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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 39304 - 180 Gram Virgin Vinyl - Epic FE 39304
Audiophile Mastering by Ray Staff at Air Mastering London
AAA 100% Analogue - Pressed at Pallas in Germany - Limted Edition
The Absolute Sound Super Disc List TAS Harry Pearson Super LP List
AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head
MUSIC 10/10 SOUND 10/10 Michael Fremmer
"Before you go 'ho-hum, this has been re-issued before', let me tell you that what you may have thought you heard, is nothing compared to what is on these two, that's right, two records. Tony Hickmott of PPR has mined the Epic vaults and has found for us previously unreleased material. Ray Staff at Alchemy has, once again, delivered a brilliant sounding all analogue release. This is the finest sounding Stevie Ray Vaughan album you will ever hear!…It's shockingly good sonically and certainly does cement my feelings about just how good Vaughan really was. This was his second album for Epic and it certainly solidified his place in electric blues history. Not to be missed. Sheer magic." Recording = 8.5/10; Music = 9.5/10 – Richard Foster, Hi-Fi+, Issue 42
It’s hard to believe 22 years have passed since this now classic set was released and almost 16 since Vaughan died in a helicopter crash following a concert in which he appeared with guitar greats Buddy Guy, Eric Clapton, Robert Cray and his brother Jimmie. Couldn’t Stand The Weather was the group’s second Epic album, and what it lacked in originality it made up for with a stupendous performance from all involved.
The comparison to Hendrix was obvious and the cover of “Voodoo Chile…a Slight Return” on this album made it unavoidable. However, who other than Vaughan had the chops to cover it as effectively as this? Surely Jimi would have approved, if not guest-starred. The big attraction in the audiophile world though was the marathon cover of Jimmy Reed’s “Tin Pan Alley” (itself a recasting of earlier versions by others and renamed “Roughest Place in Town” on later pressings, probably due to some copyright issue). While not “audiophile” in the “live in a real space” sense (the drum kit is panned across the soundstage), the recording is a sonic spectacular of a rock number, plumbing the depths and exhibiting superb clarity and revealing in great detail, Vaughan’s delicate, yet throttled-up touch on the Strat.
This double LP edition spreads the original album onto three sides, while devoting side four to a SRV interview plus bonus cuts found on the CD reissue. There has been some controversy generated by what some say is a severely tipped up top end on the reissue compared to the original. Perhaps the top has been tipped up slightly but I wouldn’t call it either fatal or annoying unless your cartridge or system in general (or worse, both) is on the brink of being overly bright to begin with. The original mastered at Sterling by, I believe, Jack Skinner, is quite good, which is why the record got its sonic reputation in the first place, but compared to this reissue, it is somewhat compressed dynamically, and it sounds as if it was EQ’d to bump up the midbass for playback on systems that lack really deep bass.
That said, the effect is subtle, which is again, why the record has such as great reputation. This reissue is far more dynamic, plumbs the depths with greater control and weight and is cleaner—much cleaner—in the midbass. The top is pristine, and perhaps a bit clinical, especially the cymbal sound, but the reverb is part of the reason and the greater clarity of this cut separates it spatially. If your system doesn’t do the very bottom end, the lack of midbass weight, combined with the greater clarity on top might lead you to believe the mastering is “bright.” I don’t think so. I played a CD-R of “Tin Pan Alley” made using a not at all forgiving Lyra Titan on the Continuum Caliburn at CES through these amazing Cabasse full range (10Hz-50kHz) “eyeballs,” driven by some Bel Canto amps in a big room and all I can tell you is it was absolutely as real as I’ve heard this recording sound.
When it ended there was well deserved applause. If you’re a fan of this record, you can’t go wrong with this Pure Pleasure Records reissue, even if it will take some time for your system to catch up to what’s been engraved in the grooves. If you’re not into the blues, or not into SRV, don’t expect a better sounding version of Couldn’t Stand The Weather to convince you.
Stevie Ray Vaughan, vocals, guitars
Tommy Shannon, bass
Chris "Whipper" Layton, drums
Jimmie Vaughan, 2nd guitar
Fran Christina, drums
Stan Harrison, tenor sax
1. Scuttle Buttin'
2. Couldn't Stand The Weather
3. The Things (That) I Used to do
4. Voodoo Chile (Slight Return)
5. Cold Shot
6. Tin Pan Alley
7. Honey Bee
8. Stang's Swang
9. SRV Speaks
10. Hide Away
11. Look at Little Sister
12. Give Me Back My Wig
13. Come On (Pt. 3)
ORIGINAL MASTER TAPES
AAA 100% ANALOGUE
We use the Original Tapes and work with only the Best Mastering Studios
Plated and Pressed at Pallas in Germany on 180 gram Virgin Vinyl
Highest Quality Jackets and Inner Sleeves
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
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!