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  • Crescent Crescent Quick View

    $24.99
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    Crescent

    John Coltrane's 1964 release, Crescent brilliantly represents the musical values 'Trane' was reaching for at a very crucial time in the tenor legend's career. The album not only re-emphasizes Coltrane's expressive power as a composer, it further underlines the fact that his lyricism is as direct and as free of posturing as any in jazz history. In excellent support here are Jimmy Garrison on double bass, Elvin Jones on drums and McCoy Tyner on piano.
    1. Crescent
    2. Wise One
    3. Bessie's Blues
    4. Lonnie's Lament
    5. The Drum Thing
    John Coltrane
    $24.99
    180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now
  • Electronic Sound Constructions Electronic Sound Constructions Quick View

    $19.99
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    Electronic Sound Constructions

    A hypnotic, transcendent document that generates the warm analogue hum we've all come to associate with the Bristol Sound. The ESC recordings are characterized by distant vintage synth drones anchored by looped, jazzy drumming; both are underpinned by the golden, haunting emanation of vinyl taching at 16RPM... coalescing beautifully as immaculately stoned rhythm in the background.
    1. Desert Rose
    2. Abstract Forms
    3. Oca Ola
    4. There Is No Matter
    5. Heat Haze (Modern Man Is Growing Rich In The Desert)
    6. Quince Flowers
    7. Sombra
    8. Philicorda Loops (Excerpt)
    Crescent
    $19.99
    Vinyl LP - Sealed Buy Now
  • Testimony Testimony Quick View

    $21.99
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    Testimony

    Born and bred from the streets of New Orleans, Louisiana enter into the game, 21-year-old August Alsina. With the love and hustle of the Crescent City running through his veins, August is eager to follow in the footsteps of the NOLA music legends that paved his way. Alsina's first official NNTME/Radio Killa/ Def Jam release, an 8-song EP titled, 'Downtown: Life Under the Gun', which offers collaborations between Alsina and Trinidad Jame$ , Kidd Kidd, along with NOLA veteran Curren$y, and Atlanta newcomer Rich Homie Quan. With the August 20th release of his highly anticipated EP August Alsina made 2013 his official coming out party.
    1. Testify
    2. Make It Home (featuring Jeezy)
    3. Right There
    4. You Deserve
    5. No Love
    6. Porn Star
    7. FML (featuring Pusha T)
    8. Grind & Pray / Get Ya Money (featuring Fabolous)
    9. Ghetto (featuring Yo Gotti)
    10. Kissin' on My Tattoos
    11. Ah Yeah
    12. Mama
    13. Benediction (featuring Rick Ross)
    14. I Luv This Shit (featuring Trinidad James)
    15. Numb (featuring B.o.B and Yo Gotti)
    August Alsina
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Mi Tierra Mi Tierra Quick View

    $34.99
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    Mi Tierra

    Mi Tierra (English: My Homeland) is the third studio album by Cuban-American recording artist Gloria Estefan, released in 1993. Produced by husband Emilio Estefan, it is her first Spanish-language album and pays homage to her Cuban roots. The album features Cuban musical genres, including Boleros, Danzan and Son music. Recorded at Crescent Moon Studios in Miami, Florida and produced by Estefan's husband, Emilio Estefan, Mi Tierra features notable Latin musicians such as Arturo Sandoval, Tito Puente, Cachao López, Chamin Correa and Paquito D'Rivera. Also Sheila E and Miami Sound Machine members Clay Ostwald and Jorge Casas play on the album.


    The album was an international success, selling eight million copies worldwide as of 2006, the majority of listeners non-Hispanics. The album received favorable reviews from critics, who praised the album's production, songs and Estefan's vocals. Its success won the singer a Grammy Award for Best Tropical Latin Album. Mi Tierra spawned no less than seven singles: Mi Tierra, Con Los Años Que Me Quedan, Tradición, Montuno, ¡Sí Señor!..., Mi Buen Amor and Ayer.

