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  • Exultation! Exultation! Quick View

    $34.99
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    Exultation!

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    Intensity marked everything that Booker Ervin played. In his harmonic concept, slashing attack, and broad Texas sound, Ervin demanded attention and constantly built improvisations of searing drama and epic sweep. His primary legacy is a series of albums recorded for Prestige in the 1960s, of which this was his first, a riveting quintet recital where the alto saxophone of Frank Strozier supplies an urgent complement and the rhythm section is piloted by Horace Parlan, Ervin's longtime compatriot from their days together in the Charles Mingus Jazz Workshop and in a cooperative quartet that worked at Minton's Playhouse. In addition to four inspiring originals by Ervin and drummer Walter Perkins, the session features an eloquent reading of Fats Waller's immortal Black and Blue and an exploration of the show tune Just in Time. Both the latter and No Land's Man are included in two versions, the shorter of which were cut for release as a 45 single.

    1. Mooche Mooche
    2. Black and Blue
    3. Tune In
    Booker Ervin
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Takk (Awaiting Repress) Takk (Awaiting Repress) Quick View

    $44.99
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    Takk (Awaiting Repress)

    Takk - Sigur Ros's fourth album and the one where they finally got happy, albeit in their own inimitably beautiful and deeply inscrutable way. This is the record that gave the world Hoppipolla, a song which cemented Sigur Ros's reputation for being the go-to band for anyone wanting a sense of hope and exultation in their film/TV show. The record also harboured moments of definitive Sigur Ros drama in singles Glosoli and Saeglopur, and high beauty in Se Lest and Svo Hljott. Takk. - which means thank you in the band's native Icelandic - quickly became the bandÕs biggest selling album around the world, fuelled by Hoppipolla's usage in the BBCÕs Planet Earth nature series.


    Sung in a mixture of Icelandic and the wordless Hopelandic, TakkÉ was recorded by the band with producer Ken Thomas in 2005 at their Sundlaugin studio in the Icelandic countryside. For the first time since its initial release, the vinyl record comes packaged on 2 x 12-inch, plus 1 x one-sided etched 10-inch. The album artwork is the original debossed and die-cut sleeve, with printed innerbags, all done to the bands exact specifications.

    1. Takk...
    2. Glósóli
    3. Hoppípolla
    4. Með Blóðnasir
    5. SÉ Lest
    6. Saeglópur
    7. Gong
    8. Andvari
    9. Svo Hljótt
    10. Heysátan


    10 LP (Etched)
    1. Mílanó

    Sigur Ros
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Stone Soul (Speakers Corner) Stone Soul (Speakers Corner) Quick View

    $34.99
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    Stone Soul (Speakers Corner)

    With all the exultation about the reconciliation between the capitalistic USA and the socialistic island state of Cuba, it is easy to oversee that the musical fusion between the two countries took place decades ago. Afro Cuban jazz, in which the interpretation and rhythms of swing and bebop are united with all imaginable rhythms from Brazil and the Caribbean, was label enough to describe a peaceful yet exciting and revolutionary music.


    At first glance it appears that in his album Stone Soul the Cuban percussionist Mongo Santamaria just took a handful of popular songs from pop and soul and 'translated' them into his own musical language. So far so good: but the enthusiasm and joy with which the band performs is anything but ordinary. Once the threshold for a potent Latin combo has been overcome with meaty winds (See Saw), Sonny Fortune on the alto sax storms ahead along rhythm & blues tracks and breaks out with hectic cleft licks on his own headstrong path. Incited by crisp percussion, one can experience how traditional music is combined with a musician's own ideas to create completely new music.

    Musicians:



    • Mongo Santamaria (conga,bongo)
    • Sonny Fortune (alto saxophone)
    • Hadley Caliman, Hubert Laws (tenor saxophone)
    • Art Kaplan (bassoon)
    • Louis Gasca (trumpet)
    • Rodgers Grant (piano)
    • William Allen (bass)
    • Steve Berrios (timpani)
    • Bernard Purdie (drums)
    • Julito Collazo, Osualdo Martinez (percussion)


    Recording: 1969 by Fred Catero

    Production: David Rubinson

    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. See-Saw
    2. Son-Of-A-Preacher Man

