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The 1972 Muscle Shoals Sessions (Pre-Order)Brand New Collection Compiling All Of Bettye's 1972 Muscle Shoals Sessions On One Vinyl Release For The First Time-most Of These Tracks Are Making Their Debut On Vinyl
Includes 2 Bonus Singles
180-Gram Vinyl LP Pressed At Record Industry In The Netherlands
Includes A Single Pocket, Tip-On Stoughton Sleeve With New Artwork And Liner Notes
Individually Numbered And Limited To One Pressing
Bettye Lavette-born Betty Jo Haskins, from Detroit, Michigan-is easily one of the most
important yet sometimes overlooked soul singer/songwriter of all time. She made her first
record at the age of 16 in 1962 when she was signed by local Detroit record producer Johnnie
Mae Matthews and recorded the single "My Man-He's A Lovin' Man," which became a Top
Ten R&B hit after Atlantic Records bought distribution rights. Its success led to a tour with
Clyde McPhatter, Ben E. King, Barbara Lynn and Otis Redding. She recorded the Wreich
Holloway-written song, "Let Me Down Easy," on Calla Records in 1965 and became a chart
hit (#48), leading to a brief stint with the James Brown Revue. After recording more singles
for local Detroit labels, Lavette signed to Silver Fox in 1969 and recorded a handful of songs,
including two Top 40 R&B Hits: "He Made A Woman Out Of Me" and "Do Your Duty," both
produced by Lelan Rogers and featuring the Memphis studio musicians who later became
known as the Dixie Flyers.
In 1972, Bettye signed with Atlantic/Atco and was sent to the famed Muscle Shoals Sound
Studios in Alabama to record a full-length album. Produced by Brad Shapiro and featuring
the Muscle Shoals Rhythm Section, the album was supposed to originally be titled as Child
of the Seventies but Atco chose to shelve the project at the time. Years later, after Bettye
played her own personal recordings of the sessions for French soul music collector, Gilles
Petard, he chased down the master recordings at Atlantic Records where they were thought
to have been destroyed in a fire. In 1999 after obtaining the masters, he licensed the material
and released it on CD in 2000 as Souvenirs through his Art and Soul label (Rhino Handmade
would later reissue Child of the Seventies on CD with previously unreleased 1973 tracks).
The album helped to spark renewed interest in Lavette and in 2003, A Woman Like Me, was
released and won the 2004 W.C Handy Award for "Comeback Blues Album of the Year."
Lavette then signed to the Rosebud Agency and was brought to the attention of Andy Kaulkin
at ANTI Records who signed her to a 3-album deal. The first project was produced by Joe
Henry and featured an album of songs written entirely by women: I've Got My Own Hell To
Raise was successful in helping to raise awareness of Bettye and was on many critics' Best of
2005 lists. Since her release on ANTI, she has gone on to many accomplishments, including
receiving a Pioneer Award from the Rhythm and Blues Foundation in 2006, A Blues Music
Award for Best Contemporary Female Blues Singer in 2008 and another Blues Music Award
in 2016 for Soul Blues Female Artist of the Year.1. It Ain't Easy
2. If I Can't Be Your Woman
3. Fortune Teller
4. Your Time To Cry
5. Soul Tambourine
6. All The Black and White Children
7. Our Own Love Song
8. Ain't Nothing Gonna Change Me
9. Outside Woman
10. The Stealer
11. My Love Is Showing
13. Heart of Gold**
14. You'll Wake Up Wiser**
**Bonus single recorded in Detroit, 1972$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
The Scene Of The CrimeShips September 25thTake Me Like I Am (Still Want To Be Your Baby)
You Don't Know Me At All
Somebody Pick Up My Pieces
They Call It Love
Talking Old Soldiers
Before The Money Came (Battle Of Bettye LaVette)
I Guess We Shouldn't Talk About That Now$19.99Vinyl LP Reissue - Sealed Buy Now
Do Your DutyPrior to her recent rediscovery by a new generation of admirers, Detroit-bred soul diva Bettye LaVette spent nearly four decades building a thrilling body of music that her new fans now have the pleasure of discovering. For many longtime LaVette devotees, her recordings for the Silver Fox label, and its parent company SSS International, rank with the artists finest work. Do Your Duty collects the 11 classic solo sides that LaVette cut for Silver Fox and SSS in 1969 and 1970, including her beloved R&B hits He Made a Woman Out of Me and Do Your Duty.1. My Train's Comin' In
2. Do Your Duty
3. Love Made a Fool of Me
4. At the Mercy of a Man
5. Piece of My Heart
6. Easier to Say Than Do
7. He Made a Woman Out of Me
8. Nearer to You
9. We Got to Slip Around
10. Iï¿½m In Love
11. Games People Play$24.99Vinyl LP - Sealed Buy Now
Things Have Changed (Awaiting Repress)For her tenth album and first album on a major label in nearly fifty years, legendary soul singer Bettye LaVette takes
on the songs of Bob Dylan with the grit and experience that makes her one of the greatest soul singers alive. Things
Have Changed is a masterpiece of interpretation of one of the greatest songwriters alive, by one of the greatest soul
singers alive. Produced by Steve Jordan, the album spans Dylan's catalog and features guest appearances by
