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  • Pure Country Soundtrack (Pre-Order) Pure Country Soundtrack (Pre-Order) Quick View

    $19.99
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    Pure Country Soundtrack (Pre-Order)

    25th Anniversary First-Time Vinyl Pressing


    Country legend George Strait is releasing the Pure Country soundtrack on vinyl to celebrate the 25th anniversary of the album. This limited-edition pressing is the first time that the soundtrack is being released in the vinyl format.


    Pure Country, one of Strait's greatest successes, hit No. 1, eventually selling more than 6 million copies, in part due to its two No. 1 hit singles: "I Cross My Heart" and "Heartland." His song "When Did You Stop Loving Me" also reached No. 6 on charts.


    In terms of the film itself, Pure Country opened at No. 6 the week of its release, earning $2,739,680 in its opening week, taking in over $15 million in total. In the film, Strait plays Wyatt "Dusty" Chandler, one of the biggest stars in country music, who becomes disillusioned with his success. Strait's character simply walks away from it all, returning to his hometown to get back in touch with his roots by working at a ranch.


    Kelefa Sanneh writes in the New Yorker that Strait "was persuaded by the producer Jerry Weintraub, and by Colonel Tom Parker, the former manager of Elvis Presley After a concert in Las Vegas, Parker told Strait how important Hollywood had been to Presley. 'Elvis hated making those movies,' he said - but they transformed him from a pop star to an icon.'"


    - Courtney Carr (theboot.com)

    1. Heartland
    2. Baby Your Baby
    3. I Cross My Heart
    4. When Did You Stop Loving Me
    5. She Lays It All on the Line
    6. Overnight Male
    7. Last in Love
    8. Thoughts of a Fool
    9. The King of Broken Hearts
    10. Where the Sidewalk Ends
    11. Heartland (Main Title Sequence)
    George Strait
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Country Sleep Country Sleep Quick View

    $17.99
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    Country Sleep

    Welcome to the sound of Winston Yellen and Night Beds, who in one stunning ten-track debut album Country Sleep, have shown that there is plenty of life left in the world of American music if you have the voice, the songs and the gift to touch hearts and souls. Think of a space between Mark Kozelek (Red House Painters/Sun Kil Moon), Gram Parsons and the dreamier side of My Morning Jacket; a heavenly place of pure country soul, touched by an endearing innocence and honesty that can only come from someone still in their early twenties.
    1. Faithful Heights
    2. Ramona
    3. Even If We Try
    4. 22
    5. Borrowed Time
    6. Cherry Blossoms
    7. Wanted You In August
    8. Lost Springs
    9. Was I For You?
    10. Tenn
    Night Beds
    $17.99
    Vinyl LP - Sealed Buy Now
  • Country Life Country Life Quick View

    $24.99
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    Country Life

    Ranked 387/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Country Life is Roxy Music's second release after the departure of Brian Eno and it's arguably the highpoint of the band's ouput from that era. The haunting, melancholic The Thrill of It All, the art-rockin' Out of the Blue, the almost-pure '50s rock of If It Takes All Night, the decadent affectations of A Really Good Time and the concluding Prairie Rose, all offer glimpses of alternative rock before the genre even existed. The combination of textures is exhilarating, and the songwriting which draws on elements of R&B, cabaret music and glam rock is among the band's most accomplished. Here on Limited Edition 180 gram Vinyl.

    1. The Thrill of It All
    2. Three and Nine
    3. All I Want Is You
    4. Out of the Blue
    5. If It Takes All Night
    6. Bitter Sweet
    7. Triptych
    8. Casanova
    9. A Really Good Time
    10. Prairie Rose
    Roxy Music
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Big Sky Country Big Sky Country Quick View

    $19.99
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    Big Sky Country

    From the opening strums of Big Sky Country, the newest album - 6th, overall - from Sweden's Sofia Talvik, you know you're in for an aural pleasure experience. Her sweet, rich and enveloping voice immediately draws you in and the fullness of the songs captures your attention, enhanced by the just-right production. Acoustic-based, melody-built - a fine, fine work. Even though this young lady is from Sweden, I'd place her at the forefront of the American vanguard. One listen will tell you why and how.


    "Aha Aha" opens the album and straps you in for the ride down this dusty, sun-setting musical highway; "Big Sky Country" is a melodic and melancholic, near Irish-folk-feel singalong while "Dusty Heart, Empty Hand" is pure Nashville with its pedal steel runs and banjo. "Lullaby" is a sweet, gentle piano based track with interestingly contradictory lyrics (" everything's beautiful - still you wish you were dead "); "A Matter Of The Hearts" is a vocal showcase - you can hear the natural skill in her singing and the feeling she conveys; "Bonfire" is a uptempo acoustic piece (without percussion) that builds with dramatic (yet not overboard) flair. "Fairground" is an acoustic shuffle with beautiful background harmonies and one of the album's standouts; "So" closes out the album in a subdued yet emotional manner.

    - Rob Ross (Pop Dose)

    Sofia Talvik
    $19.99
    Vinyl LP - Sealed Buy Now
  • Country Girl In The Big Apple Country Girl In The Big Apple Quick View

    $37.99
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    Country Girl In The Big Apple

    Limited Edition 140 Gram Vinyl


    By the time this performance was recorded on the final night of her NYC debut in 1977, this show had become the hottest ticket in town and the Bottom Line was deluged with celebrity ticket requests, including from other iconic performers like Bruce Springsteen and Mick Jagger, who both attended. This three night engagement at the legendary music room was essentially Parton's New York City coming out party, and even those not necessarily country fans can surely appreciate this show for its pure entertainment appeal and Dolly's undeniable charisma.

