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  • Anomaly (Deluxe) Anomaly (Deluxe) Quick View

    $29.99
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    Anomaly (Deluxe)


    2x 180 Gram Reflex Blue/Clear Starburst Colored Vinyl


    Newly Remastered


    Includes Three Bonus Tracks, Two Of Which Are Previously Unreleased


    On the heels of the historic KISS Reunion Tours
    (spanning 400+ show from 1996 to thru 2001) Ace
    Frehley began laboring over the material that would
    culminate in the 2009 release of "Anomaly" - the
    highest charting Frehley solo album since his selftitled
    debut in 1978 (which featured the only Top 20
    KISS solo hit with "New York Groove)."


    Frehley is also the only member to vibrantly maintain a solo career, having recently renewed
    with eOne Music for what will be his 9th and 10th solo album in the coming years.


    As for the project at hand, as ALLMUSIC.com put it: ''ANOMALY' surprised even
    longtime supporters with its forceful, confident performances and sharp songwriting."
    Not to mention it's #27 debut on the Billboard Top 200, debut in the U.S.


    Since then Ace Frehley went on to release the first ever Top 10 Billboard 200 debut
    of any Kiss related solo album with "Space Invader" in 2014, the same year he was
    inducted into the Rock and Roll Hall of Fame.


    Out of print since 2010, "ANOMALY Deluxe" returns to fill a major void in the Frehley
    catalog, newly remastered with 3 bonus songs, including 2 previously unreleased
    tracks for KISS/Frehley collectors and completists worldwide!

    1. Foxy & Free
    2. Outer Space
    3. Pain In The Neck
    4. Fox On The Run
    5. Genghis Khan
    6. Too Many Faces
    7. Change The World
    8. Space Bear
    9. A Little Below The Angels
    10. Sister
    11. It's A Great Life
    12. Fractured Quantum
    13. Hard For Me*
    14. Pain In The Neck (Slower Version)*
    15. Return Of The Space Bear*


    *Bonus Track

    Ace Frehley
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Near & Undear Near & Undear Quick View

    $15.99
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    Near & Undear


    Limited Edition Clear Vinyl (500 Pieces)


    Formed in 2009, The Bixby Knolls are something of an anomaly in the LA music scene. While other bands were trying to reinvent electro pop or mining twee romance, the four boys in the Knolls were cooking up their own hybrid version of California rock music something equal parts britpop, fuzzy garage rock, and anthemic power pop. It proved to be a combination that not only set them apart from most of their contemporaries, but it also put them squarely in their own lane.


    The Bixby Knolls' full-length debut Near & Undear was recorded at the iconic sound factory studios in Hollywood, and was produced by Joe Cardamone (moonlighting from his role as front man in the icarus line) and engineered by Greg Gordon. The resulting record was nothing if not a learning experience for the band. Culled from nearly fifty different demos, the eleven tracks that make up Near & Undear represent the band at their most fantastically loose.

    1. Supervised War
    2. Through The Cracks
    3. All A Lie
    4. Runnin And Runnin
    5. Seeing Ghosts
    6. Reina Del Mezcal
    7. Waking Up The World
    8. Autumn Will Fall
    9. Inside The Walls
    10. 100 Deaf Ears
    11. Want It All
    The Bixby Knolls
    $15.99
    Colored Vinyl LP - Sealed Buy Now
  • Ritual Ritual Quick View

    $25.99
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    Ritual

    Ritual is something of an anomaly in the Keith Jarrett archive. It's a solo album, as many of his best are, only this time it is pianist, conductor, and frequent collaborator Dennis Russell Davies at the keys playing a work penned entirely by Jarrett. The hallmarks of a Jarrett piano recital are all there-the rolling ostinatos, dense arpeggios, and profound doublings-yet are valenced differently under the rubric of "composition." In this context, we get a sense of "once removed-ness" that might not present itself under improvisational circumstances. The piece's modest 32 minutes are divided into two immodest parts. From the opening groundswell we get not only dense pockets of energy, but also nodes of emptiness. Put another way: the music's glorious peaks share the same space as the shadowy valleys at their feet, thereby encompassing a harmonious middle ground. Like a geyser, its eruptions are predictable yet manage to enthrall every time. Despite its claustrophobic beginnings, Part 1 ends in bright solitude, like a room in which the curtain has been slowly opened to welcome the morning sun. Heavier chording marks Part 2, which resolves in a hopeful melancholy, but not before gelling the emotional plasticity of its precursor. This brings us full circle, ending on a solemn intonation of a single note.


    Ritual is far more "regulated" than typical Jarrett fare, spun as it is from the surrogacy of another performer rather than through the alchemy of spontaneous creation (though there is, of course, some of each in the other). The results are captivating in their own way, stoked by every depressed key and lifted pedal. Its shapes are drawn not by what is, but what has been and will be. The present is invisible and lives on only as formless possibility, caught like a blown kiss in the cup of one's hand.