    1. Con Los Años Que Me Quedan
    2. Mi Tierra
    3. Ayer
    4. Mi Buen Amor
    5. Tus Ojos
    6. No Hay Mal Que Por Bien No Venga
    7. ¡Si Señor!...
    8. Volveras
    9. Montuno
    10. Hablemos El Mismo Idioma
    11. Hablas De Mi
    12. Tradicion
    Gloria Estefan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Life Pursuit The Life Pursuit Quick View

    $27.99
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    The Life Pursuit


    Back In Print For The First Time In Years


    Oh to be free and frivolous, like Stuart Murdoch and his extensive cast of players as they engage The Life Pursuit. There's no Take Your Carriage Clock and Shove It or Get Me Away from Here, I'm Dying on this disc. Life has gotten easier, it seems, since Belle and Sebastian's early days. To boot, since 2003's Dear Catastrophe Waitress, the Belle cast has indulged a more 70s-era set of influences: Isn't that Norman Greenbaum's Spirit in the Sky beat on the funny White Collar Boy, a near sequel to Step Into My Office, Baby? And how about the T-Rex touch on the opening of The Blues Are Still Blue? No worries, Belle and Sebastian retain their gleam flawlessly. A jaunty lift is still in their step, a carefree abandon that charms even as it also reaches to the 70s for the funk-meets-psychedelia, Song for Sunshine. It's bright and breezy throughout (the titles tell some of the story: Another Sunny Day and Funny Little Frog), with memorably decorous, familiar bouncing rhythms marking much of the album. The downtone Dress Up in You and Mornington Crescent are spare and lovely, wide-open in their pacing. All the same, For the Price of a Cup of Tea, almost triggers a sing-along with just its name. --Andrew Bartlett

    1. Act Of The Apostle Part 1
    2. Another Sunny Day
    3. White Collar Boy
    4. The Blues Are Still Blue
    5. Dress Up In You
    6. Sukie In The Graveyard
    7. We Are The Sleepyheads
    8. Song For Sunshine
    9. Funny Little Frog
    10. To Be Myself Completely
    11. The Act Of The Apostle Part 2
    12. For The Price Of A Cup Of Tea
    13. Mornington Crescent
    Belle And Sebastian
    $27.99
    Vinyl LP - 2 LPs Buy Now
  • Bluesamericana Bluesamericana Quick View

    $16.99
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    Bluesamericana

    "I never set out to be a 'blues guy', but the blues is very powerful and
    fuels what I do. The blues puts the 'realness' in it for me." - Keb' Mo'


    Three-time Grammy winner and visionary roots-music storyteller,
    Keb' Mo', embarks on a new chapter in his career with the
    release of BLUESAmericana on Kind of Blue Music. His twelfth full-length
    album marks the 20th anniversary of his self-titled debut. But, more
    importantly, the album is a signpost of artistic and personal growth.


    "I only make albums when I'm inspired to, and these 10 songs come
    from a very honest place," Keb' relates. "BLUESAmericana is the
    beginning of the next phase of who I am."


    Recorded in Nashville, and produced by Keb' Mo' and Casey Wasner,
    BLUESAmericana features some of the three-time Grammy winner's
    most poignant and joyful songs. Wall Street Journal's "Speakeasy"
    premiered the first single, "The Old Me Better," which gets its
    Crescent City sound from guest artists The California Feetwarmers.

    1. The Worst Is Yet To Come
    2. Somebody Hurt You
    3. Do It Right
    4. I'm Gonna Be Your Man
    5. Move
    6. For Better Or Worse
    7. That's Alright
    8. The Old Me Better
    9. More For Your Money
    10. So Long Goodbye
    Keb' Mo'
    $16.99
    Vinyl LP - Sealed Buy Now
  • In The Right Place In The Right Place Quick View

    $24.99
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    In The Right Place

