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Janis Joplin Greatest Hits'
Janis Joplin's Greatest HitsMore than Cheap Thrills or even Pearl, Greatest Hits has helped keep Janis Joplin's short-lived recording career alive for listeners who came along after her 1970 death. Me and Bobby McGee is the biggest draw, of course--it was a posthumous No. 1 single--but the rest is equally exciting. Finally, the cover photo of Janis smiling in a sunny park is as poignant a shot of her as exists. --Rickey Wright1. Piece Of My Heart (Big Brother & The holding Company-Janis Joplin)
2. Summertime (Big Brother & The Holding Company-Janis Joplin)
3. Try (Just A Little Harder)
4. Cry Baby
5. Me and Bobby McGee
6. Down On Me (Live)
7. Get It While You Can
8. Bye, Bye Baby (Big Brother & The Holding Company-Janis Joplin)
9. Move Over
10. Ball and Chain (Live)$19.99Vinyl LP - Sealed Buy Now
1971's Pearl Showcases Janis Joplin at Her Peak: Chart-Topping Record Includes Hits Me and Bobby McGee, Mercedes Benz, and Get It While You Can
Mastered From the Original Master Tapes: Mobile Fidelity 45RPM Pressing is Definitive-Sounding Analog Version of Masterpiece Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time
Joplin Displays Balance of Impeccable Timing, Devastating Vulnerability, and Raw Emotion: Full Tilt Boogie Band, Producer Paul Rothchild Complete Album Steeped in Soul and Loaded With Spirit
Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work. Mobile Fidelity's 180g 45RPM 2LP presents the lasting artwork like never before.
Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's analog reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than authentic, and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.
While Joplin's electrifying vocal prowess is universally lauded - she's recognized as the greatest white female blues singer the world has ever seen - her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain - the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's Cry Baby, underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment - yet Joplin also reveals a sense of humor and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.
Playfully introduced as a song of great social and political import, the acapella Mercedes Benz reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's Me and Bobby McGee signals a laidback demeanor and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as A Woman Left Lonely offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.
Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band - the only group she ever considered to be her own - as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labors fill Pearl, be it the guardedly optimistic Get It While You Can or assertive, fleet-footed Move Over.
Experienced in the new light brought to fore by this definitive Mobile Fidelity analog edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.
This title is not eligible for discount.1. Move Over
2. Cry Baby
3. A Woman Left Lonely
4. Half Moon
5. Buried Alive In The Blues
6. My Baby
7. Me And Bobby McGee
8. Mercedes Benz
9. Trust Me
10. Get It While You Can$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
The Okeh Sessions (Pure Pleasure)Her mountainous stature matching the sheer soulful power of her massive vocal talent, Big Maybelle was one of the premier R&B chanteuses of the '50s. Her deep, gravelly voice was as singular as her recorded output for Okeh and Savoy, which ranged from down-in-the-alley blues to pop-slanted ballads. She appeared at the Newport Jazz Festival in 1958, and acquired a large following among lovers of the blues, rhythm and blues, jazz and rock and roll. Near the end of her life she even covered hits by the Beatles and Donovan. Big Maybelle's career was hampered throughout and cut short by a severe drug addiction, but she packed a lot of living into her shortened lifespan. It's worth mentioning how, almost half a century later, the power in her Okeh sessions is still palpable. With her bold, gritty sound, she comes off like nothing so much as a female Howlin' Wolf, and one can't imagine her not being an influence on the full-throttle blues of Etta James, Aretha, Janis Joplin and countless others. So Good to My Baby features typically microphone-distorting belting from the singer, and an appropriately blazing horn section. Gabbin' Blues, her 1952 Okeh debut smash, is a humorous dialogue between Maybelle and gossiping rival Rose Marie McCoy, the tune's co-writer. One of the most stirring cuts here is Ocean Of Tears, a percolating, minor-key tune in which Maybelle bemoans her sorrowful state with an unforgettably cathartic angst. Also impressive, though, are ballads such as You'll Never Know, Ain't No Use, and You'll Be Sorry, which show a pleasant, softer side to Maybelle's craft. Whole Lotta Shakin' Goin' On - a song that she took to the top of the R&B charts before Jerry Lee Lewis turned it into a rock & roll anthem -, her 1955 single One Monkey Don't Stop No Show and 1954's I'm Getting 'Long Alright, are also standouts. New York session wizards such as tenor saxophonist Sam 'The Man' Taylor and guitarist Mickey Baker provide great support throughout. The tracks contained on this album showcase one of the greatest blues singers of all time, at her prime.
Recording: October 1952, June 1953, January and March 1954, March 1955
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.LP1
1. Just Want Your Love
2. So Good To My Baby
3. Gabbin' Blues
4. My Country Man
5. Rain Down Rain
6. Way Back Home
7. Stay Away From My Sam
8. Jinny Mule
9. Maybelle's Blues
10. I've Got A Feeling
11. You'll Never Know
1. No More Trouble Out of Me
2. My Big Mistake
3. Ain't No Use
4. I'm Gettin' 'Long Alright
5. You'll Be Sorry
6. Hair Dressin' Women
7. One Monkey Don't Stop No Show
8. Don't Leave Poor Me
9. Ain't To Be Played With
10. New Kind of Mambo
11. Whole Lotta Shakin' Goin' On$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now