Pure Pleasure / Epic - PPAN 57863 - 180 Gram Virgin Vinyl - 5060149620717
Pure Analogue Audiophile Mastering by Ray Staff at Air Mastering London
AAA 100% Analogue - Limited Edition - Pressed at Pallas Germany
Gorgeous Vocal Inflections, Astonishing Acoustic Guitar Lines Possess Incredible Detail!
you’ve never really heard it until you hear it on this ultra-dynamic LP reissue Sound 10/10 Music 9/10 Michael Fremmer Stereophile
Self-Titled Major-Label Debut a Folk-Blues Classic! Pure Blues: National Steel Guitar Playing, Raw Harmonica Solos, Soulful Strumming Infuse Originals and Pair of Covers! In an age where most contemporary bluesmen strive to mimic the past and pattern their music after the greats, Keb' Mo' is content to be himself. Original, charismatic, and immensely gifted, the guitarist/vocalist (born Kevin Moore) brings country blues in the late 20th century on his stunning self-titled Epic debut, which quickly climbed the charts and turned the former backing instrumentalist into a household name.
Replete with gritty textures, close-up vocals, and resplendent acoustics, scintillating analog version of this 1994 set finally possesses the fidelity that brings Mo’s Delta strains out of the backwoods and onto a lively back porch. Gone are the hazes that obscured his singing, artificial ceilings that blunted the highs, and digital fog that interfered with the multitude of illuminating tones, details, and notes. What’s revealed is startling intimacy and soothing emotion, Mo’s gorgeous vocal timbres and inflections given equal space with his guitar, harmonica, and pace.
Finally, a great-sounding contemporary blues record that doesn’t resort to derivative recycling and bland revivalism. The son of Southern parents, Mo' channels his heritage via a batch of superb folksy songs that relax, refresh, and regale. While he’s since traveled in a more commercialized pop-oriented direction, Mo’s initial salvo is nothing but raw, pure blues played with unbridled passion, tremendous conviction, and what is best deemed the essence of heart and soul. Keb' Mo' engages with a compelling mix of tradition and modernity, the headliner refraining from any attempt at assuming an artificial personality and instead basing his reputation on quality songs. As such, Mo’s material resonates with deep, mellow vibes and extraordinary National steel guitar work, which complements his fluid, acoustic finger-picking and soulful strumming. Mo' occasionally teams with an ensemble, but this record is mostly all about the basics: guitar, voice, and harmonica. Tunes such as “Victims of Comfort” and “Angelina” testify on behalf of his phenomenal country-blues songwriting; his covers of Robert Johnson’s “Come On In My Kitchen” and “Kindhearted Woman Blues” speak to his reverence for the past.
Shuffles, ballads, dance songs—Mo nails them all. You owe it to yourself to hear this master musician in the finest possible sound. Every movement on the guitar fretboard, every breath Mo' takes before exhaling words, every crisp and gutsy pluck of the strings—they have never possessed more dynamics, detail, or life. Imaging and soundstaging are incredible. Keb' Mo' remains one of the finest blues albums made in the post-Stevie Ray Vaughan era. Don’t miss this American gem that so many have since tried to copy.
Audaud Music & Sound *****:
This was originally issued in summer of 1994 by Epic records and now has been reissued with audiophile treatment. I never heard the original record, although it would be hard to believe that it sounded bad given how amazing this record sounds. The disc is super quiet and instruments just pop up from the blackness. As a debut record, this disc is excellent. Keb’s voice is rich and melodic and just adds to the overall performance which is a perfect example of acoustic blues. The band includes Keb’ Mo’ (vocals, guitars, harmonica, banjo), Tommy Eyre (keyboards), James “Hutch” Hutchinson (bass), and Laval Belle (drums).
It’s easy to hear why this record is an audiophile favorite (excellent focus, soundstaging, imaging, great transient response and dynamics, etc), but it shouldn’t be just for audiophiles as the music is first-rate. Songs are about love, desire, love lost and of course, women.
As the record progresses the music has more appeal than just for blues listeners and could easily fall into the category of “Adult Contemporary.” If you combine 50% Seal, 50% Bob Seger and 10% Jackson Browne you get 110% Keb’ Mo’ and what a powerhouse voice he has. Not only is his voice solid, but it is neutral enough to cross over into other genres like folk, soft rock or even pop.
Almost all the tunes are written/co-written by the artist with the exception of a few tunes that are penned by blues legend Robert Johnson. Recording is an “A” and music gets an “A” as well. Blues lovers should pick this one up immediately (especially if they’ve worn out their original copy).
Keb' Mo', vocals, guitars, harmonia, banjo
Tommy Eyre, keyboards
James "Hutch" Hutchinson, bass
Lavel Belle, drums
Quentin Dennard, drums (On "Angelina")
Tony Draunagel, percussion (On "Come On In My Kitchen")
1. Every Morning
2. Tell Everybody I Know
3. Love Blues
4. Victims of Comfort
6. Anybody Seen My Girl?
7. She Just Wants to Dance
1. Am I Wrong?
2. Come on in My Kitchen
3. Dirty, Low Down and Bad
4. Don't Try to Explain
5. Kindhearted Woman Blues
6. City Boy
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
Audiophile Vinyl - Made in Germany For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade!