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I Love My Whiskey - The Essential BluesOne of the most influential bluesmen of all time is celebrated on this special 180 gram vinyl release! Whiskey-soaked blues at its very best featuring the classic "C.C. Rider," "I Can't Be Satisfied," "Trouble In Mind" and more!1. I Love My Whiskey
2. C.C. Rider
3. Summer Time Blues
4. All By Myself
5. Saturday Evening Blues
6. I Can't Be Satisfied
7. Trouble In Mind
8. Keep Your Hands Off Her
9. Mopper's Blues
10. Bill Bailey
11. Five Feet Seven
12. Willie Mae Blues$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Common Ground: Dave Alvin + Phil Alvin Play and Sing The Songs of Big Bill BroonzyWe argue sometimes, but we never argue about Big Bill Broonzy, says Dave Alvin when explaining why he and brother Phil, who havent made an album together in almost 30 years, were inspired to record Common Ground: Dave Alvin + Phil Alvin Play and Sing the Songs of Big Bill Broonzy set for June 3 release on Yep Roc. The Alvin brothers, who founded seminal early LA punk roots band The Blasters in 1979, have shared a fascination with Broonzy since childhood. After an illness nearly took Phils life in 2012, they resolved to return to the studio and pay tribute to the blues legend. Common Ground includes 12 songs that capture a 30-year cross section of Broonzys canon, performed by the Alvins in their signature style of rollicking roots and stomping country blues.1. All By Myself
2. I Feel So Good
3. How Do You Want It Done?
4. Southern Flood Blues
5. Big Bill Blues
6. Key to the Highway
8. Just a Dream
9. You've Changed
10. Stuff They Call Money
11. Truckin' Little Woman
12. Saturday Night Rub$22.99Vinyl LP + CD - Sealed Buy Now
English guitarist and songwriter John Renbourn (8 August 1944 - 26 March 2015) was possibly best known for his collaboration with guitarist Bert Jansch as well as his work with the Folk group Pentangle, although he maintained a solo career before, during and after that band's existence (1967-1973).
While most commonly labelled a folk musician, Renbourn's musical tastes and interests took in early music, Classical music, Jazz, Blues and World music. John Renbourn's famous phrase was that I started out trying to play like Big Bill Broonzy, and I'm still trying.
On his 1965 self-titled album you can detect some of the influence on traditional Blues like John Henry and Candy Man. But as a player, Renbourn had already very much developed into his own man, imaginative and complete in technique. As debuts go, you'd be hard pressed to find anything much better in the folk cauldron that was London in the mid-'60s. The genesis of a master.1. Judy
2. Beth's Blues
4. Down On The Barge
5. John Henry
7. Louisiana Blues
8. Blue Bones
9. Train Tune
10. Candy Man
11. The Wildest Pig In Captivity
12. National Seven
13. Motherless Children
14. Winter Is Gone
15. Noah And Rabbit$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Mouth Harp BluesShakey Jake - Mouth Harp Blues The late James Harris earned the moniker Shakey Jake due to his proficiency at dice, but he was equally adept at the blues game. The Arkansas-born, Chicago-based singer and harmonica blower traveled to Rudy Van Gelder's New Jersey studio in November 1960 to record this, his second album for the Bluesville label. Jake brought along Jimmie Lee Robinson, the brilliant, fast-fingered guitarist best known for his work with Little Walter's band. Also making tasty contributions to the session was Robert Banks, the New York R&B and gospel studio organist who, in this case, ably appointed himself as a two-fisted blues piano stylist. Among the 10 selections is the distinctively loping Easy Baby, a tune also associated with Jake's nephew Magic Sam.
Guitarist Jimmie Lee Robinson, who died in 2002, was the soul of Acoustic Sounds' own APO Records. He was the first to record at Blue Heaven Studios, having made three records (one still unreleased) in the converted church, and he was there several more times to perform. A Chicago native and lifelong resident, Robinson began playing guitar in the open-air market on Maxwell Street in 1942 with the likes of Big Bill Broonzy and Robert Nighthawk. He later teamed with Freddie King for a four-year partnership and went on to play guitar and bass with Little Walter, Howlin' Wolf, Eddie Taylor, Elmore James, Jimmy Rogers, Jimmy Reed, Magic Sam and of course Shakey Jake.
This title is not eligible for discount.1. Mouth Harp Blues
2. Love My Baby
3. Jake's Cha Cha
4. Gimme A Smile
5. My Broken Heart
6. Angry Lover
7. Things Is Alright
8. Easy Baby
9. Things Are Different Baby
10. It Won't Happen Again$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
One Lovely Day (Awaiting Repress)Dug deep into the rich soil of American music, Cope's roots are complex. You may think of Bill Withers or Neil Young or John Lee Hooker or Van Morrison or Willie Nelson or Al Green. Yet, listening to Cope, you also may think none of the above. You may not think at all, but rather feel a man exposing stories that haunt his heart.
He was born Clarence Greenwood, a child of the '70s, and his life journey is as singular as his art. He is the radically mashed-up product of Greenville, Mississippi; Memphis, Tennessee; Vernon, Texas; Washington, DC; and Brooklyn, New York. These locations are felt everywhere in his stories. His sounds are southern rural, big sky lonely, concrete urban, and painfully romantic. In the past nine years, he has produced four albums of depth and distinction, each a critical chapter in his search for a sound that paints an auditory American landscape in which despair wars with hope, tied to love, is elusive.
