Pro-ject Authorized & Certified VPI Dealer

A World of Vinyl

(877) 929-8729
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
15% Off Vinyl - LP15
Home > Products for: '

Mothers Of Invention

'
  • 1
  • 2
Results per page:
  • We're Only In It For The Money We're Only In It For The Money Quick View

    $24.99
    Buy Now
    x

    We're Only In It For The Money

    Ranked 297/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time


    We're Only In It For The Money is one of the most essential rock albums of all time. With its scathing messages, use of parody, Musique Concrète & Dadaist tendencies, there truly is nothing like it. Rolling Stone ranks it among its 500 Greatest Albums Of All Time. The restored original 1968 mix is pressed on 180g vinyl.


    1. Are You Hung Up
    2. Who Needs The Peace Corps
    3. Concentration Moon
    4. Mom & Dad
    5. Bow Tie Daddy
    6. Harry, You're A Beast
    7. What's The Ugliest Part Of Your Body?
    8. Absolutely Free
    9. Flower Punk
    10. Hot Poop
    11. Nasal Retentive Caliope Music
    12. Let's Make The Water Turn Black
    13. The Idiot Bastard Son
    14. Lonely Little Girl
    15. Take Your Clothes Off When You Dance
    16. What's The Ugliest Part Of Your Body? (Reprise)
    17. Mother People
    18. The Chrome Plated Megaphone Of Destiny
    Frank Zappa & The Mothers Of Invention
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Freak Out! Freak Out! Quick View

    $34.99
    Buy Now
    x

    Freak Out!

    180 Gram Vinyl Double LP!


    Mastered by Chris Bellman at Bernie Grundman Mastering!


    Ranked 246/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Freak Out! is the debut album by American band The Mothers of Invention, released June 27, 1966 on Verve Records. Often cited as one of rock music's first concept albums, the album is a satirical expression of frontman Frank Zappa's perception of American pop culture. It was also one of the earliest double albums in rock music (although Bob Dylan's Blonde on Blonde preceded it by a week), and the first 2-record debut.


    Mothers Of Invention changed from an R&B covers band to performing Zappa's original material when he joined the group. Freak Out! contains a range of musical styles from R&B, doo wop, and blues-influenced rock to orchestral arrangements and avant-garde sounds.

    LP 1
    1. Hungry Freaks, Daddy
    2. I Ain't Got No Heart
    3. Who Are the Brain Police?
    4. Go Cry On Somebody Else's Shoulder
    5. Motherly Love
    6. How Could I Be Such A Fool?
    7. Wowie Zowie
    8. you Didn't Try To Call Me
    9. Any Way the Wind Blows
    10. I'm Not Satisfied
    11. You're Probably Wondering Why I'm Here


    LP 2
    1. Trouble Every Day
    2. Help, I'm A Rock (Suite in Three Movements)
    I. Okay To Tap Dance
    II. In Memoriam, Edgar Varese
    III. It Can't Happen Here
    3. The Return Of the Son of Monster Magnet (Unfinished ballet in Two Tableaux)
    I. Ritual Dance of the Child Killers
    II. Nullis Pretii (No Commercial Potential)

    Frank Zappa
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Uncle Meat Uncle Meat Quick View

    $34.99
    Buy Now
    x

    Uncle Meat

    The soundtrack for a film that remained incomplete for over a decade, Uncle Meat is one of the finest albums produced by Zappa and the original Mothers of Invention. Showcasing every facet of the band, Uncle Meat is filled with quirky Zappa instrumentals like the title track and the Dog Breath Variations, rock staples like Cruisin' For Burgers and Mr. Green Genes, and an epic suite of instrumental fervor centered around the jazz-rock forerunner, King Kong.- Andrew Boscardin
    1. Uncle Meat
    2. The Voices Of Cheese
    3. Nine Types Of Industrial Pollution
    4. Zolar Czakl
    5. Dog Breath, In The Year Of The Plague
    6. The Legend Of The Golden Arches
    7. Louie Louie
    8. The Dog Breath Variations
    9. Sleeping In A Jar
    10. Our Bizarre Relationship
    11. The Uncle Meat Variations
    12. Electric Aunt Jemima
    13. Prelude To King Kong
    14. God Bless America
    15. A Pound For A Brown On The Bus
    16. Ian Underwood Whips It Out
    17. Mr. Green Genes
    18. We Can Shoot You
    19. If We'd All Been Living In California...
    20. The Air
    21. Project X
    22. Cruising For Burgers
    23. Tengo Na Minchia Tanta
    24. King Kong Itself
    25. King Kong II
    26. King Kong III
    27. King Kong IV
    28. King Kong V
    29. King Kong VI
    Frank Zappa
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Sailin' Shoes Sailin' Shoes Quick View

    $34.99
    Buy Now
    x

    Sailin' Shoes

    Released in 1972, Little Feat's groundbreaking sophomore album, Sailin Shoes displayed an extraordinary growth in the band from their critically praised 1971 self-titled debut. Sailin' Shoes was the final recording made by the original quartet and it features a stellar set of songs from Lowell George (Mothers Of Invention) that included Willin, Cold, Cold, Cold, Tripe Face Boogie, Apolitical Blues and Teenage Nervous Breakdown among others. Now avaiable on Mobile Fidelity Numbered Limited Edition 180g Vinyl!


    This title is not eligible for discount.

