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Comedown Machine

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  • Comedown Machine Comedown Machine Quick View

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    Comedown Machine

    Comedown Machine, The Strokes' highly anticipated fth studio album, is preceded by the rst single, "All The Time. The band has released four previous studio albums, Is This it, Room on Fire, First Impressions of Earth and Angles which have sold over 5 million albums worldwide. They have headlined major festivals in the United States and UK, including the Isle of Wight Festival, Lollapalooza, Hurricane Festival, Splendour In The Grass, Rockness, Outside Lands, and Austin City Limits as well as sold out New York City's Madison Square Garden.
    1. Tap Out
    2. All The Time
    3. One Way Trigger
    4. Welcome To Japan
    5. 80's Comedown Machine
    6. 50/50
    7. Slow Animals
    8. Partners In Crime
    9. Chances
    10. Happy Ending
    11. Call It Fate, Call It Karma
    The Strokes
    Vinyl LP - Sealed Buy Now
  • The Final Comedown (Pure Pleasure) The Final Comedown (Pure Pleasure) Quick View

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    The Final Comedown (Pure Pleasure)

    Guitarist Grant Green is known for laid back non-chordal single note playing. He was underrated during his life, but is now seen as one of the greatest guitarists of his era. During the early 60's, both his fluid, tasteful playing in organ/guitar/drum combos and his other dates for Blue Note established Green as a star. He was off the scene for a while in the mid-60's, but came back strong in the late '60's and '70's when this album was recorded.

    The Final Comedown was Blue Note's first film soundtrack and is an excellent debut into the Blaxploitation soundtrack genre of the period. As Grant Green's entry into this blaxploitation genre it does differ to a certain degree from his other works. There are pensive mood pieces along with more funky percussive tunes. Like any film score, the moods shift from tense to tranquil, featuring staccato horn punches, dramatic tympani, bongo driven beats and wah wah guitar. Grant Green brings a deeper jazz feel to the tracks with in particular the title track being more akin to his other Blue Note material of the period.


    • Grant Green (guitar)

    • Wade Marcus (composer, conductor)

    • Richard Tee (piano, organ)

    • Irving Markowitz, Marvin Stamm (trumpet, fluegel horn)

    • Phil Bodner (flute, piccolo, alto saxophone, oboe)

    • Harold Vick (alto saxophone, tenor saxophone)

    • Gordon Edwards (electric bass)

    • Grady Tate (drums)

    • Ralph MacDonald (conga, bongo)

    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. Past, Present And Future
    2. The Final Comedown
    3. Father's Lament
    4. Fountain Scene
    5. Soul Food - African Shop
    6. Slight Fear And Terror

    7. Afro Party
    8. Luanna's Theme
    9. Battle Scene
    10. Traveling To Get To Doc
    11. One Second After Death
    Grant Green
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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