{"title":"Vinyl","description":"","products":[{"product_id":"neil-young-and-the-bluenotes-this-notes-for-you","title":"Neil Young and the Bluenotes This Note's For You","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch2\u003eNeil Young and the Bluenotes This Note's For You on Vinyl LP\u003c\/h2\u003e\n\u003cp\u003e1988's\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cstrong\u003eThis Note's For You\u003c\/strong\u003e\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efound\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eNeil Young\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eraging against commercialism while being backed by a horn-laden new band called\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eThe Bluenotes\u003c\/strong\u003e. 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While the title cut certainly steals the show here opener \"Ten Men Workin'\" and \"Life in the City\" are both solid numbers in their own right.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTen Men Workin'\u003c\/li\u003e\n\u003cli\u003eThis Note's For You\u003c\/li\u003e\n\u003cli\u003eCoupe de Ville\u003c\/li\u003e\n\u003cli\u003eLife In The City\u003c\/li\u003e\n\u003cli\u003eTwilight\u003c\/li\u003e\n\u003cli\u003eMarried Man\u003c\/li\u003e\n\u003cli\u003eSunny Inside\u003c\/li\u003e\n\u003cli\u003eCan't Believe Your Lyin'\u003c\/li\u003e\n\u003cli\u003eHey Hey\u003c\/li\u003e\n\u003cli\u003eOne Thing\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"voltage-stereo","offers":[{"title":"Default Title","offer_id":47364751818901,"sku":null,"price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4367\/5797\/files\/LDY71913___05655.jpg?v=1779202868"},{"product_id":"chet-baker-in-new-york-fantasy-45-series","title":"Chet Baker In New York: Fantasy 45 Series","description":"\u003ch2\u003e\n\u003cspan\u003eChet Baker \u003cem\u003eIn New York \u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003eon 180g 45RPM 2LP from Analogue Productions: Part of the Fantasy 45 Series, Mastered by Kevin Gray and Steve Hoffman at Acoustech Mastering from the Original Master Tape, Pressed at QRP\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003eOn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIn New York\u003c\/em\u003e, Chet Baker plays like an angel with a muted trumpet.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIn New York\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecaptures the moody prince of cool stepping into the East Coast hard bop ring — and holding his own with charm, tone, and those impossibly lyrical lines that seem to float above the beat like cigarette smoke in a club basement.\u003c\/p\u003e\n\u003cp\u003eChet Baker didn't play the trumpet. 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These are just a taste of the treasures that await on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIn New York\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThis vinyl reissue is par excellence: Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45RPM, and pressed on 180-gram vinyl at Quality Record Pressings. Plus, it's housed in a Stoughton old-style tip-on gatefold jacket with scuff-resistant matte finish.\u003c\/p\u003e\n\u003cp\u003eThis is an album that deserves space in every jazz fan's collection. It captures a unique moment in Chet's career — between the breezy West Coast cool and the rawer later years. It's a must-have for any jazz collector who values tone, taste, and a little touch of trumpet romance. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFeatures:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e180g Vinyl\u003c\/li\u003e\n\u003cli\u003e45RPM\u003c\/li\u003e\n\u003cli\u003e2LP\u003c\/li\u003e\n\u003cli\u003eMastering by Kevin Gray \u0026amp; Steve Hoffman at Acoustech Mastering\u003c\/li\u003e\n\u003cli\u003ePressed at Quality Record Pressings\u003c\/li\u003e\n\u003cli\u003eStoughton Printing Old Style Tip-On Gatefold Jacket with Scuff-Resistant Matte Finish\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFair Weather\u003c\/li\u003e\n\u003cli\u003ePolka Dots and Moonbeams\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHotel 49\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSolar\u003c\/li\u003e\n\u003cli\u003eBlue Thoughts\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWhen Lights Are Low\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"voltage-stereo","offers":[{"title":"Default Title","offer_id":47364755783829,"sku":null,"price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4367\/5797\/files\/chetbakernyap__00641_6f9e4778-548b-4423-87e1-4b7141426bbb.jpg?v=1779202902"},{"product_id":"nina-simone-a-single-woman-the-complete-elektra-recordings","title":"Nina Simone A Single Woman: The Complete Elektra Recordings","description":"\u003ch2\u003e\u003cspan\u003eNina Simone's Final Studio Recordings \u003cem\u003eA Single Woman: The Complete Elektra Recordings\u003c\/em\u003e on 2LP: Newly Remastered and Features 11 Bonus Tracks\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003eNina Simone burst into the world with 1959's\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLittle Girl Blue\u003c\/em\u003e, and music would never be the same. 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The ten tracks chosen from the sessions were revelatory, weaving songs about love in the style only Nina Simone could conceive and deliver. Simone recorded more material during the sessions, including covers of Bob Dylan, Prince, The Beatles, and Bob Marley, pointing to a potential follow up, but - sadly,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Single Woman\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewould be her final studio album before her passing in 2003.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Single Woman\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas reissued in 2006, adding seven of those performances left behind. Now, four more previously unissued recordings from those sessions have been added to create\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Single Woman: The Complete Elektra Recordings -\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e21 tracks on double LP. 