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  • Mississippi Blues Mississippi Blues Quick View

    $21.99
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    Mississippi Blues

    Originally released in 1969 on John Fahey's Takoma record label, Mississippi Blues, is one of the finest albums White produced during his later period after being rediscovered by the folk revival of the 1960s. A pre-war country-blues artist of the highest order, White, like many of his contemporaries had lived in obscurity for many years, but his great talent remained. Reissued on 180 gram vinyl with a deluxe tip-on jacket.
    1. Aberdeen, Mississippi Blues
    2. Baby Please Don't Go
    3. New Orleans, Streamline
    4. Parchman Farm Blues
    5. Poor Boy Long Way from Home

    6. Remembrance of Charley Patton
    7. Shake 'Em on Down
    8. I Am in the Heavenly Way
    9. Atlanta Special
    10. Drunk Man Blues
    11. Army Blues
    Bukka White
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aberdeen Mississippi Blues Aberdeen Mississippi Blues Quick View

    $18.99
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    Aberdeen Mississippi Blues

    14 vintage tracks from Delta blues king, Bukka White,
    showcased on this gorgeous vinyl release and featuring
    White's most well-known songs such as "Shake 'Em On
    Down," "Po' Boy," "Fixin' To Die Blues" (covered by Bob Dylan) and more!
    1. Aberdeen, Mississippi Blues
    2. Bukka's Jitterbug Swing
    3. Parchman Farm Blues
    4. Shake 'Em On Down
    5. Fixin' To Die Blues
    6. Black Train Blues
    7. Sic 'Em Dogs On
    8. Special Streamline
    9. Po' Boy
    10. Strange Place Blues
    11. The Panama Limited
    12. When Can I Change My Clothes
    13. Good Gin Blues
    14. High Fever Blues
    Bukka White
    $18.99
    Vinyl LP - Sealed Buy Now
  • Big Daddy Big Daddy Quick View

    $21.99
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    Big Daddy

    This 1973 release features songs that span Bukka White's career including some of his last recordings. At the time, White played on Beale Street in Mississippi regularly, and his chops are are dead on and his feel simply grooves. His improvisational vocal style along with his driving playing make this record a final Memphis party and show why he was one of the Kings of the Blues. Originally on Biograph, available for the first time since its original release on 180g vinyl courtesy of Sutro Park.
    1. Black Cat Bone Blues

    2. 1936 Triggertoe

    3. Cryin' Holy Unto The Lord

    4. Shake My Hand Blues

    5. Sic 'Em Dogs On

    6. Gibson Hill

    7. Mama Don' 'Low

    8. Hot Springs Arkansas

    9. Jelly Roll Workin' Man

    10. Black Crepe Blues

    11. Glory Bound Train

    12. Aberdeen Mississippi Blues
    Bukka White
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Fate Is Only Twice Fate Is Only Twice Quick View

    $17.99
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    Fate Is Only Twice

    Released as a short-run private press LP in 1965, 'Fate Is Only Once' has long been a coveted collectible among American Primitive guitar enthusiasts. The album presages the broader movement. Acoustic musicians were still largely stuck in a rigid Folk mindset in 1965, and there are just not that many other examples of the exploratory guitar sounds found on 'Fate' during this time period. Alternating between haunting originals and jaunty blues-based traditional numbers, this absurdly rare LP was reissued by Tompkins Square in 2006.


    Taussig's only other recorded works appear on the long out-of-print Takoma compilation 'Contemporary Guitar Spring '67' alongside John Fahey, Robbie Basho, Max Ochs and Bukka White. Taussig spent years as an educator, published instructional guitar books, and traveled extensively to photograph weird museums. Amazingly, he returns with his first album in 47 years, appropriately titled 'Fate Is Only Twice'. The same stark, smoldering playing is evident, all the humor and inventiveness intact.

