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Yes We CanImport
Limited Edition Of 1,000 Numbered Copies On Green Vinyl
Including Songs Yes We Can Part I & Part II, Sneakin' Sally Thru The Alley, Who's Gonna' Help Brother Get Further
Lee Dorsey began his career as a lightweight boxer in the early 1950s and moved on to become an influential African American pop and R&B singer during the 1960s.
His successful period began when he met songwriter and record producer Allen Toussaint with whom he recorded several songs like Ya Ya, Working In The Coalmine, Ride Your Pony and many more which all charted in the Billboard Hot 100 singles chart.
In 1970 Dorsey recorded the Yes We Can album again with Allen Toussaint together with the support band The Meters. Several of the songs were covered by major artists who scored hits with them later that decade; Yes We Can by The Pointer Sisters and Sneakin' Sally Thru The Alley by Robert Palmer. The other songs are straight up funky tracks and have a variety of styles and sounds. Included are the protest soul recording Who's Gonna' Help Brother Get Further and the somewhat hilarious comedy song Would You. All in all it stands as a great soul album for that time.
The Music On Vinyl edition is pressed on green vinyl and is available in a limited run of 1,000 individually numbered copies, including an insert with song lyrics.1. Yes We Can - Part I
3. Tears Tears And More Tears
4. O Me-o, My-o
5. Sneakin' Sally Thru The Alley
6. Yes We Can - Part II
7. Who's Gonna' Help Brother Get Further
8. Games People Play
9. When The Bill's Paid
11. Gator Tail
12. Would You?$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
By The Time I Get To PhoenixGlen Campbell's commercial breakthrough came by way of the title track, which was the direct precursor in production terms to Wichita Lineman, and by the same writer. The cover of Paul Simon's Homeward Bound is sincere if a little perfunctory, but Campbell's rendition of Ernest Tubb's Tomorrow Never Comes is a bravura performance, rich and soulful, as well as recalling Rodgers & Hammerstein's You'll Never Walk Alone as done by Gerry & the Pacemakers. Cold December in Your Heart harks back to Campbell's country-folk material, a piece of midtempo country-pop. Material like that and the similar Back in the Race, Dorsey Burnette's Hey Little One, Jerry Reed's You're Young and You'll Forget, and Bill Anderson's Bad Seed hold up better than more pop-focused numbers like My Baby's Gone, though the string backings on most of these very much date them. The final number here, the touching Love Is a Lonesome River, makes a brilliant coda.
-AllMusic1. By The Time I Get To Phoenix
2. Homeward Bound
3. Tomorrow Never Comes
4. Cold December (In Your Heart)
5. My Baby's Gone
6. Back In The Race
7. Hey Little One
8. Bad Seed
9. I'll Be Lucky Someday
10. You're Young And You'll Forget
11. Love Is A Lonesome River$24.99Vinyl LP - Sealed Buy Now
Walking The Dog (Discontinued)Import
One of the artists who defined Memphis Soul and put Stax Records on the map, Rufus Thomas is known for liking his R&B hard-edged, gritty and earthy. That approach served him impressively well on his debut album Walking The Dog.
In contrast to the sleeker, more elaborate production style favored by Motown, Rufus Thomas rejects Pop elements altogether and thrives on rawness on his hits Walking The Dog and The Dog as well as inspired versions of Land Of 1000 Dances (which became a major hit for Wilson Pickett), Lee Dorsey's Ya Ya and John Lee Hooker's Boom Boom.
