AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

CBS   /  Pure Pleasure - CBS63293  - 180 gram Virgin Vinyl 

Limited Edition - Pure Analogue Audiophile Mastering - 

Mastered by Ray Staff at Air Mastering London  - Pressed  at Pallas Germany

Georgie Fame's swinging, surprisingly credible blend of jazz and American R&B earned him a substantial following in his native U.K., where he scored three number one singles during the '60s and a top ten hit with "Bonnie & Clyde" in the States. Fame played piano and organ in addition to singing, and was influenced by the likes of Mose Allison, Ray Charles, Booker T and the MG's and Louis Jordan. Early in his career, he also peppered his repertoire with Jamaican ska and bluebeat tunes, helping to popularize that genre in England; during his later years, he was one of the few jazz singers of any stripe to take an interest in the vanishing art of vocalese, and earned much general respect from jazz critics on both sides of the Atlantic.

This set finds him in a suaver, jazzier vein accompanied by a band made up of the cream of jazz musicians on the UK scene at the time. It was at this time, 1967 and 1968, that to much acclaim, he toured as featured vocalist with the Count Basie Orchestra throughout the UK & Europe.

Georgie Fame was firmly enrolled within his pop phase by 1968, and Third Face of Fame did not care who noticed. In fact, it rather hoped that everybody lured into earshot by his recent chart-topping lament for outlaws Bonnie & Clyde (the opening "The Ballad of Bonnie & Clyde," of course), would all come hurtling in. In fact they didn't, and the album marked Fame's first non-charting outing since his debut, five years before -- which means the millions missed out on a handful of cuts that were at least as enjoyable as the hit. A version of the Beatles' "When I'm 64" rivals any other cover of that song, with Fame's treatment truly capturing the foreboding that lurks behind the superficial buoyancy of the lyric, while there's also a heartfelt version of George and Ira Gershwin's "Someone to Watch Over Me."

Earlier fans are treated to a powerful visit to "St James Infirmary," which proves that Fame has lost none of his earlier taste for menacing R&B, while the closing romp through Donovan's "Mellow Yellow" is nothing if not, er, mellow. Third Face of Fame can scarcely be recommended to anybody yearning for Fame himself to return to the blues-breaking growl of old. But, as an example of British pop's own longtime fascination with "adult"-sounding entertainment, it's certainly an enjoyable slice of very easy listening. ~ 

Musicians:

• Georgie Fame (piano, organ, vocal) and orchestra

Recording: 1968 by Mike Ross
Production: Mike Smith

Track Listing:

1. The Ballad of Bonnie and Clyde 
2. When I'm Sixty Four 
3. Ask Me Nice 
4. Exactly Like You 
5. Someone to Watch Over Me 
6. Blue Prelude 
7. Bullets Laverne 
8. This is Always 
9. Side By Side 
10. St. James Infirmary 
11. Mellow Yellow 

ORIGINAL MASTER TAPES

AAA 100% ANALOGUE

We use the Original Tapes and work with only the Best Mastering Studios

PALLAS

Plated and Pressed at Pallas in Germany on 180 gram Virgin Vinyl

Highest Quality Jackets and  Inner Sleeves

LIMITED EDITION

Low Numbers per Stamper Released in Limited Quantities

 

 

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.

60 Years Pallas