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  • Inspiration A Tribute To Nat King Cole Inspiration A Tribute To Nat King Cole Quick View

    $21.99
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    Inspiration A Tribute To Nat King Cole

    After four years of touring and developing An Unforgettable Tribute to Nat King Cole, the legendary George Benson makes his most inspired album: Inspiration: A Tribute to Nat King Cole. The recording is one of the most meaningful of Benson's career and is a testament to the spirit of Cole's timeless body of work. Benson's heartfelt renditions of some of Cole's greatest songs with Nelson Riddle arrangements and the 42-piece Henry Mancini Institute Orchestra are complemented by duets with Tony Award winner Idina Menzel and rising star Judith Hill, along with a special collaboration with multi-GRAMMY and Pulitzer Prize-winning trumpeter Wynton Marsalis.
    1. Just One of Those Things
    2. Unforgettable
    3. Walkin' My Baby Back Home
    4. When I Fall In Love
    5. Route 66
    6. Nature Boy
    7. Ballerina
    8. Smile Straighten Up and Fly Right
    9. Too Young
    10. I'm Gonna Sit Right Down And Write Myself A Letter
    11. Mona Lisa
    George Benson
    $21.99
    Vinyl LP - Sealed Buy Now
  • Give Me The Night Give Me The Night Quick View

    $34.99
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    Give Me The Night

    Import

    Give Me The Night is the 1980 album by ten-time Grammy Award-winning American musician and singer-songwriter George Benson.


    Produced by Quincy Jones and originally released on Jones' start-up label Qwest Records, the album charted number one on both the Top Soul Albums and Jazz Albums Chart as well as number three on the Billboard Pop Albums charts. The album includes the number one single on the Soul Singles chart, Give Me the Night and the song Moody´s Mood, which was recorded with R&B singer Patti Austin. The album was certified Platinum by the RIAA.


    The album won Benson three Grammy Awards in 1981; Best Male R&B Vocal Performance, while Moody's Mood received Best Jazz Vocal Performance, Male and Off Broadway received Best R&B Instrumental Performance. Quincy Jones and Jerry Hey also won the Grammy Award for Best Instrumental Arrangement for the song Dinorah, Dinorah.

    1. Love X Love
    2. Off Broadway
    3. Moody's Mood
    4. Give Me The Night
    5. What's On Your Mind
    6. Dinorah, Dinorah
    7. Love Dance
    8. Star Of A Story (x)
    9. Midnight Love Affair
    10. Turn Out The Lamplight
    George Benson
    $34.99
    180 Gram Audiophile Vinyl LP - Sealed Buy Now
  • Body Talk (Speakers Corner) Body Talk (Speakers Corner) Quick View

    $34.99
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    Body Talk (Speakers Corner)

    Just listen to the first thirty seconds of this LP and you know that it's all about the 'Godfather of Soul' - the unique James Brown.



    But it's just as obvious that such a great artist as George Benson doesn't just present "Greatest Hits" in a new guise. Six of his own compositions plus one by Donny Hathaway/Gene McDaniels provide the guitarist and singer with a great platform to launch from. He shoots off into orbit, accompanied by first-class guest soloists such as Jon Faddis, Frank Foster, Earl Klugh and Jack DeJohnnette. Ron Carter's bass doesn't boom in the low register but offers a light and airy, yet solid, base.



    Body Talk is by no means the declaration of a world-shaking, new and avant-garde jazz. It is, however, a successful blend of jazz, soul and fusion. And when such a superb arranger as Pee Wee Ellis has his finger in the pie - or rather: his pen on the manuscript paper - then one can be sure that the almost 50-minute-long LP is a great success from beginning to end. Finally, one shouldn't forget the helping hand of the producer Creed Taylor, who made a significant contribution to this milestone on the CTI label.



    Musicians:



    • George Benson (guitar, vocal)

    • Frank Foster (tenor saxophone)

    • Gerald Chamberlain, Dick Griffin (trombone)

    • Jon Faddis, John Gatchell, Waymon Reed (fluegel horn, trumpet)

    • Harold Mabern (electric piano)

    • Earl Klugh (guitar)

    • Ron Carter, Gary King (bass)

    • Jack DeJohnette (drums)

    • Mobutu (percussion)



    Recording: July 1973 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    About Speakers Corner



    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, Speakers Corner 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 existant 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 emphasise that Speakers Corner 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 have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    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 - excluding the exception above - and that the lacquer discs are newly cut.

    1. Dance
    2. When Love Has Grown
    3. Plum
    4. Body Talk
    5. Top Of The World
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Loves Disney 2 - A Kind Of Magic Jazz Loves Disney 2 - A Kind Of Magic Quick View

    $25.99
    Buy Now
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    Jazz Loves Disney 2 - A Kind Of Magic

    The follow-up to last years Jazz Loves Disney, volume two features a collection of jazz and world artists taking on classic Disney songs. Produced by Jay Newland, arranged and directed by Rob Mousey, Jazz loves Disney 2 A Kind of Magic features jazz icons George Benson, Madeleine Peyroux, Laura Mvula, Jamie Cullum and more, performing songs like Be Our Guest, Under The Sea, Beauty & The Beast, and other Disney greats.
    1. Tale As Old As Time (Bebel Gilberto)
    2. Someday My Prince Will Come (Imany)
    3. Be Our Guest (Jamie Cullum & Eric Cantona)
    4. Under The Sea (Jacob Collier)
    5. Try Everything (Angelique Kidjo)
    6. Steamboat Willie (The Amazing Keystone Big Band)
    7. J'ai vu voler un ÉlÉphant (Thomas Dutronc)
    8. So This Is Love (Selah Sue)
    9. The Golden Touch (Madeleine Peyroux)
    10. You'll Be In My Heart (George Benson)
    11. Stay Awake (Laura Mvula)
    Various Artists
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • In Flight (Pure Pleasure) In Flight (Pure Pleasure) Quick View

    $34.99
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    In Flight (Pure Pleasure)

    Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format.


    Yet Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proven more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole - a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace - but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts.


    In the wake of This Masquerade, the balance of power shifted for the first time toward George Benson's suddenly marketable voice; four of the six tracks on In Flight are vocals. By this time, Benson was tailoring his tenor toward soulful pitch-bending à la Stevie Wonder on tunes as diverse as Nature Boy and The World Is a Ghetto, and the unison scatting with the guitar that caught fire with the public on Masquerade is now pulled out whenever possible. Benson's backing band from Breezin', still set in its funk mode, is intact, and Claus Ogerman again contributes gentle orchestral cushions. The two instrumentals, particularly Donny Hathaway's Valdez in the Country, prove that Benson remained a brilliantly inventive melodist on guitar, in full possession of his powers. Yet there is every indication here that Benson was set upon becoming primarily a pop star.


    - Richard S. Ginell (AllMusic)

    Musicians:



    • George Benson (vocal, guitar)

    • Jorge Dalto (clavinet, piano)

    • Ronnie Foster (electric piano, synthesizer)

    • Phil Upchruch (guitar, bass)

    • Stanley Banks(bass)

    • Harvey Mason (drums)

    • Ralph MacDonald (percussion)



    Recording: 1977 at Capitol Studios, Hollywood, by Al Schmitt

    Production: Tommy Lipuma



    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. Nature Boy
    2. The Wind And I
    3. The World Is A Ghetto
    4. Gonna Love You More
    5. Valdez In The Country
    6. Everything Must Change
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Straight Life (Pure Pleasure) Straight Life (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Straight Life (Pure Pleasure)

    Recorded between trumpeter Freddie Hubbard's better-known classics Red Clay and First Light, Straight Life is actually arguably Hubbard's greatest recording. Hubbard, joined by an all-star group that includes tenor saxophonist Joe Henderson, keyboardist Herbie Hancock, guitarist George Benson, bassist Ron Carter, and drummer Jack DeJohnette, is frequently astounding on Straight Life (check out that introduction) and Mr. Clean, constructing classic solos. The very memorable set is rounded off by the trumpeter's duet with Benson on a lyrical version of the ballad Here's That Rainy Day. This exciting album is essential for all serious jazz collections.



    Musicians:



    • Freddie Hubbard (trumpet, fluegel horn)

    • Joe Henderson (tenor saxophone)

    • Herbie Hancock (piano)

    • George Benson (guitar)

    • Ron Carter (bass)

    • Jack DeJohnette (drums)

    • Richard Pablo Landrum (percussion)

    • Weldon Irvine (tambourine)



    Recording: November 1970 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    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. Straight Life
    2. Mr. Clean
    3. Here's That Rainy Day
    Freddie Hubbard
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Miles In The Sky Miles In The Sky Quick View

    $49.99
    Buy Now
    x

    Miles In The Sky

    Numbered, Limited Edition


    1968 Record Marks First Time Davis Uses Electric Piano, Bass, and Guitar: Second Half is Acoustic


    Mastered from the Original Master Tapes: Seminal Proto-Fusion Effort Explodes With Color and Vibrancy


    Final Effort With Davis' Classic Second Quintet Finds the Leader Looking to the Past and the Future


    Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort. Laden with rich textures and style-bridging elements, Mobile Fidelity's 45RPM pressing brings the aural magic into focus.


    Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Miles in the Sky joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Afforded the benefits provided by the record's wider grooves, Davis' burnished trumpet resounds with utmost clarity, and the soundstage seems to extend for days. Reference-caliber separation and imaging give each musician their own space, allowing every passage to come across without any sonic limitations.


    The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on Paraphernalia, blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.


    Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a transitional work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging Stuff and frisky Paraphernalia glancing toward the future while keeping solid footing in the past.


    Similarly, so do Country Boy and Black Comedy. In his original review for jazz authority DownBeat, Larry Kart observes: Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Boy' recalls a fragment from his Summertime solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight ahead solo here, the orderly pattern of the past is displaced and fragmented.


    Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.


    This title is not eligible for discount.

    1. Stuff
    2. Paraphernalia
    3. Black Comedy
    4. Country Son
    Miles Davis
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Beyond The Blue Horizon: George Benson (Speakers Corner) Beyond The Blue Horizon: George Benson (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Beyond The Blue Horizon: George Benson (Speakers Corner)

    George Benson was the pupil, Wes Montgomery his teacher! And the sound of the great maestro, who played without the use of a plectrum, is quite unmistakable in this recording produced by CTI Records with George Benson in 1971. Producer Creed Taylor showed good judgement when he teamed Benson up with a small yet supremely talented group of musicians: Jack De Johnette on the drums takes Ron Carter's bass and Clarence Palmer's organ on a superb ride. Carter and Benson had met one another briefly during a Miles Davis recording session, but there the drummer was Tony Williams. Here, with Jack DeJohnette participating, the numbers on this LP gain real soul. But the lyrical side doesn't come too short either: Ode To A Kudu demonstrates this particular attribute of Benson's to perfection. And Somewhere To The East proves that he isn't afraid to experiment. All in all, this is a top album from George Benson's long and commercially successful career.



    Musicians:



    • George Benson (guitar)

    • Clarence Palmer (organ)

    • Ron Carter (bass)

    • Jack DeJohnette (drums)

    • Michael Cameron, Albert Nicholson (percussion)



    Recording: February 1971 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    About Speakers Corner



    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, Speakers Corner 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 existant 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 emphasise that Speakers Corner 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 have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    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 - excluding the exception above - and that the lacquer discs are newly cut.



    1. So What
    2. The Gentle Rain
    3. All Clear
    4. Ode To a Kudu
    5. Somewhere In the East
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The New Boss Guitar The New Boss Guitar Quick View

    $21.99
    Buy Now
    x

    The New Boss Guitar


    Special Vinyl Reissue


    George Benson was only 21 when, on May 1, 1964, he recorded his first album as a leader, The New Boss Guitar of George Benson. At that point, the
    guitarist had yet to become a huge name in jazz, although many of those who knew Benson agreed that he showed great potential. This is an impressive
    debut. The guitarist had developed a distinctive, recognizable sound on his instrument, and he plays with both feeling and technique on five Benson
    originals (including the sly Shadow Dancers, the exuberant Rock-A-Bye, and the earthy blues I Don't Know) as well as interpretations of Easy Living
    and Will You Still Be Mine. This album is historically important as well as rewarding.


    George Benson is the legendary guitarist, singer/songwriter who is the recipient of 10 Grammy Awards!


    This is a 'MUST-HAVE' for all George Benson Fans, as well as a pivotal addition to any vinyl collection given its historical importance as one of Benson's
    first significant recordings.

    1. Shadow Dancers
    2. The Sweet Alice Blues
    3. I Don't Know
    4. Just Another Sunday
    5. Will You Still Be Mine?
    6. Easy Living
    7. Rock-A-Bye
    8. My Three Sons
    George Benson & The Brother Jack McDuff Quartet
    $21.99
    Vinyl LP - Sealed Buy Now
  • Language Of Life Language Of Life Quick View

    $34.99
    Buy Now
    x

    Language Of Life

    Import

    The Language of Life is the fifth album by English electronic duo Everything but the Girl, released in 1990.


    Tommy LiPuma had previously worked with artists like Miles Davis, Horace Silver, Randy Newman, and George Benson and had contributed production to Aztec Camera's Love album in 1987. He had expressed an interest in producing Everything but the Girl and invited Tracey Thorn and Ben Watt to New York and LA.


    Song arrangements were written by Larry Williams and Jerry Hey. The band LiPuma put together included Omar Hakim on drums, John Patitucci on bass and Larry Williams on keyboards. Ben Watt played guitar and piano, as well as doing some singing. Tracey Thorn sang only. LiPuma produced, in Thorn's words, a fully realised, immaculately performed and produced modern American Soul-Pop record.

    1. Driving
    2. Get Back Together

    3. Meet Me In The Morning
    4. Me And Bobby D

    5. The Language Of Life

    6. Take Me

    7. Imagining America

    8. Letting Love Go
    9. My Baby Don't Love Me
    10. The Road
    Everything But The Girl
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Straight Life Straight Life Quick View

    $29.99
    Buy Now
    x

    Straight Life

    Limited Edition of 1,000 Copies


    Pressed on 180 Gram Audiophile-Grade Vinyl at Pallas Group in Germany


    Mastered from Original Analog Tapes By Grammy Award Winner Bernie Grundman


    Features Joe Henderson, Herbie Hancock, George Benson, Ron Carter, and Jack DeJohnette


    Straight Life, arguably trumpeter Freddie Hubbard's greatest recording, features an all-star group that includes tenor saxophonist Joe Henderson, keyboardist Herbie Hancock, guitarist George Benson, bassist Ron Carter, and drummer Jack DeJohnette. Recorded in 1970 between Hubbard's better-known CTI releases, Red Clay and First Light, the album was also engineered by Rudy Van Gelder and produced by Creed Taylor. This 180gram audiophile-grade vinyl reissue, which was mastered from original tapes by Bernie Grundman and pressed at Pallas in Germany, shines new light on this amazing, underrated recording.

    1. Straight Life
    2. Mr. Clean
    3. Here's That Rainy Day
    Freddie Hubbard
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • All That Jazz (Original Motion Picture Soundtrack) All That Jazz (Original Motion Picture Soundtrack) Quick View

    $39.99
    Buy Now
    x

    All That Jazz (Original Motion Picture Soundtrack)

    Import


    180-Gram Audiophile Vinyl


    PVC Protective Sleeve


    Music Arranged By Ralph Burns


    Featuring On Broadway By George Benson


    Limited Edition Of 1000 Individually Numbered Copies On Silver Vinyl


    All That Jazz is the 1979 movie, directed by choreographer Bob Fosse, in which he tells his semi-autobiographical life story as the womanizing, drug-using dancer. The music arranged by Ralph Burns won an Academy Award for Best Music and it features On Broadway by George Benson which won a Grammy Award for Best Male R&B Vocal Performance in 1979.


    The movie stars Roy Scheider as Joe Gideon, the choreographer and dancer attempting to put on a new Broadway show while simultaneously directing a feature film about a stand-up comedian. Using drugs, chain-smoking, sleeping with his dancers leads to an open-heart surgery and he becomes aware of his mortality.

    1. Main Title (Instrumental)
    2. On Broadway - George Benson
    3. Michelle (Instrumental)
    4. Take Off With Us - Sandahl Bergman & Chorus
    5. Vivaldi, Concert In G (Instrumental)
    6. Ponte Vecchio (Instrumental)
    7. Everything Old Is New Again - Peter Allen
    8. South Mt. Sinai Parade
    9. After You've Gone - Leland Palmer
    10. There'll Be Some Changes Made - Ann Reinking
    11. Who's Sorry Now - Chorus
    12. Some Of These Days - Erzsebet Foldi
    13. Going Home Now (Instrumental)
    14. Bye Bye Love - Ben Vereen & Roy Scheider
    Various Artists
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • First Light First Light Quick View

    $29.99
    Buy Now
    x

    First Light


    Numbered, Limited Edition of 2,000 Copies


    Pressed on 180 Gram Audiophile-Grade Vinyl at Pallas Group in Germany


    Mastered from Original Analog Tapes by Bernie Grundman


    Features Herbie Hancock on Rhodes


    Freddie Hubbard entered Creed Taylor's studio for the
    third time in 1971 with the express purpose of making
    a record radically different from anything he'd cut
    before; he was looking for it to use electricity and to be
    out of the soul-jazz mold, but was also more ambitious
    and wanted to push that envelope and himself. Taylor
    and Hubbard assembled a band that included Herbie
    Hancock , Eric Gale, George Benson, Ron Carter,
    Jack DeJohnette, Airto Moreira, and Richard Wyands.
    The album is part of a loose trilogy including his two
    previous records, Red Clay and Straight Life. Now
    available in its essential form, First Light was mastered
    from original analog tapes and pressed on 180gram
    audiophile-grade vinyl at Pallas.