    Recorded June 1977 at Tonstudio Bauer, Ludwigsburg

    Engineer: Martin Wieland

    Produced by Manfred Eicher


    1. Ritual (Part I)
    2. Ritual (Part II)
    Keith Jarrett / Dennis Russell Davies
    $25.99
    Vinyl LP - Sealed Buy Now
  • Belafonte At Carnegie Hall (Box Set) (Pre-Order) Belafonte At Carnegie Hall (Box Set) (Pre-Order) Quick View

    $234.99
    Buy Now
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    Belafonte At Carnegie Hall (Box Set) (Pre-Order)

    Belafonte At Carnegie Hall - The Complete Concert


    5-LP Set Includes Bonus Tracks Previously Unavailable On Vinyl


    Mastered By Ryan K. Smith At Sterling Sound From The Original 3-Track Analog Tapes


    200-Gram LPs Cut At 45 RPM, Plating By Gary Salstrom, Pressing At Quality Record Pressings


    45 RPM Custom Designed Slipcase Box


    Described by reviewers as "the quintessential Belafonte package,"
    Belafonte at Carnegie Hall captures the excitement of
    a Harry Belafonte concert at the height of his popularity. What
    Analogue Productions has done with this 5LP box set release
    exceeds other vinyl versions.


    We've included the entire concert. The fifth disc in this premium
    set includes tracks heretofore missing from prior editions due to
    space limitations. They include Belafonte's spoken introduction
    before launching into the touching and tender "Scarlet Ribbons,"
    followed by the orchestral overture.


    What AllMusic.com describes as "The grandaddy of all live albums,"
    was an anomaly at a time when only comedy albums were
    recorded outside of the studio environment. A major financial and
    artistic success, the live performance stayed on the best-selling
    album charts for over three years and remained in print until RCA
    discontinued pressing LPs.


    The concert is divided into three sections: "Moods of the American
    Negro," "In The Caribbean," and "Round The World." All the hits
    are here: "Day O," "Jamaica Farewell," "Mama Look a Boo Boo,"
    and others, plus calypso, folk songs, chain gang songs, spirituals,
    and songs from other lands, representing a veritable best-of
    package of Belafonte's first decade with RCA Victor.


    Wait no more if you haven't heard this marvelous record. We've
    gone all out for this deluxe reissue. Starting with premier mastering
    by Ryan K. Smith at Sterling Sound from the original analog
    tapes. Then plating and pressing by Gary Salstrom and the crew
    at Quality Record Pressings, where the finest quality LPs in the
    world are pressed. But it doesn't stop there: We've enhanced
    the original studio photography and housed the collection in a
    custom-designed slipcase box.


    Belafonte's mastery in front of an audience was never better displayed
    then here, a mastery that resulted in him becoming one
    of the most popular concert draws in history. From the opening
    trumpet fanfare to the epic 12-minute version of "Matilda" (which
    set a standard for audience participation), the album never lets
    up!


    This title is not eligible for discount.

    LP 1
    1. Introduction/Darlin' Cora
    2. Sylvie
    3. Cotton Fields
    4. John Henry
    5. Take My Mother Home


    LP 2
    1. The Marching Saints
    2. Day O
    3. Jamaica Farewell
    4. Man Piaba
    5. All My Trials


    LP 3
    1. Mama Look A Boo Boo
    2. Come Back Liza
    3. Man Smart (Woman Smarter)
    4. Hava Nageela
    5. Danny Boy
    6. Merci Bon Dieu


    LP 4
    1. Cu Cu Ru Cu Cu Paloma
    2. Shenandoah
    3. Matilda


    LP 5
    1. Harry Belafonte (Spoken Intro)
    2. Scarlet Ribbons
    3. Overture Medley (Instrumental)

    Harry Belafonte
    $234.99
    200 Gram Audiophile Virgin Vinyl LP Box Set 45RPM - 5 LPs Sealed PRE-ORDER Buy Now
  • Slaves Mass (Pure Pleasure) Slaves Mass (Pure Pleasure) Quick View

    $34.99
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    Slaves Mass (Pure Pleasure)

    Not strictly a jazz album in the strict sense, Slaves Mass has strong compositional themes among its seven tracks. The maestro Hermeto Pascoal plays everything from flutes, soprano saxophone, guitar, Fender Rhodes, acoustic piano and clavinet on this set, and enlists help from Ron Carter, Airto, Flora Purim, Raul DeSouza, David Maro and others. Mixing Pot, is the opener and an anomaly in that it is a vanguard fusion tune where Pascoal really digs in and improvises. It also features the only appearance on this set of Alphonso Johnson on electric bass. In Missa Dos Escravos, the title track, Pascoal's emblematic pig gives his first growls in a song dominated by Brazilian Indian references. Wonderfully and intricately composed, it centers around folk tropes. Chorinho Para Ele is a beautiful and modern choro with a somewhat challenging glissando bridge that really proposed new directions for the traditional genre. Aquela Valsa is a beautiful six/eight theme that turns into a samba with a beautiful trombone solo by DeSouza. Cannon is an utterly improvisational piece that meanders and winds around Pascoal's flute solo. Atonalism dominates the piano solo in Escuta Meu Piano, which also presents bits and pieces of different styles (like baio) and folk songs. Hot samba improvisation is found in GelÉia de Cereja, that slips and slides through a variety of schema and dynamic changes without much internal focus, but it is a compelling bit of creative anarchy nonetheless in that it displays Pascoal's full range of restless musical and textural impulses -- as well as a beautiful soprano solo.



    Musicians:



    • Hermeto Pascoal (saxophone, trombone, flute, keyboard)

    • David Amaro (guitar)

    • Raul De Souza (trombone)

    • Airto Moreira (drums)

    • Flora Purim (vocal)



    Recording: 1977



    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.


    This title is not eligible for discount.

