All language subtitles for Stuck.In.The.Groove.2021.1080p.WEBRip.x264.AAC-[YTS.MX]

(static hissing)

Downloaded from
YTS.MX

Official YIFY movies site:
YTS.MX

- [Rusty] Our dearly beloved vinyl records

have been stimulating
listeners and collectors

since the 1800s.

Last year in the United States alone,

vinyl sales were over 1000%
higher than a decade prior.

How did this sexy little
piece of plastic come to be,

and how has it evolved over the ages?

Sit back and relax.

We're about to take you for a spin.

(upbeat groovy music)

- When vinyl was the only
format, the record came out

and it sounded like what it sounded like.

- Vinyl was the thing
that we sell the most

of and that's how we
stay in business and...

- What I would say a vinyl is you get

this great moment in time that the artist

wanted to present to you.

- [Pete] I think that people enjoy vinyl

because they enjoy a tangible product.

- Some kids grew up in a vinyl home.

And so they got a turntable

and they're stealing
their parents' records.

There's other kids that had no
connection to it whatsoever.

And so to them, it's a brand new thing.

It's like a new technology.

- All ages, any age,

loves the feeling of
coming to a record store,

browsing through the records.

- 'Cause it's not just side A and side B.

It's the sequence of the song.

- Like to be able to pick up a record.

- Dudes come in with
gray hair and they go,

"You're playing that on vinyl?

I used to have that record."

People who like to tell you

that they used to have that record.

- Remember having a single by
this fella called Hawkwind.

Something called Silver Machine.

I thought, what a strange
name for the bloke.

- Boom, you drop down the records.

You just won. (laughs)

- Genesis Seconds Out,
and I was off school.

I thought, well I'll borrow
that and give it a listen.

And it was super ready.

I put the wrong side, I
didn't put side one up

put side three on, which
is the whole, the Soviet

that was the solely,
the second of Genesis.

I don't know, my God. (laughs)

- Anyone would just love to
come into a record store.

- [Dave] The appeal of it is the records

that they're actually, it's a good size.

It's like it fits in your hands.

- [Sharone] Something special about it.

- If Spotify goes away, if
there's the big electronic blip

and all your MP3s get burned out

or how many people have lost hard drives

of all their MP3s over the years?

A record is something
that sits around forever.

- Everything you watch on television,

there's always a record player.

- Like when vinyl was
coming back, I could tell

because all of a sudden you would see it

in TV shows and in commercials.

- I swear every show, every
movie now that's been made

in the last five, six years.

- Hey, it's cool.

They're listening to records.

- [Rusty] Emile Berliner launched

the first 78 gramophone record in 1889.

The first vinyl discs were made

for playback a 33 1/3 RPM

and pressed on to 12 inch
diameter, flexible plastic desks.

These however were commercial flop

due to consumer hesitance
during the great depression.

However, in 1939

Columbia Records expanded the
realms of vinyl technology.

And in 1948, Columbia
introduced a 12 inch long play

33 RPM micro groove record
AKA the birth of the LP.

- I mean, I guess there's two things.

There's the listening experience,
which I've compared to,

it's more like watching a film

where I think digital audio

is more like watching reality TV.

- I'll give you an example

like just looking through
like this box of records

and seeing a Bruce Springsteen
record, a steely Dan record

- I think it was Bon Jovi, I bought a 45.

My mom would buy a 45 records tour.

- You like start to think about that song.

You start to think when
that song came out,

when was the first time
you heard that song?

And it just brings back
emotions and memories.

And that's what's really special

about music in general.

- Vinyl, when it was
first created, you know

you could have, you know, you
can listen to a band at home.

You didn't have to go

out to some place to see musicians play,

to hear a song or listen
to it on the radio.

You could actually listen
to the actual songs

of the actual people you
wanted to hear at any time.

- But when you listen to a
vinyl record, it's like sitting

down and watching like a
foreign film with subtitles

where you, if you enjoy that thing

you have to really pay attention to it.

- I like the experience.

I love the experience
of dropping the needle

on the record and having to go back

and, okay record's done,

gotta flip it over, clean it

it's sort of, more of a ritual thing.

- And then you get up
and you flip the record.

It's kind of like a little intermission

and you listen to it like
the artist in intended.

(gentle music)

- [Rusty] It was Columbia
Records engineer,

Peter Carl Goldmark who first
sat with his team of engineers

in 1939 to evolve the 78 RPM record

and move forward to 33 1/3 RPM

extend playback time to more
than 20 minutes per site

and trim vinyl groups
down to an accessible,

acceptable millimeter size.

This stroke of genius
changed music forever.

And the rest, as they say is history.

- When you put on a record

you are putting on a specific artist.

- There is a frill when
you buy that record

for the record when it arrives for me,

sometimes my hands are shaking.

- With vinyl, there is something,

it goes deeper than just nostalgia.

- And I can't wait to get
back to my parents' house

"and take their copy of,
Are You Experienced"

Jimi Hendrix's record because
there's a specific skip

in one of the songs that
I can't hear the song

without that skip, and I need that copy,

'cause I'll never be able to hear the song

right again, unless I get that.

And that's another thing
I love about vinyl.

- And you have all the cool bonus stuff.

You've got line, you know

giant liner notes and big artwork.

And it's just so much more engaging

than listening to digital streaming.

- You know, that that $15,
$20, $25 you're spending

at the march table or
buying off a band camp

or buying at a local record store

is supporting somebody
within your community.

- I don't really care
whether the record is beat up

or has scratches on 'em.

I have a memory of finding
it and that memory stays

with me whenever I see
the record, you know?

- It's like "Rumors," Fleetwood Mac recap.

It's been like 10 years

we sell it probably
more than anything else.

And you know, just when you
think like there's no way

anyone else in the world
could need that record

have a look and we're almost out of it.

And I have to order like a ton more and...

- No one really cared about CDs.

CDs were cool because
you could put a bunch

in an envelope and take them to your car.

And they were portable,

but there was nothing sexy about them.

Like no one, you know,
like, no one's excited

about the 3000 CDs they have
on a rack in their living room.

No one cares about that.

- No matter how expensive it is,

I might be able to buy the
album for two pounds on the CD.

I'm not interested.

I just want the real deal.

- Experience of seeing someone play vinyl

and gets people to talk about it.

And it gets people to come

up to me and say, "I have that record."

Or, "I used to have that."

Or "Do you have this
version of that record?"

Oh, the German Pressing is
so much better than this

it can bring up so much conversation.

(gentle music)

- [Rusty] You don't have to
go far to find a record store

in all four corners of the world

coast to coast, high and low.

There's always a little place you can find

that will deliver the goods.

Just like this one, in Lincoln
Park, Chicago, Illinois.

(gentle music)

- I'm Dave Crane.

I'm the owner of Dave's Records

at 2,604 North Clark in Chicago.

We're in the Lincoln Park neighborhood

about a mile and a half
south of Wrigley Field.

(gentle music)

You can come in and shop

but we're just doing, in the
middle of doing an interview.

You don't have to go away.

Okay, some people don't
wanna be on camera.

(gentle music)

I got into the record store
business 35 years ago,

I got a job at a chain store

called Musicland, which no longer exists

back when records were
actually still the top format.

The first day on the job
I unboxed about 500 copies

of Michael Jackson thriller.

I kept cutting open the boxes go,

"More thriller."

So there, I found an ad
in the paper for a job

at this chain, which used to
be called Second Hand Tunes.

And I worked for the original owner.

He sold it to an internet company.

They went bankrupt out of
the bankruptcy in 2002.

I bought the store

so I've owned it as Dave's
Records for about 20 years.

But, I've been working
here forever for 35 years.

I think the favorite part

of the vinyl business is on any given day

I can have new information brought to me

a new record will come in,
I've never seen it before.

I'll pick it up and go,

"This looks more interesting
than what I think."

I don't know anything about this.

And then you put it on and it's terrible,

"Oh my God, how do people
not know about this record?"

So there's always more
to learn with records.

And you know, I think with records

it's like some things
bring you back to, you know

when you were a teenager,
it brings you back

to times in your life
and with music itself

the thing I love about it
is it's a very emotional

tied to the actual sound.

You know, there are certain songs you hear

that it's like, "Oh yeah,
that was that party."

You know, so I think music itself,

whether it's on vinyl or in any format

I think the music itself
is just such an emotional

and important thing in all of our lives.

Don't worry, you can just shop around us.

We're just doing an interview, ignore us.

You're not mic'd, we
won't put you on. (laughs)

(gentle music)

We've been buying records
for 35 years at this store.

There's never been a time where it's like,

"Oh my God, what am I gonna do?

Where vinyls come from?"

