Vinyl Record and Rare LP Resource Ideal For Serious Collectors

Most Recent Additions to the Vinyl Records DB

	Fireball Colored Vinyl - Used - RR1 2564 2019 180gm remastered reissue pressed on Purple vinyl, housed in a textured gatefold sleeve. NM- jacket. "One of Deep Purple's four indispensable albums (the others being In Rock, Machine Head, and Burn), 1971's Fireball saw the band broadening out from the no-holds-barred hard rock direction of the previous year's cacophonous In Rock. Metal machine noises introduced the sizzling title track -- an unusually compact but explosively tight group effort on which Jon Lord's organ truly shined. The somewhat tiring repetitions of "No No No" actually threatened to drop the ball next, but the fantastic single "Strange Kind of Woman" nimbly caught and set it rolling again, just in time for the innuendo-encrusted hilarity of "Anyone's Daughter," featuring one of singer Ian Gillan's first (and still best) humorous storylines to go with one of guitarist Ritchie Blackmore's most uncharacteristic, bluesiest performances ever. "The Mule" opened the vinyl album's second side with what is perhaps Purple's finest instrumental, and on the hyper-extended "Fools," the bandmembers proved they could flirt with progressive rock without plunging off its cliff (although the song could probably have done without its drawn-out middle section). And closing the album was the exceptional "No One Came," where intertwining instrumental lines locked together beautifully, Gillan wove another entertaining yarn that was part autobiography and part Monty Python, and the often underrated skills of drummer Ian Paice helped the song sound so unreservedly fresh and intuitive that one could almost be convinced the band had winged it on the spot. Sure, the following year's Machine Head would provide Deep Purple with their commercial peak, but on Fireball, the formidable quintet was already firing on all cylinders." All Music Guide - Eduardo Rivadavia. ... more
	Dead Yuppies Used - LP - 86630-1 2001 Original in shrink with inner sleeve. In a scathing return to their hardcore roots, Agnostic Front's "Dead Yuppies" delivers a visceral punch with unrelenting intensity and unabashed socio-political commentary. Released in 2001, the album epitomizes the raw energy and uncompromising ethos that have defined the New York hardcore scene. With tracks that are brief yet impactful, the band channels their disdain for societal complacency and materialism, themes that resonate throughout the record. Roger Miret's gravelly vocals pierce through the sonic barrage laid down by guitarist Vinnie Stigma and the rest of the band, creating an urgent and confrontational soundscape that refuses to be ignored. "Dead Yuppies" stands as both a testament to Agnostic Front's legacy and a reminder of the timeless relevance of hardcore punk. The album captures the fury and frustration of a band that has witnessed the changing tides of New York City, offering a blistering critique wrapped in aggressive riffs and pounding rhythms. While it may not reinvent the genre, it reinforces the band's commitment to authenticity and rebellion. With this release, Agnostic Front reaffirms their place as stalwarts of the hardcore movement, delivering a work that is as much a call to arms as it is a reflection on the societal shifts that continue to shape their music. ... more
	From The Ashes Used - LP - 86664-1 2003 Original in shrink with inner sleeve. "California Punk And Hardcore Have Always Been Fellow Travelers With Skate And Surf Culture; The Convergent Scenes Had Common Beefs With Suburban Boredom And Clueless Authority. But As The Cali Sound Was Discovered By A National Audience, And Surfing And Skateboarding Entered A New Renaissance Of Extreme Sport And Big-money Sponsorship, The Original Identification With Subculture And Subversion Was Perhaps Diluted A Bit. But While Corporatization Is Still A Factor, In The 21st Century West Coast Labels Like Epitaph And Fat Wreck Have Proven Their Staying Power And Independent Spirit. Enabled By Internet Savvy And Genius Marketing Initiatives Like The Vans Warped Tour, These Labels And Their Bands Have Taken Up The Activism And Subversion Gauntlet Once Again, Influencing A New Generation Of Fresh-faced Punks And X-Games Skaters With Ideas And Attitudes That Are Anything But Mainstream. Now 15 Years On, Hermosa Beach Punk Veterans Pennywise Have Issued From The Ashes. It's A Welcome, Rocking Return To Form After Some Weaker Efforts, But It Also Takes A Page From Nofx's War On Errorism, Promoting An Agenda Of Awareness Amidst Its Fist-Pumping, Sun-Drenched Anthems. The Cali Bands' Platform Is One Of Wagon-Circling. Fed Up With Conservative Government, They Encourage The Punks And Kids To Pay Attention To What's Going On, But Close Ranks In Support Of Each Other. It's A Reengineering Of The Original Punk Rock Ethic In The Face Of A New Enemy. Throughout "God Save The Usa," The Dynamic "This Is Only A Test," And The Raging "Punch Drunk," Vocalist Jim Lindberg Rallies His Troops. "They're Draining The Banks Now But No One Will Tell You," He Spits In The Latter. "If You Don't Believe It Then They Already Got You." All This Consciousness Raising Is Admirable. But What's Even Better Is The Stripped-Down, Classic Cali Punk Delivery System That Pennywise Deploys Throughout From The Ashes. "Something To Change" Recalls Vintage Skatepunk, Bitching About Boredom Over A Breakneck Brutally Simplistic Screed. Pennywise Sums Up Its Lengthy Career, Informed Cynicism, And Warning Tone With The Ringing Power Chords Of Closing Anthem "Judgment Day." Lindberg Asks, "Who Ever Knew There'd Be Days Like These When The World Could Knock Us To Our Knees?" It's The Skill Of A Veteran Band To Recall Its Salad Days While Rocking The Recruits, And Still Clock In At Under Three Minutes." All Music Guide - Johnny Loftus. ... more
	Freedom Used - LP - FC 40272 1987 original complete with the custom printed inner sleeve. Glossy VG++ copy! Light indentation to front cover. "Freedom marked several reunions in the Santana band, which was now a nonet. In addition to Carlos, the band consisted of percussionists Armando Pereza, Orestes Vilato, and Raul Rekow; returning drummer Graham Lear; bassist Alphonso Johnson; returning keyboardist Tom Coster, keyboardist Chester Thompson, and, on lead vocals, Buddy Miles, who had made a duet album with Santana 15 years before. Credited as an "additional musician" was keyboard player Greg Rolie, an original member. The music also marked a return from the hyper-pop sound of Val Garay on Beyond Appearances to a more traditional Santana Latin rock style. Thus, Freedom was a literal return to form, but, unfortunately, not to the quality of early Santana albums. And the group's commercial decline continued, with the LP getting to only Number 95." All Music Guide - William Ruhlmann ... more
	Hello, I Must Be Going! Used - LP - 7 80035-1 1982 gatefold original, Allied pressing complete with the custom printed inner sleeve. Glossy, NM- vinyl. VG++/EX jacket! "After the massive success of his 1981 album Face Value, Phil Collins didn't take a much of a break. Genesis released Abacab six months later, then headed out on a long tour. When they got back, Collins jumped right into recording his second solo album, 1982's Hello, I Must Be Going! The album wasn't a huge departure from the formula established on Face Value, built as it was on introspective, gut-spilling ballads, horn-driven R&B jams, arty rockers, and dramatic breakup songs. In fact, the first track, the vitriolic "I Don't Care Anymore," sounds like a very close relative of "In the Air Tonight," only less mysterious and more in your face. Still effective though, and with the same magical drum sound Collins got on that earlier song. The R&B-based tracks are well served by the Earth, Wind & Fire Horns, and if nothing is quite on par with "I Missed Again," there's not a huge drop-off in quality. There are a few less ballads, with Collins only slowing down on the lovely "Don't Let Him Steal Your Heart Away" and the lush "Why Can't It Wait 'Til Morning," which foreshadows his career as a singer for hire on many a movie soundtrack. Along with the upgraded production values overall, there are a couple of surprises on Hello, notably the uptempo pop tune "Like China" (which features some blistering guitar work from Daryl Stuermer) and the almost note-perfect take on the Supremes' "You Can't Hurry Love," which sounds less like a pastiche and more like a loving tribute. Another departure from Face Value comes on the song "Thru These Walls," where Collins is playing a character instead of writing from a place of pain and frustration, which was one of the things that made that album so devastating. Despite the change in tone from intensely personal and dark to slightly detached and even lighthearted in spots, the album is still a winning follow-up that shows Collins to be in full control of songwriting and production. It may be a shade less impressive than Face Value, but that was a hard act to follow." All Music Guide - Tim Sendra ... more
	Belo Horizonte Used - LP - BSK 3619 1981 Original. Paco De Lucia Is Featured On "Manitas D'Oro." Recommended Listening. "Belo Horizonte," an album by the virtuosic guitarist John McLaughlin, offers a compelling exploration of jazz fusion with a distinctive Brazilian flair. Released in 1981, this record showcases McLaughlin’s seamless ability to blend intricate guitar work with the rich textures of Latin rhythms, marking a departure from the more frenetic and electric stylings of his work with the Mahavishnu Orchestra. The album's title track, "Belo Horizonte," sets the tone with its intricate interplay between guitar and percussion, underscoring McLaughlin’s deft embrace of samba and bossa nova influences. The inclusion of acoustic instrumentation and the collaboration with musicians such as saxophonist Bill Evans and percussionist Danny Gottlieb adds a lush, melodic depth, making the album both a soothing and invigorating listen. Critics have lauded "Belo Horizonte" for its exceptional musicianship and McLaughlin's ability to convey complex musical ideas with clarity and emotion. Tracks like "Very Early" highlight his sensitivity to melody and harmonic nuance, creating a soundscape that is both intimate and expansive. The album serves as a testament to McLaughlin's versatility and his perpetual quest for new sounds, weaving together elements of jazz, rock, and world music. It stands as a significant work in his discography, illustrating his commitment to musical exploration and his profound respect for the cultural influences that shape his compositions. As a result, "Belo Horizonte" is celebrated not only as a pivotal moment in McLaughlin’s career but also as a touchstone for fans of innovative jazz fusion. ... more