    1. First Light
    2. Uncle Albert/Admiral Halsey

    3. Moment to Moment
    4. Yesterday's Dreams
    5. Lonely Town
    Freddie Hubbard
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Macroscope Macroscope Quick View

    $19.99
    Buy Now
    x

    Macroscope

    MACROSCOPE, the fifth album and Mack Avenue
    debut by his adventurous trio The Nels Cline Singers,
    provides a measure of the long-running group's
    staggering range. Captivating and continually
    surprising, the album finds the instrumental
    trio with the slyly deceptive name veering
    in one off-kilter direction only to suddenly be
    overwhelmed by another drastic stylistic shift,
    often within the space of a single tune.
    Serrated psychedelia becomes consumed
    by soulful Brasiliana, blissed-out electronica
    overwhelmed by garage-rock skronk. Then
    there's the wholly unexpected "Red Before
    Orange," where a howling Hendrix-inspired solo
    suddenly erupts in the middle of a slick lounge-jazz
    number, Cline unleashing the inner George
    Benson that few of us expected he even had.


    "The title MACROSCOPE speaks to the idea of
    the mutt within," Cline says, "the fact that I'm
    not in any one genre, and never have been.
    I was a rock and roll kid, but after hearing
    Coltrane and Miles and Weather Report, then
    Indian music and Nigerian pop and that sort
    of thing, there was no turning back. From that
    point on, the idea of purism just was not possible.


    Produced by Nels Cline and David Breskin


    Nels Cline - guitars, effects, voice, Quintronics Drum Buddy

    Scott Amendola - drums, percussion, electronic treatments/loops, mbira

    Trevor Dunn - basses, effects


    Additional musician guests:

    Yuka C. Honda - electric piano, OP-1

    Cyro Baptista - percussion universe

    Josh Jones - congas, other percussion

    Zeena Parkins - electric harp

    1. Companion Piece
    2. Canales' Cabeza
    3. Respira
    4. Red Before Orange
    5. The Wedding Band
    6. Macroscopic (for Kusama-san)
    7. Climb Down
    8. Seven Zed Heaven
    9. Hairy Mother
    10. Sascha's Book Of Frogs
    The Nels Cline Singers
    $19.99
    Vinyl LP - Sealed Buy Now
  • Carney (200 Gram Vinyl) Carney (200 Gram Vinyl) Quick View

    $34.99
    Buy Now
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    Carney (200 Gram Vinyl)

    Hit Maker And Musician's Musician Struck Chart Gold With 1972 Album Carney


    Analogue Productions Reissue On 200-Gram Vinyl


    Mastered By Kevin Gray At Cohearent Audio From The Original Master Tapes


    Plated And Pressed At Quality Record Pressings


    Heavyweight Tip-On Old-Style Jacket From Stoughton Printing


    With his trademark top hat, hair well past his shoulders, a long, lush beard, an Oklahoma drawl and his fingers splashing two-fisted barrelhouse piano chords, future Rock and Roll Hall of Fame inductee Leon Russell cut a flamboyant figure in the early 1970s. He recorded his first hit single Tight Rope with the release of his third, and most successful album Carney, in 1972, which peaked at No. 2 on the Billboard Hot 200.


    Two years earlier Russell had already played on hundreds of songs as one of the top studio musicians in Los Angeles. The Oklahoma-born pianist, guitarist, songwriter and bandleader led Joe Cocker's band Mad Dogs & Englishmen, appeared at George Harrison's 1971 Concert for Bangladesh in New York City and composed numerous hits of his own. He was in Phil Spector's Wall of Sound Orchestra and played sessions for Frank Sinatra, Sam Cooke, Aretha Franklin, the Ventures and the Monkees, among many others.


