{"title":"Just Added","description":"","products":[{"product_id":"if-the-evening-were-dawn","title":"If The Evening Were Dawn","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Lx37Ghl-cow\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eOn March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.\u003c\/p\u003e\n\u003cp\u003eBy coincidence–or perhaps not–Jim’s 1969 debut album was titled \u003cem\u003eU.F.O.\u003c\/em\u003e Released in tiny numbers on a private label, it too was truly lost until Light in the Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…\u003c\/p\u003e\n\u003cp\u003eLight in the Attic’s reissue of \u003cem\u003eU.F.O.\u003c\/em\u003e introduced the world to an overlooked masterwork and won Sullivan, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish, first-time release of a previously unheard 1969 studio session.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIf The Evening Were Dawn\u003c\/em\u003e contains 10 acoustic solo recordings that have never seen the light of day. Whereas \u003cem\u003eU.F.O.\u003c\/em\u003e was bolstered by legendary sessioneers The Wrecking Crew, this is Jim Sullivan on his own terms, stripped down and soulful as ever. Recorded at a Los Angeles studio circa 1969, the session contains acoustic versions of a handful of \u003cem\u003eU.F.O.\u003c\/em\u003e tracks alongside a half dozen previously unheard songs. 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King’s driver got him an in, and The Bar-Kays’ former costume maker Libra, some had tangential connections to the city’s deep-rooted music scene that gave them a head start on their hopeful path to fame. Over a decade in the making, \u003cem\u003eStone Crush\u003c\/em\u003e is an expertly curated compilation of these home-grown slices of Memphis stylings, from roller skate boogie to private press soul to bedroom funk—rare sides whose original copies are considered holy grails by DJs and collectors all over. This collection does more than transport us to a time gone by. 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But many musicians, including Frank Zappa and Kurt Cobain, cited the Shaggs as a major influence. Heck, Zappa exclaimed they were “better than the Beatles!” NRBQ’s Terry Adams and Keith Spring were such fans, and after reissuing Philosophy in 1980 on their own Red Rooster label, Adams began work on a collection of recordings the Wiggin sisters had made in the years following their debut. The result was \u003cem\u003eShaggs’ Own Thing\u003c\/em\u003e – a beguiling follow-up that reveals a more developed and mature sound while still retaining all of their homespun uniqueness.\u003c\/p\u003e\n\u003cp\u003e“The songs were better and they were recorded better, so it naturally made a better album,” Dot Wiggin said shortly after the original release of Shaggs’ Own Thing in 1982. It’s a “natural, organic extension” of the utterly original sound that The Shaggs had created, intentionally or not, with Philosophy Of The World, as John DeAngelis writes in the new liner notes. 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He takes Greyhound bus trips to Los Angeles to pitch songs, only to be rejected each time. Undeterred, Lee starts a record label called Viv Records. Running the label out of his house, Lee finds the artists, writes the songs, produces the sessions, arranges the pressings of the records and handles distribution. Recently discovered tapes in the Viv Records archive yielded an unbelievable find, the earliest known recordings of Hazlewood singing his songs…Lee’s first demo! The mysterious and bountiful tapes featured Lee singing early unheard compositions and a complete first draft of his \u003cem\u003eTrouble Is A Lonesome Town\u003c\/em\u003e song cycle that would become his first official solo album in 1963.\u003c\/p\u003e\n\u003cp\u003eLight in the Attic Records is proud to continue it’s Lee Hazlewood archival series with \u003cem\u003e400 Miles From L.A. 1955-56\u003c\/em\u003e, a collection of previously unknown intimate recordings, never intended for release. Lee sings, plays guitar and even presses the record button on the tape machine. These are rural sketches and small town dreams, captured in an innocent time before the path ahead was clear.\u003c\/p\u003e\n\u003cp\u003eThese songs rewrite Lee’s recorded history, adding a new first chapter to his saga. For Hazlewood addicts, hearing these early tracks and the embryonic version of \u003cem\u003eTrouble Is A Lonesome Town\u003c\/em\u003e is akin to finding an early draft of the Old Testament.\u003c\/p\u003e\n\u003cp\u003e“That’s beauty of Lee’s songwriting. It lives on. People will hear it for the first time, even though it’s fifty years old or whatever, if it’s good enough and strong enough, they’ll accept and like it as much as if it was just created. That’s the wonderful legacy that Lee has. It’s wonderful to look back and make all this early work available. To put “Boots” and all those other \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e songs into perspective. 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All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.\u003c\/p\u003e\n\u003cp\u003eSonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of \u003cspan class=\"caps\"\u003eYMO\u003c\/span\u003e), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization.\u003c\/p\u003e\n\u003cp\u003eThese tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7\" vinyl, and flexi–discs.\u003c\/p\u003e\n\u003cp\u003eExpertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. 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Original Motion Picture Soundtrack! In close partnership with the film's composers Martin Cooper and David Hughes, we located the original 1984 master tapes, restored them, and mixed and mastered the complete film music to create the definitive and official C.H.U.D. soundtrack album release.\u003c\/p\u003e\n\u003cp\u003eReleased in 1984, C.H.U.D. has gained a devoted cult following amongst B-Movie Horror fans. The film is widely referenced in pop culture via The Simpsons, Archer, and most recently, Jordan Peele's Us. C.H.U.D. has also served as a launching pad for several actors such as John Goodman (Roseanne, The Big Lebowski, Raising Arizona), Daniel Stern (Home Alone), and John Heard (Home Alone).\u003c\/p\u003e\n\u003cp\u003eThe primitive electronic score composed and performed by Martin Cooper and David Hughes captures the seedy, grim landscape that embodied early 1980s NYC via synth drones, sound design, loops, and arpeggiated notes.\u003c\/p\u003e\n\u003cp\u003eWaxwork is thrilled to present the complete film music to C.H.U.D. as a deluxe LP package featuring \"\"Radioactive Sludge\"\" colored vinyl, deluxe packaging, art by Ghoulish Gary Pullin, old style tip-on gatefold jackets with matte satin coating, printed inner sleeves, liner notes by the composers, and more.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRe-Mastered From The Original 1984 Master Tapes\u003c\/li\u003e\n\u003cli\u003e\"\"Radioactive Sludge\"\" Colored Vinyl\u003c\/li\u003e\n\u003cli\u003eArtwork By Ghoulish Gary Pullin\u003c\/li\u003e\n\u003cli\u003eLiner Notes by Composers Martin Cooper and David Hughes\u003c\/li\u003e\n\u003cli\u003eHeavyweight Jackets with Matte Satin Coating\u003c\/li\u003e\n\u003cli\u003ePrinted Inner Sleeves\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]WW011-GREEN[[Artist]]Martin Cooper and David Hughes\u003c\/p\u003e","brand":"Waxwork","offers":[{"title":"C.H.U.D. \/ Vinyl \/ LP Neon Green","offer_id":47428034756853,"sku":"WW011-GREEN","price":30.0,"currency_code":"USD","in_stock":true},{"title":"C.H.U.D. \/ Vinyl \/ LP Black","offer_id":43959602020597,"sku":"WW011","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1441919727786-0p729yu0immfgvi-ef45de3dea0b6d2aaad5ade5e9944dd7_2F728028381207.jpg?v=1690523155"},{"product_id":"hyper-light-drifter-soundtrack","title":"Hyper Light Drifter Soundtrack","description":"\u003cp\u003e[[Release Detail]][Release Description]]\u003c\/p\u003e\n\u003cp\u003e\"Composer Disasterpeace's soundtrack lends a sense of awe and scale to the world that consistently gave me chills\" - Game Informer\u003c\/p\u003e\n\u003cp\u003e\"The soundtrack by Disasterpeace is every bit a match for the impressive visuals\" - Destructoid\u003c\/p\u003e\n\u003cp\u003e\"One of the year’s best scores, in any medium.\" - Fact Magazine\u003c\/p\u003e\n\u003cp\u003eNominee for Original Light Mix Score, New IP, 2017 NAVGTR Awards\u003c\/p\u003e\n\u003cp\u003eSince its original release on vinyl, Hyper Light Drifter has been one of iam8bit’s most-requested represses of all-time. Back in 2016, the soundtrack was a boon in blasting the video game vinyl revolution into orbit, propelled by composer Disasterpeace’s atmospheric and ephemeral score that is now more poignant than ever. In anticipation of Heart Machine’s latest opus, Solar Ash (from Annapurna Interactive), we thought it a lovely celebratory moment to bring back one of our most cherished releases. This is a completist edition, across four translucent colored records, housed in a premium, custom-designed hardcase with a beautiful tri-fold outer wrap (easily opened\/closed via a hidden magnet). The cherry on the sundae - a specialty foil layer, alive with metallic, luminescent sheen. It’s a truly delicious package for the now legendary Hyper Light Drifter.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e4xLP Box Set with translucent colored vinyl\u003c\/li\u003e\n\u003cli\u003eDeluxe custom packaging w\/ magnetic wingflaps\u003c\/li\u003e\n\u003cli\u003eMusic by Disasterpeace\u003c\/li\u003e\n\u003cli\u003eArt by Heart Machine \u0026amp; Drew Wise\u003c\/li\u003e\n\u003cli\u003eIncludes full digital soundtrack\u003c\/li\u003e\n\u003cli\u003eMastered for vinyl by Dave Gardner\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]8BIT-8026-082016[[Artist]]Disasterpeace\u003c\/p\u003e","brand":"iam8bit","offers":[{"title":"Hyper Light Drifter Soundtrack \/ Vinyl \/ 4LP Multicolor","offer_id":45810358780149,"sku":"8BIT-8026-082016","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/hyper-light-drifter-album-cover.jpg?v=1724955158"},{"product_id":"lonely-woman","title":"Lonely Woman","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eHaving sponsored Ornette Coleman at the School of Jazz near Lennox, MA, pianist and composer John Lewis helped launch the controversial career of one of the last great innovators in jazz. Lewis’ support of the ragtag Texas native was somewhat unique in jazz circles at the time and even surprising, especially considering the gulf between the classical jazz formality of his group the Modern Jazz Quartet and Coleman’s radical notions of free improvisation. Nevertheless, Lewis not only saw in Coleman the first jazz genius since bebop’s Parker, Gillespie, and Monk, but put pay to the praise with the MJQ’s 1962 rendition of one of Coleman’s most famous numbers, “Lonely Woman.” (Along with Art Pepper’s 1960 version of “Tears Inside,” this was one of the earliest of Coleman covers done.)\u003c\/p\u003e\n\u003cp\u003eThe 1962 Atlantic album of the same name turns out to be one of the band’s best efforts. Lewis and fellow \u003cspan class=\"caps\"\u003eMJQ\u003c\/span\u003e members Milt Jackson, Percy Heath, and Connie Kaye capitalize on the dramatic theme of “Lonely Woman” while adding a bit of chamber music complexity to the mix. The quartet doesn’t take Coleman’s free form harmolodic theory to heart with a round of quixotic solos, but the group does spotlight the often overlooked strength of his compositional ideas. And while the \u003cspan class=\"caps\"\u003eMJQ\u003c\/span\u003e further plies its knack for involved pieces on Lewis originals like “Fugato” and “Trieste,” the group also balances out the set with looser material more in tune with Jackson’s blues and swing sensibilities.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eHaving sponsored Ornette Coleman at the School of Jazz near Lennox, MA, pianist and composer John Lewis helped launch the controversial career of one of the last great innovators in jazz. Lewis’ support of the ragtag Texas native was somewhat unique in jazz circles at the time and even surprising, especially considering the gulf between the classical jazz formality of his group the Modern Jazz Quartet and Coleman’s radical notions of free improvisation. Nevertheless, Lewis not only saw in Coleman the first jazz genius since bebop’s Parker, Gillespie, and Monk, but put pay to the praise with the MJQ’s 1962 rendition of one of Coleman’s most famous numbers, “Lonely Woman.” (Along with Art Pepper’s 1960 version of “Tears Inside,” this was one of the earliest of Coleman covers done.)