    3. Love Child
    4. Where Are We
    5. Hitchcock Railway

    6. Stoned Soul Picnic
    7. Who's Making Love
    8. The Now Generation
    9. Little Green Apples
    10. Cloud Nine
    Mongo Santamaria
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Freedom Highway Complete Freedom Highway Complete Quick View

    $29.99
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    Freedom Highway Complete


    Newly Remixed And Remastered


    Expanded To Include 30+ Additional
    Minutes Of The Original Church Service


    Includes 7 Previously Unreleased Tracks


    Liner Notes By Renowned Author And
    Documentarian Robert Gordon


    Freedom Highway Complete: Recorded Live at Chicago's New Nazareth
    Church is a newly remixed, remastered and expanded edition of the live
    concert masterpiece recorded by the Staple Singers in April 1965 in support
    and celebration of that year's historic civil rights marches from Montgomery
    to Selma, Alabama. In this stirring collection you will find the fervent
    emotions and depth of feeling that only the most inspired gospel, folk and
    handclapping music can provide.
    p>
    First released on Epic Records as an LP in 1965 the original Freedom
    Highway album was constrained by the time limits of 12" vinyl and the full
    service was edited down to only include key performance tracks. Freedom
    Highway Complete: Recorded Live at Chicago's New Nazareth Church
    is newly expanded to include 30+ additional minutes of the original
    performance and church service.
    p>
    The exultant title song, "Freedom Highway", was written in March, 1965, at
    the time Rev. Martin Luther King led the momentous freedom march from
    Selma to Montgomery, Alabama. "When the Saints Go Marching In," "He's
    All Right" and "We Shall Overcome" are other songs of a jubilant nature. In
    the last selection, The Staple Singers are joined by the great choir of the
    New Nazareth Church under the direction of Miss Ora Lee Hopkins.

    1. Intro by Pops Staples*
    2. When The Saints Go Marching In
    3. The Funeral
    4. Build On That Shore
    5. We Shall Overcome
    6. Freedom Highway
    7. What You Gonna Do?
    8. Precious Lord, Take My Hand
    9. When I'm Gone
    10. Help Me Jesus
    11. Rev. Hopkins/Offering*
    12. Jesus Is All*
    13. Samson and Delilah*
    14. View The Holy City*
    15. Tell Heaven
    16. He's All Right
    17. Pops Outro*
    18. Benediction Save the Last Dance for Me*


    *Previously unreleased

    The Staple Singers
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Belafonte Sings The Blues Belafonte Sings The Blues Quick View

    $34.99
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    Belafonte Sings The Blues

    200 Gram LP Plated And Pressed At Quality Record Pressings


    Mastered By Kevin Gray At Cohearent Audio


    Old-Style Tip-On Heavyweight Jacket By Stoughton Printing


    A favorite off the recommended list by The Absolute Sound magazine, and, as expressed in the liner notes, Harry Belafonte's favorite recording. Belafonte has never before sung on records as he does in this album. He is freer, more earthy, more exultantly identified with his material than ever before. He has always communicated an often ferocious power as well as lyrical sensitivity, but in this collection he achieves a unity of emotional strength in and understanding of his material that marks an important stage in his evolution as an artist.


    Includes classic songs Cotton Fields, God Bless' The Child, Hallelujah I Love Her So. Recorded in New York City in January and March 1958, and in Hollywood, California, in June 1958.


    As the liner notes by Nat Hentoff state, there is not much to say about the individual performances that is not entirely clear on hearing them. Truly a classic for discerning audiophiles, Belafonte Sings The Blues was the first Belafonte album recorded in stereo. The sound is incredible, and the dead-silent backgrounds of QRP 200-gram vinyl preserve every exquisite detail! This is one of Belafonte's most satisfying set of performances.

    1. A Fool For You
    2. Losing Hand
    3. One For My Baby
    4. In The Evenin' Mama
    5. Hallelujah I Love Her So
    6. The Way That I Feel
    7. Cotton Fields
    8. God Bless' The Child
    9. Mary Ann
    10. Sinner's Prayer
    11. Fare Thee Well
    Harry Belafonte
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Reel To Real Reel To Real Quick View

    $28.99
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    Reel To Real

    Includes A Full-Color 28-Page Booklet


    Pressed At RTI


    High Moon Records presents the 1974 studio album from one of rock music's most gifted and enigmatic legends-back on vinyl after 40 years! Reel To Real captures Arthur Lee and Love at the peak of their rock/funk/soul powers. Originally released in 1974 on RSO Records, this deluxe reissue features over 74 minutes of vibrant, remastered audio from the original multitrack tapes, a 32- page booklet with an illuminating essay by Rolling Stone's David Fricke, and a trove of candid, unpublished photos.


