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  • This Side Of Jordan This Side Of Jordan Quick View

    $22.99
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    This Side Of Jordan

    At its core, Mandolin Orange is a duo - Andrew Marlin and Emily Frantz - from Carrboro, NC. Their harmonies are ethereal, their chemistry vibrant, bringing to mind the atmosphere invoked by classic duos such as Emmylou Harris and Gram Parsons, or Gillian Welch and David Rawlings.


    Andrew and Emily provide the foundation of the group's timeless Americana sound, while enlisting a full band to flesh out their dynamics. This Side of Jordan is the group's 3rd full length. The band has made quite a bit of noise on the folk/Americana circuit, while displaying a virtuosity and exuberance that crosses over to more indie-rock inclined audiences. This Side of Jordan is a stunning work of beauty and grace from a young band destined for great things.

    1. House of Stone
    2. Turtle Dove and the Crow
    3. There Was a Time
    4. The Runaround
    5. Cavalry
    6. Black Widow
    7. The Doorman
    8. Morphine Girl
    9. Hey Adam
    10. Waltz About Whiskey
    11. Until the Last Light Fades
    Mandolin Orange
    $22.99
    Vinyl LP - Sealed Buy Now
  • Such Jubilee Such Jubilee Quick View

    $19.99
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    Such Jubilee

    After the breakout critical success of Mandolin Orange's Yep Roc debut, This Side of Jordan, you'd expect the relentless onslaught of touring that accompanied it to seep into the writing of the North Carolina duo's follow-up. You'd expect the sound to reflect long days on the road, long nights onstage, unfamiliar cities, countless miles. You'd expect the classic "road record." But you'd be wrong. "All of these songs are definitely a product of being on the road," says multi-instrumentalist/singer Emily Frantz of Mandolin Orange's gorgeous new album, Such Jubilee, "but they're not about the road." "They're about home," explains song-writer/multi-instrumentalist/singer Andrew Marlin. "Not because we were missing it, but because when you're gone so much, you start realizing what you have and what's waiting for you. You realize there's this place to come back to at the end of the journey, and that's where a lot of these songs come from." Such Jubilee is a record about home, both the place and the idea. Some days it's a safe, warm, loving refuge from the world outside. Other days it's cold and empty and too quiet. Either way, it's always waiting for you at the end of the road.
    1. Old Ties and Companions
    2. Settles Down
    3. Little Worlds
    4. Rounder
    5. From Now On
    6. Jump Mountain Blues
    7. That Wrecking Ball
    8. Blue Ruin
    9. Daylight
    10. Of Which There Is No Like
    Mandolin Orange
    $19.99
    Vinyl LP + CD - Sealed Buy Now
  • Precious Art Precious Art Quick View

    $16.99
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    Precious Art

    Pressed On Orange & Purple Colored Vinyl


    Fronted by the affable Jordan Hudkins, Rozwell Kid writes massive, gritty, excitable power-punk songs. After more
    than two years on the road, the band - completed by guitarist Adam Meisterhans, bassist/vocalist Devin Donnelly
    and drummer Sean Hallock needed to regroup, rethink and re-find their identity. It is a quintessential Rozwell
    Kid album and something entirely new at the same time.

    1. Wendy's Trash Can
    2. Total Mess
    3. Boomerang
    4. Futon
    5. MadTV
    6. South By
    7. UHF On DVD

    8. Booger
    9. Wish Man
    10. Blow It
    11. Gameball
    12. Michael Keaton
    Rozwell Kid
    $16.99
    Colored Vinyl LP - Sealed Buy Now
  • The Stand-In (Awaiting Repress) The Stand-In (Awaiting Repress) Quick View

    $19.99
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    The Stand-In (Awaiting Repress)

    Caitlin Rose is back with a new studio album, the follow up to her critically acclaimed debut, Own Side Now. The Stand-In introduces a newfound confidence in Rose, the poise of an experienced songwriter rarely displayed on a sophomore offering. This sense of self-assurance is woven throughout twelve carefully crafted songs with the timeless sound and witty approach to lyricism that has become her signature. Still only 25, the scope of her progression as an artist is palpable from the outset, and Rose herself happily concurs.


