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viewing 1 To 25 of 25 items
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2LP
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VMP 1157LP
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"Released in the spring of 1989, Gang Starr's debut album, No More Mr. Nice Guy, arrived right at the crucial intersection of the old school and golden age of New York rap. You cannot begin to discuss New York rap lineage without drawing a line through the first decade of Gang Starr. Should history be corrected to appropriately acknowledge Gang Starr's influence and brilliance, it will need an origin story. No More Mr. Nice Guy is that saga. It's a hard ridge in a changing landscape, the sound of everything shifting, the kernel of greatness germinating. It is Guru and Preemo. Preemo and Guru. An essential title not just for what it would lead to, but because of what it is." Double-LP, red & white color vinyl. Lacquers Cut by Barry Grint, Alchemy Mastering at AIR. Listening notes booklet by Dean Van Nguyen.
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2LP
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VMP 2302LP
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"Released in December 2007, The Big Doe Rehab was a technical commercial success at the time, but it endures spiritually as an essential title in Ghostface Killah's own expansive, 13-album discography, let alone his larger body of work with other artists. While every Wu member's solo project inevitably serves as a stage for the Clan, with The Big Doe Rehab, the spotlight never leaves Ghostface Killah in the dark, even with so many other big-name players entering and exiting -- a level of artistry that could only be achieved by one of hip-hop's top dart spitters."
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LP
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VMP 1212LP
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"From the moment Kamaal The Abstract begins, it's evident that this is Tip at his most free and vulnerable, musically, up until that point. Most songs transform into (and end in) extended jams or have solos sprinkled throughout (or both). Jazz serves as the base, with Tip and his band using its colorful and intricate chord progressions to explore funk, rap, rock, R&B and soul -- sometimes all on the same song. The album is an artistic statement that's just as musically bold as it is conflicted, with a playful Tip at the center of it all, just trying to find freedom through music." Originally released by Sony, 2001, 180 gram vinyl, yellow/black/white color. Lacquers cut by Cicely Balston, Alchemy Mastering at AIR. Listening Notes booklet by Elijah C. Watson.
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LP
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VMP 1242LP
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"When Thin Lizzy's Jailbreak was released on March 26, 1976, rock and roll was at a fascinating crossroads. The old-school dinosaurs who led '60s rock -- The Who, Led Zeppelin, The Rolling Stones -- were still standing but limping along, already sounding like nostalgia acts to younger listeners. The next generation of arena-rock groups -- Aerosmith, Kiss, Black Sabbath -- were grounded in a more flamboyant, 'party till you puke' sensibility that would soon be subsumed by the ascendent heavy metal movement. Jailbreak would prove as foundational to the future sound of metal as AC/DC's High Voltage or Motörhead's Motörhead, just as Thin Lizzy's no-nonsense musical approach informed the sensibility of punk." 180 gram vinyl, on "overmaster orange" color. Lacquers cut by Kevin Gray at Cohearent Audio. Listening Notes booklet by Steven Hyden. Art Print by Jim Fitzpatrick.
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LP
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VMP 2229LP
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"Eternity arrived at a transitional point in Coltrane's artistic and spiritual journey after she had founded her Vedantic Center in 1975, but before she abandoned secular performance for a quarter-century; after she had somewhat shaken the relentless comparisons to her husband's work (and those who would use 'John Coltrane's widow' in lieu of her name), but still long before she was universally recognized as a musical luminary. Also importantly, after she released a slew of unexpected pop collaborations and as she signed to a major label pouring money into building a new jazz catalog. Secular, agnostically spiritual, and Vedic songs mingle together, as do a range of different musical textures. In this kind of middle place, Eternity showcases Coltrane's ambition and range, offering a glimpse at sounds and styles she would rarely revisit."