    1. Easy To Slip
    2. Cold, Cold, Cold
    3. Trouble
    4. Tripe Face Boogie
    5. Willin'
    6. A Apolitical Blues
    7. Sailin' Shoes
    8. Teenage Nervous Breakdown
    9. Got No Shadow
    10. Cat Fever
    11. Texas Rose Cafe
    Little Feat
    $34.99
    Gain 2 Ultra Analog 180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress) Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress)

    Country Joe & The Fish full-length debut is their most joyous and cohesive statement and one of the most important and enduring documents of the psychedelic era, the band's swirl of distorted guitar and organ at its most inventive. In contrast to Jefferson Airplane, who were at their best working within conventional song structures, and the Grateful Dead, who hadn't quite yet figured out how to transpose their music to the recording studio, Country Joe & the Fish delivered a fully formed, uncompromising, and yet utterly accessible - in fact, often delightfully witty - body of psychedelic music the first time out. Ranging in mood from good-timey to downright apocalyptic, it embraced all of the facets of the band's music, which were startling in their diversity: soaring guitar and keyboard excursions (Flying High, Section 43, Bass Strings, The Masked Marauder), the group's folk roots (Sad and Lonely Times), McDonald's personal ode to Grace Slick (Grace), and their in-your-face politics (Superbird). Hardly any band since the Beatles had ever come up with such a perfect and perfectly bold introduction to who and what they were, and the results - given the prodigious talents and wide-ranging orientation of this group - might've scared off most major record labels. Additionally, this is one of the best-performed records of its period, most of it so bracing and exciting that one gets some of the intensity of a live performance. One of Vanguard Records' classic albums, with startlingly vivid stereo separation and a close, intimate sound.




    Musicians:



    • Country Joe McDonald (guitar, harmonica, tambourine, vocal)

    • David Cohen (guitar, organ, vocal)

    • Barry Melton (guitar, vocal)

    • Bruce Barthol (bass, harmonium)

    • Chicken Hirsh (drums)




    Recording at Sierra Sound Laboratories, Berkeley, CA, USA, by Robert di Souza

    Production: Samuel Charters




    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.



    and that the lacquer discs are newly cut.


    Country Joe & The Fish
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • One Size Fits All One Size Fits All Quick View

    $24.99
    Buy Now
    x

    One Size Fits All

    The first release under the new Zappa Records/UMe agreement, this remastered 40th Anniversary Edition of Frank Zappa and the Mothers of Invention's One Size Fits All album, will be released on 180-gram vinyl. Originally released in 1975, it was Zappa's final album with the Mothers of Invention line-up, featuring guest vocals by Johnny Guitar Watson on two tracks, San Ber'dino and Andy.
    1. Inca Roads
    2. Can't Afford No Shoes
    3. Sofa No. 1
    4. Po-Jama People
    5. Florentine Pogen
    6. Evelyn, A Modified Dog
    7. San Ber'dino
    8. Andy
    9. Sofa No. 2
    Frank Zappa
    $24.99
    Vinyl LP - Sealed Buy Now
  • Weasels Ripped My Flesh Weasels Ripped My Flesh Quick View

    $24.99
    Buy Now
    x

    Weasels Ripped My Flesh

    Weasels Ripped My Flesh, released in 1970, is the last release featuring the original Mothers Of Invention which FZ disbanded the year prior. Comprised of studio and live tracks, its musical diversity is showcased by incorporating elements ranging from avant-garde and experimental to R&B and Rock. Newly pressed from the master analog tape to 180g vinyl.
    1. Didja Get Any Onya?
    2. Directly From My Heart To You
    3. Prelude To The Afternoon Of A Sexually Aroused Gas Mask
    4. Toads Of The Short Forest

    5. Get A Little

    6. The Eric Dolphy Memorial Barbecue
    7. Dwarf Nebula Processional March & Dwarf Nebula
    8. My Guitar Wants To Kill Your Mama

    9. Oh No

    10. The Orange County Lumber Truck
    11. Weasels Ripped My Flesh
    Frank Zappa & The Mothers Of Invention
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cruising With Ruben & The Jets Cruising With Ruben & The Jets Quick View

    $24.99
    Buy Now
    x

    Cruising With Ruben & The Jets

    Is this the Mothers Of Invention recording under a different name in a last ditch attempt to get their cruddy music on the radio?" Cruising With Ruben & The Jets, FZ's homage to Doo-Wop and classic R&B, is re-issued with the original 1968 mix on 180g vinyl from the master analog tape.
    1. Cheap Thrills
    2. Love Of My Life

    3. How Could I Be Such A Fool
    4. Deseri

    5. I'm Not Satisfied
    6. Jelly Roll Gum Drop

    7. Anything

    8. Later That Night

    9. You Didn't Try To Call Me

    10. Fountain Of Love

    11. No. No. No.

    12. Anyway The Wind Blows
    13. Stuff Up The Cracks
    Frank Zappa
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Roxy & Elsewhere Roxy & Elsewhere Quick View

