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  • Space Songs Space Songs Quick View

    $24.99
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    Space Songs


    Red Colored Vinyl


    The first ever vinyl reissue of an extraordinarily-unique space-age educational LP. Includes the oft-covered "A Shooting Star Is Not A Star" and "Why Does The Sun Shine?" Featuring Leo Leonni cover art and taken from the original atomic-era 1959 master tapes. Written by Hy Zaret and sung by Tom Glazer & Dottie Evans. Zaret (co-author of "Unchained Melody") turned his attention to educational children's music in the late 1950s, collaborating with Lou Singer on a six-album series called "Ballads for the Age of Science." Space Songs stands alone as the most essential volume in a series that also featured songs about energy and motion, experiments, weather, and nature. Space Songs contains "Why Does the Sun Shine (aka "The Sun Is a Mass of Incandescent Gas") and "A Shooting Star Is Not a Star" which were more recently popularized by They Might Be Giants.

    1. Zoom A Little Zoom (Rocket Ship)
    2. What Is The Milky Way
    3. Constellation Jig
    4. Beep, Beep (Here Comes The Satellite)
    5. Why Does The Sun Shine
    6. What Is A Shooting Star
    7. It's A Scientific Fact
    8. Ballad Of Sir Isaac Newton
    9. Friction
    10. Why Are Stars Of Different Colors
    11. Why Do Stars Twinkle
    12. What Is Gravity
    13. Planet Minuet
    14. Why Go Up There
    Tom Glazer & Dottie Evans
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • Belly of the Sun (Pure Pleasure) Belly of the Sun (Pure Pleasure) Quick View

    $49.99
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    Belly of the Sun (Pure Pleasure)

    Cassandra Wilson continues to move down a highly eclectic path on Belly Of The Sun, the somewhat belated follow-up to Traveling Miles. While displaying a jazz singer's mastery of melodic nuance and improvisatory phrasing, Wilson draws on a variety of non-jazz idioms -- roots music, rock, Delta blues, country, soul -- to create a kind of earthy, intelligent pop with obvious crossover appeal. Her core band includes guitarists Marvin Sewell and Kevin Breit, who blend marvelously, Sewell mostly on mellow acoustic and Breit adding atmospheric touches on electric, 12-string, and slide guitars, as well as mandolin, banjo, and even bouzouki. Bassist Mark Peterson and percussionists Jeffrey Haynes and Cyro Baptista provide a superbly sensitive rhythmic foundation. But because Wilson returned to her home state of Mississippi to record most of this album, she made sure to book some time with local musicians. Thus guitarist Jesse Robinson guests on (and co-writes) the funky Show Me a Love, and the octogenarian pianist Boogaloo Ames plays an unpolished yet utterly heartfelt duet with Wilson on the classic Darkness on the Delta. Other guests include drummer Xavyon Jamison, trumpeter Olu Dara, pianist and vocalist Rhonda Richmond (who penned the slowly swaying Road So Clear), guitarist Richard Johnston, backup vocalists Patrice Monell, Jewell Bass, Henry Rhodes, and Vasti Jackson, and the children of New York's Middle School 44. Wilson delves into vintage blues with Mississippi Fred McDowell's You Gotta Move and a brief yet dynamic rendition of Robert Johnson's Hot Tamales. But the best tracks are the rock/pop covers: the Band's The Weight, Bob Dylan's Shelter From the Storm, James Taylor's Only a Dream in Rio, Jobim's Waters of March, and Jimmy Webb's Wichita Lineman (a 1968 hit for Glen Campbell). Wilson and band are in peak interpretive form on these ethereal reinventions. While her own lyrics may not rise to the level of a Robbie Robertson or a Bob Dylan, her versatility and focus come through clearly on the originals Justice, Just a Parade (a collaboration with neo-soul rookie India.Arie), and the Caribbean-tinged Cooter Brown.