The title track became his biggest hit. The song was covered by The Rolling Stones in 1964. Many other artists have covered the song, including Aerosmith, Roger Daltrey, Green Day, The Flamin' Groovies, The Sonics, The Trashmen and more.1. The Dog
2. Mashed Potatoes
4. You Said
5. Boom Boom
6. It's Aw'rite
7. Walking The Dog
8. Ya Ya
9. Land Of A 1000 Dances
10. Can Your Monkey Do The Dog
11. Cause I Love You
12. I Want To Be Loved$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Walking The DogOne of the artists who defined Memphis soul and put Stax Records on the map, Rufus Thomas is known for liking his R&B hard-edged, gritty and earthy. That approach served him impressively well on his debut album Walking the Dog. In contrast to the sleeker, more elaborate production style favored by the Northern soulsters of Motown, Thomas rejects pop elements altogether and thrives on rawness on his hits Walking the Dog and The Dog, as well as inspired versions of Land of 1000 Dances (which became a major hit for Wilson Pickett), Lee Dorsey's Ya Ya and John Lee Hooker's Boom Boom. Thomas was in his mid-40s when these fun, infectious recordings were made, and he definitely lives up to his title The World's Oldest Teenager (a title later given to Dick Clark as well).
- Alex Henderson (AllMusic)1. The Dog
2. Mashed Potatoes
4. You Said
5. Boom Boom
6. It's Aw'rite
7. Walking The Dog
8. Ya Ya
9. Land Of 1,000 Dances
10. Can You Monkey Do The Dog
11. 'Cause I Love You - By Carla & Rufus
12. I Want To Be Loved$21.99Vinyl LP - Sealed Buy Now
While You Were SleepingJosÉ James has announced a his new album, While You Were Sleeping, his fifth studio album and his second album for Blue Note Records. While You Were Sleeping is the follow-up to his widely acclaimed R&B and jazz steeped No Beginning No End, and signals a new creative direction for the versatile singer-songwriter. The album was recorded in Brooklyn, NY, and was produced by JosÉ and Brian Bender.
That creative shift is heard in the rock edge of tracks like "EveryLittleThing" and "Anywhere U Go" and is evidenced in a change in JosÉ's band which adds guitarist Brad Allen Williams to the stellar line-up of keyboardist Kris Bowers, bassist Solomon Dorsey and drummer Richard Spaven. The influence of Jimi Hendrix can be heard throughout the album as much as R&B forefathers like Al Green. Special guests on While You Were Sleeping include vocalist Becca Stevens who duets with James on her song "Dragon," as well as trumpeter Takuya Kuroda who is featured on the cover of Green's classic "Simply Beautiful" that closes the album.
This album is a synthesis of everything I love about music," says JosÉ, "from contemporary artists like Frank Ocean, James Blake, and Junip to groundbreaking artists I grew up with like Nirvana, Radiohead, and Madlib. It's also a love letter to many late nights spent in East London clubs like Plastic People and Cargo, watching new movements unfold in electronic music. I want people to feel the joy of discovery that I experience night after night onstage, reaching for something new.
NPR Music raved about No Beginning No End, proclaiming "James makes utterly contemporary music," adding that he "skirts categories with ease, fitting in with current R&B innovators like Frank Ocean or Miguel, yet maintaining a strong awareness of a lineage that stretches from Ray Charles to Marvin Gaye to Lou Rawls to Maxwell."
Pitchfork noted that "While he's always been one to try stuff out - he successfully collaborated with Flying Lotus on Blackmagic - on No Beginning No End he finds a way to make an eclectic approach feel unified and whole. With previous releases, he's earned his heroic acclaim in the tough, tried-and-trusted lanes of contemporary jazz. With No Beginning No End, he's built his own road out."1. Angel
2. U r the 1
3. While You Were Sleeping
4. Anywhere U Go
6. 4 Noble Truths
7. Dragon feat. Becca Stevens
9. Without U
12. Simply Beautiful feat. Takuya Kuroda (Al Green)$19.99Vinyl LP - 2 LPs Sealed Buy Now
Tales from the Realm of the Queen of PentaclesOne of music's most acclaimed singer/songwriters, Suzanne Vega, has crafted a stunning new collection of songs showcasing her trademark wit and poetic writing, which will be released this winter. Vega's first new studio album in seven years, 'Tales from the Realm of the Queen of Pentacles,' coming out on her own Amanuensis Productions on Feb. 18, 2014,features ten new songs each telling a story that has to do with the material world, the spirit world and how they intersect. "A lot of my older albums, especially the second one, was about being solitary," says Suzanne Vega. "This album has more of a sense of connectivity, there is a different spirit."
