Vinyl Record and Rare LP Resource Ideal For Serious Collectors

Most Recent Additions to the Vinyl Records DB

	Berry Is On Top Used Import - 772051 2015 180gm reissue. Some light surface noise, corner ding. DMM mastering. "If you had to sweat all of Chuck Berry's early albums on Chess (and some, but not all, of his subsequent greatest-hits packages), this would be the one to own. The song lineup is exemplary, cobbling together classics like "Maybellene," "Carol," "Sweet Little Rock & Roller," "Little Queenie," "Roll Over Beethoven," "Around and Around," "Johnny B. Goode," and "Almost Grown." With the addition of the Latin-flavored "Hey Pedro," the steel guitar workout "Blues for Hawaiians," "Anthony Boy," and "Jo Jo Gunne," this serves as almost a mini-greatest-hits package in and of itself. While this may be merely a collection of singles and album ballast (as were most rock & roll LPs of the 1950s and early '60s), it ends up being the most perfectly realized of Chuck Berry's career." All Music Guide - Cub Koda ... more
	Graceland Used - LP - 9 25447-1 1986 US original, housed in embossed jacket. Still in shrink with faded marker pricing. Thin saw cut and tiny corner ding. Glossy, VG+ vinyl. "With Graceland, Paul Simon hit on the idea of combining his always perceptive songwriting with the little-heard mbaqanga music of South Africa, creating a fascinating hybrid that re-enchanted his old audience and earned him a new one. It is true that the South African angle (including its controversial aspect during the apartheid days) was a powerful marketing tool and that the catchy music succeeded in presenting listeners with that magical combination: something they'd never heard before that nevertheless sounded familiar. As eclectic as any record Simon had made, it also delved into zydeco and conjunto-flavored rock & roll while marking a surprising new lyrical approach (presaged on some songs on Hearts and Bones); for the most part, Simon abandoned a linear, narrative approach to his words, instead drawing highly poetic ("Diamonds on the Soles of Her Shoes"), abstract ("The Boy in the Bubble"), and satiric ("I Know What I Know") portraits of modern life, often charged by striking images and turns of phrase torn from the headlines or overheard in contemporary speech. An enormously successful record, Graceland became the standard against which subsequent musical experiments by major artists were measured." All Music Guide - William Ruhlmann ... more
	12 Songs Used - LP - RS 6373 1976 US reissue with Warner logo in rim text. Light surface noise, most noticeably during run-ins. Good listen overall. Strong VG++ textured cover, very light fade. Fatures Ry Cooder, Clarence White, Gene Parsonsm Jim Gordon and Milt Holland to name a few. ... more
	First Take Used - LP - SD 8230 1968 US pressing. VG+ player, crisp jacket in shrink. This appears to be one of the VCRC club pressings, with different plant info across labels & deadwax (Labels show PR, Terre Haute T and Santa Maria "S" in run-out. Includes her great version of Leonard Cohen's "Hey, That's No Way To Say Goodbye." ... more
	Sings The Select Cole Porter Used - LP - W 2301 1965 US reissue; Jacksonville pressing. VG+ with light surface noise, music dominates. Crisp jacket, still in shrink with original Capitol company inner. Compilation of Sinatra singing Cole Porter arranged and conducted by Nelson Riddle. Mostly recorded between 1956 & 1960. ... more
	Count Basie / Sarah Vaughan Used - LP - R 52061 1969 US mono reissue on Red & Orange pinwheel label, still in shrink. Some light surface noise but still a musically pleasing listen. "Although Count Basie gets top billing, he actually doesn't even appear on this set. Basie's Orchestra and pianist Kirk Stuart are purely in a supporting role behind the magnificent voice of Sarah Vaughan, other than a couple of short spots for trumpeter Joe Newman and Frank Foster's tenor. Sometimes Vaughan sounds overly mannered and seems to give little weight to the words she is singing, but her wide range and impeccable musicianship carry the day. Highlights include "Perdido," "Mean to Me," and "You Go to My Head," and the set is understandably recommended more for Sarah Vaughan fans than Count Basie collectors. [Some reissues add a pair of charming Vaughan duets with Joe Williams, "Teach Me Tonight" and "If I Were a Bell," that were originally released as a single, plus an alternate take of "Until I Met You."]" All Music Guide - Scott Yanow ... more
	Fat Albert Rotunda Used - LP - 1834 1969 US Green Warner label Club pressing, pressed at Jacksonville. Crisp jacket with tiny corner rub. VG/VG+ copy, with surface noise but musically dominant. Featuring Joe Henderson, Johnny Coles, Garnett Brown, Tootie Heath and Buster Williams. “Centered Around Some Soundtrack Music That Herbie Hancock Wrote For Bill Cosby's Fat Albert Cartoon Show, Fat Albert Rotunda Was Hancock's First Full-Fledged Venture Into Jazz-Funk -- And His Last Until Head Hunters -- Making It A Prophetic Release. At The Same Time, It Was Far Different In Sound From His Later Funk Ventures, Concentrating On A Romping, Late-'60s-Vintage R&B-Oriented Sound. With Frequent Horn Riffs And Great Rhythmic Comping And Complex Solos From Hancock's Fender Rhodes Electric Piano. The Syllables Of The Titles Alone -- "Wiggle Waggle," "Fat Mama," "Oh! Oh! Here He