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LP
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VMP 2226LP
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"Blackman came from the jazz world, but spent time in the fusion-funk hybrid that hovered around the edges of the chart in that transitional period of the early '80s. Although it slipped between the cracks at the time, Don Blackman is a minor funk masterpiece that deserves shelf space next to Fuzzy Haskins's A Whole Nother Thang, Bernie Worrell's Blacktronic Science, Trey Lewd's Drop the Line, and others. Though those albums turn up on most P-Funk expanded discographies, Blackman's record often doesn't because there's no playing or production from Clinton, Collins, or Worrell. It might make more sense to think of it at the center of a Venn diagram whose circles include P-Funk, the jazz-funk practiced by artists like George Duke and Roy Ayers and the soul-funk of Fonzi Thornton and Garfield Fleming. Right in the middle, shining brightly, Don Blackman."
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LP
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VMP 1158LP
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"During the pagan hours of an otherwise uneventful Harlem pre-dawn in 1963, Gary Bartz glimpsed a galactic mystery that conventional aeronautics could not explain. Only a few weeks prior, the nascent alto saxophone virtuoso had acquired his first telescope to pursue a newfound passion for astronomy. The purchase was already yielding dividends. The recent Juilliard graduate's fascination with the heavens began with astrology, but the then 22-year-old quickly realized that those celestial sketches were just photographs of the sky as captured during a specific orbit. Why bother with the rough blueprint when you could witness the entire electromagnetic spectrum in its full glory?" Originally released 1969, 180 gram vinyl, tip-on gatefold jacket. (AAA) Lacquers cut rrom the master tapes by Ryan Smith, Sterling Sound. Listening Notes booklet by Jeff Weiss.
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LP
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VMP 1164LP
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"By 1973, Herbie Hancock already had both feet planted firmly in the future -- some 50 years based on the vast, electronic funk he crafted during this period. How could he have known that this music would soundtrack block parties in the '80s and give ground to a burgeoning hip-hop culture? How could a man so steeped in the history of jazz be so untethered to form and genre that he created a sound all his own? Did he envision a world much like this one, where smartphones dictate lives and musical compositions co-mingle without adherence to artificial marketing terms? Herbie likely wasn't that prescient, but doubt his genius. Based on the interplanetary trance funk of Sextant, his 11th studio album, such foresight wouldn't be surprising. Then and always, Herbie was the master of the road less traveled. He was the light guiding his peers where they needed to go." 180 gram vinyl, Lunar Marble color. (AAA) Lacquers cut from tapes by Ryan Smith, Sterling Sound. Listening Notes booklet by Marcus J. Moore . Art print by Tomi Copi.
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LP
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VMP 1177LP
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"On August 26, 1965, listeners find John Coltrane and his quartet recording at RCA Victor Studios on 24th Street in Manhattan. In the tunes tracked for Sun Ship, listeners hear Coltrane revisiting ground he had covered in the past with heightened sensitivity and a deepened interest in timbre. Sun Ship is a portrait of Coltrane's most important band during his most important year, and while it's sometimes overlooked in Coltrane's discography -- probably because it was released posthumously -- it's a crucial document for understanding what this band had accomplished, and it also offers a glimpse of why Coltrane moved beyond it. He needed to be in places where he was less sure of himself." Originally released 1971 by Impulse. 180 gram vinyl, tip-on gatefold sleeve. Pressed by RTI. (AAA) Lacquers cut from the original master tapes by Ryan Smith, Sterling Sound. Listening Notes Booklet by Mark Richardson .
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LP
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VMP 2267LP
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"Musical Massage is of the body, and beyond the body. Far past merely the physical or the sexual, or even the romantic -- the engine of Musical Massage is a spirit, a cohesion, a rhythm, a way of life, and a shared understanding."
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LP
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VMP 1203LP
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"Nina was singular in both her ability and the music she made. She will always be one of the best to ever do it. Nina Simone Sings the Blues comes on 180gram blue vinyl." Originally released by RCA, 1967. 180 gram vinyl, with 8-page liner notes + photo booklet
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LP
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VMP 1208LP
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"In 1959, Coleman released his boldly titled magnum opus, The Shape of Jazz to Come, on Atlantic Records. Prioritizing mood over traditional orchestration, it was the highest-profile free jazz album, released before the terms 'free jazz' and 'avant-garde jazz' even existed. Coleman's bravery opened the door for others to experiment with the genre in ways they wouldn't have before. Without The Shape of Jazz to Come, who knows if Coltrane would have had the heart to try spiritual jazz, or if an up-and-coming pianist named Herbie Hancock would've been bold enough to blend funk into his atmospheric hybrid. Coleman was the first major artist to leap into unforeseen territory, and he did it at a time when the courage wasn't always rewarded. Despite the hardships, Coleman pressed on with his objective and did what the album declared he would. Jazz has never been the same, and we're all better for it."