\u003c\/p\u003e\n\u003cp\u003eThe 1962 Atlantic album of the same name turns out to be one of the band’s best efforts. Lewis and fellow \u003cspan class=\"caps\"\u003eMJQ\u003c\/span\u003e members Milt Jackson, Percy Heath, and Connie Kaye capitalize on the dramatic theme of “Lonely Woman” while adding a bit of chamber music complexity to the mix. The quartet doesn’t take Coleman’s free form harmolodic theory to heart with a round of quixotic solos, but the group does spotlight the often overlooked strength of his compositional ideas. And while the \u003cspan class=\"caps\"\u003eMJQ\u003c\/span\u003e further plies its knack for involved pieces on Lewis originals like “Fugato” and “Trieste,” the group also balances out the set with looser material more in tune with Jackson’s blues and swing sensibilities.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eOriginally released on Atlantic Records (1962)\u003c\/li\u003e\n\u003cli\u003ePressed on 180 gram vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPANSD1381[[Artist]]Modern Jazz Quartet\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Lonely Woman \/ Vinyl \/ LP Black","offer_id":43959633051893,"sku":"PPANSD1381","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/LonelyWomancover.jpg?v=1782328341"},{"product_id":"happy-trails","title":"Happy Trails","description":"[[Release Detail]]\u003cp\u003eWithout question, this follow-up to Quicksilver Messenger Service’s self-titled debut release is the most accurate in portraying the band on vinyl in the same light as the group’s critically and enthusiastically acclaimed live performances. The album is essentially centered around the extended reworkings of Bo Diddley’s “Who Do You Love?” and “Mona,” as well as the lesser lauded — yet no less intense — contribution of Gary Duncan’s (guitar\/vocals) “Calvary.” This album is the last to feature the original quartet incarnation of \u003cspan class=\"caps\"\u003eQMS\u003c\/span\u003e. The collective efforts of John Cipollina (guitar\/vocals), Greg Elmore (percussion), David Freiberg (bass\/vocals), and the aforementioned Duncan retain the uncanny ability to perform with a psychedelic looseness of spirit, without becoming boring or in the least bit pretentious. The side-long epic “Who Do You Love?” suite is split into an ensemble introduction and coda as well as four distinct sections for the respective bandmembers. The perpetually inventive chops of \u003cspan class=\"caps\"\u003eQMS\u003c\/span\u003e are what is truly on display here. The musicians’ unmitigated instrumental prowess and practically psychic interaction allow them to seamlessly weave into and back out of the main theme. Yet all the while, each player takes center stage for uncompromising solos. “Mona” and its companion, “Calvary,” continue in much the same fashion.\u003c\/p\u003e\n\u003cp\u003eHere the members of \u003cspan class=\"caps\"\u003eQMS\u003c\/span\u003e play off each other to form a cohesive unit. This track also contains some of Cipollina’s finest and most memorable fretwork. He is able to summon sonic spirits from his guitar in a way that is unlike any of his Bay Area contemporaries. A prime example of his individuality is the frenetic “Maiden of the Cancer Moon” — ascending from the remnants of “Mona.” The angst and energy in Cipollina’s guitar work and line upon line of technical phrasing could easily be considered the equal of a Frank Zappa guitar solo. The brief title track, a cover of Roy Rogers and Dale Evans’ “Happy Trails,” seems almost insignificant in the wake of such virtuoso playing. It clears the sonic palette and also bids adieu to this particular fab foursome of psychedelia.\u003c\/p\u003e[[Release Description]]\u003cp\u003eWithout question, this follow-up to Quicksilver Messenger Service’s self-titled debut release is the most accurate in portraying the band on vinyl in the same light as the group’s critically and enthusiastically acclaimed live performances. The album is essentially centered around the extended reworkings of Bo Diddley’s “Who Do You Love?” and “Mona,” as well as the lesser lauded — yet no less intense — contribution of Gary Duncan’s (guitar\/vocals) “Calvary.” This album is the last to feature the original quartet incarnation of \u003cspan class=\"caps\"\u003eQMS\u003c\/span\u003e. The collective efforts of John Cipollina (guitar\/vocals), Greg Elmore (percussion), David Freiberg (bass\/vocals), and the aforementioned Duncan retain the uncanny ability to perform with a psychedelic looseness of spirit, without becoming boring or in the least bit pretentious. The side-long epic “Who Do You Love?” suite is split into an ensemble introduction and coda as well as four distinct sections for the respective bandmembers. The perpetually inventive chops of \u003cspan class=\"caps\"\u003eQMS\u003c\/span\u003e are what is truly on display here. The musicians’ unmitigated instrumental prowess and practically psychic interaction allow them to seamlessly weave into and back out of the main theme. Yet all the while, each player takes center stage for uncompromising solos. “Mona” and its companion, “Calvary,” continue in much the same fashion.\u003c\/p\u003e\n\u003cp\u003eHere the members of \u003cspan class=\"caps\"\u003eQMS\u003c\/span\u003e play off each other to form a cohesive unit. This track also contains some of Cipollina’s finest and most memorable fretwork. He is able to summon sonic spirits from his guitar in a way that is unlike any of his Bay Area contemporaries. A prime example of his individuality is the frenetic “Maiden of the Cancer Moon” — ascending from the remnants of “Mona.” The angst and energy in Cipollina’s guitar work and line upon line of technical phrasing could easily be considered the equal of a Frank Zappa guitar solo. The brief title track, a cover of Roy Rogers and Dale Evans’ “Happy Trails,” seems almost insignificant in the wake of such virtuoso playing. It clears the sonic palette and also bids adieu to this particular fab foursome of psychedelia.\u003c\/p\u003e\n\n  [[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eThe last record to feature the original quartet incarnation of QMS\u003c\/li\u003e\n  \u003cli\u003eMost accurate recording to the band's critically and enthusiastically acclaimed live performances\u003c\/li\u003e\n  \u003cli\u003eIncludes the side-long epic “Who Do You Love?”\u003c\/li\u003e\n\u003c\/ul\u003e  \n  [[Catalog Number]]PPAN ST120[[Artist]]Quicksilver Messenger Service","brand":"Pure Pleasure","offers":[{"title":"Happy Trails \/ Vinyl \/ LP Black","offer_id":43959633215733,"sku":"PPAN ST120","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/happytrails.jpg?v=1782326368"},{"product_id":"nutcracker-suite","title":"Nutcracker Suite","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eIn 1960, Duke Ellington and Billy Strayhorn arranged their own virtuosic adaptation of Pyotr Ilyich Tchaikovsky’s “The Nutcracker Suite” for the Duke Ellington Orchestra. Featuring nine cleverly arranged movements (boasting equally smart titles like “Toot Toot Tootie Toot” and “Sugar Rum Cherry”), it’s the quintessential Ellington blend of wit and sophistication.\u003c\/p\u003e\n\u003cp\u003eIt’s amazing how swinging and sexy the Nutcracker Suite can sound.\u003c\/p\u003e\n\u003cp\u003eStop a second and put on your thinking cap. Duke Ellington plays Tchaikovsky. I play this at my Christmas party every year and you should see my guests groove out to this. It’s amazing how swinging and sexy the Nutcracker Suite can sound. “Sugar Rum Cherry” (Dance of the Sugar Plum Fairy) sounds like strip tease music. I was down to my boxer shorts before my mother walked into the living room. In fact I play this long after the holidays have passed.\u003c\/p\u003e\n\u003cp\u003eA Real Gem! Johnny Zhivago\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn 1960, Duke Ellington and Billy Strayhorn arranged their own virtuosic adaptation of Pyotr Ilyich Tchaikovsky’s “The Nutcracker Suite” for the Duke Ellington Orchestra. Featuring nine cleverly arranged movements (boasting equally smart titles like “Toot Toot Tootie Toot” and “Sugar Rum Cherry”), it’s the quintessential Ellington blend of wit and sophistication.\u003c\/p\u003e\n\u003cp\u003eIt’s amazing how swinging and sexy the Nutcracker Suite can sound.\u003c\/p\u003e\n\u003cp\u003eStop a second and put on your thinking cap. Duke Ellington plays Tchaikovsky. I play this at my Christmas party every year and you should see my guests groove out to this. It’s amazing how swinging and sexy the Nutcracker Suite can sound. “Sugar Rum Cherry” (Dance of the Sugar Plum Fairy) sounds like strip tease music. I was down to my boxer shorts before my mother walked into the living room. In fact I play this long after the holidays have passed.\u003c\/p\u003e\n\u003cp\u003eA Real Gem! Johnny Zhivago\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRecorded in: Los Angeles, June 1960\u003c\/li\u003e\n\u003cli\u003eRemastering by Kevin Gray \u0026amp; Steve Hoffman\u003c\/li\u003e\n\u003cli\u003eDuke Ellington and Billy Strayhorn's adaptation of Pyotr Ilyich Tchaikovsky’s “The Nutcracker Suite” for the Duke Ellington Orchestra\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN CS8341[[Artist]]Duke Ellington \u0026amp; His Orchestra\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Nutcracker Suite \/ Vinyl \/ LP Black","offer_id":43959633346805,"sku":"PPAN CS8341","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500061839965-3o0habjehqc-a57bd21ba62f8cb2f50ed46774323e96_2F61HjP3twQgL.jpg?v=1690524354"},{"product_id":"keb-mo","title":"Keb Mo","description":"[[Release Detail]]\u003cp\u003eKeb’ Mo’s self-titled debut is an edgy, ambitious collection of gritty country blues. Keb’ Mo’ pushes into new directions, trying to incorporate some of the sensibilites of the slacker revolution without losing touch of the tradition that makes the blues the breathing, vital art form it is. His attempts aren’t always successful, but his gutsy guitar playing and impassioned vocals, as well as his surprisingly accomplished songwriting, make Keb’ Mo’ a debut to cherish.\u003c\/p\u003e\n\u003cp\u003eThom Owens\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Release Description]]\u003cp\u003eKeb’ Mo’s self-titled debut is an edgy, ambitious collection of gritty country blues. Keb’ Mo’ pushes into new directions, trying to incorporate some of the sensibilites of the slacker revolution without losing touch of the tradition that makes the blues the breathing, vital art form it is. His attempts aren’t always successful, but his gutsy guitar playing and impassioned vocals, as well as his surprisingly accomplished songwriting, make Keb’ Mo’ a debut to cherish.\u003c\/p\u003e\n\u003cp\u003eThom Owens\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eProduced by John Porter\u003c\/li\u003e\n\u003cli\u003eRecorded \u0026amp; mixed by Joe McGrath at Red Zone Studios in Burbank, CA\u003c\/li\u003e\n\u003cli\u003eRemastered by Ray Staff\u003c\/li\u003e\n\u003c\/ul\u003e\n\n  [[Catalog Number]]PPAN57863[[Artist]]Keb Mo","brand":"Pure Pleasure","offers":[{"title":"Keb Mo \/ Vinyl \/ LP Black","offer_id":43959633445109,"sku":"PPAN57863","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500069397619-jga7o0irsik-56a7813f9248ed88e7572cbb7bc28fd5_2F0000146601.jpg?v=1690524360"},{"product_id":"going-back-to-acoustic","title":"Going Back to Acoustic","description":"[[Release Detail]]\u003cp\u003eOriginally issued in France on Isabel Records under the title ‘Going Back’ this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set.\u003c\/p\u003e\n\u003cp\u003eThe results stand in start contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string gjuitars, and lays down rootsy acoustic rhythms for Well’s tasteful harmonical lines. The two share vocal duties on the performances as they pay home to the rual, country nlues roots these modern bluesmen share.\u003c\/p\u003e[[Release Description]]\u003cp\u003eOriginally issued in France on Isabel Records 900.510 under the title ‘Going Back’ this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set.\u003c\/p\u003e\n\u003cp\u003eThe results stand in start contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string gjuitars, and lays down rootsy acoustic rhythms for Well’s tasteful harmonical lines. The two share vocal duties on the performances as they pay home to the rual, country nlues roots these modern bluesmen share.\u003c\/p\u003e[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003e180g audiophile vinyl\u003c\/li\u003e\n\u003cli\u003ePressed at Pallas in Germany\u003c\/li\u003e\n  \u003cli\u003eOriginally issued in France on Isabel Records\u003c\/li\u003e\n\u003c\/ul\u003e\n  \n  \n  [[Catalog Number]]PPAN001[[Artist]]Buddy Guy \u0026amp; Junior Wells","brand":"Pure Pleasure","offers":[{"title":"Going Back to Acoustic \/ Vinyl \/ LP Black","offer_id":43959633477877,"sku":"PPAN001","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/GoingBacktoAcoustic.jpg?v=1782327778"},{"product_id":"the-divine-one","title":"The Divine One","description":"[[Release Detail]]\u003cp\u003eRecorded just after Sarah Vaughan joined the Roulette label in 1960, The Divine One found her in exactly the right circumstances to suit her excellent talents. Arranged by Jimmy Jones, who also sits in on piano, the setting was a small group that included one strong voice to accentuate hers — and no less a strong and clear voice than trumpeter Harry “Sweets” Edison (the perfect accompaniment for Vaughan).