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  • Friends (Pure Pleasure) Friends (Pure Pleasure) Quick View

    $49.99
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    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.



    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
  • Painting Signs (Pure Pleasure) Painting Signs (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Painting Signs (Pure Pleasure)

    Painting Signs stands up as a complete work from beginning to end. Eric Bibb makes a fine case for blues as a music of introspection, warmth, and supreme nuance. Easily his most mature album to date, Painting Signs continues Bibb's formula of socially aware songs performed from an acutely personal point-of-view; standout tracks Don't Ever Let Nobody Drag Your Spirit Down and a cover of Hope In A Hopeless World hammer home his message of individual freedom and the responsibilities that accompany it. (It's no coincidence that Pops Staples, to whom Bibb dedicates this album, once recorded the latter song.) That's not to say Painting Signs is overly didactic or, indeed, 'heavy' in any way; even the most serious songs here, like the plea for peace and unity Got To Do Better, are leavened by a musical backdrop that's soulful and immediately accessible. Gospel-leaning backing vocals by Linda Tillery and her Cultural Heritage Choir help flesh out several cuts, and robust accordion fills by Bibb's longtime accompanist Janne Petersson add a subtle Louisiana flavor to the rolling, propulsive Kokomo and, to surprisingly good effect, the deep-grooved version of Jimmy Reed's Honest I Do. Elsewhere, he keeps a minimalist tone dominated by acoustic guitar, an arrangement that's particularly mesmerizing on the chilling title track. With its emphasis on sophisticated songcraft and its gentle blend of folk, gospel, and country influences, Painting Signs presents Bibb as an artist intent on blurring the line between blues and 'roots music' in general.



    Musicians:



    • Eric Bibb (vocal, guitar)

    • Wilson Pickett (vocal)

    • Dave Bronze (bass, guitar, vocal)

    • Robbie McIntosh (guitar)

    • Hans Theesink (mandolin)

    • Janne Petersson (organ, piano, electric piano, accordion)

    • Henry Spinetti (drums)

    • Linda Tillery & The Cultural Heritage Choir (backing vocal)



    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.



    and that the lacquer discs are newly cut.


    1. Kokomo
    2. Hope In A Hopeless World
    3. Five Miles Above
    4. I Heard The Angels Singing

    5. Delia's Gone
    6. Got To Do Better
    7. The Light Was Worth The Candle

    8. Angel
    9. Walkin' Home

    10. To Know You
    11. Honest I Do
    12. Paintin' Signs
    13. Don't Ever Let Nobody Drag Your Spirit Down
    Eric Bibb
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed 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
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