Vinyl Record and Rare LP Resource Ideal For Serious Collectors

Most Recent Additions to the Vinyl Records DB

	Yes We Can Used - LP - none 1979 original promotional LP issued after the California Angels baseball team reached the playoffs in 1979. Glossy, VG+ vinyl. The LP covers the first 18 years of the teams history. "Highlights of the California Angels first 19 years - 1961 to the winning of the American League West Championship, 1979" ... more
	Always On My Mind Used - LP - FC 37951 1982 Original, Terre Haute Pressing. Includes The Custom Printed Inner Sleeve. Strong VG++/EX Vinyl; Jacket Shows Shelf/Ring Wear. Mastered By Denny Purcell At Woodland Studios. Guest Appearance By Waylon Jennings. ... more
	No Brakes Used - LP - ST-17124 1984 original, Jacksonville pressing. Includes the custom printed inner sleeve. "Two years later after his solo debut, Ignition, John Waite returned with No Brakes, an album that had success in its sights. Cleverly, the record not only had an explicit commercial pop bent, featuring mid-tempo pop tunes and ballads, but it also rocked like a bastard, particularly on the opening cut, "Saturday Night." Most importantly, it had a hit single in the song "Missing You." And this wasn't just a hit, either -- it was one of those thrilling pop moments where perfection appeared in the last place you expected to hear it. Waite's voice had always been perfect for FM radio, and it fit the Babys perfectly, but it never had a vehicle as ideal as "Missing You." Perched perfectly between anthemic mainstream rock and sleek post-new wave pop, it was a minor miracle -- a flawlessly written, classicist pop song, delivered with a stylish, MTV-ready flair. It deservedly became not just a number one hit, but one of those records that everybody knows, capturing a time yet transcending it to become part of the very fabric of pop culture. "Missing You" was surely the reason No Brakes scaled the top of the charts, but the album wasn't just a single surrounded with filler. The rest of the record was as expertly crafted, constructed, and performed as the best of Ignition. In retrospect, it might sound a little bit too much like 1984, thanks to the big drums and clean production, but that's its charm: It's a prime example of fine mainstream rock circa the mid-'80s." All Music Guide - Stephen Thomas Erlewine ... more
	Freeze Frame Used - LP - SW 517062 1981 Columbia House club pressing. Glossy, VG+ vinyl. Crisp jacket. "Tempering their bar band R&B with a touch of new wave pop production, the J. Geils Band finally broke through into the big leagues with Freeze Frame. Fans of the hard-driving rock of the group's '70s albums will find the sleek sound of Freeze Frame slightly disorienting, but the production gives the album cohesion. Good-time rock & roll remains at the core of the group's music, but the sound of the record is glossier, shining with synthesizers and big pop hooks. With its singalong chorus, "Centerfold" exemplifies this trend, but it's merely the tip of the iceberg. "Freeze Frame" has a great stop-start chorus, "Flamethrower" and "Piss on the Wall" rush along on hard-boogie riffs, and "Angel in Blue" is terrific neo-doo wop. There are still a handful of throwaways, but even the filler has a stylized, synthesized flair that makes it enjoyable, and the keepers are among the band's best." All Music Guide - Stephen Thomas Erlewine ... more
	The Grand Illusion Used - LP - SP-4637 1977 Columbia House club pressing. Includes the custom printed inner sleeve and CRISP poster! Glossy, VG+ vinyl! "Other than being their first platinum-selling album, The Grand Illusion led Styx steadfastly into the domain of AOR rock. Built on the strengths of "Come Sail Away"'s ballad-to-rock metamorphosis, which gained them their second Top Ten hit, and on the high harmonies of newcomer Tommy Shaw throughout "Fooling Yourself," The Grand Illusion introduced Styx to the gates of commercial stardom. The pulverized growl of "Miss America" reveals the group's guitar-savvy approach to six-string rock, while De Young pretentiously struts his singing prowess throughout the title track. Shaw's induction into the band has clearly settled, and his guitar work, along with James Young's, is full and extremely sharp where it matters most. Even the songwriting is more effluent than Crystal Ball, which was released one year earlier, shedding their mystical song motifs for a more audience-pleasing lyric and chord counterpoise. Reaching number six on the album charts, The Grand Illusion was the first to display the gelled accomplishments of both Tommy Shaw and Dennis De Young as a tandem." All Music Guide - Mike DeGagne ... more
	Tonight I'm Yours Used - LP - BSK 3602 1981 US original, Allied pressing. Glossy, VG+ Vinyl. Beautiful VG++ jacket. "Though it lacks a truly great selection of songs, Tonight I'm Yours is a fine latter-day effort from Rod Stewart, and one of the last records that makes Rod sound like he's hip. Sporting a shiny new wave production, Tonight I'm Yours has a sleek, professional sound that can make even mindless rave-ups like "Tora, Tora, Tora (Out With the Boys)" a guilty pleasure. But the key to the album lies in songs like "Tonight I'm Yours" and the haunting "Young Turks," where Rod sounds totally at ease with a synth pop beat. They are some of the best examples of mainstream rock co-opting the nervy, quirky appeal of new wave, and they make Tonight I'm Yours an enjoyable, if lightweight, listen." All Music Guide - Stephen Thomas Erlewine ... more
	Barry Live In Britain Used Import - ARTV 4 1982 UK gatefold original. Glossy, NM- vinyl. Recorded live at The Royal Albert Hall 11th, 12th January 1982. ... more
	Chicago VI Used - LP - KC 32400 1973 gatefold original. Solid VG+ copy. Some light wear to the jacket's spine. "This is the sixth album from the jazz/pop/rock combo Chicago, and was likewise the first to be recorded at the plush, well-lit, and custom-built Caribou Studios in Nederland, CO. The facility was owned and operated by the band's manager and producer, James William Guercio, and eventually became the group's retreat for their next five (non-compilation) long-players. Another and perhaps more significant change was the incorporation of several "outside" additional musicians -- most notably Laudir De Oliveira (percussion), who would remain with the band for the next seven years and eight LPs. Although Chicago had begun as a harder-edged rock & roll band, popular music styles were undergoing a shift during the mid-'70s into a decidedly more middle-of-the-road (MOR) and less-aggressive sound. This is reflected in the succinct pop and light rock efforts, contrasting the earlier lengthy and multi-movement epics that filled their earlier works. Nowhere is this more evident than on Chicago VI's (1973) two Top Ten singles: the easygoing James Pankow (trombone) ballad "Just You & Me" as well as the up-tempo rocker "Feelin' Stronger Every Day," which Pankow co-wrote with Peter Cetera (vocal/bass). This more melodic and introverted sensibility pervades the rest of the disc as well -- especially from Robert Lamm (keyboard/vocals), who is particularly prolific, penning half of the material on the disc. Even his sardonically titled "Critics' Choice" -- which is undoubtedly a musical rebuttal to Chicago's increasingly negative critical assessment -- is a languid and delicate response, rather than a full-force confutation. "Darlin' Dear" -- another Lamm contribution -- on the other hand, is a horn-fuelled rocker that actually recalls Little Feat more than it does most of Chicago's previous sides. Compositions from other bandmembers include the heartfelt Terry Kath (guitar/vocals) ballad "Jenny," which features some fluid fretwork much in the same vein as that of Jimi Hendrix's "Angel" or "Castles Made of Sand." Additionally, Peter Cetera's (bass/vocals) "In Terms of Two" includes a more down-home and countrified acoustic vibe. While Chicago VI is an undeniably strong effort -- supported at the time by its chart-topping status -- many bandmembers and longtime enthusiasts were beginning to grow apart from the lighter, pop-oriented material." All Music Guide - Lindsay Planer ... more
	Come Fly With Me New - LP - SY-4528 Sealed 1973 reissue. Barley sealed, but guaranteed mint! Corner bumps, price sticker on shrink. "Constructed around a light-hearted travel theme, Come Fly With Me, Frank Sinatra's first project with arranger Billy May, was a breezy change of pace from the somber Where Are You. From the first swinging notes of Sammy Cahn and Jimmy Van Heusen's "Come Fly With Me" -- which is written at Sinatra's request -- it's clear that the music on the collection is intended to be fun. Over the course of the album, Sinatra and May travel around the world in song, performing standards like "Moonlight in Vermont" and "April in Paris," as well as humorous tunes like "Isle of Capri" and "On the Road to Mandalay." May's signature bold, brassy arrangements give these songs a playful, carefree, nearly sarcastic feel, but never is the approach less than affectionate. In fact, Come Fly With Me is filled with varying moods and textures, as it moves from boisterous swing numbers to romantic ballads, and hitting any number of emotions in between. There may be greater albums in Sinatra's catalog, but few are quite as fun as Come Fly With Me." All Music Guide - Stephen Thomas Erlewine ... more
	Ignition New - LP - CHR 1376 1982 original, Terre Haute pressing complete with the custom Chrysalis poly inner. Glossy, NM- vinyl. "John Waite had known stardom as a member of the Babys, a British quartet that had a brief run on the American charts in the late '70s and early '80s. During the heyday of punk rock, they were unapologetic stadium rockers with their feet planted firmly in the mainstream, and it worked -- they just missed the Top Ten with "Every Time I Think of You" and "Isn't It Time." That was nothing compared to what would follow when Waite's solo career finally took off, yet it took a little effort for that career to gain momentum. He released his first solo album, Ignition, in the summer of 1982. Musically, the record certainly took its cues from the Babys, but it was also a product of its times, exhibiting a considerable new wave production sheen. That much was evident from the surging opener "White Heat," with its glistening, processed guitars and tight rhythms. It's the sound of stylized, commercial mainstream rock in the early '80s, and the rest of Ignition follows this pattern to an appealing end. True, the record has a couple of moments that seem like filler, but not in a bad way; that's because the production sounds good, and Waite's performances are always inspired. The problem is that no matter how well-crafted Ignition is, none of its songs are total knockouts -- the kind of single that would break down the doors to mainstream radio, regardless of whether it was given a push. And so, even though it was a very good solo debut, Ignition withered on the vine." All Music Guide - Stephen Thomas Erlewine ... more