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  • Lateralus (Picture Disc) Lateralus (Picture Disc) Quick View

    $38.99
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    Lateralus (Picture Disc)

    New 2005 extremely limited edition 2 LP Picture Disc from Tool for the album Lateralus. This new extremely limited release features a different picture on each side of the 2 vinyl records, and is packaged in a plastic gatefold with a halographic foil.! Brand new and sealed!


    The Grudge
    Eon Blue Eclipse

    The Patient

    Mantra
    Schism
    Parabola
    Ticks & Leeches
    Lateralus

    Disposition

    Reflection

    Triad
    Faaip De Oiad
    Tool
    $38.99
    Vinyl LP Picture Disc - 2 LPs Sealed Buy Now
  • Opiate Opiate Quick View

    $11.99
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    Opiate

    1. Sweat
    2. Hush
    3. Part Of Me
    4. Cold And Ugly
    5. Jerk-Off
    6. Opiate
    Tool
    $11.99
    Vinyl LP Reissue - Sealed Buy Now
  • Undertow Undertow Quick View

    $29.99
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    Undertow

    1. Intolerance
    2. Prison
    3. Sober
    4. Bottom
    5. Crawl Away
    6. Swamp Song
    7. Undertow
    8. 40
    9. Flood
    10. disgustipated
    Tool
    $29.99
    Vinyl LP Reissue - 2 LPs Sealed Buy Now
  • White Pony White Pony Quick View

    $26.99
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    White Pony

    Originally released in 2000, White Pony is the third album by the Deftones and follow-up to 1997's Around the Fur. The album marks a significant growth in the Deftone's sound and it finds the band incorporating new wave/shoegaze influences into their signature alt-metal mix.


    Generally regarded by fans and critics alike as the band's most mature outing, White Pony features the song Passenger which includes a guest appearance by vocalist Maynard James Keenan of Tool and A Perfect Circle. The song Elite was also awarded a 2001 Grammy for Best Metal Performance.

    LP1
    1. Feiticeira
    2. Digital Bath
    3. Elite
    4. Rx Queen
    5. Street Carp
    6. Teenager


    LP2
    1. Knife Prty
    2. Korea
    3. Passenger
    4. Change (In The House of Flies)
    5. Pink Maggit

    Deftones
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Conditions Of My Parole Conditions Of My Parole Quick View

    $24.99
    Buy Now
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    Conditions Of My Parole

    Puscifer is the brainchild of Tool/A Perfect Circle front man Maynard James Keenan. Spin said of the debut album: ...sharp and giant-sounding, with a delightfully subversive sense of melody while Kerrang described the set as Filthy, sexy, electronic beats that writhe and shake it like Tool never could. With Conditions of My Parole, Keenan retreated to his Arizona homestead, recording the twelve-track album he describes as Twin Peaks in the desert. The result is twelve slightly sinister yet perversely danceable songs that use the notoriously reclusive Keenan's surroundings as inspiration.
    1. Tiny Monsters
    2. The Green Valley
    3. Monsoons
    4. Telling Ghosts
    5. Horizons
    6. Man Overboard
    7. Toma
    8. The Rapture (Fear is a Mind Killa mix)
    9. Conditions of My Parole
    10. The Weaver
    11. Oceans
    12. Tumbleweed
    Puscifer
    $24.99
    Vinyl LP - Sealed Buy Now
  • Pro Tools Pro Tools Quick View

    $22.99
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    Pro Tools

    Blue Colored Vinyl


    One of the most renowned and continually relevant hip-hop emcees of all time, GZA returns with his fifth solo album, Pro Tools. An original member of the legendary Wu-Tang Clan, GZA has established himself as a perennial force in hip-hop, having amassed sales of over 1.5 million units in his 13+ year solo career. Recently, GZA's contributions have driven the phenomenal success of the 2008 Wu-Tang Clan reunion album 8 Diagrams as well as two of independent hip-hop's flagship releases: Think Differently Music: Wu-Tang Meets The Indie Culture and the DJ Muggz/GZA collaboration Grandmasters (both having scanned close to 60,000+ units to date). With an entrenched and rabidly loyal fan base, Pro Tools marks the long awaited return of one of hip-hop's most revered and respected emcees.

    1. Instrumental
    2. Pencil Feat. Masta Killa & RZA
    3. Alphabets
    4. Groundbreaking Feat. Justice Kareem
    5. 7 Pounds
    6. 0% Finance
    7. Short Race Feat. Rock Marcy
    8. Interlude
    9. Paper Plate
    10. Columbian Ties Feat. True Master
    11. Firehouse Feat. Ka
    12. Path of Destruction
    13. Cinema Feat. Justice Kareem
    14. Intermission (Drive In Movie)
    15. Life Is A Movie Feat. RZA & Irfane Khan-Acito (of Outlines)
    16. Elastic Audio - Live Performance @ The Parish in Austin, TX*


    *Bonus Live Performance

    Genius/Gza
    $22.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Memento Mori Memento Mori Quick View

    $25.99
    Buy Now
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    Memento Mori

    Pressed On Clear Vinyl


    Housed In A Gatefold Sleeve


    Follow up to the successful debut of Lux (2013), part two of their Trilogy, Memento Mori is filled with the band's signature dark hard rock with ultra artistic branding and deep message inspired by Tool and Led Zeppelin. Memento Mori debuted #1 on the Billboard Heatseeker chart for the week of 8/19/16. Featured singles "Remember We Die" and "Anonymous", were well received by hard rock/metal fans while still taking the band to higher ground. The band has a strong visual identity that hints at Led Zeppelin and Tool influences.

    LP 1
    1. Anonymous
    2. Remember We Die
    3. Zealot
    4. Gravedigger
    5. On Point
    6. La Devastante Veritá
    7. Sorry Not Sorry


    LP 2
    1. Eternity
    2. Alive Inside
    3. Inception
    4. Lucido Somnium
    5. Say Goodnight
    6. Awaken
    7. Ordo Ab Chao
    8. Brought To Light

    Gemini Syndrome
    $25.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Blues From The Gutter (Pure Pleasure) Blues From The Gutter (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Blues From The Gutter (Pure Pleasure)

    This is the 1958 masterwork album of Champion Jack Dupree's long and prolific career. Cut in New York with a blasting band that included saxist Pete Brown and guitarist Larry Dale, the Jerry Wexler-produced Atlantic collection provides eloquent testimony to Dupree's eternal place in the New Orleans blues and barrelhouse firmament. There's some decidedly down-in-the-alley subject matter -- Can't Kick the Habit, T.B. Blues, a revival of Junker's Blues -- along with the stomping Nasty Boogie and treatments of the ancient themes Stack-O-Lee and Frankie & Johnny.



    Musicians:



    • Champion Jack Dupree (piano, vocal)

    • Pete Brown (alto saxophone)

    • Ennis Lowery (guitar)

    • Wendell Marshall (bass)

    • Willie Jones (drums)



    Recording: 1958 in New York by Tom Dowd
    Production: Jerry Wexler




    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. Strollin'
    2. T.B. Blues
    3. Can't Kick the Habit
    4. Evil Woman
    5. Nasty Boogie
    6. Junker Blues
    7. Bad Blood
    8. Goin' Down Slow
    9. Frankie and Johnny
    10. Stack-O-Lee
    Champion Jack Dupree
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • AudioQuest Conductive Record Brush AudioQuest Conductive Record Brush Quick View

    $19.99
    Buy Now
    x

    AudioQuest Conductive Record Brush


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Back in 1973, I became a dedicated user of the Decca Carbon Fiber Record Brush. The British Decca Brush was so wonderfully more effective than any of the wet-cloth-pad cleaners that smeared dirt around on one's records.


    As often happens to truly superior products, the Decca Brush was mostly ignored - the overall record-cleaning market was dominated by cleaning pads attached to wood handles - not because they worked well, but because many hi-fi stores preferred to sell a cleaner that forced customers to come back to buy "special" fluid, again and again.


    After creating AudioQuest in 1980, and with the wild success of the AQ 404 phono cartridge in 1982, and because I personally used a Carbon Fiber record brush every single day - AudioQuest began making the AQ Carbon Fiber Record Brush - now a 35-year old success story, and maybe the world's favorite way to respect and care for LPs.


    Except - we eventually learned that the AQ Record Brush (and every other brand of carbon Fiber brush), doesn't have a good electrical path between the fibers and the handle, and that the print-protecting coating on the metal handle prevents a proper electrical connection to the user's hand. The user is the "ground" for static electricity, so having a good electrical contact from fibers-to-hand is a big deal!


    In creating AQ's new Conductive Carbon Fiber Brush, AudioQuest created new tooling for every part of our new design. AQ's reborn Brush has ideal conductivity from the Carbon Fibers, through the internal parts of the brush, to the conductive Gold Contacts placed right where your fingers need them.


    We also reinvestigated what is possible with Carbon Fibers, finally choosing for our new Brush a far greater quantity of new smaller fibers in order to more effectively sweep away micro-dirt, not just the less relevant visible dust.


    To everyone who has an AQ Record Brush (thank you), or any brand of Carbon Fiber brush, and to everyone who hasn't yet discovered how simple it is to keep records clean:


    We invite you to experience the reborn AudioQuest Conductive Record Brush.


    Your records will thank you!


    • Safe, fast, and effective tool for removing dust and debris from vinyl records
    • Conductive carbon fiber bristles and conductive gold contacts remove microscopic dust before it becomes embedded in the vinyl
    • Keeps records sounding like new
    • Also perfect for computer keyboards and much more


    AudioQuest
    $19.99
    Record Cleaner Brush Buy Now
  • The Heart is a Monster The Heart is a Monster Quick View

    $29.99
    Buy Now
    x

    The Heart is a Monster

    First album in 19 years from LA alternative band, Failure. The band returned from a 17-year hiatus in early 2014 with a single Los Angeles date planned which to a North American tour, including a run of dates with Tool and appearances at Riot Fest, Fun Fun Fun and Cinquanta.
    1. Segue 4
    2. Hot Traveler
    3. A.M. Amnesia
    4. Snow Angel
    5. Atom City Queen
    6. Segue 5
    7. Counterfeit Sky
    8. Petting the Carpet
    9. Mulholland Drive
    10. Fair Light Era
    11. Segue 6
    12. Come Crashing
    13. Segue 7
    14. The Focus
    15. Otherwhere
    16. Segue 8
    17. I Can See Houses
    18. Segue 9
    Failure
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Lesser Key (Coke Bottle Clear) Lesser Key (Coke Bottle Clear) Quick View

    $19.99
    Buy Now
    x

    Lesser Key (Coke Bottle Clear)


    Coke Bottle Clear Vinyl


    "Freedom is a double-edged sword.. we are inspired to create from the ugly as well as the beautiful."


    The Los Angeles based rock group, LESSER KEY, represents an exploration into personal and artistic freedom. The group consists of Andrew
    Zamudio, Brett Fanger, Justin Hanson and Paul D'Amour - founding TOOL bassist and songwriter (Opiate & Undertow)


    LESSER KEY will be releasing their highly anticipated self-titled debut EP. The group created their debut with producer Sylvia
    Massy (System of a Down, Tool, Johnny Cash).


    LESSER KEY states: "Having Paul D'Amour join us on bass is a real pleasure. We all loved the work he did on the first few TOOL albums. I think first
    and foremost we give our best effort to create something that excites us.. the intention is to stir things up a bit. We'd rather try to present something
    in the most honest way possible so that people can come to their own thoughts and feelings. Hopefully both the listener and us walk away more
    aware from the art."

    1. Intercession
    2. Pale Horse
    3. Parallels
    4. Folding Stairs
    5. In Passing Through
    6. Labile
    Lesser Key
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • Grand Encounter: 2 Degrees East 3 Degrees West (Pure Pleasure) Grand Encounter: 2 Degrees East 3 Degrees West (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Grand Encounter: 2 Degrees East 3 Degrees West (Pure Pleasure)

    Also reissued as 2 Degrees East, 3 Degrees West and occasionally listed under tenor saxophonist Bill Perkins' name, this classic session is the ultimate in cool jazz. Perkins' mellow tone matches quite well with the quiet but inwardly passionate playing of pianist John Lewis, guitarist Jim Hall, bassist Percy Heath, and drummer Chico Hamilton. Lewis is featured with the rhythm section on I Can't Get Started, Hall is added for Skylark, and the full group plays three standards plus Lewis' memorable (and atmospheric) 2 Degrees East, 3 Degrees West.



    Musicians:



    • John Lewis (piano)

    • Bill Perkins (tenor saxophone)

    • Jim Hall (guitar)

    • Percy Heath (bass)

    • Chico Hamilton (drums)



    Recording: February 1956

    Production: Richard Bock



    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 Me Or Leave Me
    2. I Cant Get Started

    3. Easy Living
    4. 2 Degrees East 3 Degrees West
    5. Skylark
    6. Almost Like Being In Love
    John Lewis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Portraits In Blues Volume 3 (Pure Pleasure) Portraits In Blues Volume 3 (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Portraits In Blues Volume 3 (Pure Pleasure)

    In October 1963, Spann toured Europe as part of that year's American Folk Blues Festival and recorded some superb solo, contemplative blues in a broken, husky voice for Storyville Records in Copenhagen.




    Musicians:



    • Otis Spann (piano, vocal)

    • Lonnie Johnson (guitar)

    • Little Willie Smith (drums)



    Recording: October 1963 in Copenhagen, Denmark



    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. Good Morning, Mr. Blues
    2. Love, Love, Love
    3. Riverside Blues
    4. Must Have Been the Devil
    5. Jelly Roll Baker
    6. Trouble in Mind Side
    7. Worried Life Blues
    8. T. B. Blues
    9. Spann's Boogie
    10. Don't You Know
    11. Goin' Down Slow
    Otis Spann
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Nutcracker Suite (Pure Pleasure) (Awaiting Repress) The Nutcracker Suite (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    The Nutcracker Suite (Pure Pleasure) (Awaiting Repress)

    In 1960, Duke Ellington and Billy Strayhorn arranged their own virtuosic adaptation of Pyotr Ilyich Tchaikovsky's The Nutcracker Suite for the Duke Ellington Orchestra. Featuring nine cleverly arranged movements (boasting equally smart titles like Toot Toot Tootie Toot and Sugar Rum Cherry), it's the quintessential Ellington blend of wit and sophistication. It's amazing how swinging and sexy the Nutcracker Suite can sound!




    Musicians:



    • Johnny Hodges (alto saxophone)

    • Russell Procope (alto saxophone, flute)

    • Harry Carney (basson)

    • Ray Nance, Willie Cook (trumpet)

    • Juan Tizol (trombone, tambourine)

    • Lawrence Brown, Britt Woodman (trombone)

    • Duke Ellington (piano)

    • Aaron Bell (bass)

    • Sam Woodyard (drums)



    Recording: May and June 1960 in Los Angeles



    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. Overture
    2. Toot Toot Tootsie Toot (Dance of the Reed-Flutes)
    3. Peanut Brittle Brigade (March)
    4. Sugar Rum Cherry (Dance of the Sugar Plum Fairy)
    5. Entr'acte
    6. The Volga Vouty (Russian Trepak)
    7. Chinoiserie (Chinese Tea)
    8. Dance of the Floreadores (Waltz of the Flowers)
    9. Arabesque Cookie (Arabian Coffee)
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • I Like Men! (Pure Pleasure) (Awaiting Repress) I Like Men! (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    I Like Men! (Pure Pleasure) (Awaiting Repress)

    Great songs and intimate moments with Peggy Lee in this extremely enjoyable album. Released in 1959, I Like Men is one of Peggy Lee's most fun albums. With hits from Gus Kahn, Eubie Blake and Cole Porter.