    What Arthur Lee began on Love's Black Beauty (released by High Moon to wide acclaim in 2013), he brought to fruition on Reel To Real. Armed with a major label budget, and a powerful, intuitive band, he dug deep into the blues, soul, and rock grooves that fi rst inspired him, reaching out to a new audience with his fi erce and forward-thinking personal vision. To a palette of stinging guitars, explosive brass, deep funk bass and clavinet, splashes of spacey synthesizer, and dream-team female backing vocals, Arthur Lee brought his funkiest and most soulful collection of songs, and channeled the most visceral vocal performances he ever committed to tape.


    High Moon Records has unearthed 11 revelatory, previously unreleased tracks from the original sessions - including alternate takes and mixes, live-in-studio rehearsals, and 4 newly discovered Arthur Lee originals! This ultra-rare bonus material fills out the picture of a fearless, agile and very funky ensemble, led by a masterful singer-songwriter at his feral, exultant best.

    1. Time Is Like A River
    2. Stop The Music
    3. Who Are You?
    4. Good Old Fashion Dream
    5. Which Witch Is Which
    6. With A Little Energy
    7. Singing Cowboy
    8. Be Thankful For What You Got
    9. You Said You Would
    10. Busted Feet
    11. Everybody's Gotta Live
    Love
    $28.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Junk Junk Quick View

    $25.99
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    Junk

    "On the last album, there was too much of me." That's how Anthony
    Gonzalez - the sonic auteur behind that most sublime purveyor of
    symphonic-indie-electronic-dream pop, M83, describes the primary
    inspiration behind his forthcoming album Junk, released on April 8 by Mute.
    Highly anticipated, Junk is not just M83's first studio artist album in half
    a decade; it's also the follow-up to Hurry Up, We're Dreaming - which
    upon release in 2011 put M83 in the direct current of the mainstream. So
    why would Gonzalez try to remove himself from its follow-up and supplant
    himself with the surprising likes of Beck and Steve Vai. Wait, Steve Vai?
    The legendary virtuoso guitar hero who defined an era? On a M83 album in
    2016?


    In trying to "remove" his identifiable musical presence, ironically Gonzalez
    may have made one of his most personal efforts yet in Junk and with no
    compromise. With Junk, M83 has succeeded in making what Gonzalez
    called "an organized mess - a collection of songs that aren't made to live
    with each other, yet somehow work together. From album opener "Do It
    Try It", a fractured yet catchy mÉlange of old-school house music pianos
    and pop-art bubblegum hooks worthy of ABBA, to "Moon Crystal," an
    instrumental whose mutant retro-futurist grooves evoke Genesis doing a
    prog-disco remix of the Love Boat theme, to the smooth new wave-meets-electro-funk
    workout "Time Wind" (featuring vocals by Beck) to "Go!", an
    exultant synth-pop charmer featuring vocals from new M83 collaborator
    Mai Lan and guitar solo from legendary shredder, Steve Vai, one thing is
    perfectly clear: "Every time I make a M83 album, I'm trying to do it on my
    own terms - and it's the same for this one," Gonzalez says. "Whatever I do,
    whatever influences I have, it ends up sounding like me. As a musician, I'm
    just trying to take you somewhere else, beyond your world."

    1. Do It, Try It
    2. Go!
    3. Walkway Blues
    4. Bibi The Dog
    5. Moon Crystal
    6. For The Kids
    7. Solitude
    8. The Wizard
    9. Laser Gun
    10. Road Blaster
    11. Tension
    12. Atlantique Sud
    13. Time Wind
    14. Ludivine
    15. Sunday Night 1987
    M83
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Shaka Bundu Shaka Bundu Quick View

    $23.99
    Buy Now
    x

    Shaka Bundu

    The remarkable story of South
    African singer and dancer Penny
    Penny is t for Hollywood. A
    nearly homeless janitor without
    formal education gets a record
    deal, becomes a multi-platinum
    selling pop star, plays
    stadiums acrossAfrica, then
    builds a career as a popular
    politician for Nelson Mandela's
    African National Congress
    party. Penny Penny's debut
    recording Shaka Bundu,
    recorded in 1994, is the album
    that launched a 34-year-old
    Giyani Kulani Kobane from the
    streets of Johannesburg to the
    national political spotlight.


