There is something about holding a vinyl LP in the palms of your hands, touching only the platter’s edges lest you smudge, soil, or scratch the grooves incised in its inky surface. As you tilt the disc so that it catches the light, the tracks show up as fuzzy concentric bands, each delineated by a darker, thinner bar of dead space. That wide band in the middle of side one of The Doors must be the seven-minute version of "Light My Fire." Flip it over, and the last band on side two is even fatter, the 11-plus-minute opus, "The End." It’s time to give this vintage vinyl a spin.
Records as we know them today (or knew them, before the rise of CDs and digital music) have been around since 1930, when RCA manufactured a 12-inch vinyl disc that was meant to be played at 33 1/3 revolutions per minute (RPM). RCA’s vinyl records produced a lot less playback noise than the shellac records that dominated the market, but the Great Depression was no time to introduce a new entertainment product with limited manufacturer support, so vinyl didn’t catch on.
It took until 1948 for that to happen. That’s when Columbia introduced its own 12-inch, 33 1/3 vinyl monaural record, which it branded as the LP for Long Play. Today, the letters LP are treated like the word "Kleenex," which is to say that it’s technically a brand name, but we use it as if it was the generic description for vinyl records.
For fans of early rock ’n’ roll, key vinyl LPs to collect include 1955’s Rock Around the Clock, the first 12-inch LP that Bill Haley & His Comets cut for Decca. The following year, a teenage singer named Frankie Lymon, who was sort of the Michael Jackson of the 1950s, released The Teenagers Featuring Frankie Lymon, which included their hit "Why Do Fools Fall In Love."
Other pioneers of rock include Chuck Berry, whose 1957 LP called After School Session on Chess Records is a classic of the genre. Another Chess artist was Bo Diddley, whose 1958 Bo Diddley included such early hits as "Who Do You Love?"
And then there was Elvis Presley, whose eponymous 1956 debut was the first rock ’n’ roll album to top the charts and sell a million copies. Tracks included the King’s famous cover of Carl Perkins’s "Blue Suede Shoes."
For jazz fans, collectible LP choices range from Dixieland to West Coast Cool. From 1952 on, Chet Baker recorded numerous albums, many of them live, accompanied by the likes of Charlie Parker and Gerry Mulligan on labels with names like Fresh Sound, Pacific Jazz, and Blue Note...
Another early jazz LP pioneer was Louis Armstrong, whose trumpet work and vocals on the soundtrack for the 1956 film High Society contributed to its brisk sales (Bing Crosby’s duet with Grace Kelly, plus other tracks by Frank Sinatra, didn’t hurt, either). Armstrong had another film-related hit in 1963, when an LP version of Hello Dolly! was released to capitalize on his best-selling single from the movie.
During the 1960s, a painful (to the ears) transition from mono to stereo took place. In many cases, monaural recording sessions were turned into stereo LPs during post-production, with predictably poor results. For collectors, some of the "pure" mono recordings of that decade are therefore highly prized. These include the 1963 Parlophone release of Please Please Me by The Beatles, the first Rolling Stones album in 1964, mono versions of Pink Floyd’s 1967 The Piper at the Gates of Dawn, and the Grateful Dead’s first album, also from 1967.
In fact, LPs by psychedelic bands like Floyd and the Dead are a genre of collecting unto itself. Known as Psych Rock, bands include 13th Floor Elevators, The Chocolate Watchband, and H.P. Lovecraft. In some cases, particular LPs are considered classics of this trippy art form, such as the Jefferson Airplane’s 1967 After Bathing at Baxter’s, which was reportedly mixed based on how well it would sound while the listener was on LSD.
Yet another highly collectible genre of vintage LPs is Progressive Rock, also known as Prog Rock. This late-1960s to 1970s phenomenon includes bands like Gong, Tangerine Dream, King Crimson, Yes, and Rush.
Regardless of genre, one of the best things about LPs is their generous size, which gave rise to a flood of covers with gorgeous and/or provocative artwork. There are the colorful covers of 1960s Psych records, to be sure, but go back in time a little bit and you can collect Mid-century Modern graphics disguised as 1950s and 1960s jazz albums.