    "This album could be considered my first attempt at a high kick," she says, acknowledging Own Side Now as a much more small scale and pared down recording. "We're not aiming to make indie-sounding records. How boring would that be? "Incorporating classic influences from her Nashville roots with a modern pop twist, Caitlin's vocals soar over lyrics that seem to possess the wisdom of an old soul. Crafted with Nashville producers Jordan Lehning and Skylar Wilson (Justin Townes Earle), featuring two songs co-written with Gary Louris (The Jayhawks), The Stand-In came together and took form as a team effort, strengthened by a longtime friendship with band mates Jeremy Fetzer and Spencer Cullum.


    Inspired by classic country musicians, misunderstandings, break ups, mystical landmarks and the constantly evolving landscape of the Nashville music scene, The Stand-In is an ambitious record, a testament to Rose's bold approach and strength as a songwriter. With a trademark punch that the New York Times once likened to a young "Patsy Cline learning to howl, Rose's fiery disposition shines through on rollicking tracks like "No One To Call" and "Waitin'," songs that possess a huge sound and a whole lot of character. Never the type to be one-dimensional, Rose wears her heart on her sleeve on candid serenades like "I Was Cruel" and sentimental ballads like "Pink Champagne" or "When I'm Gone."And in true form, Rose includes a brilliant cover on The Stand-In, this time of The Felice Brothers' single, "Dallas."

    1. No One to Call
    2. I Was Cruel
    3. Waitin'
    4. Only a Clown
    5. Dallas
    6. Pink Champagne
    7. Golden Boy
    8. Silver Sings
    9. Everywhere I Go
    10. When I'm Gone
    11. Menagerie
    12. Old Numbers
    Caitlin Rose
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • J.J. Inc. (Speakers Corner) J.J. Inc. (Speakers Corner) Quick View

    $34.99
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    J.J. Inc. (Speakers Corner)

    He was a shining example for many European modern-jazz trombonists: J. J. Johnson, the man from Indianapolis, and the swinging half of the pair Jay and Kai. (Kai Winding was the white guy with the "cool" sound.) On this Columbia LP, recorded in August 1960, we can experience J. J. in three ways - as a soloist, composer, and arranger. To this is added a superbly well-rehearsed combo consisting of Freddie Hubbard, Clifford Jordan and one of the very best rhythm groups of late hard bop: Cedar Walton, Arthur Harper, and Albert Heath on the drums.



    Thanks to having performed the works over the previous eight months in concerts before the recording, all the works sound wonderfully homogeneous, and the improvisations never once become stereotyped. The theme tune of In Walked Horace well illustrates Jay Jay's musical background, which lies somewhere between Thelonious Monk, Bud Powell and Horace Silver.
    On the reverse side of the LP cover, J. J. Johnson describes his feelings during the recording session: »Wow! What a pleasure!« And the listener will certainly go along with that for the whole length of the LP!



    Musicians:



    • J.J. Johnson (trombone)

    • Clifford Jordan (tenor saxophone)

    • Freddy Hubbard (trumpet)

    • Cedar Walton (piano)

    • Arthur Harper (bass)

    • Albert Heath (drums)




    Recording: August 1960 in New York

    Production: Teo Macero




    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. Mohawk
    2. Minor Mist
    3. In Walked Horace
    4. Fatback
    5. Aquarius
    6. Shutter-Bug
    The J.J. Johnson Sextet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • We The People We The People Quick View

