MR Relics & Collectables is a new section for the avid collector in all of us. 

Here we scope the annals of Rock, searching rare and hard to find collectable CD's, LP's and other music related memorabilia.

This a chance to add something special to your collection. 

All products links to the shop is just a click away!



Rolling Stones 

20 LP Vinyl Album


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“When the Rolling Stones’ contract with Decca Records (Liberty Records in the U.S.) ended in the early 1970s, the band started its own label, Rolling Stones Records. Marshall Chess, whose father, Leonard Chess, co-founded Chess Records, initially ran the imprint. Atco distributed it in the U.S. Coincidentally, Chess and Atlantic Records (Atco was a subsidiary) were responsible for much of the early blues and rock n’ roll that inspired the Stones. Rolling Stones Records continues to this day, with distribution changing hands over the years from Atlantic to Columbia Records, then to Virgin Records, and now to Universal Music. Each switch has resulted in batches of newly remastered CDs and, sometimes, vinyl reissues.

And so we now have the band’s post-Decca recordings collected as Studio Albums Vinyl Collection, 1971-2016. The 20LP box contains every studio album the band released after leaving Decca, beginning with 1971’s Sticky Fingers and continuing through 2016’s Blue and Lonesome. Each LP comes housed in a replica of the original album cover. The set itself is contained in a heavyweight cardboard box with high-gloss artwork and a die-cut, lenticular version of the label’s (and band’s) famous tongue logo.

Abbey Road Studios’ Miles Showell of mastered the set from digital files sourced from flat high-res transfers of the original master tapes. He cut them at half-speed, a technique used by Stan Ricker, a hero of his who cut many LPs for Mobile Fidelity Sound Lab. Showell’s mastering on the two-LP reissue of Sgt. Pepper’s Lonely Hearts Club Band and the vinyl reissue of Eric Clapton’s Slowhand prove he possesses a sensitive ear and can take digital sources and make them sound close to analog. He turns in another commendable effort here.

Sticky Fingers, the first release on the Stones’ label, ranks with the band’s finest work. Showell’s cut brings out more of the low frequencies, so that Charlie Watts’ toms on “Brown Sugar” are more prominent and the bass feels cleaner and tighter throughout the record. Nicky Hopkins’ piano on “Sway” sounds more clearly etched, and Paul Buckmaster’s strings there and on “Moonlight Mile” more refined and forward. Guitars on “Wild Horses” and “Moonlight Mile” teem with unveiled harmonic richness, and Jim Price’s piano on the latter track echoes with newfound solidity. The guitars on “I Got the Blues” are fuller, too, with more audible low strings and layered horns. By contrast, “Brown Sugar,” Bitch,” and other gritty tracks seem tamed by the new master. Bobby Keys’ sax solo on “Can’t You Hear Me Knocking” also spits with nastier overtones on the original pressing. On balance, there are many things to like about the new pressing, but I miss the dirtiness of the original.

Exile on Main St. remains regarded my many fans as the Stones’ masterpiece. Showell’s mastering gives it—and, in fact, all the records here—a solid, defined bottom end that extends to both the bass and kick drum. Exile on Main St. proves more spacious on many tracks. On “Tumbling Dice,” for example, we enjoy a slightly better sense of dynamics. The horns on “Rocks Off” register more forcefully, and Mick Jagger’s vocals are often more clearly focused throughout. Acoustic guitars on “Sweet Virginia” sound warm and realistic, and many tunes resonate with a pleasingly balanced sound. However, the original pressing rips—something the remaster fails to do. Sure, “Rocks Off,” “Hip Shake Thing,” “Ventilator Blues,” and most of the other blues-drenched tunes remain forceful and appropriately dark. “Ventilator Blues” just sounds meaner on the original.

Goat’s Head Soup sounds vastly improved by the new master. Bass lines are firmer and the thin sound of the original gets replaced by a fuller, beefier foundation that injects “Dancing with Mr. D” and “Doo Doo Doo Doo Doo (Heartbreaker)” with extra life. Slower songs, such as “Angie” and “Winter,” benefit from enhancements in the form of more roominess that allows for finer instrumental detail. Guitars and piano claim better resolution throughout. Guitar trills and intervals are cleaner and sustain longer, too, and Jagger’s voice sounds more three-dimensional.

Moving on down the line, instruments on It’s Only Rock ‘n Roll gain increased separation on the new pressing, with the guitars brighter and snappier than on the original. Watts’ high hat on “If You Can’t Rock Me” features more splash and rhythmic drive, and Hopkins’ piano on “Ain’t Too Proud to Beg” reaches out in the soundstage so it becomes easier to hear. More audible, punchy bass frequencies on “Fingerprint File” up the funkiness and danceability.

Black and Blue is also airier and more spacious in the new version, but remains more forceful on the original pressing. On harder-rocking tracks, such as “Hand of Fate” and “Hot Stuff,” Watts’ drums have more slam on the original, which also claims superior bass response. The increased space on the new master lends “Memory Motel” extra depth and subtlety, but Wayne Perkins’ guitar solo on “Hand of Fate” retains a nastier edge on the original, where the guitars throughout sound tougher. In short, the original pressing boogies harder on the tracks that demand such behavior.

The Stones’ late-1970s and early/mid-1980s LPs on Studio Albums Vinyl Collection, 1971-2016 present an equally mixed bag. The more defined, deeper bass on the new pressing of Some Girls adds to the R&B soulfulness of “Miss You,” while the more spacious mastering brings out Watts’ drums on the title track. The bass, guitars, and snare drum on Emotional Rescue, on the other hand, are sharper-sounding throughout the original (and more exciting-sounding) LP. Tattoo You boasts a fatter sound on the new pressing, with less-pronounced reverb and a deeper soundstage. Undercover is more open and punchier on the original. The added space on Dirty Work, by comparison, makes it easier to appreciate the subtleties on the record—one of the band’s most underrated.




As a whole, the Stones’ 1989-2016 albums fare uniformly better on the new editions. Steel Wheels sounds harsh and tinny via the original pressing. Here, Showell backs off on the compression to give it a more pleasant and spacious aura. Guitars that originally came at you in a hail of noise now feel more natural. Voodoo Lounge sounds good on the original, but the new pressing affords background vocals extra space behind Jagger. Guitars are also less bright but still deliver plenty of bite. Bridges to Babylon sports a full bottom end, even if the bass attack is not as strong as on the other LPs in the set. And A Bigger Bang is now less forward-sounding, which grants Jagger and the band’s instruments more room.

The quality of MPO’s vinyl pressings should impress any audiophile. While my copy of Goats Head Soup has a slight warp that didn’t affect playback, all of the other LPs are flat and quiet. The set’s first-rate packaging replicates the artwork and inserts of the original LPs in the manner of the U.K. releases. Each LP comes housed in a lined paper sleeve, and if the LPs originally had cardboard inner sleeves with credits and artwork (e.g., Exile on Main St.), those sleeves are included. However, the cover of Some Girls does not feature the celebrity photos depicted on the original release. It is the “censored” version.

Album by album, listeners’ preference for new or old pressings will likely vary. The new masters all sound warm and very close to analog, with no over-compression. They’re also vastly superior to the CDs Universal Music reissued over the last decade. If you already own originals of these LPs, you may be interested in individual reissues. For now, you’ll need to bide your time.

One of the pleasures of Studio Albums Vinyl Collection, 1971-2016 relates to affording fans the ability to return to albums the Stones recorded over the years and reminding them of the band’s remarkable consistency. Records that took me a while to enjoy at first, such as Emotional Rescue and Undercover, are better than I remembered. And the group’s later-era records proved something of a revelation in these masters, which register an enormous improvement over the originals. If your Stones collection has big gaps, you could do much worse than acquiring this beautifully packaged, well-mastered reissue.”


Songs included


Product Dimensions ‏ : ‎ 13.78 x 7.87 x 13.78 inches; 19.67 Pounds


Def Leppard

The Vinyl Box Set:

Volume One


Order Now! $AUD575.00



The Volume One collection contains all of Def Leppard’s iconic 1980s recordings – On Through The Night, High ‘N’ Dry, Pyromania and Hysteria - with reproductions of the original packaging. Furthermore, this collection includes a replica 7-inch single of the band’s original independent EP, the self-titled The Def Leppard E.P.


The Volume One collection also houses bonus material including Live At The LA Forum 1983, originally released as a bonus disc in the deluxe CD version of Pyromania, making this the first-ever vinyl offering of the complete show. This 2LP version comes with a new sleeve and inner bags. The box set also includes Rarities Volume 1 which has been specially compiled by Joe Elliott, containing rare B-sides and recordings from Def Leppard’s early years, all in a newly commissioned sleeve.


Each album in the Volume One box set was mastered by longtime band producer/sound master Ronan McHugh and frontman/vocalist Joe Elliott at Joe’s Garage in Dublin, Ireland, and cut by Greg Moore. Housed in rigid boxes, the Volume One collection also contains a hardback book with rare photos by longstanding band confidant Ross Halfin and liner notes by Classic Rock’s Paul Elliott. Def Leppard bandmembers Joe Elliott, bassist Rick Savage, drummer Rick Allen, and guitarist Phil Collen have all also contributed their personal introductions to the collection.




Appetite For Destruction

Locked N' Loaded Box Set

Order Now! $AUD799.00


Click here to watch the piece by piece unboxing by the man himself.

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  The Appetite For Destruction: Locked N’ Loaded box is the one true GN’R Holy Grail. The box includes the Super Deluxe Edition with 4CDs featuring the album newly remastered for the first time ever; B-sides N’ EPs newly remastered; the previously unreleased 1986 Sound City Session N’ More recordings; a Blu-ray Audio disc with the album, bonus tracks and music videos in brand new 5.1 surround sound along with the unearthed music video for “It’s So Easy” originally shot in 1989 but never finished; and a 96-page hardcover book showcasing unseen photos from Axl Rose’s personal archive and a wealth of memorabilia. In addition, the Locked N’ Loaded box contains high quality collectables including seven 12-inch 180g audiophile vinyl discs, seven 7-inch singles on yellow vinyl, a dozen lithos newly visualizing each song on Appetite, 5 custom hand-made metal-cast band skull face rings, 5 hand-made metal-cast band skull face lapel pins, buttons, patches, replica concert tickets and gig flyers, 5 metal skull face and signature-stamped guitar picks, a turntable mat, wall posters, replica ‘85/’86 club days banner, a Robert Williams painting litho, never-before-seen band lithos, a numbered certificate of authenticity and more.


    'The Beatles Collection'

    (British Blue Box),

    Vinyl Albums,

    Brand New,

    Never Played




    Order Now! $AUD995.00



    The Beatles Collection is a box set of the Beatles’ vinyl albums released in the United States in November 1978 and the following month in the United Kingdom (BC-13). It contains the official catalogue of the Beatles in stereo, and a new compilation called Rarities. (See photo with list of songs from each album) Except for minor wear on the box from 40 years of storage, the albums (12 Original Titles, but 13 vinyl albums as the “White Album” is a double set, +PLUS a Rarities Album = 14 vinyl discs in total) have never been played and the sleeves are in original condition.



    Please Please Me

    Parlophone Records PCS 3042

    22 March 1963

    With the Beatles

    Parlophone Records PCS 3045

    22 November 1963

    A Hard Day’s Night

    Parlophone Records PCS 3058

    10 July 1964

    Beatles for Sale

    Parlophone Records PCS 3062

    4 December 1964


    Parlophone Records PCS 3071

    6 August 1965

    Rubber Soul

    Parlophone Records PCS 3075

    3 December 1965


    Parlophone Records PCS 7009

    5 August 1966

    Sgt. Pepper’s Lonely Hearts Club Band

    Parlophone Records PCS 7027

    1 June 1967

    The Beatles (“White Album”)

    Apple Records PCS 7067/8

    22 November 1968

    Yellow Submarine

    Apple Records PCS 7070

    17 January 1969

    Abbey Road

    Apple Records PCS 7088

    26 September 1969

    Let It Be

    Apple Records PCS 7096

    8 May 1970


    Parlophone Records PSLP 261 (British editions)

    Capitol SPRO-8969 (US editions)

    2 December 1978


    The Beatles

    Stereo Vinyl Box Set

    2021 - Rare!


    Order Now! $AUD795.00

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    The Beatles are finally emerging onto streaming services but, if you want quality stereo Beatles recordings, vinyl is surely your option. But which pressing is best? The latest Abbey Road suite of pressings or older, more collectable, releases? Paul Rigby talks to Abbey Road about the latest pressings and undertakes detailed A-B comparisons with older releases to get to the sonic truth

    The last time The Beatles catalogue officially appeared, newly remastered, on vinyl was back in 1978 with an additional Mobile Fidelity box set released later in 1982. Since that time, we have waited for a new, updated, version to appear. During mid-2013, that finally happened as individual LP releases and a magnificent box set.

    The latest 2013 set itself features original stereo mixes for all of the Beatles albums, from Please Please Me to Let It Be, including Magical Mystery Tour and Past Masters 1 & 2, pressed on 180gm vinyl and present in thick card sleeves along with, in the box set, a magnificent, 253-page hardback book detailing every album and showing superb production standards with lots of spot gloss work on thick paper. The contents of the box set are contained within a sturdy, flip-top box with an outer card sleeve encasing the box.

    Abbey Road mastering engineer, Sean Magee, worked on this vinyl set for almost four years. The first issue regards the source. Has the vinyl been sourced from the original master tapes? Apparently not.

    “We couldn’t really,” said Magee. “We have all the cutting notes left by Harry Moss (the original cutting engineer for The Beatles’ recording output) but we don’t have the same equipment. We could kind of recreate the analogue chain and kind of recreate what Harry Moss did to get that sound but it wouldn’t be the same.”

    Another reason has been the demands of Apple: that amalgamation of the remaining Beatles plus the estates of the rest. Apple want any Beatles recordings to have a particular ‘sound’, a traditional presentation based upon the original recordings which, to some extent, constrained the mastering engineers at Abbey Road. To get the required sound required a considerable amount of EQ (Equalisation: boosting or reducing the levels of different frequencies in a signal), “To physically do this in real time whilst cutting from the original analogue masters would have been almost impossible to do,” said Magee.

    The approved EQ shouldn’t be taken lightly, either. It took four and a half years to create it, prior to the release of the CD box sets in 2009.

    Instead, therefore, the vinyl has been remastered from digital sources. These were created, before the CD box sets were released, at a rate of 24bit/192kHz. Magee found, however, that even those files were going to be a problem when remastering the stereo vinyl because of the EQ requirements. More than that, on the earlier albums, the primitive stereo processing placed vocals on one channel and instruments on the other which meant that, “There are different EQs on the left than there is on the right because the content is different on either side. Sorting all of these EQs, track by track, whilst cutting would be impossible. Also, you cannot do separate jobs at 192kHz. You can’t de-click, then EQ and so on. You have to do the lot while cutting. There isn’t the equipment at 192 to do that. Not easily, at any rate. The practicality and time of even doing that process at 24bit/96kHz would have taken about a year. You’d also need a lot of double checking.”

    It so happened that the complex EQ applications had already been done for the CD version, “To use the 192kHz sources now would have entailed recreating the EQ source that we did at 24bit/44.1kHz, which wasn’t viable.”

    So the decision was made, therefore, to master the vinyl at 24bit/44.1kHz. I can hear the sound of fainting audiophiles across the land.

    Despite the extra time that a 24bit/192kHz or even a 24bit/96kHz master would have taken to create there was, according to Magee, no real deadline for this project. So the impetus for using the 44.1kHz files was? “I was told to use these 24bits, so that’s what we used, it was the most practical.”

    Practical? Because of the cutter head, according to Magee, “It has a limited frequency response and cuts off at 24kHz. There is nothing above that. As a cutting engineer, anything of significance level above 16kHz is dangerous, you don’t want that going to your cutter head because it gets very hot and can destroy it. It wouldn’t have mattered if the signal had gone to 192kHz or 96kHz, it wouldn’t have been on the record because you can’t cut it, you can’t hear it and I wouldn’t want it there anyway because a stray signal at 60kHz would destroy the lathe head. The most important part of the figure is the 24bit but not the 96kHz or 192kHz because the cutter head won’t even cut that content up to 48kHz.”

    According to Magee, you’re far better having a decent ADC (Analogue-to-Digital Convertor, a high-specification Prism, in Abbey Road’s case) and a clean 24bit signal to capture all of those extra sonic highs, “The reason 24bit is important is because, in 16bit audio CD play, when you get down to  indus 50Hz something then you start getting quantisation. The signal can’t make up its mind whether it’s a one or a zero. You end up with a buzzy sound. At 24bit, you get no perceivable noise.”

    Audiophiles will be happy to hear that no compression has been added to the vinyl masters while a decision to use DMM cutting process to enhance extra detail on the inner groove was rejected by Apple in favour of the warmer sound of lacquers. The only processing done was a series of precise and targeted removal of sibilance which, with CEDAR Retouch software, is almost surgical in its accuracy and doesn’t affect adjacent frequencies as older systems do and did.

    On other points of note, the contentious George Martin 1986 stereo mixes for Help! and Rubber Soul that surfaced in the CD version of the Stereo box set have also appeared within this vinyl box set. The original stereo mixes can currently be found within the CD Mono box set.



    Testing was undertaken over three generations of stereo pressings. I selected an original copy of With The Beatles (1963) which I proposed to test with the 1978, UK version of the EMI box set reissue (better sounding than the comparable USA and Australian versions and sourced direct from the master tapes) and the new 2012 copy. The original pressing of Magical Mystery Tour (1967) was compared directly with the new version while I also decided to undertake a more considered test with the 1978 and 2012 versions of Abbey Road (1969).

    I wanted to also throw in a copy of the Mobile Fidelity pressings for this test, released in 1982, but this proved impossible to source in the time while purchasing one would have meant not eating for the next year or so, such is the high price of this set. This was why I used the official 1978 masters box set which does allow me to sample the official master tape-derived masters from a similar time period. In addition, if you want to sample vinyl masteres from this period, the ‘Blue Box’ masters can be yours for a much lower (although still relatively high) price.

    Starting With The Beatles and It Won’t Be Long, the 1978 reissue offered more detail than the original. For the first time, you could hear that Lennon’s voice was double tracked while the bass had far more resonance and body. Drums played a big part in the mix with bountiful separation in between cymbal strikes. The downside was the compression that dominated both record versions. Every frequency suffered from a brightness that compromised the sonic improvements of the 1978 version.

    Moving to the new release, the 2012 version offered a much quieter cut: gain had to be upped a few notches to achieve the same volume. Even though there was no compression on these pressings the nature of the EQ – an Apple stipulation – meant that the vocals sounded slightly restricted. This was partly down to the early stereo mix which constricted the song, making it rather claustrophobic. Even so, Lennon’s double-tracked vocals were pleasingly resonant. Similarly, the backing harmonies were far more recognisable with a separation from the lead that just wasn’t present on the original pressing and was less noticeable on the 1978 version due to the compression. For the 2012 version, instrumentally, the track was a triumph, despite the claustrophobic squeezing effect. The drums were more at ease, exhibiting a flair and nonchalance that Starr was known for while the new master revealed Harrison’s attacking guitar style.