    Musicians:



    • Cassandra Wilson (guitar)

    • Kevin Breit (vocal, mandolin, guitar, banjo, bouzouki)

    • Olu Dara (trumpet)

    • Rhonda Richmond (vocal, piano)

    • Mark Peterson (bass)

    • Xavyon Jamison (drums)

    • Jeffrey Haynes (percussion)




    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 Weight
    2. Justice
    3. Darkness On the Delta
    4. Waters of March
    5. You Gotta Move
    6. Only A Dream In Rio
    7. Just Another Parade
    8. Wichita Lineman
    9. Shelter From the Storm
    10. Drunk As Cooter Brown
    11. Show Me A Love
    12. Road So Clear
    13. Hot Tamales
    Cassandra Wilson
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Crystalize Your Mind / Now It's Over Crystalize Your Mind / Now It's Over Quick View

    $9.99
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    Crystalize Your Mind / Now It's Over

    One year after 1967's "Summer of Love," Living Children entered Golden State Recorders in San Francisco and recorded the magnificent A and B-sides of their only single. "Crystalize Your Mind" features a hypnotic guitar riff and perfectly-snotty vocal; think the Chocolate Watchband meet the Doors at acid-central."Now It's Over" is a melancholy, Byrds-like take - the song's haunting atmosphere will stay with you long after the needle has left the grooves. Sourced from the original Golden State masters, here is your chance to own an incredible, most-elusive 45!
    1. Crystalize Your Mind
    2. Now It's Over
    Living Children
    $9.99
    Colored 7 Vinyl Single - Sealed Buy Now
  • You Don't Know Better You Don't Know Better Quick View

    $15.99
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    You Don't Know Better

    If John, Paul, George 'n' Ringo had grown up in Chicago, they couldn't have sounded any cooler than these Windy City pop legends. Two discs - eight great Dunwich '66 trax!
    1. You Don't Know Better
    2. Born On Saturday
    3. I Hardly Know Her
    4. Leave That Baby Alone
    5. A Man With Money
    6. Tomorrow Is Her Name
    7. Christmas Sounds

    8. Deck Five
    Saturday's Children
    $15.99
    7 Vinyl Single LP - 2 LPs Sealed Buy Now
  • Barabajagal Barabajagal Quick View

    $28.99
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    Barabajagal

    Donovan was in a tremendously creative phase during the latter part of 1968, owing to both a tour of the United States (which yielded a live album) and the chemical and social stimulation of his surroundings. Amid all of that activity and his subsequent recordings, his European performances, and the slightly late catch-up of his British career to his American success, Donovan's work blossomed in several different directions on the resulting album, Barabajagal. He still sounded like a folkie, but on the title track as well as Superlungs My Supergirl, he was backed by the Jeff Beck Group and an outfit that included Big Jim Sullivan and John Paul Jones, respectively. With Barabajagal, Donovan intermingled soft, lyrical, spaced-out folk, hard psychedelia, children's songs, anthems to free love (along with a lusty appreciation of the fairer sex that runs throughout the album), and even antiwar sentiments (To Susan on the West Coast Waiting). The result was the most challenging album then issued by Donovan, but also one of his most successful, with album sales driven by the presence of the U.S. hit Atlantis.


    - Bruce Eder (All Music Guide)

    1. Barabajagal
    2. Superlungs My Supergirl
    3. Where Is She
    4. Happiness Runs
    5. I Love My Shirt
    6. The Love Song
    7. To Susan On The West Coast Waiting
    8. Atlantis
    9. Trudi
    10. Pamela Jo
    Donovan
    $28.99
    Vinyl LP - Sealed Buy Now
  • Come On (Let The Good Times Roll) Come On (Let The Good Times Roll) Quick View

    $9.99
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    Come On (Let The Good Times Roll)

    Sundazed presents the second installment in its landmark Jimi Hendrix singles series, which honors the legendary guitar icon's singular musical genius by presenting it in the same medium in which it was originally experienced by fans: vinyl.


    The series' latest release once again pairs two vintage Hendrix tracks, combining his visionary reading of Earl King's R&B classic "Come On (Let the Good Times Roll)" alongside the Hendrix original "Calling All the Devil's Children." The former track, which Hendrix recorded for his classic 1968 album Electric Ladyland, demonstrates Jimi's close ties to his blues and R&B roots. The latter demonstrates his skill with long-form improvisation, as well as his playful sense of humor.


    Both tracks feature the classic Jimi Hendrix Experience lineup of Hendrix himself on guitar and vocals, Noel Redding on bass and Mitch Mitchell on drums. As with every release in the series, the new single features a color picture sleeve incorporating seldom seen Hendrix photos that capture the legendary artist's distinctive persona and pioneering spirit.


    This new release is the second in Sundazed Music's historic partnership with Experience Hendrix, L.L.C., which launched in April 2012 with a single featuring two rare Hendrix performances from a pair of 1967 BBC sessions.