Vega spent the past few year writing and performing these new gems on the road, recording portions in Chicago, London, Prague, LA and New York City, and Kyserike Station, an old train station in upstate New York. The album was produced by noted guitarist/producer Gerry Leonard, David Bowie's musical director for over a decade and with whom Vega has worked since 2000, and features her longtime bass player Mike Visceglia and drummer Doug Yowell. Tracking for the album took place mostly at the Clubhouse Studios in Rhinebeck, and was mixed by Kevin Killen, who has worked with Peter Gabriel and Kate Bush.
'Tales from the Realm taps into Vega's broad range of musical tastes, intertwining Dylan/Stones-inspired guitar-driven songs such as "I Never Wear White" to lush orchestral strings and trumpet flourishes on "There is a Road" to soul-packed background vocals and Vega's masterful classic folk elements.
A longtime fan of hip hop as well, Vega samples the 50 Cent hit song "Candy Shop" for one of the more atmospheric tracks on the album, "Don't Uncork What You Can't Contain." This is Suzanne's first sampling effort - although her song "Tom's Diner" has been interpolated countless times in the hip-hop community, she has not sampled anyone else until this album.
For the first time on a studio recording, Suzanne has also assembled an illustrious group of musicians to accompany her including: Gail Ann Dorsey and Zachary Alford (David Bowie) on bass and drums for several tracks-a happy reunion as Suzanne and Zachary attended the same elementary school back in the 70's in New York City; bass player Tony Levin (Peter Gabriel) on "I Never Wear White" and "Don't Uncork What You Can't Contain;" drummer Jay Bellerose (T-Bone Burnett); acoustic "wizard" Larry Campbell (Bob Dylan) who plays banjo, mandolin, and cymbal throughout the album; Sterling Campbell (David Bowie, B52s) on drums for "Don't Uncork What You Can't Contain" and "Laying on of Hands;" Alison Balsom, the virtuoso principal trumpet for the London Chamber Orchestra who is featured on "Road Beyond This One (Horizon) for Vaclav Havel" and background vocals from powerhouse singer Catherine Russell, known for her work with David Bowie and Paul Simon, among others. Lastly, the strings were recorded in the Czech Republic with the Smikov Chamber Orchestra.1. Crack In The Wall
2. Fool's Complaint
3. I Never Wear White
4. Portrait of the Knight of Wands
5. Don't Uncork What You Can't Contain
6. Jacob and the Angel
7. Silver Bridge
8. Song Of the Stoic
9. Laying on of Hands / Stoic 2
10. Horizon (There Is A Road)$19.99Vinyl LP - Sealed Buy Now
American TunesNonesuch releases American Tunes, a new studio album by legendary New Orleans musician Allen Toussaint. Toussaint had just completed the album when he passed away in November of last year during a European tour. Recording took place at two sets of sessions with producer Joe Henry: solo piano at Toussaint's New Orleans home studio in 2013, and with the rhythm section of Jay Bellerose and David Piltch-joined by guests Bill Frisell, Charles Lloyd, Greg Leisz, Rhiannon Giddens, and Van Dyke Parks-in Los Angeles in October 2015. The album comprises solo performances of Professor Longhair tunes and band arrangements of songs by Toussaint, Duke Ellington, Fats Waller, Paul Simon, and others.
Allen Toussaint's work as composer, producer, arranger, and performer, especially in the 1960s and '70s, helped shape the sound of R&B, soul, and funk as we know it today. He collaborated memorably with artists ranging from Lee Dorsey and Ernie K. Doe to the Pointer Sisters and Labelle, from the Meters and Dr. John to the Band and Paul McCartney. The New York Times recently said, In Mr. Toussaint's long career as songwriter, arranger and producer he has honed a piano style that's supportive and allusive; a little trill or tremolo sums up all the splashy joys of New Orleans patriarchs like Professor Longhair and James Booker, and a syncopated chord under right-hand octaves summons gospel. Mr. Toussaint has the two-fisted, rippling vocabulary of the city's piano legacy, but he uses it in dapper ways.