    1. Mixing Pot
    2. Slaves Mass
    3. Little Cry For Him
    4. Cannon (Dedicated To Cannonball Adderley)
    5. Just Listen
    6. That Waltz
    7. Cherry Jam
    Hermeto Pascoal
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rarities Vol. 1: The Covers Rarities Vol. 1: The Covers Quick View

    $15.99
    Buy Now
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    Rarities Vol. 1: The Covers

    No Use For A Name is one of THE most successful and prolific acts to come out of the 90's skate-punk scene. But there's a lot more to it than that. Just have a look at their family tree, it has bands like Spazz, Foo Fighters, and Suicidal Tendencies to count among its branches. No really, think about that: the dude from that infamous grindcore band was in NUFAN?!? Their long, unpredictable journey has been full of twists, turns, and alternate routes that led them to be one of the best-selling outfits of their genre. They've done it all: Warped Tour's main stage, MTV, a live record, and an even a recent greatest hits album entitled, All The Best Songs. Hey, you know you've made it when you finally get a greatest hits collection! Not bad for some goofy kids from San Jose who started out with a couple hardcore 7s

    Early No Use releases appeared on New Red Archives, a San Francisco punk label operated by Nicky Garratt of the UK Subs. Believe it or not, in the late 80's it actually made sense that they would be labelmates with Reagan Youth, Social Unrest, and Christ On A Crutch. An AllMusic review describes their early material as, hulking hardcore with mighty fists full of metal. Angry and Threatening. This was a gritty, hardcore punk band, known mostly for their growling vocals and dark lyrical themes. Then came the first unforeseen occurrence: frontman Tony Sly unexpectedly developed into a proficient songwriter and mastered melody like few punk bands can ever do. Nobody knows where those gifts come from and you never see it coming, but suddenly No Use For A Name was starting to make music that people actually liked.

    As is natural, the band kept evolving, and things changed in a major way for the band when they signed to Fat Wreck Chords in the mid-90's. Their 8-song Fat debut, The Daily Grind EP, drew comparisons to Bad Religion and was a marked step up, but it was 1995's, ¡Leche con Carne!, that would cement No Use For A Name as a successful band for years to come. The album was their best yet and bore a hit song (Soul Mate) that landed them on alternative radio charts, which, for a scrappy punk band, was a complete deviation from industry norms. Stranger yet, was that they made a music video and MTV even played the damn thing! What followed obviously was commercial success in the form of six-figure album sales, another anomaly in the world of indie-punk bands and something that would set the stage for later melodic punk bands like Blink 182, et al. From then on it was steady sailing with a string of successful records and tours from the band. Most notably was 1997's darker, and somehow faster, Making Friends; followed by 1999's hyper-catchy More Betterness!. It was during these halcyon days that Chris Shiflett held down 6-string duties for NUFAN before accepting an offer to join Foo Fighters on lead guitar.

    The years went by for the perennial punk powerhouse and the band did numerous world tours, amassing album sales that would eventually total in the 7 figures. Pretty remarkable when you think about it. The new millennium was also a fruitful time for the boys. It started in 2001 with the release of their Live In A Dive album, which was very successful abroad where people were especially hungry for No Use's live performances. In 2002 they released their poppiest effort, Hard Rock Bottom, which was stocked with upbeat tempos and radio-friendly melodies. Their most recent and seemingly final studio album came in 2008. Ironically titled The Feel Good Album Of The Year, the album was a tinge darker and more aggressive than their recent releases and the band reminded us all that their songs still had urgency and bite.

    After 25 years, No Use For A Name disbanded in 2012 when frontman Tony unexpectedly passed away. Anthony J. Sly (November 4, 1970 - July 31, 2012) died at home, in his sleep on a Tuesday morning, at age 41. Fat Mike-label head and long-time friend to Tony-was staggered by the news and offered, One of my dearest friends and favorite songwriters has gone way too soon. Tony, you will be greatly missed. No one could've predicted his passing, and needless to say, it shook the very foundation of the Fat Wreck family and the underground music community as a whole. Tony was loved and respected by a wide variety of artists and musicians, and nowhere is that more evident than the roster of contributors to The Songs of Tony Sly: A Tribute; a compilation of NUFAN songs covered by bands like Bad Religion, Frank Turner, The Gaslight Anthem, Alkaline Trio, and many more. Bands from the Americas, Europe, Australia, UK, and even Israel contributed to this final chapter in the storied career of No Use For A Name. The collection will be released on October 29th, 2013, and all proceeds will go towards the Tony Sly Memorial Fund, which has been established to help Tony's wife Brigitte and their daughters, Fiona and Keira.

    1. Turning Japanese
    2. Hybrid Moments
    3. I've Heard
    4. Selwyn's Got a Problem
    5. Enjoy the Silence
    6. Badfish
    7. Dream Police
    8. Fairytale of New York
    9. Making Our Dreams Come True
    10. 1945
    11. Don't Cry for me Argentina
    12. The Munsters' Theme
    13. Beth
    No Use For A Name
    $15.99
    Vinyl LP - Sealed Buy Now
  • Space Invader (Clear Vinyl) Space Invader (Clear Vinyl) Quick View

    $29.99
    Buy Now
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    Space Invader (Clear Vinyl)

    Clear Colored Vinyl


    Like a shooting star headed toward earth from another solar system, Ace Frehley operates in his own musical galaxy. He's a musical maverick, an improbable bestselling New York Times author in 2011, and iconoclast adored by millions of fans around the world since 1974. Through his seminal work with KISS and as a solo artist, Ace Frehley is championed as one of the most influential guitar players of the last four decades and his impact on popular music is immeasurable. With his smash 1978 solo album and post-KISS work including 2009's Anomaly, Frehley continues to be the best selling member of the original line up, or any other.

