- Lowest Price
- Highest Price
Fresh Cream (Bonus Tracks)Ranked 101/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
By the time Cream formed in 1966, Eric Clapton was already fairly well known, having already performed and recorded with the Yardbirds and John Mayalls Bluesbreakers. However, it was in Cream that Clapton became a global superstar. Breaking free of the traditional rock & roll song structure for a more improvisational / jazz influenced take, the bands long jams gave birth to a whole new approach to rock music. When their debut album Fresh Cream was released in 1966 it immediately became the standard by which all other bands of the era were judged. Includes 5 bonus tracks.1. I Feel Free (Bonus Track)
3. Sleepy Time Time
5. Sweet Wine
7. The Coffee Song (Bonus Track)
8. Cat's Squirrel
9. Four Until Late
10. Rollin' And Tumblin'
11. I'm So Glad
13. Wrapping Paper (Bonus Track)
14. You Make Me Feel (Bonus Track)
15. Lawdy Mama (Bonus Track)$32.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Fresh Cream (Deluxe)Set Of 6x180-Gram Heavyweight Black LPs Housed In A Rigid Slipcase
64-Page Perfect Bound LP Sized Book
New Sleeve Notes From Highly Respected Rolling Stone Writer David Fricke
Fresh Cream is the first album by Cream, released in 1966. Laid down at the height of the UK blues boom, Fresh Cream covers the kind of territory you might expect from three of the most respected players on the scene at the time. With Clapton fresh just from his time with John Mayall, Ginger Baker leaving behind the R'n'B backwaters of Graham Bond Organisation, and a woefully under-employed Jack Bruce hightailing it from the increasingly pop-leaning Manfred Mann, the electric blues was their natural turf.
Highlights include the racing harmonica work-out, and the call and response excitements on Muddy Waters' "Rollin' and Tumblin'", a spine-tingled vocal on the Willie Dixon classic, "Spoonful", as well as the self-penned "Sleepy Time Time" which gives Clapton a free hand to wake up all and sundry. The traditional standard, Cat's Squirrel is given a rousing treatment, showing how well these players meshed.LP 1: Fresh Cream Mono Album (Reaction 593001):
1. N.S.U. (Mono Mix)
2. Sleepy Time Time (Mono Mix)
3. Dreaming (Mono Mix)
4. Sweet Wine (Mono Mix)
5. Spoonful (Mono Mix)
6. Cat's Squirrel (Mono Mix)
7. Four Until Late (Mono Mix)
8. Rollin' And Tumblin' (Mono Mix)
9. I'm So Glad (Mono Mix)
10. Toad (Mono Mix)
LP 2: Session Recording - Mono Mix, The Mono Singles And The Mono French Eps:
1. The Coffee Song Mono Mix
2. Wrapping Paper (First UK Single A-Side)
3. Cat's Squirrel (First UK Single B-Side)
4. I Feel Free (Second UK Single A-Side)
5. N.S.U. (Second UK Single B-Side)
6. Spoonful Part I (Third US Single A-Side)
7. Spoonful Part II (Third US Single B-Side)
8. Wrapping Paper (Alternate Mix)
9. Sweet Wine (Alternate Mix)
10. I'm So Glad
11. Cat's Squirrel (Alternate Master)
12. I Feel Free (Alternate Mix)
13. Rollin' And Tumblin' (Alternate Master)
15. Four Until Late
LP 3: Fresh Cream Stereo Album:
2. Sleepy Time Time
4. Sweet Wine
6. Cat's Squirrel
7. Four Until Late
8. Rollin' And Tumblin'
9. I'm So Glad
LP 4: Session Recordings - Stereo Mixes And New Stereo Mixes:
1. I Feel Free
2. Wrapping Paper
3. The Coffee Song
4. I'm So Glad (New Stereo Mix)
5. N.S.U. (New Stereo Mix)
6. Wrapping Paper (New Stereo Mix)
7. The Coffee Song (New Stereo Mix)
8. Rollin' And Tumblin' (First Version - New Stereo Mix)
9. Spoonful (First Version - New Stereo Mix)
10. Toad (New Stereo Mix)
LP 5: Fresh Cream Early Versions, Outtakes And Alternate Mixes:
1. Coffee Song (Early Version)
2. Beauty Queen (Demo Version)
3. You Make Me Feel (Demo Version)
4. Wrapping Paper (Early Version)
5. Cat's Squirrel (Early Version)
6. I Feel Free (Early Version)
7. I Feel Free (Mix With No Lead Vocal)
8. I Feel Free (Alternate Mono Mix)
9. Sweet Wine (Early Version)
10. Rollin' And Tumblin' (Early Version)
11. Toad (Early Version)
LP 6: The BBC Sessions (November 1966 - January 1967):
BBC Light Programme "Saturday Club" Session. Recorded 8th November 1966:
1. Sweet Wine
2. Eric Clapton Interview
3. Wrapping Paper
4. Rollin' And Tumblin'
5. Sleepy Time Time (Previously Unreleased)
6. Steppin' Out
BBC Home Service "Guitar Club" Session. Recorded 28th November 1966:
8. Steppin' Out (Previously Unreleased)
BBC World Service R & B Club Session. Recorded 9th December 1966:
9. Cat's Squirrel
11. I'm So Glad
12. Lawdy Mama
BBC Light Programme "Saturday Club" Session. Recorded 10th January 1967:
13. Eric Clapton Interview
14. I Feel Free
16. Four Until Late$109.99180 Gram Audiophile Virgin Vinyl LP Box Set - 6 LPs Sealed Buy Now
Fresh CreamBy the time Cream formed in 1966, Eric Clapton was already fairly well known, having already performed and recorded with the Yardbirds and John Mayalls Bluesbreakers. However, it was in Cream that Clapton became a global superstar. Breaking free of the traditional rock & roll song structure for a more improvisational / jazz influenced take, the bands long jams gave birth to a whole new approach to rock music. When their debut album Fresh Cream was released in 1966 it immediately became the standard by which all other bands of the era were judged.1. N.S.U.
