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  • A Man And The Blues A Man And The Blues Quick View

    $24.99
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    A Man And The Blues

    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.

    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 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
  • Otis Spann Is The Blues (Pure Pleasure) Otis Spann Is The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    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
  • 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
  • The Biggest Thing Since Colossus (Pure Pleasure) The Biggest Thing Since Colossus (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Biggest Thing Since Colossus (Pure Pleasure)

    During the sixties, there was the British blues boom, containing many blues bands, one of the finest being Peter Green's Fleetwood Mac. In January of 1969 Fleetwood Mac were at Chess Studios, Chicago, jamming with the likes of Willie Dixon, S.P.Leary, Honeyboy Edwards, J.T.Brown and longtime Muddy Waters pianist Otis Spann. The end result of those sessions was the classic double album "Blues Jam At Chess".
    The rapport between the Mac and Otis Spann was such that they recorded another whole album together, " Colossus".



    Otis Spann is his usual emotive and exciting self, feeling totally relaxed alongside his regular drummer, S.P.Leary. This coupled with Peter Green's guitar playing, which is probably at it's peak on these recordings, makes for a blues album of substance.
    "The Biggest Thing Since Colossus" is probably one of the most underrated blues albums. Long out of print on vinyl and now re-mastered from the original 1/4-inch tapes this album is a must buy for all.




    Musicians:



    • Otis Spann (vocal, piano)

    • Peter Green (guitar)

    • Danny Kirwen (guitar)

    • John McVie (bass)

    • S. P. Leary (drums)




    Recording: January 1969 at Tempo Sound Studios, New York City



    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. My Love Depends on You
    2. Walkin'
    3. It Was a Big Thing
    4. Temperature Is Rising (100. 2 F)
    5. Dig You
    6. No More Doggin'
    7. Ain't Nobody's Business
    8. She Needs Some Loving

    9. I Need Some Air
    10. Someday Baby
    Otis Spann
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • At Newport 1960 At Newport 1960 Quick View

    $27.99
    Buy Now
    x

    At Newport 1960

    Ranked 348/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Import


    At Newport 1960 is a live album by Muddy Waters performed at Newport Jazz Festival in Newport, Rhode Island with his backing band, consisting of Otis Spann (piano, vocals), Pat Hare (guitar), James Cotton (harmonica), Andrew Stevens (bass) and Francis Clay (drums), in July 3. Water's performances across Europe in the 50s and at Newport helped popularize blues to broader audience, especially to whites. The album is often said to be one of the first blues live albums.


    The album was released in the US on November 15 that year, featuring eight songs, from I Got My Brand On You to Goodbye Newport Blues. Although At Newport 1960 never charted, it received critical acclaim and was influential for future bands.

    1. I Got My Brand On You
    2. (I'm Your) Hoochie Coochie Man
    3. Baby, Please Don't Go
    4. Soon Forgotten
    5. Tiger In Your Tank
    6. I Feel So Good
    7. I've Got My Mojo Working (Part 1)
    8. I've Got My Mojo Working (Part 2)
    9. Goodbye Newport Blues
    Muddy Waters
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Last Night's Dream (Pure Pleasure) Last Night's Dream (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Last Night's Dream (Pure Pleasure)

    It's no wonder that this album, cut in 1968 with British blues maven Mike Vernon at the helm, works so well. When you team a rejuvenated Shines with his longtime compadres Horton, Spann, bassist Willie Dixon, and drummer Clifton James, a little blues history was bound to be made.



    Johnny Shines is the ultimate Delta bluesman, combining the classic styles he learned as a youth into a very personal style, fluent, creative and forcefully talented as both a singer and guitarist - Jim DeKoester



    He rates amongst the most important and individualistic blues stylists of the post-war years - Pete Welding



    A forceful explosive blues singer whose strong, vibrato laden voice possesses a range and sensitivity which is rivalled by few other bluesmen - Peter Guralnick




    Musicians:



    • Johnny Shines (vocal, guitar)

    • Otis Spann (piano)

    • Big Walter Horton (harmonica)

    • Willie Dixon (bass)

    • Clifton James (drums)




    Recording: June 1968 in Chicago by Malcolm Chisholm

    Production: Mike Vernon



    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. Solid Gold
    2. From Dark 'Til Dawn
    3. I Will Be Kind to You
    4. Last Night's Dream
    5. Baby Don't You Think I Know

    6. Pipeline Blues
    7. I Don't Know
    8. Black Panther
    9. I Had a Good Home
    10. Mean Fisherman
    Johnny Shines
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pinetop Perkins Pinetop Perkins Quick View

    $19.99
    Buy Now
    x

    Pinetop Perkins

    Perkins began his blues existence primarily as a guitarist, but a mid-40's encounter with an outraged knife-toting chorus girl at a nightspot left him with severed tendons in his left arm. That dashed his guitar aspirations, but Joe Willie Perkins came back strong from the injury, concentrating solely on piano. He traveled to Helena with Robert Nighthawk in 1943, playing with the elegant slide guitarist on his radio program. Perkins soon switched over to rival Sonny Boy Williamson's beloved King Biscuit Time radio show and remained for an extended period.