    No tracklist available
    Harry Taussig
    $17.99
    Vinyl LP - Sealed Buy Now
  • Bob Dylan (Mono & Stereo) Bob Dylan (Mono & Stereo) Quick View

    $35.99
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    Bob Dylan (Mono & Stereo)

    His Classic Debut Album on Mono and Stereo - 2LP Gatefold Set on 180 Gram Vinyl!


    Bob Dylan's first album is a lot like the debut albums by the Beatles and the Rolling Stones -- a sterling effort, outclassing most, if not all, of what came before it in the genre, but similarly eclipsed by the artist's own subsequent efforts. The difference was that not very many people heard Bob Dylan on its original release (originals on the early-'60s Columbia label are choice collectibles) because it was recorded with a much smaller audience and musical arena in mind. At the time of Bob Dylan's release, the folk revival was rolling, and interpretation was considered more important than original composition by most of that audience. A significant portion of the record is possessed by the style and spirit of Woody Guthrie, whose influence as a singer and guitarist hovers over Man of Constant Sorrow and Pretty Peggy-O, as well as the two originals here, the savagely witty Talkin' New York and the poignant Song to Woody; and it's also hard to believe that he wasn't aware of Jimmie Rodgers and Roy Acuff when he cut Freight Train Blues. But on other songs, one can also hear the influences of Bukka White, Blind Lemon Jefferson, Blind Willie Johnson, and Furry Lewis, in the playing and singing, and this is where Dylan departed significantly from most of his contemporaries. Other white folksingers of the era, including his older contemporaries Eric Von Schmidt and Dave Van Ronk, had incorporated blues in their work, but Dylan's presentation was more in your face, resembling in some respects (albeit in a more self-conscious way) the work of John Hammond, Jr., the son of the man who signed Dylan to Columbia Records and produced this album, who was just starting out in his own career at the time this record was made.

    There's a punk-like aggressiveness to the singing and playing here. His raspy-voiced delivery and guitar style were modeled largely on Guthrie's classic '40s and early-'50s recordings, but the assertiveness of the bluesmen he admires also comes out, making this one of the most powerful records to come out of the folk revival of which it was a part. Within a year of its release, Dylan, initially in tandem with young folk/protest singers like Peter, Paul & Mary and Phil Ochs, would alter the boundaries of that revival beyond recognition, but this album marked the pinnacle of that earlier phase, before it was overshadowed by this artist's more ambitious subsequent work. In that regard, the two original songs here serve as the bridge between Dylan's stylistic roots, as delineated on this album, and the more powerful and daringly original work that followed. -- Bruce Eder

    LP1 - Mono
    1. You're No Good
    2. Talkin' New York
    3. In My Time of Dyin'
    4. Man of Constant Sorrow
    5. Fixin' to Die
    6. Pretty Peggy-O
    7. Highway 51
    8. Gospel Plow
    9. Baby, Let Me Follow You Down
    10. House of the Risin' Sun
    11. Freight Train Blues
    12. Song to Woody
    13. See That My Grave Is Kept Clean


    LP2 - Stereo
    1. You're No Good
    2. Talkin' New York
    3. In My Time of Dyin'
    4. Man of Constant Sorrow
    5. Fixin' to Die
    6. Pretty Peggy-O
    7. Highway 51
    8. Gospel Plow
    9. Baby, Let Me Follow You Down
    10. House of the Risin' Sun
    11. Freight Train Blues
    12. Song to Woody
    13. See That My Grave Is Kept Clean

    Bob Dylan
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Natural Light (Pure Pleasure) (On Sale) Natural Light (Pure Pleasure) (On Sale) On Sale Quick View

    $34.99 $24.49 Save $10.50 (30%)

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    Natural Light (Pure Pleasure) (On Sale)

    Natural Light by Eric Bibb is as strong as his previous efforts and produced once again by his longtime bassist Dave Bronze. Eric's voice and guitar playing shines all over whether he's doing a solo acoustic number as in Champagne Habits and the beautiful Lucky Man' Rag where he is joined by a wasboard player, or in the full band numbers such as the cover of the sixties Jackie Wilson hit Higher And Higher. Other favourites include the jazzy Home Lovin' Man where Janne Petersson's piano really stands out, the gospel of Right On Time and Tell Riley, a song about Bukka White and his cousin Riley B.(B.) King. There's even a guest appearence by Hubert Sumlin, the late Howlin Wolf's guitarist, who plays a solo on Too Much Stuff. Most of the songs are self-penned by Eric Bibb with wise storytelling and witty lyrics but there are some covers tastefully arranged including Randy Newman' ballad Every Time It Rains.