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LP
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VMP 1238LP
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"Anchored by seamless jam sessions and syncopated grooves, which Neville would call 'tight, sparse and funky as the fuckin' devil,' The Meters evolved from unfussy, mostly instrumental tracks to full-throated, expansive funk that reached an apex on their fifth album, Rejuvenation, in 1974. With deep-fried grooves, astounding musicianship and a reverence for their history both in New Orleans and in Africa, this album has only felt more vital with age. While it didn't sell as many copies as the record deserved at the time, it's a product of these band members' years of hard work gigging in sweaty night clubs, backing up other artists as session players and persevering through a thankless industry. Above all, it's a testament to New Orleans." Originally released by Reprise. 180 gram yellow vinyl. (AAA) Lacquers Cut from the original analog tapes by Ryan Smith, Sterling Sound; Plated at Welcome to 1979. Listening Notes booklet by Josh Terry. Art Print by Julia Fletcher.
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2LP
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VMP 2259LP
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"Live at The Old Quarter, Houston, Texas, the 1977 record from troubadour Townes Van Zandt, was the VMP Country Record of the Month for November 2022. It's here on exclusive 2LP black and white galaxy vinyl."
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2LP
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VMP 2220LP
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"The beats on Capital Punishment, from 'RZA,' 'Rockwilder,' 'Domingo,' and other A-list maestros, are grimy, radio-friendly, yet low-ley cutting-edge, affirming its status as an undisputed classic. Big Pun was as much a visionary -- conceptualizing every song -- as a consummate pro in the booth. Citing Picasso and Baby Jesus while purporting to 'twist your temples into pretzels,' Pun made Minute Rice out of multi-syllables. There's no way to describe Pun's febrile liberties with the king's English. He doesn't really breathe; when he does, it's a sharp gasp for air that almost mimics his Ginsu-like wordplay. Pun's habit of sucking wind before spitting an ill verse mimics the effect of a lit grenade about to land and decimate entire sections of the population. If Pun's dense rhymes invoke mixed metaphors, that's likely because he's an impossible amalgam of wanton wooer and lyrical hitman, an overweight lover with a murderous mouthpiece. Originally released in 1998 on Sony. Red and yellow color double vinyl in direct-to-board, widespine jacket. Mastered by Cicely Balston at AIR Mastering. Listening notes booklet by Will Dukes."
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LP
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VMP 2209LP
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"Anthem Of The Sun is not a live album. Nor is it a studio album. It is truly a hybrid, unprecedented at the time and never replicated. It is both types of album and was created through genius production techniques, exceptional musicianship and inspiration. There were two versions of Anthem Of The Sun and also of Aoxomoxoa, the Dead's 1969 follow-up to Anthem. This new Vinyl Me, Please slab of wax is the original mix and a rare opportunity to hear the 1968 intention mastered from the original analog tape. There's always a lot to be excited about in the Grateful Dead world, and this is certainly one of those things. 180gram orange color vinyl. Foil stamped. Remastering by Chris Bellman at Bernie Grundman Mastering. Listening notes by David Lemieux."
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2LP
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VMP 2207LP
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"Experimental electronic composer/producer Oneohtrix Point Never's 2023 album, Again, is self-described as 'a speculative autobiography' and follows the acclaim of his self-titled Magic Oneotrix Point Never and involvement as executive producer on The Weekend's Dawn FM. Again exists as a culmination of Oneohtrix Point Never's musical identity and explores the intersection of space, time and realities. Limited to 1000 copies, the VMP exclusive edition and only U.S. edition of Again is pressed on 2LP orange transparent vinyl at Precision Record Pressing (PRP). The record comes in a gatefold, direct-to-board, foil-stamped and numbered jacket along with a download code and transparent obi strip. It's mastered by Steve Fallone at Sterling Sound."