    In a recording career that spanned only three and a half years prior to his tragic death in 1970 at the age of 27, Jimi Hendrix revolutionized the role of the electric guitar and radically altered the face of contemporary music. He became rock's first guitar superstar, with an effortless charisma that matched his visionary talent to an intensely original performing style. More than four decades after his passing, his influence upon contemporary music looms as large as ever.

    1. Come On (Let the Good Times Roll)
    2. Calling All the Devil's Children
    Jimi Hendrix
    $9.99
    7 Vinyl Single Buy Now
  • This Is My Truth, Tell Me Yours This Is My Truth, Tell Me Yours Quick View

    $39.99
    Buy Now
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    This Is My Truth, Tell Me Yours

    Import

    Manic Street Preachers originally gained a loyal following and cult status with their combination of androgynous glam punk imagery, outspoken invective and songs about culture, alienation, boredom and despair.

    The band's later albums retained a leftist politicization and intellectual lyrical style, while adopting a broader alternative rock sound, especially after the mysterious disappearance of lyricist and rhythm guitarist Richey Edwards in 1995.


    'This Is My Truth Tell Me Yours' is their fifth album, originally released in 1998.

    It features the singles 'The Everlasting', 'You Stole the Sun from My Heart', 'Tsunami' and 'If You Tolerate This Your Children Will Be Next'.

    The latter was their first single to debut at #1 on the UK Singles Chart.


    On top of this, the album won Best British Album at the 1999 Brit Awards.

    1. The Everlasting
    2. If You Tolerate This Your Children Will Be Next
    3. You Stole The Sun From My Heart
    4. Ready For Drowning
    5. Tsunami
    6. My Little Empire
    7. I'm Not Working
    8. You're Tender And You're Tired
    9. Born A Girl
    10. Be Natural
    11. Black Dog On My Shoulder
    12. Nobody Loved You
    13. S.Y.M.M.
    Manic Street Preachers
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • We're Not Going Anywhere We're Not Going Anywhere Quick View

    $18.99
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    We're Not Going Anywhere

    Austin-based songwriter David Ramirez will release We're Not Going Anywhere, the follow up to his 2015 breakthrough record Fables and second in partnership with Thirty Tigers.

    Most times, when a relationship ends, there is a season of mourning but then the clouds part, the sun rises, and we move on. What happens if and when the sun doesn't rise? What happens if, no matter how hard we try, we can't move on? Ramirez explained about the song.

    On the 10 vividly imagined and passionately performed songs on We're Not Going Anywhere David Ramirez takes in the world from his unique perspective: Being half white and half Mexican has made this current political climate especially interesting. So many cultures in this country are being viewed as un-American and it breaks my heart. My family have raised children here, created successful businesses here, and are proud to be a part of this country. Most of what I've seen as of late is misplaced fear. I wanted to write about that fear and how, instead of benefiting us, it sends us spiraling out control.

    For We're Not Going Anywhere, Ramirez partnered with producer Sam Kassirer, who has helmed albums by Josh Ritter, Lake Street Dive, Bhi Bhiman, and many other artists. In January 2017 Ramirez and his band decamped to the Great North Sound Society, an eighteenth-century farmhouse in rural Maine that serves as Kassirer's studio.

    It's very secluded, which was part of the appeal. We were able to get out of our touring headspace and stay completely involved with the record and what we were doing, explains Ramirez.

    We're Not Going Anywhere turns that distance into a big-picture perspective- engaged and informed, compassionately political but not necessarily partisan. We'd take breaks during the day and watch the news and see all the rallies and marches and the disruption and the out-of-control feeling that was everywhere then-and, frankly, still is now. We were looking around and no one was around us. The closest house was a mile away, so it was just us. We were grateful just to retreat from that social tornado for a while and create something that we hoped would be very beautiful.