    $26.99
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    We The People

    Hard rock icons Adrenaline Mob have had their fair share of challenges in the past but have risen to each & every one continuing to march forward yet again & again! Formed by guitarist Mike Orlando & vocalist Russell Allen they joined forces with drummer Mike Portnoy & bassist John Moyer to launch the band's debut. The band eventually parted ways with drummer Mike Portnoy due to scheduling conflicts & brought drum legend AJ Pero into the fold. Only two years after the debut was released, the group was involved in a major vehicle accident while on the road with Avenged Sevenfold and Hellyeah. Then, in 2015, Adrenaline Mob lost drummer and long-time friend drum legend A.J. Pero to a heart attack while on tour with Drowning Pool. In 2017, Adrenaline Mob have now replenished the ranks with newcomers David Zablidowsky on bass and Jordan Cannata on drums for work on their latest effort, 'We The People'.


    Recorded once again at Sonic Stomp Studios over a year-plus period, We the People sounds huge. Each riff is massive, every drum hit a chest-thumping pound, and each line Russell vocalizes exudes unbelievable power and heart. Life-changing events may've halted Adrenaline Mob, but the group's third full-length is proof positive they're stronger now than they've ever been. Tracks like the raging 'Blind Leading the Blind', the big-hitting 'King of the Ring', the rhythmically wicked 'What Do You Really Want', and the rock radio-tailored title track evince purpose and authority. In every way, We the People puts the hard in hard rock. And the metal in heavy. Orlando was responsible for composing the music, engineering, recording, co-producing, mixing, and mastering and that all says one thing: the dude's a beast. Along with the incredible talents & amazing voice of his co-producing partner Allen who is by far one of rocks greatest voices, the two seem unstoppable on We The People.


    As the title, We the People, indicates there's a political side to Adrenaline Mob. Throughout their years as a musicians and songwriters, they hadn't stayed silent on matters significant. Whether they were masked in metaphor or flatly conspicuous, they've always poured their feelings into song. It was, as Orlando puts it, a form of catharsis. So, as they were watching the presidential campaigns, feeling the negativity-the constant bickering and finger pointing-they knew Adrenaline Mob's next venture would be impacted. In fact, the first song Orlando began writing for We the People was the politically-charged rocker 'Blind Leading the Blind'. "The title track is very much inspired by the past election year," confirms Allen. "It touches on our society, here in America. The album title is a reflection of our times. The songs have certain particular stories that stand on their own. Many of them are also driven by the climate we live in today & some are about having a good time, being free & loving rock n roll. All the tracks have a personality and character to them."


    Undoubtedly, the re-energized Adrenaline Mob will face adversity with We the People. But the strong always rise. Adrenaline Mob have proven they have the fortitude and music to prevail over anything. We the People, folks. It's time to rise up with Adrenaline Mob!

    LP 1
    1. King Of The Ring
    2. We The People
    3. The Killer's Inside
    4. Bleeding Hands
    5. Chasing Dragons
    6. Til The Head Explodes
    7. What You're Made Of
    8. Raise Em Up


    LP 2
    1. Ignorance & Greed
    2. Blind Leading The Blind
    3. Violent State Of Mind
    4. Lords Of Thunder
    5. Rebel Yell
    6. Devil Went Down To Georgia
    7. Snortin' Whiskey
    8. Tie Your Mother Down

    Adrenaline Mob
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Exactly Like This Exactly Like This Quick View

    $49.99
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    Exactly Like This

    200 Gram Double LP Plated And Pressed At Quality Record Pressings


    Understanding the importance of restraint to the blues, he skirts the predictable with fresh imagery in lyrics and his music is barb-wire sharp. - Down Beat Magazine


    Doug MacLeod is a unique, powerful guitarist with a rich and soulful voice, singing original songs based on his own life and experiences. This is Genuine Original Acoustic Music at its very best.


    His new album Exactly Like This is his third release with Reference Recordings. It's MacLeod at his very best, in a richly detailed recording by Grammy-winning engineer Keith Johnson, made at Skywalker Sound in Marin County, California.