    Peggy Lee at her best!




    Musicians:



    • Peggy Lee (vocal)

    • Jack Marshall (arranger, conductor)

    • Benny Carter (alto saxophone)

    • Pete Candoli (trumpet)

    • Frank Rosolino (trombone)

    • Jimmy Rowles (piano)

    • Barney Kessel (guitar)

    • Shelly Manne (drums)



    Recording: October 1958 Capitol Tower, Los Angeles

    Production: David Cavanaugh




    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. Charley,My Boy
    2. Good For Nothin' Joe
    3. I Love To Love
    4. When A Woman Loves A Man
    5. I Like Men!
    6. I'm Just Wild About Harry
    7. My Man
    8. Bill
    9. So In Love
    10. Jim
    11. It's Nice To Have A Man Around The House
    12. Oh Johnny,Oh Johnny, Oh!
    Peggy Lee
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Kansas City Revisited (Pure Pleasure) Kansas City Revisited (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Kansas City Revisited (Pure Pleasure)

    Cool jazz meets swing on this memorable but long out-of-print LP. Valve trombonist Bob Brookmeyer, tenors Al Cohn and Paul Quinichette, pianist Nat Pierce, guitarist Jim Hall, bassist Addison Farmer and drummer Osie Johnson perform four songs associated with the late-'30s Count Basie Orchestra plus a couple of numbers (A Blues and Travlin' Light) that are sung by the underrated vocalist Big Miller who was making his recording debut at the time.




    Musicians:



    • Bob Brookmeyer (trombone)

    • Al Cohn, Paul Quinichette (tenor saxophone)

    • Nat Pierce (piano)

    • Jim Hall (guitar)

    • Addison Farmer (bass)

    • Osie Johnson (drums)

    • Big Miller (vocal)



    Recording: October 1958 at Olmsted Studios, New York City, by Dick Olmsted

    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. Jumping At the Woodside
    2. A Blues
    3. Blue and Sentimental
    4. Doggin' Around
    5. Moten Swing
    6. Travlin' Light
    Bob Brookmeyer
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Art of The Primadonna (Speakers Corner) The Art of The Primadonna (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    The Art of The Primadonna (Speakers Corner)

    Recording: July and August 1960 in Kingsway Hall, London, by Kenneth Wilkinson

    Production: Michael Bremner and Ray Minshull




    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.



    LP1
    1. Arne - Artaxerxes: The Soldier Tir'd
    2. Handel - Samson: Let The Bright Seraphim
    3. Bellini - Norma: Recit. And Aria, Casta Diva
    4. Bellini - I Puritani: Polonaise, Son Vergin Vezzosa
    5. Rossini - Semiramide: Bel Raggio
    6. Bellini - I Puritani: Qui La Voce
    7. Bellini - La Sonnambula: Recit. And Aria, come Per Me Sereno
    8. Gounod - Faust: The Jewel Song


    LP2
    1. Gounod - Romeo Et Juliette: The Waltz Song
    2. Verdi - Otello: The Willow Song
    3. Mozar - De Entfubrung Aus Dem Serail: Marten Aller Arten
    4. Verdi - La Traviata: Ah, Fors'e Lui And Sempre Libera
    5. Thomas - Hamlet: The Mad Scene
    6. Delibes - Lakme: The Bell Song
    7. Meyerbeer - Les Huguenots: O Beau Pays

    8. Verdi - Rigoletto: Recit And Aria, Caro Nome

    Joan Sutherland
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Brazilian Byrd (Pure Pleasure) Brazilian Byrd (Pure Pleasure) Quick View

    $34.99
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    Brazilian Byrd (Pure Pleasure)

    The arrangements by Tommy Newsom for strings, brass, and woodwinds may be a bit sweet and the 12 performances may be overly concise (often under three minutes), but the resulting music is strangely pleasing. Acoustic guitarist Charlie Byrd always had a strong affinity for Brazilian jazz, and he sticks exclusively to Antonio Carlos Jobim songs during this tasteful and melodic effort. Truly beautiful music.