    1. Twins
    2. Watching From A Distance
    3. People Call Who They Wanna Talk To
    4. Time
    5. Good Heart
    6. Stone Age
    7. Telephone Lovers
    8. Villain
    9. Eliza Jane
    10. I'm Not Going Anywhere
    David Ramirez
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Dance Album of Carl Perkins The Dance Album of Carl Perkins Quick View

    $21.99
    Buy Now
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    The Dance Album of Carl Perkins


    Features Hits Like Blue Suede Shoes, Honey Don't, And Everybody's Trying To Be My Baby


    Originally Released In 1957 By The Legendary Sun Record Company


    The Dance Album of Carl Perkins is as good as rock & roll
    gets, containing most of Perkins' anthems: "Blue Suede
    Shoes," "Movie Magg," "Gone, Gone, Gone," "Honey
    Don't," "Everybody's Trying to Be My Baby," "Matchbox,"
    "Boppin' the Blues," and "All Mama's Children." These
    tracks provided some of the toughest, rawest rockabilly,
    powered by Perkins' dynamic, gutsy guitar and earnest
    voice.

    1. Blue Suede Shoes
    2. Movie Magg
    3. Sure To Fall
    4. Gone Gone Gone
    5. Honey Don't
    6. Only You
    7. All Mama's Children
    8. Tennessee
    9. Wrong Yo Yo
    10. Everybody's Trying To Be My Baby
    11. Matchbox
    12. Your True Love
    13. Boppin' The Blues
    Carl Perkins
    $21.99
    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.


    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
  • Held In Splendor Held In Splendor Quick View

    $13.99
    Buy Now
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    Held In Splendor


    As warm and relaxing as falling asleep in the sun." - Stereogum


    Judging from the early glimpse, Held In Splendor benets greatly from a more focused creative process. - SPIN


    Like a dusted-off artifact from a trippier time...borrowing from junkyard blues and '60s psychedelia while still sounding like its own thing. - The Fader


    Quilt's free-falling, unltered sound is the kind you'll have a hard time getting out of your head. - Interview Magazine


    When the three members of Quilt arrived in New York City in April to begin
    the intensive recording process for their second album, the new and aptly
    named Held In Splendor, they stepped directly into spring. Anna Fox
    Rochinski, Shane Butler and John Andrews had spent much of the previous
    several months clutched away at The Puritan Garage in Boston's
    Charlestown, shielding themselves from a winter of blizzards with the haven
    of their practice space and a set of fresh songs.


    Since the release of their 2011 self-titled debut on Mexican Summer, they'd
    become more than kids just out of college. They'd become a bona de
    hard-touring band, with stories to share from the road and experiences to
    distill into the narrative of new music. Though they continued to write and
    arrange tunes together, always an essential part of Quilt's creative process,
    they brought songs to one another, too, making and modifying demo tapes
    for the rst time. No longer rookies, Quilt began to approach their music like
    a lifeline. Coming to New York, then, just as the magnolia trees bloomed
    and the season of new life began to blossom, Quilt got to work.


    Indeed, when Butler talks about recording the kaleidoscopic Held In
    Splendor, he seems to speak of an ornate children's playground. Whereas
    their rst album was made mostly for free and mostly by friends over the
    course of a year of starts and stops, in sessions that captured the early and
    elemental and exciting efforts of a band nding its footing, Quilt entered the
    proper in-house studio located beneath the Mexican Summer ofces in
    Brooklyn for this one. They'd allocated a solid month for recording, and they
    clocked full days, every day, with Woods member and producer Jarvis
    Taveniere.


    The approach was wide-open: They tuned drums and recorded the same
    song with multiple microphone set-ups. They added bass and invited friends
    who added saxophone and violin, cello and steel guitar. They built this
    album together.


    Held In Splendor is an audacious pop-rock record with cascading harmonies
    and billowing textures, punchy rhythms and snarled guitars, wonderful depth
    and resplendent peaks. "Mary Mountain" takes hazy Summer of Love
    memories on a mid-summer road trip in a gleaming muscle car. "Tired &
    Buttered" invites Booker T over for an energy-addled jam in the garage.
    "The Hollow" twinkles like Fleetwood Mac and Galaxie 500, with sweet
    singing backed by the lap steel sighs of young acoustic guitar star and
    longtime Quilt pal Daniel Bachman. Held In Splendor is an album of
    personal poetry and public questions, confessions and aspirations-really,
    these 13 tracks are their own playground, brimming with the sort of
    unapologetic energy and wonder that turns simple songs into absolute
    anthems.

    1. Arctic Shark
    2. Saturday Bride
    3. Eye of the Pearl
    4. Mary Mountain
    5. Tie Up the Tides
    6. The Hollow
    7. A Mirror
    8. Just Dust
    9. The World Is Flat
    10. Tired & Buttered
    11. Secondary Swans
    12. Talking Trains
    13. I Sleep in Nature
    Quilt
    $13.99
    Vinyl LP - Sealed Buy Now
  • landmark (Awaiting Repress) landmark (Awaiting Repress) Quick View

    $19.99
    Buy Now
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    landmark (Awaiting Repress)

    "There's a moment in growing up when it becomes clear that the road you walk is your own to cultivate."


    A surprisingly profound sentiment for a band of 21-year olds. Nevertheless, it's a sentiment that animates much of landmark, the debut album from Minneapolis' Hippo Campus.


    From the resplendent "Way It Goes," a guitar led gallop about the Instagram-filtered church of cool, to the propulsive "Boyish," a horn-kissed rumination on children of divorce, landmark is shot through with a woozy dissonance between precocious wisdom and old-as-time coming of age stories. The result is a messy, brave, and earnest whole - not to mention, a tectonic shift forward for a young band still discovering itself.


    Of course, that should come as no surprise. Hippo Campus - comprised of vocalist/guitarist Jake Luppen, guitarist/vocalist Nathan Stocker, bassist Zach Sutton, and drummer Whistler Allen - have done their fair share of growing up since forming in late 2013. Their pair of 2015 EPs, Bashful Creatures and South, catapulted a freshly-formed band onto sold out tours, radio airwaves, late night TV stages, timelines, feeds, and glowing screens the world over. After a 10-month stretch of work informed by their surprising ascent, Hippo Campus' first full-length showcases not only their trademark ear for ringing melodies and impeccably constructed pop frameworks, but a desire to dig deeper-both into their talent and in their selves-for inspiration.


    landmark's recording, helmed by BJ Burton (Bon Iver, Sylvan Esso, etc.), primarily took place at Sonic Ranch, with finishing touches applied at Pachyderm Studios in the band's native Minnesota. The ranch, a residential studio located on a 2300-acre pecan farm near the border between Texas and Mexico, represented a big shift for four young men from the northern Midwest's cooler climes. "You're just in the middle of the desert, and there are these pecan trees for as far as you can see," says Stocker. "It's pretty surreal-kind of like a dream."


    Dreams are where the mind's deepest desires manifest, so it's fitting landmark is rife with up-close lyrics that reflect the struggles of crash-landing into an always-on world. "It's our most honest release yet, but it didn't start that way at all," says Luppen. "There are two halves to the record-the first half represents our first stage of writing, where we're showing off our ironic side and criticizing the culture of social media, and the youth culture that we're a huge part of now. It's a world we've been forced to plug into, whether we want to or not, and we talk about our qualms with that world."


    Perhaps nowhere on the album are those qualms more evident than on "Western Kids," one of landmark's most upbeat numbers, but also one of its most contemptuous: "I just love this, I swear I'll go viral, from the burbs to the streets now it's a revival," sings Luppen, tongue firmly planted in cheek. "The spirit is found in the idealistically idle, the age of excess."


    Meanwhile, "Sun Veins," the distortion-heavy track that opens the record, is a direct response to the expectations heaped upon the band as they grew: "'Sun Veins' represents an intense period in my life when I wanted to burn everything down, and it represents this moment of absolute clarity," says Luppen. "I'm talking about a person, but at the same time I'm talking about myself and us as a band. Throughout the past year, I thought that I had to be different and that the band had to be different, but it turned out that we had to look more inward and find ourselves again."


    Indeed, landmark invites introspection and close listening-even its most upbeat songs are rich with details, like the whistling break that lands in the middle of the galloping "Simple Season" or the spangles of guitar that slice through the clamor of "Tuesday." Elsewhere, the second half of landmark is dominated by a somber stretch that includes the lush "Monsoon," which slowly blooms into a quiet freak-out of reverb and synth, a revelation in the context of the band's catalog. "It was a breakthrough-we could use the studio and make something transcendent," says Luppen.


    Transcendence doesn't come easy. It's usually the payoff to a long journey. And while Hippo Campus' journey is still being written, with landmark, the band has never seemed more confident in the road they're walking.

    1. Sun Veins
    2. Way It Goes
    3. Vines
    4. Epitaph
    5. Simple Season
    6. Tuesday
    7. Western Kids
    8. Poems
    9. Monsoon
    10. Vacation
    11. Boyish
    12. Interlude
    13. Buttercup
    Hippo Campus
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • What's Going On (Pure Pleasure) What's Going On (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    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)
    The Dirty Dozen Brass Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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