    Dr. John, or Mac Rebennack as known to friends and family, is universally celebrated as the living embodiment of the rich musical heritage exclusive to New Orleans. His very colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City, including recordings by Professor Longhair, Art Neville, Joe Tex and Frankie Ford. A notorious gun incident forced the artist to give up the guitar and concentrate on organ and piano. Further trouble at home sent Dr. John west in the 1960s, where he continued to be in demand as a session musician, playing on records by Sonny and Cher, Van Morrison and Aretha Franklin to name a few. He also launched his solo career, developing the charismatic persona of Dr. John The Night Tripper. Adorned with voodoo charms and regalia, a legend was born with his breakthrough 1968 album Gris-gris, which established his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots. Several of his many career highlights include the masterful album Sun, Moon and Herbs in 1971 which included cameos from Eric Clapton and Mick Jagger and 1973's In The Right Place, which contained the chart hits Right Place Wrong Time and Such A Night.
    1. Right Place Wrong Time
    2. Same Old Same Old
    3. Just The Same
    4. Qualified
    5. Traveling Mood
    6. Peace Brother Peace
    7. Life
    8. Such A Night
    9. Shoo Fly Marches On
    10. I Been Hoodood
    11. Cold Cold Cold
    Dr. John
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • I Can't Imagine I Can't Imagine Quick View

    $24.99
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    I Can't Imagine

    I Can't Imagine, Shelby Lynne's 13th full-length album and first for Rounder Records, is the most beautifully crafted and intensely affecting set of songs since her landmark I Am Shelby Lynne in 2000. It starts, as always, with that voice. Two parts Alabama sunshine; one part Memphis rainstorm, it's one of the most gorgeous sounding instruments in all of popular music. Comprising 10 new songs written or co-written by the GRAMMY winning singer-songwriter, I Can't Imagine is powered by Lynne's lustrous, virtuosic vocal performance, indelible, sparkling songwriting, and the sympathetic, versatile playing of a top-flight band, led by guitarist Ben Peeler. The songs themselves reflect a panoply of Lynne's influences from Southern soul, Crescent City R&B, and California country & western to the ardent social consciousness of precursors like Woody Guthrie and even the roots 'n blues vocalizing of Billie Holiday all brought into clear focus by Lynne's keen, sophisticated pop sensibility. An artist in full creative command, Shelby Lynne's I Can't Imagine is an inspired work of purity and depth - sure to be one of 2015's most essential recordings.
    1. Paper Van Gogh
    2. Back Door Front Porch
    3. Sold the Devil (Sunshine)
    4. Son of a Gun
    5. Down Here
    6. Love Is Strong
    7. Better
    8. Be In The Now
    9. Following You
    10. I Can't Imagine
    Shelby Lynne
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dee Dee's Feathers Dee Dee's Feathers Quick View

    $24.99
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    Dee Dee's Feathers

    Vocalist Dee Dee Bridgewater's 2015 effort, Dee Dee's Feathers, is a vibrant jazz showcase that pays homage to the history of New Orleans and marks the tenth anniversary of Hurricane Katrina. A collaboration between Bridgewater, New Orleans trumpeter Irvin Mayfield, and the New Orleans Jazz Orchestra (NOJO), the album finds Bridgewater combining her love of New Orleans' musical past with the Crescent City's vibrant present.


    Recorded at Esplanade Studios, a historic 1920s church turned music studio in heart of the Treme neighborhood in New Orleans, Dee Dee's Feathers has a lush, organic sound. Bridgewater is backed here by Mayfield and his band, featuring guitarist/banjo player Don Vappie, drummer Adonis Rose, pianist Victor Atkins, and bassist Khari Allen Lee. Also featured on the album are several guests, including such New Orleans icons as keyboardist Dr. John and percussionist Bill Summers.


    These are warm, largely acoustic arrangements that breathe with the energy of a live performance. Cuts like the second-line, Mardi Gras-themed Big Chief, and the similarly percussion-heavy title track sound pleasingly like in-studio jams. In contrast, standards like the romantic What a Wonderful World and the languid Come Sunday, are lush, symphonic big-band productions that juxtapose Bridgewater's crackling, resonant voice against shimmering string and horn sections.


    Throughout all of Dee Dee's Feathers is Mayfield's burnished, puckered trumpet, adding a soulful counterpoint to Bridgewater's urbane vocals. Bridgewater has built a career out of combining her love of the tradition with her desire to push the boundaries of jazz style, and Dee Dee's Feathers is no exception.