    After a chance meeting with Tsonga disco producer Joe Shirimani, just six months
    after apartheid was lifted, Penny Penny's Shaka Bundu was released and entered
    the consciousness of the entire country. Penny Penny became an immediate
    sensation, against the expectations of everyone involved. The album went on to
    sell more than 250,000 copies in SouthAfrica and Penny Penny has played to
    thousands on stadium stages from Liberia and Sierra Leone to Namibia and
    Mozambique.


    Using anAtari computer, Korg M1 synthesizer and reel-to-reel tape for vocals,
    Penny and Shirimani cut the entire record in just seven days. The music was
    something new for Tsonga disco. Penny s sound was dominated by slow tempo
    house rhythms rising and falling against his anthemic vocal exultations and steel
    drum synth sounds. Variations on call-and-response singing with a female chorus
    had been a characteristic of Tsonga music for generations and Penny adopted
    and twisted that approach with his rap-like delivery. Penny s husky, playful vocal
    performance is relatively light on lyrics and heavy on vibes. Shirimani
    constructed a signature sound for Penny was a static bass line, the sound of
    which contains the root tones of an organ but with a peculiar richness and
    depth. The producer won't reveal the secret of his trademark sound.


    Amidst all the success of subsequent albums and tours, Penny's passion grew
    into working with the people back in his home province. Eventually, Penny got
    into politics. In 2011, he was elected ward councillor for his region under the
    African National Congress party banner.


    Today, nearly 20 years since Shaka Bundu could be heard blasting from
    speakers across a new SouthAfrica, the music still sounds larger than life and
    worldly.And even today, despite shifting his energies from stadium shows to
    municipal matters, Penny Penny still sports his inimitable top-bun hairstyle.

    1. Shichangani
    2. Shibandza
    3. Ndzihere Bhi
    4. Dance Khomela
    5. Shaka Bundu
    6. Zirimini
    7. Milandu Bhe
    8. Shichangani (Remix)
    Penny Penny
    $23.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • I Hear You Knocking (Pure Pleasure) I Hear You Knocking (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    I Hear You Knocking (Pure Pleasure)

    Dave Bartholomew has often been quoted to the effect that Smiley Lewis was a »bad luck singer«, because he never sold more than 100,000 copies of his Imperial singles. In retrospect, Lewis was a lucky man in many respects - he enjoyed stellar support from New Orleans' ace sessioneers at Cosimo's, benefited from top-flight material and production (by Bartholomew), and left behind a legacy of marvelous Crescent City R&B. We're lucky he was there, that's for sure.



    Born with the unwieldy handle of Overton Lemons, Lewis hit the Big Easy in his mid-teens, armed with a big, booming voice and some guitar skills. He played clubs in the French Quarter, often with pianist Tuts Washington (and sometimes billed as 'Smiling' Lewis).



    As the New Orleans R&B sound developed rapidly during the early '50s, so did Lewis. He scored his first national hit in 1952 with The Bells Are Ringing, but enjoyed his biggest sales in 1955 with the exultant I Hear You Knocking (its immortal piano solo courtesy of Huey Smith). Here's where that alleged bad luck rears its head - pop chanteuse Gale Storm swiped his thunder for any pop crossover possibilities with her ludicrous whitewashed cover of the plaintive ballad.




    Musicians:



    • Smiley Lewis (guitar, vocal)




    Recording: At Cosimo's (New Orleans)

    Production: Dave Bartholomew




    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. Bells Are Ringing
    2. Standing on the Corner
    3. Blue Monday
    4. Down the Road
    5. Lost Weekend
    6. Real Gone Lover
    7. Bumpity Bump
    8. I Hear You Knocking
    9. I Can't Believe It
    10. Hey Girl
    11. One Night
    12. Nothing But the Blues
    Smiley Lewis
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • Long Live The Angels Long Live The Angels Quick View

    $34.99
    Buy Now
    x

    Long Live The Angels

    Long Live The Angels is a mesmerizing journey through the triumphs and tragedies of the last four years of Emeli SandÉ's extraordinary life. Exultant in its delivery and bold in its intent, the record is steeped in an unreserved sense of freedom and self-discovery. It will be released on November 11 via Universal Music Canada, the country's leading music company.