    Musicians:



    • Charlie Byrd (guitar) & with strings, brass & woodwinds




    Recording: 1965

    Production: Teo Macero



    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. Jazz 'n' Samba (So Danco Samba)
    2. Corcovado
    3. That Look You Wear (Este Seu Olhar)
    4. The Girl From Ipanema
    5. Samba do Aviao (Song of the Jet)
    6. Engano
    7. O Amor em Paz
    8. Dindi
    9. Cancao do Amor Demais
    10. As Praias Desertas
    11. Samba Torto
    12. Someone To Light Up My Life (Se Todo)
    13. Engano (alternate take)
    Charlie Byrd
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Plays The Blues For You (Pure Pleasure) Plays The Blues For You (Pure Pleasure) Quick View

    $34.99
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    Plays The Blues For You (Pure Pleasure)

    Guitarist Melvin Taylor's fluid, smartly constructed solos and understated yet winning vocals are surprises on this 1984 nine-track set recorded for Isabel. Taylor is not a fancy or arresting singer but succeeds through his simple, effective delivery of lyrics, slight inflections, and vocal nuances. His guitar work is impressive, with skittering riffs, shifting runs, and dashing solos. Organist/pianist Lucky Peterson is an excellent second soloist, adding cute background phrases at times, then stepping forward and challenging or buttressing Taylor's playing with his own dazzling lines.



    Musicians:



    • Melvin Taylor (vocals, guitar)

    • Lucky Peterson (organ, piano)

    • Titus Williams (bass, guitar)

    • Ray Allison (drums)



    Recording: March 1984 at Studio Davout, Paris

    Production: Didier Tricard



    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. Talking To Anna-Mae (Part 1)
    2. T.V. Mama
    3. I'll Play The Blues For You
    4. Born To Lose
    5. Tribute To Wes
    6. Cadillac Assembly Line
    7. Voodoo Daddy
    8. Talking To Anna-Mae (Part 2)
    9. Groovin' In Paris
    Melvin Taylor
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Spoon's Life (Pure Pleasure) Spoon's Life (Pure Pleasure) Quick View

    $34.99
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    Spoon's Life (Pure Pleasure)

    A beautifully recorded session of top quality blues performed by masters of their art. On paper it may look like a slightly odd coupling of KC shouter with a Chicago blues band. The results confirm that Jimmy Witherspoon is a blues singer full of passion and throughout this session all the musicians compliment each other admirably. A beautiful slab of music.



    Musicians:



    • Jimmy Witherspoon (vocal)

    • George Smith (harmonica)

    • Johnny Dollar, Sammy Lawhorn (guitar)

    • Nick Charles (bass)

    • Roosevelt "Snake" Shaw (drums)



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. Night Life
    2. Help Me
    3. Big Boss Man
    4. Cold Cold Feeling
    5. Worried Life Blues
    6. Did You Ever
    7. Blues With A Feeling
    8. Big Leg Woman
    9. Bags Under My Eyes
    Jimmy Witherspoon
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Picture of Heath (Pure Pleasure) Picture of Heath (Pure Pleasure) Quick View

    $34.99
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    Picture of Heath (Pure Pleasure)

    First released under the title "Playboys" in 1956 it was then re-released under the title "Picture Of Heath" in 1961 perhaps owing to the fact it carried the same name as a popular men's magazine.



    This was the third session together of the dynamic duo of Chet Baker and Art Pepper the previous two having been unequivocal successes. Baker and Pepper have an instinctual rapport that yields outstanding interplay.