    Comparing the new version of Magical Mystery Tour and the original, there really was no contest. The 2012 version offered more soundstage structure within the limited boundaries of the rather naive stereo mix. It also clarified the upper mids, adding separation to the harmonic and double tracked vocals and making each vocal part more recognisable to the ear. The essential brass accompaniment, which is an iconic section of this famous track, could be heard properly for the first time. Each instrument had personality and less bloom while the secondary percussion that was masked by compression on the original could now be discerned. McCartney’s bass was prominent too while drums bathed in a clarity that was sadly lacking within the original.

    Moving to Abbey Road’s Here Comes The Sun, I must say that I feared for the new version after listening to the 1978 cut. The latter is an excellent version, one of the highlights of that entire box set, in fact. The detail extraction was of a high order while the soundstage was wide and the upper mids were tonally accurate with a deftness of presentation along with a 3D stereo image and an attractive instrumental separation.

    Quite incredibly, the new 2012 version blew the 1978 master away. The right/left transition at the beginning of the track was strong and secure, while the organ effect on the left channel was more noticeable. The instrumental separation was not only superior but, once separated, each instrument was spotlighted and enhanced. Detail on this track was quite magnificent with tonally correct hand claps. The acoustic guitar had a rich textural quality that effectively exhibited the strumming attack while percussive bass was solid and provided a firm foundation for the track. What was most surprising was the performance and importance of the Moog which had a dominating effect on the new master, broadening the track and adding complexity to the arrangement while adding welcome contrast with the other rhythmic elements.


    A number of points raised their heads during this test. Firstly, the original masters are almost unlistenable, in audiophile terms. Aimed at the Dansette generation, compression and brightness was the order of the day back then.

    Another point of interest is that a mastering engineer’s client can have a significant effect on the final product. If Apple was not so set on retaining the original EQ, I think that the Abbey Road engineers would have produced an even better sounding suite of albums. But then, we wouldn’t be listening to The Beatles as we know them. For the audiophile, is that a bad thing? You decide.

    What will be shocking to some, however, is the realisation that the source is not the be all and end all for a good quality vinyl cut. That is demonstrable within this sound test. Both the original issue and the 1978 master utilised the original master tapes but both were significantly inferior to the new pressings which uses ‘mere’ 24bit/44.1kHz digital files as its source. These tests prove that the critical variable is a human one: the mastering engineer. Mastering engineers can make a pig’s ear out of a superb source, this has been proved throughout the history of music. Similarly, a brilliant mastering engineer can pull rabbits out of hats. Despite the technologies involved, humanistic qualities of ‘intuition’, ‘feel’, ‘awareness’ and ‘insight’ cannot be taught or found in an index of any mastering manual yet, without these qualities, the engineer will never find success. To that end and for this box set, the Abbey Road engineers should be lionised


    “The Beatles were recorded onto multi-track tapes,” said Magee. “The vocals and the band were recorded on separate channels so that they could combine them together to have complete control of the levels so that they could create the ideal mono mix and, later a stereo mix. In a typical session of, say, four hours, they would spend three hours on the mono mixing and then lay out the stereo mix in the final hour.”

    As you can see, the mono mixes, for those early albums, were the most important. After all, mono was how most Beatles fans were listening to their music. There are plenty of minor differences between the mono and stereo mixes which can be spotted by the fan: a few extra seconds of music here, a different sound effect there. Generally speaking, more care and attention was placed upon the mono mixes for the early albums.

    On a final, related note, you will also find one or two mono tracks within the stereo LP box set. Why? “It’s possible that the stereo tapes for those tracks went missing,” suggested Magee.



    Additional Product Features




    All of the albums return to their original glory and details right down to the album poster in the WHITE ALBUM and the SGT PEPPER cut-outs. Available for the first time on 180 gram Vinyl, this Limited Edition box set includes striking 252 page hard bound coffee table book featuring an introduction by Sir George Martin, previously unseen photos and Abbey Road Studios memorabilia.

    Stereo Vinyl Box Set





    Product Key Features

    George Harrison, John Lennon, Ringo Starr, Paul McCartney, The Beatles






    17.38 in

    8.38 in

    16.50 in