    It's from that feeling of freedom that new single "Hurts" was born, an uplifting track brimming with heart and soul. "This entire album is about me not holding back and not censoring myself, and 'Hurts' is an explosion, it's just real talk," explains SandÉ. A lot has happened to SandÉ in the four years since the resounding success of her critically acclaimed number one record, Our Version Of Events. Not only was it the biggest selling album of 2012 and second biggest selling album of 2013 in the UK, but it was also certified 7x platinum, spent seven non-consecutive weeks at No.1 and exceeded The Beatles' previous record by spending 63 consecutive weeks in the top 10 and selling over 4.6 million copies worldwide.


    The multi-instrumentalist initially made her mark as a songwriter in the UK urban scene via acts such as Wiley, Wretch 32 and Chip, later becoming a highly sought-after writer for a wide array of international acts including Alicia Keys, Rihanna, and Katy Perry. As 2013 came to a close, SandÉ was exhausted and unable to ignore the strain it was putting on a number of close relationships, "Sounds a bit dramatic but I just wanted to disappear. I just had this overwhelming sensation and realization everything had to stop," she reflects, "And then slowly it did."


    Recorded in New York, L.A, London, and Oxford, Long Live the Angels crackles with energy and a sense of euphoria for both listener and artist. Certain tracks may be slower in spirit, but are dynamic in delivery, "I made sure the production wasn't overworked," Emeli points out, "And I really went for it vocally!" SandÉ's outstanding voice sits at the heart of the record, underscoring the singer's mastery of both technique and form but also her natural intuition as a vocalist. Opening track "Selah", a short poem backed by a choral choir sets the tone, written solely by SandÉ during a time of reflection; it's a powerful and poignant introduction to the album.


    Next up is the sensational "Breathing Underwater", which SandÉ describes as "the ultimate journey in rebirth and self-discovery." The super stripped back "Give Me Something" is a wondrous take on keeping the faith despite the odds being stacked against you, and the beautifully melodic Shakes is a piano and strings-led masterpiece. "Garden" harks back to SandÉ's urban roots, written and produced in London with Jay Electronica, who also features on the track. It's a reminder that Emeli's influences are as much R&B and rap as they are singer/songwriter. "Lonely" is a long hard look at love and has the feel of a track made on a summery late sixties afternoon. "Sweet Architect" (Johnny Coffer and Mojam) is the show-stopping centerpiece punctuated by the most remarkable choir.


    Towards the close of Long Live the Angels, we witness a jubilant SandÉ experiencing the hopes of new possibilities; "Every Single Little Piece" is a stirring mid-tempo ballad, with a huge chorus and soul-stirring strings and the uplifting "Highs & Lows" is a dedication to her family, her history and her heritage.


    Long Live The Angels marks a brand new chapter in SandÉ's life, "I'm proud of my first album and thankful for the experiences it gave me. But I'm so much happier with my new album and with where I am in life."

    LP 1
    1. Selah
    2. Breathing Underwater
    3. Happen
    4. Hurts
    5. Give Me Something
    6. Right Now
    7. Shakes


    LP 2
    1. Garden
    2. I'd Rather Not
    3. Lonely
    4. Sweet Architect
    5. Tenderly
    6. Every Single Little Piece
    7. Highs & Lows
    8. Babe

    Emeli Sande
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Bright Moments (Pure Pleasure) Bright Moments (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Bright Moments (Pure Pleasure)

    Rahsaan Roland Kirk's live club gigs were usually engaging, freewheeling affairs, full of good humor and a fantastically wide range of music. The double album Bright Moments is a near-definitive document of the Kirk live experience, and his greatest album of the '70s. The extroverted Kirk was in his element in front of an audience, always chatting, explaining his concepts, and recounting bits of jazz history. Even if some of his long, jive-talking intros can sound a little dated today, it's clear in the outcome of the music that Kirk fed voraciously off the energy of the room.


    Most of the tracks are long (seven minutes or more), demonstrating Kirk's wealth of soloing ideas in a variety of styles (and, naturally, on a variety of instruments). Pedal Up is a jaw-dropping demonstration of Kirk's never-duplicated three-horns-at-once technique, including plenty of unaccompanied passages that simply sound impossible. There's more quintessential Kirk weirdness on Fly Town Nose Blues, which heavily features an instrument called the nose flute, and the title track has a healthy dose of Kirk singing through his (traditional) flute.