\u003c\/p\u003e\n\u003cp\u003eThe Divine One is mostly a ballads collection, and it includes a few songs that were new to her repertoire — good choices like “Have You Met Miss Jones?” (aka “Old Jones”), “When Your Lover Has Gone,” “Wrap Your Troubles in Dreams,” and “Jump for Joy.” One great left-field choice is “Ain’t No Use,” the R\u0026amp;B song taken as a slow torch song that Big Maybelle had first recorded (Nina Simonedidn’t record it until several years later). Roulette would soon push Vaughan in many different directions — releasing over a dozen LPs in just a few short years — but this small-group date is a gem.. by John Bush\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Release Description]]\u003cp\u003eRecorded just after Sarah Vaughan joined the Roulette label in 1960, The Divine One found her in exactly the right circumstances to suit her excellent talents. Arranged by Jimmy Jones, who also sits in on piano, the setting was a small group that included one strong voice to accentuate hers — and no less a strong and clear voice than trumpeter Harry “Sweets” Edison (the perfect accompaniment for Vaughan).\u003c\/p\u003e\n\u003cp\u003eThe Divine One is mostly a ballads collection, and it includes a few songs that were new to her repertoire — good choices like “Have You Met Miss Jones?” (aka “Old Jones”), “When Your Lover Has Gone,” “Wrap Your Troubles in Dreams,” and “Jump for Joy.” One great left-field choice is “Ain’t No Use,” the R\u0026amp;B song taken as a slow torch song that Big Maybelle had first recorded (Nina Simonedidn’t record it until several years later). Roulette would soon push Vaughan in many different directions — releasing over a dozen LPs in just a few short years — but this small-group date is a gem.. by John Bush\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Selling Points]]\n\u003cul\u003e\n  \u003cli\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003cli\u003eRecorded October 1960\u003c\/li\u003e\n\u003cli\u003eProduced \u0026amp; arranged by Jimmy Jones\u003c\/li\u003e\n\u003c\/ul\u003e\n  \n  [[Catalog Number]]PPAN SR52060[[Artist]]Sarah Vaughan","brand":"Pure Pleasure","offers":[{"title":"The Divine One \/ Vinyl \/ LP Black","offer_id":43959633576181,"sku":"PPAN SR52060","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500073427765-1nc2afyrhbf-84c847f06c46decd841d02a180c97cea_2F6f0d8a982d6dc06690c2bdf4a73ac4b1.1000x995x1.jpg?v=1690524366"},{"product_id":"undercurrent","title":"Undercurrent","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eThis is the first of two superb albums recorded by Bill Evans, and guitarist Jim Hall, and it was recorded over two sessions in April and May 1962. Arrangements simply for piano and guitar are rare in Jazz, and it is even more seldom that the results are truly inspiring and as musically worthwhile as in this case. It is usual for intuitive musical relationships to develop over a number of years, but here we find two musicians who clearly shared an immediate understanding. Both men are on absolute top form here – Bill Evans was on fire throughout the early and mid sixties, and after the tragic death of his previous musical partner, virtuoso bass player Scott Le Faro (at the age of 23), he was searching for new directions.\u003c\/p\u003e\n\u003cp\u003eJim Hall is a guitarist of tremendous skill and powerful technique, with a highly developed rhythmic and harmonic sense that shines through on this album. What is so special about the performances here is an almost telepathic anticipation of where the music is heading – both musicians contribute equally, and there is a constant exchange of ideas, each reacting to the other with apparent ease, whatever the mood.\u003c\/p\u003e\n\u003cp\u003eThis is a brilliant jazz album, of great depth and tremendous atmosphere, and both players express some exceptional ideas. Highly recommended. Dominic L Brown\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThis is the first of two superb albums recorded by Bill Evans, and guitarist Jim Hall, and it was recorded over two sessions in April and May 1962. Arrangements simply for piano and guitar are rare in Jazz, and it is even more seldom that the results are truly inspiring and as musically worthwhile as in this case. It is usual for intuitive musical relationships to develop over a number of years, but here we find two musicians who clearly shared an immediate understanding. Both men are on absolute top form here – Bill Evans was on fire throughout the early and mid sixties, and after the tragic death of his previous musical partner, virtuoso bass player Scott Le Faro (at the age of 23), he was searching for new directions.\u003c\/p\u003e\n\u003cp\u003eJim Hall is a guitarist of tremendous skill and powerful technique, with a highly developed rhythmic and harmonic sense that shines through on this album. What is so special about the performances here is an almost telepathic anticipation of where the music is heading – both musicians contribute equally, and there is a constant exchange of ideas, each reacting to the other with apparent ease, whatever the mood.\u003c\/p\u003e\n\u003cp\u003eThis is a brilliant jazz album, of great depth and tremendous atmosphere, and both players express some exceptional ideas. Highly recommended. Dominic L Brown\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRemastered by Ron McMaster at Capitol Studios\u003c\/li\u003e\n\u003cli\u003eRecorded at Sound Makers, NYC May 14, 1962\u003c\/li\u003e\n\u003cli\u003eThe first of two superb albums recorded by Bill Evans and guitarist Jim Hall\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN UAJS15003[[Artist]]Bill Evans \u0026amp; Jim Hall\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Undercurrent \/ Vinyl \/ LP Black","offer_id":43959633641717,"sku":"PPAN UAJS15003","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500074681231-a4qcyidzlj-337bb56932b26bd2c98d56ca890dbfac_2FScreen_2BShot_2B2017-07-14_2Bat_2B7.23.55_2BPM.png?v=1690524367"},{"product_id":"concierto","title":"Concierto","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eJim Hall’s Concierto was arguably the greatest LP in the history of \u003cspan class=\"caps\"\u003eCTI\u003c\/span\u003e and possibly a masterpiece. With two legendary players in the frontline, trumpeter Chet Baker and Paul Desmond, Hall interprets standards and engaging originals. A master of melody who never wastes notes, the centerpiece for this release is Hall’s interpretation of one movement from Rodrigo’s “Guitar Concerto,” arranged by Don Sebesky.\u003c\/p\u003e\n\u003cp\u003eNew tracks include alternate takes of “You’d Be So Nice to Come Home To” and “Rock Skippin’,” plus “Unfinished Business,” an incomplete track that fades following Desmond’s solo just as Hall starts to play (This song is actually “La Paloma Azul,” a Mexican folk tune played by Paul Desmond while with the Dave Brubeck Quartet about a decade earlier, also known as “The Blue Dove”). Ken Dryden\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eJim Hall’s Concierto was arguably the greatest LP in the history of \u003cspan class=\"caps\"\u003eCTI\u003c\/span\u003e and possibly a masterpiece. With two legendary players in the frontline, trumpeter Chet Baker and Paul Desmond, Hall interprets standards and engaging originals. A master of melody who never wastes notes, the centerpiece for this release is Hall’s interpretation of one movement from Rodrigo’s “Guitar Concerto,” arranged by Don Sebesky.\u003c\/p\u003e\n\u003cp\u003eNew tracks include alternate takes of “You’d Be So Nice to Come Home To” and “Rock Skippin’,” plus “Unfinished Business,” an incomplete track that fades following Desmond’s solo just as Hall starts to play (This song is actually “La Paloma Azul,” a Mexican folk tune played by Paul Desmond while with the Dave Brubeck Quartet about a decade earlier, also known as “The Blue Dove”). Ken Dryden\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRecorded at Van Gelder Studios 16th \u0026amp; 23rd April 1975\u003c\/li\u003e\n\u003cli\u003eRecording engineer: Rudy Van Gelder\u003c\/li\u003e\n\u003cli\u003eProduced by Creed Taylor\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN 6060[[Artist]]Jim Hall\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Concierto \/ Vinyl \/ 2LP Black","offer_id":43959634100469,"sku":"PPAN 6060","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500414711740-f0nlj5g32gk-7b2bd05babb983c079d8910540aca86e_2Fconcierto-522b533611778.jpg?v=1690524389"},{"product_id":"hooker-n-heat","title":"Hooker 'N Heat","description":"[[Release Detail]]\u003cp\u003eWhen this two-LP set was initially released in January 1971, Canned Heat was back to its R\u0026amp;B roots. Sporting a slightly revised personnel with the return of Henry “Sunflower” Vestine and the incorporation of Antonio “Tony” de la Barreda on bass, a highly skilled constituent of Aldolfo de la Parra on drums. Sadly, it would also be the final effort to include co-founder Alan “Blind Owl” Wilson, who passed away in September 1970. Hooker ’n Heat (1971) is a low-key affair split between unaccompanied solo John Lee Hooker tunes, collaborations between Hooker and Wilson, as well as five full-blown confabs between Hooker and Heat.\u003c\/p\u003e\n\u003cp\u003eThe full-fledged collaborations shine as both parties unleash some of their finest respective work. While Canned Heat get top bill — probably as it was the group’s record company that sprung for Hooker ’n Heat — make no mistake, as Hooker steers the combo with the same gritty and percussive guitar leads that have become his trademark. The epic “Boogie Chillen No. 2” stretches over 11-and-a-half minutes and is full of the same swagger as the original, with the support of Canned Heat igniting the verses and simmering on the subsequent instrumental breaks with all killer and no filler.\u003c\/p\u003e\n\u003cp\u003eCanned Heat are hands down the best back-up band John Lee Hooker has recorded. And despite the cover billing, they are very much a back-up group, for this is really a John Lee Hooker album, and one of his best in a long while.\u003c\/p\u003e[[Release Description]]\u003cp\u003eWhen this two-LP set was initially released in January 1971, Canned Heat was back to its R\u0026amp;B roots. Sporting a slightly revised personnel with the return of Henry “Sunflower” Vestine and the incorporation of Antonio “Tony” de la Barreda on bass, a highly skilled constituent of Aldolfo de la Parra on drums. Sadly, it would also be the final effort to include co-founder Alan “Blind Owl” Wilson, who passed away in September 1970. Hooker ’n Heat (1971) is a low-key affair split between unaccompanied solo John Lee Hooker tunes, collaborations between Hooker and Wilson, as well as five full-blown confabs between Hooker and Heat.\u003c\/p\u003e\n\u003cp\u003eThe full-fledged collaborations shine as both parties unleash some of their finest respective work. While Canned Heat get top bill — probably as it was the group’s record company that sprung for Hooker ’n Heat — make no mistake, as Hooker steers the combo with the same gritty and percussive guitar leads that have become his trademark. The epic “Boogie Chillen No. 2” stretches over 11-and-a-half minutes and is full of the same swagger as the original, with the support of Canned Heat igniting the verses and simmering on the subsequent instrumental breaks with all killer and no filler.\u003c\/p\u003e\n\u003cp\u003eCanned Heat are hands down the best back-up band John Lee Hooker has recorded. And despite the cover billing, they are very much a back-up group, for this is really a John Lee Hooker album, and one of his best in a long while.\u003c\/p\u003e[[Selling Points]]\n\u003cul\u003e\n  \u003cli\u003e2LP in a gatefold sleeve\u003c\/li\u003e\n\u003cli\u003eProduced by Skip Taylor \u0026amp; Robert Hite Jr.\u003c\/li\u003e\n\u003cli\u003eRecorded at Liberty Studios, Los Angeles in May 1970\u003c\/li\u003e\n\u003cli\u003eRemastered by Sean Magee at Abbey Road Studios\u003c\/li\u003e\n\u003c\/ul\u003e\n  [[Catalog Number]]PPAN ST35002[[Artist]]John Lee Hooker \u0026amp; Canned Heat","brand":"Pure Pleasure","offers":[{"title":"Hooker 'N Heat \/ Vinyl \/ 2LP Black","offer_id":43959634198773,"sku":"PPAN ST35002","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/hookernheat.jpg?v=1782327181"},{"product_id":"the-show-must-go-on","title":"The Show Must Go On","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eThe best R\u0026amp;B songwriter and soul singer that most people have never heard of, Sam Dees has written songs for countless artists, including Gladys Knight, Aretha Franklin, Whitney Houston, George Benson, the Temptations, Teddy Pendergrass, Millie Jackson, Jackie Wilson, the Manhattans, Regina Belle, KC \u0026amp; the Sunshine Band, Willie Clayton, and many others. He’s also a pretty fine singer, having recorded for the Chess, Atlantic, Polydor, and \u003cspan class=\"caps\"\u003eSSS\u003c\/span\u003e labels, and he had a nice string of his own hits in the 1970s. His 1975 Atlantic album The Show Must Go On has long been regarded by Southern soul aficionados as one of the best of the genre. Sounding a bit like a deeper-voiced Curtis Mayfield (in both style and theme), Dees sings with assurance, wisdom, passion, and a whole lot of soul here. Songs like “Child of the Streets”, “Troubled Child,” \u0026amp; “What’s It Gonna Be,” share Mayfield’s commitment to social commentary, and Dees knows his way around a love song, too. It’s absolutely essential.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThe best R\u0026amp;B songwriter and soul singer that most people have never heard of, Sam Dees has written songs for countless artists, including Gladys Knight, Aretha Franklin, Whitney Houston, George Benson, the Temptations, Teddy Pendergrass, Millie Jackson, Jackie Wilson, the Manhattans, Regina Belle, KC \u0026amp; the Sunshine Band, Willie Clayton, and many others. He’s also a pretty fine singer, having recorded for the Chess, Atlantic, Polydor, and \u003cspan class=\"caps\"\u003eSSS\u003c\/span\u003e labels, and he had a nice string of his own hits in the 1970s. His 1975 Atlantic album The Show Must Go On has long been regarded by Southern soul aficionados as one of the best of the genre. Sounding a bit like a deeper-voiced Curtis Mayfield (in both style and theme), Dees sings with assurance, wisdom, passion, and a whole lot of soul here. Songs like “Child of the Streets”, “Troubled Child,” \u0026amp; “What’s It Gonna Be,” share Mayfield’s commitment to social commentary, and Dees knows his way around a love song, too. It’s absolutely essential.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePressed on black vinyl\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe best R\u0026amp;B songwriter and soul singer that most people have never heard of\u003c\/li\u003e\n\u003cli\u003eRegarded by Southern soul aficionados as one of the best of the genre\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPANSD18134[[Artist]]Sam Dees\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"The Show Must Go On \/ Vinyl \/ LP Black","offer_id":43959639703797,"sku":"PPANSD18134","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622216.jpg?v=1751327813"},{"product_id":"jazz-waltz","title":"Jazz Waltz","description":"\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eShorty Rogers’ Jazz Waltz is exactly that, an exploration of ten compositions played in waltz settings. Only these big-band charts are hardly the waltzes heard on Lawrence Welk’s long-running television series. Rogers kicks off with a swinging number (“I’m Gonna Go Fishin’”) written by Duke Ellington for the soundtrack to the film Anatomy of a Murder and featuring the leader’s rich flügelhorn. The lyrical take of the centuries-old folk melody “Greensleeves” alternates between the tense rhythm section and Bud Shank’s gorgeous flute solo. Rogers’ delightful “Be as Children” almost sounds as if it was adapted from a gospel song. The brisk treatment of Ellington’s “Echoes of Harlem,” featuring Paul Horn on flute, is refreshing. Only Bobby Scott’s “A Taste of Honey” is the least bit disappointing, simply because this arrangement isn’t quite as adventurous as the rest of the album. Originally issued by Reprise in 1962 and out of print for decades.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eOriginally issued by Reprise in 1962\u003c\/li\u003e\n\u003cli\u003eOut of press for decades\u003c\/li\u003e\n\u003cli\u003ePressed on 180g vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPANR9-6060[[Artist]]Shorty Rogers \u0026amp; His Giants\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Jazz Waltz \/ Vinyl \/ LP Black","offer_id":43959639834869,"sku":"PPANR9-6060","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622629_ba5e6c4e-38de-4600-bf5d-4902ad48e2cb.jpg?v=1754688372"},{"product_id":"house-in-the-tall-grass","title":"House in the Tall Grass","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eFor a very long time, we have been trying to re-issue this record; a true and complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.\u003c\/p\u003e\n\u003cp\u003eRecorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai. Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.\u003c\/p\u003e\n\u003cp\u003eThe 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, \u003cspan class=\"caps\"\u003eMPB\u003c\/span\u003e, psychedelics and funk sit side by side effortlessly.\u003cbr\u003eThe album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris \u0026amp; Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.\u003c\/p\u003e\n\u003cp\u003eThe original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eLike a long journey this record unfolds itself through many layers. Fans of Kikagaku Moyo will be comforted by the soft vocals harmonies and warm Sitar but what sets this release apart is the refinement of the band’s songwriting and their delicate execution. Side A begins with a pair of travelling songs where the interplay between the vocals, guitar, and sitar lift and suspend you on an unexpected journey.\u003c\/p\u003e\n\u003cp\u003eThe patient listener is rewarded by tracks like “Trad” and “Silver Owl” that demonstrate the masterful balance the band has between soft and loud; chaos and order, or being both cold and tender at the same time. “House in the Tall Grass” takes the listener by the hand on a comfortable quest through destinations both familiar and unknown. It is a natural step forward for the band and perhaps the most refined example of their style to date.\u003c\/p\u003e\n\u003cp\u003eKikagaku Moyo started in the summer of 2012 busking on the streets of Tokyo. Though the band started as a free musiccollective, it quickly evolved into a tight group of multi-instrumentalists. Kikagaku Moyo call their sound psychedelicic because it encompasses a broad spectrum of influence.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eElements of classical Indian music, krautrock, traditional folk, and 70s rock.\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eRecorded at Studio Somil, Rio De Janeiro in 1972\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eProduced, arranged, and directed by Arthur Verocai\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]GGB-008[[Artist]]Kikagaku Moyo\u003c\/p\u003e","brand":"Guruguru Brain","offers":[{"title":"House in the Tall Grass \/ Vinyl \/ LP Black","offer_id":43959644455157,"sku":"GGB-008-2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"House in the Tall Grass \/ CD \/ CD","offer_id":43959644487925,"sku":"GGB-008CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1648839254099-6xbs1u4zzg5-86bcd1c8046f1824041d039475737d4d_2FaDNJIzqg.jpg?v=1690524841"},{"product_id":"kikagaku-moyo","title":"Kikagaku Moyo","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eFor a very long time, we have been trying to re-issue this record; a true and complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.\u003c\/p\u003e\n\u003cp\u003eRecorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai. Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.\u003c\/p\u003e\n\u003cp\u003eThe 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, \u003cspan class=\"caps\"\u003eMPB\u003c\/span\u003e, psychedelics and funk sit side by side effortlessly.\u003cbr\u003eThe album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris \u0026amp; Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.\u003c\/p\u003e\n\u003cp\u003eThe original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eKikagaku Moyo’s debut album exerts an elemental power. Enlivening their sound with sitars, percussive drums, theremins, wind instruments and ethereal vocals, the band manages to sound powerfully spacious and lazily serene all at once. Their songs can be light as air, or heavy as earth. Many evolve out of intense experiences of engagement with the natural world. The album’s first track, “Can You Imagine Nothing?” was written over a night spent jamming on a suspended footbridge in remote mountains. As the song progressed the bridge began to sway, making band members feel as though they were floating weightless in midair.\u003c\/p\u003e\n\u003cp\u003eKikagaku Moyo started in the summer of 2012 busking on the streets of Tokyo. Though the band started as a free music collective, it quickly evolved into a tight group of multi-instrumentalists. Kikagaku Moyo call their sound psychedelicic because it encompasses a broad spectrum of influence. Their music incorporates elements of classical Indian music, Krautrock, Traditional Folk, and 70s Rock. Most importantly their music is about freedom of the mind and body and building a bridge between the supernatural and the present. Improvisation is a key element to their sound.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eKikagaku Moyo's first self-titled album reissue\u003c\/li\u003e\n\u003cli\u003eOriginally released by Cosmic Eye Records in Sep 2013\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eElements of classical Indian music, krautrock, traditional folk, and 70s rock\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]GGB-013[[Artist]]Kikagaku Moyo\/幾何学模様\u003c\/p\u003e","brand":"Guruguru Brain","offers":[{"title":"Kikagaku Moyo \/ Vinyl \/ LP Black","offer_id":43959644520693,"sku":"GGB-013","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Kikagaku Moyo \/ CD \/ CD","offer_id":43959644553461,"sku":"GGB-13CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1519070593368-k6wx3poxqe-e09cfade6d7f78ef1e6a3539dca09f71_2Fa0389363479_10.jpg?v=1690524841"},{"product_id":"inside-hifi","title":"Inside HiFi","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThis excellent recording features altoist Lee Konitz with two separate quartets during 1956. Either guitarist Billy Bauer or pianist Sal Mosca are the main supporting voices in groups also including either Arnold Fishkind or Peter Ind on bass and Dick Scott on drums. The most unusual aspect to the set is that on the four selections with Mosca, Konitz switches to tenor, playing quite effectively in a recognizable cool style. The overall highlights of this enjoyable album are “Everything Happens to Me,” “All of Me,” and “Star Eyes,” but all eight performances are well played and swinging. Scott Yannow\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe introduction of Konitz’s tenor during this period is emblematic of this. His premiere tenor recordings on ’56’s Lee Konitz Inside Hi-Fi document how Konitz first translated the refinements of his alto conception to the larger horn, even on would-be barn burners as “Indiana” (which also features an excellent solo by pianist Sal Mosca), and began to apply the tenor’s capacity for broader, bolder strokes to such fine alto performances as the bluesy “Cork ‘N’ Bib.” The contrasts between Konitz’s alto and tenor are well-represented on “Kary’s Trance,” which includes choruses on both horns; the track is also one of guitarist Billy Bauer’s finest.\u003cbr\u003eBill Shoemaker\u003c\/p\u003e\n\u003cp\u003eA recent convert to Lee Konitz, the more I hear the more I like. Though he went on to record right up to the present day, the 50’s recordings are remarkably fresh, with his alto’s long fluid lines and swinging turns in direction. His alto has a refreshing lightness and his opening alto duet here with guitarist Billy Bauer on “Kary’s Trance” is a surprising sheer delight. Unusually, Konitz also picks up the tenor sax on several tracks for the first time, yielding a record with an additional layer of interest. The selling point for me, however, was the cover. For any audiophiles out there (yes you Guy! ) the artifice of Konitz, photographed through capacitors, valves and wires in Rudy Van Gelder’s recording studio, is the ultimate Jazz Audiophile image.