    Musicians:



    • Eric Bibb (vocal, guitar)

    • Janne Petersson (piano, organ, accordian)

    • Dave Bronze (bass)

    • Hubert Sumlin, Steve Donnelly (guitar)

    • Simon Clarke, Roddy Lorimer, Tim Sanders (horns)

    • Henry Spinetti (drums)

    • Martin Ditcham, Bjorn Gideonsson (drums, percussion)



    Recording: 2003 at Intimate Studios, London, by Troy Hermes / Warehouse Studios, Oxford, by Steve Watkins / Tonczone Studios, Kent, by Richard Studholme / Leon C Studios, Southend, by Dave Bronze

    Production: Dave Bronze



    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. Too Much Stuff
    2. Home Lovin' Man
    3. So Sorry
    4. Tell Riley
    5. Guru Man Blues
    6. Every Time It Rains
    7. Champagne Habits
    8. Water Works Fine
    9. Circles
    10. Right On Time
    11. Gratefully Blue
    12. Lucky Man Rag
    13. Higher and Higher
    Eric Bibb
    $34.99 $24.49 Save $10.50 (30%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Front Porch Sessions Front Porch Sessions Quick View

    $18.99
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    Front Porch Sessions

    Southern Indiana-bred singer-guitarist Reverend Peyton is the bigger-than-life frontman of Reverend Peyton's Big Damn Band. He has earned a reputation as both a singularly compelling performer and a persuasive evangelist for the rootsy country blues styles that captured his imagination early in life and inspired him and his band to make pilgrimages to Clarksdale, Mississippi to study under such blues masters as T-Model Ford, Robert Belfour and David "Honeyboy" Edwards.


    That passionate inspiration has made Reverend Peyton's Big Damn Band America's foremost country blues outfit and fuels the Rev's new release, The Front Porch Sessions. Peyton's dazzling guitar mastery is equaled here by his knack for vivid, emotionally impactful songwriting, and his originals are matched in their authenticity by the deeply felt vintage blues tunes that he covers. The album showcases the Rev's irrepressible personality while echoing the enduring spirit of such acoustic blues icons as Charlie Patton, Blind Willie Johnson, Bukka White and Furry Lewis, whose "When My Baby Left Me" receives a memorable reading.


    "It started as a literal whim on my part, but it turned into something really special," Reverend Peyton says of this new collection. "I wanted it to feel like you're on my front porch. You can almost hear the wood creaking."


    The Front Porch Sessions maintains a potent level of intensity throughout, from the upbeat optimism of the album-opener "We Deserve a Happy Ending" to the blunt slice-of-life rural reality of "One More Thing" to the rollicking, playful swagger of "Shakey Shirley," "One Bad Shoe" and "Cornbread and Butterbeans." Meanwhile, the instrumentals "It's All Night Long" and "Flying Squirrels" demonstrate the Rev's nimble, imaginative guitar work."


    I didn't have much planned when I went into the studio," the Reverend notes. "I went into the studio with some new songs and some old songs that I've always wanted to try. At first, I thought 'Well, maybe we'll make it a download or release a single.' But it took on a life of its own, and when it was all said and done, I was as proud of it as anything I've ever done. To me, it was a lesson in not overthinking things; I just went in and let my gut guide me."


    We recorded this album at a studio called Farm Fresh, which is right down the street from my house," he continues. "It's in the shade of the oldest poplar tree in Indiana, and there's a graveyard next to it and train tracks run across there. In fact, I think you can hear the train on one track on this record. The studio's in an old church, and the main sanctuary is the tracking room, so the haunting reverb that you hear is that room.


    "We used a lot of vintage gear in the recording. I love that organic sound, and I'm always chasing that in everything I do. I just like things that feel timeless. Feeling timeless to me is way more important than feeling old. When you try to make something sound old, you're trying too hard."


    That lifelong pursuit of musical authenticity was instilled in his musical consciousness while Peyton was growing up in rural Indiana, where his early love for blues, ragtime, folk, country and other traditional styles gave him a sense of direction that would soon manifest itself in his own music. He and the Big Damn Band won a large and loyal fan base, thanks to their tireless touring efforts and high-energy showmanship, along with such acclaimed albums as Big Damn Nation, The Gospel Album, The Whole Fam Damnily, The Wages, Between the Ditches, So Delicious and the Charlie Patton tribute disc Peyton on Patton.


    Despite his prior achievements, the Rev views The Front Porch Sessions as a personal creative milestone.


    "This record's very personal for me, because so much of it is just me," he says. "The Big Damn Band is on there, but it's mostly me. There's washboard only in a couple of songs, and the drum kit is a suitcase drum set that we put together in the studio. It's a snapshot of the week we spent in the studio, but it also represents a lifetime of me building up to it."


    The Front Porch Sessions has also spawned a series of audio-vÉritÉ companion videos, many of them shot on the Rev's actual front porch, that embody the album's intimacy and immediacy. "A lot of these songs started on the porch, and that's what the videos are," he says. "I'd be pickin' and go, 'I like the way this sounds, let me get my camera.'"


    Reverend Peyton has already begun to integrate The Front Porch Sessions' spare approach into the Big Damn Band's expansive live shows, which are renowned for their intensity and abandon.


    "In a lot of our shows in the past few years, we'll take a break and I'll come out and do a song or two by myself," he explains. "That brings things down and allows me to do some songs like this. We're definitely gonna be doing more of that, so there's definitely gonna be moments in the shows where you're gonna hear a lot of these songs. We may also do some Front Porch Sessions shows, and maybe present some of our other songs in a more stripped-down way. We did one earlier this year as kind of a test, and that worked really well.


    "Over the years, our shows have gotten more dynamic," he continues. "The ups are more up and the downs are more down. That's something that's important to me. If I go and see a show and someone's just standing there and staring at their feet and singing their songs, I feel insulted. That's not a performance. I want to know that you're living that song, not just regurgitating it. I don't think artists should seem like they're too cool for their audience."


    The Rev's dedication to delivering the goods on stage is reflected in his flamboyant performance persona. "The Rev is me," he states. "Sometimes that freaks people out, because the person who's on stage is exactly the way I am offstage. I don't know how to separate myself from my music, because it's so personal to me. My mom calls me Rev; it's been my nickname since I was a teenager. It was a name that was given to me by some friends, and it sort of stuck.


    "I'm one of those people who feels everything really hard, for better or worse," he continues. "If I'm angry, I'm really angry. If I'm sad, I'm really sad. If I'm happy, I'm really happy. So onstage, I tap into that. There are certain songs that I can't play on some nights, because they're just too sad. That may be the rantings of a crazy person, but it's the God's honest truth."


    With The Front Porch Sessions showcasing his expanded musical palette, Reverend Peyton is excited about bringing his new music to his fans.


    "I really think it's one of the best things I've ever done," he asserts. "I'm interested in making hand-made American music, and the goal is to be timeless."

    1. We Deserve a Happy Ending
    2. When My Baby Left Me
    3. Shakey Shirley
    4. What You Did to the Boy Ain't Right
    5. One Bad Shoe
    6. It's All Night Long
    7. One More Thing
    8. Flying Squirrels
    9. Let Your Light Shine
    10. When You Lose Your Money
    11. Cornbread and Butterbeans
    Reverend Peyton's Big Damn Band
    $18.99
    Vinyl LP - Sealed Buy Now
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