	Songs The Lord Taught Us Used - LP - SP 007 1980 Original. Great Debut LP! "Songs The Lord Taught Us," the debut album by the Cramps, is a visceral plunge into the raw, unrefined depths of rockabilly and punk. Released in 1980, the album channels the spirit of primal rock ‘n’ roll through a lens of macabre humor and horror-infused aesthetics. Under the guidance of producer Alex Chilton, the band crafted a sound that is both chaotic and controlled, capturing the essence of their wild live performances. Lux Interior’s menacing yet charismatic vocals weave tales of the bizarre and the repressed, while Poison Ivy’s guitar work slices through the air with a serrated edge, invoking the primitive energy of early rock legends. The rhythm section, with Bryan Gregory's distorted fuzz and Nick Knox's minimalist drumming, provides a relentless, pounding backdrop that is both hypnotic and terrifying. Esteemed critic Robert Christgau noted the album's ability to balance its stylistic homage with a unique punk ethos, resulting in a work that feels both timeless and subversively modern. Tracks like "Garbageman" and "I Was a Teenage Werewolf" exemplify the Cramps' ability to blend satire and homage, pushing the boundaries of genre while remaining fiercely reverent to their influences. The album is a testament to the Cramps' deep-seated love for the roots of rock music, filtered through a sensibility that is distinctly their own. This juxtaposition of reverence and irreverence makes "Songs The Lord Taught Us" not just an album, but a manifesto for their brand of psychobilly—a subculture that continues to thrive and evolve beyond the fringes of mainstream acceptance. ... more
	Ralf And Florian Used Import - 6360 616 1973 UK Spaceship Label. The Front Cover Is That Of The Embossed Circuitboard Surface In Gold. The Back Cover Has The Famous Picture Of The Guys In Their Makeshift Studio Replete With Neon Lights And All The Electronic Gimmickry And Instruments. Ralf und Florian, the third studio album by the pioneering German electronic band Kraftwerk, represents a pivotal moment in the duo's evolution toward their iconic electronic sound. Released in 1973, this record sees Ralf Hütter and Florian Schneider beginning to embrace synthesizers and electronic instrumentation more fully, setting the stage for their subsequent groundbreaking works. The album's sonic landscape is a blend of acoustic elements with burgeoning electronic textures, illustrating a clear transition from their earlier, more experimental krautrock roots towards a more structured and melodic approach. Tracks like "Kristallo" and "Tanzmusik" offer glimpses into the band's future, with shimmering synths and rhythmic innovations that hint at the mechanical precision and thematic cohesion they would later perfect. The album's meticulous attention to sound design and texture marks it as a crucial step in the development of electronic music. Ralf und Florian showcases Hütter and Schneider’s burgeoning interest in the aesthetics of repetition and minimalism, which would become defining characteristics of their later work. While the album doesn't yet fully abandon organic instruments, with flute and guitar making appearances, it serves as a bridge between the analog and digital worlds. The duo's focus on blending melody with machine-like precision is evident, setting the groundwork for their impact on genres ranging from synthpop to techno. In retrospect, Ralf und Florian can be seen as a quietly revolutionary record that subtly foreshadows the seismic shifts Kraftwerk would soon bring to the music world. ... more
	Wired Used - LP - PE 33849 1979 pressing in shrink. Wired is the third studio album released by the legendary British guitarist, Jeff Beck. The album was released in 1976 and produced by George Martin and is widely considered to be one of the best jazz-rock fusion albums of all time. The album showcases Beck's incredible range as a guitarist, from the scorching electric guitar solos of "Led Boots" and "Blue Wind" to the gentle acoustic melodies of "Love Is Green". The album also features collaborations with some of the most talented musicians of the time, including drummer Narada Michael Walden and keyboardist Jan Hammer. Wired is a timeless classic that continues to inspire and influence musicians to this day. ... more
	Haven't Stopped Dancin' Used - LP - SW-11855 1979 2nd pressing with alternate cover/title still in shrink, Los Angeles pressing. Glossy, NM- vinyl. ... more