So I'm just at the point now

where if people have stuff to sell, I mean

just before you came in,

there was a guy that came in

and I got a stack of records here.

He's gonna come back later.

And, you know, that's how
the used stuff comes in.

The new stuff, I have probably 10 to 15

different distributors, small and large

that we go to, to get the
new stuff that's coming out.

So we have a good mix
of both new and used.

The thing about the used stuff

is you never know, what's coming in.

Sometimes you get a great collection

but it also goes out super
fast because like nowadays

most kids come in and they look through

our rock section and you know,
it's predominantly new stuff

because the used stuff
comes in and sells so fast.

It's like, how come there's
not like this huge stash

of really cheap LEDs records

while it's like, because
the minute they come in

they go right back out the door.

- [Rusty] This record store in Chicago

is just one of thousands and thousands

of independent vinyl
merchants all over the world.

(gentle music)

Music stores have become something

of a pilgrimage for music fans,

travelers, DJs, window shoppers

and vinyl fanatics of all ages.

For so many, the grassroots
independent record stores

are the lifeblood of the LP industry.

And we've gone to check some of them out.

- Hi, my name's Sharone, I'm
from here, New York city.

And I own a record store.

(gentle music)

It's a family owned business.

We've been open for almost 50 years.

My parents started it in 1975.

They came here as immigrants
and opened up a music store.

Though was a regular electronic store

in the seventies, in New York.

And if you're familiar with that time

there was many electronic
stores on Seventh Avenue.

We were on Seventh Avenue at the time

and we kept records in the back.

So my dad started it.

And then once you saw that he
can actually support a family.

He had my mom come from
Israel, with my sisters

and everyone moved over here.

And my mom ran the record department.

My dad ran the electronics department

and then it became a record stores.

What happened in, I'd say
it evolved in the eighties,

late eighties to early
nineties, I've been doing this.

I probably took over

in around the 2000s, 2005 until now.

And then my parents had it up until then.

We put records every corner we can fit it

in this store, got to
maximize the space, I suppose.

We're the number one
DJ store in the world.

People come from all over and I'm happy

to say we were able to outlast
and to stay a record store

to all of us and do all these times.

And we're carrying more records now

than we did 10 or 15 years ago,

even, so it's cool to keep
vinyl alive, at least for us.

We evolved with the times

when we had to evolve with the times,

that's really the only way.

And we tried to do it being
authentic to who we are.

And, that's what makes us so unique

in the sane age to have a store

like this in the heart of New York City.

My favorite part is really
doing stuff for the community.

Getting to know the customers

talking to like everyone who comes in.

It feels like they know us
and they have a good feeling.

And also the best part is
they're doing something

for something they love.

Like we're selling the music
and they're playing music

for people and they're playing music

for themselves because they just music,

you feel something with music.

And that's my favorite part of the job.

I love records.

I listen to them here

but I live in an apartment
in New York city.

So I don't have that many at home,

space, you know.

- [Rusty] Rock and Soul
Records in New York City

is one of the largest DJ
record stores in the country.

And the term disc jockeys
is still strongly associated

with the vinyl record.

Almost a century has gone by
since the inception of vinyl

and with buzzwords like retro and vintage

the format owns the fat

there is by design inherently old school

but that didn't matter
because vinyl was cool.

DJs have spun vinyl for decades

and they will be forever known

as the ones that made vinyl look good.

- I have been a DJ for over a decade.

I think I started in probably
2008, 2009, somewhere there

my interest in vinyl started,

actually I must've been a
little bit older, maybe four

but whatever kindergarten
ages, I should know that

but it was that and reel to reel tape

were probably the only mediums.

But my parents said vinyl.

I couldn't get into
kindergarten where I was.

It was too full.

I was living in the
sticks in Southern Ohio

family, they've done a farm.

So basically my parents would babysit me

by putting down in front
of the record player.

I would pick out records and
they would just play them.

And I have very vivid
memories of the record,

what it looked like, the sleeve.

When I started deejaying

that's when my record collection expanded

from about 500 records to
about 2,500, 3000 records

'cause I would always look for new stuff.

'Cause I never really wanted
to spend the same thing

over and over.

And especially for the bartenders

'cause I didn't want
bartenders to get bored.

My favorite part about
deejaying is getting to look

through my thousands of records.

'Cause every time I go to a
shift, I will spend a large part

of the day flipping
through all of my records

and thinking about how I
would like the evening to go.

Sometimes whatever is happening

during the day will inspire me.

I'll hear a song and I'll go,

"Wow, I wanna play that song."

And I have Spotify.

I have other streaming
services I can't remember,

and I use those regularly

but I like to, especially in the morning,

put a record on,

it's also so that I can
let my daughter know

that this is here and this is
a good way to listen to music.

One of my favorite vinyl
records is Fela Kuti

and Ginger Baker Live.

Especially for deejaying

that record is great
'cause you drop the needle

and you can go hang out and
get a drink, use the bathroom.

It's always essential to
have a bathroom record,

but that one is great.

'Cause you can take your time

'cause you can let it
go the entire album side

and then flip it over and play the other

if you really gotta hang out
with someone, but it's great.

It's just kind of all groove,
bass and drums predominantly.

And it's just such a great record.

Well, I think that people
are nostalgic for vinyl

because it's just how music was heard.

And we've all heard

that it's a great way to listen to music.

So I would always on my way
to this one bar, I would DJ

I would go and I would stop

at Goodwill here in Oakland San Pablo Ave.

That became my favorite record store

'cause I've found easily
over a thousand records

at that Goodwill.

So I look for everything

(gentles music)

- [Rusty] With every medium.

We always have to ask ourselves,
why do we love it so much?

How did it steal our hearts and our ears?

For nearly a hundred years, vinyl lovers,

home stereo enthusiasts, 78 collectors

of all walks of life have made space

that they didn't even have
to store these magical disks

that trigger our emotional
nostalgia so poignantly.

Of course you can get all
philosophical about it.

But the real question is simple.

Does vinyl really sound better?

- This kind of controversial,
but people will say

that vinyl sounds better.

It may be true.

It just depends on your needle.

It depends on your speakers
depends on your turntable.

It's not just the vinyl
that sounds better.

Some vinyl sounds like,
doesn't sound good at all

because it's not played on a good system.

- The Crunchy Poppy is the
wear and tear on the record.

So like when it's been played
a lot and there've been

you know, needles and there's
wear and tear on a record,

it's gonna have surface noise.

- If you play a record a lot of times,

even if you have like
a really nice record,

a really nice needle and a nice turntable

and all that kind of stuff,
you know, it's gonna wear out

it's something touching
something else and...

- We kind of take it for granted,

but a lot of these things, I mean,

it's unbelievable how they came up with it

and how it started.

- You know, a lot of people will ask

what does make vinyl
sound better than digital?

And I always still come back

to the sense that it's
a hundred percent Sonic.

I can take a record right now

drop that needle on it in
a quiet room like this.

I don't even have to
turn on the amplifier.

You're gonna be able to
hear something, right?

(gentle music)

It's actually physical.

There's a needle rubbing over a bump,

that is creating that electronic impulse

that then sends it down the tone arm

and back to the tuner
and into your speakers.

It's actually making that sound.

It's not just zeros and ones on a file.

So there's the warmth
everybody talks about.

And vinyl is the sense

that it's actually its own
instrument in many ways.

So that's the biggest differentiation

between digital and analog in my opinion

- I think vinyl sounds great

because you have a physical thing sitting

on a physical thing with
another physical thing.

Like it was, it was all these
parts, moving parts, yeah.

I guess it depends on what
area you're looking at.

As a lot of times, music is produced

for vinyl and sometimes it's produced

for streaming and then
it's pressed to vinyl.

So sometimes vinyl
doesn't sound any better

than the streaming service.

- We do a lot of comparisons

of like original pressings

versus maybe a reissue on new vinyl.

And for the most part,
they're either pretty close

the same or better, very
rarely are they horrific.

Occasionally that's happened on a couple

of reissues of things,
but for the most part

what we've compared and we like

one of our favorite things to do

is to compare a original
copy with a re-issue

especially of nineties music,

'cause nineties records
are hard to come by

the original ones.

And, people like to think that
the new vinyl isn't as good

but really it is usually
the same or better.

- Some vinyl sounds great

because that's how it
was intended to be heard.

It was like I said, it was recorded

and produced and mixed with
the vinyl experience in mind.

- There's definitely a lot
of vinyl that I believe

is made just to satisfy customer demand,

vinyl where, it's sort of,

a vinyl product that's
sort of an afterthought

because a label decided they
needed to do a vinyl version.

So those are records where
maybe they mastered the album

for CD and digital.

And then they ended up
using the same exact master

to cut the records, which
is surprisingly common

in this industry.

