Rhino Records label is launching an exclusive premium vinyl series, Rhino High Fidelity (Rhino Hi-Fi). These high-end, limited-edition vinyl reissues of classic albums claim to represent the pinnacle of sound and packaging.
The first two Rhino High Fidelity albums are available today exclusively at Rhino.com – The Cars (1978) by the Cars and Coltrane’s Sound (1964) by John Coltrane. Each Rhino High Fidelity title is limited to 5,000 individually numbered copies and retails for $39.98.
To ensure consistent sonic excellence, Kevin Gray will cut lacquers for all Rhino Hi-Fi releases, and Optimal will press the 180-gram vinyl records. The releases boast high-quality glossy covers and “tip-on” jackets, an old-school aesthetic that evokes the golden age of vinyl.
Kevin Gray says, “It will be an honor to master this series! There is so much variety to explore in the Rhino catalog – everything from Jazz to Rock to R&B. Rhino has a very deep catalog spanning across 5 decades. The possibilities are incredible! I look forward to all of it.”
Another hallmark of the new Rhino High Fidelity series is exclusive content. The Cars features a new interview with guitarist Elliot Easton about the gear used on the album, plus producer Roy Thomas Baker’s tracking notes for “Good Times Roll.”
Upon hearing the Rhino High Fidelity pressing, Easton said, “It’s like being in your studios. It’s like listening to a studio playback… It just blew my mind.” He then reflected on the making of the album, “We felt like we were doing something that hadn’t been done before, like we were breaking some ground and making some sounds that hadn’t been recorded before. That was very exciting. It was just completely the chemistry of the five of us. It’s nothing you can calculate or plan. It just either happens or doesn’t. It’s magic.”
Coltrane’s Sound includes notes and images from the master tapes along with an archival essay by legendary producer Tom Dowd, the recording engineer on this album, and hundreds of other classics on Atlantic Records.
Dowd recalled “It was amazing, even after an hour of solid playing [Coltrane] would be as calm and composed as when he first started. Normally when someone works this hard, they tense up. Not John. As I observed him playing, I could not detect any of the joints of his hands or fingers. He didn’t seem to have any bones. He played with “feathers.” His technique involved complete confidence, control, and composure.”
Rhino High Fidelity will take full advantage of Warner Music’s vast music catalog, creating superlative versions of landmark albums from the worlds of jazz, blues, rock, pop, and beyond.
The Rhino High Fidelity series will continue to release two classic albums quarterly, each with the same audio and packaging quality of the initial pair in strictly limited editions. The next round of Rhino High Fidelity releases will be announced in the coming weeks.
THE CARS
Track Listing
Side One
- “Good Times Roll”
- “My Best Friend’s Girl”
- “Just What I Needed”
- “I’m In Touch With Your World”
- “Don’t Cha Stop”
Side Two
- “You’re All I’ve Got Tonight”
- “Bye Bye Love”
- “Moving In Stereo”
- “All Mixed Up”
COLTRANE’S SOUND
Track Listing
Side One
- “The Night Has A Thousand Eyes”
- “Central Park West”
- “Liberia”
Side Two
- “Body And Soul”
- “Equinox”
- “Satellite”
The History of Rhino Records
Rhino Records started as a small storefront in Westwood, Los Angeles in 1973, but it didn’t take long for the brand to evolve into one of the most important reissue labels in the music industry. Known for its irreverent personality, deep respect for musical history, and obsessive attention to detail, Rhino carved out a niche that no other label quite occupied. Over the decades, it has helped preserve and repackage some of the most iconic music of the 20th century, all while maintaining a unique sense of humor and identity.
The company was founded by Richard Foos, a UCLA graduate and lifelong music collector. Originally a retail shop specializing in used records and pop culture ephemera, Rhino’s original store quickly gained a reputation for its eccentric style and crate-digger appeal. But it was Foos’s vision for releasing music—particularly overlooked or out-of-print material—that would take Rhino from quirky record shop to a legitimate record label.
In the mid-1970s, Foos partnered with Harold Bronson, a fellow music obsessive with a knack for licensing and relationships in the record industry. Together, they began releasing novelty singles and obscure garage rock cuts. Rhino’s first big success was the 1975 novelty single “Go to Rhino Records” by Wild Man Fischer, a street performer with ties to Frank Zappa. The label followed that up with offbeat reissues and cult classics, many of which had no other home in the increasingly corporate music world.
As Rhino evolved into a full-fledged label in the 1980s, its calling card became the carefully curated compilation. While other labels were throwing together greatest hits albums with minimal care, Rhino went the opposite direction—digging deep into archives, working with artists and estates, and packaging reissues with extensive liner notes, rare photos, and historically accurate track selections. Their “Best Of” collections weren’t afterthoughts; they were thoughtful overviews often assembled by writers, critics, and musicians who genuinely loved the material.
Throughout the ’80s and ’90s, Rhino released landmark box sets and retrospectives that set new standards for reissues. Whether it was classic R&B from the Atlantic vaults, surf rock compilations, punk retrospectives, or genre-defining collections like Have a Nice Decade: The ’70s Pop Culture Box, Rhino made history feel alive and accessible. Their reissue of The Monkees’ catalog is still considered one of the best of its kind, as is their work with artists like Ray Charles, Otis Redding, and Aretha Franklin.
Rhino also gained a reputation for unearthing one-hit wonders, forgotten bands, and regional scenes that had been neglected by the major labels. Releases like D.I.Y.: American Pop Underground and the Nuggets box set introduced a new generation to lesser-known but influential acts. These weren’t just nostalgia trips—they were educational, contextual, and essential to music history.
The label’s packaging and branding also stood out. Rhino’s visual identity leaned quirky without being kitsch. Album art often included tongue-in-cheek illustrations, witty captions, and layout designs that felt handcrafted compared to the generic corporate reissues flooding the racks. They made reissues fun again, without sacrificing scholarship or audio quality.
In 1992, Rhino was acquired in part by Time Warner, giving the label access to a massive archive of music across multiple genres. This move allowed them to reissue material from Warner Bros., Atlantic, Elektra, and more—essentially giving them the keys to some of the most important catalog material in American music history. Eventually, Rhino became the official catalog division of Warner Music Group, a role it still holds today.
Despite being part of a corporate structure, Rhino managed to retain much of its original spirit. Key staff remained involved, and the label continued to produce deluxe editions, vinyl reissues, and digital releases with care. Whether it was a remastered version of a classic album, a Record Store Day exclusive, or a deep-dive documentary box set, Rhino stayed committed to quality.
Over the years, the company has adapted to changes in the industry. From CD box sets in the ’90s to high-resolution digital downloads and vinyl reissues in the streaming era, Rhino has remained relevant by understanding both the collector mentality and the broader audience of casual fans.
Rhino’s history isn’t just about reissuing music—it’s about curating culture. In many ways, it served as a bridge between fandom and scholarship, between the mainstream and the obscure. They treated every project—no matter how niche—with the same level of passion and precision. And that’s why they’re trusted by collectors and respected by artists.
Today, with vinyl back on the rise and physical media reclaiming some shelf space in listeners’ homes, Rhino’s approach feels more vital than ever. Their catalog remains a treasure trove, and their influence can be seen in how modern labels approach reissues and archival work.
What began as a hole-in-the-wall shop in Westwood is now a global tastemaker in music preservation. And even after five decades, Rhino’s guiding philosophy still rings true: treat the past with care, don’t take yourself too seriously, and always give the music room to breathe.