\u003cbr\u003eLondonJazzCollector\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eFeatures altoist Lee Konitz with two separate quartets during 1956\u003c\/li\u003e\n\u003cli\u003eIncludes performances of \u003cmeta charset=\"utf-8\"\u003e“Everything Happens to Me,” “All of Me,” and “Star Eyes\"\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN-SD1258[[Artist]]Lee Konitz\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Inside HiFi \/ Vinyl \/ LP Black","offer_id":43959646814453,"sku":"PPAN-SD1258","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622735.jpg?v=1755042631"},{"product_id":"love-from-the-sun","title":"Love From The Sun","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThis jazz recording is considered as the ‘magnum opus’ of master \"drummer extraordinaire’’, composer, arranger, producer, and leader Norman Connor’s in a career that has spanned 4 decades. This recording is what many will consider the debut of the legendary vocalist Dee Dee Bridgewater who has since gone on to a brilliant career. Connor’s put together an all-star group with Herbie Hancock and Onaje Allan Gumbs on piano and Fender Rhodes, Dr. Eddie Henderson on trumpet\/flugelhorn, Carlos Garnett on tenor\/soprano saxes, Gary Bartz on alto\/soprano saxes, Buster Williams on bass, drummer\/vocalist Bill Summers and Kenneth Nash on percussion, and effective, crucial cameos by master flautist Hubert Laws. On the song, “Love From the Sun’”, Connors added Nathan Rubin on violin and Terry Adams on cello.\u003c\/p\u003e\n\u003cp\u003eThe ‘best of the best’ begins with the exotic theme of Hancock’s “Revelation”, doubled wordlessly and beautifully by Ms. Bridgewater over Williams bouncing ostinato bass pattern with flights of fancy from Hubert Laws on flute, and superb, luminous solos from Henderson’s exotic trumpet, Garnett on soprano, and Hancock on Fender Rhodes. Garnett’s “Carlos II” is another great composition with remarkable solos. Connors’ own “Drums Around The Worlds’” is influenced by African and latin rhythms with emotional vocals from Summers and a drum-only section that builds in intensity. One of the high points of the album is Dee Dee Bridgewater’s awesome, glorious vocalizing on Richard Clay’s lovely “Love From The Sun”, in one of the greatest performances in her career, arranged by Gumbs. Elmer Gibson’s “Kumakucha” (The Sun Has Risen) is a blazing display of uptempo musicianship by Connor’s driving drums, the propulsive congas of Summers and Nash, and exciting solos from Bartz, Henderson on trumpet, and Hancock’s furious piano solo. The set ends with a marvelous “Holy Waters” composed and arranged by Garnett in a scorching performance by Bridgewater on vocals, Garnett unleashing one of the greatest solos in his storied career, followed by Gumbs’ astute solo.\u003c\/p\u003e\n\u003cp\u003eMy Highest Recommendation. \u003cbr\u003eBy John Braswell\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eConsidered the ‘magnum opus’ of master \"drummer extraordinaire’’, composer, arranger, producer, and leader Norman Connor’s in a career that has spanned 4 decades\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eDebut of the legendary vocalist Dee Dee Bridgewater\u003c\/li\u003e\n\u003cli\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN-BDS5142[[Artist]]Norman Connors\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Love From The Sun \/ Vinyl \/ LP Black","offer_id":43959646879989,"sku":"PPAN-BDS5142","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622698.jpg?v=1755042596"},{"product_id":"try-your-best","title":"Try Your Best","description":"[[Release Detail]][[Release Description]]\u003cp\u003eThe Seattle band Mommy Long Legs has been around for a bit now, amassing a tape, an EP, and a 7″ since they started releasing music in 2015. Now, they’re announcing their debut album, Try Your Best.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eRepress on blue colored vinyl\u003c\/li\u003e\n\t\u003cli\u003eOriginally released in 2018\u003c\/li\u003e\n\t\u003cli\u003eDebut album\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]YRR 020[[Artist]]Mommy Long Legs","brand":"Youth Riot Records","offers":[{"title":"Try Your Best \/ Vinyl \/ LP Blue","offer_id":43959649599733,"sku":"YRR 020","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1528138211273-ewlui4ijih-356e2dadef7a762c77bf23a81c2b03c8_2FMommy_2BLong_2BLegs-Try-Your-Best.jpg?v=1690525070"},{"product_id":"masana-temples","title":"Masana Temples","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eKikagaku Moyo started in the summer of 2012 busking on the streets of Tokyo. Though the band started as a free music collective, it quickly evolved into a tight group of multi-instrumentalists. Kikagaku Moyo call their sound psychedelic because it encompasses a broad spectrum of influence. Their music incorporates elements of classical Indian music, Krautrock, Traditional Folk, and 70s Rock. Most importantly their music is about freedom of the mind and body and building a bridge between the supernatural and the present. Improvisation is a key element to their sound.\u003c\/p\u003e\n\u003cp\u003eThe shifting dimensions of Masana Temples, fourth album from psychedelic explorers Kikagaku Moyo, are informed by various experiences the band had with traveling through life together, ranging from the months spent on tour to making a pilgrimage to Lisbon to record the album with jazz musician Bruno Pernadas. The band sought out Pernadas both out of admiration for his music and in an intentional move to work with a producer who came from a wildly different background. With Masana Temples, the band wanted to challenge their own concepts of what psychedelic music could be. Elements of both the attentive folk and wild-eyed rocking sides of the band are still intact throughout, but they’re sharper and more defined.\u003c\/p\u003e\n\u003cp\u003eMore than the literal interpretation of being on a journey, the album’s always changing sonic panorama reflects the spiritual connection of the band moving through this all together. Life for a traveling band is a series of constant metamorphoses, with languages, cultures, climates and vibes changing with each new town. The only constant for Kikagaku Moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. Inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. The music is the product of time spent in motion and all of the bending mindsets that come with it.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eKikagaku Moyo's fourth full-length studio album\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eRecorded with jazz musician Bruno Pernadas\u003c\/li\u003e\n\u003cli\u003ePressed on black vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]GGB-017LP-2[[Artist]]Kikagaku Moyo\u003c\/p\u003e","brand":"Guruguru Brain","offers":[{"title":"Masana Temples \/ Vinyl \/ LP Black","offer_id":43959652221173,"sku":"GGB-017LP-2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Masana Temples \/ CD \/ CD","offer_id":43959652253941,"sku":"GGB-017CD","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1648839260622-qzjil5tnl5-7237878d4b4818c3f5104b74c334e734_2FDKjUJGNw.jpg?v=1690525172"},{"product_id":"love-in","title":"Love-In","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eFour-and-a-half decades after the event, saxophonist Charles Lloyd’s Love-In, recorded live at San Francisco’s Fillmore Auditorium in 1967, the counterculture’s West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski’s treatment of Rolling Stone photographer Jim Marshall’s cover shot, through the album title and some of the track titles (“Tribal Dance,” “Temple Bells”), and the inclusion of John Lennon and Paul McCartney’s “Here There and Everywhere,” Love-In’s semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.\u003c\/p\u003e\n\u003cp\u003eIt is likely that more joints were rolled on Love-In’s cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane’s A Love Supreme (Impulse!, 1965) and Pharoah Sanders’s Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as “the first psychedelic jazz group.”\u003c\/p\u003e\n\u003cp\u003eIt is to Lloyd’s credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd’s espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It’s About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis’ band (although Jarrett didn’t appear at the 1970 gig).\u003c\/p\u003e\n\u003cp\u003eSo Love-In comes with a load of baggage, some of it less than fragrant. But as 45 minutes of music, it still has legs. Lloyd’s vocalized tenor (and flute on two tracks) has Coltrane-derived muscle; the young Jarrett’s lyrical and funky solos, particularly on his 07:55 showcase, the gospel-ish “Sunday Morning,” his two featured originals (“Sunday Morning” and the soul jazz-ish “Is It Really the Same?”), and his playing the strings of the piano directly with his hands, all remain compelling; McClure and DeJohnette are solid and inventive.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eRecorded live at San Francisco’s Fillmore Auditorium in 1967\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eHailed as “the first psychedelic jazz group\"\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e[[Catalog Number]]PPAN-SD11481[[Artist]]Charles Lloyd\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Love-In \/ Vinyl \/ LP Black","offer_id":43959653761269,"sku":"PPAN-SD11481","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622834.jpg?v=1754688691"},{"product_id":"vibes-from-the-tribe-trcd4008","title":"Vibes from the Tribe","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003ePhil Ranelin was a session trombonist recording with the likes of Steve Wonder before setting up the Tribe label with Wendell Harrison in Detroit.\u003c\/p\u003e\n\u003cp\u003eLike other contemporary artist run labels like Strata East and Black Jazz, Tribe releases were characterised by a heady mix of post Coltrane free jazz, soul and funk, all informed by a strong political conscience.\u003c\/p\u003e\n\u003cp\u003eVibes From the Tribe is a fine record. The title track is lusciously, greasily funky and stands in pretty stark contrast to the kind of airbrushed fusion that was in vogue at the time. “Sounds from the Village” is even better (and dirtier), showcasing Ranelin’s oily trombone gymnastics and a viciously fuzzed guitar solo. “Wife” features Phil’s singing and is oddly reminiscent of Frank Zappa’s writing on Sleep Dirt; an affecting, snaking melody topped off with a beautiful solo from the leader, whose playing here has the grace of Bob Brookmeyer coupled with the agility of George Lewis.\u003c\/p\u003e\n\u003cp\u003e“He The One We All Knew” is the obligatory Coltrane tribute and is a trip into the kind of groove based free playing typical of Pharoah Sanders, though only really picks up when the band launch into post bop swing mode in the last six minutes or so, provoking another fine Ranelin solo. Bassist Ralph Armstrong is particularly strong here; his brief solo passages are a wonder of agility and tough lyricism that make me wonder why he’s not better known. Other highlights come from the mellifluous flute of Wendell Harrison. Beautiful stuff, and it’s good to know that Ranelin is still at work even now. Essential.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eCharacterised by a heady mix of post Coltrane free jazz, soul and funk, all informed by a strong political conscience\u003c\/li\u003e\n\u003cli\u003eFeatures \u003cmeta charset=\"utf-8\"\u003eColtrane tribute, performance of \u003cmeta charset=\"utf-8\"\u003e“He The One We All Knew”\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003ePhil Ranelin, leader of Detroit jazz label Tribe Records and session trombonist for Steve Wonder\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TRCD4008[[Artist]]Phil Ranelin\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Vibes from the Tribe \/ Vinyl \/ LP Black","offer_id":43959653859573,"sku":"TRCD4008","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622803.jpg?v=1755042615"},{"product_id":"oasis","title":"Oasis","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/playlists\/520381623\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"450\" width=\"100%\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eTime Capsule is a reissue label that unites the record collectors and DJs of the brilliant corners and Beauty \u0026amp; The Beat communities in London. For each release, Kay Suzuki works alongside one co-curator to reinstate and repackage the music they hold dear into perfectly restored historic artifacts.\u003c\/p\u003e\n\u003cp\u003eFor the first release, brilliant corners regular and Meda Fury signing Ryota \u003cspan class=\"caps\"\u003eOPP\u003c\/span\u003e curates the reissue of Il Guardiano Del Faro’s 1978 album Oasis.\u003c\/p\u003e\n\u003cp\u003eBorn 1940 in Milan, Federico Monti Arduini was a child prodigy who studied piano and was already performing at concerts from the age of eight. He composed pop songs for other artists which sold millions of copies, but his own solo success came after he encountered synthesizers in the early 70s.\u003c\/p\u003e\n\u003cp\u003eViewed as a precursor of New Age sound art, Arduini was one of the first producers in Italy to use the Moog synthesizer and a meeting with Bob Moog in New York only added to this obsession. He was also an early adopter of the tradition among electronic producers to use a moniker to disguise his identity. Il Guardiano Del Faro (translated as “the guardian of lighthouse”) is a nod to the small Italian fishing town Porto Santo Stefano, where Arduini created his studio in the mid-70s.