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A largely unknown duo whose eponymous debut flopped. An impromptu meeting in a supermarket that led to a fact-finding trip to Sound City Studios. The backstory behind Fleetwood Mac’s self-titled album is nearly as incredible as the music on the 1975 recording — a blockbuster that altered pop-rock history, and found newcomers Lindsey Buckingham and Stevie Nicks permanently changing the profile and popularity of the British ensemble.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of the nine-times-platinum effort plays with reference-level transparency, dynamics, and detail. Benefitting from stellar groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the California studio with arresting presence, tube-like warmth, and sumptuous tonality.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eHonoring the striking elements that make \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFleetwood Mac \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003ea generations-spanning favorite, the industry-leading presentation of this UD1S version confirms the reissue's definitive standing. Housed in a gorgeous slipcase, it features premium foil-stamped jackets and faithful-to-the-original graphics. This keepsake is for listeners who want to immerse themselves in everything involved with the album, including the recognizable cover art positioning Mick Fleetwood and John McVie before a doorway — as well as a crystal ball showing their reflection. The hand-drawn script depicting the band's name is now inextricably associated with the quintet’s “White Album” and identity.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eShepherded by producer Keith Olsen, Fleetwood Mac used its studio time to cultivate and establish intra-band roles. The innate chemistry among the five musicians can be heard here in stunning clarity, the taut albeit flexible rhythms distinguished with palpable grip, the blended vocals and airy harmonies benefitting from seemingly unlimited frequency extension. The thrilling results speak to the band’s bond as well as healthy tension that led to recordings that more than five decades later remain revered for their exceptional realism, openness, textures, imaging, and soundstaging. And that says nothing about the freshness of the songs themselves.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSix of those tunes were written or co-written by Buckingham or Nicks, who lent the band — reeling from the departure of guitarist Bob Welch — a diversity, soulfulness, and breadth it lacked in the past. Then again, the romantically involved partners weren’t exactly burning up the charts on their own. Their \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBuckingham Nicks \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eLP was largely ignored upon release and found the twosome questioning their futures. But fate has a weird way of operating, and rather than recruiting another six-string blues virtuoso into the mix, Fleetwood Mac called an audible. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePrompted to visit Sound City Studios after telling someone in a grocery store he needed a place to record Fleetwood Mac’s tenth album, Fleetwood heard \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBuckingham Nicks \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eplayed back by Olsen as a demonstration of the studio’s capabilities. Unable to forget what he heard, the drummer soon invited Buckingham to join his band. Displaying his now-famous reluctance to cede any creative control, Buckingham initially hedged before accepting on one condition: He and Nicks came as a package. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat agreement stands as one of the most significant career-altering moves any band ever made. Suffice it to say Nicks’ Plan B — “we can always quit,” she reasoned to Buckingham — stayed on the backburner. After rehearsing together for just ten days and sussing out potential roles, the new iteration of Fleetwood Mac entered Sound City in January 1975 and laid down the tracks for the showstopper \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eRolling Stone\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e ranks as the 182nd Greatest Album of All Time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn many ways, Fleetwood Mac got far more than they bargained for in taking on the American duo. Buckingham and Nicks arrived loaded for bear. “Monday Morning,” “Rhiannon,” and “I’m So Afraid” had already been workshopped and penciled in for a second Buckingham-Nicks record. “Crystal” was re-purposed and re-imagined after its original inclusion of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBuckingham Nicks\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNicks also brought another recently penned song to the sessions, a beautiful gem none other than “Landslide.” McVie later admitted that the quality of material triggered a competitive spirit within her and inspired her to take her own songwriting to another level. “Warm Ways,” “Say You Love Me,” and “Over My Head” underscore that determination. Ditto her collaboration with Buckingham on “World Turning.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConstituting the old Fleetwood Mac in name only, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFleetwood Mac\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e is the sound and style of an entirely new entity, a rebirth, and a reward for perseverance and a little bit of chance fortune. Above all, however, the album — which peaked at No. 1 on \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBillboard\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e more than a year after its street date — towers as a testament to then-novel combinations of hook-laden power pop, mystical folk, cool R\u0026amp;B, melodic rock ‘n’ roll and a wondrous balance of perfection and pragmatism, delicate and deliberate, mellow and maverick.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIndeed, from the ocean-swept breeziness of the opening “Monday Morning” through the optimistic vibes of the building “Over My Head” to the stacked structure of the closing “I’m So Afraid,” \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFleetwood Mac\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e contains not a single dull moment or wasted note. 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