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2LP
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VMP 2230LP
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"Recorded live at a UCLA concert hall in April 1978 and released on Warner Bros, Coltrane plays piano and organ accompanied by Roy Haynes on drums and Reggie Workman on bass. The trio conjures both a universe and a universal consciousness; Coltrane has no qualms with the commingling of exhilaration and asceticism it demands of listeners. In fact, she demands that you come closer, to its tone and to your natural self. What this feels like in one aspect is Black music's Bonnie and Clyde fantasy realized. Alice and John were both fugitives from received values and ideas that felt too limiting, and their shared refuge was this sound that can only culminate in the spirit displacing and becoming the body through a series of collective gestures made both into song and a live ritual as is this album. There are very few pieces in the so-called American Songbook with stakes this high and encompassing in their insistence on transformation. One is John Coltrane's A Love Supreme, another, Transfiguration. Black color double vinyl in direct-to-board, double gatefold jacket. Mastered by Ryan Smith at Sterling Sound. Listening notes booklet by Harmony Holiday."
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2LP
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VMP 2216LP
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"Released on June 20, 1966, Blonde on Blonde is the third entry in Bob Dylan's so-called 'rock trilogy' of the mid-1960s. Following half an electric album (Bringing It All Back Home) and a romping raw rocker (Highway 61 Revisited), Dylan renewed the sound he was seeking with number three. But words can't fully describe the music on this double LP. It's simultaneously wiry and mercurial, skirting the border of out-of-control -- too fresh to pin down with record store bin titles. Blonde color vinyl in tip-on, gatefold jacket. Mastered by Ryan Smith at Sterling Sound. Plated at Record Technology Incorporated. Listening notes booklet by Michael Simmons."
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LP
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VMP 2231LP
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"Available for the first time since its original release in 2006 via Stones Throw, Dudley Perkins & Madlib are pleased for the reissue of their sophomore collaborative LP, Expressions (2012 A.U.), their acclaimed follow-up to their 2003 debut effort, A Lil' Light. While the former can be accused of being excessively avant-garde, it's Expressions where both Perkins and the Beat Konducta find a more fluid symmetry. In everything from his collaborations with MF Doom and the late Jay Dee to his more recent pairing with Freddie Gibbs, Madlib is easily one of hip-hop's golden revolutionaries. At times his production has been accused of being sparse, but that's not the case with Expressions. This time around, Madlib's production is hitting all the funky corners with layered grooves that evoke the attitudes and emotions of A Tribe Called Quest's The Low End Theory. Limited to 500 copies, the VMP exclusive version of Dudley Perkins Expressions (2012 A.U.) is pressed on opaque olive green vinyl at Precision Record Pressing (PRP). The LP comes in a single, direct-to-board, foil-stamped and numbered jacket."
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LP
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VMP 2219LP
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"Freddie Roach's first three albums introduced him to the world, but Brown Sugar (1964, on Blue Note) showed it who he was. It was the album that Roach made to capture the energy of soul jazz. To somehow take the sounds in the city, in the clubs, and bring them to a record. In his original liner notes, Roach writes that the album is an ode to late nights and loud clubs, to backs damp with sweat, arms wrapped around waists. 'Not caring for the moment about troubles or problems,' he wrote of people dancing, 'their bodies quivering under smiles that seemed to promise 'after the dance.'' After talking to Alfred Lion, president of Blue Note, they decided that the album needed to be made up of standards -- not the standards of the stage or screen, but the standards of the people. 'To get the 'soul,'' Roach wrote, 'I decided to do show soul tunes.' 180gram black vinyl. Foil stamped. Mastering by Ryan Smith at Sterling Sound. Listening notes booklet by Ashawnta Jackson."
