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A Day Without Rain

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  • A Day Without Rain A Day Without Rain Quick View

    $20.99
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    A Day Without Rain

    Having sold 40 million albums worldwide Enya is one of the most successful female artists of all time and second only to U2 as the biggest selling Irish artist in history. Her first new album since the triple platinum, Top 10, Grammy-winning The Memory Of Trees once again transcends formulas, borders and commercial expectations as only Enya can.
    1. A Day Without Rain
    2. Wild Child
    3. Only Time (Original Version)
    4. Tempus Vernum
    5. Deora Ar Mo Chroí
    6. Flora's Secret
    7. Fallen Embers
    8. Silver Inches
    9. Pilgrim
    10. One By One
    11. The First Of Autumn
    12. Lazy Days
    Enya
    $20.99
    Vinyl LP - Sealed Buy Now
  • I Can't Stand The Rain (Pure Pleasure) I Can't Stand The Rain (Pure Pleasure) Quick View

    $34.99
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    I Can't Stand The Rain (Pure Pleasure)

    This wonderful album, originally released in 1974 on the Memphis-based Hi Records label, deserved a wider audience than it ended up getting at the time. It played to Ann Peebles' great strength, her poised and sultry voice, and surrounded by the sparse, easy funkiness of the trademark Hi rhythm section and producer Willie Mitchell's perfect use of horns and strings, she sings like a resilient but disappointed angel on this impressive set of songs about the darker side of love. Her best song is here, the eccentric but brilliant I Can't Stand the Rain, along with a marvelous version of Joe Simon's (You Keep Me) Hangin' On, and perfect readings of a pair of Earl Randle songs, If We Can't Trust Each Other and I'm Gonna Tear Your Playhouse Down. Peebles sings her heart out, and with those somehow bright-sounding Hi grooves behind her, it all comes together to make a classic album of dark, bouncy, and beautiful Southern soul.



    Musicians:



    • Ann Peebles (vocal)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Charles Hodges (keyboards)

    • Archie Turner (piano)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)

    • Memphis Sanctified Singers (horn section)



    Recording: 1973 at Royal Recording Studios, South Lauderdale, Memphis, Tennessee

    Production: Willie Mitchell





    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. I Can't Stand The Rain
    2. Do I Need You?
    3. Until You Came Into My Life
    4. (You Keep Me) Hangin' On
    5. Run, Run, Run
    6. If We Can't Trust Each Other
    7. A Love Vibration
    8. You Got To Feed The Fire
    9. I'm Gonna Tear Your Playhouse Down
    10. One Way Street
    Ann Peebles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Amarantine Amarantine Quick View

    $20.99
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    Amarantine

    The first album in five years from Enya follows the biggest-selling album of her illustrious career, the six-times platinum A Day Without Rain, which transcended all commercial expectations. Having sold more than 50 million albums worldwide, Enya is one of the most successful female artists of all time and second only to U2 as the biggest selling Irish artist in history.
    1. Less Than A Pearl
    2. Amarantine
    3. It's In The Rain
    4. If I Could Be Where You Are
    5. The River Sings
    6. Long Long Journey
    7. Sumiregusa (Wild Violet)
    8. Someone Said Goodbye
    9. A Moment Lost
    10. Drifting
    11. Amid The Falling Snow
    12. Water Shows The Hidden Heart
    Enya
    $20.99
    Vinyl LP - Sealed Buy Now
  • With Loving And Open Arms With Loving And Open Arms Quick View

    $7.99
    Buy Now
    x

    With Loving And Open Arms

    THE CAUSEY WAY IS NOT A CULT. They wish they were, but they are not. Sure, they are building a compound in a remote and undisclosed place, outside of Gainsville, Florida.(oops) Sure they offer Causey Blood (vegan) in communion cups before their services. And, of course, concert goers are encouraged to fill out membership nametags at their concerts. And it goes without saying that they're more than merely terrified about Y2K. But they are not a cult. They can't be because Alternative Tentacles Records can't sign cults; they're supposed to sign bands.


