We couldn’t build a collection of products for the audiophile without including a selection of vinyl. So we scoured the best New York City shops to find A+ albums from five different genres. From Dre to Bowie, we curated some of the best tracks from the last half-century, all brand new and ready for some heavy listening. Shop four-LP collections of Jazz, Classic Rock, Modern Classics, Folk Rock and Hip Hop.

The Albums

Arctic Monkeys - AM

AM, released in 2013, is the fifth album from the UK rock band and the one responsible for their meteoric rise in popularity among American listeners. Breaking away slightly from their previous offerings, AM is hard-hitting but musically satisfying in a style that frontman Alex Turner described as being "like a Dr. Dre beat, but we've given it an Ike Turner bowl-cut and sent it galloping across the desert on a Stratocaster.”

Radiohead - Kid A

Always a band to defy convention, Radiohead created a genre unto itself with the release of Kid A. After a long and stressful tour promoting their previous album OK Computer, the band filled their next work with glitchy synths, drum machines and sparse guitar. Coming to a climax during the song Idioteque in which frontman Thom Yorke wearily sings “Here I’m alive/ Everything all of the time”, Kid A serves as a masterwork of world-weariness at the turn of the 00’s.

Arcade Fire - Neon Bible

At once grandiose, expansive, intimate and personal, Neon Bible stands at Arcade Fire’s most popular album. Released in 2007 and rising to number two on the Billboard 200, selling more than 92,000 copies in its first week, Neon Bible plays like a vertebra in the backbone of early aughts indie rock.

The Black Keys - Chulahoma: The Songs of Junior Kimbrough

Chulahoma is a wolf in wolf’s clothing. Painted generally as an homage to the great Junior Kimbrough, the 2005 album from Dan Auerbach and Patrick Carney is a love letter delivered by bazooka. Auerbach’s stripped down guitar harks to the rawness of the early days of the Ohio duo, the intimate blues riffs and muted vocals standing as a not-so-subtle nod to Kimbrough’s deep influence on Auerbach and blues in general.