they recorded most of their hits. In 1966, he shared the dual-lead guitar role with Jimmy Page. His time with The Yardbirds was short, allowing Beck only one full album, The Yardbirds (1966); Beck left after 18 months, partly for health reasons.

The following year, Beck formed a new band, the Jeff Beck Group, which featured him on lead guitar, Rod Stewart on vocals, Ron Wood on bass, Nicky Hopkins on piano, and Mick Waller on drums. The group produced two albums, Truth in 1968 and Beck-Ola the following year. These two albums are highly acclaimed, and are considered by some to be the earliest precursors to heavy metal, predating the initial Led Zeppelin albums. Owing to friction within the band, Stewart and Wood left the group in 1969 to replace Steve Marriott in the Small Faces (this new lineup, joining Ronnie Lane, Ian McLagan, and Kenney Jones would shorten their name to just "the Faces").

Beck went on to form a second incarnation of the Jeff Beck Group, which featured Clive Chapman (bass), Max Middleton (keyboards), Cozy Powell (drums), and Bob Tench (vocals). This group took Beck in a new direction with increased levels of sophistication, entailing a varied melding of rock/pop with elements of R&B and jazz. They released two albums: "Rough And Ready" (1971, produced by Jeff Beck) and "The Jeff Beck Group" (1972, with this second album being produced by Steve Cropper). After this second Jeff Beck Group disbanded in 1972, Beck formed the power trio Beck, Bogert & Appice, with Carmine Appice on drums and Tim Bogert on bass. This group, too, failed to attract much critical attention and soon split up, although they did have a minor hit with a version of Stevie Wonder's Superstition (Beck had earlier played lead guitar on Wonder's Talking Book album). In 1975, Beck did a solo, all-instrumental jazz fusion album entitled Blow by Blow which received unexpectedly positive critical reviews and substantial sales, reaching number 4 in the U.S. charts. It was followed up by a collaborative effort with former Mahavishnu Orchestra keyboardist Jan Hammer on the 1976 Wired album, which also received critical acclaim.




Beck started his career by exploring the heavier side of rock before switching gears in 1975 with the groundbreaking instrumental jazz-fusion albums, “Blow By Blow” and “Wired .”

Produced by Sir George Martin, famed producer of The Beatles, the two albums shattered people’s preconceptions of what a rock guitarist was supposed to sound like. By fusing the complexity of progressive rock and improvisatory freedom of jazz with intergalactic guitar tones and a sense of humor, Beck opened up the horizon for future guitar instrumentalists like Steve Vai and Joe Satriani.

In the wake of those two albums, Beck became increasingly interested in the possibilities of electronic music thanks to his collaborations with former Mahavishnu Orchestra keyboardist, Jan Hammer. On stage, Hammer’s legendary mastery of the Mini-Moog synthesizer imbued Beck classics like “Freeway Jam” and “Blue Wind” with a funky, otherworldly aura that was ahead of its time. Looking back on the tour for “Wired”—documented on “Jeff Beck with the Jan Hammer Group Live” (1978)—Beck says the shows left some in the audience scratching their heads.

“I don’t suppose many people knew what the hell was happening on stage,” says Beck. “I can tell you it was an exciting—electric—time for us as musicians because we were pushing the music in new directions. At the time, I think we were a little out there for most people, but when you look back now…it sounds like we were on to something.”