Some album covers are simply legendary: Andy Warhol designed a cover for The Rolling Stones’s Sticky Fingers that featured an actual working zipper. The Who’s Tommy came with a cover-size booklet filled with art and lyrics. Robert Rauschenberg designed a clear plastic cover for the Talking Heads’s Speaking in Tongues. And if you want a copy of The Beatles’s infamous "butcher" version of Yesterday and Today, you’ve got to go back to the original vinyl.
Today, numerous contemporary musicians are choosing to release their music not just on CD and digitally but on vinyl, too. In 2007, Radiohead famously offered music files of its In Rainbows album to its fans for whatever they wanted to pay. The potentially risky gambit did not seem to hurt sales of the vinyl version of the 10-song collection—In Rainbows was the best-selling vinyl LP of 2008.
Grunge bands such as Nirvana and Pearl Jam embraced vinyl from the beginning of their careers. A rare version of Nirvana’s Nevermind was issued with a multi-colored, mottled, "splash" design on the vinyl itself. As for Pearl Jam, one of the bestsellers on eBay continues to be its four-disc recording of a benefit the band performed in 2003 at Seattle’s Benaroya Hall. The discs, which are red like the album’s cover, were issued in an edition of 2,000. The price in 2004 was $40 for the set. Today, you’d be lucky to find a sealed copy for under $500.
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Why it's a golden age of the music box setToronto Star, October 24th
As part of From the Vault, a new series of previously unreleased vintage Stones recordings, L.A. Forum captures the band at their mid-period peak, with a three-LPs-plus-DVD set drawn from a five-night stint in 1975, the first tour to feature the new...Read more
Music for all weatherTrinidad Guardian, October 23rd
Cape also records his stint with Sparrow's Troubadours via the 1969 recording of Sa Sa Yea and Bongo, on the Sparrow Troubadours-Hot and Sweet LP. On nine of the ensuing tracks of the CD Cape displays his wide range of musicianship and diversity by...Read more
Re-imagining the record storeMinnesota Daily, October 23rd
When Dave and Laura Hoenack bought Hymie's Vintage Records five years ago, the store operated out of a dingy building on a then-dead block of East Lake Street. The recession was nigh, and the couple dealt with the obstacle of an insufferable landlord ...Read more
Neil Young set for first ever art exhibition in CaliforniaNME.com, October 23rd
for Young's new solo album, 'Storytone' - pictured above - which is also released on November 3. The LP is his second of the year following 'A Letter Home', which was recorded in the vintage vinyl booth at Jack White's Third Man Records store in...Read more
Tony Levin – A Family Affair (INTERVIEW)Glide Magazine, October 23rd
Throughout the LP, Tony switches off on cello and bass, sharing the sonic spotlight with Pete's organ and piano. They're assisted by a crew of high-profile session players (including drummer Steve Gadd), cranking out smooth, unobtrusive pieces that...Read more
TRACK-BY-TRACK: Jane WeaverThe Quietus, October 22nd
This week, Jane Weaver released her excellent, cosmos-gazing sixth solo album, The Silver Globe, out on Finders Keepers Records. In our review, Joe Banks concluded: "Weaver's strong .... As the years go by, it becomes almost impossible to afford to use...Read more
Thirty-Three-Hit WonderThe New Yorker, October 19th
He'd only just told me that he considered the song the album's weakest link and a reason for his ranking “The Stranger” below later albums. (His favorites: “The Nylon Curtain,” “River of Dreams.” Most fun to record: “Glass Houses.”) Still, it was...Read more
Sixx:A.M. Streaming New 'Modern Vintage' AlbumUltimate Classic Rock, October 3rd
It was a completely open canvas,” guitarist DJ Ashba said of the 'Modern Vintage' sessions during a recent discussion with Legendary Rock Interviews. “We went back and pulled out all of our old vinyl records and just started listening to, you know...Read more