\u003c\/p\u003e\n\u003cp\u003eHe produced a number of albums from this seaside idyl of electronic instruments and tape recorders, but Oasis stands out from the pack. Released in 1978, it became a cult classic for its experimental sounds and emotional expressions. Spiritual synth sounds cover the album in a dreamy haze, oscillating between ambient and psychedelic. Sparing deployment of the Roland rhythm box gives dance floor favourites ‘Disco Divina’ and ‘Oasis’ touches of space disco and even teases proto-house elements like the great Sun Palace.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePressed on heavy 180gm vinyl\u003c\/li\u003e\n\u003cli\u003eOriginal restored artwork with gatefold sleeve\u003c\/li\u003e\n\u003cli\u003eLiner notes and pictures on inner sleeve\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eRemastered by Tim Young, Metropolis Studios (Grammy Award Winner mastering engineer)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TIME001[[Artist]]Il Guardiano Del Faro\u003c\/p\u003e","brand":"Time Capsule","offers":[{"title":"Oasis \/ Vinyl \/ LP Black","offer_id":43959654154485,"sku":"TIME001","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/826853966610.jpg?v=1749584011"},{"product_id":"castle-in-the-sky-image-album","title":"Castle In The Sky: Image Album","description":"[[Release Detail]][[Release Description]]\u003cp\u003eThis album was created before the soundtrack, and is based on the image of Laputa given to Joe Hisaishi from director Hayao Miyazaki and producer Isao Takahata.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eJapanese import\u003c\/li\u003e\n\t\u003cli\u003eJacket image is designed with a cutout of the main characters, Pazu and Sheeta, from the theater poster\u003c\/li\u003e\n\t\u003cli\u003eDouble jacket with duplicate cel of Pazu and Sheeta\u003c\/li\u003e\n\t\u003cli\u003eHoused in a gatefold jacket with an \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\t\u003cli\u003eLimited pressing\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]TJJA-10011[[Artist]]Joe Hisaishi","brand":"Tokuma Japan Communications","offers":[{"title":"Castle In The Sky: Image Album \/ Vinyl \/ LP Black","offer_id":43959654875381,"sku":"TJJA-10011","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1535746830071-kvtm903nw2-393e21091362e5d060c94a5b7ad2fb9b_2Fimage_2Balbum_2B.jpg?v=1690525286"},{"product_id":"castle-in-the-sky-soundtrack-tjja-10012-legacy","title":"Castle In The Sky: Soundtrack","description":"[[Release Detail]][[Release Description]]\n\u003cp\u003eSoundtrack includes the insert song ‘’Kimi o Nosete.’’ Jacket image is the Tiger Moth, the airship of the Doras the air pirates, which appeared in ’’Castle In The Sky.\"\u003c\/p\u003e\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eJapanese import\u003c\/li\u003e\n\u003cli\u003ePressed on Black Vinyl\u003c\/li\u003e\n\u003cli\u003eHoused in a gatefold jacket with an \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]TJJA-10012[[Artist]]Joe Hisaishi","brand":"Tokuma Japan Communications","offers":[{"title":"Castle In The Sky: Soundtrack \/ LP \/ LP Black","offer_id":43959654908149,"sku":"TJJA-10012","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/4988008085815.jpg?v=1747851897"},{"product_id":"castle-in-the-sky-symphony-version","title":"Castle In The Sky: Symphony Version","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eSymphony version of the image album ‘’Sora kara Futtekita Shoujo’’ performed by an orchestra of 60 players. Performance: Tokyo City Philharmonic Orchestra. Conductor: Katsuaki Nakatani.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eJapanese Import\u003c\/li\u003e\n\u003cli\u003eIncludes 4 pages of illustrations plus an \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\u003cli\u003eLimited\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TJJA-10013[[Artist]]Joe Hisaishi\u003c\/p\u003e","brand":"Tokuma Japan Communications","offers":[{"title":"Castle In The Sky: Symphony Version \/ LP \/ LP Black","offer_id":43959654940917,"sku":"TJJA-10013","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/4988008085914.jpg?v=1747852102"},{"product_id":"my-neighbor-totoro-image-album","title":"My Neighbor Totoro: Image Album","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eImage album created with the concept of ‘’making songs which children really want and can sing out loud with their mouths widely opened.’’\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eJapanese import\u003c\/li\u003e\n\u003cli\u003e16-page booklet\u003c\/li\u003e\n\u003cli\u003eLimited edition with \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\u003cli\u003eIncludes 10 songs + 1 instrumental\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TJJA-10014[[Artist]]Joe Hisaishi\u003c\/p\u003e","brand":"Tokuma Japan Communications","offers":[{"title":"My Neighbor Totoro: Image Album (Restock) \/ LP \/ LP Black (Restock)","offer_id":46450311659765,"sku":"TJJA-10014","price":42.0,"currency_code":"USD","in_stock":true},{"title":"My Neighbor Totoro: Image Album (2025 Restock) \/ Vinyl \/ LP Black","offer_id":43959654973685,"sku":"TJJA-10014-2","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/4988008086010.jpg?v=1747852370"},{"product_id":"my-neighbor-totoro-soundtrack","title":"My Neighbor Totoro: Soundtrack","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eSoundtrack in which you can feel warmth and enjoy Joe Hisaishi’s music to your heart’s content. Includes ’’Sanpo’’ and ‘’My Neighbor Totoro.’’\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eJapanese import\u003c\/li\u003e\n\u003cli\u003eIncludes 4 pages of illustrations\u003c\/li\u003e\n\u003cli\u003eLimited edition with \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\u003cli\u003ePressed on Black Vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TJJA-10015[[Artist]]Joe Hisaishi\u003c\/p\u003e","brand":"Tokuma Japan Communications","offers":[{"title":"My Neighbor Totoro: Soundtrack (Restock) \/ Vinyl \/ LP Black","offer_id":43959655039221,"sku":"TJJA-10015","price":42.0,"currency_code":"USD","in_stock":true},{"title":"My Neighbor Totoro: Soundtrack \/ Vinyl \/ LP Color","offer_id":43959655071989,"sku":"TJJA-10015-C","price":49.0,"currency_code":"USD","in_stock":true},{"title":"My Neighbor Totoro: Soundtrack \/ Vinyl \/ LP Black","offer_id":44467671662837,"sku":"TJJA-10015","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/4988008086119.jpg?v=1747852030"},{"product_id":"nausicaa-of-the-valley-of-wind-image-album","title":"Nausicaa Of The Valley Of Wind: Image Album","description":"[[Release Detail]][[Release Description]]\u003cp\u003eA collection of works which are considered the origin of film music in Nausicaa, created even before the film’s production and based on the image in the original comics. Jacket image is a ‘’Torumakian Soldier’’ illustrated by director Hayao Miyazaki for appendix poster for Animage.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eJapanese import\u003c\/li\u003e\n\t\u003cli\u003eLimited edition with \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\t\u003cli\u003eIncludes 4 pages of illustrations\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]TJJA-10008-2[[Artist]]Joe Hisaishi","brand":"Tokuma Japan Communications","offers":[{"title":"Nausicaa Of The Valley Of Wind: Image Album \/ Vinyl \/ LP Black","offer_id":43959655137525,"sku":"TJJA-10008","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/4988008085419.jpg?v=1747851875"},{"product_id":"nausicaa-of-the-valley-of-wind-symphony-version","title":"Nausicaa Of The Valley Of Wind: Symphony Version","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eMasterpieces of ’’Nausicaa’’ reproduced by an orchestra of 50 players. Fully arranged and produced by composer Joe Hisaishi himself. Jacket image is Nausicaa departing for a journey.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eJapanese import\u003c\/li\u003e\n\u003cli\u003e4 pages of illustrations\u003c\/li\u003e\n\u003cli\u003eHouses in double gatefold jacket with \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TJJA-10010[[Artist]]Joe Hisaishi\u003c\/p\u003e","brand":"Tokuma Japan Communications","offers":[{"title":"Nausicaa Of The Valley Of Wind: Symphony Version \/ Vinyl \/ LP Black","offer_id":43959655203061,"sku":"TJJA-10010","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/4988008085617.jpg?v=1748478051"},{"product_id":"cosmic-vortex-justice-divine","title":"Cosmic Vortex (Justice Divine)","description":"[[Release Detail]][[Release Description]]\u003cp\u003eAfter two visionary LPs for his own tiny Nodlew label, Weldon Irvine signed to \u003cspan class=\"caps\"\u003eRCA\u003c\/span\u003e for Cosmic Vortex (Justice Divine), exploring the deeply spiritual and political terrain of his previous efforts on the kind of grand musical scale that major-label funding accommodates. This is a big, bold record by any measure, with a startlingly pronounced focus on lyrics and vocals. At the same time, however, the melodies spread out like tentacles, informed by the improvisational sensibilities of jazz and the deep-groove spirit of funk.           Jason Ankeny\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\t\u003cli\u003eRecording Engineer and Mixed By – Jim Crotty\u003c\/li\u003e\n\t\u003cli\u003eProducer, Arranged By, Conductor, Composed By – Weldon J. Irvine, Jr.\u003c\/li\u003e\n\t\u003cli\u003eRecorded in RCA’s Studio ‘D’, New York City, 1974\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]PPAN APL1-0703[[Artist]]Weldon Irvine","brand":"Pure Pleasure","offers":[{"title":"Cosmic Vortex (Justice Divine) \/ Vinyl \/ LP Black","offer_id":43959659725045,"sku":"PPAN APL1-0703","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622841.jpg?v=1755042755"},{"product_id":"the-time-is-now-trcd4006","title":"The Time Is Now","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003ePhil Ranelin’s first record as a leader is worlds away from his later 1976 offering, Vibes From the Tribe. The Time Is Now is a vanguard jazz record, full of the spirit, determination, and innovation inspired by John Coltrane, Eric Dolphy, Cecil Taylor, Pharoah Sanders, and Archie Shepp. Recorded in 1973 and 1974 and released at the end of 1974, the set shows Ranelin to be an imposing composer and frightfully good trombonist. The original album contained six compositions that are a deep musical brew of avant-garde improvisation, hard bop jazz esthetics, and soulful melodic ideas that were superimposed as a jump off point for both harmonic and rhythmic (read: Latin) invention. The stamp of Detroit is all over this thing. Tracks like the title and “Black Destiny” reflect the anger and vision of the era, while moving it all in a positive musical direction. Soloists on the set include the rest of the Tribe collective — Marcus Belgrave and Wendell Harrison — as well as local players who deserved far more than they received in terms of national recognitions: bassist Reggie “Shoo-Be Doo” Fields, trumpeter Charles Moore, pianist Keith Vreeland, drummer Bill Turner, and others including Ranelin himself. The arrangements on The Time Is Now were ahead of their time, clustering a rhythm section as part of the horn’s front line (“13th and Senate” and the title track) and a stylistic angularity that reflected both musical history and futurism in jazz and R\u0026amp;B (“Time Is Running Out” and “Times Gone By”). The Time Is Now is a must for any vanguard jazz aficionado or anyone interested in the strange, rhythm-oriented evolution of Detroit music.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eVanguard jazz record, full of the spirit, determination, and innovation inspired by John Coltrane, Eric Dolphy, Cecil Taylor, Pharoah Sanders, and Archie Shepp\u003c\/li\u003e\n\u003cli\u003eRecorded in 1973 and 1974\u003c\/li\u003e\n\u003cli\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TRCD4006[[Artist]]Phil Ranelin\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"The Time Is Now \/ Vinyl \/ LP Black","offer_id":43959662739701,"sku":"TRCD4006","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622872.jpg?v=1755042686"},{"product_id":"cab-calloway","title":"Cab Calloway","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eFrom 1932 to the late 1940’s, the period covered by this set, Cab had an orchestra that was about as swinging a band of solid senders as you’d find on the big-band circuit.\u003c\/p\u003e\n\u003cp\u003eCab projects, in his singing on records, something of the vital magic of his stage presence, a boundless exuberance and enthusiasm. His orchestral backing during the Thirties and Forties included many well-known names in jazz. At various times, Milt Hinton, Danny Barker and Cozy Cole were in his rhythm section.The reeds included the late, great Chu Berry as well as Ben Webster. Dizzy Gillespie was in the band, some members of which, at odd moments, served as a laboratory for the style to be called Bop. “This whole new chord structure idea was interesting to me,” Milt Hinton recalled, “and I would walk the new chords behind his playing.” Cab wasn’t the least enthusiastic. Danny Barker quoted him as saying, “I don’t want you playing that Chinese music in my band.”