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  • The Blues The Blues Quick View

    $13.99
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    The Blues

    Recorded in Paris in the early 1950s, this raw Big Bill Broonzy classic features the tracks Louise Louise Blues, John Henry, Low Down Blues and Letter To My Baby among others.

    Side One


    1. Louise,Louise Blues

    2. Letter to My Baby

    3. Stand Your Test In Judgement

    4. Do It Right Blues

    5. Low Down Blues

    6. The Moppin' Blues

    7. Coal Black Curly Hair


    Side Two


    1. Hey! Bud Blues

    2. Baby Please Don't Go

    3. Down By The Riverside

    4. Kind Hearted Blues

    5. When Did You Leave Heaven

    6. John Henry

    7. Lonesome Road Blues

    Big Bill Broonzy
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • I Love My Whiskey - The Essential Blues I Love My Whiskey - The Essential Blues Quick View

    $22.99
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    I Love My Whiskey - The Essential Blues

    One of the most influential bluesmen of all time is celebrated on this special 180 gram vinyl release! Whiskey-soaked blues at its very best featuring the classic "C.C. Rider," "I Can't Be Satisfied," "Trouble In Mind" and more!
    1. I Love My Whiskey
    2. C.C. Rider
    3. Summer Time Blues
    4. All By Myself
    5. Saturday Evening Blues
    6. I Can't Be Satisfied
    7. Trouble In Mind
    8. Keep Your Hands Off Her
    9. Mopper's Blues
    10. Bill Bailey
    11. Five Feet Seven
    12. Willie Mae Blues
    Big Bill Broonzy
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Young Big Bill Broonzy 1928-1936 The Young Big Bill Broonzy 1928-1936 Quick View

    $17.99
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    The Young Big Bill Broonzy 1928-1936

    Big Bill Broonzy was one of the few country blues musicians of the '20s and '30s to find success when the music evolved into an electric, urbanized form. From his initial sides with Paramount in 1928, he followed the music's development closely. Switching to electric guitar and adding drums to his music in the late 1930s, he helped pave the way for the Chicago bluesmen that followed him. Even though his music continued to contain echoes of his rural background, Broonzy's reversion to a folk-blues style (popular amongst white audiences) in the 1950s was viewed by purists as an inauthentic stance. The truth is that experts have always had a difficult time classifying Broonzy's music. Even on the early sides collected on The Young Bill Broonzy (1928-1935), the guitarist alternates between standard 12-bar fare, brisk rag numbers, guitar and piano duets, and showcases of his flatpicking prowess. Regardless of the setting, however, one thing remains certain: Broonzy's guitar skills are superb. He was an exceptional flatpicker, capable of dazzling with rapid, single note runs. Proof is provided on I Can't Be Satisfied (with Hokum Boy Frank Brasswell on second guitar) and the classic How You Want It Done? Broonzy was also criticized for relying, more than most, on the key of C (favored by ragtime musicians), though a song like Skoodle Do Do demonstrates the guitarist's ability to construct an unconventional arrangement regardless. In addition to Brasswell, Broonzy is joined by Steel Smith (six-string banjo) and Georgia Tom Dorsey (piano) on various selections. Along with the companion set Do That Guitar Rag, this is quite simply the finest collection of Broonzy's timeless, early sides available.

    - Nathan Bush (All Music)
    1. Brownskin Shuffle
    2. Eagle Ridin' Papa
    3. Starvation Blues
    4. Long Tall Mama
    5. Good Liquor Gonna Carry Me Down
    6. Skoodle Do Do
    7. Banker's Blues
    8. Saturday Night Rub
    9. I Can't Be Satisfied
    10. Mississippi River Blues
    11. Hip Shakin' Strut
    12. How You Want It Done?
    13. Hokum Stomp
    14. Stove Pipe Stomp
    Big Bill Broonzy
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Back To The Blues (Pure Pleasure) Back To The Blues (Pure Pleasure) Quick View

    $34.99
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    Back To The Blues (Pure Pleasure)

    Although she was one of the most powerful and moving of the jazz singers, Dinah Washington suffered more than most from unimaginative and erratic backings. Many of her EmArcy recordings, notably those with Clifford Brown or Clark Terry on trumpet, had outstanding performances, but her collections were compromised by unsuitable accompaniment. This set of 12 blues gives a lop-sided picture in that it doesn't include any of her ballad performances. However, the basic big band settings allow the power and verve of her singing to come through, and confirm her as the best of the women singers with blues material. During the 1950s she had been regarded as an R&B performer but arranger and band-leader Fred Norman wrote these fine 1962 jazz settings for her shortly before her death.