    $34.99
    Buy Now
    x

    Roxy & Elsewhere

    This mostly live set features Zappa performing with the popular Mothers of Invention line-up of the early 70's--including jazz-funk meister George Duke, Napolean Murphy Brock on saxophone, and Ruth Underwood on percussion. Highlights include the souped-up funk of Pygmy Twylyte, burning renditions of favorites Penguin in Bondage and More Trouble Every Day, and the hilarious monster movie tribute Cheepnis. Duke steals the show on several tracks, and Zappa's guitar work and master of ceremonies showmanship is in top form. -Andrew Boscardin
    1. Penguin In Bondage
    2. Pygmy Twylyte
    3. Dummy Up
    4. Village Of The Sun
    5. Echidna's Arf (Of You)
    6. Don't You Ever Wash That Thing?
    7. Cheepnis
    8. Son Of Orange County
    9. More Trouble Every Day
    10. Be-Bop Tango (Of The Old Jazzmen's Church)
    Frank Zappa
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • King Kong: Jean-Luc Ponty Plays The Music Of Frank Zappa King Kong: Jean-Luc Ponty Plays The Music Of Frank Zappa Quick View

    $29.99
    Buy Now
    x

    King Kong: Jean-Luc Ponty Plays The Music Of Frank Zappa

    In 1969, the legendary Frank Zappa introduced the rock music world to the stellar electric violin and keyboard work of Jean-Luc Ponty with the collaborative masterwork King Kong: Jean Luc Ponty Plays The Music Of Frank Zappa. Featuring a handful of Zappa's earlier classics like Idiot Bastard Son, as well as the exceptional orchestral piece Music for Electric Violin and Low Budget Orchestra, King Kong surely has become a progressive rock/jazz masterpiece. Featuring The Mothers of Invention's George Duke plus Wilton Felder and Ernie Watts. Mastered impeccably by Joe Reagoso and Kevin Gray.
    1. King Kong
    2. Idiot Bastard Son
    3. Twenty Small Cigars
    4. How Would You Like To Have A Head Like That
    5. Music For Electric Violin and Low Budget Orchestra
    6. America Drinks and Goes Home
    Jean-Luc Ponty
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Absolutely Free Absolutely Free Quick View

    $34.99
    Buy Now
    x

    Absolutely Free

    Original Record Mastered By Bernie Grundman & Cut Directly From Original Tapes

    20 Minutes Of Bonus Material

    The Zappa Family Trust marks the 50th Anniversary of Frank Zappa & The Mothers Of Invention s 1967 album Absolutely Free with an expanded vinyl-exclusive edition.

    This double 180 gram LP version will include the original record mastered by Bernie Grundman & cut directly from the original analog master tapes, plus a laser-etched additional disc including 20 minutes of bonus material from the Vault. The package features FZ's original layout & libretto. Absolutely Free turns 50!!

    LP 1
    1. Plastic People
    2. The Duke Of Prunes
    3. Amnesia Vivace
    4. The Duke Regains His Chops
    5. Call Any Vegetable
    6. Invocation And Ritual Dance Of The Young Pumpkin
    7. Soft - Sell Conclusion
    8. America Drinks
    9. Status Back Baby
    10. Uncle Bernie's Farm
    11. Son Of Suzy Creamcheese
    12. Brown Shoes Don't Make It
    13. America Drinks & Goes Home


    LP 2
    1. Absolutely Free (Radio Ad #1)
    2. Why Don'tcha Do Me Right
    3. Big Leg Emma
    4. Absolutely Free (Radio Ad #2)
    5. Glutton For Punishment...
    6. America Drinks (1969 Remix)
    7. Brown Shoes Don't Make It (1969 Remix)
    8. America Drinks & Goes Home #2 (1969 Remix)

    Frank Zappa
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Starsailor Starsailor Quick View

    $34.99
    Buy Now
    x

    Starsailor

    Import

    On his first albums Tim was a gentle, melodic folk rocker but during the making of these albums he evolved into a downright experimental singer/songwriter exploring jazz and avant-garde. The result? Starsailor!


    The album is a culmination of his experiments and with former Mother of Invention Bunk Gardner on sax and alto flute the story is complete. Surrealistic lyrics, heavy chords and unexpected twists make Starsailor a brilliant album that admittedly, isn't for everybody, but endures as one of the most legendary albums ever made by a singer/songwriter.

    1. Come Here Woman
    2. I Woke Up
    3. Monterey
    4. Moulin Rouge
    5. Song To The Siren
    6. Jungle Fire
    7. Starsailor
    8. The Healing Festival
    9. Down By The Borderline
    Tim Buckley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • II II Quick View

    $14.99
    Buy Now
    x

    II

    San Franciscos Pins of Light reside in that murky musical shadow-territory of the nearly unclassifiable. They craft a brutal and intricate mÉlange of metal, punk and prog that isnt quite any of those things. Pins of Lights most progressive moments are more Motörhead than Mothers of Invention; their metal is more Pink Floyd than it is Judas Priest; the elements of punk are a driving fistfight thats entirely the bands own. Singer and bassist Shane Baker, guitarists Jake Palladino and Ravi Durbeej, and drummer Phil Becker come previously (and currently) from such SF institutions as Dead and Gone, Night After Night, Hightower and Triclops (among a slew of others). The groups debut album II was recorded by Kurt Schlegel (Jello Biafra, Melvins, I Am Spoonbender) and Phil Manley (TransAm, The Fucking Champs) at Lucky Cat Recording and mixed by Becker in the bands hometown.
    1. 4112
    2. Losing Sleep
    3. My Revenge
    4. No Way Home
    5. Western Sky
    6. Empire
    7. Sound & Pressure
    8. We Fly Alone
    Pins Of Light
    $14.99
    Vinyl LP - Sealed Buy Now
  • Hot Rats Hot Rats Quick View

    $24.99
    Buy Now
    x

    Hot Rats

    By 1969, after releasing a 'mother lode' of Mothers of Invention classics, leader Frank Zappa was ready to breakthrough other musical barriers that were still holding popular music in a conservative headlock.