And sometimes those records
can sound really good.

- From my experience, the cut,

how a record is cut is really important.

- What you're going to hear about today

is nothing short of a miracle.

It's dramatically new,

made possible only
through years of research,

inventions and innovations.

Living stereo played on a record

through the all-new, two
in one RCA Victors Stereo

Orthophonic High Fidelity Victrola.

- vinyl is actually short
for polyvinyl chloride, PVC.

- [Pete] So when we say cutting a record

we're mastering first generation
to make a vinyl record,

so we're actually cutting the music

into an aluminum plate covered
with nitrocellulose lacquer

that is used,

essentially to simplify it,

it's used as the form for the pressing

of the production records.

- So what happens when
you come out of a studio,

you go, you know, you have
your raw mix, then they mix it.

And then it goes to a
mastering guy, right?

- A band and producer
would go in the studio.

They would work on mixes.

They would send those mixes

to the mastering engineer who
would cut reference acetates.

And then if the producer in the band

wasn't happy with the way
that reference record sounded

they would go back

and make mix changes to get it
to sound right on the medium.

- And there's a differentiator

because sometimes people will come to us

and say, "Hey, I've had it mastered.

Do I need to have it mastered for vinyl?"

Yes.

- Full length, LPs that play at 33 1/3

And then there are 12 inch 45

like singles or maxi singles and...

- LP 12 inch seven inch.

- There definitely has to
be different levels set

on how it translates into
cutting the groove on vinyl.

- You're covering for what
is it like 29.7 inches

at 33 1/3 and I know someone
out there will fact check this

and yell at me.

But when you get to the
center, you're covering

you're still moving at the same speed

but trying to fit that same amount

of music in half the space, roughly.

So that being said

like a seven inch product
will never sound as good

as a 12 inch will cutting that same song

on the outside of a record.

So your audio quality decreases

as you get towards the
inside of the record.

And that's just one of
the physical limitations

of vinyl, the distortion increases

and the high frequency content dips down.

- Have you ever seen the
microscopic view of a groove?

- [Man] I have.

- Okay, so you look at a
microscopic photograph of a groove.

It's a V cut and one
side's the left channel

one Side's the right channel.

There's little nubs all
the way up and down.

And the needle sits down
in the middle of it.

- There's only two ways a groove can move

and a groove is sort of shaped like a V.

So a groove moves
laterally and vertically.

- So that's what a vinyl mastering guy

needs to figure out how if the high end

is gonna be able to go

if it ends up too high

it's not gonna be able
to fit in the groove.

- So the depth changes, which
is what we call vertical

movement and lateral movement
moves the groove side to side.

So the way a vinyl record
player decodes that movement

into stereo is that you've
got your lateral movement

which is what we call our mano movement,

everything at the center
and the vertical movement

which changes the depth of the groove

is stereo information off to the side.

So without getting into tons of detail,

sometimes too much low frequency content

on the sides can cause
weird issues with the cut.

But in general, the low frequency content

causes the grooves to swing more

which takes up more space on a record.

- [Mark] Now, let's take another look

at our living stereo record groove

with its two separate
soundtrack impressions.

One on each side,

in cross section, it looks like this,

a V-shaped groove, 45
degrees on each side.

Let's put our living stereo
stylist in this groove.

As the record turns the
right side of the groove

reproduces the sound from
the left-hand section

of the orchestra, the left
of the groove reproduces

the sound and the right hand section.

Now both at once, two
totally different soundtracks

coming from one groove

on one record, with one
stylist, this is Living Stereo.

- Vinyl on CD, probably
streaming to the vinyl.

There was a certain point
where the needle would jump off

of a song and it was, I don't know why,

just a frequency, I think
it was a base frequency

really and this is a fault of ours.

Maybe we didn't pay enough
attention to our test pressing

but either way, a good cut your needle

will stay on the record.

If the record is cut properly.

And that's actually really essential

'cause you don't want
the needle jumping off.

- I mean, we can control
sound here to a certain level

and every pressing plan can

but you're only as good as your cut.

- Mastering can at times be stressful

because we're the last people in the chain

to touch the product.

We're not allowed to make mistakes

we're the ones they pay
to not make any mistakes.

So oftentimes by the time
the project gets to mastering

it's already weeks behind schedule.

So there's a lot of pressure
for us to get the job done.

- They're the real geniuses
behind making a record.

Those guys, I always say,

that's where the magic happens.

- In the seventies RCA made
these Dyna flex records

and I have Bowie records

that are Dyna flex records,

I think they're supposed
to be more lightweight

but they're so thin that you
can wobble them really easily.

And I imagine they work
really easily too now

but the great thing about
vinyl now is that no one

is making Dyna flex or
anything remotely like that,

it's all high quality

180 gram or up.

So the records are really well pressed

and really nice vinyl.

So they're gonna stay for a long time.

- I know some people
just leave the records

just like laying out, like, you know

they just put it on like

on top of the speaker or
on a table or something.

And just even kind of shifting
it around a little bit.

- [Mark] I've heard a lot of great music,

but I got one of my
biggest musical thrills

visiting the Camden Plant of RCA Victor.

In that plant, guarded day and night

behind these huge steel doors,

I found a treasure house of music.

The originals of the finest
records ever made by Victor.

The music of the world's greatest artists

of past and present.

- Process of making my own is tricky.

I don't really have
any experience with it.

I have gone to a couple record presses.

There's one here in Oakland
and the name is escaping me

but I know the process is a bunch

of little vinyl pellets that they put in

to this thing and it melts
it and they press it.

And that's about as technical as can get.

- You know, initially records, you know

like most inventions,
they morph over time.

You know, initial sound was on a cylinder

and the cylinder spun around, you know

they would put the grooves
into a wax cylinder

and it would play.

And then eventually they found
it was easier to press it

to a flatter surface, which they, you know

they made 78s old, 78s, which, you know

they were thick and hard and breakable

and you could put one song on each side

there wasn't room for much.

- [Mark] The first step I learned

is to pour a thin layer of
molten wax onto a hot plate.

The beginning of the master record,

a hot flame melts all bubbles
and floors out of the wax,

which is of the purest possible grade.

This is done in a sealed
dust-proof and air conditioned room

where the temperature is
thermostatically controlled.

- My children when they were growing up.

I had an old 78 player and
a very simple way to show it

is like when an old 78 player like,

it has a steel needle
that fits into the groove

and what that does.

There's a groove that's
imprinted into the vinyl

the needle tracks that, and
that creates a vibration

which goes up and vibrates the speaker.

- [Mark] Meticulous examination

ensures smooth perfection

before the wax has passed
through a special slot

to the recording room.

The perfect lax has put on
the turntable, a cutting point

called a stylist is adjusted
and everything is ready

to record again.

The most popular selection
ever caught on wax.

The sound engineer is ready.

The musicians are set,
and I see a record made.

- Welcome to Smashed Plastic.

Come on in.

(door creaks)

what we do here is,

it starts out as PVC granulate.

So small little pieces
of PVC, either brand new

or reground from previous
jobs, we tend to use a mix

and those that's melted
within the machine and add

you know, every varying
between 250, 280 degrees,

it melts and creates a puck

that puck then will become the record.

It goes into the press
with two labels with it.

It is secured with a center pin

and it comes together
at 2200 PSI of pressure.

What makes our plant unique

and we were the first one

in the world to press with
hot water rather than steam.

So we have a thermal
unit that gets hot water

up to 280 degrees in a matter of seconds.

And we run hot water through
our molds rather than steam.

It's a lot more environmentally friendly.

It's a lot more energy
efficient, and it's much easier

than having a giant
boiler room to maintain.

You know, it was the first question a lot

of people asked like,

"Oh, you're you're
starting a fad business.

You know, this, they're getting cool again

it's just a fad."

I've been around music long enough to know

that vinyl collectors
have been here all along.

And the one thing I kept
saying to people was,

as long as we don't overstep our bounds

as far as how quickly we
grow and become a huge plant

or something like that,
and then the bubble bursts.

So I'll take you down here to the press

(static hissing)

as we're just getting things
started up for the day.

So this is the process of
getting prepped for the day.

As we're beginning to start a job,

this will be on, in about five minutes.

We're just warming it up now,

Steve's getting it all ready.

- [Mark] Two totally different soundtracks

coming from one group, on
one record with one style.

This is Living Stereo.

It means that stereophonic recording

has been brought down from
a relatively expensive hobby

into the price and convenience
range of the average family.

Giving them the tremendous
musical experience

of Living Stereo.

- So this is when the,
when the records come off

they sit here for at least 12 hours

hopefully more like 24,
they need to sit to cure.

So they end up insuring that they're flat.

That's why you see a cooling
plate between them all

one, every five records.

(static hissing)

And that'll be getting them retail ready,

going through the shrink wrapper

and stickering on the back end.

So a lot of our day is
getting these things ready

than package out the door.

We're actually kind of a
by-product of the resurgence

because previous to really about a year,

well previous to about the five years ago

when we started investigating this

there were no new machines being produced.

So if you wanted to start a pressing plant

you either had to purchase
somebody else's plant,

find old machines that hadn't
been used for, you know,

10, 20 years that are
gonna be in bad shape.

Then you have to find the engineer

to be able to fix those machines.

And a lot of those guys were aging

at the time and hard to find.

So that was kind of a non-starter for us.

We investigated it for a very short period

of time and realized that

we had to start a
company with a new press.

(gentle music)

we've been open for about two years,

well this whole idea and
the whole thing started

almost about five years ago.

I've been part of a local
community radio station here

for the last 12 years.

And so being part of the local scene

and knowing bands and things like that,

I really realized that
probably about five years ago,

people were having a really hard time

getting their vinyl made

they were waiting six months.

They were having a lot of issues.

And I knew there was
nobody here in Chicago.

So it started me and another partner,

had my partner Matt and I just,

who's also one of my best friends

we just started a conversation

and he was kind of like,
"Well, let's figure this out."

And that was literally five years ago.

And then it became two partners later.

And, you know, the four of us

just kind of keep kept stair-stepping

and trying to figure it out.

But yeah, it started about five years ago.

Up until we showed up as a pressing plant

here in town two years ago

I think there were a lot of people

that were kind of like, you know

"It's hard to get things done

and we have to go out of
state and we have to, you know

if I have this crazy idea of like printing

on the backside of a
record, who do I talk to?"

Well, now people can walk

into this room and
actually physically talk

to somebody before they
begin their projects.

So we have a lot of labels

and a lot of projects
that wouldn't have existed

if Smashed Plastic hadn't
opened their doors in Chicago.

I think, you know,

and that's what we take
the most pride in here.

So I think those are kind
of my favorite projects.

It was important for us
to be in this building

because we wanted to have a vintage feel.

We wanted to be in the city first place.

We looked around all over the place

and we could have been in a collar suburb

for way cheaper and could have been

in one of those, you know
what I'm talking about

those warehouse buildings
that would have been sterile

But it would have been a
nice place to do production.

This building is the former home

of the Hammond Organ company.

So the Hammond Organ was made here

from the turn of last century
all the way up until 1985.

So it had this musical history,

our proximity to Avondale
and Logan square,

where venues and bands live and play.

And we just felt like we
wanted to be very close.

And so it was a no brainer to
be in a building like this.

(gentle music)

Now, we can take a client
from walking in here saying,

"Hey I just walked out of the studio.

What do I need to do?"

All the way to "Here is
your retail ready product."

They don't know

that all those other
processes are done elsewhere.

Some people come to us at
different points in the process.

They might say, "Hey, I've
already had this master diver.

And I had this plated."

But I always say my favorite part

about the job is handing records
to people or putting them

in the back of their trunk
or their car or whatever.

And that's the beauty of us being here.

A lot of, I mean, probably
85, 90% of our clients

are picking them up right here

and we're wheeling them out to their car

and placing them in their cars.

So we've eliminated

one of the biggest variables that a point

of contention for people
doing vinyl is the shipping.

That to me is one of the
coolest things in the world.

How many people get to sell a product

and actually see their client
get super excited about it.

Half the time we can barely
get bands out of here

'cause they come in and they
stay for like two hours.

You know, they just sit
here and they wanna talk

about their projects and all that.

That's part of the job.

So anyway, yeah, we built
this bar because we wanted

to have a place where people
could come in and listen

to their test pressings,

have a place to hang
out and listen to music.

And that was what this room was all about.

And it's just kind of
evolved into a little bit

of a fun space where now
we've inherited all this

other equipment, like a
jukebox and a pinball machine

from Bloodshot Records.

And it's just kind of a work in progress,

but it was essential
for us to have a space

that can double as an
office, a meeting area

and allow a place just to hang out.

It's even our lunchroom

- A sound is a strange thing.

Everybody has two pair of ears.

So that you can get crazy audio file

and there are guys that'll tell you

that they can set up a system with CDs

that you know, with the right equipment

and everything else, then
it's gonna blow you away.

And it will, you know.

- So I told those things I
suppose, are not understood.

I mean, a CD sounds fine,

vinyl, I think isn't it more
of the taking the record

out to sleep, putting it on.

You can read the sleeve,
which you can't on a CD

you've no idea who wrote
that song or whatever

the magnifying glass isn't big enough.

- A lot of people drank the Kool-Aid

that vinyl just immediately sounds better.

And I would question that

I don't know that that's
actually accurate.

It is true within a certain
span of time, you know,

prior to I'd say 1955 or so,

they didn't really know
what they were doing yet.

You know, so Bessie Smith
recordings back in the day

they sounded pretty rough.

Once they actually figured
out how to master vinyl.

Now they sound pretty darn good,

early CDs in the eighties, abysmal.

And by the time they figured
out how to master CDs

to sound as good as the original vinyl,

we were already into a download culture

and it didn't matter and nobody cared.

And why would I buy a CD?

I can make my own CD.

- Vinyl itself, I think to most people

and most people's ears
has a warmer sound to it.

It sounds more natural.

I think probably because it's coming off

a physical thing from a physical needle

to an electrical impulse that
goes through the speakers

that, you know, that comes
out and hit your ears.

Whereas with the digital sound

it's a cleaned up sound, you know,

and I think the
imperfections of that sound,

it's more pleasing to me.

- I don't think it's necessarily inherent

to the format that it sounds better.

It's inherent to the intent.

- Funny one of our customers,

he is into lint means high
end audio stuff, isn't it?

Spent thousands doing it all.

And he's always said to
me, "Why don't you come

now that I've listened."

I've never gone round, but
he asked someone else on.

I think it took him round.

He put on dark side of the moon,

the fellow listened to it.

When I sort of began to, I said,

"What did you think of that?"

He said, "I couldn't tell the difference."

- [Rusty] Vinyl's warmer fuller sound

comes from many factors

but it's largely due to its analog nature.

Before these albums can be released,

they have to go through
additional processing

to ensure that they sound good.

This is all the hard work
of the mastering engineers

and vinyl cutters.

These are the people that
give vinyl that magical sound.

- [Man] A mastering engineer is a person

skilled in the practice of taking audio,

that has being previously mixed

in either the analog or
digital domain as mono, stereo

or multi-channel formats
and preparing it for use

and distribution, whether
by physical media,

such as vinyl.

Mastering the vinyl is the process

of creating a separate
master that can be cut

into a vinyl record without
added unwanted distortion.

It consists of a mono
stereo image up to 150Hz,

a tamed high-end, and if needed,

a track listing that is
consistent with the frequency

limitations of record cutting.

- I've always loved vinyl records

as someone that grew up playing in bands

since the time I was 14 years old

I always just felt this
attraction to vinyl.

And my star in music kind of came

up through the punk rock scene.

Later on in my life ass I
started recording bands,

basically out of necessity

'cause I was always in bands

that could never afford to record.

I was with a friend that was
getting some lacquers cut

and long story short.

I walked into the studio

and I met Richard Simpson
who became my mentor.

And I saw my first lacquer get cut.

And it sort of changed the game for me.

I grew up listening to vinyl records.

My parents were music fans

especially when I was younger.

And that sort of got me started.

I was obsessed with
music from an early age.

I remember from the time
I was in second grade on,

all my extra money went to
buying 45s, LPs and cassettes.

I became obsessed with heavy metal

until the transition between
sixth and seventh grade.

And I heard punk rock for the first time.

It kind of changed my life.

I think when I met Richard,

when I sat in on the session

we just hit it off and
he was really gracious

and he allowed me to stand
up, get close to the lake.

He told me everything he was doing.

And I remember being really surprised.

I'm like, wow, you know,
there's no barriers here.

He's totally, he appreciates the fact

that I'm interested in this.

- My name is Richard Simpson.

I'm a recording
engineer/mastering engineer

for pretty much completely
with vinyl these things.

I grew up in Long Island out
in town called Hicksville

which was about 30 miles out of the city.

My father was the head
engineer at RCA in New York.

So he would come home and
he'd bring records home

that he was working on.

My era when I first was coming up

and with music was more
of the Tommy Dorsey,

Glenn Miller, the swing kind of era.

I happened to be somebody who really,

I liked to dance from a kid on up.

And the music just always
had an interest to me.

I was in the air force for four years.

I didn't know what I wanted to do.

I went to art school for
like a couple of semesters

and it wasn't what I
thought it was gonna be.

So I went into the service

spent four years in the air force.

And when I got out

during that time I got
married and I had one child.

We came back to New York city.

It helped to have my father

be one of the head guys at RCA.

So he got me an interview

and I got on and I
started off at the bottom

like quality testing
with sitting for defects.

And then the next step
was to check the work

of the vinyl mastering engineers.

They came in in the morning
and they have a rack.

We called it of 12 albums

or more that they had to
cut during the daytime.

After they pressed a few thousand records

they had to come back and have
a new master lacquer made.

And at that time the engineer
would cut a one minute section

of the music on the outside,
which allowed me to play it

because master is a cut on a 14 inch disc.

The music starts at 12.

So this a couple of inches
for making a test cut.

They'd cut a one minute test of,

and then I compare that,

we keep in production
cut, which would show

in the first minute that
we had picks of plus two.

So I'd play that.

And if we were only getting
zero, I'd go back and say,

"Hey we gotta raise the level up to match

what's out there.

What people are buying.

We don't wanna put a different record

out and have it sound lower or louder.

I started in 1966

the early years was a lot of big artists.

They were on RCA.

So one of my first groups I
worked with was The Guests Who

and then The Monkees.

Well, Elvis was always coming up

and Lou Reed and David Bowie

they were my first
exposure cutting records.

So I was involved in
cutting a lot of those

but it was a lot of fun.

I never considered what I do work.

So it's been fun.

Well, RCA was cranking
along and I was in New York

and they were opening up
a new room in Hollywood.

So my boss at the time asked me

if I would be interested in transferring.

So at that time it seemed

like California was the place to go.

So I jumped at it.

I said, yeah, sure.

In the Hollywood studios, it
was a little bit different.

It was more relaxed

and New York was more
of a suit and tie thing.

And there was certain things you could do

and you couldn't do.

And it was just more relaxed.

We worked more hours and to my surprise

RCA decided to close.

And at the time I think
they were following suit.

What the CBS Records did.

It was kind of a shock

we're all sitting there working.

And then we're told, you
know, a month from now

it's no longer gonna be in existence.

First, I tried to go out and get a loan

and buy a new system.

The people who bought the studio

they bought the new lays
that I was working on.

So we had the old lays that
I first started cutting

on when I came out here

and it was sitting in the
room idle, wasn't being used.

So I went to my boss at the time and said,

"Hey, can I buy the system?"

And he kinda looked at me and said,

"Yeah nobody, it's not going any place.

The new people aren't interested in that."

They pretty much almost gave it to me.

I think I paid like
$10,000 for the whole thing

including tape machine,
monitors, equalizers, some amps

the McIntosh amps that are
probably worth that much alone.

When we closed down the reference point

I moved into Hollywood
into a pressing plant

a place called Coralic
Engineering Manufacturing.

Then there was a big boom from there.

I mean, it was so much fun.

This Macola Records
with the pressing plant

and really they blew up.

They didn't know how to handle, you know

hit after hit was coming in there.

It was just one, you know,
one hit group after another.

And I remember my first rap artist Ice-T

and at that time, I didn't
know who Ice-T really was,

he'd come in and start talking.

And I said

"What is this?"

'Cause he talked exactly the way he rap.

It was just the rhythm and the flow.

And it was, you know, and
that was really different.

And that was my first introduction

to pretty much hip hop and rap.

And he'd come in on a weekly basis

and I cut a dub from the music

and then he'd go out and do the live show,

playing what we call dab.

And a lot of my work was
doing that kind of stuff.

I had cutting with DJs, cutting dubs,

mastering the hip hop and the
dance and electronic music.

I was busy and it was a lot of fun.

- Richard's clientele, heavily
relied on West Coast hip hop

house music, electronic
music, and the punk rock

and Indie bands that were
still cutting records

because major labels, weren't
cutting records at all that.

So I got to be involved
in a lot of cool records

and it was always fun to see, you know

DJs coming in, you know, like hours

before show and we're cutting
dubplates for their show.

And, you know, Richard cut
all the local hip hop stuff

everything from alcoholics to,

and back in the eighties he
cut all the Geto Boy stuff,

Cool Keith, first end of the year EP

like all this legendary
hip hop stuff that I loved.

Being a master engineer the
only thing I can compare it to

and I joke with a few friends
of mine in the industry

and I've said it before, but I feel like

the kid that wanted to be
an astronaut that got to be.

I mean, it's a dream job.

We sit here and we listen
to amazing music all day

and help the artist push
that last bit, you know

over the finish line.

- [Rusty] With around 1400
independent vinyl stores

in America alone, you can get your hands

on your favorite records
with relative ease.

Thanks to it's ever growing
popularity, vinylmania

spread worldwide, even
in corners of the world

you might not expect.

(instrumental music)

- I'm Pilak Bhatt and I'm from Mumbai.

And we have a small record shop

called Music Circle in Mumbai.

I was fascinated by music right

from my childhood because my parents

were very much into music,
you know, music levels.

And we would often attend concerts

by chance like Ravi Shankar, Alia Parkan.

My uncle, he had a great
collection of music.

He was a great record collector.

You can say, music is in my blood.

I've been in this business
for the last 15 years.

You know, when the series game

a lot of people started
giving away their violence.

So I thought okay,

this is a good time,
actually, because I knew

that vinyl sound is much
better than the CD sound.

So I thought this is a good
time to collect vinyls.

So that time I was not
thinking of business

as such, but, you know,
being passionate about music

I wanted to have the vinyls, you know

so I collected a lot of
vinyls during that time.

Naturally, then it grew over the years

and today I have a huge collection
of vinyls as you can see.

There was a record store
called Rhythm House in Mumbai.

That was the biggest in Mumbai.

And my main reason of entry or going

into this vinyl thing is
because I love the vinyl sound.

It is an analog sound.

It is a very pure, natural, warm sound.

And compared to series and
MP3s, which are, you know

kind of a compromised format,

younger days I used to
listen to a lot of Beetles.

And then over the years, my
tastes will change a little bit.

Then I got into groups like Santana,

Pink Flyod, Dire Straits

all the classic rock groups, you know

and when you listen to
these guys, you know,

they have a profound influence on you

because they change your
life forever, you know.

(sensational music)

Previously, I was working

with my brother in the metal business.

And when I turned 50, I thought
I must do what I love to do.

I must get involved into the business

of what I really like to do.

You know, but every record
has a little story behind it.

You know, there are a lot of sentiments,

emotions also attached to buying records

and those records I will never sell

because those are like special to me

and gifted by someone to me.

So my philosophy for music is,

you just don't stick to one genre,

be open-minded and listen
to all kinds of music.

There is African music.

There is Arabic music.

There is Latin music to be discovered.

So this is my advice to the youth also,

don't just stick to one kind of music,

listen to music with open mind.

Basically I'm in this music
business because of my passion

not because of money or not
because of the number of records

or I want to touch one
like figure or anything.

I'm basically very passionate music lover.

That's how I am in this business.

(sensational music)

For me the music is not
just about selling records

but it is a way of life.

Music is my life.

So I'll always be associated with music.

(gentle music)

- [Rusty] To so many
people, record collecting

has become something of a
lifestyle rather than just a hobby

but where are these records we're dying

to get our hands on?

The term rare records
might conjure up images

of prehistorical obscure albums that feel

almost unobtainable to
the average listener

but there are many factors that go

into making a record rare.

And some of them are not as
far out, as you might imagine.

- We've had rare things like
The Beatles Butchers cover.

You know, we've had, you
know, rare jazz things.

- I have some good stories
of finding rare records.

- Found all kinds of things.

People have been selling
us stuff back for 30 years

and you you never know what's coming in

and what it is and...

- The rarest record,

we've got a few, but I
guess the most rare record

is we had a 45, a Motley
Crue, Girls, Girls, Girls

45, that was a promo edition
that was only given out

at their kickoff of
that tour in Las Vegas,

that show they passed out 1000 of them.

- I bought, I think it was Bon Jovi.

I bought a 45, my mom let me
buy a 45 at a records tour

in Decatur, Illinois, where
I was when I was young.

And so I was old enough where vinyl

was still kind of phasing out.

- Rarity is one of those odd things,

because a rare record to some is like,

"Oh my God, I found this
Debbie Gibson record

that I've never found before."

And, you know, to somebody
that's a really rare thing.

You know, the market's always changing.

And the rarity of things
always changes as well.

- I saw this album come up
as the Wailers, you know

it was like definitely not
Bob Marley and the Wailers.

And I actually went past it at first.

And then I backed up

and there is this beautiful brand new

not wrapped but it was a brand new copy.

- That was one of the shockers.

I mean, we're very well versed

in what most, everything is valued at.

And we do know like high dollar,
regular high dollar records

and things, what to look
for that was probably

one of the big surprises
because we had really,

we knew it was worth something

but it wasn't very
obvious in the beginning.

- Our record is only really with,

or someone to pay for it anyway.

And yet, you know, it's
already well sticking it down

for 1500 pounds, but how many people

after you get in 1500 pound?

And I've had a couple of Please Please Me

as Black and Gold, and
which about decent prices

full but they're rare,

you know, you don't see them that often.

They don't come in that often.

- Nobody's ever seen
this, but this is worth

a hundred dollars.

They have to believe us, right?

- Most of the rare records that are found,

I mostly got here.

- The more interesting,
rare records that have come

across are the ones that weren't rare

at my own collection

that came to be rare later on.

- In Japan I had these
things called the eight bands

which are like these little tiny records.

And the vinyls were about the
size of like the vinyl label.

And they had like tiny mini

like record players playing them on

of course the sound wasn't great,

but they were kind of cute
when you look to them.

But I think the food
buyers, and I know that

the white stripes actually
released like rare eight bands

and they sold them at
shows and things like that.

But they're crazy

but there's something about
them that's just cool.

- I think the rarest record I have someone

actually gave to me,
which is kind of weird,

at the time the record wasn't,

it became valuable since
they gave it to me.

At the time it was just like,
here's this record I made.

- Basically I had started
my collection so early.

They were still $2 before
my employee discount.

And you just buy up whatever.

It didn't matter if you knew what it was.

And then years later I'm
like, "Oh, that's worth $200."

- I know my parents personally

they've been a lot more interested

in finding records for us.

And so my mom's like a, she's
a big garage sale person.

She goes like every week.

And so, every time she goes out

she's always looking for records for us.

- I just started flipping
through the records anyway.

And I found John Carpenter,
Halloween soundtrack on vinyl.

And that one, I looked it up

and it was of course the going rate

for a record is what people will pay.

But it looked like

what found it was a $300
record for 99 cents.

So, that was a pretty good deal.

- [Rusty] Signed the originals

of The Beatles Sgt. Pepper's
Lonely Hearts Club Band

have gone for a whopping 290K price tag.

It's also said the Ringo Starr's own copy

of the first ever pressing

of The Beatles white album is worth

somewhere around $700,000,

but that's nothing compared

to the jaw-dropping $2 million price tag

on Wu Tang Clan's album,
Once Upon a Time in Shaolin,

which was supposedly only
pressed a vinyl once.

This copy was so prestigious

that upon purchase,
the buyer was forbidden

from selling this copy for
an 88 year time period.

- Val, you know, the founder
and original owner worked

at Capitol Records when
The Beatles came out

and was called down on her day
off to strip Butcher covers.

So, I mean, that's the big
one, and everyone always asked

why didn't you snag one of
those, they're worth a fortune.

- This one is a Sunroll
record that is handmade

but cutting up shower curtains
are just one of the kind.

- If you're aware of it

but there's something
called Record Store Day

and Record Store Day

actually the third Record
Store Day is this Saturday.

So we're preparing for it.

There's boxes and boxes
of unreleased tracks

in here that we're preparing for.

And what they did was a came out,

the records that come out

come out usually in limited presses

but the big one is an April every year.

And it's to support Andy record shops.

And they would do with
these special releases

only for that day.

They might re-issue them later,

but not with a special
packaging or the special color

or it might be only for that day

and never be reissued in that.

- And they make it exclusive
to independent record stores

which makes it super cool.

'Cause then people just,
they want to drive traffic

back into record stores and
keep those places around.

(sensational music)

- After the war, a source of 1947

my mother's brother came
out of the air force

and bought this shop to,

well at the time I think it's sold a bits

of everything it's of.

We used to sell fancy goods, cigarettes

and things like that.

1950, he found another shop not far away

his wife's thought of,
like this older building.

So, and I'm talking of
1950 and then sort of 1951

she bought it off in for
400 and something quids

where with all the stock,
a lot of which was,

as I say there were strange
fancy goods and that

but we also used to sell 78s.

My mother started work

I think that she sold their
first record when she was 30.

(gentle music)

I've always been in a record shop

I bought the one in Old Swan in 1961.

So I was always around records.

I used to come and help
my mom from about 1980.

Used to drop in after work

'cause I was actually a mail
man for the Valley Shore.

So I do get up at four in the morning

and go and do a bit of,

I wasn't asking to drive
in the thing I was helping.

And then after there,

'cause it was only around the corner

coming up a cup of tea with me now,

and then I just started helping out.

And so I've sort of been there ever since.

It's very annoying when they come in

and tell you where they,

"Oh, I've just bought this
from such and such a place."

Do I care? (laughs)

Yeah, people that nice

I mean, we've got loads
of regular customers

and they're all really nice people

and I am so yeah, wouldn't
change it for the world.

- [Rusty] The undeniable sound
of Viner was proven itself

many times over, but there's
also a visual appeal.

For many fans and collectors alike

the artwork has sealed it's own place

within the vinyl phenomenon.

(instrumental music)

- You look up the cover
and you look at the photos

and the artwork that they did...

- The record covers are
bigger, like a 12 by 12 thing.

- The image is big, you can read it.

It's a good thing.

- I like the idea.

Being able to read all the technical stuff

who is the engineer, who are the players

who were on the record, all that

you get all of that with your vinyl.

- The works large and sometimes
they're gatefold sleeves

that you can open and
there's more work inside.

There's lyrics printed on
the inner sleeve or whatever.

- And the great artwork,

it really is a big part
of the listening process.

It's like people didn't make records

and just throw any old image up.

There's a reason why they did it.

So you get this experience.

- For a designer,

it can be really
frustrating because you know

as any artists would say,
you put all this effort

into this image and this artwork.

And of course, vinyl is like the ultimate.

'Cause you've got the big artwork.

You can really see what's going on.

But then of course, CDs came out

and you're like opening the booklet.

And you're like, okay, this is okay.

I can kind of deal with this,

still just about see it.

And then now it's like, we're
reduced to like a thumbnail

on like Spotify looking at it like,

"What is that?"

You know?

So it's a shame really that
the artwork isn't as prominent

you know, 'cause they're
just reduced the size.

- Visually, records have
always drawn to the cover art

in the fifties when it was
instrumental records, you know

that even they would sometimes
the classical records

they would take paintings.

You know, like in, you know

there are some Jackie Gleason records

that have a Salvador Dali cover, you know

and Andy Warhol was a cover artist

and did a lot artists
for jazz records as well.

- I mean, I think truthfully, some people

might not even have a turntable,

but they buy records

'cause they want the
artwork, they want the lyrics

they want the poster, hanging up.

- Sometimes I'll take the
artwork out of the albums

and you can't do that with a computer.

So I'll take, like I have
this purple rain record

that's got this great poster
of Prince and The Revolution.

I'll put that up behind me.

- I met this amazing book
that my mum and dad had

that I was just completely obsessed with.

I would just like open up,
read it like every day.

Its by Storm Thorgerson

who designed a lot of the album covers

and it was just an archive

like a giant collection of
all these classic covers

on vinyl and it was vinyl size.

And it was incredible.

I just remember going
through it, you know, read it

rereading it, looking at the
note that just blew my mind.

- I remember getting
kissed alive too as well.

Never happened before though.

Wow, I mean open the cover and explosions

and everything on the in
the inner sleeve, fantastic.

- Captain Beefheart's Trout Mask Replica,

and see the cover with the crazy fish head

I'm like, what the hell is this?

And I just bought it.

And so I got into a lot of music

because I just took a risk
on it based on the album art.

- The covers are worth
more than the record.

A lot of times, like this is
a pretty special jazz record.

- Johnny Hallyday, Reve
et Amour, dream and love.

But it's fantastic because
it's kind of really catching

over the top, but it has
all these little Johnny's

wearing all these little medallions.

We've got Marlon Brando, we've
got little Richard as a king.

- When they put the name

of the band on the bottom of the album.

So when you're flicking
through you miss it

you don't know who it is.

And some of these strange bands

they get this design of their name.

Can you read this?

(instrumental music)

I mean, it's funny.

I always thought one of
the worst album covers

in the world was Love Beach
by Emerson, Lake & Palmer.

You've got the three of
them standing on the beach.

I mean, it's about as far
from Prague as you can get.

And it's just that, would
they have sung better

if they had the best of cover?

Possibly, who knows?

- And then my mum and dad's records,

we would have two copies of everything,

one was mom's, one was dad's

and dad's was always in
really good condition.

And mum's was always
like really like covered

in like burn holes and ash.

And it was just, you know,

and so unknown sort of brown stains

that just appeared out of nowhere

but then dad's would be pristine,

but mum's just looked like

she got out of the rubbish or something.