\u003c\/p\u003e\n\u003cp\u003eThe main attraction, however, was always Cab—showman, singer, entertainer. Most audiences didn’t even know that some of his sidemen were candidates for the jazz hall of fame. And that was as it should be. The musicians’ first function was to provide musical backing and a musical setting for the man who was being called “King of the Hipsters,” and this they did, wonderfully well. It was as Barry Ulanov noted in Metronome (January, 1943) a band extraordinary in every respect, hailed for its “clean musicianship, its jazz kicks, its brilliant showmanship.”\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePressed on standard black vinyl\u003c\/li\u003e\n\u003cli\u003eRemastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN LN3265[[Artist]]Cab Calloway\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Cab Calloway \/ Vinyl \/ LP Black","offer_id":43959662870773,"sku":"PPAN LN3265","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1545085369775-occx9a5i80l-1453a5992513058e580424f6d14c303d_2FR-3414770-1524214652-9745_jpeg.jpg?v=1690525626"},{"product_id":"buio-omega-original-motion-picture-soundtrack","title":"Buio Omega - Original Motion Picture Soundtrack","description":"[[Release Detail]][[Release Description]]\u003cp\u003eJoe D’Amato’s 1979 gorefest Buio Omega (Beyond the Darkness) concerns a local taxidermist Frank and his dead fiancée, unable to cope with his loss he of course digs up his deceased girlfriend and preserves and stuffs her. This (obviously) doesn’t sit well with his housekeeper who is secretly in love with Frank, from here on in things get even more bizarre and gruesome as Frank tries to find a replacement for his ex to no avail. As bodies pile up (and get broken down in acid baths) the local police get suspicious and it all comes to a head for Frank and his housekeeper. Buio Omega is an absolutely outrageous slice of Italian sleaze and recommended to those only with the strongest of stomachs!\u003c\/p\u003e\n\u003cp\u003eGoblin supplied the score to Buio Omaga and they really helped elevate the film. Synthesizers soar and drums rattle and the score is a funk filled masterpiece far better than the film probably deserves! We are thrilled to bring the full score on vinyl straight from the original masters and we have loaded it with unreleased tracks\/takes \u0026amp; stingers from the \u003cspan class=\"caps\"\u003eAMS\u003c\/span\u003e\/Cinevox vaults!\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eThe complete original score including 17 tracks never before pressed to vinyl straight from the vaults of \u003cspan class=\"caps\"\u003eAMS\u003c\/span\u003e \u0026amp; Cinevox\u003c\/li\u003e\n\t\u003cli\u003ePressed on \u003cspan class=\"caps\"\u003eGREEN\u003c\/span\u003e vinyl and limited to 1,000 LPs\u003c\/li\u003e\n\t\u003cli\u003eHoused in a gatefold jacket with printed insert\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]DW124[[Artist]]Goblin","brand":"Death Waltz Recording Co.","offers":[{"title":"Buio Omega - Original Motion Picture Soundtrack \/ Vinyl \/ LP Color","offer_id":43959663001845,"sku":"DW124","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1546973655594-9iqdw2ig4ji-f3154b6552c592a24e17ca644ace03d6_2Fdw124.jpg?v=1690525632"},{"product_id":"desert-fairy-princess","title":"Desert Fairy Princess","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eAdele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album “Desert Fairy Princess” which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded. Adele and her band pull it off right from the start as if it had been 1966 and it was time for a revolution to shake the dust from the old time jazz. In a perfect way she mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the lengthy and quite rhythm oriented “Man From Tanganyika” and makes the title track start with a mystical “Allahu akbar“ chant while it turns more and more into a dark and gloomy song with something like a psychedelic edge reminiscent of Pharoah Sanders on his early works. Wild rhythms from drums, percussions with tons of bells and chimes weave a thick groove carpet and conjure a magical atmosphere. Those jazz aficionados who love the mid 60s John Coltrane, his sidekick Pharoah Sanders and Alice Coltrane will go crazy for this album.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eFirst issued in 1981\u003c\/li\u003e\n\u003cli\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003cli\u003eFor fans of \u003cmeta charset=\"utf-8\"\u003eJohn Coltrane, his sidekick Pharoah Sanders, and Alice Coltrane\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]NS-680[[Artist]]Adele Sebastian\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Desert Fairy Princess \/ Vinyl \/ LP Black","offer_id":43959665918197,"sku":"NS-680","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622933_3b55e7c1-7e85-4c3f-aa6f-c89d88b12b2c.jpg?v=1758313115"},{"product_id":"hassan-s-walk","title":"Hassan’s Walk","description":"[[Release Detail]][[Release Description]]\u003cp\u003eDon’t let the date fool you, released back in 1983 this modal to slightly free jazz outfit from California takes you on a journey back to the late 60s and very early 70s, into the spiritual realms of greats like John Coltrane, Pharoah Sanders, John McLaughlin and Miles Davis among others. A soul jazz treasure from the LA scene of the early 80s – a fantastic record that I rank with the best Strata East sides of the time! The group’s led by alto saxophonist Dadisi Komolafe, and features vibes by Ricky Kelly, piano by Eric Tillman, bass by Roberto Miranda, and drums by Sunship Theus – all working together in a style that’s infused with soulful, post-Coltrane exploratory energy, never going too far outside, and always staying true to the rhythmic pulse at its core. Kelly’s vibes are really great – sparkling underneath solos by Komolafe that remind me a lot of Gary Bartz’s earliest work.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\t\u003cli\u003eRecorded in Los Angeles in October 1983\u003c\/li\u003e\n\t\u003cli\u003eProduced by Tom Albach\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]NS-3035[[Artist]]Dadisi Komolahe","brand":"Pure Pleasure","offers":[{"title":"Hassan’s Walk \/ Vinyl \/ LP Black","offer_id":43959665950965,"sku":"NS-3035","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622940_b187ec50-62e1-41c5-ab4f-4f1a896358ae.jpg?v=1758313398"},{"product_id":"the-boss-of-the-blues","title":"The Boss of the Blues","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eBesides helping to invent rock ‘n roll with his hit “Shake, Rattle and Roll,” Big Joe Turner was one of the most soulful blues shouters of all time. His best albums married the boogie-woogie piano stylings of the great Pete Johnson with a jazzy jumpin’ horn section. Boss Of The Blues is arguably Joe’s best recording, in part because he sang with particular gusto during these 1956 sessions. At the time, Boss of the Blues marked a nostalgic return to the jump-blues style that Turner helped pioneer in the ‘40s. Besides Johnson, Boss featured some of Kansas City’s finest ever jazzmen and various members of Count Basie’s band, including Joe Newman (trumpet), Pete Brown (alto sax), Lawrence Brown (trombone), Frank Wess (tenor sax) and Freddie Green (guitar). The bawdy “Cherry Red” and the rollicking “Roll ’Em Pete” are my favorite Turner-Johnson collaborations. Both feature some incredible playing by the piano master. Turner’s versions of “I Want a Little Girl,” “Low Down Dog,” “You’re Driving Me Crazy,” and “Morning Glories” are definitive. If I had to compile a list of my 10 favorite albums, Boss of the Blues would be there. Ed Kopp\/All About Jazz.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRecord Store Day 2019 Exclusive Release\u003c\/li\u003e\n\u003cli\u003eDeluxe Gatefold LP with exclusive scholarly liner notes by Alvin Lucia!\u003c\/li\u003e\n\u003cli\u003eFull dynamic range 2019 remasters direct from the first generation analogue master tapes\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD1234[[Artist]]Big Joe Turner\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"The Boss of the Blues \/ Vinyl \/ LP Black","offer_id":43959694328053,"sku":"PPAN SD1234","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622209.jpg?v=1755042984"},{"product_id":"western-suite","title":"Western Suite","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn late 1957, jazz saxophonist, clarinetist, composer, and iconoclast Jimmy Giuffre broke up the original Jimmy Giuffre 3 with Ralph Pena and Jim Hall. In early 1958, for a recording session, he formed a new trio without a rhythm section. For the album “Trav’lin’ Light”, his new trio included Hall on guitar and the underrated trombone giant Bob Brookmeyer. For a year, they gigged together up and down the West Coast and played summer festivals, recorded, and even played clubs in New York.\u003c\/p\u003e\n\u003cp\u003eThey became a trio of adventurous musicians for whom form was not an obstacle to creativity. As the year wound down, Giuffre wanted to document the trio once more, sensing its life was coming to an end. He composed the four-movement “Western Suite” with the trio’s strengths in mind, as a way of documenting how they had come together as a band during that year. The piece itself stands as a crowning achievement in a career that included discovering the talents of Steve Swallow and Paul Bley and making the truly revolutionary recording “Free Fall” for Columbia three years later. The roots of that thinking lie in this set. Jim Hall’s playing was dark, funky, ambiguous, sounding like drums and voices all at the same time — particularly in the fourth movement. Brookmeyer became the pace setter. His lines were played as stage settings for the other two players to dialogue and narrate against. Giuffre, ever the storyteller, advanced the improvisation angle and wrote his score so that each player had to stand on his own as part of the group; there were no comfort zones. Without a rhythm section, notions of interval, extensions, interludes, and so on were out the window. He himself played some of his most restrained yet adventurous solos in the confines of this trio and within the form of this suite. It swung like West Coast jazz, but felt as ambitious as Copland’s “Billy The Kid”.\u003c\/p\u003e\n\u003cp\u003eThe record is filled out with two other tunes, one of Eddie Durham’s, “Topsy”, and the final moment of mastery this band ever recorded, the already classic “Blue Monk”. The easy stroll of the front line with Brookmeyer’s trombone strutting New Orleans’ style is in sharp contrast to Giuffre’s clarinet playing. Which carries the bluesy melody through three harmonic changes before he solos and then plays three more. Hall keeps it all on track, and somehow the piece sounds very natural this way, though unlike “Monk”, there are no edges here — everything is rounded off. This is as solid as any of the earlier or later Jimmy Giuffre 3 records, and two notches above “Trav’lin’ Light” in that it reveals a fully developed sense of the responsibilities, possibilities, and freedoms of reinventing jazz for the trio.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eRecorded in 1958 by Heinz Kubicka, Herb Kaplan, and Tom Dowd\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eReveals a fully developed sense of the responsibilities, possibilities, and freedoms of reinventing jazz for the trio\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD1330[[Artist]]Jimmy Giuffre\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Western Suite \/ Vinyl \/ LP Black","offer_id":43959694426357,"sku":"PPAN SD1330","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622278.jpg?v=1751327792"},{"product_id":"the-wonderful-world-of-jazz","title":"The Wonderful World Of Jazz","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eLewis, known for his own cool piano technique and sideman to the likes of Dizzy Gillespie, Charlie Parker, Miles Davis and Lester Young (what a line-up!), was a busy guy, primarily because he was the musical director of the Modern Jazz Quartet where he combined jazz with classical constructions and gave jazz a distinctly cerebral touch yet his own approach to jazz was one of musical efficiency where not a note went to waste. It all mattered. As did getting his music to the people. In fact he did just that for over 20 years as the \u003cspan class=\"caps\"\u003eMJQ\u003c\/span\u003e rarely left the road. You can also add scoring for film which included titles such as Odds Against Tomorrow, No Sun in Venice and A Milanese Story, Where he found the time to release a series of solo albums, I do not know. Nevertheless, he did and the Atlantic label (which is where this LP initially resided) was his principle home. Frankly, its a superb album and benefits continued listening because you will hear and understand more with each play. In conjunction with guitarist Jim Hall, bassist George Duvivier and drummer Connie Kay, Lewis offers an array of styles and variations including a trio of piano-heavy tracks plus the superb Body and Soul which not only roams for over 15 minutes but includes a quite delicious solo from tenor sax man, Paul Gonsalves. By the time we get to Afternoon in Paris, half way through Side 2, we come up against trumpeter Herb Pomeroy, Gunther Schuller on French horn, tenor man Benny Golson, baritonist Jimmy Giuffre, and guitarist Jim Hall who all offer a splendid reading. Eric Dolphy does threaten to outshine them all though.