    Being one if not the first album to be recorded using 16 tracks (twice the number being used at the time on both sides of the Atlantic), Hot Rats became a leading edge in both modern recording technology and the evolution of jazz/rock-fusion. Mostly instrumental, it features six original compositions; three loose jam pieces, the remainder being tight ensemble arrangements. Some of the finest players around come together in varying combinations, all-the-while showcasing Frank Zappa's guitar virtuosity.


    Among others, Lowell George of Little Feat-fame lends guitar, jazz violinists extraordinaire Don 'Sugarcane' Harris and Jean-Luc Ponty plus fellow Mother Ian Underwood's keyboard and woodwind work, complete the leader's advanced vision. Last but not least, the legendary Captain Beefheart brings his unique pipes to the infamous Willie The Pimp.


    Soon to become a concert staple and fan favorite thereafter, Peaches En Regalia is truly a modern jazz standard, eventually covered by the likes of Phish and The Dixie Dregs. Also included are Son of Mr. Green Genes, Little Umbrellas, The Gumbo Variations and It Must Be A Camel. Mastered and cut directly from the original analog master tape by Bernie Grundman under the supervision of Gail Zappa.

    1. Peaches en Regalia
    2. Willie the Pimp
    3. Son of Mr. Green Genes
    4. Little Umbrellas
    5. The Gumbo Variations
    6. It Must Be a Camel
    Frank Zappa
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Volume Two Volume Two Quick View

    $24.99
    Buy Now
    x

    Volume Two

    The first two albums by England's legendary Soft Machine, originally released in 1968 and 1969, remain among the most innovative and influential releases of that musically fertile era. These seminal LPs offered a visionary psychedelic-progressive-jazz-rock mix that helped to make the Soft Machine one of Britain's first significant underground bands, as well as a key force in the birth of both progressive rock and jazz-rock.


    A product of the same fabled Canterbury scene that spawned such beloved cult acts as Caravan and Hatfield and the North, the Soft Machine was the rare art-rock combo whose members possessed the instrumental skills to execute their ambitious musical ideas, as well as a playful sense of humor that balanced the band's complex compositions and adventurous improvisations. By the time they began making albums, the Soft Machine was already a sensation in the budding U.K. rock underground, thanks to their now-legendary performances at such fabled London clubs as the UFO, the Speakeasy and Middle Earth, where they shared stages with the likes of Pink Floyd and Tomorrow.


    The aptly titled Volume Two introduced a retooled Soft Machine lineup, with Wyatt and Ratledge joined by bassist Hugh Hopper, an old Canterbury friend who had guested on the first album. The sophomore disc finds the threesome moving towards a more explicitly jazz-influenced sound, with an increased emphasis on instrumental material. The album is bookended by a pair of extended compositions, Rivmic Melodies and Esther's Nose Job, which are broken up into shorter individual tracks bearing whimsically arbitrary titles. That approach was suggested to the band by Frank Zappa, whose Mothers of Invention album Absolutely Free was reportedly an influence on Volume Two.


    This landmark vinyl gem has been out of print for decades, but now it is back in this meticulously packaged Sundazed edition. Mastered from the original analog tapes and pressed on pristine high-definition vinyl, this lovingly restored vintage gem sounds as powerful and imaginative as ever.

    1. Pataphysical Introduction - Part I
    2. A Concise British Alphabet - Part I
    3. Hibou Anemone and Bear
    4. A Concise British Alphabet - Part II
    5. Hullo Der
    6. Dada Was Here
    7. Thank You Pierrot Lunaire
    8. Have You Ever Bean Grean?
    9. Pataphysical Introduction - Part II
    10. Out Of Tunes
    11. As Long As He Lies Perfectly Still
    12. Dedicated To You But You Weren't Listening
    13. Fire Engine Passing With Bells Clanging
    14. Pig
    15. Orange Skin Food
    16. A Door Opens And Closes
    17. 10 30 Returns to the Bedroom
    Soft Machine
    $24.99
    Vinyl LP - Sealed Buy Now
  • Rest In Chaos Rest In Chaos Quick View

    $25.99
    Buy Now
    x

    Rest In Chaos

    Let me explain what it's like to summarize Rest in Chaos. What you have here is, in the first place, the book of Genesis as deftly reconceived by Todd Snider who has been inhabited by a spirit resembling Philip K. Dick. The rest of the Hard Working Americans are under the direction (or perhaps in the thrall) of an older wiser Jimi Hendrix and a Frank Zappa no less exacting than he was when he departed. It is rock'n'roll music, past, present and future, and that's no dream, it's just a fact. There are moments here when the walls of Babel might be falling, there are moments when they are reinvented and every time you try to pin it down, it shows you something else. "Half Ass Moses," the third song, ends by declaring "The song wasn't all that complicated."


    Like hell it isn't. When, in the very next song, "Dope is Dope," Todd Snider is a voice more inflammatory and gritty than I have ever heard from him before, "His mother didn't understand him / Whose mother ever does?" am I supposed to laugh, cry, applaud or beg for mercy. All that's really sure is, you're not leaving 'til the show's over. Even if you want to. There's nowhere else to go, and even if there were, the music's too good.