    1. One Fine Thing
    2. What a Wonderful World
    3. Big Chief
    4. Saint James Infirmary
    5. Dee Dee's Feathers
    6. New Orleans
    7. Treme Song / Do Whatcha Wanna
    8. Come Sunday
    9. Congo Square
    10. C'est ici que je t'aime
    11. Do You Know What it Means
    12. Whoopin' Blues
    Dee Dee Bridgewater
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Small Town Heroes Small Town Heroes Quick View

    $19.99
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    Small Town Heroes

    In 2014, Hurray for the Riff Raff release 'Small Town Heroes,' its debut for ATO Records. The album finds frontwoman Alynda Lee Segarra -
    who settled in New Orleans after leaving her native Bronx at age 17.


    Produced by Segarra and engineered by Andrija Tokic (Alabama Shakes), 'Small Town Heroes' features twelve new, original songs all written or cowritten
    by Segarra, with support from a vivid cast of Crescent City musicians.


    NPR has said that Hurray for the Riff Raff sweeps across eras and genres with grace and grit," never more so than on 'Small Town Heroes.' On the
    hedonist country lament "I Know It's Wrong (But That's Alright)" Segarra sings to a forbidden love "I'll feed you watermelon off the vine," while on "The
    Body Electric she exposes the misogyny of the traditional murder ballad, and warns Delia's gone, but I'm settling the score.


    Ultimately though, many of the songs embody that most magical and fated of American cities, New Orleans. Segarra bears witness to a wave of violence
    that struck the St. Roch neighborhood in St. Roch Blues; yearns for a night at BJ's Bar in the Bywater in Crash on the Highway; and sings of her own
    Lower Ninth Ward home in End of the Line.


    'Small Town Heroes' follows Hurray for the Riff Raff's self-released 2012 album 'Look Out Mama,' which led to a performance at the Newport Folk
    Festival, and praise from Mojo, which compared Segarra to "a soulful, young Loretta Lynn," and The New York Times which hailed the group as part of
    the loosely cohered movement of younger musicians embracing and reframing American roots music, giving it a polish of currency but otherwise leaving
    its bones intact.

    1. Blue Ridge Mountain
    2. Crash on the Highway
    3. Good Time Blues (An Outlaw's Lament)
    4. End of the Line
    5. The New SF Bay Blues
    6. The Body Electric
    7. No One Else
    8. St. Roch Blues
    9. Levon's Dream
    10. I Know It's Wrong (But That's Alright)
    11. Small Town Heroes
    12. Forever Is Just a Day
    Hurray For The Riff Raff
    $19.99
    Vinyl LP - Sealed Buy Now
  • Here's Little Richard Here's Little Richard Quick View

    $21.99
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    Here's Little Richard

    Little Richard had been making records for four years before he rolled into Cosimo Matassa's J&M Studio in New Orleans and cut the epochal Tutti Frutti in the fall of 1955, but everything else he'd done -- and much of what others had recorded -- faded into insignificance when Richard wailed A wop bop a loo mop a lomp bomp bomp and kicked off one of the first great wailers in rock history. In retrospect, Little Richard's style doesn't seem so strikingly innovative as captured in 1956's Here's Little Richard -- his boogie-woogie piano stylings weren't all that different from what Fats Domino had been laying down since 1949, and his band pumped out the New Orleans backbeat that would define the Crescent City's R&B for the next two decades, albeit with precision and plenty of groove. But what set Richard apart was his willingness to ramp up the tempos and turn the outrage meter up to ten; Tutti Frutti, Rip It Up, and Jenny Jenny still sound outrageous a half-century after they were waxed, and it's difficult but intriguing to imagine how people must have reacted to Little Richard at a time when African-American performers were expected to be polite, and the notion of a gay man venturing out of the closet simply didn't exist (Richard's songs were thoroughly heterosexual on the surface, but the nudge and wink of Tutti Frutti and Baby is faint but visible, and his bop threads, mile-high process, and eye makeup clearly categorized him as someone different). These 12 tunes may not represent the alpha and omega of Little Richard's best music, but every song is a classic and unlike many of his peers, time has refused to render this first album quaint -- Richard's grainy scream remains one of the great sounds in rock & roll history, and the thunder of his piano and the frantic wail of the band is still the glorious call of a Friday night with pay in the pocket and trouble in mind. Brilliant stuff.