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003cli\u003e180 gram LP standard sleeve Stereo Recording\u003c\/li\u003e\n\u003cli\u003eRecorded throughout 1960\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD1375[[Artist]]John Lewis\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"The Wonderful World Of Jazz \/ Vinyl \/ LP Black","offer_id":43959694524661,"sku":"PPAN SD1375","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622483.jpg?v=1751327828"},{"product_id":"dream-weaver","title":"Dream Weaver","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThe first studio date of the Charles Lloyd Quartet, with Keith Jarrett, Cecil McBee, and Jack DeJohnette, was recorded and released just a few days before the band took both the European and American festival circuits by storm. First came Europe, which was just getting the disc as the band was tearing up its stages. While the live dates are now the stuff of legend, it’s easy to overlook the recordings, but to do so would be a mistake. Dream Weaver is a fully realized project by a band — a real band — in which each member has a unique part of the whole to contribute. Jarrett’s unusual piano style fits musically with Lloyd’s lyricism in a way that it shouldn’t.\u003c\/p\u003e\n\u003cp\u003eJarrett was even then an iconoclast, playing harmonic figures from the inside out and relying on counterpoint to create new spaces, not fill them in. (Just listen to “Autumn Sequence,” where his solos and his backing harmonics are equally strident and inventive as Lloyd’s Eastern explorations of mood and mode.) And then there’s the rhythm section of McBee and DeJohnette, whose modal inventions on the intervals make the “Dream Weaver” suite an exercise in open time, allowing all players to wander around inside it and take what they want out. The set closes with a group party jam on “Sombrero Sam,” with Lloyd and Jarrett trading eights on a Cuban variation on a fantasia. There were no records like this one by new groups in 1966. Thom Jurek\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eRecorded in New York March 29th, 1966.\u003c\/li\u003e\n\u003cli\u003e180 gram LP x 1 standard sleevege Avakian \u0026amp; Arif Mardin\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD1459[[Artist]]Charles Lloyd\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Dream Weaver \/ Vinyl \/ LP Black","offer_id":43959694557429,"sku":"PPAN SD1459","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622490.png?v=1755042766"},{"product_id":"the-doctor-is-in-out","title":"The Doctor Is In \u0026 Out","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn 1976, Yusef Lateef’s as restless a spiritual seeker as there ever was in the field of music, revisited some of his earliest themes in the context of modern sonic frameworks: The Eastern modal and melodic frameworks of his Prestige sides, such as Eastern Sounds, Cry!\/Tender, and Other Sounds, brought to bear in much more sophisticated, complex, and grooved-out ways — after all, it had been 20 years or more. The groove referred to is funk and soul. Funk itself was mutating at the time, so Lateef’s interpolation at the crossroads of all ports in the musical journey was not only valid in 1976, but also necessary.\u003c\/p\u003e\n\u003cp\u003eFor this recording, he utilized an absolutely huge group of musicians, bringing them in for this or that part, or a sound, or a particular vamp. Some of those present were Kenny Barron, Ron Carter, Dom Um Romao, Al Foster, Billy Butler, Anthony Jackson, a five-piece brass section, and a synth player. Lateef, as always, was offering evocative glimpses of geographical, psychological, spiritual, and emotional terrain in his compositions, but not in predictable ways.\u003c\/p\u003e\n\u003cp\u003eThere’s the deep minor-key meditation on blues and evolving thematic variations on “Hellbound” that becomes a Latin funk tune; the airy, contemplative, and skeletal “Mystique,” which may use a repeating rhythmic phrase but explores every inch of its margins via a string section and Lateef’s flute solo; the smooth, urban, bluesy funk of “Mississippi Mud”; the completely out electronic musique of “Technological Homosapien” that becomes a series of synth squeals and an erratically tumbling bassline; and the wonderfully warped mariachi variation (sung in white-boy English) that featured the band playing bluesy hard bop over an age-old recorded track on “In a Little Spanish Town.” It’s a weird way to end a record, but then, it’s a weird and wonderful record. Thom Jurek\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePressed on standard black vinyl\u003c\/li\u003e\n\u003cli\u003eRecorded at Regent Sound Studios, New York in 1976\u003c\/li\u003e\n\u003cli\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD1685[[Artist]]Yusef Lateef\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"The Doctor Is In \u0026 Out \/ Vinyl \/ LP Black","offer_id":43959694622965,"sku":"PPAN SD1685","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1563568874284-9gez20x1oyd-f82aa3451df756f1620aea5322f69945_2FScreen_2BShot_2B2019-07-19_2Bat_2B1.40.09_2BPM.png?v=1690526378"},{"product_id":"bright-moments","title":"Bright Moments","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eRahsaan Roland Kirk’s live club gigs were usually engaging, freewheeling affairs, full of good humor and a fantastically wide range of music. The double album Bright Moments is a near-definitive document of the Kirk live experience, and his greatest album of the ‘70s. The extroverted Kirk was in his element in front of an audience, always chatting, explaining his concepts, and recounting bits of jazz history. Even if some of his long, jive-talking intros can sound a little dated today, it’s clear in the outcome of the music that Kirk fed voraciously off the energy of the room. Most of the tracks are long (seven minutes or more), demonstrating Kirk’s wealth of soloing ideas in a variety of styles (and, naturally, on a variety of instruments). “Pedal Up” is a jaw-dropping demonstration of Kirk’s never-duplicated three-horns-at-once technique, including plenty of unaccompanied passages that simply sound impossible.\u003c\/p\u003e\n\u003cp\u003eThere’s more quintessential Kirk weirdness on “Fly Town Nose Blues,” which heavily features an instrument called the nose flute, and the title track has a healthy dose of Kirk singing through his (traditional) flute. His repertoire is typically eclectic: Ellington’s “Prelude to a Kiss”; a groovy Bacharach pop tune in “You’ll Never Get to Heaven”; a lovely version of Fats Waller’s “Jitterbug Waltz”; and a stomping, exultant New Orleans-style original, “Dem Red Beans and Rice.” Perhaps the best, however, is an impassioned rendition of the ballad standard “If I Loved You,” where Kirk’s viscerally raw, honking tone hints in a roundabout way at the avant-garde without ever losing its melodic foundation. Bright Moments empties all the major items out of Kirk’s bag of tricks, providing a neat microcosm of his talents and displaying a consummate and knowledgeable showman. In short, it’s nothing less than a tour de force. Steve Huey\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e2LP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eRecorded live at Keystone Korner, San Francisco, California in 1973\u003c\/li\u003e\n\u003cli\u003e180 gram LP x 2 gatefold sleeve\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD2-907[[Artist]]Rahsaan Roland Kirk\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Bright Moments \/ Vinyl \/ 2LP Black","offer_id":43959694721269,"sku":"PPAN SD2-907","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622377.jpg?v=1755042719"},{"product_id":"blues-from-the-gutter","title":"Blues From The Gutter","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eChampion Jack Dupree was a New Orleans bred boogie-woogie piano player. But boogie-woogie piano music has little or no collector value. The same cannot be said for Dupree Lps, which have always fetched healthy good prices in record bin and on eBay. While you can’t give away LPs from such accomplished boogie-woogie piano players such as Albert Ammons or Meade Lux Lewis, Dupree’s style of mixing boogie-woogie and the blues seems more modern and hip, attracting music lovers and record collectors alike.\u003c\/p\u003e\n\u003cp\u003eWhile just about anything on Atlantic or Blue Horizon is worth searching out, the real goods are to be found on Dupree’s very first LP released in 1958 on Atlantic- Blues From The Gutter; the title says it all and the lyrics rarely stray from sex and drugs. Dupree’s delivery simply ooze rock and roll, and I’m not talking about music. If the proverbial fire struck and I had to choose five blues LPs to save, this would make the cut. The mono original has a deeper soundstage and more immediacy, which has been traded off for a wider stage with this stereo issue. That quibble aside, this is essential music that should not be missed.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eChampion Jack Dupree's very first LP\u003c\/li\u003e\n\u003cli\u003eOriginally released in 1958\u003c\/li\u003e\n\u003cli\u003eRemastered at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD8019[[Artist]]Champion Jack Dupree\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Blues From The Gutter \/ Vinyl \/ LP Black","offer_id":43959694688501,"sku":"PPAN SD8019","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622223.jpg?v=1751067318"},{"product_id":"in-person","title":"In Person","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eI bought this LP, of the Atlanta concert, in 1960. It knocked me out then, and it knocks me out now. For me, this IS Ray Charles. In the intro to ‘Night Time is the Right Time’ Ray says, ‘…and Miss Marjorie Hendricks will help us out on vocals…’, and boy, does she help out! Turn up the volume and strap yourself down.\u003c\/p\u003e\n\u003cp\u003eThe greatness of this album. Ray was touring with his band in the 50’s, and they played at a concert in Herndon Stadium, Atlanta. An engineer at radio station \u003cspan class=\"caps\"\u003eWAOK\u003c\/span\u003e recorded the occasion on a one track tape recorder using a single microphone. The recording was later played over the air. The response of the radio audience was overwhelming, resulting in the ultimate release of the Atlantic album. It is one of the most extraordinary albums of all time. First, the recording is amazing considering how it was recorded. The band is heard with perfect clarity and balance, and the audience is also picked up, and you can hear the shouting, whooping, the give and take with the audience, and the extraordinary energy in what was a typical concert of Ray Charles playing to his own audience. Many of the tunes were or became classics, known to every funk and blues musician in the country and to most of the population at large. Ray Charles was revered like no other musician.\u003c\/p\u003e\n\u003cp\u003eThis is the most cathartic of all Ray Charles’ recordings. On two tracks, “The Right Time” and “Tell The Truth”—both shared with the Raelettes’ lead singer, Marjorie Hendricks—the music transcends art to become powerfully shamanistic. It remains one of the greatest rhythm and blues albums of all time.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRecorded 28th, May 1959 at Herndon Stadium, Atlanta, Georgia\u003c\/li\u003e\n\u003cli\u003eRemastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003cli\u003ePressed on standard black vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD8039[[Artist]]Ray Charles\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"In Person \/ Vinyl \/ LP Black","offer_id":43959694786805,"sku":"PPAN SD8039","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1563571945893-ozi794efple-ba640753639875a95f7539526acfba70_2FMI0003593094.jpg?v=1690526384"}],"url":"https:\/\/lightintheattic.net\/collections\/just-added.oembed?page=21","provider":"Light in the Attic","version":"1.0","type":"link"}