    But it was the top-rated Carney, reissued here on an audibly exquisite 200-gram LP from Analogue Productions, that put Carney into the league of extraordinary musicians. Soulful roots-rock yields to dizzying psychedelia on this, Russell's most famous album. His all-time biggest hit, Tight Rope, leads to Out in the Woods, Cajun Love Song, This Masquerade, and more! No link in the reissue chain was sacrificed, making this outstanding reissue a true audiophile masterpiece. Kevin Gray at Cohearent Audio remastered the album from the original master tapes; plating and pressing took place at Quality Record Pressings, makers of the world's finest-sounding LPs. Lastly, as benefits a stellar reissue, we packaged our version in a heavyweight old-style tip-on jacket from Stoughton Printing.


    Russell wrote scores of hits for others, among them Superstar, (written with Bonnie Bramlett) for the Carpenters, Delta Lady for Joe Cocker and This Masquerade, for George Benson. His own version of This Masquerade is featured on Carney. More than 100 acts recorded A Song for You, which Russell said he wrote in 10 minutes. Ray Charles' recording of the song in 1993 received a Grammy Award.


    Sadly, Russell's life as a musical muse and performer ended with his death at 74 on Nov. 13, 2016, at his home in Nashville. He will be forever remembered for making a broad, sophisticated palette of American music sound down-home and natural.


    This title is not eligible for discount.

    1. Tight Rope
    2. Out in the Woods
    3. Me and Baby Jane
    4. Manhattan Island Serenade
    5. Cajun Love Song
    6. Roller Derby
    7. Carney
    8. Acid Annapolis
    9. If the Shoe Fits
    10. My Cricket
    11. This Masquerade
    12. Magic Mirror
    Leon Russell
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • First Light (Pure Pleasure) First Light (Pure Pleasure) Quick View

    $34.99
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    x

    First Light (Pure Pleasure)

    Freddie Hubbard was one of the most prolific jazz trumpeters in the business. He played a hot and sassy horn! When he was teamed up with George Benson, Jack DeJohnette and Ron Carter (just to name a few) on this one of many Creed Taylor-produced collaborations, he most deservedly won the Grammy!


    The opening title song First Light has an ethereal beginning with a diverse arrangement. An unusual arrangement of Paul McCartney's Uncle Albert/Admiral Halsey is most satisfying. Henry Mancini's Moment To Moment has a hauntingly sweet sound. Lonely Town is darkly complex.


    There are many sides and moods to each of the songs within this original work. With stylish jazzy rhythms and rich orchestrations, this is THE Freddie Hubbard album to have!


    Musicians:


    • Freddie Hubbard (trumpet, flugelhorn)
    • Richard Wyands (piano)
    • Hubert Laws (flute)
    • Ron Carter (bass)
    • Phil Kraus (vibraphone)
    • Jack DeJohnette (drums)
    • Airto Moreira (percussion) and strings



    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. First Light
    2. Uncle Albert/Admiral Halsey
    3. Moment to Moment
    4. Yesterday's Dreams
    5. Lonely Town
    Freddie Hubbard
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Show Must Go On (Pure Pleasure) The Show Must Go On (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Show Must Go On (Pure Pleasure)

    The best R&B songwriter and soul singer that most people have never heard of, Sam Dees has written songs for countless artists, including Gladys Knight, Aretha Franklin, Whitney Houston, George Benson, the Temptations, Teddy Pendergrass, Millie Jackson, Jackie Wilson, the Manhattans, Regina Belle, KC & the Sunshine Band, Willie Clayton, and many others. He's also a pretty fine singer, having recorded for the Chess, Atlantic, Polydor, and SSS labels, and he had a nice string of his own hits in the 1970s.


    His 1975 Atlantic album The Show Must Go On has long been regarded by Southern soul aficionados as one of the best of the genre. Sounding a bit like a deeper-voiced Curtis Mayfield (in both style and theme), Dees sings with assurance, wisdom, passion, and a whole lot of soul here. Songs like Child of the Streets, Troubled Child, & What's It Gonna Be, share Mayfield's commitment to social commentary, and Dees knows his way around a love song, too. It's absolutely essential.
    Steve Leggett/AMG


    Musicians:


    • Sam Dees (vocals, keyboards)
    • Glen Woods (guitar)
    • David Camon (bass)
    • Sherman 'Fats' Carson (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. Child Of The Streets
    2. The Show Must Go On
    3. Come Back Strong
    4. Just Out Of My Reach
    5. Claim Jumpin'
    6. Troubled Child
    7. What's It Gonna Be
    8. Worn Out Broken Heart
    9. Good Guys
    10. So Tied Up
    Sam Dees
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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