    LP 1
    1. (Your Love Keeps Lifting Me) Higher And Higher

    2. All I Can Do

    3. Jolene
    4. There's No Place Like Home

    5. My Tennessee Mountain Home

    6. Do I Ever Cross Your Mind

    7. Coat Of Many Colours

    8. Applejack

    9. Light Of A Clear Blue Morning


    LP 2
    1. I Will Always Love You

    2. Getting In My Way

    3. Me And Little Andy

    4. How Does It Feel

    5. Holdin' On To You

    6. The Seeker

    7. You Are / I Will Always Love You (Reprise)
    8. Love Is Like A Butterfly

    Dolly Parton
    $37.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • No Country For Old Musicians (Discontinued) (On Sale) No Country For Old Musicians (Discontinued) (On Sale) On Sale Quick View

    $15.99 $12.63 Save $3.36 (21%)

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    No Country For Old Musicians (Discontinued) (On Sale)

    Reggie is best known as the keyboardist for The Get Up Kids, but has been involved in writing and
    touring with both New Found Glory and My Chemical Romance. After taking a break from the music
    scene, he was inspired by the outpour of support from fans to enter the studio and make another
    album. James recorded No Country For Old Musicians at Black Lodge Recording studios in Eudora,
    Kansas. NCFOM was the last album to ever be recorded there. Many friends he has made over the
    years including, Frank Iero, Adam Lazzara, Allison Weiss and Sean Ingram joined him to lend guest
    vocals on the album and Ray Toro joined to play guitar on two tracks.


    This title is not eligible for further discount.

    1. Introduction
    2. Super Croc VS. Mega Doosh
    3. 37
    4. Fowlin' Around
    5. Revenge is a dish best served at Park Chan-Wook's
    6. Guerrera
    7. Gimme back my leg
    8. Robo Fonzie meets Frank
    9. Who needs another drank featuring Floppy disk-0
    10. Sundae, booty sundae featuring Fluxuation
    11. Kanji tattoos still in style
    12. We make a breakfast
    13. To the Fruit Wizards of Donnington
    14. DMV featuring Common Denominator
    15. Disregard
    16. Danka Shane
    Reggie And The Full Effect
    $15.99 $12.63 Save $3.36 (21%)
    Vinyl LP - Sealed Buy Now
  • Alice's Restaurant (Pure Pleasure) Alice's Restaurant (Pure Pleasure) Quick View

    $34.99
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    Alice's Restaurant (Pure Pleasure)

    Although he'd been a fixture on the East Coast folk circuit for several years, Arlo Guthrie did not release his debut album until mid-1967. A majority of the attention directed at Alice's Restaurant focuses on the epic 18-plus-minute title track, which sprawled over the entire A-side of the long-player. However, it is the other half-dozen Guthrie compositions that provide an insight into his uniformly outstanding, yet astoundingly overlooked, early sides on Warner Bros. Although arguably not 100 percent factual, Alice's Restaurant Massacree -- which was recorded in front of a live audience -- is rooted in a series of real incidents.


    This decidedly anti-establishment saga of garbage dumps closed on Thanksgiving, good ol' Officer Obie, as well as Guthrie's experiences with the draft succeeds not only because of the unusual and outlandish situations that the hero finds himself in; it is also his underdog point of view and sardonic delivery that maximize the effect in the retelling. In terms of artistic merit, the studio side is an equally endowed effort containing six decidedly more traditional folk-rock compositions. Among the standouts are the haunting Chilling Of The Evening, which is given an arrangement perhaps more aptly suited to a Jimmy Webb/Glen Campbell collaboration.


    There is a somewhat dated charm in Ring-Around-a-Rosy Rag, a sly, uptempo, and hippie-friendly bit of jug band nostalgia. I'm Going Home is an underrated minor-chord masterpiece that is not only reminiscent of Roger McGuinn's Ballad of Easy Rider, but also spotlights a more sensitive and intricate nature to Guthrie's craftsmanship. Also worth mentioning is the first installment of The Motorcycle Song -- which was updated and discussed further on the live self-titled follow-up release Arlo (1968) -- notable for the extended discourse on the 'significance of the pickle'.

    Musicians:



    • Arlo Guthrie (vocal, guitar)




    Recording: 1967

    Production: Fred Hellerman & Al Brown



    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. Alice's Restaurant Masacree
    2. Chilling Of the Evening
    3. Ring-Around-A-Rosy Rag
    4. Now and Then
    5. I'm Going Home
    6. The Motorcycle Song
    7. Highway In the Wind
    Arlo Guthrie
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Keb' Mo' (Pure Pleasure) Keb' Mo' (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Keb' Mo' (Pure Pleasure)

    Keb' Mo's self-titled debut is an edgy, ambitious collection of gritty country blues. Keb' Mo' pushes into new directions, trying to incorporate some of the sensibilites of the slacker revolution without losing touch of the tradition that makes the blues the breathing, vital art form it is. His attempts aren't always successful, but his gutsy guitar playing and impassioned vocals, as well as his surprisingly accomplished songwriting, make Keb' Mo' a debut to cherish.