    - Mark Deming (All Music Guide)

    1. Tutti Fruitti
    2. True Fine Mama
    3. Can't Believe You Wanna Leave
    4. Ready Teddy
    5. Baby
    6. Slippin' and Slidin'
    7. Long Tall Sally
    8. Miss Ann
    9. Oh Why
    10. Rip It Up
    11. Jenny Jenny
    12. She's Got It
    Little Richard
    $21.99
    Vinyl LP -Sealed Buy Now
  • I Hear You Knocking (Pure Pleasure) I Hear You Knocking (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    I Hear You Knocking (Pure Pleasure)

    Dave Bartholomew has often been quoted to the effect that Smiley Lewis was a »bad luck singer«, because he never sold more than 100,000 copies of his Imperial singles. In retrospect, Lewis was a lucky man in many respects - he enjoyed stellar support from New Orleans' ace sessioneers at Cosimo's, benefited from top-flight material and production (by Bartholomew), and left behind a legacy of marvelous Crescent City R&B. We're lucky he was there, that's for sure.



    Born with the unwieldy handle of Overton Lemons, Lewis hit the Big Easy in his mid-teens, armed with a big, booming voice and some guitar skills. He played clubs in the French Quarter, often with pianist Tuts Washington (and sometimes billed as 'Smiling' Lewis).



    As the New Orleans R&B sound developed rapidly during the early '50s, so did Lewis. He scored his first national hit in 1952 with The Bells Are Ringing, but enjoyed his biggest sales in 1955 with the exultant I Hear You Knocking (its immortal piano solo courtesy of Huey Smith). Here's where that alleged bad luck rears its head - pop chanteuse Gale Storm swiped his thunder for any pop crossover possibilities with her ludicrous whitewashed cover of the plaintive ballad.




    Musicians:



    • Smiley Lewis (guitar, vocal)




    Recording: At Cosimo's (New Orleans)

    Production: Dave Bartholomew




    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.



    This title is not eligible for discount.

    1. Bells Are Ringing
    2. Standing on the Corner
    3. Blue Monday
    4. Down the Road
    5. Lost Weekend
    6. Real Gone Lover
    7. Bumpity Bump
    8. I Hear You Knocking
    9. I Can't Believe It
    10. Hey Girl
    11. One Night
    12. Nothing But the Blues
    Smiley Lewis
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • What's Going On (Pure Pleasure) What's Going On (Pure Pleasure) Quick View

    $34.99
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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.



    This title is not eligible for discount.

    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
  • Binary Binary Quick View

    $24.99
    Buy Now
    x

    Binary

    "My last record was very inward-looking," says Ani DiFranco. "I was pregnant and then raising a screaming infant. But now that kid is about to turn four, so I got out of the weeds of personal space and started looking outward again, being more engaged, more big 'P' Political. As an artist, I like to be out in the world, and what initially compelled me was to try to push society to a better place. So when I'm not in heartbreak or motherhood mode, that's where you'll naturally find me."

    With her twentieth studio album, Binary, the iconic singer/songwriter/activist/poet/DIY trendsetter returns to territory that brought her to the world's attention more than twenty-five years ago. One of the first artists to create her own label in 1990, she has been recognized among the feminist pantheon for her entrepreneurship, social activism, and outspoken political lyrics. At a time of global chaos and confusion, DiFranco is kicking ass and taking names, with a set of songs offering a wide range of perspective and musical scope.

    She describes a moment during the writing of "Play God," an unblinking pro-choice battle cry, as a particular breakthrough. (A live version of the song was included in the anti-Trump "30 Days, 30 Songs" campaign alongside tracks from Death Cab for Cutie, Aimee Mann, Franz Ferdinand, and more.)

    "When I wrote the line 'You don't get to play god, man/I do,' I paused and thought, 'Can I say that?,' " she says. "It's not the first time I've thought that, but it's been a while. And in that moment, I thought, 'I'm back, mothafuckas!'"