    Causey formed the band in 1997. His requisites were stringent in recruiting his flock. The future parishoners were not allowed to have been in a band - not in their current life nor in prior lives. They made one exception though, they allowed Boy Causey to join the band. Boy, aka Brian, you see, is currently in a ROCK N ROLL band called Man Or Astroman? as well as serving in Servotron. Causey, believe it or not, used to be a professional skateboarder using the phony last name Stanton. He used to defy gravity with corporate sponsorship emblazoned upon his bosom (in interviews he would explain it was the closest feeling approximating that of walking on water) when one day he landed on his nose and finally saw the light. This revelation changed Causey. He wanted to start anew, he suddenly felt a greater purpose. He needed to remain true to his new self while at the same time start something new & exciting and not merely regurgitate putrid bile like some old Linda Blair movie. He dreamed that his followers would release doves in asking for an encore, rather than lighting lighters. He had a mission, and the mission was THE CAUSEY WAY.


    Shortly after this period Jello Causey received a care-package from THE CAUSEY WAY. It contained a digital testament of their musical sacrifices, and some thoughtful Y2K preparedness items such as generic bleach, generic toothpaste, and enough cotton swabs to clean out an entire chapel-full of ears. Shortly after receiving the package, he quickly filled out his membership nametag, and the rest is history. (Jello has adamantly denied journalists' claims that he was 'brainwashed'.) It was exactly the type of new 'testament' wave, and pulpit punk that was missing in his life. (Some heathen have made references to Devo due to the presence of keyboards.)


    Jello wasn't the only soul converted. Rain Phoenix (sister of late River Phoenix) quickly signed up and did penance by singing background vocals on With Open and Loving Arms. One openly famous musical celebrity superstar, Michael Stipe of the rock quartet REM, was so healed upon experiencing THE CAUSEY WAY service, that he invited the pulpit back to his house for a serving of grits to show his gratitude. The band declined.


    Prior to their debut full-length sermon With Open and Loving Arms, THE CAUSEY WAY released an ep by the name of WWCD (that rose to #30 on CMJ's charts) and released an ep called Testimony for the skankedly trendy label Fueled By Ramen.(Less Than Jake's label) before releasing their latest one Causey vs. Everything on Alternative Tentacles in January 2001.

    1. Message From The Pulpit
    2. Sweat
    3. Carousel Of Progress
    4. What Power Is
    5. The Electronic Church(You Sell God)
    6. Toys
    7. Fact Finding Mission
    8. Light Of The World
    9. Institutional Man
    10. Bed Is Where
    11. Love Me
    12. Word Problems
    Causey Way
    $7.99
    Vinyl LP - Sealed Buy Now
  • Afro Classic (Speakers Corner) Afro Classic (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Afro Classic (Speakers Corner)

    In the Seventies, fusion was a popular pigeonhole for music somewhere between jazz and pop. At the same time it was also an often used, belittling term employed by critics and representatives of 'pure' jazz, who never wanted to listen to it, let alone include any of the numerous LPs in their collection.



    Forty years later, the dust has settled. Flautist Hubert Laws' recordings not only for the Atlantic but also the CTI labels are treasured - especially the present LP, which was produced by the 'Master of Sound' Creed Taylor. Now these crossover numbers from the worlds of classic, jazz, pop and easy listening are available once more. Discover, for example, Al Kooper's composition Fire And Rain (more familiar are the versions from Blood, Sweat & Tears and James Taylor), the famous theme music from the film Love Story, and three classical compositions by J. S. Bach and Mozart. All have been given a facelift and with such super sidemen ranging from Ron Carter to Bob James and a superb Freddie Waits on the drums, they are a real treat.
    So cast aside any preconceptions and enjoy this meticulous production and the clear reproduction on vinyl.