    Musicians:



    • Keb' Mo' (vocal, guitar, harmonica, banjo)

    • Tommy Eyre (keyboards)

    • James 'Hutch' Hutchinson (bass)

    • Laval Belle, Quentin Dennard (drums)

    • Tony Draunagel (percussion)




    Recording: 1994 at Red Zone Studios (Burbank, CA.) by Joe McGrath and at Penguin Recording (Los Angeles) by John Strother

    Production: John Porter




    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. Every Morning
    2. Tell Everybody I Know
    3. Love Blues
    4. Victims Of Comfort
    5. Angelina
    6. Anybody Seen My Girl
    7. She Just Wants To Dance
    8. Am I Wrong
    9. Come On In My Kitchen
    10. Dirty Low Down And Bad
    11. Don't Try To Explain
    12. Kindhearted Woman Blues
    13. City Boy
    Keb' Mo'
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Folksy Nina (Pure Pleasure) Folksy Nina (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Folksy Nina (Pure Pleasure)

    Pianist and singer Nina Simone defied categorization by blending classical, jazz and popular music into an unconventional and highly personal idiom: over four decades, she galvanized audiences with albums and performances replete with deep passion and keen attention to emotion.
    Fiercely honest, Simone was admired for her eccentricity and individualism. She was known for her spirited personality on and off the stage, which included flirting with audience members and voicing her opinions about social topics of the time.



    Like the 1963 LP Nina Simone At Carnegie Hall (Pure Pleasure SCP 455), this was recorded in front of a devoted and enthusiastic live audience at Carnegie Hall on May 12, 1963. It isn't just unworthy leftovers, but a strong set in its own right, concentrating on material that could be seen as traditional or folk in orientation. It's not exactly strictly folk music, in repertoire or arrangement (which includes piano, guitar, bass, and drums, though not every tune has all of the instruments); Twelfth Of Never certainly isn't folk music. However, there was also an uptempo piano blues, Leadbelly's Silver City Bound; covers of the Israeli Erets Zavat Chalav and Vanetihu which served as further proof that Simone's eclecticism knew no bounds; and the stark, moody, spiritually shaded ballads at which she excelled (When I Was a Young Girl, Hush Little Baby). Lass Of The Low Country is as exquisitely sad-yet-beautiful as it gets.



    Musicians:



    • Nina Simone (piano, vocal)

    • Alvin Schackman, Phil Orlando (guitar)

    • Lisle Ackinson (bass)

    • Montego Joe (drums)




    Recording: May 1963 at Carnegie Hall, New York, by Dick Alderson

    Production: Jack Lewis



    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. Silver City Bound
    2. When I Was a Young Girl
    3. Erets Zavat Chalav
    4. Lass of the Low Country
    5. The Young Knight
    6. Twelfth of Never
    7. Vanetihu
    8. You Can Sing a Rainbow
    9. Hush Little Baby
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Painting Signs (Pure Pleasure) Painting Signs (Pure Pleasure) Quick View

    $44.99
    Buy Now
    x

    Painting Signs (Pure Pleasure)

    Painting Signs stands up as a complete work from beginning to end. Eric Bibb makes a fine case for blues as a music of introspection, warmth, and supreme nuance. Easily his most mature album to date, Painting Signs continues Bibb's formula of socially aware songs performed from an acutely personal point-of-view; standout tracks Don't Ever Let Nobody Drag Your Spirit Down and a cover of Hope In A Hopeless World hammer home his message of individual freedom and the responsibilities that accompany it. (It's no coincidence that Pops Staples, to whom Bibb dedicates this album, once recorded the latter song.) That's not to say Painting Signs is overly didactic or, indeed, 'heavy' in any way; even the most serious songs here, like the plea for peace and unity Got To Do Better, are leavened by a musical backdrop that's soulful and immediately accessible. Gospel-leaning backing vocals by Linda Tillery and her Cultural Heritage Choir help flesh out several cuts, and robust accordion fills by Bibb's longtime accompanist Janne Petersson add a subtle Louisiana flavor to the rolling, propulsive Kokomo and, to surprisingly good effect, the deep-grooved version of Jimmy Reed's Honest I Do. Elsewhere, he keeps a minimalist tone dominated by acoustic guitar, an arrangement that's particularly mesmerizing on the chilling title track. With its emphasis on sophisticated songcraft and its gentle blend of folk, gospel, and country influences, Painting Signs presents Bibb as an artist intent on blurring the line between blues and 'roots music' in general.



    Musicians:



    • Eric Bibb (vocal, guitar)

    • Wilson Pickett (vocal)

    • Dave Bronze (bass, guitar, vocal)

    • Robbie McIntosh (guitar)

    • Hans Theesink (mandolin)

    • Janne Petersson (organ, piano, electric piano, accordion)

    • Henry Spinetti (drums)

    • Linda Tillery & The Cultural Heritage Choir (backing vocal)



    Format: 2LPs 33rpm / gatefold sleeve



    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. Kokomo
    2. Hope In A Hopeless World
    3. Five Miles Above
    4. I Heard The Angels Singing

    5. Delia's Gone
    6. Got To Do Better
    7. The Light Was Worth The Candle

    8. Angel
    9. Walkin' Home

    10. To Know You
    11. Honest I Do
    12. Paintin' Signs
    13. Don't Ever Let Nobody Drag Your Spirit Down
    Eric Bibb
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Volunteers (Pure Pleasure) Volunteers (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Volunteers (Pure Pleasure)

    Ranked 370/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    Jefferson Airplane, wrote the magazine Rolling Stone, is a ship which transports its passengers to the revolutionary fantasies of their own minds. If only the group had included such well-formulated psychological analyses in their lyrics, then they would probably not have shot so meteorically into the orbit of the psychedelic 'acid rock' scene. And what is more: as self-appointed executors of chaos and anarchy, they 'turned on' their fans with musical sexual allegories, drug-extolling lyrics and revolutionary songs. In 1966, armed with a lucrative recording contract from RCA-Victor, they won through against much opposition from recording company bosses and released their album Volunteers, thereby bringing what is probably the very best recording from their early years to the public.



