Vinyl Record and Rare LP Resource Ideal For Serious Collectors

Most Recent Additions to the Vinyl Records DB

	Atlantis b/w Thorns (Live) Used - 7 - SP 1271 2019 Limited edition 7 inch single for Sub Pop Singles Club Vol. 4, July 2019. Housed in an outer custom die-cut cardboard slip-sleeve with pictured single sleeve and generic white die-cut inner sleeve. Tiny ding on outer sleeve. ... more
	Les Forains Ballet / Concerto No. 1 Used - LP - LDX 78300 Laminated Gatefold Stereo Original. Henri Sauguet Conducting The Association Des Concerts Lamoureux (Side One) And Gennadi Rojdestvenski Conducting The Grand Orchestre Symphonique De La Radio De L'U.R.S.S. With Vasso Devetzi, Piano (Side Two). Appears Glossy. From The Collection Of Producer Harold Lawrence. ... more
	Boston Collectible - JE 34188 Signature! 1976 Original signed by Brad Delp, Tom Scholz & Fran Sheehan. This copy is VG/VG. ... more
	First Take Used - LP - SD 8230 Beautiful 1969 stereo original (1841 Broadway) in shrink with hype sticker. Such A Soulful Album With Ron Carter On Bass And John Pizzarelli On Guitar. "First Take," the debut album by Roberta Flack, released in 1969, stands as a transcendent work that expertly melds jazz, folk, and soul into a cohesive and mesmerizing whole. In its essence, the record is an intimate exploration of emotional depth and musical sophistication. Flack's tender yet powerful vocal delivery is at the forefront, capturing the nuanced complexities of each track. The album opens with "Compared to What," a socially charged piece that sets the tone for the underlying introspective and thought-provoking themes that flow throughout. Her rendition of "The First Time Ever I Saw Your Face" is a masterclass in restraint and emotional resonance, earning a timeless place in the canon of love songs. The subtle arrangements and the understated yet palpable instrumental support provide a rich backdrop to her soaring vocals, showcasing Flack's ability to convey profound emotion with both subtlety and intensity. The production of "First Take" is marked by its clarity and warmth, fostering an intimate connection between Flack and the listener. Tracks like "Ballad of the Sad Young Men" and "Hey, That's No Way to Say Goodbye" further demonstrate her capacity to inhabit the emotional core of a song, offering interpretations that are both personal and universally relatable. With her poignant phrasing and the album's lush melodies, Flack transcends the boundaries of genre, crafting a work that resonates with the heart's deepest chords. The album's enduring influence is a testament to its artistry and the unique vision Flack brought to her debut, securing her place as a significant voice in the landscape of American music. The eloquence and sincerity embedded within "First Take" ensure its status as a seminal piece of work that continues to inspire and captivate audiences decades after its release. ... more
	The Best Of Blondie Used - LP - CHR 1337 1981 Compilation With Custom Hype Sticker On Shrink. Includes Three Previously Unreleased Remixes. One of the quintessential new wave bands, Blondie delivers a collection that encapsulates the vibrant and eclectic essence of their late 1970s and early 1980s heyday. This compilation, released in 1981, distills the band's most iconic tracks into a coherent and pulsating narrative that reflects both their pioneering sound and commercial prowess. From the infectious disco-inflected beats of "Heart of Glass" to the reggae undertones of "The Tide Is High," the album is an aural tapestry that showcases Debbie Harry's sultry vocals intertwined with the band's genre-blending instrumentals. Each track is a testament to Blondie's ability to transcend musical boundaries, making them a staple in the evolution of pop and rock music. The record not only serves as a celebration of the band's chart-topping hits but also highlights the innovative spirit that Blondie brought to the music scene. Tracks like "Call Me," with its relentless energy and iconic riff, and "Rapture," which daringly melds rap with rock, illustrate the band's fearless approach to music-making. Critics have often noted how "The Best of Blondie" captures the zeitgeist of an era where genres were fluid and experimentation was key. As a compilation, it functions both as an entry point for new listeners and a nostalgic journey for long-time fans, underlining Blondie's lasting impact on the tapestry of modern music. ... more