    Musicians:



    • Hubert Laws (flute)

    • Don Sebesky (arranger)

    • Fred Alston, Jr. (bassoon)

    • Bob James (electric piano)

    • Gene Bertoncini (guitar)

    • David Friedman (vibraphone)

    • Ron Carter (bass)

    • Airto, Richie 'Pablo' Landrum (percussion)

    • Fred Waits (drums)




    Recording: December 1970 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor





    About Speakers Corner



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



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



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



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



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



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

    1. Fire and Rain
    2. Allegro from Concerto No. 3 in D
    3. Theme from Love Story
    4. Passacaglia in C Minor
    5. Flute Sonata in F
    Hubert Laws
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rides Again Rides Again Quick View

    $34.99
    Buy Now
    x

    Rides Again


    The Joe Walsh-Led James Gang Balances Edgy Hard Rock and Sincere Country-Tinged Ballads on 1970 Classic: Rides Again Features the Radio Favorite Funk #49 and Multi-Part Bomber


    Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 4000 Numbered Copies: Mobile Fidelity 180g Vinyl LP of Rides Again Presents James Gang in Full-Scale Detail


    Led by future Eagle Joe Walsh, the James Gang establishes a power-trio template for all times on its 1970 sophomore album. Home to the top-down favorite Funk #49, Rides Again sparks with a stylistic versatility, hard-rocking edge, and balladic vulnerability united by tight-knit musicianship. The quartet's penchant for crunch-laden boogies and focused jamming pours out on the first half of the record before the band pulls its trick bag out on the second half and injects keyboards into the stylistically varied mix. From start to finish, Rides Again is a 70s rock classic - and, now, one that at last features first-rate sonics to match the music.


    Recorded at the then-brand-new Record Plant, the songs sound more authoritative and fun than ever before on Mobile Fidelity's restored analog pressing. Mastered from the original analog tapes, pressed at RTI, and strictly limited to 4000 numbered copies, this 180g LP teems with involving textures, details, and depth hidden from view on prior pressings. The dimensional body and weight of the guitars, probing low-end of Dale Peters' bass lines, reedy timbre of Walsh's singing, and pacing of the crisp percussive cues are all enhanced. Increased separation between the instruments and airier, more open soundstaging add to the record's toe-tapping fun and seemingly unlimited groove quotient.


    Walsh, without question, remains the biggest draw on Rides Again. The FM radio staple Funk #49 - kick-started by the irresistible declaration I sleep all day, out all night/I know where you're goin' - continues to be identified by many as a Walsh solo tune. Yet it, as well as the sexual thrust of the head-bobbing Woman and proto-metal slash of the multi-part The Bomber, fully represents the pure chemistry and locomotive momentum of the James Gang. With Walsh's Echoplex-equipped slide guitar making psychedelic- and blues-leaning comments, his mates pick up on the direction and answer with melodic responses.


    Throughout the record, the trio's synergy clicks at every turn. Such interplay extends to the more diverse, country-tinged fare on Side B. Streaked with throaty organ passages and reflective moods, sincere midtempo ballads like Tend My Garden tease with rave-up structures and express a softer side of the group. Similarly, the acoustic-based Garden Gate and Jack Nitzsche-orchestrated Ashes the Rain and I showcase sincerity and diversity suggesting the James Gang prepared to defy limitations afforded most of its peers.


    Yet Walsh's departure in 1971 changed the group's fortunes - and, by extension, upped the value of Rides Again, which survives as a near-flawless example of earnest 70s rock and organic playing.


    This title is not eligible for discount.

    1. Funk #49
    2. Asshtonpark
    3. Woman
    4. The Bomber
    5. Tend My Garden
    6. Garden Gate
    7. There I Go Again
    8. Thanks
    9. Ashes the Rain and I
    The James Gang
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Straight From The Heart (Speakers Corner) Straight From The Heart (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Straight From The Heart (Speakers Corner)

    Ann Peebles' climb up the career ladder was rather more conventional than spectacular in the tough, rough days of rhythm and blues. She was first discovered when she appeared in Memphis nightclubs, was given a break by the big-band leader Gene 'Bowlegs' Miller, and landed her first top hit with the celebrated song I Can't Stand The Rain.



    Towards the end of the Seventies she made a well-timed retreat just before the outbreak of the highly commercialised disco wave, only to return many years later with a revival of her old songs.
    Her album from 1972 has certainly not mellowed with age. Her singing is sharp and soulful, and comes right from the heart (Slipped, Tripped And Fell In Love). The beat is powerful, throbbing, young and fresh (What You Laid On Me) or surging and groovy (How Strong Is A Woman?). The arrangements come across as sophisticated and well balanced, yet do not baulk at harsh attacks from the winds nor from the use of Hammond and Hohner keyboards, which were so popular at that time. Melody, singers and big band are airy and finely interwoven (Somebody's On Your Case), while a fusion of soft swing and snappy acerbity (I Pity The Fool) rounds off this album which is filled with pure emotion, heart and soul.



    Musicians:



    • Ann Peebles (vocal)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Andrew Love, Ed Logan (tenor saxophone, vocals)

    • Charles Hodges (organ, piano)

    • Wayne Jackson (trumpet)

    • Teenie Hodges (guitar)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)



    Recording: August 1971 at Royal Recording Studios, Memphis, TN, by Willie Mitchell

    Production: Willie Mitchell





    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. Slipped, Tripped and Fell In Love
    2. Trouble, Heartaches & Sadness
    3. What You Laid On Me
    4. How Strong Is A Woman
    5. Somebody's On Your Case
    6. I Feel Like Breaking Up Somebody's Home Tonight
    7. I've Been There Before
    8. I Pity The Fool
    9. 99 Pounds
    10. I Take What I Want
    Ann Peebles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blood, Sweat, & Tears: 3 (Speakers Corner) (Awaiting Repress) Blood, Sweat, & Tears: 3 (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Blood, Sweat, & Tears: 3 (Speakers Corner) (Awaiting Repress)

    1970 was a really good year for Blood, Sweat & Tears. The colourful, distinguished group was awarded a Grammy® in the categories "Album of the Year", "Best Contemporary Instrumental Performance", and "Best Arrangement Accompanying Vocalist(s)".



    The concept of merging jazz, blues and arrangements of classical themes worked well, with music journalist Leonard Feather commenting that »it brought music into rock«.
    Everything seemed to be allowed - as long as it sounded good: almost spontaneously, it seems, the musicians develop a somewhat boozy, cheery Hi-De-Ho happening out of synthetically created chivalric fanfares, or conjure up a medieval scenario (The Battle) with the archaic sound of a harpsichord and solo voice. That caustic big-band soul (Lucrezia MacEvil) and seemingly familiar rock songs (Fire And Rain) find their niche here fits in with the free spirit of this third album, which boasts no otherwise specified title. One listens to this disc, wondering what surprise is in store in the next beat, the next phrase, the next number. And there is a wonderfully liberating feeling in knowing that nothing is a 'must' but all is allowed.



    Musicians:



    • David Clayton Thomas (vocal)

    • Fred Lipsius (alto saxophone, piano, vocal)

    • Lew Soloff (trumpet, fluegel horn)

    • Jerry Hyman (trombone)

    • Steve Katz (guitar, harmonica, vocal)

    • Dick Halligan (organ, piano, harmonica, trombone, flute, vocal)

    • Jim Fielder (bass)

    • Bobby Colomby (drums, percussion, vocal)




    Recording: 1970 by Roy Halee

    Production: Bobby Colomby and Roy Halee





    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. Hi-De-Ho
    2. The Battle
    3. Lucretia MacEvil
    4. Lucretia's Reprise
    5. Fire and Rain
    6. Lonesome Suzie
    7. Symphony For the Devil
    8. He's a Runner
    9. Somethin' Comin' On
    10. Forty Thousand Headmen
    Blood, Sweat And Tears
    $34.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Natural Light (Pure Pleasure) Natural Light (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Natural Light (Pure Pleasure)

