AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Pure Pleasure / Epic PPAN 38734 - 180 Gram Virgin Vinyl - AAA 100% Analogue
Audiophile Mastering by Ray Staff at Air Mastering London
Pressed at Pallas in Germany - Limted Edition - Epic 38734
"…This is a watershed album for the Bluesy rock style this now deceased master established. Highest recommendation." – Richard S. Foster, Hi-Fi+,
Featured in Michael Fremer's Heavy Rotation in the June 2007 Issue of Stereophile!
It is a rare occurrence when a single musician impacts musical culture. However, when Stevie Ray Vaughn burst onto the scene in the 1980s, it was electrifying. Comparisons to Jimi Hendrix abounded, due to the flashy play of this Texas blues man. His band, Double Trouble, was a classic power trio (guitar, bass and drum), like Hendrix, Cream and Mountain. As those bands galvanized blues into rock structures, Double Trouble elevated blues to mainstream popularity.
Stevie Ray Vaughan's 1983 debut album, Texas Flood, was a phenomenal success, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. The record plays like a dynamite club show, filled with crowd-pleasing originals and covers, all performed with unbridled enthusiasm. Certified Gold on August 13, 1990; certified Platinum on January 22, 1992.
The effects of the debut LP "Texas Flood" by Stevie Ray Vaughan at the time of publication in 1983 can not be overestimated. At this time the Blues had nowhere near the importance it had in the 60's - "Texas Flood" changed the basic, entered the top 40 of the charts and stayed there for more than half a year, unheard of for a blues LP . Vaughan became a genuine star and so lit the revival of the blues. The effects were nothing less than monumental, yet Vaughan was criticized despite his amazing skills on the guitar, for his little distinct voice. Instead, the critics, the effects were only too obvious, whether Albert King's pinched yet powerful unilateral or Larry Davis' emotive vocals. There is a grain of truth in these allegations, but it was just what "Texas Flood" helped to its meaning. Vaughn made no attempt to hide his influences, he celebrated them and so punmpte fresh blood into a familiar genre.
As Vaughan and his band Double Trouble recordings of this album in 1982 for a period of three days away, the single tracks were already on countless live performances been played, he knew exactly how he had to treat his material in order to achieve maximum impact. The album is structured like a live performance, it starts with the two best self-written song, "Love Struck Baby" and "Pride and Joy", then leads on to two cover versions, the simmering on low heat for the title track and an exciting interpretation of Howlin ' Wolf's "Tell Me", and then to come up with "Dirty Pool" and "I'm Crying" to climax. For the grand finale Vaughan continues with "Lenny" his wife still a lyrical jazzy monument.
, it is clear that Vaughan's actual merit - was finding something personal and gefühlsbetontem - by adopting various influences of his idols. Sometimes the bonds were obvious, sometimes subtle, the fusion of memories of the past with the excitement and spirit of the present are the style of Stevie Ray Vaughan.
Recording: November 1982 in Downtown Studios, Los Angeles, and Riverside Sound, Austin (Texas) by Richard Mullen / September 1983 at The Palace, Hollywood, California
Production: Stevie Ray Vaughan, Richard Mullen & Double Trouble
Stevie Ray Vaughan - guitar, vocals
Tommy Shannon - bass
Chris "Whipper" Layton - drums
1. Love Struck Baby
2. Pride And Joy
3. Texas Flood
4. Tell Me
6. Rude Mood
7. Mary Had A Little Lamb
8. Dirty Pool
9. I’m Cryin’
1. SRV Speaks
2. Tin Pan Alley
3. Testify (live)
4. Mary Had A Little Lamb (live)
5. Wham! (live)
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!