- I have found records,
I've opened up records

and I'll open and seeds come rolling out.

I only can guess that

it's just great because
maybe it's something

about rolling it up against a right angle

or something like that.

I have to ask my parents

'cause one of the
records I'm talking about

it was their record,

so I don't know if they'd
give me a truthful answer now.

Time changes people, but...

- We've had album covers

and we've sort of opened
them up on this bare marks

and all sorts and you know,
even LPs with bare marks on.

So they've obviously been
smoking something at the time.

- [Man] Maybe you're already stoned

and you're looking at that inside cover

with all that great artwork,

totally mind blowing experience.

(echo sound)

(sensational music)

- My name is Shayne Blakeley.

I'm from Saginaw, Michigan originally.

And I've been Val's go-to
guy for almost 20 years.

Basically I worked at
a different music store

in Michigan before I moved to CD store.

And at the time high fidelity was new

and not nearly as creepy as it is now.

And I saw John Cusack in that and decided

that I had to kind of be that guy

and own my own record store in Chicago.

Things worked out in such a way
that I was able to move here

and attempt to do that.

I only went to open a bank
account in Logan Square

and my banker was like, "Oh,
you gotta meet my friend Val."

And she sent me from there

to Oak Park to meet Val who
was intimidating as hell

right off the get go, but gave
her my very formal resume.

She demanded that I return it handwritten

in my own words with profanity
and then called me back

for part-time work shortly after,

that same day two different people

put in their two weeks notice.

I went full time on my first day.

And then I was the sole
employee from 2006 on.

We're one of the few record
stores that have been around

through the peaks and valleys
of the industry in general,

where, when Val opened up

it was in the glory years.

And her favorite quote was that,

on any given week

for my older teenagers
in the neighborhood.

She got every dollar

except for maybe a little
pot and a pair of jeans.

That was what the universe was.

That's where you spent your money.

That was the entertainment industry.

(sensational music)

Most of the records that
we bring in are brought

to us, you know, customers
come in every single day

you know, "Do you buy records?

Do you take in donations?

Do you like trade ins, things like that?"

which is, you know, that
makes up the bulk of it.

We also order new product
from several different places.

Time was way before my era

in my parents' era and
throughout Val's legacy

that was the thing is,

you didn't get to, you know,

get on zoom or whatever
and play call of duty

with your friends.

Somebody bought the new Led Zeppelin album

you met in that person's basement.

You maybe got high if you're, you know

if you had cool parents or
parents that were oblivious

and you listened to that
album front to back,

examined all of the liner notes

and you argued with the band themselves

over the track placement, you know,

this should have been on, you know

if this was on side A, this
would have been perfect

but you know, as a result.

So it's a communal experience,

not only with your friends,

but with the record itself, with the band

I have a lot of favorite
parts of the vinyl business.

Obviously I've been
doing this a long time,

but it is always gonna be interacting

with the customers and talking music.

I hope the future for vinyl
records look sunshiny.

'Cause obviously I've
been here a long time

and I have no hope of leaving.

I don't know what I would do otherwise.

So yeah, keep it up folks.

(sensational music)

- You know, DJs and producers
were already collecting

and spinning funk jazz
soul by the late nineties

you know, I thought, okay, well, you know

I had 10,000 records in my house already.

For 40 years, 50 years, you know

that was the medium, how
people listen to music.

I mean, I can't imagine
if there were no records,

like how people would
be listening to music.

You know, for me, that was the
first thing that I touched.

Now, we've been through tape.

I mean, you know, we survived the tapes

and the CDs and deck
machines and all that kind

of digital now, but vinyl,
you know, it's still around.

I think, you know, in my opinion,

it's not that hard artifact, you know,

that, you know, you feel

and you smell and you have
in your living room, you know

it's something that it kind
of forces you to listen

to the music, every track you
don't just skip through them.

I was just at a coffee shop, you know

five minutes before I saw you.

You know, and the guy was saying,

"I really miss my record
collection back home."

And you never hear that with CDs.

You know, it's always records, right?

For me, a digging was just

it's the concept of trying to
find unknown tracks, you know

that other people don't have.

Producers always wanna be sampling

and DJ is gonna be playing
tracks that other guys don't.

And that's how you
differentiate yourself, right?

So we have a digging
station in Ohio, right

where it's managed by my business partner,

Mmazi and his staff.

And we dig every day, you know

because of technology,
you know, in competition,

I can't be traveling
to every city anymore.

So we decided that look, you know

we're gonna concentrate

in one area that we did
well and that's Ohio.

And so we we've been
concentrating probably

for 20 years now.

We've been digging out Ohio,
but I've always kind of kept

to the notion that my
personal records are separate

than my business records.

I went on a buying trip for six months

to the states looking for
records for the shop only.

So we go out there, but because of U.S.

America is so segregated and so polarized.

It's really dangerous to go

to certain neighborhoods
if you're a minority

and we're in minority owned business.

So, you know, we get to see people's homes

and how they collected
these things for 40 years.

How did you come up with
3000 records in your house

you know, from the sixties,
why did you buy this record?

You know, this is a,

there's a lot of historical
records out there, you know

not just the music, but
there's literature, records

there's political
records, things like that.

So we're really interested
in that kind of stuff too.

10 years ago, it was pretty scary.

I think that's one of the
reasons why Record Store Day

started in April, right?

'Cause April and maybe October, November

is the slowest part of the year.

So, you know, so many record
stores are going on a business.

You know, you gotta trend
is probably the worst thing

you can have for retail store.

You know, you never
wanna be trending, right.

Because there's always
an ups and down, you know

you always wanna be consistent, you know,

don't try to sell as many
hamburgers like McDonald's does

you know that's not,

just because you're
selling million hamburgers

doesn't mean you're the best, right?

It's not the best quality,
try to look for quality.

You know, I think that's
how we have to keep going

and to survive.

- [Rusty] Now, before
anything can be reborn

sadly it has to fade away first.

Was Sony's decision to stop
the production of vinyl

back in 1989, really to blame
for the fall of the record,

or was it just a natural
progression of the ongoing saga

of home entertainment
and audio consumerism.

Much like when grunge killed Hair Metal

from one desk to another

it was about to be proven that
even vinyl was replaceable.

(soul music)

- Vinyl was really the only
thing there was for a long time

and then, I'm gonna guess,
I think in the late eighties

but from my experience, it
was maybe about 88, 89 90

CD started coming along.

- In he nineties, you know,

kids I think the advent
of the CD, you know,

and like I said they opened,

Oh man, you're always
the only old man music.

- Like the late eighties

I remember reading articles
when I was in school.

And I remember seeing like
the fall of record stores.

- Everyone dumped their
vinyl and started buying CDs.

- [Mark] Phillips announced
the next best thing

to live music, compact disk.

(crowd chants)

Compact disk, another sensation.

- It was supposed to be the best, you know

they're indestructible
and they're super clean

and they'll never wear out.

- Record sales declined at
major chain stores, you know,

back in mid eighties to early nineties

mostly because the chain
stores gave up on it.

- I never dumped my vinyl
off by just added CDs

to my collection

- A lot of labels weren't
even releasing vinyl anymore.

- CDs and actually cassettes

took over popularity about 1985 or so.

And people forget that
there was a small window

from about 85 to 87

the cassette was actually
the biggest format

'cause people had boom boxes.

They played them in their car.

♪ You really feel the music
with the Sony Walkman ♪

- [Commercial Reporter] The Sony Walkman

is a tiny stereo cassette player

with truly incredible sound.

(gentle music)

♪ You really feel it ♪

- [Commercial Reporter] Put on a Walkman

and see the world and our whole new light.

The Walkman from Sony, the one and only.

- That was 95, it was just about dads.

I mean, that's why you pay one pound plus

for the latest first album.

If you find that original,
because nobody bought it.

- It's squeezed out because
of the profitability

at the major chains that it's
like while we make more money

in less space off of these
CDs than we do off of records.

- I'm not sure if there
was a time when bands

just never made vinyl, it
was only CDs and cassettes.

There might've been some
vinyl still produced

a large part of the nineties,
a large chunk of the nineties

and early mid two thousands
seems like the only thing

people did were CDs.

For a while there were CDs and cassettes

'cause cassette was still a viable form,

but then CDs just completely took over.

And you're hard pressed
for lack of a better word.

You were hard pressed to find vinyl.

- vinyl was kind of in
the sort of the dark ages

of the nineties where CDs
had sort of taken over.

- [Rusty] Some purists felt
like listening to music

on CD was like cheating
on their beloved vinyl.

And the compare disks
new found high fidelity

was simply Sonic infidelity.

