Vinyl Record and Rare LP Resource Ideal For Serious Collectors

Most Recent Additions to the Vinyl Records DB

	Cheap Trick At Budokan Used - LP - FE35795 1979 US Gatefold Original Sant Maria Pressing. VG+ Vinyl, Light Bag Rash. Includes 12-page booklet in English and Japanese. "At Budokan" is a live album by the American rock band Cheap Trick, released in 1978. This record captures the band's energetic performance at Nippon Budokan, a renowned venue in Tokyo, Japan, where they played in front of an enthusiastic Japanese audience. The album is notable for its raw and powerful sound, showcasing the band's ability to captivate live crowds with their dynamic stage presence and musicianship. Featuring a mix of their popular songs such as "I Want You to Want Me" and "Surrender," "At Budokan" helped propel Cheap Trick to international fame, solidifying their status as a formidable live act. The album's release was initially intended for the Japanese market, capitalizing on Cheap Trick's growing popularity in Japan. However, its success overseas led to a U.S. release, where it quickly gained traction and became a significant commercial success. "At Budokan" is often praised for its vibrant and unpolished recording, which captures the essence of a live rock concert experience. The album is frequently regarded as a quintessential live recording of the era, and it played a crucial role in introducing Cheap Trick to a broader audience, ultimately contributing to their enduring legacy in rock music. ... more
	Song Machine Season One Used - LP - 0190295209414 2020 standard black vinyl pressing with custom inner sleeve. VG++/EX copy. "Damon Albarn launched Gorillaz's Song Machine at the dawn of 2020, planning to release one new song a month, then rounding up the results as an almanac at the end of the year. Despite the onset of the COVID-19 pandemic, Albarn managed to more or less stick to his schedule, issuing a new song a month until the October release of Song Machine, Season One: Strange Timez. As the project was started prior to the pandemic, Strange Timez isn't strictly a reflection of life in the time of the coronavirus; parts of it even feature musicians who passed not long after their contribution, such as Tony Allen, whose "How Far?" concludes the deluxe edition of the album. Nevertheless, Song Machine, Season One: Strange Timez does pulse to the strange, ominous rhythms propelling a world beset by political strife and illness, often finding solace in retro stylings that conjure the gleaming 1980s and pan-global optimism of Y2K in equal measure. In other words, Strange Timez may have followed a different template than previous Gorillaz albums, but it is unmistakably a Gorillaz album, a record that hides its melancholy among a series of sunny, genre-bending fusions. By its very nature, the album is dotted with cameos -- there are more here than there were on 2018's The Now Now, which was largely fronted by Albarn himself -- and the likes of Robert Smith, Beck, St. Vincent, Elton John, 6lack, Fatoumata Diawara, and Peter Hook help pull the album away from the realm of solipsism, suggesting that even when the world is largely isolated from itself, there is still the common language of music that binds us all." All Music Guide – Stephen Thomas Erlewine ... more
	Eagles Greatest Hits Volume 2 Used - LP - 9 E1-60205 Lesser seen 1984 US Columbia House club reissue on Black & Orange Asylum label. Strong VG+ copy. ... more
	The Golden Age Of Apocalypse Colored Vinyl - Used - BF023X 2021 10th Anniversary limited edition RSD Black Friday reissue pressed on translucent Red vinyl. Housed in a custom Gold-foil jacket. ... more
	In Motion Colored Vinyl - Used - SPREC1163 2025 20th Anniversary reissue pressed on Black/White/Gold Nugget Split (Alternative Press Exclusive); 250 copies! ... more
	Traveller Colored Vinyl - Used - 6024782866293 2025 180gm 2LP reissue on Forest Green vinyl. EX/NM- copy. Like Many Country Troubadours, Chris Stapleton Cut His Teeth As A Songwriter In Nashville, Churning Out Tunes That Wound Up Hits In The Hands Of Others. Kenny Chesney Brought "Never Wanted Anything More" To Number One And Darius Rucker Had A Hit With "Come Back Song," But Those Associations Suggest Stapleton Would Toe A Mainstream Line When He Recorded His 2015 Debut, Traveller. This New Release, However, Suggests Something Rougher And Rowdier -- An Eric Church Without A Metallic Fixation Or A Sturgill Simpson Stripped Of Arty Psychedelic Affectations. Something Closer To A Jamey Johnson, In Other Words, But Where Johnson Often Seems Weighed Down By The Mantle Of A Latter-day Outlaw, Stapleton Is Rather Lithe As He Slides Between All Manners Of Southern Styles. Some Of This Smoothness Derives From Stapleton's Supple Singing. As The Rare Songwriter-for-hire Who Also Has Considerable Performance Chops, Stapleton Is Sensitive To The Needs Of An Individual Song, Something That Is Evident When He's Covering "Tennessee Whiskey" -- A Dean Dillon & Linda Hargrove Tune Popularized By George Jones And David Allan Coe In The Early '80s -- Lending The Composition A Welcome Smolder, But The Strength Of Traveller Lies In How He Can Similarly Modulate The Execution Of His Originals. He Has A Variety Of Songs Here, Too, Casually Switching Gears Between Bluegrass Waltz, Southern Rockers, Crunching Blues, Soulful Slow-burners, And Swaggering Outlaw Anthems -- Every One Of Them Belonging To A Tradition, But None Sounding Musty Due To Stapleton's Casualness. Never Once Does He Belabor His Range, Nor Does He Emphasize The Sharply Sculpted Songs. Everything Flows Naturally, And That Ease Is So Alluring Upon The First Spin Of Traveller That It's Not Until Repeated Visits That The Depth Of The Album Becomes Apparent." All Music Guide – Stephen Thomas Erlewine ... more
	Abbey Road Used - LP - B0030719-01 2023 anniversary edition newly remixed by Giles Martin and Same Okell; Lacquer cut by Miles Showell. Custom hype sticker on shrink. "Conventional wisdom holds that the Beatles intended Abbey Road as a grand farewell, a suspicion seemingly confirmed by the elegiac note Paul McCartney strikes at the conclusion of its closing suite. It's hard not to interpret "And in the end/the love you take/is equal to the love you make" as a summation not only of Abbey Road but perhaps of the group's entire career, a lovely final sentiment. The truth is perhaps a bit messier than this. The Beatles had tentative plans to move forward after the September 1969 release of Abbey Road, plans that quickly fell apart at the dawn of the new decade, and while the existence of that goal calls into question the intentionality of the album as a finale, it changes not a thing about what a remarkable goodbye the record is. In many ways, Abbey Road stands apart from the rest of the Beatles' catalog, an album that gains considerable strength from its lush, enveloping production -- a recording so luxuriant, it glosses over aesthetic differences between the group's main three songwriters and ties together a series of disconnected unfinished songs into a complete suite. Where Sgt. Pepper pioneered such mind-bending aural techniques, Abbey Road truly seized the possibilities of the studio and, in doing so, pointed the way forward to the album rock era of the 1970s. Many of the studio tricks arrive during that brilliant suite of songs, a sequence that lasts nearly a full side of an album. Here, McCartney's playful eccentricity juts against John Lennon's curdled cynicism, while the band thrills in sudden changes of mood and plays plenty of guitar, culminating in McCartney, Lennon, and George Harrison trading solos on "The End." The depth of sonic detail within "You Never Give Me Your Money" and "She Came in Through the Window" provided ideas for entire subgenres of pop in the '70s, but Abbey Road also contains a handful of the most enduring Beatles songs, each adding a new emotional maturity to their catalog. The subdued boogie of Lennon's "Come Together" contains a sensuality previously unheard in the Beatles -- it's matched by "Because," which may be the best showcase for the group's harmonies -- Harrison's "Something" is a love ballad of unusual sensitivity, and his "Here Comes the Sun" is incandescent, perhaps his purest expression of joy. As good as these individual moments are, what makes Abbey Road transcendent is how the album is so much greater than the sum of its parts. While a single song or segment can be dazzling, having a succession of marvelous, occasionally intertwined moments is not only a marvel but indeed a summation of everything that made the Beatles great." All Music Guide – Stephen Thomas Erlewine ... more
	Third Stage Used - LP - MCA-6188 1986 US Club (CRC) gatefold pressing. EX/NM- Vinyl. Contains The Number One Hit "Amanda" And A Belting Closer In "Hollyann". "After rushing their second album Don't Look Back, Boston took eight years to complete the album Third Stage. The long delay is even more surprising considering that their sound didn't change at all; even though only songwriter/guitarist Tom Scholz and vocalist Brad Delp remained from the original lineup, they were the ones responsible for Boston's sound. As such, it is difficult to avoid comparisons with their landmark debut. Third Stage has some strong moments, especially the number one hit "Amanda" where the band blends acoustic and electric guitars to complement the layered vocals. However, the songs are not as strong as those on their debut, and the album is marred by the presence of instrumental fillers and an attempt to cling to a theme of "journey through life's third stage." Thus, rather than focusing on universal topics such as the exuberance and uncertainties associated with youth, the mature lyrics are lost on most of their young rock audience. Given the time between albums and the changes in the pop landscape, it was a little disappointing to find Boston stuck in the same sound. The album still sounds great when it works on all cylinders ("We're Ready," "Cool the Engines"), but the album is not filled with enough satisfying moments. This may be nostalgic pop rock of the '80s, but casual listeners should start with their debut." All Music Guide – Vik Iyengar ... more
	Keep It Up Used - LP - QC 38703 1983 original. Ring wear and corner dings. Keep It Up, Loverboy’s third studio album, was released in June 1983 and further cemented their reputation for creating infectious, high-energy rock. Produced by Bruce Fairbairn, this album includes the band’s biggest U.S. hit, “Hot Girls in Love,” and continued their streak of successful singles. The record reached No. 7 on the Billboard 200 and achieved platinum status in both Canada and the U.S. The vinyl format delivers the layered synths and tight songwriting with impressive clarity, allowing music lovers to experience the full impact of Loverboy’s polished production and anthemic choruses that defined their early ‘80s sound. ... more
	Quadrophenia Used - LP - MCA2-6895 1980 US 2LP Club pressing. Some ring wear, patch of wear to bottom of spine. "Pete Townshend revisited the rock opera concept with another double-album opus, this time built around the story of a young mod's struggle to come of age in the mid-'60s. If anything, this was a more ambitious project than Tommy, given added weight by the fact that the Who weren't devising some fantasy but were re-examining the roots of their own birth in mod culture. In the end, there may have been too much weight, as Townshend tried to combine the story of a mixed-up mod named Jimmy with the examination of a four-way split personality (hence the title Quadrophenia), in turn meant to reflect the four conflicting personas at work within the Who itself. The concept might have ultimately been too obscure and confusing for a mass audience. But there's plenty of great music anyway, especially on "The Real Me," "The Punk Meets the Godfather," "I'm One," "Bell Boy," and "Love, Reign o'er Me." Some of Townshend's most direct, heartfelt writing is contained here, and production-wise it's a tour de force, with some of the most imaginative use of synthesizers on a rock record. Various members of the band griped endlessly about flaws in the mix, but really these will bug very few listeners, who in general will find this to be one of the Who's most powerful statements." All Music Guide – Richie Unterberger ... more