    The music of these rock rebels is, in fact, a good deal less drastic than their texts. The leaders of the combo, Marty Balin and Paul Kantner, both of whom grew up in the Californian folk scene, have put their stake on melodic and rhythmically close-knit rock and multi-part vocals. And even today, one is still astounded by the wide range of styles favoured by the hippie generation, which stretches from the down-to-earth country music of The Farm to the electronically distorted collage Meadowlands.



    Musicians:



    • Grace Slick (vocal, organ)

    • Marty Balin (vocal)

    • Paul Kantner (vocal)

    • Jerry Garcia (guitar)

    • Jorma Kaukonen (guitar)

    • Steven Stills (organ)

    • Nicky Hopkins (piano)

    • Jack Casady (bass)

    • Spencer Dryden (drums)

    • Joey Covington (conga)




    Recording: 1969 by Richie Schmitt and Joe Lopes

    Production: Wally Heider and Al Schmitt



    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. We Can Be Together
    2. Good Shepherd
    3. The Farm
    4. Hey Frederick
    5. Turn My Life Down
    6. Wooden Ships
    7. Eskimo Blue Day
    8. A Song For all Seasons
    9. Meadowlands
    10. Volunteers
    Jefferson Airplane
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In Time In Time Quick View

    $17.99
    Buy Now
    x

    In Time

    With a Cuban-American lead singer, garage-band ferocity, an intense live show and a deep love of both romance and pure country to go with the polyrhythmic beats they were raised on, the Mavericks were unlikely superstars. And yet, they distilled country's essences, bulked them up with big, raucous sound, then broke ground for the format that saw people from all walks of life, many cultures and some surprising places lining up for hits like Here Comes The Rain, Crying Shame, Dance The Night Away and All You Ever Do Is Bring Me Down.


    Twenty years later, the little-band-that-could returns, more soulful and innovative than ever. For their first sessions in almost a decade, it was spontaneous combustion; literally, the band falling into step with the euphoria they were known for. And they built quite an album from there. It took life for us to get to this point - everybody was so free. From the first notes, it sounded like an explosion of sound; we went wehere the songs took us with a singularity of purpose. We came into make music as grown-ups, to make music as men, says lead singer Raul Malo.

    1. Back In Your Arms Again
    2. Lies
    3. Born To Be Blue
    4. Come Unto Me
    5. In Another's Arms
    6. Fall Apart
    7. All Over Again
    8. Forgive Me
    9. Amsterdam Moon
    10. That's Not My Name
    11. As Long As There's Loving Tonight
    12. Dance in the Moonlight
    13. Call Me When You Get To Heaven
    The Mavericks
    $17.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Sewn Together Sewn Together Quick View

    $16.99
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    Sewn Together

    Recorded at The Saltmine in Phoenix, Arizona in the winter of 2009, the Meat Puppets new album, Sewn Together features the Kirkwood brothers with drummer Ted Marcus on a twelve song set of pure rock and country with a punk attitude. The highly influential group started out as a punk rock band, but established their own unique style, blending punk with country and psychedelic rock. The Meat Puppets later gained significant exposure when the Kirkwood's served as guest musicians on Nirvana's MTV Unplugged In New York performance in 1993. The band's subsequent album, Too High to Die became their most successful release.
    1. Sewn Together
    2. Blanket of Weeds
    3. I'm Not You
    4. Sapphire
    5. Rotten Shame
    6. Go To Your Head
    7. Clone
    8. Smoke
    9. S.K.A.
    10. Nursery Rhyme
    11. The Monkey and Snake
    12. Love Mountain
    Meat Puppets
    $16.99
    Vinyl LP - Sealed Buy Now
  • In Person (Pure Pleasure) In Person (Pure Pleasure) Quick View

    $34.99
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    In Person (Pure Pleasure)

    Note: This issue is as the original vinyl album issue & contains all the dialogue from Ray and the stage promoter, along with audience participation.



    I bought this LP, of the Atlanta concert, in 1960. It knocked me out then, and it knocks me out now. For me, this IS Ray Charles. In the intro to Night Time Is The Right Time Ray says, »... and Miss Marjorie Hendricks will help us out on vocals ...«, and boy, does she help out! Turn up the volume and strap yourself down.
    The greatness of this album. Ray was touring with his band in the 50's, and they played at a concert in Herndon Stadium, Atlanta. An engineer at radio station WAOK recorded the occasion on a one track tape recorder using a single microphone. The recording was later played over the air. The response of the radio audience was overwhelming, resulting in the ultimate release of the Atlantic album. It is one of the most extraordinary albums of all time. First, the recording is amazing considering how it was recorded. The band is heard with perfect clarity and balance, and the audience is also picked up, and you can hear the shouting, whooping, the give and take with the audience, and the extraordinary energy in what was a typical concert of Ray Charles playing to his own audience. Many of the tunes were or became classics, known to every funk and blues musician in the country and to most of the population at large. Ray Charles was revered like no other musician.



