Vinyl Record and Rare LP Resource Ideal For Serious Collectors

Most Recent Additions to the Vinyl Records DB

	Saxophone Colossus Used - Vinyl - OJC-291 1987 mono remaster. Recorded in 1956, Saxophone Colossus is one of Sonny Rollins' defining achievements and a landmark of hard bop. Joined by Tommy Flanagan, Doug Watkins, and Max Roach, Rollins delivers five masterful performances, including the calypso-inflected "St. Thomas," the bluesy "Blue 7," and the enduring ballad "You Don't Know What Love Is." His inventive phrasing and commanding tenor sound make this an essential jazz recording. ... more
	Love Used - Vinyl - LP 5100 2001 stereo 180g reissue. Love introduced Arthur Lee's Los Angeles band with a potent blend of garage rock, folk-rock, and psychedelia. Featuring "My Little Red Book," "Can't Explain," and "Signed D.C.," the album established the distinctive sound that would evolve into Forever Changes. ... more
	Mighty Monk Used - Vinyl - RS 3000 1967 mono pressing. Originally released in 1957 as Brilliant Corners, this landmark Thelonious Monk album features Sonny Rollins, Max Roach, Oscar Pettiford, Ernie Henry, and Clark Terry across five remarkable performances that captured Monk's unconventional harmonies and rhythmic ingenuity at their most inventive. ... more
	Pretties For You Used - Vinyl - WS 1840 180g repress, year unknown (probably late 00's). Pretties for You introduced the original Alice Cooper band with an eccentric blend of psychedelic rock, experimental arrangements, and offbeat pop. Originally issued on Frank Zappa's Straight Records, Pretties for You subsequently appeared under the Warner Bros. label as the band's popularity grew. ... more
	Safe As Milk Used - Vinyl - BDS 5063 1970 US Buddah Records reissue (BDS 5063) manufactured by Sonic Recording. More accessible than the radical experiments that followed on Trout Mask Replica, this debut remains one of the most inventive American rock albums of the late 1960s. ... more
	The Other Side Of Make-Believe Used - Vinyl - OLE1875LP 2022 Limite edition pressing with Obi; released as part of the Big Shot City pop-up events. ... more
	The Low End Theory Colored Vinyl - Used - 19439937541 2024 2LP 180gm (repressed) remaster from Vinyl Me, Please; housed in a the VMP resealable outer sleeve with updated Obi; pressed on green & red vinyl. ... more
	Marauder Used - Vinyl - OLE-1124-1 2018 black vinyl pressing with printed inner sleeve. Deadwax shows no mention of "JN-H Sterling" Interpol's 2018 album delivers a potent dose of their signature post-punk revival sound, characterized by a raw, immediate energy. This particular vinyl pressing presents the record as a deliberate step towards a less polished, more visceral aesthetic. The tracks burst forth with a garage-like grittiness, showcasing the band's familiar intricate guitar work, driving rhythms, and Paul Banks' distinctive baritone. The production emphasizes a live-band feel, capturing the trio's interplay with an unvarnished authenticity that stands out in their later discography, steering away from the more refined sound of some preceding efforts. Serving as a testament to their enduring appeal, the record finds the New York outfit exploring themes of urban alienation and melancholic introspection with renewed vigor. Professional assessments generally lauded its urgent delivery and revitalized intensity, often noting it as a welcome return to a more immediate sound for many listeners. While maintaining the band's established sonic identity, the album manages to inject a fresh sense of urgency, propelled by powerful drumming and evocative guitar lines. It solidifies the group's place in modern indie rock by offering a compelling, if familiar, chapter in their continuing musical journey. ... more
	Room On Fire Used - Vinyl - 19439741411 2021 180gm club reissue from Vinyl Me, Please. Pressed on Yellow, Blue & Red "Meet Me In The Bathroom Tile" vinyl. Housed in a beautiful tip-on sleeve, inside an outer resealable sleeve with hype sticker and Obi style strip & includes exclusive art print. "Unlike many bands that release notable debut albums and then take years to deliver a follow-up, the Strokes got Room on Fire out as quickly as possible after their lengthy tour for Is This It. Good thing, too; the two years between their debut and this album were long enough for the expectations for -- and the backlash against -- a new Strokes album to reach formidable proportions. And the Strokes sound like they have a lot to prove on Room on Fire, not to their naysayers, but to themselves. On the surface, the album isn't drastically different than Is This It, but it's not predictable. Instead of delivering an album's worth of "Last Nite"s, "Someday"s, and "NYC Cop"s, Room on Fire expands on their debut's off-kilter and complex tracks, like "Is This It?" and "Hard to Explain." The album's first single, "12:51," signals the Strokes' intent: its whistling, synth-like guitars and handclaps are undeniably catchy, but at first, the song seems to be searching for a structure. Eventually, though, it becomes sneakily addictive -- it's a stealth pop song. Likewise, the album opens with "What Ever Happened?," on which Julian Casablancas snarls "I wanna be forgotten/And I don't wanna be reminded" -- not exactly the likeliest start to what should be a triumphant second album from one of the most celebrated rock bands of the 2000s. In many ways, Room on Fire is the Strokes' bid to be taken seriously, which may be why they began this album with producer Nigel Godrich before returning to Is This It producer Gordon Raphael. To his credit, Raphael gives the album its own sound: it's brighter and fuller than Is This It's low-rent production. Room on Fire also has a distinct attitude. Is This It sounded effortless, but it's evident that a great deal of effort was put into Room on Fire. Yet the album's most crafted moments are its most exciting: "Automatic Stop," a playful, poignant look back at a love triangle, lopes along to a reggae beat (and features the witty lyrics "So many fish there in the sea/I wanted her/He wanted me"). "Under Control," an awkwardly gorgeous homage to '60s soul, is possibly the best Strokes song yet. Several songs recapture some of Is This It's exuberance; not surprisingly, they're the ones that the band wrote while on tour. "You Talk Way Too Much" revs on one of their most Velvets-y riffs; "Meet Me in the Bathroom"'s Motown-like bassline and shimmery guitars add some style to its underlying sleaze. However, the Strokes are a different band than when they recorded Is This It, and Room on Fire's best songs acknowledge that. There's a weariness lingering around Room on Fire like stale smoke, especially on "The End Has No End," a loop of a song about a nagging breakup that repeats its seemingly nonsensical title in a surprisingly affecting way. "Reptilia," meanwhile, sounds like a long night of partying turned sour. "Please don't slow me down if I'm going too fast," Casablancas wails (most of Room on Fire's distortion comes from his vocals, which give the impression that he's gargled with turpentine and brushed his teeth with steel wool for the past two years). The motif of moving too fast and not minding it winds through Room on Fire, reflecting its svelte 33-minute running time as well as the swiftness of the Strokes' career. This compressed feel, the precision of the band's playing and arrangements, and the way every song comes to an abrupt stop sometimes make the album sound too closed-off. Room on Fire's best moments fight against this tendency and suggest that the Strokes are continuing to grow, perhaps beyond what their listeners want from them. Some may gripe that it's never as good as the first time, but Room on Fire shows that even after all that happened to the Strokes, they can still surprise." All Music Guide - Heather Phares. ... more
	One Day Colored Vinyl - Used - MRG801 2023 Limited edition reissue from Vinyl Me, Please. Housed in the VMP resealable outer sleeve with hype sticker and Obi. Pressed on yellow & blue splatter vinyl; #307/500. ... more