    In live performance, Doug MacLeod assures his audience This song is going to go exactly like this. It's presented just for them, not a repeat of any performance he's ever given or will ever give. He records the same way, each of his original songs are offered with a fresh voice. Exactly Like This contains 11 new MacLeod originals reflecting and paying tribute to some of his diverse musical influences: Louis Jordan, Wes Montgomery, Jerry Reed, Tony Joe White, John Lee Hooker, and even a little Duke Ellington. In his previous 19 studio albums, several live records, compilations, a blues guitar instructional DVD and a live performance DVD, MacLeod has consistently earned raves.


    His songs have been covered by many artists including Albert King, Albert Collins, Joe Louis Walker and Eva Cassidy. He has co-written songs with Dave Alvin and Coco Montoya. MacLeod's songs have been featured in many TV movies and the hit show In the Heat of the Night. Two of his songs are on Grammy-nominated albums by Albert King and Albert Collins.


    Doug MacLeod isn't just a blues guy, he's a singer/songwriter/storyteller and serious guitarist. He is one of the few modern artists doing all original material and traveling the country like a troubadour. Just Doug, headed down the road in his Honda, baseball on the radio, Siri by his side and a trunk full of music!

    LP1
    1. Rock It Till the Crows Come Home
    2. Too Many Misses For Me
    3. Find Your Right Mind
    4. Ain't It Rough?
    5. Serious Doin' Woman


    LP2
    1. Ridge Runner
    2. New Morning Road
    3. Vanetta
    4. Raylene
    5. Heavens The Only Place
    6. You Got It Good (And That Ain't Bad)

    Doug MacLeod
    $49.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Easy Star's Thrillah Easy Star's Thrillah Quick View

    $21.99
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    Easy Star's Thrillah

    Following up on the hugely successful reggae tribute albums of Dub Side of the Moon (2003), Radiodread (2006) and Easy Star's Lonely Hearts Dub Band (2009) comes the reggae adaptation of the greatest selling record of all time - Michael Jackson's Thriller. The album, titled Easy Star's Thrillah will be released August 28, 2012 (a day before the 53rd anniversary of Jackson's birth). Easy Star's Thrillah brings back several of the reggae stars from previous albums, such as vocalists Michael Rose (Black Uhuru), Steel Pulse, Luciano, Mojo Morgan (Morgan Heritage), alongside the diverse playing of guests Yossi Fine (David Bowie, Lou Reed, Stanley Jordan), Joe Tomino (Dub Trio/Matisyahu), Andy Farag (Umphrey's McGee), and horn tracks courtesy of Israel's highly-acclaimed funk/hip-hop band Hadag Nachash. The album will be preceded by the July 10th digital release of the Billie Jean EP, which includes two album tracks, along with non-album remixes and a dub version.


    In selecting Thriller, Easy Star Records co-founder Lem Oppenheimer says, We've always tackled the greats - The Beatles, Pink Floyd, Radiohead - but while we wanted to take on another huge album, we also wanted to blaze new trails. In Thriller we found those new trails in a number of firsts for the series: the first album by an American artist, the first non-concept album, the first R&B/soul record, as well as the first release from the 80s.


    For me, I was most excited for Thriller, says producer/arranger/guitarist Michael Goldwasser. I was always more of an R&B/soul and reggae kid growing up and I have an intense personal connection to Michael Jackson's music. As usual, the process initially involved Goldwasser spending a few months on arranging the songs. Writing the arrangements for this album was a cool challenge. I didn't have to try to make non-dance music into dance music as on our previous albums because the original Thriller is so danceable already, but I needed to find ways to make each song groove in a different way from the original version. I didn't want any of the arrangements to be obvious in that regard. In the end, Goldwasser's arrangements are some of the most interesting in his career.