    This is the most cathartic of all Ray Charles' recordings. On two tracks, The Right Time and Tell The Truth-both shared with the Raelettes' lead singer, Marjorie Hendricks-the music transcends art to become powerfully shamanistic. It remains one of the greatest rhythm and blues albums of all time.



    Musicians:



    • Ray Charles (piano, vocal)

    • Marcus Belgrave, John Hunt (trumpet)

    • David Newman (tenor saxophone)

    • Bennie Crawford (bassoon)

    • Edgar Willis (bass)

    • Teagle Flemming (drums)



    Recording: May 1959 at Herndon Stadium, Atlanta, Georgia, by Ivan Miles



    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 Right Time
    2. What'd I Say
    3. Yes, Indeed
    4. The Spirit Feel
    5. Frenesi
    6. Drown In My Own Tears
    7. Tell The Truth
    Ray Charles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Manhattan Symphonie (Pure Pleasure) Manhattan Symphonie (Pure Pleasure) Quick View

    $44.99
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    Manhattan Symphonie (Pure Pleasure)

    During the autumn of his illustrious career, Dexter Gordon (1923-1990) was on a winning streak. In 1976, the sophisticated giant of the tenor saxophone had returned to America after 14 successful years in Europe (with occasional visits to his native country); when he played a homecoming engagement at New York's fabled Village Vanguard, the seats were filled each night with adoring fans and enraptured critics. Two years later, Gordon recorded Manhattan Symphonie, his third album for Columbia and the first with his exceptional working rhythm section of pianist George Cables, bassist Rufus Reid, and drummer Eddie Gladden.



    From the opening notes of the classic ballad As Time Goes By, we are fully aware that we're in the presence of a master. The tone is luminous; the placement of the notes, impeccable; the feeling profoundly affecting. More than almost any other improviser of his caliber, Gordon understands exactly why »the fundamental things apply«. The rest of the set combines bright new material, such as Gordon's jauntily bopping blues LTD (which stands for Long Tall Dexter) and Cables' samba I Told You So with updates of two post-bop staples: Donald Byrd's Tanya (which Gordon had recorded for Blue Note in 1964) and John Coltrane's propulsive Moment's Notice. But the masterpiece herein - indeed one of Gordon's all-time surpassing performances - is Body and Soul, in which Gordon, an early crucial influence on Coltrane's approach to the tenor, returns the favour by taking a page out of Coltrane's (and McCoy Tyner's) harmonic book.



    This expanded issue of Manhattan Symphonie includes two bonus tracks, also from 1978: Thelonius Monk's lustrous "Ruby My Dear", and a previously unreleased on vinyl rendition of "Secret Love", a Dexter favourite. In addition to the acclaimed writer Pete Hamill's wonderful original liner notes, there is a lovely reminiscence from pianist George Cables.



    Musicians:



    • Dexter Gordon (tenor saxophone)

    • George Cables (piano)

    • Rufus Reid (bass)

    • Eddie Gladden (drums)



    Format: 2LPs 33rpm / gatefold sleeve



    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.



    As Time Goes By/ Moments Notice
    Tanya/ Body and Soul
    I Told You So / Ltd
    Ruby, My Dear/ Secret Love*
    Dexter Gordon
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Roadmaster Roadmaster Quick View

    $24.99
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    Roadmaster

    By 1972, singer/songwriter Gene Clark had settled into a new life in Mendocino far from the intrusive media glare and fan adulation that still surrounded someone of his stature as a former member of the Byrds. However, he still owed A&M Records one more album. Gathering together the cream of the Los Angeles country-rock fraternity including innovative guitarist Clarence White, Chris Ethridge on bass, ex-Byrd and Burrito Brother Michael Clarke on drums, pedal steel guitarist extraordinaire Sneaky Pete, Byron Berline on fiddle and pianist Spooner Oldham, Gene set about recording an album of pure country rock unfettered by any commercial dictates.


    Although the Spring of 1972 recording sessions were ultimately abandoned, Gene left eight precious songs in the vaults. Full Circle Song (later recorded by the reunited Byrds and a bona fide country-rock classic) and Shooting Star reveal a deep, introspective soul-searching. I Remember the Railroad and In a Misty Morning reflect a longing for the simpler days of his youth. The sessions also produced spirited versions of Flatt & Scruggs' Rough and Rocky, the country standard I Really Don't Want To Know, Freddie Weller's rollicking Roadmaster and a reinterpretation of his standout Byrds song, She Don't Care About Time.


    Gene's manager Jim Dickson took these eight tracks and paired them with three additional unreleased recordings to assemble Roadmaster. The unreleased tracks chronicled two previous attempts at a Byrds reunion (One In A Hundred and She's the Kind of Girl) as well as the stunning Here Tonight, with Gene backed by The Flying Burrito Brothers. Originally a 1973 European-only release, imported copies of Roadmaster soon found their way to North America as fans came to recognize the brilliance in the ill-fated sessions. The album itself I was proud of, acknowledged Gene years later. I was proud of the writing and proud of the bunch of people who played on it.


    This legendary recording makes its Sundazed debut on wondrous high-definition vinyl. It has been painstakingly mastered from the original A&M session tapes and is packaged with new album artwork. Add this recording to your collection and bear full witness to Gene Clark's panoramic musical vision.