Keith Richards and Trombone Shorty.LP 1
1. Things Have Changed
2. It Ain't Me Babe
3. Political World (feat. Keith Richards)
4. Don't Fall Apart On Me Tonight
5. Seeing the Real You
6. Mama You've Been On My Mind
1. Ain't Talkin'
2. Times They are A - Changin'
3. What Was It You Wanted (feat. Trombone Shorty)
4. Emotionally Yours
5. Do Right To Me Baby (Do Unto Others)
6. Going, Going, Gone$25.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
What's Going On (Pure Pleasure)In 2006, exactly a year after Katrina, in the aftermath of a vicious natural disaster that displayed the incompetence of the Crescent City's infrastructure, the Army Corps of Engineers, and the Federal Government, they addressed the tragedy in the only way they know how, by re-creating the same kind of bewilderment and anger that Marvin Gaye felt and witnessed in 1971 by issuing their own take on Gaye's classic album What's Goin' On. This is a question that is proved all the more poignant given the efforts of an entire region trying not only to rebuild homes and businesses, but trying to preserve a culture as this recording was released. The Dirty Dozen recruit a number of vocalists to help out on the hinge tunes. The samples of New Orleans Mayor Ray Nagin's voice in the aftermath of the hurricane usher in the brass slip-sliding along the dark funky overtones of Gaye's signature tune. Guitarists Doug Bossi and Ben Keeler dig into the groove, as does drummer Terence Higgins and keyboardist/producer Anthony Marinelli, as Chuck D raps the refrain in the context of modern history, the disaster, and the ineptitude and even hostility of a government who wages war and ignores domestic problems. It's a news report from the front lines as the horns cut the melody, the harmony, and the deep, steamy funk groove. What's Happening Brother, closes the funk from the inside, turning the groove back in on itself not only playing the rage, but echoing it in the grain of Bettye LaVette's vocal, which dares to spit out the truth with questions and observations in the pain of a first person narrative. The airy arrangement of Flyin' High (In the Friendly Sky) is nearly mournful, nostalgic for a more innocent time, but is all the more poignant for that longing. The deep tribal drums Mardi Gras Indian-style, with the skronky saxophones, tight guitar groove, and screaming narrative in Save The Children give way to the smoothness of Gaye's melody. It's a bewildered tune, sad with undercurrents of rage. Ivan Neville's arrangement for God Is Love is a stunner, full of deeply imaginative hues and colors and gospel grooves. G. Love helps out on Mercy Mercy Me (The Ecology), where the musicality in Gaye's vocal disappears but is supercharged in the horn charts, and Love's vocal sounds confused, displaced, out of time against the instruments. Right On is both militant and celebratory. It's got the funk, but it's also got gospel, rock, and deep soul blaring from the trombones and the repetitive riff in the rest of the brass section. Guru from Gang Starr cuts out from the moody, spectral introduction of Inner City Blues, when Higgins drums play counter to Kirk Joseph's deep blues sousaphone on the bassline. Frustration is everywhere and the horns point fingers to this truth which Guru lays out: that today is the same and perhaps even more so than it was in Gaye's time. The desolation in Gaye's lyric isn't lost but it is fleshed out over the chart so that they are merely the ghosts from the past preaching and exhorting in this new generation. Never has party music sounded so poignant, so utterly damning and hopeful and unbowed. This is the next step in the Homecoming that was a funeral for a friend; this is the aftermath, the sound of angry resurrection coming out with the sun, one where the revolution may be televised but bursts out of the edges in the screen and makes itself known by the medium understood by the people who have to live its realization. With killer grooves that take no prisoners, What's Goin' On is the most fitting tribute yet to Gaye, because not only does it prove the timelessness of the music itself, it echoes that what is indeed goin' on (Gaye's dedication to Detroit as its decline became a reality with no onlookers interested in doing anything) is even more true today than it was in 1971.
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. What's Going On feat. Chuck D
2. What's Happening Brother feat. Bettye Lavette
3. Flying High (In the Friendly Skies)
4. Save the Children
5. God is Love feat. Ivan Neville
6. Mercy Mercy Me (The Ecology)
7. Right On
8. Wholy Holy
9. Inner City Blues (Make Me Wanna Holler)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Baby, They Told Us We Would Rise AgainBloodkin's new album, Baby, They Told Us We Would Rise Again, was produced by David Barbe (Bettye LaVette, Drive-By-Trucers, Sugar) and features a fine collection of stripped down rock & roll songs that harken back to the days where songs were recorded in a single take and relied primarily on the raw energy of the collaborating musicians. Life affirming rock & roll in the finest tradition.