    So much for metaphysics. The actual physics of the thing is seven billion people out for what they only think is a stroll, armed with nothing more than some quite treacherous Roman candles Rest in Chaos might, if these Hard Working Americans were scientists of something other than sound, be the story of the entropy of the universe, and if you think I'm kidding that's only because you haven't taken the deep dive into its complexity, which if not quantum is at least a quandary. Albums aren't this good anymore; they're not this ambitious; their parts are not so finely conceived, the risks they take are not so reckless, the ways they resolve contradictions are not so elegant. Most of all they don't kick you in the preconceptions anywhere near so often. (How did they manage to create harmonies in "Something Else" that recall both the Hollies and the Mothers of Invention?)


    Todd's songs sound like he swiped part of them from Billy Joe Shaver and part from Tim Buckley and welded them together with spare parts from Iggy and Paul McCartney. There's a nightmare embedded here, and what cares the weight of it, the aspect of doom and the hint of doom is Dave Schools' bass. Neal Casal, who might be the most under-rated guitarist in rock, is constantly making the chaos more beautiful than you'd think possible. The roots of the sound are in the jam bands and Americana groups and singer-songwriter sessions the band members have played in but when they get to "Throwing Goats" (OK, maybe I should have said Thomas Pynchon or John Barth rather than Dick) and "Something Else" (both parts), they've joined the ranks of the rockers who no longer look for interstellar overdrive, because they've already found it.


    All this is, of course, metaphor. Well, most of it. Some of it. The part about how strong it is, how smart, how completely the product of the past ("stand up for your brother, stick it to the man") and how anticipatory of one of the best futures anyone has shown us is straight up. It's one of the most well-sustained albums I've heard in years, and what it sustains is not only my faith in rock'n'roll or even how hard the Hard Working Americans really do work to make their magic, but how much it means to them, which is the only way it can mean very much to the rest of us.


    Let me put it this way: I've heard Rest in Chaos any number of times and there's no way I'm done with it. I can tell you about its surface but I haven't gotten to the bottom of it. I'm not really sure there is one. It is humbling to confront it, and reassuring to know that there is all the rest of our lives for that. "The High Price of Inspiration"? A bargain.

    1. Opening Statement
    2. It Runs Together
    3. Half Ass Moses
    4. Dope Is Dope
    5. Burn Out Shoes
    6. Roman Candles
    7. Ascending Into Madness
    8. Throwing The Goats
    9. Something Else
    10. Massacre
    11. The High Price of Inspiration
    12. Acid
    13. Purple Mountain Jamboree
    Hard Working Americans
    $25.99
    Vinyl LP - Sealed Buy Now
  • Funky Was The State Of Affairs Funky Was The State Of Affairs Quick View

    $14.99
    Buy Now
    x

    Funky Was The State Of Affairs

    Fergus and Geronimo's leap between their early R&B-influenced singles and their first wildly diverse record was so daring, many music writers and fans were forced to reconsider the pigeonhole to which they had already damned them. Happily damned them, since, after all, those early tracks went over exceptionally well. But observers and admirers were also left doing something not many get to experience in this dime-a-dozen singles renaissance: scratching their heads concerning what this group would do next. After a first record that was such a departure, not only did they wonder, they actually cared.



    Founding member Andrew Savage is very conscious of the risks the band took, the changes that were made in order to avoid being marginalized. Says Savage: "Jason (Kelly) and I had no interests in becoming lost in the indie rock/garage rock milieu. The nature of those early singles was that they were instantaneously gratifying, and we both wanted to make a record that was ultimately gratifying, but not necessarily instantaneous."



    Now we have an idea of how far Fergus and Geronimo are continuing to take their gradually conceptual ambitions, in the form of their second full-length record, Funky Was The State of Affairs.



    Like some of history's most well-regarded and oft-reissued acts, the group is doing exactly what they are compelled to do: making an album that actually plays like a cohesively complete statement. "I feel like bands aren't really making albums anymore. By that I mean, a start to finish concept meant to be listened to in its entirety. Labels are more interested in singles, which is in a tail-wags-dog sort of way.



    And yet the record is entirely unpredictable, even as it tackles reoccurring themes, which Savage says include, "aliens, technology, intergalactic dating/hooking up, the Roman Empire, and the earthling resistance movement." At times the story seems filtered through the earthling point of view; in the next, extraterrestrials listen to phone-tapped conversations by some understandably paranoid humans.



    Though at times it sounds like fairly serious subject matter, the group employs a sharp-tongued attack with the same sort of gallows humor cracked wise by the likes of their equally Doubting Thomas inspirational figures, everyone from the Mothers of Invention to Devo. Within the first few minutes, the tone is set; the bright, spiky, opening track over a Krautrock rhythm, "No Parties," contains a line summarizing the restlessness caused by the alienation of modern habits, sung in a mock-English accent: "Collecting devices, you're paying the prices/Of over consumption, with mental destruction."



    "Basically, its a dystopian sound-scape of our civilization's collapse," says Savage. Indeed, those feelings of dread are sometimes instrumentally emphasized by passages of synthesizer static and noise, which Savage attributes to being influenced by groups like Chrome. New members Bob Jones (guitar, bass, analog synth) and Jef Brown (Tenor Sax) also add to the playful chaos. Savage says the original duo added members in order to achieve "the tightness that can only come from recording with a live core," as "musicianship is extremely important to Jason and I."