    1. Space Invader
    2. Gimme A Feelin` (radio edit)
    3. I Wanna Hold You
    4. Change
    5. Toys
    6. Immortal Pleasures
    7. Inside The Vortex
    8. What Every Girl Wants
    9. Past The Milky Way
    10. Reckless
    11. The Joker
    12. Starship
    Ace Frehley
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Hazards of Love The Hazards of Love Quick View

    $34.99
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    The Hazards of Love

    The Hazards of Love is the follow-up to the The Decemberists 2006 breakthrough, The Crane Wife, voted favorite album of the year by NPR listeners. With their fifth full-length album, the Portland-based quintet of Colin Meloy, Chris Funk, Jenny Conlee, Nate Query and John Moen solidifies its standing as one of the most innovative creative forces in music today. In an age when singles rule and the death of the album has been pronounced by many, The Decemberists have fashioned an anomaly: a record that demands to be listened to from start to finish and reveals more with each subsequent play. The 17-song suite, recorded with the bands longtime producer, Tucker Martine, is rooted in ancient language and imagery, yet entirely modern and accessible. The Hazards of Love tells the tale of a woman named Margaret who is ravaged by a shape-shifting animal; her lover, William; a forest queen; and a cold-blooded, lascivious rake. Lavender Diamonds Becky Stark and My Brightest Diamonds Shara Worden deliver the lead vocals for the female characters, while My Morning Jackets Jim James, Robyn Hitchcock, and the Spinanes Rebecca Gates appear in supporting roles.
    1. Prelude
    2. The Hazards of Love 1 (The Prettiest Whistles Wont Wrestle the Thistles Undone)
    3. A Bower Scene
    4. Wont Want for Love (Margaret in the Taiga)
    5. The Hazards of Love 2 (Wager All)
    6. The Queens Approach
    7. Isnt It a Lovely Night?
    8. The Wanting Comes in Waves / Repaid
    9. An Interlude
    10. The Rakes Song
    11. The Abduction of Margaret
    12. The Queens Rebuke / The Crossing
    13. Annan Water
    14. Margaret in Captivity
    15. The Hazards of Love 3 (Revenge!)
    16. The Wanting Comes in Waves (reprise)
    17. The Hazards of Love 4 (The Drowned)
    The Decemberists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Impressions Impressions Quick View

    $17.99
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    Impressions

    The Los Angeles trio Music Go Music began humbly, recording songs in their spare time and playing them for friends. A few songs posted online caught the ears of a surprising number of strangers, who implored the band to make a go of it. They eventually, and reluctantly, agreed to this, and before long the show had been officially taken on the road; MGM was being buzzed about, flying back and forth across the the Atlantic, touring around with Glasgow rockers Franz Ferdinand, and performing for the most discerning of music lovers in Moscow, London, LA, and points in between. Their debut album Expressions was a warmly received dance-pop-prog excursion that drew apt comparisons to Abba, Kate Bush, Bonnie Tyler, and Giorgio Moroder. After things settled down and they got back to their workaday lives, they began chipping away at a new record. In the course of several years, one or two songs at a time, 'Impressions' took shape. By now, the world has swayed in ways that seemed unlikely back at the band's dawning. When their first EPs began coming out in 2007, MGM was an anomaly; a real band capable of crafting a steady stream of hook-dense A-sides, who played honest-to-goodness live dance music. This time around, of course, they're sending a record out into a world that has turned just enough to embrace the kind of analog disco that MGM has been making for years. While remaining unambiguously pop, Impressions sees the group's aural sheen and careworn elegance joined to deeper grooves and oblique sonic turns. Never before, though, has an unhinged recounting of love won and lost been so blatantly entertaining. It's an assured, kinetic journey through light and dark, calm and chaos, with nothing less than pop transcendence waiting on the other side.
    1. Love Is All I Can Hear
    2. Inferno
    3. People All Over The World
    4. Tell Me How It Feels
    5. Part Of Me
    6. Nite After Nite
    7. Tuff Turf
    8. Never Get Over You
    9. Shine Down Forever
    Music Go Music
    $17.99
    Vinyl LP - Sealed Buy Now
  • Attack On Memory Attack On Memory Quick View

    $14.99
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    Attack On Memory

    In 2009, Cleveland, OH's Dylan Baldi began writing and recording lo-fi power-pop songs in his parents basement, dubbing the project Cloud Nothings. His music quickly started making the Internet rounds, and fans and critics alike took note of his pithy songcraft, infectiously catchy melodies, and youthful enthusiasm. Baldi soon released a string of 7s, a split cassette, and an EP before putting out Turning On, a compilation spanning about a years worth of work, on Carpark in 2010. January 2011 saw the release of Cloud Nothings self-titled debut LP, which, put next to Turning On, found Baldi cleaning up his lo-fi aesthetic, pairing his tales of affinitive confusion with a more pristine aural clarity. In the interval since the release of Cloud Nothings, Baldi has toured widely and put a great deal of focus on his live show, a detail that heavily shapes the music of this, his follow-up album, Attack on Memory.


    After playing the same sets nightly for months on end, Baldi saw the rigidity of his early work, and he wanted to create arrangements that would allow for more improvisation and variability when played on the road. To accomplish this desired malleability, the entire band decamped to Chicago, where the album was recorded with Steve Albini, and all lent a hand in the songwriting process. The product of these sessions is a record boasting features that, even at a glance, mark a sea change in the bands sound: higher fidelity, a track clocking in at almost nine minutes, an instrumental, and an overall more plaintive air. The songs move along fluidly, and Baldi sounds assured as he brings his vocals up in the mix, allowing himself to hold out long notes and put some grain into his voice. Minor key melodies abound, drums emphatically contribute much more than mere timekeeping, and the guitar work is much more adventurous than that of previous releases.