    Natural Light by Eric Bibb is as strong as his previous efforts and produced once again by his longtime bassist Dave Bronze. Eric's voice and guitar playing shines all over whether he's doing a solo acoustic number as in Champagne Habits and the beautiful Lucky Man' Rag where he is joined by a wasboard player, or in the full band numbers such as the cover of the sixties Jackie Wilson hit Higher And Higher. Other favourites include the jazzy Home Lovin' Man where Janne Petersson's piano really stands out, the gospel of Right On Time and Tell Riley, a song about Bukka White and his cousin Riley B.(B.) King. There's even a guest appearence by Hubert Sumlin, the late Howlin Wolf's guitarist, who plays a solo on Too Much Stuff. Most of the songs are self-penned by Eric Bibb with wise storytelling and witty lyrics but there are some covers tastefully arranged including Randy Newman' ballad Every Time It Rains.



    Musicians:



    • Eric Bibb (vocal, guitar)

    • Janne Petersson (piano, organ, accordian)

    • Dave Bronze (bass)

    • Hubert Sumlin, Steve Donnelly (guitar)

    • Simon Clarke, Roddy Lorimer, Tim Sanders (horns)

    • Henry Spinetti (drums)

    • Martin Ditcham, Bjorn Gideonsson (drums, percussion)



    Recording: 2003 at Intimate Studios, London, by Troy Hermes / Warehouse Studios, Oxford, by Steve Watkins / Tonczone Studios, Kent, by Richard Studholme / Leon C Studios, Southend, by Dave Bronze

    Production: Dave Bronze



    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. Too Much Stuff
    2. Home Lovin' Man
    3. So Sorry
    4. Tell Riley
    5. Guru Man Blues
    6. Every Time It Rains
    7. Champagne Habits
    8. Water Works Fine
    9. Circles
    10. Right On Time
    11. Gratefully Blue
    12. Lucky Man Rag
    13. Higher and Higher
    Eric Bibb
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Off The Grid - Doin' It Dylan (Out Of Stock) Off The Grid - Doin' It Dylan (Out Of Stock) Quick View

    $24.99
    x

    Off The Grid - Doin' It Dylan (Out Of Stock)

    Back when Charlie Daniels was a working musician and not a star, he played on three albums by Bob Dylan -- he played guitar and bass on the sessions that became Nashville Skyline, Self Portrait, and New Morning (which means he also shows up on the acclaimed 2013 archival release, Another Self Portrait (1969-1971)) -- so his decision to cut an album devoted to Dylan is not out of the blue. What is surprising is that Off the Grid: Doin' It Dylan isn't one of Daniels' tossed-off latter-day albums, but rather a record where Charlie really digs in, savoring the interplay of his band as well as how the words feel in his mouth. Daniels does indeed choose a few of Bob's densely written songs -- Mr. Tambourine Man, A Hard Rain's Gonna Fall, and Just Like a Woman are here, none of them seeming like easy fits on paper, but each carried with conviction by Charlie -- along with country-rockers that are sure bets: the rollicking ditty Country Pie, I'll Be Your Baby Tonight, and Tangled Up in Blue, whose narrative gets trimmed down and sped up without losing its power. That impassioned reworking of Tangled Up in Blue -- which finds a counterpart in a nicely raucous back porch rendition of Quinn the Eskimo -- goes a long way toward explaining what's so joyous about Off the Grid. Daniels enjoys not the words of Dylan so much as the melodies and music, using these songs not as ruminative reflection but full-bore celebration. Even the ballads -- and there are a few here -- are played for keeps and if that music-first emphasis is a relative rarity among Dylan tributes, it's also true that it's been a long time since Daniels has sounded as engaged on a record as he is here.


    - Stephen Thomas Erlewine (All Music Guide)

    1. Tangled up in Blue
    2. Times They Are a Changin'
    3. I'll Be Your Baby Tonight
    4. Gotta Serve Somebody
    5. I Shall Be Released
    6. Country Pie
    7. Mr. Tambourine Man
    8. Hard Rain's a Gonna Fall
    9. Just Like a Woman
    10. Quinn the Eskimo (The Mighty Quinn)
    The Charlie Daniels Band
    $24.99
    Vinyl LP - Sealed Temporarily out of stock
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