    The material is strong and Washington soars and swings, her voice reaching many of the potent climaxes for which she was so highly regarded. The material runs through much of the traditional repertoire--Big Bill Broonzy, Leroy Carr and Lil Green being represented--and there is a nine-minute Nobody Knows The Way I Feel This Morning that is unique in her discography.

    Musicians:



    • Dinah Washington (vocals)
    • Illinois Jacquet, Eddie Chamblee (tenor saxophone)
    • Jack Wilson, Patti Bown (piano)
    • Jimmy Sigler (organ)
    • Everett Barksdale, Billy Butler (guitar)
    • George Duvivier (bass)
    • Jimmy Thomas, Osie Johnson (drums)



    Recording: March - November 1962 at Bell Sound Studios, New York

    Production: Henry Glover


    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. The Blues Ain't Nothin' But A Woman Cryin' For Her Man
    2. Romance In The Dark
    3. You've Been A Good Old Wagon
    4. Let Me Be The First To Know
    5. How Long, How Long Blues
    6. Don't Come Running Back To Me
    7. It's A Mean Old Man's World
    8. Key To The Highway
    9. If I Never Get To Heaven
    10. Duck Before You Drown
    11. No Hard Feelings
    12. Nobody Knows The Way I Feel This Morning
    Dinah Washington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Common Ground: Dave Alvin + Phil Alvin Play and Sing The Songs of Big Bill Broonzy Common Ground: Dave Alvin + Phil Alvin Play and Sing The Songs of Big Bill Broonzy Quick View

    $22.99
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    Common Ground: Dave Alvin + Phil Alvin Play and Sing The Songs of Big Bill Broonzy

    We argue sometimes, but we never argue about Big Bill Broonzy, says Dave Alvin when explaining why he and brother Phil, who havent made an album together in almost 30 years, were inspired to record Common Ground: Dave Alvin + Phil Alvin Play and Sing the Songs of Big Bill Broonzy set for June 3 release on Yep Roc. The Alvin brothers, who founded seminal early LA punk roots band The Blasters in 1979, have shared a fascination with Broonzy since childhood. After an illness nearly took Phils life in 2012, they resolved to return to the studio and pay tribute to the blues legend. Common Ground includes 12 songs that capture a 30-year cross section of Broonzys canon, performed by the Alvins in their signature style of rollicking roots and stomping country blues.
    1. All By Myself
    2. I Feel So Good
    3. How Do You Want It Done?
    4. Southern Flood Blues
    5. Big Bill Blues
    6. Key to the Highway
    7. Tomorrow
    8. Just a Dream
    9. You've Changed
    10. Stuff They Call Money
    11. Truckin' Little Woman
    12. Saturday Night Rub
    Dave Alvin & Phil Alvin
    $22.99
    Vinyl LP + CD - Sealed Buy Now
  • Muddy Waters Sings Big Bill (Speakers Corner) Muddy Waters Sings Big Bill (Speakers Corner) Quick View

    $34.99
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    Muddy Waters Sings Big Bill (Speakers Corner)

    In 1960, when Muddy Waters recorded this album as a tribute to Big Bill Broonzy two years after his death, he could be sure of Broonzy's approval. »Oh yeah, Muddy is a real singer of the Blues«, Big Bill, that Mississippi foundation stone, was heard to say early on in Muddy Waters' career, although the sound of the man 15 years his junior could be likened to new shoots coming out of the gnarled root named the Blues.



    Full of confidence after a "Best Of" compilation released on the Chess label in 1959 and his legendary appearance at the Newport Folk Festival, Muddy set down his own Broonzy songs. It goes almost without saying that such successful numbers as "I Feel So Good" and "Tell Me Baby" are overflowing with a 'Chicago feeling' which gets right under your skin. Pulsating with the metallic heartbeat of the electric guitar and the gyrating licks which James Cotton conjures out of his harmonica, the cover title amalgamates the individual styles of two top-notch Blues musicians to produce a highly emotional mixture. And let's not forget the band formed around keyboarder Otis Spann, their fellow musician of many years' standing. Just listen carefully to this small but excellent ensemble and you will certainly forget the banal term 'rhythm group'!





    Musicians:



    • Muddy Waters (vocal)

    • James Cotton (harmonica)

    • Pat Hare (guitar)

    • Otis Spann (piano)

    • Andrew Stephenson (bass)

    • Francey Clay, Willie Smith (drums)




    Recording: July and August 1959 in Chicago




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Tell Me Baby
    2. Southbound Train
    3. When I Get to Thinking
    4. Just a dream (On My Mind)
    5. Double Trouble
    6. I Feel So Good
    7. I Done Got Wise
    8. Mopper's Blues
    9. Lonesome Road Blues
    10. Hey, Hey
    Muddy Waters
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Do That Guitar Rag Do That Guitar Rag Quick View

    $17.99
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    Do That Guitar Rag

    This a marvelous little companion piece to Young Big Bill Broonzy (1928-35) on Yazoo. Broonzy's ragtime guitar picking is textbook in its scope, and his vocals are as warm as can be. Broonzy is at his youngest and full of pep.

    - Cub Koda (All Music)

    1. Pig Meat Strut
    2. Down in the Basement
    3. Terrible Operation Blues
    4. Big Bill Blues
    5. Leave My Man Alone
    6. Bull Cow Blues
    7. Grandma's Farm
    8. Guitar Rag
    9. Pussy Cat Blues
    10. Mr. Conductor Man
    11. Worrying You Off My Mind, Pt. 1
    12. Double Trouble Blues
    13. Skoodle Do Do
    14. C & A Blues
    Big Bill Broonzy
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blueprint Blueprint Quick View

    $34.99
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    Blueprint

    Blueprint from 1973 presents a well-rounded picture of Gallagher's eclectic influences. Muddy Waters, Big Bill Broonzy, Roy Head are all shown their due. Includes the brooding 'Seventh Son Of The Seventh Son', which locks the band in a swampy groove for over eight mintues!



    • Import

    • Remastered

    1. Walk On Hot Coals
    2. Daughter Of The Everglades
    3. Banker's Blues
    4. Hands Off


    1. Race The Breeze
    2. Seventh Son Of A Seventh Son

    3. Unmilitary Two-Step
    4. If I Had A Reason

    Rory Gallagher
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • John Renbourn John Renbourn Quick View

    $34.99
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    John Renbourn

    English guitarist and songwriter John Renbourn (8 August 1944 - 26 March 2015) was possibly best known for his collaboration with guitarist Bert Jansch as well as his work with the Folk group Pentangle, although he maintained a solo career before, during and after that band's existence (1967-1973).

    While most commonly labelled a folk musician, Renbourn's musical tastes and interests took in early music, Classical music, Jazz, Blues and World music. John Renbourn's famous phrase was that I started out trying to play like Big Bill Broonzy, and I'm still trying.

    On his 1965 self-titled album you can detect some of the influence on traditional Blues like John Henry and Candy Man. But as a player, Renbourn had already very much developed into his own man, imaginative and complete in technique. As debuts go, you'd be hard pressed to find anything much better in the folk cauldron that was London in the mid-'60s. The genesis of a master.

    1. Judy
    2. Beth's Blues
    3. Song
    4. Down On The Barge
    5. John Henry
    6. Plainsong
    7. Louisiana Blues
    8. Blue Bones
    9. Train Tune
    10. Candy Man
    11. The Wildest Pig In Captivity
    12. National Seven
    13. Motherless Children
    14. Winter Is Gone
    15. Noah And Rabbit
    John Renbourn
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mouth Harp Blues Mouth Harp Blues Quick View

    $49.99
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    Mouth Harp Blues

    Shakey Jake - Mouth Harp Blues The late James Harris earned the moniker Shakey Jake due to his proficiency at dice, but he was equally adept at the blues game. The Arkansas-born, Chicago-based singer and harmonica blower traveled to Rudy Van Gelder's New Jersey studio in November 1960 to record this, his second album for the Bluesville label. Jake brought along Jimmie Lee Robinson, the brilliant, fast-fingered guitarist best known for his work with Little Walter's band. Also making tasty contributions to the session was Robert Banks, the New York R&B and gospel studio organist who, in this case, ably appointed himself as a two-fisted blues piano stylist. Among the 10 selections is the distinctively loping Easy Baby, a tune also associated with Jake's nephew Magic Sam.


    Guitarist Jimmie Lee Robinson, who died in 2002, was the soul of Acoustic Sounds' own APO Records. He was the first to record at Blue Heaven Studios, having made three records (one still unreleased) in the converted church, and he was there several more times to perform. A Chicago native and lifelong resident, Robinson began playing guitar in the open-air market on Maxwell Street in 1942 with the likes of Big Bill Broonzy and Robert Nighthawk. He later teamed with Freddie King for a four-year partnership and went on to play guitar and bass with Little Walter, Howlin' Wolf, Eddie Taylor, Elmore James, Jimmy Rogers, Jimmy Reed, Magic Sam and of course Shakey Jake.

    1. Mouth Harp Blues
    2. Love My Baby
    3. Jake's Cha Cha
    4. Gimme A Smile
    5. My Broken Heart
    6. Angry Lover
    7. Things Is Alright
    8. Easy Baby
    9. Things Are Different Baby
    10. It Won't Happen Again
    Shakey Jake
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • One Lovely Day One Lovely Day Quick View

    $19.99
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    One Lovely Day

    Dug deep into the rich soil of American music, Cope's roots are complex. You may think of Bill Withers or Neil Young or John Lee Hooker or Van Morrison or Willie Nelson or Al Green. Yet, listening to Cope, you also may think none of the above. You may not think at all, but rather feel a man exposing stories that haunt his heart.



