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  • Power Of Soul (Awaiting Repress) Power Of Soul (Awaiting Repress) Quick View

    $13.99
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    Power Of Soul (Awaiting Repress)

    Power Of Soul
    Piece Of Mind
    The Saddest Thing
    Loran's Dance
    Idris Muhammad
    $13.99
    Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
  • The Main Attraction The Main Attraction Quick View

    $14.99
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    The Main Attraction

    The Main Attraction is an album by American jazz guitarist Grant Green featuring performances recorded in 1976 and released on the Kudu label.


    Arranged by Dave Matthews


    Musicians:

    Grant Green - guitar/all solos

    Steve Khan - guitar

    Don Grolnick - electric piano, clavinet

    Will Lee - bass

    Andy Newmark - drums

    Carlos Charles - conga, percussion

    Sue Evans - percussion

    Hubert Laws - flute

    Burt Collins, Jon Faddis - trumpet

    Sam Burtis - trombone

    Michael Brecker - saxophone/all tenor solos

    Ronnie Cuber - baritone saxophone

    Joe Farrell - tenor saxophone

    1. The Main Attraction
    2. Future Feature
    3. Creature
    Grant Green
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • Wild Horses Rock Steady Wild Horses Rock Steady Quick View

    $14.99
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    Wild Horses Rock Steady

    Johnny Hammond's 1972 soul-jazz beauty is another stunning example of great creativity at Creed Taylor's Kudu label through the mid-'70s. Arranged by Bob James, Hammond's trademark B-3 work is showcased here on six extended cover versions of tunes from the pop vernacular. The lineup includes guitarists George Benson, Eric Gale, and Melvin Sparks, saxophonists Grover Washington, Jr. and Pepper Adams, bassist Ron Carter (playing electric as well as double bass), and drummers Bernard Purdie and Billy Cobham! There are grooves galore in this wondrously mixed set, from the smoking guitar breaks in the read of Aretha Franklin's Rock Steady to the syncopated organ pyrotechnics in It's Impossible, with Washington playing his ass off around Hammond's organ breaks, and the beautiful horn arrangements by James in Peace Train. The funky-butt glimmer in I Don't Know How to Love Him could have been played by the Stax/Volt horns with a Funk Brothers rhythm section. James weaves a string section in harmonic counterpoint to Hammond's organ in the melody, creating a moving tapestry of textures against the backbeat. But nothing can prepare the listener for the closing cover of Jagger and Richard's Wild Horses, with a military snare beat providing an unlikely intro to an All Along the Watchtower-like progression that transforms itself seamlessly into a darkly minor reading of the original melody, with beautiful fills by Benson and Sparks. When the horns kick in during the refrain with plenty of fuzz guitar and bass over the top, the listener falls headlong into the magic of dirty groove and roll.

    - Thom Jurek (All Music)
    1. Rock Steady
    2. Who Is Sylvia?
    3. Peace Train
    4. I Don't Know How to Love Him
    5. It's Impossible
    6. Wild Horses
    Johnny Hammond
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • Alone Again, Naturally Alone Again, Naturally Quick View

    $14.99
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    Alone Again, Naturally

    Originally released in 1972, ALONE AGAIN, NATURALLY is a fine album by the eclectic and talented soul star Esther Phillips. Helmed by jazz producer Creed Taylor, and recorded with an all-star cast of fusion, soul, and jazz artists including George Benson, Maceo Parker, Ron Carter, and Billy Cobham, this is the early 1970s Creed Taylor sound adapted to pop and soul music, putting Phillips' impassioned vocals in slick, mellow soul-jazz grooves.

    -All Music Guide
    1. Use Me
    2. I Don't Want To Do Wrong
    3. Let's Move & Groove
    4. Let Me In Your Life
    5. Cherry Red
    6. I've Never Found A Man (To Love Me Like You Do)
    7. Alone Again (Naturally)
    8. Do Right Woman, Do Right Man
    9. You & Me Together
    10. Georgia Rose
    Esther Phillips
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • From A Whisper To A Scream (Pure Pleasure) (Awaiting Repress) From A Whisper To A Scream (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
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    From A Whisper To A Scream (Pure Pleasure) (Awaiting Repress)

    One of Esther Phillips finest '70s releases, From A Whisper To A Scream is the first of seven albums the singer recorded for CTI offshoot Kudu. Arranged and conducted by Pee Wee Ellis, the December 1971 session also involved principal players such as bassist Gordon Edwards, drummer Bernard Purdie, percussionist Airto, guitarists Cornell Dupree and Eric Gale, keyboardist Richard Tee, and saxophonists Hank Crawford and David Liebman. Setting the tone for Phillips' Kudu era, Whisper offers a series of spacious, yet fully arranged ballads of burning heartache, along with a handful of relatively funky numbers that do nothing to compromise her talent, dishing out loads of classy grit. It's a definite point of departure from the likes of Esther Phillips Sings and And I Love Him!, her field of contemporaries closer to Al Green and Aretha Franklin than before. She grabs onto Home Is Where The Hatred Is, Gil Scott-Heron's most harrowing rumination on drug dependency -- which, at that point, wasn't even a year old -- as if it were her very own, and it's all the more poignant given its parallels with her own life. (It's meaning was only compounded by her death in 1984.) Though there is absolutely nothing lacking in the album's more energetic moments, it's still the ballads that shine brightest, like the alternately fragile and explosive From A Whisper To A Scream (Allen Toussaint) and a staggering Baby, I'm for Real (Marvin and Anna Gordy, made popular by the Originals) so vulnerable yet commanding that it really should've closed the album.