    His repertoire is typically eclectic: Ellington's Prelude to a Kiss; a groovy Bacharach pop tune in You'll Never Get To Heaven; a lovely version of Fats Waller's Jitterbug Waltz; and a stomping, exultant New Orleans-style original, Dem Red Beans and Rice. Perhaps the best, however, is an impassioned rendition of the ballad standard If I Loved You, where Kirk's viscerally raw, honking tone hints in a roundabout way at the avant-garde without ever losing its melodic foundation. Bright Moments empties all the major items out of Kirk's bag of tricks, providing a neat microcosm of his talents and displaying a consummate and knowledgeable showman. In short, it's nothing less than a 'tour de force'.



    Musicians:



    • Rahsaan Roland Kirk (tenor saxophone, flute)

    • Ron Burton (piano)

    • Henry Pearson (bass)

    • Todd Barkan (synthesizer)

    • Joe Habao (percussion)

    • Robert Shy (drums)



    Recording: 1973 live at Keystone Korner, San Francisco, by Biff Davies, Ed Barton & Jack Crymes

    Production: Joel Dorn



    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.

    LP 1
    1. Introduction
    2. Pedal Up
    3. You'll Never Get To Heaven
    4. Clackety Clack
    5. Prelude To A Kiss
    6. Talk (Electric Nose)
    7. Fly Town Nose Blues


    LP 2
    1. Talk (Bright Moments)
    2. Bright Moments Song
    3. Dem Red Beans And Rice
    4. If I Loved You
    5. Talk (Fats Waller)
    6. Jitterbug Waltz
    7. Second Line Jump

    Rahsaan Roland Kirk
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Burn Your Fire For No Witness Burn Your Fire For No Witness Quick View

    $17.99
    Buy Now
    x

    Burn Your Fire For No Witness

    Many of the superlatives describing Angel Olsen refer to how seemingly little it takes for her to
    leave an audience speechless, even spellbound. But Olsen has never been as timid as those
    descriptors imply, and the noisy, fiery hints in her earlier work find a fuller expression on her
    newest LP, Burn Your Fire for No Witness. Here, Olsen sings with full-throated exultation,
    admonition, and bold, expressive melody.Also,with the help of producer John Congleton, her
    music now crackles with a churning,rumbling low end and a brighter energy.


    Angel Olsen began singing as a young girl in St. Louis, where she explored the remarkable
    range of her voice and the places it could take her songwriting. Her self-released debut EP,
    Strange Cacti, belied both that early period of discovery and her Midwestern roots. Cautious
    and homespun on the one hand,the EP transported us to a mystical, unrecognizable world on
    the other, and it garnered extensive praise for its enigmatic beauty.Olsen then went further on
    Half Way Home, her first full-length album (released on Bathetic Records), which mined
    essential themes while showcasing a more developed voice. Olsen dared to be more personal.


    After extensive touring, Olsen eventually settled for a time in Chicago's Logan Square
    neighborhood, where she created a collection of songs grown in a year of heartbreak, travel,
    and transformation. The new songs go on to tell us to leave, or to high-five a lover who is
    lacking, or to dance our way up and out of sorrow. Many of them also remain essentially
    unchanged from their bare beginnings.In leaving them so intact, a more self-assured Olsen is
    opening up to us, allowing us to be in the room with her at the very genesis of these songs,
    when the thread of creation is most vulnerable and least filtered. Our reward for entering this
    room are many head-turning moments and the powerful, unsettling recognition of ourselves
    in the weave of her songs.


    This act of meaning-making recurs as a theme throughout the album, as the sublimating
    response to the power of negativity.In the song,Stars,for example,Olsen wishes to"have the
    voice of everything" and in a moment of hatefulness and hurt realizes that the strength of fury
    results in the power she had been seeking all along. Thankfully for us, Olsen has decided to
    channel a lot of this new found power into the ethereal, hypnotic performances of her new and
    revealing songs,sharing with us the full grace and beauty of her transformative moments.