	À Fleur De Peau New - LP - WR4819LP Sealed 2024 gatefold original. "A lot of people across the world think that they know Cyrille Aimée: the matchless interpreter of song, steeped in the jazz tradition she learned from the gypsy masters in her native France. It’s a story that has been told many times across Cyrille’s career as it took her on a magic carpet ride from France to New York, and then to New Orleans, pursuing her musical vision through the works of some of the world’s great composers of popular song. Now she’s back with a new album and a new story to tell. À Fleur de Peau presents Cyrille in her own words, with her own original compositions presented in her own arrangements, developed in close collaboration with New York multi-instrumentalist & producer Jake Sherman - just the two of them, working up the ideas as they flowed from deep within Cyrille’s heart, making music that is the most original and personal of her career. Drawing on her Dominican heritage with its cargo of African dance rhythms and Spanish folksongs, embracing the directness and simplicity of contemporary pop forms, singing tales straight from her own life, this is Cyrille as you have never heard her before. The album’s genesis originates far from New York or Cyrille’s adopted New Orleans home, deep within the forests of Costa Rica: an astonishing tale of a creative rebirth. “I’ve been writing forever, but this album is my real birth as a songwriter. Six years ago, I found out I was pregnant as I travelled to Costa Rica. I spent a week there, surrounded by the teeming life of the jungle, knowing I had to have an abortion when I returned home. I wrote the song ‘Inside and Out’ about this powerful, scary and difficult experience and recorded it with Jake back in New York, but I didn’t trust myself as a songwriter back then and so the song laid dormant for years. Then when the pandemic hit, I moved to some land I had bought in Costa Rica and - to my own amazement - I designed and built a house in the jungle all by myself. It was my creative outlet, and my inspiration. The house was my baby and I found myself writing again, gaining confidence as I built and wrote. Back in New York I took my new songs to Jake and told him we need to finish what we started.” Cyrille and Sherman quickly found a working method to bring the songs to life. At the heart of each recording is a live performance by Cyrille, accompanying herself with voice and guitar or baritone ukulele: then together they would add layers of arrangement, using Cyrille’s trademark vocal improvisations to suggest horn lines, percussion parts and counter melodies which Sherman would re-create on his array of vintage instruments. The results are uniformly appealing in their direct honesty but diverse in their sound. ‘Again Again’ preserves the simplicity of Cyrille’s sad guitar ballad, with subtle production hinting at bigger things; ‘Beautiful Way’ presents a bilingual paean to New Orleans with creative percussions made by Cyrille biting down a cracker; ‘Back to You’ captures the nostalgia of separation with a Nu-Soul inflection; and Isley Brother’s cover of ‘For the Love of You’ is an unabashed, gloriously uplifting slice of sophisticated Yacht-Pop. And there’s still room for the children’s choir on the pure grooving positivity of ‘Here’ as it makes a claim for us to stay in the unmediated present, for the reimagined French chanson of ‘Ma Préférence’, for the fragile waltz-ballad of ‘Feel What I Feel’, and for the hushed, sun-drenched Spanish-language ‘Historia De Amor’, closing the album with a simple, two-chord love song dedicated to nature. Cyrille says “I want to inspire women to create: with their hands, their wombs, their voices, whatever inspires them.” She’s created an album that is deeply intimate and personal yet completely open and accessible to all and marked a new chapter in her journey as an artist." - bandcamp ... more
	Abbey Road New - LP - B0030719-01 Sealed 2023 anniversary edition newly remixed by Giles Martin and Same Okell. 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