    "When you make a record about family and relationships, people assume you're mommy now and you've lost your edge, and it's going to be all buttercups from here on. So that line had the feeling of 'Take that! My kid is sleeping right now and I want to talk about some shit!"

    On Binary, DiFranco tackles the challenge and necessity of teaching non-violence with "Pacifist's Lament" and the need for empathy in "Terrifying Sight." Remarkably, though, these songs-recorded, in her usual fashion, in a couple of short full-sprint sessions spread across several years-were all written prior to the 2016 elections and attendant political turmoil.

    "I'm not surprised," says DiFranco. "Over twenty-five years, I've found that my songwriting is often full of premonition. It shows me, in a deep and spooky way, how we know things on levels below consciousness. I write songs and then they happen, and later I realize what they're about. I'm just happy to have some good tools in my toolbox to address what's happening now-the feminist diatribes are turned up nice and high on this record!"

    She notes that Binary's title track is key to her intention on this project. "I always title a record from the song that seems to be at its core," she says. "An underlying theme in the songs, and in the feminism I want to engage society with, is the idea that autonomy is a fallacy-nothing exists except in relationship to something else. We are, in some senses individuals with individual liberties and unique powers, but that's only a surface story."

    Though this concept is closely tied up in our present-day obsession with technology ("Sitting alone at home, staring at a screen, you can't really know anything, because knowing is engaging," she says), DiFranco also reveals a growing connection to nature and the physical world.

    "Every year on Goddess' Green Earth, I understand my relationship to it more," she says. "My early songs were all human drama. I don't think I noticed the bigger picture at all-I was transfixed by power dynamics between people. Now I see that it's largely the providence of women to really embody nature, so I do think I'm getting back to basics, and it's a shift for me."

    The backbone of Binary's sound is DiFranco's long-time rhythm section of bassist Todd Sickafoose and drummer Terence Higgins, but on much of the album, the trio is augmented with some all-star guests. "I knew I wanted to involve some of my brilliant friends this time out," she says. "We made some calls and got a party going. That was the idea, to reach out and have some other spirits enter."

    Virtuoso violinist Jenny Scheinman and keyboard wizard Ivan Neville both join in for more than half of the record; "they are so captivating and they elevate my shit whenever they come near it," says DiFranco. Other contributors include the legendary Maceo Parker, Bon Iver's Justin Vernon, and Gail Ann Dorsey, longtime bassist for David Bowie. New Orleans resident DiFranco takes special pride in the Crescent City funk spearheaded by natives Higgins and Neville on a number of the tunes. "Their souls are of this place," she says. "The feel they bring is something they got in utero."

    For the better part of 2016, DiFranco beat the drum for voter turnout on her "Vote Dammit!" tour, focusing on registering and inspiring people to vote. In the days following the election, fans turned to her for guidance with renewed earnestness, anxious to hear music and wisdom from the longtime activist. Ani encouraged fans to take political action and did the same herself, participating in the Women's March on Washington and performing at the official Women's March after party benefitting Planned Parenthood with The National and Sleater-Kinney.

    Binary, of course, is being released into a world in which music distribution and consumption have transformed rapidly and dramatically. For DiFranco, a true pioneer in the music industry with her Righteous Babe label, it's a time to reconsider the possibilities and ambitions of her business.

    "While I was precedent-setting at one time with Righteous Babe and my indie crusade, I feel like, in the time it took me to nurse another baby into being, I've fallen behind," she says. "The universe and technology have continued to evolve, and the idea of harnessing technology and crowd-sourcing everything-money, knowledge, revolution-is a very powerful concept that I'm ready to get more involved with. Righteous Babe is starting to grow now into something that will hopefully become avant-garde once again- more of a collective, more dynamic."

    "I'm trying to figure it out daily," says Ani DiFranco. "Just like always."

