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Categories ROCK & POPULAR Mary Black - Speaking With The Angel - 180g LP
Mary Black - Speaking With The Angel - 180g LP
Product no.: PPAN014In stock
Available delivery methods: UK Tracked with Signature, UK Express, Airmail Tracked with Signature, UK Standard, Heavy Item
AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Pure Pleasure / Dara 3u - PPAN 014 - 180 Gram Virgin Vinyl - AAA 100% Analogue
Audiophile Mastering by Ray Staff at Air Mastering London
Pressed at Pallas in Germany - Limted Edition
Speaking With The Angel is ideally suited for audiophile vinyl. The re-mastering by Pure Pleasure Records is superior. Black’s voice has exceptional warmth, but with prominent clarity. The acoustic (guitars, bouzouki) and Irish instrumentation (whistles, pipes) is captured with subtlety and precision. The separation is excellent, especially on layered mixes. - Audaud
Mary Black's sound has always been a mixture of traditional Irish folk singers like Dolores Keane and California country-pop singers like Linda Ronstadt. Black altered the balance of that blend when she traveled from Ireland to California to record her album, "Shine," with Joni Mitchell's producer, Larry Klein. For her next album, "Speaking With the Angel," Black has returned to her Dublin home, and her co-producers Donal Lunny and Steve Cooney have relied heavily on fiddles, accordions and tin whistles in the arrangements.
Despite the Irish-folk trappings of this project, there's still a lot of California in Black's approach. Sometimes this is a liability, as when she lends a melodramatic whisper to Dougie MacLean's "Broken Wings" or an ersatz blues shuffle to Shane Howard's "Don't Say Okay." And sometimes the California flavor is a real asset, as when she massages the Brian Wilson-like chord changes on Neil Finn's "Fall at Your Feet" or when she belts out the lust-laden pop hook of Noel Brazil's "Big Trip to Portland."
Black is at her best, though, when her Irish roots and her American aspirations find an appropriate balance, as they do on "I Live Not Where I Love," a traditional folk song done up in a chamber-pop arrangement. You can also hear that balance in Black's tributes to one of her favorite singers, London's Sandy Denny ("Moments").
Features:
• Limited Edition 180g Vinyl
• Audiophile Remastering
• German Pressing
• Gatefold Jacket
• Stereo
Selections:
Side 1:
1. Turning Away
2. Cut By Wire
3. Don't Say Okay
4. Bless the Road
5. Broken Wings
6. Fall At Your Feet
Side 2:
1. Message of Love
2. Moments
3. Speaking With the Angel
4. Big Trip to Portland
5. I Live Not Where I Love
Bonus Track:
6. Fields Of Gold
Pure Pleasure Records
The Restoration of the Art of Sound
180g Vinyl Mastered From The Best Available Sources
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records. During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production. To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
There really is nothing quite like it. It’s the touch, the feel, you have to stop and stare, the cover, the real thing, even the smell.
Its tangible, you can feel it, see it, study it, muse/dream over it, it’s real, someone has spent hours and hours over its construction and presentation. Pure Pleasure Records is just that, Pure Pleasure and that is what it has set out to be.
The music and the physical record. Something to keep, treasure, admire and above all enjoy.Of course with vinyl it’s not just a record, it’s the cover, the sleeve notes, you are holding a unique package, produced by craftsmen.
Pure Pleasure Records bring you vinyl albums of quality Jazz - Blues - R+B - Soul - Funk, remastered by some of the best engineers in the world and pressed on 180 gram audiophile vinyl at what is probably the best pressing plant in Europe
Pure Analogue Audiophile Mastering - Plated and Pressed at Pallas in Germany on 180 Gram Virgin Vnyl - Released in Limited Quantities
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