	The Diary Of Alicia Keys New - LP - 82876-55712-1 Sealed, latest run of the 2LP gatefold reissue. "Since Alicia Keys' 2001 debut album, Songs in A Minor, was ever so slightly overpraised, expectations for her second album, 2003's The Diary of Alicia Keys, were ever so slightly too high. Songs in A Minor not only kicked off a wave of ambitious new neo-soul songsters, it fit neatly into the movement of ambitious yet classicist new female singer/songwriters that ranged from the worldbeat-inflected pop of Nelly Furtado to the jazzy Norah Jones, whose success may not have been possible if Keys hadn't laid the groundwork with such soulful work as her hit "Fallin'." Such success at such a young age, even if deserved, can be too much too soon, since young songwriters showered with praise and riches may find it hard to see the world outside of their own cocoon. The very title of The Diary of Alicia Keys -- at once disarmingly simple and self-important -- suggests that Keys, like Furtado, took her stardom a little too seriously and felt compelled to present her worldview unfiltered, dispensing with artistic ambiguities and leaving each song as a portrait of Alicia Keys, the woman as a young artist. As she somewhat bafflingly says in her liner notes, "these songs are like my daily entrees," which likely means that these were indeed intended to play like unedited entries in a journal, a goal that she's fulfilled quite successfully, even if it does mean that the album often plays as a diary, leaving listeners in the role of observers instead of seeing themselves in the songs. This was a problem on Furtado's nearly simultaneously released Folklore, but Keys trumps her peer in one key way -- musically, this is a seamless piece of work, a sultry slow groove that emphasizes her breathy, seductive voice and lush soulfulness. Tonally, this is ideal late-night romantic music, even when the tempos are kicked up a notch as on the blaxploitation-fueled "Heartburn," yet beneath that sensuous surface there is some crafty, complex musicality, particularly in how Keys blurs lines between classic soul, modern rhythms, jazz, pop melodies, and singer/songwriter sensibility. It's an exceptionally well-constructed production, and as a sustained piece of sonic craft, it's not just seductive, it's a good testament to Keys' musical strengths (which can even withstand Andre Harris and Vidal Davis' irritating squeaky voice production signature on "So Simple"). What the album lacks are songs as immediate as "Fallin'" or as compelling as "A Woman's Worth," and that, combined with her insular outlook, is where Diary comes up short and reveals that it is indeed merely a second album. Such is the problem of arriving with a debut as fully formed as Songs in A Minor at such a young age -- listeners tend to expect more from the sequel, forgetting that this an artist still in her formative stages. So, those expecting another album where Keys sounds wise beyond her years will bound to be disappointed by The Diary of Alicia Keys, since her writing reveals her age in a way it never did on the debut. Yet that is a typical problem with sophomore efforts, and while this is a problem, it's one that is outweighed by her continually impressive musical achievements; they're enough to make The Diary worth repeated listens, and they're enough to suggest that Keys will continue to grow on her third album." All Music Guide - Stephen Thomas Erlewine ... more
	On High Alert Volume 4 New Import - TKR237 Sealed 2022 black vinyl pressing. Custom hype sticker on shrink. Following last year's collaboration with Boldy James on "Real Bad Boldy", LA producer and watch slinger Real Bad Man is back with the 4th instalment of his On High Alert series! On this new chapter he recruits an incredible line-up of rappers, featuring The Alchemist, Cappadonna, Evidence, Marlon Craft, M.A.V., Maxo, Meyhem Lauren, Mooch, Rigz, Roc Marciano, Rome Streetz, Sachill Pages, Sauce Heist, Stove God Cooks and Willie The Kid. ... more
	Mood$wings New Import - RBM011 Sealed 2022 black vinyl pressing. Custom hype sticker on shrink. Inspired by being legally able to sell weed on the West Coast, Harlem's kush god Smoke DZA teams up with LA producer Real Bad Man on their joint album "MOOD$WINGS" to kick off their 2022. THC infused bars perfectly delivered over Real Bad Man signature beats alongside guest appearances by Flee Lord, NymLo, Knowledge The Pirate, Remy Banks and OT The Real. ... more