    1. Binary
    2. Pacifist's Lament
    3. Zizzing
    4. Play God
    5. Alrighty
    6. Telepathic
    7. Even More
    8. Spider
    9. Sasquatch
    10. Terrifying Sight
    11. Deferred Gratification
    Ani DiFranco
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Offering: Live At Temple University Offering: Live At Temple University Quick View

    $59.99
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    Offering: Live At Temple University


    Deluxe 2-LP, Limited-Edition, 180-Gram Vinyl Pressed On 12 LP's At 33-1/3 RPM By Record Technology Incorporated (R.T.I.)


    Hand-Numbered Gatefold By Stoughton Press


    Vibrant Four Panel Insert With Liner Notes By Ashley Kahn


    Special Collector Postcards With Photos By Frank Kofsky


    Mastered By Bernie Grundman


    Offering: Live At Temple University documents a legendary concert by John Coltrane at Temple University in his hometown, Philadelphia, Pennsylvania,
    on November 11, 1966, six weeks after his fortieth birthday and nine months before his untimely death. Offering incorporates a look that is contiguous with the graphic identity of Impulse! Records, Coltrane's exclusive label from 1961
    until the end of his life. This is the first officially sanctioned release of an undiscovered, complete Coltrane performance since 2005. It captures Coltrane in
    exemplary form, navigating the language he had developed during the last phase of his musical path with passion and pellucid logic. Operating at
    equivalent levels of invention and energy are three members of his working quintet of one year's standing his wife, Alice Coltrane, on piano; Pharoah
    Sanders on reeds and flute; and Rashied Ali on drums.


    Offering is emblematic of the efflorescent energies and radical ideas that Coltrane himself had much to do with bringing forth during the seven years after
    1960, when he left the employ of Miles Davis to pursue his vision as a leader. There are versions of Coltrane's 1960 hits "Naima" and "My Favorite
    Things," a transformational reworking of the 1964 ballad "Crescent," a spirit-raising rendering of "Leo," which he had recorded on several previous
    occasions during 1966, and the hymnal "Offering," which he would record on a February 15, 1967 studio session that Impulse! would release during the
    '90s as Spiritual Offering.


    On Offering, Resonance Records achieves the highest possible audio quality, using direct transfers of original master reels from a location recording by
    Temple's WRTI-FM, remastered at 96kHz/24 bit, that were tracked down by Coltrane scholar Yasuhiro Fujioka.
    The immense life-force that animates the proceedings on this November 1966 evening in Philadelphia belies the declining state of Coltrane's health. It is
    still difficult to grasp and to accept that he was firmly in the grip of the liver cancer that would still his voice on July 17, 1967. As co-producer Ashley Kahn
    states in his liner notes, "Coltrane was pointing the way forward for generations of players to come, pushing the music to exhilarating, spiritual heights that
    caught most by surprise. In 1966, that wasn't what jazz performances were about not yet."


    Recorded November 11, 1966

    Mitten Hall, Temple University

    Philadelphia, Pennsylvania


    Featured Artists:

    John Coltrane - soprano & tenor saxophones, flute & vocals

    Pharoah Sanders - tenor saxophone & piccolo

    Alice Coltrane - piano

    Sonny Johnson - bass

    Rashied Ali - drums


    Additional musicians include:

    Steve Knoblauch, Arnold Joyner alto saxophone

    Umar Ali, Algie DeWitt, Robert Kenyatta percussion

    1. Naima
    2. Crescent
    3. Leo
    4. Offering
    5. My Favorite Things
    John Coltrane
    $59.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Look-Ka Py Py (Out of Stock) Look-Ka Py Py (Out of Stock) Quick View

    $28.99
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    Look-Ka Py Py (Out of Stock)

    As New Orleans producer Allen Toussaint's houseband at Sansu Records, The Meters began performing in the mid-60s lending their talents as backing musicians to Dr John, Lee Dorsey and later Paul McCartney and Robert Palmer.Blending melodic grooves and syncopated NOLA rhythms, The Meters' highly charged guitar riffs and keyboard workouts helped integrate the Crescent City sound into mainstream Pop. Although they contributed to scores of hit records, success in their own right proved elusive and yet their influence endures thanks in part the Hip Hop scene whose artists have long since sampled their tracks.


    Comprised of Art Neville [keyboards, vocals], Leo Nocentelli guitar], George Porter Jr. [bass] and Joseph "Ziggy" Modeliste [drums], the foursome were later joined by percussionist/vocalist Cyril Neville. Produced by Allen Toussaint and Marshall Sehorn and recorded at Le Fevre Sound Studios in Atlanta, GA, the allinstrumental Look-Ka Py Py builds on the success of the R&B hits 'Sophisticated Sissy' and 'Sissy Strut' from earlier in the year. With the album ranked at No.216 in Rolling Stone magazine's '500 Greatest Albums of All Time', it's easy to see why The Meters deserve their status as the founding fathers of funk.


    Revered by contemporary Funk fans this is a welcome reissue for a highly regarded album by one of the genre's foremost exponents.

    1. Look-ka Py Py
    2. Rigor Mortis
    3. Pungee
    4. Thinking
    5. This Is My Last Affair
    6. Funky Miracle
    7. Yeah, You're Right
    8. Little Old Money Maker
    9. Oh, Calcutta!
    10. The Mob
    11. 9 'till 5
    12. Dry Spell
    The Meters
    $28.99
    Vinyl LP - Sealed Temporarily out of stock
  • The Coming Tide (Out of Stock) The Coming Tide (Out of Stock) Quick View

    $16.99
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    The Coming Tide (Out of Stock)

    Listening to Luke Winslow-King's third full-length album is like taking a stroll through the artist's adopted home of New Orleans; his Bloodshot label debut is the sound of community, emotional duality,spiritualism, and lived-on-the-streets-not-stored-in-abottle historical preservation. It is the sound of rickety wooden porches on humid summer days, the grimy streets of New Orleans' neighborhoods beyond the French Quarter, the celebration and solemnity of centuries old churches and gathering places, and the anything-is-possible attitudes of smoky music halls and folk clubs.


    Recorded at Piety Street Studios in New Orleans, The Coming Tide brings together Winslow-King's formal music education with a street-busking resilience, a proficiency on bottleneck slide guitar, the featured vocals (and washboard playing) of Esther Rose, and a cast of A-plus local players. The result is a vibrant amalgam of early 20th century jazz, Delta blues, American folksong, and Southern gospel.


    Just as the Crescent City's famous parades and joyous second lines are known as "jazz funerals without the body," The Coming Tide asserts that while life's issues
    can be dire, there's always a reason to find the silver lining. When Winslow-King and Esther Rose harmonize like tag-team town criers on the title track, it's easy to be transported in time and place. "You better come inside for the coming tide," sung amid a scurrying hi-hat/tomtom shuffle, buoyant upright bass, and languid brass line, settles the nerves and sends the crowd back home to make amends before the shit hits the fan.


    Without blatantly narrating each scene in a way that other songwriters might, The Coming Tide naturally gives the listener a cinematic feeling of distinct atmospheres,
    moods and the people that come with them. Rose clickclacks the washboard on "Movin On (Towards Better Days)" while an animated trombone-trumpet conversation brings to life the scandalous, noisy cabaret. "Staying in Town," a gently waltzing love story between two once-ramblers, plays like a two-minute diddy between cornmeal ads on Saturday evening AM radio. "You & Me" is a crinkled black & white snapshot of nights dancing cheek-to-cheek at the juke joint.
    Later Winslow-King turns up the Texas heat on Blind Willie Johnson's "Keep Your Lamp Trimmed and Burning" and flashes his nearly vocal, rubber band bendy bottleneck slide guitar skill. The album-closer is a pleasantly unexpected, stylistically dark take on Rudy Clark's "I've Got My Mind Set On You" that leaves you wanting more.

    1. The Coming Tide
    2. Moving On (Towards Better Days)
    3. Let 'em Talk
    4. Staying In Town
    5. Keep Your Lamp Trimmed and Burning
    6. You Don't Know Better Than Me
    7. I've Got the Blues for Rampart Street
    8. You & Me
    9. I Know She'll Do Right By Me
    10. Ella Speed
    11. I've Got My Mind Set On You
    Luke Winslow-King
    $16.99
    Vinyl LP - Sealed Temporarily out of stock
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