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LP
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VMP 2202LP
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"The phrase 'standards album' was unheard of in 1973, yet within 20 years it had become common parlance in the careers of artists going back to the basics to underscore their vocal prowess. With A Little Touch of Schmilsson in the Night, Nilsson created the template of the solo contemporary singer accompanied by a live orchestra, which set the bar for what followed from Rod Stewart, Linda Ronstadt, Bryan Ferry, and countless others. The decision to make an album like this one would have been unusual for any contemporary artist around at that time, but it was especially strange for Nilsson. His two most recent rock albums had been incredibly successful, and RCA was surely clawing for another guaranteed hit, but, for Nilsson, this was just another twist and turn in his career. It is mind-boggling how far ahead Harry Nilsson was in recording A Little Touch. But where other musicians have turned to a standards album as a way to extend or even resurrect their career, Nilsson made one at his absolute artistic peak. No one has had the guts to do it like he did, before or since -- and Nilsson knew it. 180gram, double-gatefold black vinyl with tip-on jacket. (AAA) lacquers cut from tapes by Ryan Smith at Sterling Sound. Listening notes booklet by Darren Dutton."
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2LP
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VMP 2215LP
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"For all the name Black Moses conjures, for all that it confers, it was not a name Isaac Hayes gave himself; that title was bestowed by a radio DJ sermonizing an intro to one of his songs. It was not a name Isaac Hayes -- raised by his god-fearing grandparents in a former sharecropper's shed after his parents died before he turned two years old -- thought was even appropriate. It seemed sacrilegious to him. But that name, it meant something that even Hayes had to acknowledge. He had ascended to a plane that no Black performer before him had ever reached before. He topped the R&B charts and, eventually, the pop charts without ever having to compromise who Isaac Lee Hayes Jr. was. He had shown his people that James Brown's 'I'm Black and I'm Proud' edict was possible. He dripped in gold chains inside his album gatefolds and drove cars literally trimmed in it. Unapologetically. Black Moses towers as Hayes' crowning solo achievement. Its 14 songs stand as a 90-plus-minute testament to Hayes' nonpareil greatness, songwriting ability, singing, and arranging. A monument to authenticity, Black Moses projects a self-confidence so mammoth it feels like receiving the stone tablets of swagger down from the mountain of cool. Blue color vinyl in reverse board double gatefold jacket. Mastered by Ryan Smith at Sterling Sound. Listening notes booklet by Andrew Winistorfer. Includes foldout poster."
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LP
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VMP 2211LP
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"Baltimore, an album originally made for the jazz label CTI, is a deep cut in Nina Simone's catalog. It's truly a lost sound found and VMP are proud to feature it here in celebration of her 90th birthday. Limited to 2000 copies, the VMP exclusive version of Nina Simone's Baltimore is pressed on (AAA) 180g red marble vinyl at GZ Vinyl. The LP comes in a gatefold, tip-on, foil-stamped and numbered jacket. The (AAA) lacquers were cut from tapes by Ryan Smith at Sterling Sound. Originally released in 1978."
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LP
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VMP 2205LP
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"Ray Barretto's songs are cinematic. Artfully composed, richly orchestrated, each one feels like something deserving of big-screen wonderment. And, indeed, from Martin Scorsese's Mean Streets ('Ritmo Sabroso') and Oliver Stone's JFK ('El Watusi') to Lee Daniels' Precious ('Teacher of Love') to Tom McCarthy's Spotlight ('Cocinando Suave'), his music as a bandleader made it into movies of major importance across the decades. Of course, you don't need to be a card-carrying cinephile to appreciate the moods and magnitudes expressed by his work, especially his seminal 1968 album Acid for Fania Records. It takes more than a minute into Acid before Barretto begins showing off on the congas, leading into a nearly three-minute solo marked by fabulous flourishes that culminates with the full band, including pianist Cruz, showing their united might. Elsewhere on Acid, the group would have dutifully jumped headfirst into this mode, but here it is just a spectacular finish to a rhythmic story -- Barretto's story -- told like the best film you've never seen. 180gram orange vinyl in tip-on jacket. (AAA) Lacquers cut from tapes by Ryan Smith at Sterling Sound. Listening notes booklet by Gary Suarez. Art print by Clay Conder."
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