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Peace... Back By Popular Demand (Pure Pleasure)Peace ... Back By Popular Demand finds Keb' Mo' covering nine classic protest and peace songs from the 1960s and early '70s, and what is immediately apparent is how well these songs translate forward into the current political milieu. This is an album where the songs themselves are the stars, and Keb' Mo' wisely takes a low-key and measured vocal approach to each of them, letting the messages take hold over light soul-jazz backings, with just enough funk in the horn charts to give the arrangements some push. It's hard to argue with the song selection, but as an interpreter, Mo' seldom makes any of these tracks his own, and behind each stands the ghostly but clear memory of the original version. Obviously Mo' isn't trying to top the Hit Parade with anything here, and his effort to bring these important songs into a new light is laudable. Peace ... Back By Popular Demand is not a major album, but it does have some major things to say, or re-say, in this case, and it serves as a reminder that every era could use (and deserves) some peace.
- Keb' Mo' (guitar, bass, mandolin, vocal, dobro)
- Mindi Abair (alto saxophone, soprano saxophone)
- Nick Lane (trombone)
- Jeff Paris (keyboards, mandolin, piano, organ)
- James Harrah (guitar)
- Mark Cargill (violin, director)
- Reggie McBride (bass)
- Paulinho Da Costa (percussion)
- Stephen Ferrone (drums)
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. For What It's Worth
2. Wake Up Everybody
3. People Got To Be Free
5. What's Happening Brother
6. The Times They Are a Changin'
7. Get Together
8. Someday We'll All Be Free
9. What's So Funny 'Bout Peace, Love
10. Imagine$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now