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Memphis Jug Band'
American Epic: The Best of Memphis Jug BandThe Memphis Jug Band, most active from 1926 into the 1950s, revolved around guitarist, harmonica player and singer Will Shade and featured a wide variety of instrumentation including harmonica, kazoo, fiddle, mandolin, guitar, piano, washboard and, of course, jug. They recorded more songs than any pre-war jug band and as a result, were key in developing the jug band tradition and format.
Single LP with single pocket tip-on jacket with soft touch finish.1. Stealin' Stealin'
2. On the Road Again
3. Cocaine Habit Blues
4. Lindberg Hop
5. Newport News Blues
6. K.C. Moan
7. He's In The Jailhouse Now
8. Sometimes I Think I Love You
9. Fourth Street Mess Around
10. You May Leave, But This Will Bring You Back
11. What's The Matter
12. Aunt Caroline Dyer Blues
13. Memphis Shakedown
14. Whitewash Station Blues
15.Insane Crazy Blues$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
I Ain't Gonna Drink No More - Not MuchVinyl reissue of the session recorded by music historian George Mitchell in the summer of '67 in Memphis, TN.
Corley was part of the same jug band scene that spawned Will Shade, Gus Cannon, Furry Lewis, etc.$17.99Vinyl LP - Sealed Buy Now
Richland Woman Blues (Pure Pleasure)
Best known for that ditty about camels, Maria Muldaur has since established herself as one of the finest folk/country/jazz/blues/gospel interpreters ever to have a Top Five single. After 26 years and 24 solo albums, Muldaur -- inspired by a trip to Memphis' Beale Street -- digs deep into her roots and pays tribute to the classic blues women of the '20s and '30s. Aided by the similarly inclined Bonnie Raitt, Taj Mahal, and Alvin 'Youngblood' Hart, Muldaur breezes through 14 tunes from icons Bessie Smith and Memphis Minnie, as well as obscurities from the Reverend Gary Davis, Mississippi John Hurt, and Blind Willie Johnson. Keeping the unplugged accompaniment stripped way down to a single guitar or piano and occasional bass, Muldaur has room to maneuver her evocative vocals that shift from gritty groans to a high-pitched edgy trill. Far from a dry history lesson, these songs are performed with the strength and tenacity of the women who originally sang them. Whether spinning saucy, double entendre lyrics in Me And My Chauffeur Blues (»the way you ride so easy, I can't turn you down«) or longing for her Southern home after moving north during the Depression in Bessie Smith's Far Away Blues, the singer remains invigorated and inspired throughout. By returning to her late-'60s Jim Kweskin Jug Band coffeehouse days, Maria Muldaur has discovered her middle-aged oasis with Richland Woman Blues. And there's not a camel in sight.
- Maria Muldaur (vocal)
- Alvin Youngblood Hart (guitar, vocal)
- Bonnie Raitt, John Sebastian (guitar)
- David Wilkie (mandocello)
- Dave Mathews (piano)
- Roly Salley (bass)
- Angela Strehli, Tracy Nelson (vocal)
Recording: 2001 by John Jacob
Production: John Jacob & Maria Muldaur
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. The One To Sing The Blues
2. I'm So Bad (Baby I Don't Care)
3. No Voices In The Sky
4. Going To Brazil
6. Love Me Forever
7. Angel City
8. Make My Day
10. Shut You Down
11. 1916$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now