    Musicians:



    • Esther Phillips (vocal)

    • Pee Wee Ellis (arranger, conductor)

    • Hank Crawford (alto saxophone)

    • David Liebman (bassoon, flute)

    • Eric Gale (guitar)

    • Gordon Edwards (bass)

    • Airto Moreira (percussion)

    • Bernard Purdie (drums)




    Recording: December 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    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. Home Is Where The Hatred Is
    2. From A Whisper To A Scream
    3. To Lay Down Beside You
    4. That's All Right With Me
    5. 'tTll My Back Ain't Got No Bone
    6. Sweet Touch Of Love
    7. Baby, I'm For Real
    8. Your Love Is So Doggone Good
    9. Scarred Knees
    Esther Phillips
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Beyond The Blue Horizon: George Benson (Speakers Corner) Beyond The Blue Horizon: George Benson (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Beyond The Blue Horizon: George Benson (Speakers Corner)

    George Benson was the pupil, Wes Montgomery his teacher! And the sound of the great maestro, who played without the use of a plectrum, is quite unmistakable in this recording produced by CTI Records with George Benson in 1971. Producer Creed Taylor showed good judgement when he teamed Benson up with a small yet supremely talented group of musicians: Jack De Johnette on the drums takes Ron Carter's bass and Clarence Palmer's organ on a superb ride. Carter and Benson had met one another briefly during a Miles Davis recording session, but there the drummer was Tony Williams. Here, with Jack DeJohnette participating, the numbers on this LP gain real soul. But the lyrical side doesn't come too short either: Ode To A Kudu demonstrates this particular attribute of Benson's to perfection. And Somewhere To The East proves that he isn't afraid to experiment. All in all, this is a top album from George Benson's long and commercially successful career.



    Musicians:



    • George Benson (guitar)

    • Clarence Palmer (organ)

    • Ron Carter (bass)

    • Jack DeJohnette (drums)

    • Michael Cameron, Albert Nicholson (percussion)



    Recording: February 1971 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    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. So What
    2. The Gentle Rain
    3. All Clear
    4. Ode To a Kudu
    5. Somewhere In the East
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bosnian Rainbows Bosnian Rainbows Quick View

    $23.99
    Buy Now
    x

    Bosnian Rainbows

    Bosnian Rainbows is a new band featuring Omar Rodriguez Lopez (The Mars Volta, At the Drive-In), Teri Gender Bender (Le Butcherettes), Nicci Kasper (Kudu, KRS-ONE) and Deantoni Parks (John Cale, The Mars Volta).


    Since forming in the Summer of 2012, they have toured extensively in North America, Europe, Russia, Australia, New Zealand, and Japan. They made their U.S. festival debut at last September's Fun Fun Fun Fest, and appeared at Festival Vive Latino at Mexico City's Foro Sol Stadium in March 2013.

    1. Eli
    2. Worthless
    3. Dig Right In Me
    4. The Eye Fell In Love
    5. Cry For You
    6. Morning Sickness
    7. Torn Maps
    8. Turtle Neck
    9. Always On The Run
    10. Red
    11. Mother, Father, Set Us Free
    Bosnian Rainbows
    $23.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • From A Whisper To A Scream (Out Of Stock) From A Whisper To A Scream (Out Of Stock) Quick View

    $14.99
    x

    From A Whisper To A Scream (Out Of Stock)

    One of Esther Phillips finest '70s releases, From a Whisper to a Scream is the first of seven albums the singer recorded for CTI offshoot Kudu. Arranged and conducted by Pee Wee Ellis, the December 1971 session also involved principal players such as bassist Gordon Edwards, drummer Bernard Purdie, percussionist Airto, guitarists Cornell Dupree and Eric Gale, keyboardist Richard Tee, and saxophonists Hank Crawford and David Liebman.


    Setting the tone for Phillips' Kudu era, Whisper offers a series of spacious, yet fully arranged ballads of burning heartache, along with a handful of relatively funky numbers that do nothing to compromise her talent, dishing out loads of classy grit. It's a definite point of departure from the likes of Esther Phillips Sings and And I Love Him, her field of contemporaries closer to Al Green and Aretha Franklin than before. She grabs onto Home Is Where the Hatred Is, Gil Scott-Heron's most harrowing rumination on drug dependency -- which, at that point, wasn't even a year old -- as if it were her very own, and it's all the more poignant given its parallels with her own life. (Its meaning was only compounded by her death in 1984.)


    Though there is absolutely nothing lacking in the album's more energetic moments, it's still the ballads that shine brightest, like the alternately fragile and explosive From a Whisper to a Scream (Allen Toussaint) and a staggering Baby, I'm for Real (Marvin and Anna Gordy, made popular by the Originals) so vulnerable yet commanding that it really should've closed the album.


    - Andy Kellman (All Music Guide)

    1. Home Is Where The Hatred Is
    2. From A Whisper To A Scream
    3. To Lay Down Beside You
    4. That's All Right With Me
    5. 'tTll My Back Ain't Got No Bone
    6. Sweet Touch Of Love
    7. Baby, I'm For Real
    8. Your Love Is So Doggone Good
    9. Scarred Knees
    Esther Phillips
    $14.99
    Vinyl LP Reissue - Sealed Temporarily out of stock
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