    Perkins accompanied Nighthawk on a 1950 session for the Chess brothers that produced Jackson Town Gal, but Chicago couldn't hold him at the time. He hit the road, pausing at Sam Phillips's studios in Memphis long enough for Perkins to wax his first version of Pinetop's Boogie Woogie in 1953, then headed back to the windy city in 1969 when Otis Spann split from Muddy Waters. That is when the stage was set for Pinetop Perkins's reemergence. It was only then that his rolling mastery of the ivories began to assume outsized proportions.


    After joining Muddy Waters, Pinetop made up for precious lost time in the studio. Discs for Antone's, Omega (Portrait of a Delta Bluesman, a solo outing that includes fascinating interview segments), Deluge, Earwig, and several other firms ensure that his boogie legacy won't be forgotten in decades to come.


    Pinetop at a young 87 years old admits he wasn't the originator of the seminal piano piece Pinetop's Boogie Woogie, but it's a safe bet that more people associate it nowadays with Pinetop than with the man who devised it in the first place, Clarence Pinetop Smith. Pinetop plays 6 songs on a Steinway Concert Grand 9' model D with Jimmy D. Lane on guitar.


    This title is not eligible for discount.

    1. Pinetop Shuffle
    2. Down in Mississippi
    3. They Call Me The Grindin Man
    4. Look Over Yonders Wall
    5. How Long Blues
    6. Just A LIttle Bit
    Pinetop Perkins
    $19.99
    Vinyl LP D2D -Sealed Direct to Disc (D2D) 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
  • Howlin' Wolf Howlin' Wolf Quick View

    $29.99
    Buy Now
    x

    Howlin' Wolf


    The Howlin' Wolf/Friday Music 180 Gram Audiophile Series Continues!


    His Self Titled "Rockin' Chair" Masterwork Album Is Back!


    First Time Official Audiophile Vinyl - Stunning First Time Gatefold Cover With Rare Photos


    Mastered From The Authorized Chess Records Mono Tapes By Joe Reagoso


    Howlin' Wolf (Chester Burnett) will always be known as one of the founding fathers of modern day blues. His
    legendary style of playing guitar, his unique vocal and stage prowess and of course his stellar list of classic Chicago
    style blues tunes have all gone on to influence generations upon generations of rock and blues performers worldwide.


    With almost six decades in the music business, this Mississippi native began his career cutting early sides for
    Sun before landing in Chicago in the early fifties, where he began a long climb to the top of the blues world on the
    Chess label.


    In 1962, he released his stellar self-titled masterpiece Howlin' Wolf. Featuring an all-star band with the likes of
    the legendary Jimmy Rogers and Buddy Guy on guitar, the masterful Otis Spann on piano, and Willie Dixon on bass,
    Howlin' Wolf a/k/a The Rockin' Chair Album would go on to become one of the most revered albums in modern day
    Chicago blues history.


    Kicking things off with one of his finest smash hits Shake for Me, The Wolf continues to rock the listener through
    a treasure trove of 11 more blues standards which made this one of the most important blues LP's of all time. The
    album features classic gems like Spoonful, Back Door Man, Wang Dang Doodle and The Red Rooster. All of these
    blues rockers became truly a blueprint for a ton of rock and blues giants for years like Cream, The Doors and The
    Rolling Stones.


    Friday Music is no stranger to the music of the legendary Chess Records arsenal of fine recordings. That is why
    we are so very proud to announce our first installment in The Howlin' Wolf/Friday Music 180 Gram Audiophile Vinyl
    Series with his legendary masterpiece Howlin' Wolf.


    Mastered impeccably by Joe Reagoso (Muddy Waters, John Lee Hooker, Chuck Berry) for the first time on audiophile vinyl from the Chess monophonic tapes, Howlin' Wolf will truly become one of the most important and historical 180 Gram Audiophile Vinyl titles to be released in quite some time.


    To further celebrate this first time authorized audiophile vinyl LP, we enhance this limited edition masterwork
    with a stunning gatefold cover featuring the original artwork elements as well as rare inside gatefold photos of the
    man who helped fuse blues and rock music for millions of music lovers across the globe.


    Howlin' Wolf Howlin' Wolf Impeccable monophonic sound from the AUTHORIZED Chess Records tapes!


    Spoonful

    1. Shake for Me
    2. The Red Rooster
    3. You'll Be Mine
    4. Who's Been Talkin'
    5. Wang Dang Doodle
    6. Little Baby
    7. Spoonful
    8. Going Down Slow
    9. Down in the Bottom
    10. Back Door Man
    11. Howlin' for My Baby
    12. Tell Me
    Howlin' Wolf
    $29.99
    180 Gram Audiophile Virgin Vinyl LP 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
  • 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
  • Muddy Waters At Newport 1960 Muddy Waters At Newport 1960 Quick View

    $29.99
    Buy Now
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    Muddy Waters At Newport 1960


    The Muddy Waters/Friday Music 180 Gram Audiophile Series Continues!


    Muddy Waters Masterwork Live Album! In Stereo!


    First Time Official Audiophile Vinyl - Stunning First Time Gatefold Cover


    Mastered From The Authorized Chess Records Stereo Tapes By Joe Reagoso


    Muddy Waters (McKinley Morganfield) will always be known as one of the founding fathers of modern day blues. His legendary style of playing guitar, his unique vocal prowess and of course his stellar list of classic Chicago and Mississippi Delta blues tunes
    have all gone on to influence generations upon generations of rock and blues performers worldwide.


    With almost six decades in the music business, this Mississippi native began his career cutting early sides for defunct labels
    before landing in Chicago in the early forties, where he began a long climb to the top of the blues world, later cutting a series of
    hit sessions for Aristocrat which became Chess Records. Phil and Leonard Chess knew they had a kingpin on their hands when
    Muddy started his endless stream of blues smashes. The label honored the man with his first live album simply titled Muddy Waters
    At Newport 1960. Recorded at the Newport Jazz Festival, Muddy drove the crowd into a frenzy with his famous guitar licks and his
    Delta growl, truly a thrilling presence on the stage.


    Featuring an all-star band with the likes of the legendary James Cotton on harp and the masterful Otis Spann on piano, Muddy
    Waters At Newport 1960 would go on to become one of the most revered albums in modern day Chicago blues history.


    Kicking things off with one of his finest smash hits I Got My Brand On You, Muddy continues to rock the crowd through a
    treasure trove of 8 more blues champions which made this one of the most important live recordings of all time. The album features
    classic gems like his classics Got My Mojo Working, Baby Please Don't Go, and I'm Your Hoochie Coochie Man. Noted for his stellar
    guitar work, pretty much introducing his Chicago laden blues style to a whole new generation of guitar players, Muddy Waters At
    Newport 1960 became truly a primer for a ton of rock and blues guitarists for years like Eric Clapton, Johnny Winter, Canned Heat
    and The Rolling Stones. Muddy broke down barriers for millions of music fans worldwide to enjoy rock and blues, making him along
    with John Lee Hooker, Elmore James and Robert Johnson one of the first pioneers of the blues and rock genre.


    Friday Music is no stranger to the music of the legendary Chess Records arsenal of fine recordings. That is why we are so
    very proud to announce another installment in The Muddy Waters/Friday Music 180 Gram Audiophile Vinyl Series with his legendary
    masterpiece Muddy Waters At Newport 1960.


    Mastered impeccably by Joe Reagoso (Muddy Waters, John Lee Hooker, Chuck Berry) for the first time on audiophile vinyl from
    the Chess stereophonic tapes, Muddy Waters At Newport 1960 will truly become one of the most important and historical 180 Gram
    Audiophile Vinyl titles to be released in quite some time.


    To further celebrate this first time authorized stereophonic audiophile vinyl LP, we enhance this limited edition masterwork
    with a stunning gatefold cover featuring the original artwork elements as well as a rare inside gatefold photo of the man who helped
    fuse blues and rock music for millions of music lovers across the globe.


    Muddy Waters Muddy Waters At Newport 1960 Impeccable stereophonic sound from the AUTHORIZED Chess Records
    tapes! Baby, Please Don't Go

    1. I Got My Brand On You
    2. I'm Your Hoochie Coochie Man
    3. Baby, Please Don't Go
    4. Soon Forgotten
    5. Tiger In Your Tank
    6. I Feel So Good
    7. Got My Mojo Working
    8. Got My Mojo Working, Part 2
    9. Goodbye Newport Blues
    Muddy Waters
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • The Super Super Blues Band The Super Super Blues Band Quick View

    $25.99
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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
  • Side By Side Side By Side Quick View

    $49.99
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    Side By Side

    Mastered by George Marino at Sterling Sound


    ...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen! Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011


    When Norman Granz signed Johnny Hodges to a recording contract in 1951, it was a prelude to Hodges' leaving the Duke Ellington orchestra to lead his own small band. Four years later Hodges was back in the Ellington fold, but he continued to record for Granz under his own name. Side By Side, recorded in 1958 and 1959, is a throwback to the small-group sessions Ellington recorded with Hodges and other members of his orchestra in the Thirties, but with a couple of important differences: the absence of Ellington himself on several cuts (with Billy Strayhorn taking over on piano), and the presence of such notable non-Ellingtonians as drummer Jo Jones and trumpeters Roy Eldridge and Harry Sweets Edison.


    Originally released in 1959.


    Duke Ellington, piano

    Johnny Hodges, alto saxophone

    Lawrence Brown, trombone

    Harry Sweets Edison, trumpet

    Roy Eldridge, trumpet

    Al Hall, bass

    Johnny Hodges, alto saxophone

    Jo Jones, drums

    Wendell Marshall, bass

    Les Spann, flute, guitar

    Billy Strayhorn, piano

    Ben Webster, tenor saxophone


    This title is not eligible for discount.

    1. Stompy Jones
    2. Just Squeeze Me
    3. Big Shoe
    4. Going Up
    5. Just a Memory
    6. Let's Fall in Love
    7. Ruint
    8. Bend One
    9. You Need to Rock
    Duke Ellington & Johnny Hodges
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
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