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  • Otis Blue Otis Blue Quick View

    $24.99
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    Otis Blue

    Ranked 74/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Nobody burrowed more deeply into a song than Otis Redding--hands down, the most emotive, soulful singer the '60s ever produced. Redding's impassioned, sweat-soaked delivery kept him straddling both pop and soul charts until his untimely death in 1967. Here is a 180-gram vinyl exact reproduction of 1965's Otis Blue. Everything is taken from the absolute master tapes in the original mono. Fa-Fa-Fa-Fa-Fa-Fabulous!

    1. Ole Man Trouble

    2. Respect
    3. Change Gonna Come
    4. Down In The Valley
    5. I've Been Loving You Too Long
    6. Shake
    7. My Girl
    8. Wonderful World
    9. Rock Me Baby
    10. Satisfaction
    11. You Don't Miss Your Water
    Otis Redding
    $24.99
    Vinyl LP Mono - Sealed Buy Now
  • Otis Blue Otis Blue Quick View

    $54.99
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    Otis Blue

    Ranked 74/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Remastered By Kevin Gray At Cohearent Audio From The Original Analog Tapes


    200-Gram 45 RPM Double LP Plated And Pressed At Quality Record Pressings!


    Tip-On Gatefold Jacket From Stoughton Printing


    Otis Redding's third album presents his talent unfettered, his direction clear and his confidence emboldened, with fully half the songs representing a reach that extended his musical grasp. More than a quarter of this album is given over to Redding's version of songs by Sam Cooke, his idol, who had died the previous December.


    Otis Redding Sings Soul is considered by many critics to be Redding's first great album. Recorded in April and July of 1965, it was released September 15th of that same year. The styles of Cooke and Redding couldn't have been more different; Cooke smooth and sure, Redding raw and pleading. But Redding's versions of Shake and A Change Is Gonna Come show how Cooke's sound and message helped shape Redding's Southern soul sound. Redding's singing reaches a new level of expressiveness with this as well as with covers of B.B. King's Rock Me Baby and the Motown hit My Girl.


    This great album receives the full Analogue Productions reissue treatment here, starting with Kevin Gray's remaster from the original analogue tapes. Then we back that up with 200-gram plating and pressing on super-silent vinyl by our own Quality Record Pressings. Finally it's all housed in a tip-on gatefold jacket from Stoughton Printing. Deluxe all the way; you'll be estatic with the results!


    This title is not eligible for discount.

    1. Ole Man Trouble

    2. Respect
    3. Change Gonna Come
    4. Down In The Valley
    5. I've Been Loving You Too Long
    6. Shake
    7. My Girl
    8. Wonderful World
    9. Rock Me Baby
    10. Satisfaction
    11. You Don't Miss Your Water
    Otis Redding
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Otis Spann Is The Blues (Pure Pleasure) Otis Spann Is The Blues (Pure Pleasure) Quick View

    $34.99
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    Otis Spann Is The Blues (Pure Pleasure)

    Another absolute gem from Alan Bates's Candid label this must be probably Otis Spann's finest piece of work on wax. He may not have been THE blues, but he was sure close to being THE blues pianist. Spann provided wonderful, imaginative, tasty piano solos and better-than-average vocals, and was arguably the best player whose style was more restrained than animated. Not that he couldn't rock the house, but Spann's forte was making you think as well as making you dance.




    Musicians:



    • Otis Spann (piano, vocal)

    • Robert Lockwood Jr. (guitar, vocal)




    Recording: August 1960 at Fine Recording Studios, New York, USA, by George Piros

    Production: Nat Hentoff




    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.



    Otis Spann & Robert Lockwood
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Lonely & Blue: The Deepest Soul Of Otis Redding Lonely & Blue: The Deepest Soul Of Otis Redding Quick View

    $21.99
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    Lonely & Blue: The Deepest Soul Of Otis Redding

    Blue Colored Vinyl


    Lonely & Blue: The Deepest Soul of Otis Redding contains the hits (I ve Been Loving You Too Long, These Arms of Mine, My Lover s Prayer, Free Me) alongside many lesser-known songs (Gone Again, Open the Door, Waste of Time, Everybody Makes a Mistake, to name a few). They are all included in this brand new compilation because they share the tangled theme of sorrow.

    1. I Love You More Than Words Can Say
    2. Gone Again
    3. Free Me
    4. Open The Door (Alternate)
    5. A Waste Of Time
    6. These Arms Of Mine
    7. I've Been Loving You Too Long
    8. Everybody Makes A Mistake
    9. Little Ol' Me
    10. I've Got Dreams To Remember
    11. Send Me Some Lovin'
    12. My Lover's Prayer (Album Version)
    Otis Redding
    $21.99
    Colored Vinyl LP - Sealed Buy Now
  • Shuggie Otis: In Session Shuggie Otis: In Session Quick View

    $29.99
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    Shuggie Otis: In Session

    A comprehensive collection of classic Rhythm & Blues tracks featuring multi-instrumentalist session player Shuggie Otis - now available on a gorgeous 2 vinyl gatefold set! Includes classic R&B tracks such as "Louie, Louie," "Shake, Rattle And Roll," "Choo Choo Ch' Boogie," "One Scotch, One Bourbon, One Beer" and many more with performances by the legendary Johnny Otis, Big Joe Turner, Louis Jordan and others!
    LP1
    1. Richard Berry - Doin' It
    2. Richard Berry - Trackin' Machine
    3. Richard Berry - Louie, Louie
    4. Johnny Otis - Willie and the Hand Jive
    5. Johnny Otis - Country Girl
    6. Johnny Otis - Bad Luck Shadow
    7. Big Joe Turner - Shake, Rattle and Roll
    8. Big Joe Turner - TV Mama
    9. Charles Brown - Big Legged Woman
    10. Charles Brown - Driftin' Blues
    11. Louis Jordan - Choo Choo Ch' Boogie
    12. Louis Jordan - I Got The Walkin' Blues


    LP2
    1. Joe Liggins and the Honeydrippers - The Honeydripper (Part 1)
    2. Joe Liggins and the Honeydrippers - Boom-Chick-A-Boogie
    3. Amos Milburn - Chicken Shack Boogie
    4. Amos Milburn - One Scotch, One Bourbon, One Beer
    5. Gatemouth Moore - Did You Ever Love a Woman
    6. Eddie "Cleanhead" Vinson - I'm The Midnight Creeper
    7. Eddie "Cleanhead" Vinson - Sugar
    8. Pee Wee Crayton - Texas Hop
    9. Pee Wee Crayton - Blues After Hours
    10. Roy Milton - I Got a Big Fat Mama
    11. Roy Milton - Information Blues

    Shuggie Otis
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Willie's Blues Willie's Blues Quick View

    $21.99
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    Willie's Blues

    From the early '50s, Willie Dixon has been the studio kingpin of Chicago blues, having written, produced, and played bass on countless classics by Muddy Waters, Howlin' Wolf, Otis Rush, and others. Dixon has always managed to find time away from the studio to work as a performer, slapping his upright bass and singing his own tunes in a compelling, conversational baritone. He was working the coffeehouse circuit with pianist Memphis Slim when he cut this, his first album as a leader, in 1959.
    1. Nervous
    2. Good Understanding
    3. That's My Baby
    4. Slim's Thing
    5. That's All I Want Baby
    6. Don't You Tell Nobody
    7. Youth To You
    1. Sittin' And Cryin' The Blues
    2. Built For Comfort
    3. I Got A Razor
    4. Go Easy
    5. Move Me
    Willie Dixon
    $21.99
    Vinyl LP - Sealed Buy Now
  • Willie's Blues Willie's Blues Quick View

    $34.99
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    Willie's Blues

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    Since the early 1950s, Willie Dixon has been the studio kingpin of Chicago blues, having written, produced, and played bass on countless classics by Muddy Waters, Howlin' Wolf, Otis Rush, Koko Taylor, and many others. Dixon has always managed to find time away from the studio to work as a performer, slapping his upright bass and singing his own tunes in a highly compelling, conversational baritone. He was working the coffeehouse circuit with pianist Memphis Slim when he cut this, his first album as a leader, in 1959. Besides his unique interpretations of "Nervous" and "Built for Comfort," it includes eight lesser-known compositions from Dixon's prolific pen. It is unlike all other albums by Dixon, as he and Slim are accompanied, not by the usual crew of Chicago blues players, but by a group of New York mainstream jazzmen, including tenor saxophonist Hal Ashby, guitarist Wally Richardson and drummer Gus Johnson.


    This title is not eligible for discount.

    1. Nervous
    2. Good Understanding
    3. That's My Baby
    4. Slim's Thing
    5. That's All I Want Baby
    6. Don't You Tell Nobody
    7. Youth To You
    8. Sittin' And Cryin' The Blues
    9. Built For Comfort
    10. I Got A Razor
    11. Go Easy
    12. Move Me
    Willie Dixon & Memphis Slim
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Walking The Blues (Pure Pleasure) Walking The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Walking The Blues (Pure Pleasure)

    Walking The Blues is arguably the finest record Otis Spann ever cut, boasting 11 cuts of astounding blues piano. On several numbers, Spann is supported by guitarist Robert Jr. Lockwood and their interaction is sympathetic, warm, and utterly inviting. Spann relies on originals here, from Half Ain't Been Told to Walking the Blues, but he also throws in a few standards (Goin' Down Slow, My Home Is In The Delta) that help draw a fuller portrait of his musicianship. Most importantly, however, is the fact that Walking The Blues simply sounds great -- it's some of the finest blues piano you'll ever hear.



    Musicians:



    • Otis Spann (vocal, piano)

    • Robert Lockwood Jr. (guitar)

    • St. Louis Jimmy (James Oden) (vocal)




    Recording: August 1960 at Fine Recording Studios, New York, by George Piros

    Production: Nat Hentoff



    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. It Must Have Been the Devil
    2. Otis' Blues
    3. Goin' Down Slow
    4. Half Ain't Been Told
    5. Monkey Face Blues
    6. This Is the Blues
    7. Can't Stand Your Evil Ways
    8. Come Day, Go Day
    9. Walkin' the Blues
    10. Bad Condition
    11. My Home Is in the Delta
    Otis Spann
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Poet Of The Blues Poet Of The Blues Quick View

    $35.99
    Buy Now
    x

    Poet Of The Blues

    Import

    First Time On Vinyl!


    Is there another more responsible for the blues as we know them than Willie Dixon? A songwriter and musician without peer, Willie wrote blues standard after blues standard. Not only did his songs become career-making hits for the likes of Muddy Waters, Howlin' Wolf, Little Walter and Otis Rush, among others, but it inspired another generation of musicians including the Rolling Stones, the Yardbirds, Cream and Led Zeppelin, to name just a few.


    Poet Of The Blues, available on vinyl for the first time, features 21 classic Dixon songs.


    Besides his well-known songs, recorded in the early 70s, this compilation contains the classic 1947-1952 Big Three sessions. These recordings prove the most interesting historically.

    LP 1


    1. Back Door Man
    2. I Can't Quit You Baby
    3. The Seventh Son
    4. Spoonful
    5. I Ain't Superstitious
    6. You Shook Me
    7. I'm Your Hoochie Coochie Man
    8. Little Red Rooster
    9. The Same Thing


    LP 2


    1. Big 3 Stomp
    2. Tell That Woman
    3. I Ain't Gonna Be Your Monkey Man
    4. It's All Over Now
    5. You Don't Love Me No More
    6. If The Sea Was Whiskey

    7. O.C. Bounce
    8. Money Tree Blues
    9. No One To Love Me
    10. Cool Kind Woman Blues
    11. Juice-head Bartender
    12. Signifying Monkey

    Willie Dixon
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Rooster Blues (Awaiting Repress) Rooster Blues (Awaiting Repress) Quick View

    $32.99
    Buy Now
    x

    Rooster Blues (Awaiting Repress)

    Import


    Louisiana bluesman Lightnin' Slim (nee Otis V. Hicks) began entertaining bar patrons in his native Baton Rouge in the 1940s. By the 50s he was releasing singles on the now legendary Excello label (the blues division of Nashville based Nashboro). This album, his first long player, appeared in 1960 and compiles many of those classic 50s sides. Slim plays a searing electric here and is often accompanied by his brother-in-law, Slim Harpo, on the harmonica, along with a full, rollicking rhythm section heavily influenced by the R&B coming out of NOLA at the time. Lightnin' Slim deserves a place alongside the more often mentioned blues legends of the 50s, like Muddy Waters, John Lee Hooker, and Howlin' Wolf; for proof, one needs to look no further than this excellent debut album.

    1. Rooster Blues
    2. Long Leanie Mama
    3. My Starter Won't Work
    4. GI Slim A5 Lightnin Troubles
    6. Bed Bug Blues
    7. Hoo-Doo Blues
    8. It's Mighty Crazy
    9. Sweet Little Woman
    10. Tom Cat Blues
    11. Feelin Awfull Blues
    12. I'm Leavin You Baby
    Lightnin' Slim
    $32.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Natch'l Blues The Natch'l Blues Quick View

    $24.99
    Buy Now
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    The Natch'l Blues

    Taj Mahal's second album, recorded in the spring and fall of 1968, opens with more stripped-down Delta-style blues in the manner of his debut, but adds a little more amplification (partly courtesy of Al Kooper on organ) before moving into wholly bigger sound on numbers like She Caught The Katy And Left Me A Mule To Ride and The Cuckoo -- the latter, in particular, features crunchy electric and acoustic guitars and Gary Gilmore playing his bass almost like a lead instrument, like a bluesman's answer to John Entwistle. Most notable, however, may be the two original closing numbers, You Don't Miss Your Water ('Til Your Well Runs Dry) and Ain't That A Lot Of Love, which offer Taj Mahal working in the realm of soul and treading onto Otis Redding territory. This is particularly notable on You Don't Miss Your Water, which achieves the intensity of a gospel performance and comes complete with a Stax/Volt-style horn arrangement by Jesse Ed Davis that sounds more like the real thing than the real thing. Ain't That a Lot of Love, by contrast, is driven by a hard electric guitar sound and a relentless bass part that sounds like a more urgent version of the bassline from the Spencer Davis Group's Gimme Some Lovin'. This LP reissue includes a trio of bonus tracks: a faster-paced rendition of The Cuckoo with a more prominent lead guitar, the slow electric lament New Stranger Blues featuring some good mandolin-style playing on the guitar, and the rocking instrumental Things Are Gonna Work Out Fine, which is a killer showcase for Davis' lead electric guitar and Taj Mahal's virtuosity on the harmonica.
    1. Good Morning Miss Brown (Album Version)
    2. Corinna
    3. I Ain't Gonna Let Nobody Steal My Jellyroll (Album Version)
    4. Going up to the Country, Paint My Mailbox Blue
    5. Done Changed My Way of Living
    6. She Caught the Katy and Left Me a Mule to Ride
    7. The Cuckoo (Album Version)
    8. You Don't Miss Your Water ('Til Your Well Runs Dry) (Album Version)
    9. Ain't That a Lot of Love
    Taj Mahal
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Super Super Blues Band The Super Super Blues Band Quick View

    $25.99
    Buy Now
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    The Super Super Blues Band

    Limited Edition Pressing On Light Orange Opaque Vinyl


    Super Super Blues Band starter out merely as Super Blues, a conglomerate of blues pillars Bo Diddley, Muddy Waters and Little Walter. When Little Walter bowed out and was replaced by Howlin' Wolf, they rightfully threw another Super on the name, and went on to release this burning, irreverent and even sometimes hilarious set of drunken, wild-eyed electric blues. Long form jams roll on in a trance as the trio of blues legends flex egos, talking shit to each other, trading off leads and ducking blasts of unexpected wah-wah guitar lines. Songs are peppered with an incredible level of banter between the trio of bandleaders that predicts the call and response sing-talking of early hip hop, laced with random screams in the background that teeter between celebration and danger.


    That these three ever got into the same room together is a miracle, and that they produced something so intense, energetic and weird is another almost unbelievable feat. The record is special enough as a stand-alone document of this meeting/melting of the minds before you find out the backing band consists of Hubert Sumlin, Otis Spann, and freaking Buddy Guy. Lordy. Might have needed one more Super in there.

    1. Long Distance Call
    2. Medley: Ooh Baby & Wrecking My Love Life
    3. Sweet Little Angel
    4. Spoonful
    5. Diddley Daddy
    6. The Red Rooster
    7. Goin' Down Slow
    Howlin' Wolf / Muddy Waters / Bo Diddley
    $25.99
    Colored Vinyl LP - Sealed Buy Now
  • Portraits In Blues Volume 3 (Pure Pleasure) Portraits In Blues Volume 3 (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Portraits In Blues Volume 3 (Pure Pleasure)

    In October 1963, Spann toured Europe as part of that year's American Folk Blues Festival and recorded some superb solo, contemplative blues in a broken, husky voice for Storyville Records in Copenhagen.




    Musicians:



    • Otis Spann (piano, vocal)

    • Lonnie Johnson (guitar)

    • Little Willie Smith (drums)



    Recording: October 1963 in Copenhagen, Denmark



    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. Good Morning, Mr. Blues
    2. Love, Love, Love
    3. Riverside Blues
    4. Must Have Been the Devil
    5. Jelly Roll Baker
    6. Trouble in Mind Side
    7. Worried Life Blues
    8. T. B. Blues
    9. Spann's Boogie
    10. Don't You Know
    11. Goin' Down Slow
    Otis Spann
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pleading The Blues (Pure Pleasure) Pleading The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Pleading The Blues (Pure Pleasure)

    The year was 1959. The occasion was a 'Battle of the Blues' at the Blue Flame Club in Chicago. A young harmonica player Junior Wells - who got his start as Little Walter Jacobs' replacement in Muddy Waters' band back in '52 - probably didn't imagine he would come in second. After all, he had already put down both Otis Rush and Magic Sam. Still to come, though, was this fleet-fingered, skinny young Louisiana cat - Buddy Guy, who came first. As the climax to his blistering solo, Guy tossed his guitar in the air, then caught it by the neck one handed. As it slid through his fingers, Buddy created this high levee moan. Crowd gone wild. It was the beginning of a beautiful friendship.



    That chance meeting set in motion more than a relationship. This early, and profound, respect translated into a partnership that somehow superceded Wells' early work with one of the most important people in the blues. Wells and Guy would produce some of the most unabashed and deeply cool West Side blues recordings.
    This album recorded for the French Isabel label, in 1979 is a companion piece to Guy's "Blues Giant" recording of the same year. There's the gentle blues shuffle of "It Hurts Me Too", made famous by Elmore James. There's the electric-blues muscle of the title tune. Finally, as a bonus track, there's the funky, clearly James Brown-influenced "I Smell Something". This is a fine recording - and certainly one of Junior's best little-known releases.



    Musicians:



    • Buddy Guy (guitar, vocals)

    • Phil Guy (guitar)

    • J. Williams (bass)

    • Ray Allison (drums)




    Recording: October 1979 at Condorcet Studio, Toulouse (France), by Francois Porterie

    Production: Didier Tricard




    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. Pleading The Blues
    2. It Hurts Me Too
    3. Cut Out The Lights
    4. Just For My Baby
    5. Quit Teasing My Baby
    6. I'll Take Care Of You
    7. Take Your Time Baby
    Junior Wells
    $34.99
    180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
  • Portraits In Blues Volume 6 Portraits In Blues Volume 6 Quick View

    $34.99
    Buy Now
    x

    Portraits In Blues Volume 6

    Blues guitar simply would not have developed in the manner that it did if not for the prolific brilliance of Lonnie Johnson. He was there to help define the instrument's future within the genre and the genre's future itself at the very beginning, his melodic conception so far advanced from most of his pre-war peers as to inhabit a plane all his own. For more than 40 years, Johnson played blues, jazz, and ballads his way; he was a true blues originator whose influence hung heavy on a host of subsequent blues immortals.



    Johnson's influence was massive, touching everyone from Robert Johnson, whose seminal approach bore strong resemblance to that of his older namesake, to Elvis Presley and Jerry Lee Lewis, who each paid heartfelt tribute with versions of Tomorrow Night while at Sun.




    Musicians:



    • Lonnie Johnson (vocals, guitar)

    • Otis Spann (piano)



    Recording: October 1963 in Copenhagen, Denmark



    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. Tomorrow Night
    2. Clementine Blues
    3. See See Rider
    4. Raining On The Cold, Cold Ground
    5. Jelly Jelly Side
    6. Too Late To Cry
    7. Call Me Darling
    8. Why Did You Go
    9. Swingin' With Lonnie
    10. Please Help Me
    Lonnie Johnson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Natch'l Blues (Pure Pleasure) The Natch'l Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Natch'l Blues (Pure Pleasure)

    Taj Mahal's second album, recorded in the spring and fall of 1968, opens with more stripped-down Delta-style blues in the manner of his debut, but adds a little more amplification (partly courtesy of Al Kooper on organ) before moving into wholly bigger sound on numbers like She Caught The Katy And Left Me A Mule To Ride and The Cuckoo -- the latter, in particular, features crunchy electric and acoustic guitars and Gary Gilmore playing his bass almost like a lead instrument, like a bluesman's answer to John Entwistle. Most notable, however, may be the two original closing numbers, You Don't Miss Your Water ('Til Your Well Runs Dry) and Ain't That A Lot Of Love, which offer Taj Mahal working in the realm of soul and treading onto Otis Redding territory. This is particularly notable on You Don't Miss Your Water, which achieves the intensity of a gospel performance and comes complete with a Stax/Volt-style horn arrangement by Jesse Ed Davis that sounds more like the real thing than the real thing. Ain't That a Lot of Love, by contrast, is driven by a hard electric guitar sound and a relentless bass part that sounds like a more urgent version of the bassline from the Spencer Davis Group's Gimme Some Lovin'. This LP reissue includes a trio of bonus tracks: a faster-paced rendition of The Cuckoo with a more prominent lead guitar, the slow electric lament New Stranger Blues featuring some good mandolin-style playing on the guitar, and the rocking instrumental Things Are Gonna Work Out Fine, which is a killer showcase for Davis' lead electric guitar and Taj Mahal's virtuosity on the harmonica.




    Musicians:



    • Taj Mahal (harmonica, guitar)

    • Jesse Edwin (guitar, piano, arranger)

    • Al Kooper (organ, piano)

    • Gary Gilmore (bass)

    • Chuck Blackwell, Earl Palmer (drums)




    Recording: May & October 1968

    Production: David Rubinson




    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. Good Morning Miss Brown Corinna
    2. I Ain't Gonna Let Nobody Steal My Jellyroll
    3. Going Up To The Country, Paint My Mailbox Blue
    4. Done Changed My Way Of Living
    5. The Cuckoo (alternative version)
    6. She Caught The Katy And Left Me A Mule To Ride
    7. The Cuckoo
    8. You Don't Miss Your Water ('Til Your Well Runs Dry)
    9. A Lot Of Love
    10. New Stranger Blues
    11. Things Are Gonna Work Out Fine
    Taj Mahal
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Man And The Blues (Pre-Order) A Man And The Blues (Pre-Order) Quick View

    $24.99
    Buy Now
    x

    A Man And The Blues (Pre-Order)

    Release Date: June 29, 2018*


    Anniversary Edition Remastered From The Original Analog Tapes By Ron Mcmaster At Capitol Mastering


    Pressed On Audiophile-Quality, 180-Gram Vinyl


    Housed In An Old-School Style, Tip-On Jacket


    2018 marks the 50th anniversary of Buddy Guy's influential second album, A Man and the Blues. Guy's legendary electric guitar licks and passionate vocals are on display in this recording, with a tight backing band that includes the great Otis Spann on piano and a snappy sax trio. Featuring a handful of original tracks, a surprising and highly original rendition of "Mary Had a Little Lamb", plus classics like "Money (That's What I Want)", this album bridges Chicago blues with R&B. Remastered from the original analog tapes by Capitol Mastering's Ron McMaster, this special anniversary edition of the album is pressed on 180-gram vinyl and housed in an old-school-style, tip-on jacket.


    *Please note that release dates are subject to change.

    1. A Man And The Blues
    2. I Can't Quit The Blues
    3. Money - That's What I Want
    4. One Room Country Shack
    5. Mary Had A Little Lamb
    6. Just Playing My Axe
    7. Sweet Little Angel
    8. Worry, Worry
    9. Jam On A Monday Morning
    Buddy Guy
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Blues Jam At Chess (Pure Pleasure) Blues Jam At Chess (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Blues Jam At Chess (Pure Pleasure)

    No introduction needed for this fabulous release. Arguably one of the greatest blues recordings laid down in the last 40 years! Just checking out the personnel above says it all. Originally released on Mike Vernon's highly collectable and revered Blue Horizon label in 1969, this pressing will become a must for all serious collectors and muso's alike!




    Musicians:



    • Fleetwood Mac

    • Otis Spann

    • Willie Dixon

    • Shakey Horton

    • J.T. Brown

    • Guitar Buddy

    • Honey Boy Edwards

    • S.P. Leary




    Recording: January 1969 at Chess Ter-Mar Studios, Chicago

    Production: Mike Vernon and Marshall Chess



    Format: 2LPs 33rpm / gatefold sleeve



    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.



    Side One

    1. Watch Out

    2. South Indiana - Take 1

    3. South Indiana - Take 2

    4. Last Night

    5. Red Hot Jam



    Side Two

    6. I'm Worried

    7. I Held My Baby Last Night

    8. Madison Blues

    9. I Can't Hold

    10. I Need Your Love

    11. I Got the Blues



    Side Three

    12. World's in a Tangle

    13. Talk with You

    14. Like it This Way

    15. Someday Soon Baby

    16. Hungry Country Girl



    Side Four

    17. Black Jack Blues

    18. Everyday I Have the Blues

    19. Rockin' Boogie

    20. Sugar Mama

    21. Homework

    Fleetwood Mac
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Soul Brothers Soul Brothers Quick View

    $26.99
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    Soul Brothers

    Johnny Rawls and Otis Clay have over 10 Blues Music Award nominations between them. Otis was inducted into the Blues Hall of Fame at the 2013 Blues Music Awards. Johnny has had three of his albums named Living Blues Magazine Critics' Choice Southern Soul Album of the Year. Recorded at Sonic Ranch, the duo are backed by the acclaimed 8 piece Catfood Studio group with the addition of Southern California percussionist Jon Olazabal and background vocals by the Iveys. Multi-Grammy winner Jim Gaines mixed and 2012 Grammy winner Brad Blackwood mastered the album.
    1. Only You Know And I Know
    2. Momma Didn't Raise No Fool
    3. Voodoo Queen
    4. What Becomes Of The Brokenhearted
    5. Living On Borrowed Time
    6. Turn Back The Hands Of Time
    7. Road Dog
    8. Poor Little Rich Girl
    9. Hallelujah Lord
    10. Waiting For Dreams
    Otis Clay & Johnny Rawls
    $26.99
    Vinyl LP - Sealed Buy Now
  • Dedicated Dedicated Quick View

    $19.99
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    Dedicated

    An All Star Tribute To Doo Wop Legends The 5 Royales


    As the original guitarist of Stax Records house band Booker T. & The M.G.'s, Steve Cropper has had a storied career. Voted one of Rolling Stone's '100 Greatest Guitarists Of All Time', Cropper has worked with blues legends such as Otis Redding, Wilson Pickett and the Blues Brothers Band.


    His debut album on 429 Records is a tribute to R&B and doo wop act, The 5 Royales. The collection features reworked versions of the group's most enduring songs, and includes duets with Lucinda Williams, Steve Winwood, BB King, Bettye LeVette, John Popper, Sharon Jones, Brian May and others.

    1. 30 Second Lover (ft. Steve Winwood)

    2. Don't Be Ashamed (ft. Bettye LaVette & Willie Jones)

    3. Baby Don't Do It (ft. BB King & Shemekia Copeland)
    4. Dedicated to the One I Love (ft. Lucinda Williams & Dan Penn)

    5. My Sugar Sugar (ft. John Popper)

    6. Right Around the Cornet (ft. Delbert McClinton)

    7. Help Me Somebody (instrumental)
    8. I Do (ft. Brian May)

    9. Messin' Up (ft. Sharon Jones)

    10. Say It (ft. Bettye LaVette)

    11. Slummer the Slum (ft. Buddy Miller)

    12. Someone Made You for Me (ft. Dan Penn)

    13. Think (instrumental)
    14. Come On & Save Me (ft. Dylan LeBlanc & Sharon Jones)

    15. When I Get Like This (ft. Lucinda Williams
    Steve Cropper
    $19.99
    Vinyl LP - Sealed Buy Now
  • Mourning In The Morning Mourning In The Morning Quick View

    $24.99
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    Mourning In The Morning

    For Mourning In The Morning, his 1969 album debut on Atlantic Records, southpaw blues guitar legend Otis Rush journeyed from his Chicago home to Fame Recording Studios in Muscle Shoals, Alabamaa burg best known for seminal soul platters. Backed by a horn-powered band that included a young Duane Allman on rhythm guitar, Otis slashing axe and anguished vocals glowed on the tortured Youre Killing My Love, remakes of his Cobra Records classics My Love Will Never Die and It Takes Time, and a stunning revival of B.B. Kings Gamblers Blues. Half the set consisted of new compositions from producers Mike Bloomfield and Nick Gravenites, and Rushs mile-wide string bending on a shimmering instrumental version of Aretha Franklins Baby I Love You is utterly breathtaking.

    1. Me
    2. Working Man
    3. You're Killing My Love
    4. Feel So Bad
    5. Gambler's Blues
    6. Baby, I Love You
    7. My Old Lady
    8. My Love Will Never Die
    9. Reap What You Sow
    10. It Takes Time
    11. Can't Wait No Longer
    Otis Rush
    $24.99
    Vinyl LP - Sealed Buy Now
  • Chicago/The Blues/Today! (Pure Pleasure) (Awaiting Repress) Chicago/The Blues/Today! (Pure Pleasure) (Awaiting Repress) Quick View

    $99.99
    Buy Now
    x

    Chicago/The Blues/Today! (Pure Pleasure) (Awaiting Repress)

    In early 1966, blues history was made with the issuance of a three-volume set of new recordings produced by blues historian Samuel Charters. This series was known as Chicago/The Blues/Today! and the release sent shock waves through the world of rock & roll. Every artist on the three volumes had recorded before (some, like Otis Rush and Junior Wells, had actually seen small hits on the R&B charts), but these recordings were largely their introduction to a newer -- and predominately white -- album-oriented audience. These recordings have stayed in print and have been reasonably good sellers over the years since their original release, all coming out on compact disc. This new packaging puts all three volumes together, but with no bonus tracks, as no extras were recorded for these sessions.



    A plus in the new packaging, is that it features a nice booklet with detailed, updated notes from Charters, a nice appreciation from Ed Ward, and absolutely eye-boggling session photos taken by Charters' wife, Ann. Even if you still have the original vinyl or CDs, this is one of the times when it would be best to spend the dough and add this one to your collection, because blues records seldom come as important, innovative, or just plain pleasurable to listen to as this set. File under 'essential'.




    Musicians:



    • J.B. Hutto

    • Junior Wells

    • Otis Spann

    • Otis Rush

    • Jimmy Cotton

    • Johnny Shines Blues Band

    • Johnny Young's South Side Blues Band

    • Homesick James

    • and Big Walter Horton's Blues Harp Band with Memphis Charlie Musselwhite




    Recording: 1965 at RCA Studios, Chicago

    Production: Samuel Chartersdeutsch



    Format: 3LPs 33rpm / Box, booklet



    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. Help Me (A Tribute to Sonny Boy Williamson)
    2. It Hurts Me Too
    3. Messin' with the Kid
    4. Vietcong Blues
    5. All Night Long
    6. Going Ahead
    7. Please Help
    8. Too Much Alcohol
    9. Married Woman Blues
    10. That's the Truth
    11. Marie
    12. Burning Fire
    13. S P Blues
    14. Sometimes I Wonder
    15. Spann's Stomp


    LP2
    1. Cotton Crop Blues
    2. The Blues Keep Falling
    3. Love Me or Leave
    4. Rocket 88
    5. West Helena Blues
    6. Everything's Gonna Turn Out Allright
    7. It's a Mean Old World
    8. I Can't Quit You Baby
    9. Rock
    10. It's My Own Fault
    11. Dust my Broom
    12. Somebody Been Talkin'
    13. Set a Date
    14. So Mean to Me


    LP3
    1. One More Time
    2. Kid Man Blues
    3. My Black Mare
    4. Stealin' Back
    5. I Got Mine In Time
    6. Tighten Up On It
    7. Dynaflow Blues
    8. Black Spider Blues
    9. Layin' Down My Shoes and Clothes
    10. If I Get Lucky
    11. Rockin' My Boogie
    12. Mr. Boweevil
    13. Hey Hey

    Various Artists
    $99.99
    180 Gram Audiophile Virgin Vinyl - 3 LPs Sealed AWAITING REPRESS Buy Now
  • Right Place Wrong Time (Pure Pleasure) (Awaiting Repress) Right Place Wrong Time (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Right Place Wrong Time (Pure Pleasure) (Awaiting Repress)

    This recording session was not released until five years after it was done. One can imagine the tapes practically smoldering in their cases, the music is so hot. Sorry, there is nothing 'wrong' about this blues album at all. Otis Rush was a great blues expander, a man whose guitar playing was in every molecule pure blues. On his solos on this album he strips the idea of the blues down to very simple gestures (i.e., a bent string, but bent in such a subtle way that the seasoned blues listener will be surprised). As a performer he opens up the blues form with his chord progressions and use of horn sections, the latter instrumentation again added in a wonderfully spare manner, bringing to mind a master painter working certain parts of a canvas in order to bring in more light. Blues fans who get tired of the same old song structures, riff, and rhythms should be delighted with most of Rush's output, and this one is among his best. Sometimes all he does to make a song sound unlike any blues one has ever heard is just a small thing -- a chord moving up when one expects it go down, for example. The production is particularly skilled, and the fact that Capitol Records turned this session down after originally producing it can only be reasonably accepted when combined with other decisions this label has made, such as turning down the Doors because singer Jim Morrison had »no charisma«. This record doesn't mess around at all. The first track takes off like the man they fire out of a cannon at the end of a circus, a perceived climax swaggeringly representing just the beginning, after all. Some of the finest tracks are the ones that go longer than five minutes, allowing the players room to stretch. And that means more of Rush's great guitar playing, of course. For the final track he leaves the blues behind completely for a moving cover version of Rainy Night in Georgia by Tony Joe White.


    Musicians:



    • Otis Rush (vocal, guitar)

    • Doug Killmer, John Kahn (bass)

    • Hart McNee (alto saxophone)

    • John Wilmeth (trumpet)

    • Ron Stallings (tenor saxophone)

    • Fred Burton (guitar)

    • Mark Naftalin (piano)

    • Ira Kamin (organ)

    • Bob Jones (drums)




    Recording: February 1971 at Wally Heider's Studio, San Francisco

    Production: Nick Gravenites and Otis Rush



    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. Tore Up
    2. Right Place, Wrong Time
    3. Easy Go
    4. Three Times A Fool
    5. Rainy Night In Georgia
    6. Natural Ball
    7. I Wonder Why
    8. Your Turn To Cry
    9. Lonely Man
    10. Take A Look Behind
    Otis Rush
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Seismic Seismic Quick View

    $23.99
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    Seismic

    A good two decades after forming, Toronto ON's Sons of Otis have evolved but stayed true to their roots by keeping things simple, engaging and absolutely bone-crushing. Seismic is an album of solid, bombastic steamroller rock'n'roll - slow, but deadly to anything in its path. It's like Negative Reaction had a kid with Electric Wizard that was all heavy riffs and psychedelic psychosis, ready to rumble at the ring of the bell. Things even get Blue Cheer-y on the stomping, fuzz-laden rocker, "Never in My Life," and a bit of Led Zeppelin blues comes out in the closing "Cosmic Jam." Crack 'em open, light 'em up and brace yourself for the earthquake, because it's coming.


    -Chuck Foster

    April 2013 - Issue #72 - The Big Takeover

    1. Far From Fine
    2. Lessons
    3. Alone
    4. Guilt
    5. PK
    6. Never In My Life
    7. Cosmic Jam
    Sons of Otis
    $23.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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