    For all of early Cloud Nothings fun and fervor, Baldi admits that it never sounded like most of the music he listens to. With Attack on Memory, he wanted to remedy this anomaly, and in setting out to do so, Baldi and Co. have created an album that shows vast growth in a still very young band.

    1. No Future/No Past
    2. Wasted Days
    3. Fall In
    4. Stay Useless
    5. Separation
    6. No Sentiment
    7. Our Plans
    8. Cut You
    Cloud Nothings
    $14.99
    Vinyl LP - Sealed Buy Now
  • Nina At The Village Gate (Pure Pleasure) Nina At The Village Gate (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Nina At The Village Gate (Pure Pleasure)

    In the intimate ambiance of The Village Gate, Nina Simone made pure magic with her voice and on the keyboard, one Manhattan evening back in 1961. She sang and played with a trio, which featured her favorite guitarist, Al Shackman. We are so fortunate that the moment was captured and recorded.



    I can't really categorize Nina's sound or her music and call her 'just' a fabulous jazz vocalist. Although, she plays extraordinary jazz with her voice, as in Just In Time. She has been often called a musical anomaly, because there is no one category for her work. She was trained as a classical pianist, and in cuts like Bye Bye Blackbird, the complexity of her piano comes through loud and clear. Her folk songs, like the biting House Of The Rising Sun, and Zungo, an African work song, place her at the top of a long list of folk singers. Ms. Simone's gospel songs, i.e., Children Go Where I Send You, can raise the roof and bring down the house, as she did at the Gate in '61. She is a protest singer, Brown Baby, and an actress, capable of an extraordinary range of emotions.



    Nina has the rare ability to dig into her material and bring unexpected meaning to familiar lyrics. She is eclectic with her taste and her repertoire. But whatever touches Nina, and whatever Nina touches, will reach you and evoke an emotional response. Her music is as fresh today, as it was 42 years ago, singing for that Manhattan audience. They could not have loved her more then, than we do now.




    Musicians:



    • Nina Simone (piano, vocal)

    • Al Schackman (guitar)

    • Chris White (bass)

    • Bob Hamilton (drums)




    Recording: 1961 in New York City

    Production: Cal Lampley



    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.



    This title is not eligible for discount.

    1. Just In Time
    2. He Was Too Good to Me
    3. House of the Rising Sun
    4. Bye Bye Blackbird
    5. Brown Baby
    6. Zungo
    7. If He Changed My Name
    8. Children Go Where I Send You
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Friends (Pure Pleasure) Friends (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Friends (Pure Pleasure)

    Friends is the accurate and revealing title for New York bluesman Eric Bibb's tenth album since 1997. The cuts here feature rootsy folk and blues collaborations with different 'friends' in differing small group settings. The set starts with a killer acoustic slide duet between Bibb and Guy Davis on the nugget 99 ½ Won't Do. The contrast between Davis' sweet and smoky delivery and Bibb's husky wail - akin to Blind Willie Johnson's in places - offers a double-sided dimension in interpretation for the listener, as well. Elsewhere, Charlie Musselwhite gives a killer snaky harmonica performance on Six O' Clock Blues. Taj Mahal makes two appearances; one in a duet on Goin' Down Slow, and one in a trio with Bibb and Malian guitarist Djelimady Tounkara on a medley of the traditional Kulanjan and Bibb's own Sebastian's Tune. Speaking of Mali, and Mahal, Bibb also covers the elder bluesman's classic Lovin' in My Baby's Eyes, with the great kora player Mamadou Diabate that rivals the original. There's also a gorgeous version of Guy and Susanna Clark's The Cape, with guitarist Martin Simpson, Bibb's moving For You with Ruthie Foster, and Tain't No Such Thing, a bright new folk song written and sung with legendary folksinger Odetta. Mohan Veena ace Harry Manx performs with Bibb on the high lonesome, droning blues of Needed Time, and with Kristina Olsen on her If I Stayed. The set closes with the tender Dance Me to the End of Love, (an original, not the Leonard Cohen tune) with the Lovin' Spoonful Jerry Yester playing piano. Given that most records of this type are mixed bags at best, with 'star-studded' collabs serving to muck up or water down rather than enhance performances, Friends is an anomaly. There is nothing that's obvious or overblown here, everything is subtly shaded, and the performers serve the songs and not themselves. The listener gets no sense of back-patting or self-congratulation, only the great pleasure of hearing this music in a revealing, emotionally honest way. Bravo.



    Musicians:



    • Eric Bibb (arranger, guitar, vocal)

    • Odetta (vocal)

    • Ruthie Foster (vocal)

    • Guy Davis (arranger, harpsichord, vocal, guitar)

    • Taj Mahal (guitar, vocal, banjo)

    • Charlie Musselwhite (harpsichord)

    • Mamadou Diabate (kora)

    • Martin Simpson (guitar)

    • Michael Jerome Browne (fiddle, vocal, guitar, mandolin)





    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.