Cope's musical evolution was catch-as-catch can. Folk tales, whether through William Faulkner or Big Bill Broonzy, shaped his sensitivity. A few college courses at Texas Tech alternately bored and excited him. In Austin in the '80s, he took sound classes and found himself fooling with a primitive four-track setup. Turntables intrigued him. He heard hip hop as inspired invention. For years, he got lost in his self-designed lab, cooking up beats and motifs that only later would be shaped into songs. This, his new album, One Lovely Day is anchored by the yearning title track single which features some of his finest songwriting to date.1. One Lovely Day
2. Something To Believe In
3. Dancer From Brazil
4. Back Then
6. Peace River
7. For A Dollar
8. Southern Nights
9. A Wonder
10. Summertime$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress)
Six LPs, 800 Digital Tracks, Two Definitive Large-Format Books. All Housed In A Polished Aluminum Case Evoking The Era's High Art Deco Stylings And America's Own Machine Age Modernism.
800 Newly-remastered Digital Tracks, Representing 175 Artists
90+ Fully-restored Original 1920s-30s Paramount Ads From Chicago Defender
6 X 180g LPs Pressed On Alabaster-white Label-less Vinyl, Each Side With Its Own Hand-Etched Numeral And Holographic Image
250 Pg. Large-Format Clothbound Hardcover Book Featuring Original Paramount Art And The Label's Curious Tale
400 Pg. Encyclopedia-Style Softcover Field Guide Containing Artist Bios & Portraits And Full Paramount Discography
Polished Aluminum And Stainless Steel Cabinet, Evoking 1930s High Art Deco Stylings And America's Own Machine Age Modernism
First-Of-Its-Kind Music And Image Player App Containing All Tracks And Ads, Housed On Sculpted Metal USB Drive
Last November, Jack White's Third Man and John Fahey's Revenant issued The Rise & Fall of Paramount Records, Volume One (1917-27), the first installment of the curious tale of America's most important record label. It was called spectacular (New York Times), unprecedented (Rolling Stone), breathtaking (Boing Boing), a cabinet of wonder, indeed (Pitchfork), and the most perfectly realized attempt to combine music and documentation (Fretboard Journal) and damnedest musical objet d'art (Nashville Scene) folks had ever seen.
Third Man-Revenant now presents the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).
As Volume Two begins, Paramount is entitled to a breather - in the previous 5 years it's been home to giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Eubie Blake, Fletcher Henderson, Big Bill Broonzy, Roosevelt Sykes, James P. Johnson, Jaybird Coleman, Clarence Williams, and Fats Waller.
But just as it seems the label might be losing steam, it begins a second act that threatens to dwarf its first. In its final 5 year push from 1928-32, Paramount embarks on a furious run for the ages, birthing the entire genre of Mississippi Delta blues and issuing some of the most coveted recordings in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Blind Roosevelt Graves, Willie Brown, King Solomon Hill, Tampa Red, Georgia Tom Dorsey, Little Brother Montgomery, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Ramblin' Thomas, Jaydee Short, George Bullet Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Charlie Spand, Jabo Williams, Louise Johnson, Blind Joe Taggart, Geeshie Wiley & Elvie Thomas, and The Mississippi Sheiks.
Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first and most comprehensive chronicler of what America really sounded like in the 1920s and '30s - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, Paramount - not some preservationist-minded enterprise like the Library of Congress - inadvertently created the most significant repository of this young nation's greatest art form.6 LPs feature tracks from the collection.
USB Drive contains 800 digital tracks by 175 artists across the Paramount family of labels.$469.99180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed AWAITING REPRESS Buy Now
Back To The Blues (Pure Pleasure)Although she was one of the most powerful and moving of the jazz singers, Dinah Washington suffered more than most from unimaginative and erratic backings. Many of her EmArcy recordings, notably those with Clifford Brown or Clark Terry on trumpet, had outstanding performances, but her collections were compromised by unsuitable accompaniment. This set of 12 blues gives a lop-sided picture in that it doesn't include any of her ballad performances. However, the basic big band settings allow the power and verve of her singing to come through, and confirm her as the best of the women singers with blues material. During the 1950s she had been regarded as an R&B performer but arranger and band-leader Fred Norman wrote these fine 1962 jazz settings for her shortly before her death.
The material is strong and Washington soars and swings, her voice reaching many of the potent climaxes for which she was so highly regarded. The material runs through much of the traditional repertoire--Big Bill Broonzy, Leroy Carr and Lil Green being represented--and there is a nine-minute Nobody Knows The Way I Feel This Morning that is unique in her discography.
- Dinah Washington (vocals)
- Illinois Jacquet, Eddie Chamblee (tenor saxophone)
- Jack Wilson, Patti Bown (piano)
- Jimmy Sigler (organ)
- Everett Barksdale, Billy Butler (guitar)
- George Duvivier (bass)
- Jimmy Thomas, Osie Johnson (drums)
Recording: March - November 1962 at Bell Sound Studios, New York
Production: Henry Glover
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. The Blues Ain't Nothin' But A Woman Cryin' For Her Man
2. Romance In The Dark
3. You've Been A Good Old Wagon
4. Let Me Be The First To Know
5. How Long, How Long Blues
6. Don't Come Running Back To Me
7. It's A Mean Old Man's World
8. Key To The Highway
9. If I Never Get To Heaven
10. Duck Before You Drown
11. No Hard Feelings
12. Nobody Knows The Way I Feel This Morning$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
- Dinah Washington (vocals)