Comes" -- Have A Rhythm And Feeling That Tell You Exactly How This Music Saunters And Swaggers Along -- Just Like The Jolly Cartoon Character. But There Is More To This Record Than Fatback Funk. There Is The Haunting, Harmonically Sophisticated "Tell Me A Bedtime Story" (Which Ought To Become A Jazz Standard), And The Similarly Relaxed "Jessica." The Sextet On Hand Is A Star-Studded Bunch, With Joe Henderson In Funky And Free Moods On Tenor Sax, Johnny Coles On Trumpet, Garnett Brown On Trombone, Buster Williams On Bass, And Albert "Tootie" Heath On Drums. Only Williams Would Remain For Hancock's 1977 Electric V.S.O.P.: The Quintet Album To Come. In Addition, Trumpeter Joe Newman, Saxophonist Joe Farrell, Guitarist Eric Gale, And Drummer Bernard Purdie Make Guest Appearances On Two Tracks.” All Music Guide - Richard S. Ginell ... more
	Duke Ellington & John Coltrane Used Import - 772302 2022 180gm black vinyl in shrink. In the celebrated collaboration "Duke Ellington & John Coltrane," these two jazz titans converge to create a work that is both a testament to their individual prowess and a harmonious exploration of their combined artistry. Released in 1963, this album serves as a bridge between the classic swing of Ellington's big band era and the modal, improvisational innovations that Coltrane was pioneering at the time. The record is marked by its elegant simplicity and profound depth, featuring a blend of Ellington's sophisticated compositional sensibilities with Coltrane's intense, searching saxophone lines. The interplay between Ellington's piano and Coltrane's tenor saxophone is nothing short of mesmerizing, highlighting a shared respect and musical dialogue that transcends generational and stylistic divides. The album's opener, "In a Sentimental Mood," sets the tone with Ellington’s lush, evocative piano introduction leading into Coltrane's deeply emotive phrasing, encapsulating a serene yet powerful mood. This feeling pervades the record, whether through the intricate dynamism of "Take the Coltrane" or the introspective reflection found in "My Little Brown Book." The rhythm section, featuring the adept contributions of bassist Jimmy Garrison and drummer Elvin Jones, alongside Ellington’s long-time collaborator Aaron Bell on select tracks, provides a robust yet sensitive foundation, allowing the lead voices to soar freely while maintaining a cohesive structure. Ultimately, "Duke Ellington & John Coltrane" is a masterclass in collaboration, where two distinct musical voices merge to create a timeless and influential piece of jazz history. ... more
	Diamonds In The Rough Used - LP - RD1 7240 / 603497846580 2020 pressing in shrink with lyric inner. “John Prine's Second Album Was A Cut Below His First, Only Because The Debut Was A Classic And The Followup Was Merely Terrific. "Sour Grapes" Showed Prine's Cracked Sense Of Humor And "Souvenirs" His Sentiment. Even If It Was The Second Rank Of His Writing, Diamonds In The Rough Demonstrated That Prine Had An Enduring Talent That Wasn't Exhausted By One Great Album.” All Music Guide - William Ruhlmann ... more
	The Grateful Dead Used - LP - R1 1689 2020 180gm 50th anniversary remastered reissue. Custom hype sticker on shrink. "The Grateful Dead's eponymously titled debut long-player was issued in mid-March of 1967. This gave rise to one immediate impediment -- the difficulty in attempting to encapsulate/recreate the Dead's often improvised musical magic onto a single LP. Unfortunately, the sterile environs of the recording studio disregards the subtle and often not-so-subtle ebbs and zeniths that are so evident within a live experience. So, while this studio recording ultimately fails in accurately exhibiting the Grateful Dead's tremendous range, it's a valiant attempt to corral the group's hydra-headed psychedelic jug-band music on vinyl. Under the technical direction of Dave Hassinger -- who had produced the Rolling Stones as well as the Jefferson Airplane -- the Dead recorded the album in Los Angeles during a Ritalin-fuelled "long weekend" in early 1967. Rather than prepare all new material for the recording sessions, a vast majority of the disc is comprised of titles that the band had worked into their concurrent performance repertoire. This accounts for the unusually high ratio (seven:two) of folk and blues standards to original compositions. The entire group took credit for the slightly saccharine "Golden Road (To Unlimited Devotion)," while Jerry Garcia (guitar/vocals) is credited for the noir garage-flavored raver "Cream Puff War." Interestingly, both tracks were featured as the respective A- and B-sides of the only 45 rpm single derived from this album. The curious aggregate of cover tunes featured on the Dead's initial outing also demonstrates the band's wide-ranging musical roots and influences. These include Pigpen's greasy harp-fuelled take on Sonny Boy Williamson's "Good Morning Little School Girl" and the minstrel one-man-band folk of Jessie "the Lone Cat" Fuller's "Beat It On Down the Line." The apocalyptic Cold War folk anthem "Morning Dew" (aka "[Walk Me Out in The] Morning Dew") is likewise given a full-bodied electric workout as is the obscure jug-band stomper "Viola Lee Blues." Fittingly, the Dead would continue to play well over half of these tracks in concert for the next 27 years." All Music Guide - Lindsay Planer ... more