2. SLeepy Time Time
4. Sweet Wine
6. Cat's Squirrel
7. Four Until Late
8. Rollin' and Tumblin'
9. I'm So Glad
10. Toad$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Hi De Hi De Ho (Pure Pleasure)In that wistful, screwball age that was the Thirties, one man, practically single-handed, launched an era of musical nonsense that had the whole nation humming bits of rhythmic fol-de-rol.
It was Cab Calloway, the 'Hi-De-Ho man' in cream colored tails who gyrated to the point of actually flying while leading his band, and who sang slightly insane ditties (as well as the leading hit songs of the day) in a remarkably rich and resonant baritone. The Cab was one of that group of leaders of the 1930's who, although playing no musical instrument, collected a fine band and a completely personal style.
In this album, Cab has freshly recorded a dozen of his biggest hits of former years, taking full advantage of the most modern high fidelity recording techniques. In so many ways Cab symbolized that whole era of "The Jumpin' Jive" when people needed something to make you nine feet tall when you're four feet five .
- Cab Calloway (voc) & orchestra
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 Hi De Ho Man (That's Me)
2. I'll Be Around
4. It Ain't Necessarily So
5. Kickin' the Gong Around
6. You Rascal You
7. Minnie the Moocher (The Ho De Ho Song)
8. I See a Million People (But All I Can See Is You)
9. St. James Infirmary
10. Stormy Weather
11. The Jumpin' Jive$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
$100 FineHow do you top THE LITTER'S godlike '67 longplayer, Distortions? Well, you don't. But leave it to THE LITTER to deliver the equally essential (not to mention hopelessly rare) '68 follow-up, $100 Fine. From the ultra-explosive album opener, "Mindbreaker" (where the Distortions sound now takes on Blue Cheer-like heaviosity) to the LP's epic finale; a nine-minute, ambitiously retooled "She's Not There," $100 Fine ranks as one of its era's masterpieces.
In a tradition established on Distortions, THE LITTER again prove they were the most totally inspired - no, make that totally English-inspired - cover band to invade a US recording studio. $100 Fine includes exceptional covers of Jeff Beck ("Tally Man"), newcomers Procol Harum ("Kaleidoscope"), and last but certainly most obscure, a cover of "Here I Go Again" by Eire Apparent.
But what separates $100 Fine from its predecessor is the emergence of original material; from the 'Fresh Cream'-style harmonica wailer "Blues One" to heavier psychedelic fare like "(Under the Screaming Double) Eagle." For further enticement, we should mention everything is drenched in double-tracked, screaming fuzz from Midwest guitar legend Tom "Zip" Caplan. Unfairly rare but now rescued by Sundazed and sounding exactly like it should. PLAY LOUD!!!! PLAY EVEN LOUDER!!!!1. Mindbreaker
3. Here I Go Again
4. Morning Sun
5. (Under the Screaming Double) Eagle
6. Apologies to 2069
8. Blues One
9. She's Not There$24.99Vinyl LP - Sealed Buy Now
The Columbia Years 1968-1969All Tracks Previously Unreleased (Except Track B5/8)
Production By Miles Davis & Teo Macero
Featuring Performances From Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John Mclaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band Of Gypsys), Larry Young, And Members Of The Jazz Crusaders
Remastered From The Original Analog Master Tapes
New Interviews, Rare Photos, And Unseen Historical Documents From The Teo Macero Archive
One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song ''Uptown'' for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending DIY ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix-personally inspiring the classic album, Bitches Brew.
Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia's 52nd Street Studios on May 14th and 20th, 1969. The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks. Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young. Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time. These historic sessions-never heard, never bootlegged-predate Miles' revolutionary album, Bitches Brew, and are the true birth of Miles' jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers.
The vibe is intrinsically unique, fresh, and futuristic-jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace. The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn't be fully realized until years later with Miles' seminal On The Corner.
Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles. The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders-including trombonist Wayne Henderson and pianist Joe Sample. Two of the three tracks included here from this session are previously unreleased.
This deluxe package is a treasure trove for both Betty and Miles fans, including rare documents from the pen of co-producer Teo Macero, rarely seen photos from legendary photographer Baron Wolman, and new interviews with Mrs. Davis herself, Harvey Brooks, and Hugh Masekela-the entire project overseen with Betty's full blessing.1. Hangin' Out
2. Politician Man
3. Down Home Girl
4. Born On The Bayou
5. I'm Ready, Willing & Able (Take 1)
6. I'm Ready, Willing & Able (Take 9)
7. It's My Life (Alternate Take)
8. Live, Love, Learn
9. My Soul Is Tired$25.99Vinyl LP - Sealed Buy Now