- [Commercial Reporter]
Music stores across Australia

are drastically overstock

with hundreds of great compact discs

from the world's finest artists
at very special low prices.

- Streaming music, I can't
play a record in my car.

You know, I play CDs, I
stream, I have Spotify.

A lot of times I need

I wanna hear something
before I buy it, you know?

And so I'm gonna listen to it that way

before I spend, you know, $30 on a record.

So I've no problems with
that being the go-to.

What I don't like about it is the lack

of money that the artists get from it.

Of course, the sound quality
I can tell a huge difference

but my ear is trained to at this point.

And that's what people are
learning or finding out.

- You know, people like to think

that there's other record
stores around here.

Are we in direct competition?

We're all friends, we're
in competition with Amazon.

We're in competition with
video games, more than anything

you look at any kind

of new video game that takes
like 50 hours to complete.

If you're good, well, that
used to be spent, you know

analyzing the liner
notes of a Led Zeppelin.

(gentle music)

- Well, this is an interesting
time to be interviewed

about this because as of last Friday

one of two companies that
created the vinyl blanks

that we use to cut masters

there were two companies,
was Apollo, Transco

and Bannon in California and MDC in Japan.

Apollo supplied 80% of the
lacquer blanks to the world.

And they were wiped out Thursday

and early Friday in a devastating fire.

They are completely gone.

So this is an odd time to be doing this.

'Cause right now, a lot of us
in this industry are unsure

what's gonna happen.

So there may be shortages in the industry.

There may be people that
have a really hard time

getting their records cut, moving forward

for a little while, until
another company steps

up to fill the void to
start making blank lacquers

which is an extremely difficult process.

(gentle music)

- The biggest issue that concerns me

is the thing that I already brought up

which is that the
production sort of problems

have been a thing.

And I worry, you know,
people wanna come in here

and get something.

And if we don't have it, you know,

customers don't understand,

they don't care about production issues.

They don't think about that kind of stuff.

I mean, some people do, but generally,

like if I go to the grocery
store and they don't have bread

I'm not gonna like ask
them why they don't.

I'm just gonna like walk
out and be like annoyed.

Do you know what I mean?

And that's what I think
would happen here too.

You know, some people
might ask, but generally

people are gonna be like, why
doesn't anybody have this?

Like, it's super annoying.

And I could see people
like, just being like,

you know what, I'm just
gonna like, stream this stuff

and put again like I said,
we're out of a couple of things

but we've got all this other stuff.

So I don't know.

I don't really see any end to it soon

right now it's just, you know,

like I said, each year
it keeps going up, so...

- [Rusty] In a consumer's world where fans

have to have lots of everything,

a world with fats, trends
and a love for toys.

It was inevitable that vinyl would return.

MRCs data confirms that as of
the year 2020 vinyl attributed

to 27% of album sales in the U.S. alone

and asked for the U.K. vinyl sales

have been at their highest
since the early nineties.

It's not only a great
time for music lovers.

It's a great time for
up and coming artists

and bands who until now saw the idea

of having their own
music released on vinyl,

as nothing more than a pipe dream

reserved for high flyers on major labels.

With the rise of the
internet and social media,

vinyl fans and collectors
from all over the world

can finally be brought together

to truly realize their
love for the medium.

- I hate to call it a
resurgence 'cause for me

it never went away.

- It never went away.

That's the first thing.

It never actually went away.

It just slowed down.

- Vinyl, it's a strange art.

The stories that they were
writing back in the nineties

were, "Oh, vinyl's dead.

When are they gonna stop making vinyl?"

Here we are 25 years later

from when they were writing those stories.

At that time vinyl wasn't dying.

It was dying out at
the major chain stores,

like the Musicland and...

- People love anything that's like retro.

And I think that kind
of vintage retro thing

is really popular and it's trendy.

And I think that's helped
to accelerate, you know

the rise of vinyl again.

- [Pete] No one really cared about CDs.

CDs were cool because you could
put a bunch in an envelope

and take them your car.

And they were portable, but they weren't.

There was nothing sexy about them.

No, one's excited about
the 3000 CDs they have

on a rack in their living room.

No one cares about that.

- Streaming, downloading and all of that

really just murdered the
CD and made the record

look all the more attractive

and it largely with bragging rights.

And of course the sound was better

because, of course it was better.

- As the CD market crashed,

that changed for vinyl,
but the vinyl sales

were always going strong.

There were always people
that were looking for vinyl.

It just wasn't a story
that was talked bout.

- In mid two thousands it
slowly started picking back up.

- I don't vinyl is a
fad that's going away.

I think it's the last tangible product

that's gonna make any sense.

- It was just like a slow build back up.

And then probably maybe 2009 to 2010.

It really, the boom really started.

- I hope that vinyl does
sail around for a long time

not because I have a record store,

but really because there's
something really magical

about records.

- [Patrick] If you would have
asked me like 10 years ago

like how long do you
think this is gonna last?

I don't know that I would have said,

yeah, in 2020 we're still
gonna be selling more

than we did the previous year.

Here We are.

- When I was telling somebody

that I was considering
starting a vinyl pressing plant

they were kind of like,

well why wouldn't somebody purchase vinyl?

And I was like, well, you know

to physically own your music.

And they're like, you know,

'cause when I grew up,

fans of music and I've been a radio DJ

since I was in high school.

And so I've always been
associated with music.

It was a big deal when you said,

yeah I own that record

or you know, I bought that
record when it came out

or I remember the day I bought
those three records, right?

Like that's a big thing.

- Yeah, vinyl revival is no joke.

I mean, it's got, it
sounded like Wikipedia link.

It's like registered as a real phenomenon.

- There's always fear of formats

and format changes as to
what what's gonna change.

When cassettes came out,
people were concerned

that you know, there
were the stickers at home

taping is killing the music
business and, you know

downloading is killing the music business

but there are people
that like to buy music

and like to physically own music.

- No one's gonna come out
with another physical format

that people are gonna
appreciate as much as vinyl.

So vinyl is a analog
reproduction of your record.

And I think there's something
that's just sexy about that,

that people love.

- With vinyl you do get
the full experience.

I mean, as a kid, I grew up with vinyl

not because it was my era.

I was from like the tape and CD era

but it's all my parents had.

But when you open it up and you
know, you get the gate bowed

and you see like, you know, the images

and the liner notes, and
then you take the vinyl out

and you know, blow the
dust off, put it on.

So I can experience.

- But I think it's gonna be
a while before it goes away.

I really do.

And it's an investment.

- There will always be people

that wanna physically own music.

I think it's because, you
know, it gives you a connection

to the artist, to the musicians you love.

- You know, if you had told
me that we would outlast

like Tower Records and Virgin Records

and I would never have believed it.

- In the five years, it's probably been

at least eight new plants, new operations

that have opened up.

And some of them doing a really good job.

- We're dealing with
local independent bands.

I can tell you, 15 years ago

local independent bands were
pressing vinyl in this town.

So to me, 15 years from
now, local independent bands

and labels are still going

to be pressing vinyl in this town.

- I don't see people just in their forties

and fifties and sixties
and beyond buying records.

I see a lot of young
people buying records.

They make really affordable
record players now

that are less than a hundred dollars.

So I think that a new generation of people

are buying records.

And I think that it could
hopefully last a really long time

if they are excited about buying records.

- I hope it grows and
grows and keeps going

because I think it's nice
for people to have options.

I think it's a shame that
a format that's just older

has to disappear and people can go,

"Well, no you can't
listen to this anymore."

So it's nice to have the option.

It's nice that people have
spoken up and they've said,

"Hey, we love vinyl, you
know, bring it back."

And it's back, so...

- Got a lovely little lousy.

I don't know, it was
supposed to be about 12, 13

comes in when they start label screen

he's been buying all the clean stuff.

- A younger generation,

you know, the difference
between that era in the nineties

kids used to come in, they'd
open the door and like,

"Oh man it's just records"

and locked right back out.

Nowadays, kids open door like,

"Oh man, it's only records, it's so cool."

- The minute people stop coming
in here asking us questions

at Christmas about what kind

of turntable they need to
buy their significant other

or their child or whatever for Christmas.

Then that's when we know it's going away.

And so far that hasn't happened.

(gentle music)

- [Rusty] So there is vinyl in a nutshell,

we've talked to the fans, the
collectors and the experts.

And we're not convinced

that our beloved LP will be
going anywhere anytime soon.

As vinyl sales continue to
rise, the music plays on.

Of course audio technology
is a never ending,

ever evolving concept

that's not likely to
slow down anytime soon.

For some of us however,

just can't imagine a
world without records.

And why should we?

As long as the juxbox has life in it

our vinyl records will be spinning

for a very long time.

(sensational music)