1. The Viper
2. Easter Eggs
3. Ghost Runner
5. My Name Is Alice
6. Heavy With Child
7. A Place To Crash
8. Little Margarita
9. Wait Forever
10. Summer In Georgia$14.99Vinyl LP - Sealed Buy Now
The Big To-DoATO Records is pleased to commence its relationship with the The Drive-By Truckers beginning with the incomparable rock band's label debut, The Big To-Do. The album is the band's 10th in their thirteen-year career and it features 13 new DBT tracks produced by their long time collaborator, David Barbe (Sugar, Bettye LaVette). Patterson Hood and Mike Cooley continue to handle chief songwriting duties here while bassist Shonna Tucker also contributes two originals. Brad Morgan (drums), John Neff (guitar/pedal steel), and Jay Gonzalez (keyboards) round out the current lineup.
The Big To-Do was recorded in three concentrated sessions during the first part of 2009: ten days in January, five days in March, ten days in May. That added up to 25 songs, a dozen of which sequenced into The Big To-Do. We had it mixed, mastered, and completely done, and Cooley wrote the best song that just needed to be on it, Patterson says with his raspy chuckle. This happens a lot with the Truckers, and it's always a good sign. So we went back in and recorded, mixed, and mastered 'Birthday Boy' pretty much in one fell swoop. Thirteen songs, then.
The balance of the remaining tracks, plus five more they've cut in the interim, will make up the Truckers' next album, which Patterson projects as a quieter affair.
This is, in large part, possible because the Truckers have such a long-standing relationship with David Barbe (ex-Sugar, etc.) and the Athens, GA, studio he calls Chase Park Transduction, which long ago Patterson helped to build so as to earn the right to record there.
It's gotten to where, that day of set-up time to get sounds and levels and all of that takes us about two hours, Patterson says. We can pretty much walk in the door, and we know exactly where to put everything to get that sound, so that's just one less thing to have to think about. I wanted to eliminate the distractions. That clarity of purpose translates into a delicious assortment of Trucker songs themed loosely around crime and (self-) punishment. The Wig He Made Her Wear, Patterson says, is both a true story (as seen on Court TV) and the closest he's come to making the movie he started out to make a decade or more back. The Fourth Night of My Drinking will speak for itself, and This Fucking Job (paired thematically with Cooley's wry Get Downtown) is arguably the most political song the Truckers have made since Living Bubba. Which leaves the deceptive, airy simplicity of Shonna Tucker's You Got Another and (It's Gonna Be) I Told You So to reckon with. We always knew she had that in her, Patterson says, delighted with the emergence of another strong songwriter in the band. It was never a secret. She was writing songs all along. But watching it come out has been a really amazing thing to behold.
Off the road, incidentally, didn't mean out of work. First off, there was the matter of cutting an instrumental album with the legendary Booker T, having previously served as the backing band to the equally legendary soul singer, Bettye Lavette. Potato Hole turned out all right, got a Grammy nod, and Neil Young added his touches separately even though it's pretty much a Truckers effort. But it's what they learned making Potato Hole that counts most. I think doing the Booker album really, really paid off a lot on the musical end of this record, even though stylistically it might not sound anything like that record, says Patterson, and then tells the story.
We made that record in four days, and that included the first day when it was, 'Booker, it's wonderful to meet you!' Maybe the third song we tracked just wasn't going the way he wanted it to go. We weren't quite understanding what he wanted. We were playing it right, but it wasn't right. All the sudden he just stopped the session. He gathered us around, and he told us a story about a Thanksgiving dinner, and the way it smelt in the house, he'd been on the road a long time, and they were all in - cousins and aunts he hadn't seen in several years. He said, 'It's just a day where nothing happens, but it's all really good.'
And we sat down and we played it, and we nailed it. It was like a revelation. We're a lyric-driven band, and our songs generally paint scenes and tell stories based on scenes. He instinctively knew that was how we operated. And I think it taught us a lot about how we operated. Going in and making this record, I could tell a real difference in the way the songs hold up musically. We put a little more care into that side of it than I think we ever did before because of what we learned from him.
...an absorbing hunk of smart, crunchy, guitar-driven music shot through with the bands vivid narratives, balanced storytelling, barroom punch, and Southern accents. Its a set that portrays desperate people trying to survive in these ever more desperate times, with the Truckers joyous pride and spirited attitude warding off any bitter aftertaste. Several songs are sad, and at times depressing, but the moods always point up. As it is for Bruce Springsteen, this blue-collar band not only believes in but preaches rock as salvation, and their iron-clad conviction suggests they wont have it any other way. --Bob Gendron, TONE Audio, Issue 271. Daddy Learned to Fly
2. The Fourth Night of My Drinking
3. Birthday Boy
4. Drag the Lake Charlie
5. The Wig He Made Her Wear
6. You Got Another
7. This Fucking Job
8. Get Downtown
9. After the Scene Dies
10. (It's Gonna Be) I Told You So
11. Santa Fe
12. The Flying Wallendas
13. Eyes Like Glue
14. Girls Who Smoke (vinyl only bonus track)$21.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now