    Since Brown and Jones both played in the self-explanatory Evolutionary Jass Band, which evolved out of the equally experimental Jackie-O Motherfucker, there is an expansion in the group's improvisational capabilities that wasn't as obvious on past recordings. Yet nothing sounds forced, each interlude is enjoyable, each hip-hop-inspired skit serves a narrative-pushing purpose. The record bounces from Booker T-styled soul ("Wiretapping Muzak I and II") to early '80s New York dance rock ("Marky Move") with an immodest ease.



    "Hi, I'm Heather Strange, and I'm a 23-year-old human earthling female" says a woman between the first and second track. "Really, I'm just looking for a man whose cerebral capabilities haven't been fried by LCD screens yet." Most people reading this might be able to relate to Heather's plight, or worse yet, sink under the weight of being the type of person she's desperately seeking to avoid. But such is the genius of Fergus and Geronimo. They have made all of these variously opposing forces; dark and light, alien and earthling, melody and noise, condemning and being condemned, something that you feel like listening to over and over again. If only to hear what happens next.

    1. Planet Earth is Pregnant for the 5th Time

    2. No Parties

    3. The Strange One Speaketh

    4. Roman Tick

    5. My Phone's Been Tapped, Baby

    6. Roman Nvmerals/Wiretapping Muzak I

    7. Spies
    8. Earthling Men

    9. The Uncanny Valley

    10. Earthling Women

    11. Drones

    12. Wiretapping Muzak II

    13. Off the Map

    14. The Roman Stuff is Where it's At

    15. Marky Move

    16. Funky Was the State of Affairs
    Fergus & Geronimo
    $14.99
    Vinyl LP - Sealed Buy Now
  • Faith In The Future Faith In The Future Quick View

    $18.99
    Buy Now
    x

    Faith In The Future

    Faith in the Future is the second solo album from Craig Finn, and it's being released on Brooklyn-based indie label Partisan Records. Josh Kaufman produced the record in the cozy, rustic confines of Woodstock's The Isokon recording studio and helped Finn stretch the boundaries of his songwriting with confidence, invention and ambition in order to realize what is sure to be a defining moment in his career.


    At times stark and spare, at other times vibrant and dynamic, Faith in the Future is Finn's most compelling collection thus far, each song a powerfully alluring and subtly nuanced composition wedded to his distinctive short story narratives, which owe as much to authors such as John Cheever and Raymond Carver as they do any rock influences. Most of the material on Faith in the Future was written several years ago, around the time Finn's mother died, and while none of them directly address that loss, he insists the idea of transcending grief and finding redemption running through the album can be directly traced to that event.

    1. Maggie I've Been Searching For Our Son
    2. Roman Guitars
    3. Newmyer's Roof
    4. Sarah, Calling From a Hotel
    5. Going To a Show
    6. Sandra From Scranton
    7. Saint Peter Upside Down
    8. Trapper Avenue
    9. Christine
    10. I Was Doing Fine (Then a Few People Died)
    Craig Finn
    $18.99
    Vinyl LP - Sealed Buy Now
  • Child Is The Father To The Man Child Is The Father To The Man Quick View

    $28.99
    Buy Now
    x

    Child Is The Father To The Man

    Ranked 264/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Although they would go on to become one of the most commercially successful acts of the 1970s, most observers agree that Blood, Sweat & Tears 1968 debut effort Child Is Father to the Man remains the ambitious ensembles finest and most enduring musical statement. The bands only album under the leadership of legendary singer / keyboardist Al Kooper, Child Is Father to the Man stands with such late-60s art-pop landmarks as the Zombies Odessey and Oracle and Loves Forever Changes in capturing the periods seemingly limitless creative possibilities.
    Child Is Father to the Man is a brilliant reflection of the desire of Koopera former member of the seminal Blues Project and a key collaborator in Bob Dylans early electric workto use an expanded instrumental lineup to explore a broader range of sounds, styles and compositional approaches. Towards that end, he launched Blood, Sweat & Tears, recruiting a stellar assortment of players from the worlds of rock and jazz, including ex-Blues Project guitarist Steve Katz, former Buffalo Springfield/Mothers of Invention bassist Jim Fielder, jazz drummer Bobby Colomby and noted jazz horn players Randy Brecker, Dick Halligan, Fred Lipsius and Jerry Weiss.


    The resulting album (produced by fabled studio genius John Simon) was a seamlessly eclectic psychedelic-rock-jazz-classical fusion, with such diverse tracks as Koopers gritty compositions I Cant Quit Her and I Love You More Than Youll Ever Know, as well as his playfully arty House in the Country and The Modern Adventures of Plato, Diogenes and Freud, along with stirring readings of Tim Buckleys Morning Glory, Harry Nilssons Without Her and Randy Newmans Just One Smile.


    Koopers expansive musical vision may have been a bit too far ahead of its time. Although it was a favorite of early FM album-rock DJs, Child Is Father to the Man barely scraped the Billboard Top 50 and failed to produce a hit single. However, in the years since, the album has been widely recognized for its expressiveness and originality, and embraced by successive generations of listeners. For instance, it received a prominent placement in Rolling Stones 2003 ranking of the 500 greatest albums of all time.


    Now, Child Is Father to the Man is back in its original vinyl format with Sundazeds definitive new LP edition. With meticulously reproduced original cover art, this vintage musical landmark has been remastered from the original analog master tapes and is pressed on high-quality, high-definition vinyl.