    1. She's the Kind of Girl
    2. One In a Hundred
    3. Here Tonight
    4. Full Circle Song
    5. In A Misty Morning
    6. Rough and Rocky
    7. Roadmaster
    8. I Really Don't Want To Know
    9. I Remember the Railroad
    10. She Don't Care About Time
    11. Shooting Star
    Gene Clark
    $24.99
    Vinyl LP - Sealed Buy Now
  • In Flight (Pure Pleasure) In Flight (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    In Flight (Pure Pleasure)

    Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format.


    Yet Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proven more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole - a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace - but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts.


    In the wake of This Masquerade, the balance of power shifted for the first time toward George Benson's suddenly marketable voice; four of the six tracks on In Flight are vocals. By this time, Benson was tailoring his tenor toward soulful pitch-bending à la Stevie Wonder on tunes as diverse as Nature Boy and The World Is a Ghetto, and the unison scatting with the guitar that caught fire with the public on Masquerade is now pulled out whenever possible. Benson's backing band from Breezin', still set in its funk mode, is intact, and Claus Ogerman again contributes gentle orchestral cushions. The two instrumentals, particularly Donny Hathaway's Valdez in the Country, prove that Benson remained a brilliantly inventive melodist on guitar, in full possession of his powers. Yet there is every indication here that Benson was set upon becoming primarily a pop star.


    - Richard S. Ginell (AllMusic)

    Musicians:



    • George Benson (vocal, guitar)

    • Jorge Dalto (clavinet, piano)

    • Ronnie Foster (electric piano, synthesizer)

    • Phil Upchruch (guitar, bass)

    • Stanley Banks(bass)

    • Harvey Mason (drums)

    • Ralph MacDonald (percussion)



    Recording: 1977 at Capitol Studios, Hollywood, by Al Schmitt

    Production: Tommy Lipuma



    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. Nature Boy
    2. The Wind And I
    3. The World Is A Ghetto
    4. Gonna Love You More
    5. Valdez In The Country
    6. Everything Must Change
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Any Day Now (Pure Pleasure) Any Day Now (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Any Day Now (Pure Pleasure)

    The material - many of the Dylan classics - is unsurpassable. Her voice is at its zenith, young, supple - neither undisciplined (as in her 1st records) nor the later, low vibrato warble. There is none of the self-conscious and silly Dylan vocal imitation found in Baez's later recording. Where Dylan's own singing is wonderfully raw and rough, Baez is clear and pure. Both are great for me, but very, very different from each other. These lovely renditions are like no one else's. Just pure Joan in her finest voice.



    She is backed here by several of the very best of '70s Nashville session musicians (pickers). Some folks think of Nashville sidemen as inevitably bound up with Country Music. While this is not counter-country, it fits much more into folk - as the names Dylan and Baez rightly connote.



    One Too Many Mornings is too often overlooked among Dylan's compositions, and this is among the best renditions I've heard. The full-length, unhurried treatment Sad Eyed Lady of the Lowland is spell-binding and satisfying. Perhaps my favorite, though, is the subtle and poignant Spanish Boots of Spanish Leather. Dylan's lyrical genius is fully manifest, in his gorgeous melody and Joan Baez's a wonderful performance.
    For many of us who listened both then and recently, this pristine work inevitably reminds us how much has aged in the decades since this earlier era - also recaptured so vividly in Dylan's own Chronicles. These are timely works, both for reminiscence and to introduce newbies to the non-acid experiences that stirred an earlier generation. But regardless of any social import, this is simply beautiful poetry and music.



    Musicians:



    • Joan Baez (guitar, vocal)

    • Fred Carter (mandolin)

    • Hargus 'Pig' Robbins (keyboards)

    • Stephen Stills, Pete Drake, Harold Rugg (guitar)

    • Tommy Jackson, Johnny Gimble (violin)




    Recording: 1968 by Selby Cofeen

    Production: Maynard Solomon



    Format: 2LPs 33rpm / gatefold sleeve



    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. Love Minus Zero/No Limit
    2. North Country Blues
    3. You Ain't Going Nowhere
    4. Drifter's Escape
    5. I Pity the Poor Immigrant

    6. Tears of Rage
    7. Sad-Eyed Lady of the Lowlands
    8. Love Is Just a Four-Letter Word
    9. I Dreamed I Saw St. Augustine

    10. The Walls of Redwing
    11. Dear Landlord
    12. One Too Many Mornings
    13. I Shall Be Released
    14. Boots of Spanish Leather
    15. Walkin' Down the Line

    16. Restless Farewell
    Joan Baez
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • New York Tendaberry (Pure Pleasure) New York Tendaberry (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    New York Tendaberry (Pure Pleasure)

    Dirt and grit, sweetness and sorrow, this is New York Tendaberry, Laura Nyro's masterpiece. This tapestry of great beauty and painful images is not for the pop-oriented crowd who only are familiar with the aurally digestible versions of Save the Country and Time and Love sung by other people. Laura herself had a voice both comforting and full of despair, and both those songs are woven into this complex journey. I always imagine it as twenty-four hours in the life of this street-wise, New Yorker, where she is both observer and subject. She wakens as her man leaves (You Don't Love Me When I Cry), yanks us by the hand to follow her down to the subway to sing joyful harmonies which echo and blend to the sound of trains (Mercy on Broadway), and then to Gibsom Street. If you are soft, then you will shiver, they hang the alley cats on Gibsom Street. Finally, in the languid, deep night, a brief celebration from her terrace as firecrackers break, dust, and skate. But the reality of her world takes over as she gazes below on humanity which joins for life through silver tears (New York Tendaberry).