    He was born Clarence Greenwood, a child of the '70s, and his life journey is as singular as his art. He is the radically mashed-up product of Greenville, Mississippi; Memphis, Tennessee; Vernon, Texas; Washington, DC; and Brooklyn, New York. These locations are felt everywhere in his stories. His sounds are southern rural, big sky lonely, concrete urban, and painfully romantic. In the past nine years, he has produced four albums of depth and distinction, each a critical chapter in his search for a sound that paints an auditory American landscape in which despair wars with hope, tied to love, is elusive.



    Cope's musical evolution was catch-as-catch can. Folk tales, whether through William Faulkner or Big Bill Broonzy, shaped his sensitivity. A few college courses at Texas Tech alternately bored and excited him. In Austin in the '80s, he took sound classes and found himself fooling with a primitive four-track setup. Turntables intrigued him. He heard hip hop as inspired invention. For years, he got lost in his self-designed lab, cooking up beats and motifs that only later would be shaped into songs. This, his new album, One Lovely Day is anchored by the yearning title track single which features some of his finest songwriting to date.

    1. One Lovely Day
    2. Something To Believe In
    3. Dancer From Brazil
    4. Back Then
    5. DFW
    6. Peace River
    7. For A Dollar
    8. Southern Nights
    9. A Wonder
    10. Summertime
    Citizen Cope
    $19.99
    Vinyl LP - Sealed Buy Now
  • Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress) Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress) Quick View

    $469.99
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    Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress)


    Six LPs, 800 Digital Tracks, Two Definitive Large-Format Books. All Housed In A Polished Aluminum Case Evoking The Era's High Art Deco Stylings And America's Own Machine Age Modernism.


    800 Newly-remastered Digital Tracks, Representing 175 Artists


    90+ Fully-restored Original 1920s-30s Paramount Ads From Chicago Defender


    6 X 180g LPs Pressed On Alabaster-white Label-less Vinyl, Each Side With Its Own Hand-Etched Numeral And Holographic Image


    250 Pg. Large-Format Clothbound Hardcover Book Featuring Original Paramount Art And The Label's Curious Tale


    400 Pg. Encyclopedia-Style Softcover Field Guide Containing Artist Bios & Portraits And Full Paramount Discography


    Polished Aluminum And Stainless Steel Cabinet, Evoking 1930s High Art Deco Stylings And America's Own Machine Age Modernism


    First-Of-Its-Kind Music And Image Player App Containing All Tracks And Ads, Housed On Sculpted Metal USB Drive


    Last November, Jack White's Third Man and John Fahey's Revenant issued The Rise & Fall of Paramount Records, Volume One (1917-27), the first installment of the curious tale of America's most important record label. It was called spectacular (New York Times), unprecedented (Rolling Stone), breathtaking (Boing Boing), a cabinet of wonder, indeed (Pitchfork), and the most perfectly realized attempt to combine music and documentation (Fretboard Journal) and damnedest musical objet d'art (Nashville Scene) folks had ever seen.


    Third Man-Revenant now presents the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).


    As Volume Two begins, Paramount is entitled to a breather - in the previous 5 years it's been home to giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Eubie Blake, Fletcher Henderson, Big Bill Broonzy, Roosevelt Sykes, James P. Johnson, Jaybird Coleman, Clarence Williams, and Fats Waller.


    But just as it seems the label might be losing steam, it begins a second act that threatens to dwarf its first. In its final 5 year push from 1928-32, Paramount embarks on a furious run for the ages, birthing the entire genre of Mississippi Delta blues and issuing some of the most coveted recordings in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Blind Roosevelt Graves, Willie Brown, King Solomon Hill, Tampa Red, Georgia Tom Dorsey, Little Brother Montgomery, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Ramblin' Thomas, Jaydee Short, George Bullet Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Charlie Spand, Jabo Williams, Louise Johnson, Blind Joe Taggart, Geeshie Wiley & Elvie Thomas, and The Mississippi Sheiks.


    Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first and most comprehensive chronicler of what America really sounded like in the 1920s and '30s - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, Paramount - not some preservationist-minded enterprise like the Library of Congress - inadvertently created the most significant repository of this young nation's greatest art form.

    6 LPs feature tracks from the collection.


    USB Drive contains 800 digital tracks by 175 artists across the Paramount family of labels.

    Various Artists
    $469.99
    180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed AWAITING REPRESS Buy Now
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