    1. Overture
    2. I Love You More Than You'll Ever Know
    3. Morning Glory
    4. My Days Are Numbered
    5. Without Her
    6. Just One Smile
    7. I Can't Quit Her
    8. Meagan's Gypsy Eyes
    9. Somethin' Goin' On
    10. House In The Country
    11. The Modern Adventures Of Plato, Diogenes And Freud
    12. So Much Love/Underture
    Blood, Sweat And Tears
    $28.99
    Vinyl LP - Sealed Buy Now
  • The Island Years The Island Years Quick View

    $149.99
    Buy Now
    x

    The Island Years

    Quite simply the albums by Sparks, Kimono My House, Propaganda, Indiscreet and Big Beat, represent one of the most exciting, inventive and witty musical sequences of the 1970s. Written in the main by Ron Mael and sung with his brother Russell's unique Élan, across the set can be found classic, era-defining singles like 'This Town Ain't Big Enough For Both Of Us', 'Never Turn Your Back On Mother Earth', 'Get In The Swing' and 'Looks Looks Looks'.


    But that's not all: the fifth LP in the box rounds up all of the band's Island B-sides from the period, most of which have never been available on vinyl before, while the tracks 'Looks Aren't Everything' and 'Intrusion/Confusion' are making their debut on vinyl. The set, with its faithful recreation of all original sleeves, is released with the full involvement of the brothers Mael, who took time out of their all-conquering FFS tour to approve artwork and is pressed on 180 gram vinyl. The cut was overseen by long-term Sparks associate Bill Inglot.

    LP 1 Kimono My House
    1. This Town Ain't Big Enough For Both Of Us
    2. Amateur Hour
    3. Falling In Love With Myself Again
    4. Here In Heaven
    5. Thank God It's Not Christmas
    6. Hasta Manana, Monsieur
    7. Talent Is An Asset
    8. Complaints
    9. In My Family
    10. Equator


    LP2 Propaganda
    1. At Home At Work At Play
    2. Reinforcements
    3. B.C
    4. Thanks But No Thanks
    5. Don't Leave Me Alone With Her
    6. Never Turn Your Back On Mother Earth
    7. Something For The Girl With Everything
    8. Achoo
    9. Who Don't Like Kids
    10. Bon Voyage


    LP3 Indiscreet
    1. Hospitality On Parade
    2. Happy Hunting Ground
    3. Without Using Hands
    4. Get In The Swing
    5. Under The Table With Her
    6. How You Getting Home?
    7. Pineapple
    8. T*ts
    9. It Ain't 1918
    10. The Lady Is Lingering
    11. In The Future
    12. Looks, Looks, Looks
    13. Miss The Start, Miss The End


    LP4 Big Beat
    1. Big Boy
    3. 2. I Want To Be Like Everybody Else
    4. Nothing To Do
    5. I Bought The Mississippi River
    6. Fill-er-up
    7. Everybody's Stupid
    8. Throw Her Away (and Get A New One)
    9. Confusion
    10. Screwed Up
    11. White Women
    12. I Like Girls


    LP5 The Rest Of Sparks
    1. Lost And Found
    2. Barbecutie
    3. Alambamy Right
    4. Marry Me
    5. Profile
    6. The Wedding Of Jacqueline Kennedy To Russell Mael
    7. I Want To Hold Your Hand
    8. England
    9. Gone With The Wind
    10. Intrusion/confusion
    11. Looks Aren't Everything
    12. Tearing The Place Apart

    Sparks
    $149.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 5 LPs Sealed Buy Now
  • The Boss Of The Blues (Pure Pleasure) The Boss Of The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Boss Of The Blues (Pure Pleasure)

    Besides helping to invent rock 'n roll with his hit Shake, Rattle and Roll, Big Joe Turner was one of the most soulful blues shouters of all time. His best albums married the boogie-woogie piano stylings of the great Pete Johnson with a jazzy jumpin' horn section. Boss Of The Blues is arguably Joe's best recording, in part because he sang with particular gusto during these 1956 sessions. At the time, Boss Of The Blues marked a nostalgic return to the jump-blues style that Turner helped pioneer in the '40s. Besides Johnson, Boss featured some of Kansas City's finest ever jazzmen and various members of Count Basie's band, including Joe Newman (trumpet), Pete Brown (alto sax), Lawrence Brown (trombone), Frank Wess (tenor sax) and Freddie Green (guitar). The bawdy Cherry Red and the rollicking Roll 'Em Pete are my favorite Turner-Johnson collaborations. Both feature some incredible playing by the piano master. Turner's versions of I Want A Little Girl, Low Down Dog, You're Driving Me Crazy, and Morning Glories are definitive. If I had to compile a list of my 10 favorite albums, Boss Of The Blues would be there.



    Musicians:



    • Joe Turner (vocal)

    • Joe Newman (trumpet)

    • Lawrence Brown (trombone)

    • Pete Brown (alto saxophone)

    • Frank Wess (tenor saxophone)

    • Pete Johnson (piano)

    • Freddie Green (guitar)

    • Walter Page (bass)

    • Cliff Leeman (drums)




    Recording:1956 in New York by Len Frank

    Production: Nesuhi Ertegun & Jerry Wexler




    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. Cherry Red
    2. Roll 'Em Pete
    3. I Want a Little Girl
    4. Low Down Dog
    5. Wee Baby Blues
    6. You're Driving Me Crazy (What Did I Do?)
    7. How Long Blues
    8. Morning Glories
    9. St. Louis Blues
    10. Piney Brown Blues
    Big Joe Turner
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pyramid (Pure Pleasure) Pyramid (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Pyramid (Pure Pleasure)

    With such a tight group as the MJQ is is impossible to single out individual musicians which probably accounts for their long lived success.
    This is a strong recording from the Modern Jazz Quartet, with inventive versions of John Lewis' Vendome. Ray Brown's Pyramid, Jim Hall's Romaine, and Lewis' famous Django, along with cooking jams on How High The Moon and It Don't Mean A Thing. The MJQ had become a jazz institution by this time, but they never lost their creative edge, and their performances (even on the remakes) are quite stimulating, enthusiastic, and fresh. - Scott Yanow/AMG

    Musicians:



    • John Lewis (piano)
    • Milt Jackson (vibraphone)
    • Percy Heath (bass)
    • Connie Kay (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. Vendome
    2. Pyramid
    3. It Don't Mean A Thing (If It Ain't Got That Swing)
    4. Django
    5. How High The Moon
    6. Romaine
    The Modern Jazz Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dream Weaver (Pure Pleasure) Dream Weaver (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Dream Weaver (Pure Pleasure)

    The first studio date of the Charles Lloyd Quartet, with Keith Jarrett, Cecil McBee, and Jack DeJohnette, was recorded and released just a few days before the band took both the European and American festival circuits by storm. First came Europe, which was just getting the disc as the band was tearing up its stages. While the live dates are now the stuff of legend, it's easy to overlook the recordings, but to do so would be a mistake. Dream Weaver is a fully realized project by a band -- a real band -- in which each member has a unique part of the whole to contribute.


    Jarrett's unusual piano style fits musically with Lloyd's lyricism in a way that it shouldn't. Jarrett was even then an iconoclast, playing harmonic figures from the inside out and relying on counterpoint to create new spaces, not fill them in. (Just listen to Autumn Sequence, where his solos and his backing harmonics are equally strident and inventive as Lloyd's Eastern explorations of mood and mode.) And then there's the rhythm section of McBee and DeJohnette, whose modal inventions on the intervals make the Dream Weaver suite an exercise in open time, allowing all players to wander around inside it and take what they want out. The set closes with a group party jam on Sombrero Sam, with Lloyd and Jarrett trading eights on a Cuban variation on a fantasia. There were no records like this one by new groups in 1966.

    Musicians:



    • Charles Lloyd (tenor saxophone, flute)
    • Keith Jarrett (piano)
    • Cecil McBee (bass)
    • Jack DeJohnette (drums)


    Recording: March 1966 by Phil Iehle

    Production: George Avakian & Arif Mardin

    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.

    Autumn Sequence
    1. Autumn Prelude
    2. Autumn Leaves
    3. Autumn Echo
    Dream Weaver
    4.Meditation
    5.Dervish Dance
    -
    6. Bird Flight
    7. Love Ship
    8. Sombrero Sam
    Charles Lloyd
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Konitz Meets Mulligan (Pure Pleasure) Konitz Meets Mulligan (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Konitz Meets Mulligan (Pure Pleasure)

    O.K., so it's mono. And, for much of the recording, Mulligan's quartet seems simply to be backing Konitz. But hang on, this is a marvelous little gem. Mulligan on the bariton, Konitz on alto, and - yes - Chet Baker on trumpet. How can you pass this up?



    But this is more than an artifact. This is jazz at its spontaneous and inventive best. Konitz, freed from Stan Kenton, has all sorts of new ideas about these old standards. And, for many of the cuts, as Lee explores the possibilities, you can hear Mulligan purring far in the background (mono, remember), and, every once in a while, moving to the foreground to make a few statements of his own. These two jazz minds talk to each other, tease each other,support and - in a gentle way - challenge each other.



    And, of course, in a few cuts, Baker's sweet trumpet announces itself and joins the two sax players in their explorations. The now-unheralded but extremely deft Carson Smith takes on most of the bass responsibilities, and provides - along with Larry Bunker on drums - a solid stage for Baker, Mulligan, and Konitz to swing on.



    Mulligan, Konitz, and Baker, of course, went their separate ways, Konitz and Mulligan to long and brilliant careers, Baker to a briefer, tragic, but still shining career. This, then, was a moment in time, and is now your chance to catch these giants sharing a stage, playing for and with one another, showing admiration and affection for each other's talents and ideas.
    Mono - so what? This is a treasure from the vaults of Pacific Jazz.



    Musicians:



    • Lee Konitz (alto saxophone)

    • Gerry Mulligan (bassoon)

    • Chet Baker (trumpet)

    • Carson Smith (bass)

    • Joe Mandragon (bass)

    • Larry Bunker (drums)



    Recording: January 1953 at The Haig, Los Angeles, by Richard Bock

    Production: Richard Bock



    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.



    Side One


    1. I Can't Believe That You're In Love With Me
    2. Broadway
    3. Almost Like Being In Love
    4. Sextet
    5. Oh, Lady Be Good
    6. Bernie's Tune
    7. Oh, Lady Be Good (alternative version)


    Side Two


    1. Too Marvelous For Words
    2. Lover Man
    3. I'll Remember April
    4. These Foolish Things
    5. All The Things You Are

    Lee Konitz & Gerry Mulligan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • 1
  • 2
Go to top