    Listen to the final song, New York Tendaberry. Laura Nyro's incredible vocals and imagery are of this time, now. It was of that time, and will be forever treasured by those who love and be willing to listen to this exceptional artist.




    Musicians:



    • Laura Nyro (voc, p, arr)




    Recording: Roy Halee

    Production: Laura Nyro and Roy Halee




    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. You Don't Love Me When I Cry
    2. Captain For Dark Mornings
    3. Tom Cat Goodby
    4. Mercy On Broadway
    5. Save The Country
    6. Gibsom Street
    7. Time And Love
    8. The Man Who Sends Me Home
    9. Sweet Lovin' Baby
    10. Captain Saint Lucifer
    11. New York Tendaberry
    Laura Nyro
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • If The Roses Don't Kill Us If The Roses Don't Kill Us Quick View

    $16.99
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    x

    If The Roses Don't Kill Us

    If The Roses Don't Kill Us was made with Grammy-winning producer Dave Sanger (Asleep at the Wheel) and his partners PJ Herrington and Jay Reynolds. They created a relaxed atmosphere in the studio that gaveDenny's vocals a sharp, visceral presence. The album opener, "Happy Sad" sets the stage for all that follows. When Denny strums a minor chord and sings the word "sad," you're pulled into his world of intense melancholy.


    The descending melody line and bluesy guitar lines of "God's Height" gives the tune a sense of anguished longing, mitigated by Denny's playful vocal. "I was laughing about the thoughts you get at the end of a relationship when you think you're not good enough, but you know you're going to survive." The churchy B3 organ on "Our Kind of Love" suggests Memphis in the early 60s, a feeling echoed in Denny's crooning. "No matter how bad it seems, we only have this moment. When I wrote, 'It's our love, darlin', and we beat ourselves black and blue,' I was realizing how much I love my dark feelings."


    Denny's jubilant vocal dominates "Watch Me Shine" with chiming acoustic guitar and sustained bell-like synthesizer notes adding to the track's righteous mood. "If the Roses Don't Kill Us" is pure country funk with a New Orleans brass band supporting Denny's lively vocal. "Sometimes you have to go crazy to figure out what's important to you," Denny explains. "This is about leaving a relationship when you know the situation isn't really resolved." That ambivalence is the thread that holds the songs on If The Roses Don't Kill Us together. Denny's barely restrained vocals have the ability to describe contradictory feelings with an intensity that gives every word he sings the ring of painful truth. His shimmering, one-of-a-kind voice reaches you on a deep emotional level, touching your heart and soul to deliver his hard won insights with an honesty that makes his singing and songwriting something unique and rare.

    1 Happy Sad

    2 God's Height

    3 Our Kind Of Love

    4 Wings

    5 Million Little Thoughts

    6 Watch Me Shine

    7 If The Roses Don't Kill Us

    8 Love Is A Code Word

    9 Man A Fool

    10 Ride On

    11 Radio

    12 Some Things

    Christopher Denny
    $16.99
    Vinyl LP - Sealed Buy Now
  • Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress) Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress)

    Country Joe & The Fish full-length debut is their most joyous and cohesive statement and one of the most important and enduring documents of the psychedelic era, the band's swirl of distorted guitar and organ at its most inventive. In contrast to Jefferson Airplane, who were at their best working within conventional song structures, and the Grateful Dead, who hadn't quite yet figured out how to transpose their music to the recording studio, Country Joe & the Fish delivered a fully formed, uncompromising, and yet utterly accessible - in fact, often delightfully witty - body of psychedelic music the first time out. Ranging in mood from good-timey to downright apocalyptic, it embraced all of the facets of the band's music, which were startling in their diversity: soaring guitar and keyboard excursions (Flying High, Section 43, Bass Strings, The Masked Marauder), the group's folk roots (Sad and Lonely Times), McDonald's personal ode to Grace Slick (Grace), and their in-your-face politics (Superbird). Hardly any band since the Beatles had ever come up with such a perfect and perfectly bold introduction to who and what they were, and the results - given the prodigious talents and wide-ranging orientation of this group - might've scared off most major record labels. Additionally, this is one of the best-performed records of its period, most of it so bracing and exciting that one gets some of the intensity of a live performance. One of Vanguard Records' classic albums, with startlingly vivid stereo separation and a close, intimate sound.




    Musicians:



    • Country Joe McDonald (guitar, harmonica, tambourine, vocal)

    • David Cohen (guitar, organ, vocal)

    • Barry Melton (guitar, vocal)

    • Bruce Barthol (bass, harmonium)

    • Chicken Hirsh (drums)




    Recording at Sierra Sound Laboratories, Berkeley, CA, USA, by Robert di Souza

    Production: Samuel Charters




    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.



    Country Joe & The Fish
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Richland Woman Blues (Pure Pleasure) Richland Woman Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Richland Woman Blues (Pure Pleasure)

    Best known for that ditty about camels, Maria Muldaur has since established herself as one of the finest folk/country/jazz/blues/gospel interpreters ever to have a Top Five single. After 26 years and 24 solo albums, Muldaur -- inspired by a trip to Memphis' Beale Street -- digs deep into her roots and pays tribute to the classic blues women of the '20s and '30s. Aided by the similarly inclined Bonnie Raitt, Taj Mahal, and Alvin 'Youngblood' Hart, Muldaur breezes through 14 tunes from icons Bessie Smith and Memphis Minnie, as well as obscurities from the Reverend Gary Davis, Mississippi John Hurt, and Blind Willie Johnson. Keeping the unplugged accompaniment stripped way down to a single guitar or piano and occasional bass, Muldaur has room to maneuver her evocative vocals that shift from gritty groans to a high-pitched edgy trill. Far from a dry history lesson, these songs are performed with the strength and tenacity of the women who originally sang them. Whether spinning saucy, double entendre lyrics in Me And My Chauffeur Blues (»the way you ride so easy, I can't turn you down«) or longing for her Southern home after moving north during the Depression in Bessie Smith's Far Away Blues, the singer remains invigorated and inspired throughout. By returning to her late-'60s Jim Kweskin Jug Band coffeehouse days, Maria Muldaur has discovered her middle-aged oasis with Richland Woman Blues. And there's not a camel in sight.



    Musicians:



    • Maria Muldaur (vocal)

    • Alvin Youngblood Hart (guitar, vocal)

    • Bonnie Raitt, John Sebastian (guitar)

    • David Wilkie (mandocello)

    • Dave Mathews (piano)

    • Roly Salley (bass)

    • Angela Strehli, Tracy Nelson (vocal)




    Recording: 2001 by John Jacob

    Production: John Jacob & Maria Muldaur



    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 One To Sing The Blues
    2. I'm So Bad (Baby I Don't Care)
    3. No Voices In The Sky
    4. Going To Brazil
    5. Nightmare/Dreamtime
    6. Love Me Forever
    7. Angel City
    8. Make My Day
    9. R.A.M.O.N.E.S.
    10. Shut You Down
    11. 1916
    Maria Muldaur
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Standing At The Crossroads (Pure Pleasure) Standing At The Crossroads (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Standing At The Crossroads (Pure Pleasure)

    This is one of several albums this artist made in the early '70s that stand as a masterpiece of the acoustic country blues genre. Johnny Shines had begun recording in the mid-'60s, the albums done with electric guitar and full-combo backup, one of them reportedly cut after he hadn't picked up an instrument in years. It was as if he reinvented himself in the following decade, playing pristine and flawless acoustic slide guitar pieces complete with shuffling, stuttering, and stimulatingly complicated tempos. The message was that he had been a young sidekick to Robert Johnson and had absorbed everything, although no deal had been made with the Devil. Shines was a steady, dependable, religious, and forthright chap who lived in Tuscaloosa, AL., and held down a steady job as a construction foreman. Mild-mannered and extremely intellectual, he let loose the reserve of emotion when doing a Delta blues number. The magic and heart were in his fingertips as well as in his voice, which sounds stupendous here. The emergence of the Johnson song canon into his repertoire, done with almost Baroque detail, was also something of a revelation. Some of Shines' earlier albums had featured songs that almost seemed made up on the spot. He was good at that, and was rumored to have played whole sets that were completely improvised when working the country juke joints of his home state, but on this album he showed what he could do when sinking his teeth into a bona fide blues classic. Kind Hearted Woman is the musical equivalent of an absolutely perfect chopped-barbecue sandwich with sauce the way they do it in Tuscaloosa, and obviously of much less offense to vegetarians when taken in this form. There were 11 perfect songs chosen by Pete Welding from his set of recording sessions for this project. Once again this great producer has come up with a blues release that is basically a required item for any good collection of this genre.



    Musicians:



    • Johnny Shines (vocal, guitar)




    Recording: November 1970 in Altadena, CA., by Pete Welding



    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. Standing At the Crossroads
    2. Milk Cow's Troubles
    3. Death Hearse Blues
    4. Drunken Man's Prayer
    5. Hoo-Doo Snake Doctor Blues
    6. It's A Lowdown Dirty Shame
    7. Your Troubles Can't Be Like Mine
    8. Kind-Hearted Woman
    9. Baby Sister Blues
    10. My Rat
    11. Don't Take A Country Woman
    Johnny Shines
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • No Frontiers (Pure Pleasure) (Awaiting Repress) No Frontiers (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    No Frontiers (Pure Pleasure) (Awaiting Repress)

    Mary Black's 1989 No Frontiers is nothing short of a masterpiece. This (and the follow up 1991's Babes In The Wood, Pure Pleasure PPAN002) was when Black was at her creative and vocal peak. No Frontiers (the song) has become something of an Irish classic, a party piece for so many (even the Corrs covered it on Unplugged) and Past The Point Of Rescue was a massive country hit in 1991 for Hal Ketchum. Both songs are superb and Black's versions are the greatest. Carolina Rua and Vanities (featured on the huge selling A Woman's Heart) are well known but it is the darker Columbus and the mesmerizing Fat Valley Of Pain that showcase both the heartbreak and the depth of the album.


    A fine introduction to Black's music - the right mixture of folk and contemporary and one of the finest albums to come out of Ireland in the 1980s.

    Musicians:



    • Mary Black (vocal)

    • Pat Crowley (piano, accordion)

    • Donal Lunny (synthesizer)

    • Carl Geraghty (saxophone)

    • Declan Sinnott (guitar)

    • Garvan Gallagher (bass)

    • Noel Bridgeman (percussion)



    Recording: 1989 by Dan Fitzgerald

    Production: Declan Sinnott




    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. No Frontiers
    2. Past The Point Of Rescue
    3. The Shadow
    4. Carolina Rua
    5. Shuffle Of The Buckled
    6. Columbus
    7. Another Day
    8. Fat Valley Of Pain
    9. I Say A Little Prayer
    10. Vanities
    11. The Fog In Monterey
    Mary Black
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
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