    This title is not eligible for discount

    1. 99 1/2 Won't Do
    2. Six O'Clock Blues
    3. Goin' Down Slow
    4. Lovin' In My Baby's Eyes
    5. For You
    6. The Cape
    7. 'Tain't Such A Much
    8. Needed Time
    9. If I Stayed
    10. Connected
    11. Ribbons And Bows
    12. Just Look Up
    13. Cowgirl Queen
    14. Kulanjan/Sebastian's Tune
    15. Dance Me To The End Of Love
    Eric Bibb
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • 304 304 Quick View

    $18.99
    Buy Now
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    304

    "Raver 5 pulses and glides with nocturnal
    energy and calm beauty."
    - Sam Hockley, Fact Mag


    "[Lie EP] is full of nostalgic chords and ambiance
    but also driven with a defiant force that sinks
    heavy to the heart. D Tiberio is someone you
    definitely want to keep a watchful eye on."
    - April Lanier, Okay Future


    304 is D Tiberio's ode to his mother's home.
    The address is both personal and anonymous,
    Providing an entry point into the bleak emotional
    spectrum of daily existence and its anomalies.
    Partial to concepts of imperfection, many tracks
    include lo-fi audio clips sampled from YouTube,
    television and other non-musical sounds that may
    normally go unnoticed in our surroundings.
    The textures are burnt and the rhythms disrupted,
    yet each track is constructed to achieve an
    unconventional harmony.


    "Raver 5" has caught the attention of both critics
    and fans for its mature, multi-genre production.
    "Let Her" and "Gone," featuring Natasha Agrama,
    pair sultry female vocals with heavy, atmospheric
    beats.


    The sonic creation of an introspective observer,
    304 carries with it a shift in perspective of what
    may contribute to an essential sensory escape.

    1. Pinecone
    2. Raver 5
    3. Let Her
    4. Gone
    5. Purple Hi-Chew
    6. Hummy
    7. Jerome
    8. Make It All Everything
    9. Zoo
    10. Cathi's Song
    11. Rubbers
    D Tiberio
    $18.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Black Widow Black Widow Quick View

    $27.99
    Buy Now
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    Black Widow

    Nature counts the black widow spider amongst its most fascinating and dangerous anomalies. The female arachnid often devours its mate after copulation. It's both a delicate and dangerous predator. In This Moment isn't all that different from this enigmatic beast. Led by frontwoman Maria Brink, the Los Angeles hard rock outfit strikes with a seductive metallic bite on their aptly titled fifth full-length album, Black Widow.


    Black Widow is a metaphor for this innocent young girl who gets infected with life, traumas, experiences, and the balance of light and darkness, explains Maria. She becomes this poised and powerful creature. That's the album.


    We went into this with the title Black Widow, says lead guitarist Chris Howorth. It fits the image of Maria as this powerful heroine. If you think of the boys in the audience watching our stage show, she's like the black widow pulling them all in.


    The record, the first for the band on Atlantic Records, picks up where the group's 2012 breakthrough, Blood, left off. That album saw In This Moment debut at #15 on the Billboard Top 200, their highest chart position to date, and eventually sold over 250,000 units in the U.S. alone. It also spawned the single Blood, which rose to #9 on the Mainstream Rock and Active Rock Songs charts. A sold out headline tour, HELLPOP, followed, as well as appearances at the Uproar Festival and Rock On The Range, and jaunts with Shinedown and Papa Roach. After the whirlwind of Blood subsided, Maria and Chris retreated to Las Vegas in February 2014 to begin working on what would become Black Widow with longtime producer Kevin Churko [Ozzy Osbourne, Five Finger Death Punch].

    LP1
    1. The Infection
    2. Sex Metal Barbie
    3. Big Bad Wolf
    4. Dirty Pretty
    5. Black Widow
    6. Sexual Hallucination (feat. Brent Smith)
    7. Sick Like Me


    LP2
    1. Bloody Creature Poster Girl
    2. The Fighter
    3. Bones
    4. Natural Born Sinner
    5. Into The Darkness
    6. Out Of Hell

    In This Moment
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Embryonic Anomaly (Out Of Stock) Embryonic Anomaly (Out Of Stock) Quick View

    $19.99
    x

    Embryonic Anomaly (Out Of Stock)

    Northern California extremists RINGS OF SATURN have inked a deal with Unique Leader Records. The band's debut album, Embryonic Anomaly, was produced, engineered, mixed and mastered by Bob Swanson at Mayhemenness Studios in Sacramento, California and features artwork by Tony Koehl.


    The otherworldly triumvirate known as RINGS OF SATURN made its presence known in the late fall of 2009, posting a track entitled Abducted online for the world to take notice. The goal was to indoctrinate the metal masses using the world's most massive social networks to their advantage, and the project has been a huge success. From the launch of the first track to the unleashing of the virus known as Embryonic Anomaly in the following months, it didn't take long for the Aliencore infection to spread, creating a loyal following of minions whose devotion to the band was immediate and remains steadfast.

    1. Invasion
    2. Seized and Devoured
    3. Abducted
    4. Final Abhorrent Dream
    5. Corpses Thrown Across the Sky
    6. Ambryonic Anomaly
    7. Annihilating the Pure
    8. Grinding of Eternal Organs
    9. End of Humanity
    Rings Of Saturn
    $19.99
    Vinyl LP - Sealed Temporarily out of stock
  • Anomoly (Out Of Stock) Anomoly (Out Of Stock) Quick View

    $25.99
    x

    Anomoly (Out Of Stock)

    Breaking through to the strictly secular world like few other Christian hip-hop artists before, rapper Lecrae is the genre's Bob Marley, Wayne Gretzky, Tiger Woods, or any other example of a game-raising, populist-reaching name. Still, in 2014, he's a relative deep cut when compared to Jay-Z, Weezy, or 2 Chainz, and Anomaly is the album where he explains he's fine with it, or maybe, more than fine as the opening Outsiders sets the LP's tone. Elegant strings introduce the track, as if the man had Nick Minaj-sized funding, and yet the lyrics elegantly state that success must come on Lecrae's terms, as do the lyrics of the title track and All I Need Is You. Anomaly often leaves this theme, with tracks like Dirty Water asking the listener to challenge their own values, but the closing Messengers calls out for volunteers to join the rapper's cause, and suddenly -- spoiler alert -- the mix of go it alone and those that walk with God are never alone comes clear, as all the evidence had been laid out previously. Crafty and smart man, Lecrae, and with Anomaly following a series of albums equally crafted and smart, he now enters the hallowed halls of the consistent with all his charisma intact.
    1. Outsiders
    2. Welcome to America
    3. Say I Won t ft. Andy Mineo
    4. Nuthin
    5. Fear
    6. Anomaly
    7. Timepiece
    8. Dirty Water
    9. Wish
    10. Runners
    11. All I Need Is You
    12. Give In ft. Crystal Nicole
    13. Good, Bad, Ugly
    14. Broken ft. Kari Jobe
    15. Messengers ft. for King & Country
    Lecrae
    $25.99
    Colored Vinyl LP - 2 LPs Sealed Temporarily out of stock
  • Sonny Is King (Out Of Stock) Sonny Is King (Out Of Stock) Quick View

    $49.99
    x

    Sonny Is King (Out Of Stock)

    Although their styles were regions apart and theyd never performed together previously, Georgia harmonica ace Sonny Terry and Texas guitar titan Lightnin Hopkins fit like foot in sock when producer Kenneth S. Goldstein paired them at Rudy Van Gelders studio on October 26, 1960. As LeRoi Jones observed in the original album notes, There is a meeting of ways, where the light and the sad seem to come together simply as blues. Selections six through 10 were recorded the following year, and Terry was back in the more familiar company of another great guitarist, his longtime partner Brownie McGhee.


    Terry was a remarkable mouth harp player, and these performances are first rateWhat makes this a truly stand out record is the fine sound, which just jumps out of the speakers. Although this is a stereo recording with rather hard left and right separation (especially on the McGhee songs), that anomaly distracts little from the performance. Recording = 7/10; Music = 8/10 Dennis Davis, Hi-Fi+, Issue 43


    This title is not eligible for discount.

    One Monkey Don't Stop The Show
    Changed The Lock On My Door
    Tater Pie
    She's So Sweet
    Diggin' My Potatoes
    Sonny's Coming
    Ida Mae
    Callin' My Mama
    Bad Luck
    Blues From The Bottom
    Sonny Terry
    $49.99
    45 RPM 180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
  • Revelation: Sick Again (Out Of Stock) Revelation: Sick Again (Out Of Stock) Quick View

    $20.99
    x

    Revelation: Sick Again (Out Of Stock)

    It's been said many times over that suffering can render magnificent, if sometimes horrifying, results when skillfully transmuted into image, word or song. This maxim might be a good summation of the existence of Buzzoven who have notoriously lived the most extreme facets of the rock n' roll lifestyle: drug addiction, rehab, relapse, jail, break ups, reunions.


    Through all this they managed to produce some of the most beautifully damaged music since Black Flag's descent into the nihilistic abyss of My War. Straddling the lines of metal, doom and filthy hardcore, Buzzoven still stand as a significant pillar of the '90's underground alongside other such disfigured anomalies (and occasional touring partners) Eyehategod and Neurosis. Their gait may have occasionally faltered due to some of the aforementioned obstacles, but in the first decade of their existence Buzzoven revealed remarkable consistency, creating an ever growing procession of nightmarish, skull-scraping albums and EPs.Though not surprising given their dysfunctional history, the premature burial of their last studio album due to legal entanglements was yet another frustrating occurrence in a long line of minor and major catastrophes for the band.


    Written and recorded under a self-described period of exhaustion, drug-induced confusion and frustration their music once again managed to flourish despite (or perhaps because of ) the adverse circumstances under which it was created. Revelation: Sick Again is classic Buzzoven, replete with blistering Sabbath-ian riffing, throat torn eulogies to the narcotically oppressed, and monumental gutter dwelling dirges. Over the course of the albums' eight tracks the untidy trio unfurl their tentacles reaching into the dim recesses of human existence to pull forth yet another grizzled portrait of life gone horribly wrong. Previously available only to bootleg diehards and internet trolls in inferior incarnations, this long lingering blackened gem has finally been disinterred for the world at large and properly presented in all its ragged filthy glory.

    1. Never Again Again
    2. Fast
    3. Ka Killa
    4. USA
    5. Live
    6. Junkie
    7. Lose
    8. Porch
    Buzzoven
    $20.99
    Vinyl LP - Sealed Temporarily out of stock
  • The Ultimate Analogue Test LP (Out Of Stock) The Ultimate Analogue Test LP (Out Of Stock) Quick View

    $39.99
    x

    The Ultimate Analogue Test LP (Out Of Stock)

    Editors Editors Editors Editors


    Analogue Productions set out to produce the ultimate test record.


    We've consulted many experts in the field, including mastering engineers, audio experts, turntable experts and audiophile listeners, to create a test record that's never been made before. When Barry Wolifson from Sterling Sound in New York City called us with the same idea we had been thinking about - that being to create the ultimate test record - he and our audio expert Clark Williams began to brainstorm and research ideas until they were both completely satisfied with what should go on the record.