    Now that the hard work in the studio is done, the band is looking forward to bringing this music on the road, adding some dance/pop songs to their already varied sets. The band's live show, which was nominated for a UK Festy Award in 2009, already features tracks from the band's previous three tribute albums, along with original material. An extensive fall tour of the US and UK is already set up (US dates listed below), with more to come over the next year. As the original Thriller album comes up on its 30-year anniversary in November, what better way to celebrate this timeless album than to catch the Easy Star All-Stars perform their reggae-infused versions of this pop masterpiece.

    1. Wanna Be Startin' Somethin'

    2. Baby Be Mine

    3. Girl Is Mine

    4. Thriller

    5. Beat It

    6. Billie Jean
    7. Human Nature

    8. P.Y.T. (Pretty Young Thing)

    9. Lady In My Life

    10. Dub It
    11. Close to Midnight
    Easy Star All-Stars
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Teacher Don't Teach Me Nonsense Teacher Don't Teach Me Nonsense Quick View

    $19.99
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    Teacher Don't Teach Me Nonsense

    Teacher Don't Teach Me Nonsense: Fela explains the role of the teacher in any society with the concept that: all the things we consider as problems, and all the good things we accept from life as good, begin with what we are taught. The individual teaching begins with when we are children - our mother is our teacher. When we come of school age, our teacher is the school-teacher. At the university, the lecturers and professors are our teachers. After university-when we start to work, government becomes the individual's teacher. When then is government's teacher? 'Culture and Tradition' says Fela. This is the order of things everywhere in the world. However, it is the problem side of teacher and student that interests Fela in this song. Because every country in this world except in Africa, it is the respective culture and tradition of that country that guides the government on how to rule their people. Going for specifics, Fela mentions France, Germany, England, Korea, Japan, Syria, Jordan, Iran, Etc., it is the culture of these countries that shapes and guides their respective government's decisions. The culture and traditions of these countries serve as a teacher to their respective governments. Turing his attention to Africa and her problems. Problems which he had sang about: corruption, inflation, mismanagement, authority stealing, electoral fraud, the latest addition which even makes him laugh is -austerity. Fela says if you ask him why 'austerity makes him laugh? The answer is that it is beyond crying. The government steals money from the country, the same government is introducing austerity measures-forcing the poor people to pay for their own greed and calling it 'austerity measures'. How funny if to say the least. Who taught African 'leaders' to rule the way they do today? 'Na the oyinbo' (meaning in Yoruba language: 'it is them white folks') referring to ex-colonial ruler of each country. Take electoral fraud, which is a true test of our democracy. Many African leaders rig elections with impunity and their respective ex-colonial rulers say nothing against this form of 'democracy'. While the same 'white folks' are quick to claim credit for Africa's 'civilization'-which Fela disputes in this song. Is this democracy? , he asks. Turning to other problems like the ever-growing gap between the rich and the poor. Particularly, since the rich are the rules, and also the people stealing the country into poverty. Is this democracy? Or dem-all-crazy? In conclusion, as an African personality, Fela says he is not in the same league as those who believe in dem-all-crazy, so he calls on the Western powers who claim to be Africa's teachers not to teach him nonsense-Teacher Don't Teach Me Nonsense.


    Look and Laugh: By 1981 when Fela wrote and started to perform live the song Look And Laugh, he was living a life that could be described as a recluse. Fela, who loved to go out in public places, clubs, etc. Suddenly, was always found sleeping or playing sax at home with women around him, or performing at the Africa Shrine. His old attitude of keeping abreast of events, giving lectures at universities and institutions of higher learning stopped. He rarely gave press conferences or press releases, like he used to do. Finally he wrote the song to explain what was going-on with him. He sang: ' many of you go dey wonder why your man never write new song! wetin I dey do be say I dey look and laugh.' Meaning: many of you must have been wondering why, your man has not written new songs! what I am doing is just look and laugh! Fela went on to explain his contributions and sacrifices for the cause of black emancipation, the countless beatings and arrests from the Nigerian police and army, his trials and tribulations, his ultimate sacrifice being the burning down of Kalakuta by the Nigeria army. But despite his sacrifices and sufferings like millions of other Africans, it was obvious that things were not getting better for the average man on the street. There is still injustice everywhere, no freedom, no happiness. All these made him feel disillusioned and all he could do about the situation is to Look and Laugh.