Toussaint's children, Alison Toussaint-LeBeaux and Clarence Reginald Toussaint, who have long served as their father's managers, said of the American Tunes album, Our father approached this project with great care and understanding of the songs selected and paid true homage to Professor Longhair, his musical hero. He wanted to bring as much of the Toussaint touch as he could to these wonderful classics.
Nonesuch previously released The Bright Mississippi in 2009. Also produced by Henry, the record includes songs by jazz greats such as Sidney Bechet, Jelly Roll Morton, Django Reinhardt, Thelonious Monk, Duke Ellington, and Billy Strayhorn. The album received tremendous critical praise, with the Boston Globe saying it couldn't sound more like New Orleans. (Toussaint) revisits jazz classics and takes them for a stroll through Preservation Hall, imbuing his own funky brand of pop-song charisma. The results are coolly sophisticated, an unfussy, mostly instrumental set of slink-and-slide joints shot through with a harmonic imagination that turns even a traditional hymn into an after-hours swing Toussaint's musical soul guides all, making the classics sound like his own.
That project indirectly grew from Toussaint's contributions to Our New Orleans, the benefit album that Nonesuch released in fall 2005 to aid hurricane victims in the wake of the Katrina disaster. That collection opens with a version of Yes We Can Can, the Toussaint song the Pointer Sisters made famous, newly recorded with producer Joe Henry, and it included a solo piano piece, Tipitina and Me, co-written by Toussaint in tribute to Professor Longhair.
Joe Henry had first worked with Toussaint when he invited the pianist to join the sessions for I Believe to My Soul, a studio convocation of mature R&B stars. Henry subsequently acted as producer on Toussaint's post-Katrina collaboration with Elvis Costello, The River in Reverse. He describes the most recent sessions: I have been working with Allen Toussaint-under his spell and subject to his influence-for a full decade now. He was a quiet radical, musically-speaking, and a prince of great humility.LP 1
1. Delores' Boyfriend
2. Viper's Drag
3. Confessin' (That I Love You)
4. Mardi Gras In New Orleans
5. Lotus Blossom
6. Waltz For Debby
7. Big Chief
8. Rocks In My Bed
9. Danza, Op. 33
10. Hey Little Girl
2. Come Sunday
3. Southern Nights
4. American Tune
5. Her Mind Is Gone
6. Moon River
7. Bald Head$26.99Vinyl LP - 2 LPs Sealed Buy Now
I Don't Want To Go HomeThe album features a number of guest artists and duets. How Come You Treat Me So Bad features a duet with Lee Dorsey, while Broke Down Piece of Man features a duet with Steven Van Zandt, 'It Ain't the Meat (It's the Motion)' features a duet with Kenny 'Popeye' Pentifallo, 'You Mean So Much To Me' features a duet with Ronnie Spector. I Don't Want To Go Home (1976) is Stax - influenced R&B arranged and produced by the co-founder of the band and Springsteen confederate Steven Van Zandt which featured songs written by Van Zandt and/or Springsteen. The Van Zandt-written I Don't Want To Go Home became Southside's signature song, an evocative mixture of horn-based melodic riffs and sentimental lyrics.1. I Don't Want to Go Home
2. Got to Get You Off My Mind
3. How Come You Treat Me So Bad
4. The Fever
5. Broke Down Piece of Man
6. Sweeter Than Honey
7. Fanny Mae
8. It Ain't the Meat (It's the Motion)
9. I Choose to Sing the Blues
10. You Mean So Much to Me$21.99Vinyl LP - Sealed Buy Now
The Bright MississippiThrough his work as producer, composer, arranger and consummate session man, New Orleans native Allen Toussaint has truly earned living-legend status. He has collaborated on landmark recordings for such artists as Ernie K. Doe, Lee Dorsey, Dr. John, the Meters, the Pointer Sisters and Labelle and released acclaimed albums of his own. The 70 year-old pianist, already a Rock and Roll Hall of Fame Inductee, was the recipient, on the recent Grammy Awards telecast, of the Recording Academy's prestigious Trustee Award, honoring a lifetime in the studio, both behind the scenes and in front of the mic.