    These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners.



    Musicians:



    • Chet Baker (trumpet)

    • Art Pepper (alto saxophone)

    • Phil Urso (tenor saxophone)

    • Carl Perkins (piano)

    • Curtis Counce (bass)

    • Lawrence Marable (drums)



    Recording: October 1956




    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. Picture Of Heath
    2. For Miles And Miles

    3. C.T.A.
    4. For Minors Only
    5. Minor Yours
    6. Resonant Emotions

    7. Tynan Time
    Chet Baker & Art Pepper
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blues Jam At Chess (Pure Pleasure) Blues Jam At Chess (Pure Pleasure) Quick View

    $44.99
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    Blues Jam At Chess (Pure Pleasure)

    No introduction needed for this fabulous release. Arguably one of the greatest blues recordings laid down in the last 40 years! Just checking out the personnel above says it all. Originally released on Mike Vernon's highly collectable and revered Blue Horizon label in 1969, this pressing will become a must for all serious collectors and muso's alike!




    Musicians:



    • Fleetwood Mac

    • Otis Spann

    • Willie Dixon

    • Shakey Horton

    • J.T. Brown

    • Guitar Buddy

    • Honey Boy Edwards

    • S.P. Leary




    Recording: January 1969 at Chess Ter-Mar Studios, Chicago

    Production: Mike Vernon and Marshall Chess



    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.



    Side One

    1. Watch Out

    2. South Indiana - Take 1

    3. South Indiana - Take 2

    4. Last Night

    5. Red Hot Jam



    Side Two

    6. I'm Worried

    7. I Held My Baby Last Night

    8. Madison Blues

    9. I Can't Hold

    10. I Need Your Love

    11. I Got the Blues



    Side Three

    12. World's in a Tangle

    13. Talk with You

    14. Like it This Way

    15. Someday Soon Baby

    16. Hungry Country Girl



    Side Four

    17. Black Jack Blues

    18. Everyday I Have the Blues

    19. Rockin' Boogie

    20. Sugar Mama

    21. Homework

    Fleetwood Mac
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Otis Spann Is The Blues (Pure Pleasure) Otis Spann Is The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Otis Spann Is The Blues (Pure Pleasure)

    Another absolute gem from Alan Bates's Candid label this must be probably Otis Spann's finest piece of work on wax. He may not have been THE blues, but he was sure close to being THE blues pianist. Spann provided wonderful, imaginative, tasty piano solos and better-than-average vocals, and was arguably the best player whose style was more restrained than animated. Not that he couldn't rock the house, but Spann's forte was making you think as well as making you dance.




    Musicians:



    • Otis Spann (piano, vocal)

    • Robert Lockwood Jr. (guitar, vocal)




    Recording: August 1960 at Fine Recording Studios, New York, USA, by George Piros

    Production: Nat Hentoff




    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.



    Otis Spann & Robert Lockwood
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Today! (Pure Pleasure) Today! (Pure Pleasure) Quick View

    $34.99
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    Today! (Pure Pleasure)

    Clear, crisp modern recordings of the spooky, mysterious style of Blues Skip James developed early last century. His guitar playing is perfect. His high haunting voice floats and then holds and makes the hair on the back of your neck crawl. His piano playing is unpredictable yet concise. His unique style, which recorded earlier in his life (1930) sounded almost archaic (positively so), now sounds strangely modern due to the increased fidelity of the magnetic tape used for the recording. An unusual and original talent, Skip James was one of the best.




    Musicians:



    • Skip James (vocal, guitar, piano)




    Recording: 1964



    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.



    Hard Time Killin Floor Blues
    Crow Jane
    Washington D.C. Hospital Center Blues
    Special Rider Blues
    Drunken Spree
    Cherryball
    How Long Blues
    All Night Long
    Cypress Grove Blues
    Look Down the Road
    My Gal
    I'm So Glad
    Skip James
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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