    Most of the test records in the past have been made to test a variety of equipment. This test record excludes silly cannon shots, typewriters, voices on one channel and other useless fluff. This one specifically addresses your turntable and cartridge. It's designed to provide the basic test signals necessary to calibrate a turntable or cutting lathe as simply as possible. Most of the signals have specific implications, but it is certainly possible to use them in any number of novel ways.


    This record was mastered and cut on a Neumann VMS 80 lathe at Sterling Sound and pressed at Record Technology, Inc. on high-quality, 180-gram virgin vinyl.


    Side 1

    General Reference Level

    This 1 kHz reference tone will allow you to establish a "base level" for all measurements.
    Track 1 1Khz reference tone 7cm/s Mono, in phase (Lateral)

    Basic reference for all measurements, adjust meter for maximum convenience (in the studio 0VU).
    Adjust preamp channel balance for equal output.
    Also used to check the offset angle of the photo cartridge; L&R signals should be exactly in phase as displayed on an oscilloscope.


    Azimuth Adjustment

    Track 2 1kHz reference level Left channel only

    Measure Right channel output.

    Track 3 1kHz reference level Right channel only

    Measure Left channel output.

    The object is to sit the stylus exactly perpendicular in the groove.

    Twist cartridge about its radial axis until the measurements from Track 2 and Track 3 are equal or very close to equal for both channels.


    High Frequency Adjustment

    Tracks 4, 5 and 6 are used to calibrate the RIAA high frequency equalizer of a phono preamp. This will be used to calibrate a mastering lathe's phono preamplifier or any phono preamplifier that has these adjustments.

    Track 4 1 kHz tone at -20 below reference level, Lateral

    Reference for High Frequency test.

    Track 5 10 kHz reference tone at -20dbu, Lateral
    Adjust the high frequency until the output level equals that of Track 4.

    Track 6 1 kHz to 20 kHz sweep at -20dbu, Mono (Lateral)

    The AC millivoltmeter reading should stay constant across all frequencies. There are a number of factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the 10 kHz adjustment, a better overall frequency response can be achieved.


    Low Frequency Adjustment

    Tracks 7 & 8 are used to calibrate the RIAA low frequency equalizer of a phono preamp.

    Track 7 1 kHz to 20 Hz sweep at 0 VU (Lateral)

    Play Track 7 and measure the output with your AC millivolt meter.

    Ideally, the output will be flat across all frequencies. When viewed on an oscilloscope, the amplitude would remain constant during the frequency downsweep.

    Track 8 100 Hz reference tone at 0 vu (Lateral)
    Adjust LF Eq to reference (which is your reading from Track 1).


    Track 9 VTA adjust

    This is an IEC intermodulation distortion (IMD) test signal; 60Hz & 4kHz 4:1 ratio.

    Using an IMD tester, adjust VTA by raising or lowering the tonearm for minimum distortion.


    Track 10 Standard Wow & Flutter test signal; 3150Hz
    The Wow & Flutter meter will give dynamic speed variations as a percentage deviation from nominal.

    Also, the frequency counter should read exactly 3150 Hz for nominal speed. You can use the Hz function on your multi-meter (if so equipped) to verify speed here as well. You can also use to find the measurements at 45RPM. The correct reading at 45RPM would be 4253 Hz (45/33.33) x 3150.


    Side 2

    Track 1 Anti-skating test; 315Hz amplitude sweep to +12dbu (Lateral)

    Signal should remain clean in both channels up to the highest level, both audibly and as viewed on an oscilloscope. In case of distortion, increase anti-skating force or decrease anti-skate until breakup occurs equally in both channels. The left channel information is inscribed on the inner groove wall, the right channel information, on the outer groove wall. Because of the offset angle of a pivoted tonearm, a constantly varying vector force biases the arm towards the center of the record causing the stylus to lose contact with the outer (i.e. right channel) groove wall. Both linear and modulated groove velocity, tracking force, stylus profile, and vinyl composition are contributing factors. The anti skating force attempts to ameliorate this by applying an opposing similar force.

    It is also accepted that the overall force vector increases as the tonearm approaches closer to the spindle or end of the record.


    Track 2 Pink noise lateral

    Track 3 Pink noise vertical

    Used for cartridge "demagnetizing"

    You can also use this track to loosen up the cantilever's suspension to help break in a new cartridge. Play these tracks five to ten times after every 300 hours of normal LP playback.


    Track 4 1kHz @ reference level, vertical
    This out-of-phase signal should cancel to nothing when summed to mono.

    Any signals still present are distortion artifacts, lack of channel balance, or timing (phase) anomalies. This test can be a second confirmation of anti-skate adjustment.


    Track 5 1kHz to 10Hz sweep @ -20 below

    reference level, vertical
    Resonance anomalies in the tonearm / cartridge interface will show up as amplitude peaks and dips as the frequency sweeps down.

    Once again, by listening in 'Mono' it is easier to hear the distortion artifacts.


    Track 6 Silent groove for bearing rumble and table isolation

    During playback of this track, nothing should be transmitted from the turntable to the speakers. Replay the track and gently tap on the rack or base that the turntable is resting on. There should be little or no thump transferred to the speakers. This track will help you experiment with turntable isolation methods and products to be able to get the most out of your playback system. You may want to use a closed or sealed headphone for best listening results, or a stethoscope on the plinth.


    This title is not eligible for discount.

    Analogue Productions
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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