On The Bright Mississippi, his Nonesuch debut, Toussaint continues to break new ground with his first jazz-oriented set, displaying the same effortless swing and relaxed charm he brought to his classic rock and roll sides. He salutes Big Easy stars of a previous generation, the jazz greats who, in the early 20th century, built the genre from the ground up and turned the ears of the world to New Orleans. Backed by an all-star combo that sounds like a group of old friends, Toussaint reinterprets classic jazz and blues tunes popularized or written by such New Orleans greats as Louis Armstrong, Sidney Bechet, Jelly Roll Morton and Joe King Oliver, as well as pieces composed by fellow travelers Django Reinhardt, Duke Ellington and Thelonious Monk. He accedes the producers chair to trusted friend Joe Henry, who sat behind the board for Toussaint's contributions to Our New Orleans, Nonesuch Records best-selling 2005 benefit release aiding hurricane victims on the Gulf Coast. Henry also produced The River In Reverse, Toussaint's 2006 post-Katrina collaboration with Elvis Costello.
Henry assembled a decidedly non-traditional band of backing players for The Bright Mississippi, assuring a fresh take on such venerable tunes as West End Blues, St. James Infirmary, and Dear Old Southland. Joining Toussaint for four days of sessions at Manhattans Avatar Studio were guitarist Marc Ribot (Costello, Tom Waits), bassist David Piltch (k.d. lang), clarinetist Don Byron, trumpeter Nicholas Payton and drummer Jay Bellerose (Robert Plant /Alison Krauss, Sam Phillips). Nonesuch label-mates Brad Mehldau (piano) and Joshua Redman (saxophone) stopped by for one tune each.It was wonderful, says Toussaint of these convivial sessions.
Everything is live, of course. This isn't the kind of assembly line music where somebody put the wheels on here and somebody put the top on there. Everything got done at the same time, so everybody fed on each other, their personality and tonality.LP 1
1. Egyptian Fantasy
2. A Dear Old Southland
3. St. James Infirmary
4. Singin the Blues
5. Winin Boy Blues
6. West End Blues
1. Blue Drag
2. Just a Closer Walk with Thee
3. Bright Mississippi
4. Day Dream
5. Long, Long Journey
6. Solitude$29.99140 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed 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
Newport Uproar (Pure Pleasure)
The 1967 Newport Jazz Festival, fourteenth in a world-famous series, was inexplicably the first at which Lionel Hampton had ever appeared. Better late than never, the great vibist and bandleader came, played and conquered. As the crowd roars ecstatically at the end of this record, the awed but happy voice of producer George Wein is heard: »This hasn't happened since Duke « he begins, casting back in his mind to 1956 and the nearest comparable triumph.
There is nothing quite so effective as a big band at an outdoor jazz festival. So the 1967 Newport programme included those of Count Basie, Buddy Rich, Woody Herman, Don Ellis and Lionel Hampton. Lionel knew the competition he had to face, and knew that in the festival's climatic spot - the last act on the last night - his performance would be compared with those of all the others. He prepared accordingly.
Members of his Inner Circle, the octet with which he normally works, would provide the nucleus for an orchestra largely composed of alumni from his earlier bands. When the call went out to the Old Guard, the response was magnificent, as a glance at the personnel will show. Top names in the profession came back to join him, to form one of the great all-star bands of all time. A two week engagement at The Metropole in New York, immediately before the festival, served as a prolonged dress rehearsal, where the ensembles were polished and new arrangements familiarized. Enthusiasm mounted night by night in the Seventh Avenue club, among musicians and public alike, until Newport and the evening of 3rd July were reached. Then, as you will hear, the spirit was willing and the flesh far, far from weak.