    Just Like That: This song is a call to arms from Fela to all Africans to rise up and do something about the political, economic, social and cultural retrogression that has plagued Africa since independence. For more than three decades of independence, there is glaring mismanagement of people's lives, corruption in the highest echelon of government-all these carried out with impunity-'Just Like That' he sings. Using the Nigerian experience as an example of the 'lack of maintenance culture', in Africa's present day neo-colonial administrations, he says: 'White man ruled us for many years, we had electricity constantly, our leaders take over! No electricity in town-Just like that!' Fela explains that the attempt to transplant 'Western style democracy' in an African society is the cause of all the problems. Despite calls for African Unity from leaders like Kwame Nkrumah, who said: '..Until all foreign institutions and culture are removed from the African land, that is when the African genius will be born and African personality will find its fulfillment..'. Instead of heeding Nkrumah's call, Nigeria's political founding fathers, like most African leaders at independence, chose the option of fashioning the constitutions of their respective countries after those of the departing colonial 'masters'-Just Like That. The ambiguity of such decisions can be seen in the poor imitation we make of our attempt at 'Western style democracy'. Persistent political gangsterism, military coups, and sometimes wars, are means used to enforce the already compromised constitutions. As another example of enforcing a fragile constitution, Fela stresses the face that in 1966, Nigeria for a civil war to keep the country ONE. General Gowon, the military head of state, divided Nigeria into twelve administrative regions, subsequent administrations divided the regions into more-Just Like That. He adds that if the idea of the civil war was to keep the country ONE, sub-dividing Nigeria into more regions would separate rather than unite the country. Turning to the position of traditional rulers in the mess called government, Fela sings: ' nothing good for town to give the youths good examples, how our traditional ruler they do, them come make youths look-up to Europe and USA, in those places them don lose them common sense, na the number of Nuclear weapons you get, na him give you power pass! Right now! Fight now! Suffer must stop! Just Like That". Therefore, calling on the people to fight now for a better society.

    1. Teacher Don't Teach Me Nonsense
    2. Look and Laugh
    3. Just Like That
    Fela Kuti
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Third Face of Fame (Pure Pleasure) The Third Face of Fame (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    The Third Face of Fame (Pure Pleasure)

    Georgie Fame's swinging, surprisingly credible blend of jazz and American R&B earned him a substantial following in his native U.K., where he scored three number one singles during the '60s and a top ten hit with Bonnie & Clyde in the States. Fame played piano and organ in addition to singing, and was influenced by the likes of Mose Allison, Ray Charles, Booker T and the MG's and Louis Jordan. Early in his career, he also peppered his repertoire with Jamaican ska and bluebeat tunes, helping to popularize that genre in England; during his later years, he was one of the few jazz singers of any stripe to take an interest in the vanishing art of vocalese, and earned much general respect from jazz critics on both sides of the Atlantic.



    This set finds him in a suaver, jazzier vein accompanied by a band made up of the cream of jazz musicians on the UK scene at the time. It was at this time, 1967 and 1968, that to much acclaim, he toured as featured vocalist with the Count Basie Orchestra throughout the UK & Europe.



    Musicians:



    • Georgie Fame (piano, organ, vocal) and orchestra




    Recording: 1968 by Mike Ross

    Production: Mike Smith



    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 Ballad of Bonnie and Clyde
    2. When I'm Sixty Four
    3. Ask Me Nice
    4. Exactly Like You
    5. Someone to Watch Over Me

    6. Blue Prelude
    7. Bullets Laverne
    8. This is Always
    9. Side By Side
    10. St. James Infirmary

    11. Mellow Yellow
    Georgie Fame
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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