    -Matthew Didier

    1. Unfucktheworld
    2. Forgiven/Forgotten
    3. Hi-Five
    4. White Fire
    5. High & Wild
    6. Lights Out
    7. Stars
    8. Iota
    9. Dance Slow Decades
    10. Enemy
    11. Windows
    Angel Olsen
    $17.99
    Vinyl LP - Sealed Buy Now
  • Gord Downie, The Sadies, And The Conquering Sun Gord Downie, The Sadies, And The Conquering Sun Quick View

    $22.99
    Buy Now
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    Gord Downie, The Sadies, And The Conquering Sun

    Gord Downie, The Sadies, And The Conquering Sun begins with Crater, a ragged anthem that erupts with frayed guitar and thundering rhythm. Dallas and Travis Good's trudging riffs light the low-slung growl of Gord Downie:


    Hello there / Gentle Son / A crater / We're creating!


    Crater is an arrival: the mission statement of a young band unhinged, igniting ten songs of visceral punk rock exultation. Gord Downie, The Sadies, And The Conquering Sun is a spirited exploration of the darkness surrounding daylight, a rallying cry from the Secret Museum of Mankind:


    Crater! / Getting crushed in our dreams / Or in our dreams / Doing all the crushing


    Downie's words burn in unison with the charging Sadies, the mantra of a band forged out of primal necessity. This album is a vital, reckless, and ecstatic moment, gleaming with the proud imperfections of a group discovering its voice.


    It came together urgently but slowly, after the long-time Toronto friends first recorded together for Lake Ontario Waterkeepers in 2006. Fleeting sessions over the next seven years yielded finished songs in immediate, alchemical takes. Gord Downie, The Sadies, And The Conquering Sun is the action of first-thought-best-thought.


    The project's namesake, The Conquering Sun fuses The Sadies' rusted psychedelia with Downie's humble, volatile wail. Mike Belitsky's roiling drums, and Sean Dean's sure, standing bass spur the band through uncharted desert-scapes.


    Working the fugitive dust / Under the conquering sun / Nature, please be good to us / Under the conquering sun


    Each song brims with energy, electricity embellishing a simple, rustic core. Acoustic inflections are cached in the album's array of fiery environments, staggering in its balance of ferocity and craft.


    Downie cries out possessed on It Didn't Start To Break My Heart Until This Afternoon: a pulsating blast of brash guitars and fuzzed-out gnarl.


    Drive it like we stole it / Through the snowflakes, into the cold of the sun


    On Budget Shoes, guitars shine over the tumbling bedrock of desolate but hopeful imagism. Downie writes in a universal voice, with a chorus taunting shadow from light. On Los Angeles Times, nations gather under that conquering blaze, singing unanimous poetry of promise and provocation:


    Raise a glass of hope / Raise a glass of liberty / And a glass of something else / May we be at ease with ourselves!


    The Sadies' effortlessly invoke this primitive emotion, intuiting Downie's themes with rollicking instrumental passages. On Devil Enough, Downie's solemn musings are liberated by The Sadies' roving plainsong; sobering internal sentiment brought to life with the flame of improvisation:


    You're making me drop things / I can't hold my cup / My state of being / Isn't what it was / The light the light / And my eyes adjust / What?s for sure is Devil Enough


    One Good Fast Job sneers like a siren, blunt guitars circling Downie's snarl. Demand Destruction pops with environmental pressure, coaxing an answer to a nuclear dilemma:


    And as the sun went down behind the shadow / Of this invisible war / You say, Is this accident ever over anymore?


    Gord Downie, The Sadies, And The Conquering Sun spans depths and ages in its relentless half-hour, before concluding on an only note of reprieve. Saved dwells in the light of darkness, capturing our silent vibration of debt to the source. The album's last moments glint in the rapturous calm of collective awe:


    You say nothing can be saved / It all goes away / Darkness falls and colours fade / And the music gets so loud it flaps your pant legs


    Gord Downie, The Sadies, And The Conquering Sun boils with hope and irreverence; toils with fire as a tool and a curse. This is the combustion of brotherhood and dissent: music of wisdom and innocence:


    It is the work, day is your word, night is the glue.


    by Jonathan Shedletzky

    1. Crater
    2. The Conquering Sun
    3. Los Angeles Times
    4. One Good Fast Job
    5. It Didn't Start To Break My Heart Until This Afternoon
    6. Budget Shoes
    7. Demand Destruction
    8. Devil Enough
    9. I'm Free, Disarray Me
    10. Saved
    Gord Downie, The Sadies, and The Conquering Sun
    $22.99
    Vinyl LP - Sealed Buy Now
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