All these preparations ensured a good performance, but the spark, the magic necessary to make it a great one, had to come from the leader. Everybody knows that he is a kind of rhythmic dynamo-driving, full of energy, unsparing of himself. His commitment and conviction communicate rapidly with any audience, so that it is soon won over to his side. Yet in the long, ninety minute program, errors in pacing would have been easy, forgivable, but extremely damaging. A climax reached too soon would have led to anti-climax, and a flat feeling as the crowd left the ground. As it was, Lionel's long professional experience served him superbly, so that his program rose steadily and inexorably to the all-out, emotional frenzy of Flying Home. Like a good general, he never lost his grasp on the situation. He inspired his men by personal example on the vibes, reinforced the beat on a second set of drums, and finally brought up the reserves - Alan Dawson, Milt Buckner and Illinois Jacquet - at just the right time, and in the right spot, to secure an unforgettable triumph and a tumultuous ovation.
- Lionel Hampton (vibraphone, piano, drums)
- Illinois Jacquet (tenor saxophone)
- Snooky Young, Wallace Davenport (trumpet)
- Al Grey, Benny Powell (trombone)
- Jerome Richardson, George Dorsey, Ed Pazant (reeds)
- John Spruill, Milt Buckne (piano)
- Billy Mackel (guitar)
- George Duvivier (bass)
- Steve Little (drums)
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. Turn Me Loose
2. Thai Silk
3. Tempo's Birthday
4. Greasy Greens
5. Greasy Greens (Encore)
6. Meety Benny Baily
Hey! Ba-Ba-Re-Bop/Hamp's Boogie Woogie
8. Misunderstood Blues
9. Flying Home$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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
4. Play God
7. Even More
10. Terrifying Sight
11. Deferred Gratification$24.99Vinyl LP - 2 LPs Sealed Buy Now
Working In A Coal Mine (Out of Stock)"If a smile had a sound it would be the sound of Lee Dorsey's voice. No wonder he inspired so many of
my favourite songs". A mainstay of the New Orleans music scene, Lee Dorsey's funky and infectious
sound was an essential party ingredient during the 60s and 70s. During this time he charted some ten
singles, most of which were recorded under the aegis of producer/songwriter Allen Toussaint and often
featured funk supremos The Meters.
Pressed on 180 gram vinyl, this collection includes a selection of Dorsey's biggest US singles including
'Ya Ya' (R&B No.1), 'Ride Your Pony' (R&B No.7), 'Get Out Of My Life, Woman' (R&B No.5), 'Working
In The Coalmine' (R&B No.5) and 'Holy Cow' (R&B No.10), alongside other classic tracks plus Toussaint's signature song 'Everything I Do Gonh Be Funky (From Now On)'.1. Lottie Mo
2. Ya Ya
4. Messed Around (And Fell In Love )
5. Ride Your Pony
6. Can You Hear Me?
7. Get Out Of My Life, Woman
9. Working In The Coalmine
10. Holy Cow
11. Yes, We Can - Part 1
12. Everything I Do Gohn Be Funky (From Now On)
13. Sneakin' Sally Through The Alley
14. Night People$31.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
Everything I Do Is Gohn Be Funky (Out of Stock)180g vinyl LP featuring the New Orleans legend's solo recordings plus several of his biggest hit productions for Ernie K-Doe, Lee Dorsey, The Meters and more.
This collection covers the early part of his remarkable career, beginning with his first appearances on record as a session pianist, his first solo recordings in 1958 under the name Al Tousan and ends in thelate 1960s with his productions for artists like Lee Dorsey and The Meters.
In addition this set includes the original versions of instrumentals later recorded by Al Hirt and Herb Alpert plus the original versions of songs that he wrote and/or produced that later became hits for British groups The Hollies and The Dave Clark Five. blaxploitation homage 'Jackie Brown'.1. Walkin` With Mr. Lee
3. Wham Tousan
4. Beverley Baby
5. Whipped Cream
6. Young Man, Old Man
7. Poor Boy, Got To Move
8. Omar Khayyam
10. Fortune Teller
11. I Like It Like That - Part 1
12. It Will Stand
13. Hot Tamales - Part 1
14. Nearer To You
15. Working In The Coalmine
16. Look-ka Py Py$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock