Vinyl Record and Rare LP Resource Ideal For Serious Collectors

Most Recent Additions to the Vinyl Records DB

	The Breakfast Club (Original Motion Picture Soundtrack) Used - LP - SP-5045 1985 original still in shrink with the hype sticker. Glossy, VG++ vinyl. "Any fan of John Hughes or '80s teen culture remembers the soundtrack to The Breakfast Club for one reason: Simple Minds' stone classic "Don't You (Forget About Me)." One of the few new wave songs that could seriously be called an anthem, the song made an indelible impression on an entire generation, which is no exaggeration for many Gen-Xers. "Don't You (Forget About Me)" is the sound of the mid-'80s, without exception. Too bad it's the only memorable thing about the soundtrack. The remainder of the record is either devoted to '80s artifacts -- there's really no other word for leftovers from Wang Chung or songs by Karla DeVito, Jesse Johnson, and Elizabeth Daily, or forgettable instrumentals by Keith Forsey. Ironically, the very fact that the soundtrack is disposable makes it all the more a time capsule and thereby interesting, but don't expect to be blown away by anything outside of Simple Minds' undisputed masterpiece. By the way, nothing is more emblematic of the Reagan era than the fact that a worthy band became famous -- in fact, synonymous -- for a song they didn't write." All Music Guide - Stephen Thomas Erlewine ... more
	Here And There Used - LP - MCA-2197 1976 original, Pinckneyville pressing still in shrink with the hype sticker. Glossy, VG++ vinyl. "Although initially considered a contractually obligated release, when Here and There (1976) was upgraded in 1995 as part of Elton John's (piano/vocals) "Classic Years" catalog overhaul, it became the most definitive live document to date of his immortal '70s quintet that featured the pianist backed by Davey Johnstone (guitar/backing vocals), Dee Murray (bass/backing vocals), Nigel Olsson (drums), and Ray Cooper (percussion). What was originally a single vinyl long-player was expanded to nearly two hours and 20 minutes, spread over two CDs. The "Here" show was recorded at an Invalid Children's Aid Society Benefit at Royal Festival Hall in London on May 18, 1974. John begins with a pair of early solo numbers before being joined by the band for inspired readings of hits such as the rousing "Take Me to the Pilot" and "Crocodile Rock" as well as the equally integral deep cuts "Bad Side of the Moon" and a very special version of the ballad "Love Song" -- featuring a rare duet with the song's author and original co-vocalist Leslie Duncan (vocals). Another real treat is the funky and loose rendering of "Honky Cat" with some interesting interaction between John and Cooper. Six months later John and company hit Madison Square Garden in New York City for a series of shows over Thanksgiving weekend. In acknowledgement of a wager set forth between John and John Lennon that stated, if the duo's single "Whatever Gets You Thru the Night" from Lennon's Walls and Bridges (1974) album topped the singles chart, Lennon would join Elton on-stage for a few numbers. Needless to say the song bound to the number one position, and the stage was literally set for the very first live appearance from Lennon in two years -- which would ironically and tragically likewise be the last he would ever give. Immediately differentiating the "There" show is the comparatively massive audience. This show is as much about spectacle (1974 style) as it is about music. Not that the music suffers in the least. Although John's voice has sounded better, the band are in top form as they rant and rave through the blistering "Funeral for a Friend/Love Lies Bleeding" opener. Among the surprises are the romping live versions of "Grey Seal" and "You're So Static." However, the unmitigated highlight is Lennon's surprise three-song guest shot. Both legends perform their latest singles -- for Lennon it is the aforementioned "Whatever Gets You Thru the Night" and for John it is the non-LP cover of "Lucy in the Sky With Diamonds" -- both of which are quite powerful in terms of sheer vibe. Their finale of "I Saw Her Standing There" is ragged-but-right with Johnstone cleverly quoting "I Feel Fine" during the bridge from the verse to the chorus. While the remainder of the set hold its own, it pales in the wake of the preceding momentous performance. This should be considered essential listening for enthusiasts as well as curious music historians." All Music Guide - Lindsay Planer ... more
	Book Of Dreams Used - LP - SO-511630 1977 Columbia House club pressing. Glossy, VG++ vinyl. "It is here, on this 1977 blockbuster, that Steve Miller shored up his "Space Cowboy" moniker and cosmic persona: from the winged horse on the album cover to a judicious smattering of synthesizers in the music, Book of Dreams bridged the gap between blues-rock and the indulgences of prog rock. Things do go awry when Renaissance Faire whimsy takes over clunkers like "Wish Upon a Star" and "Babes in the Wood," but luckily the balance of the record offers a satisfying blend of meaty blues and country riffs and tasteful atmospherics. The well-known suspects include "Swingtown," "Winter Time," and "Threshold," with relatively straightforward rock & boogie highlights coming by way of "True Fine Love," "Jet Airliner," and "Jungle Love." The non-hit cuts, "Sacrifice" and "My Own Space," do stand up to these FM favorites but fall short of making the album something the casual fan should consider with Miller's Greatest Hits 1974-1978 in hand (that collection includes seven tracks off of Book of Dreams, plus all the hits from The Joker and Fly Like an Eagle). Still, this is a highlight of the '70s classic rock era and one of Miller's finest releases." All Music Guide - Stephen Cook ... more
	Quartet Used - LP - B6V 41394 1983 original, Carrollton pressing still in shrink. Glossy, NM- vinyl. "With the successes of Vienna and its follow-up, Rage in Eden, Ultravox's position in the music scene was unassailable, further fortified by frontman Midge Ure's foray into solo-dom with the summer 1982 hit cover of the Walker Brothers' "No Regrets." The band's "Reap the Wild Wind" followed it up the U.K. chart that fall, a taster for the band's sixth album. And what a portentous taste it was. While "Wind" buffeted and whooshed once again around nostalgia for a past never lived, "Hymn" (its melody lifted from "Mourning Star" by Ure's last band, the Zones) wrestled with faith in a faithless age and prayed its way up the chart later that fall, while the dirge "Visions in Blue" saw the spring caught in its icy grip. But it was the fourth song spun off the album, "We Came to Dance," that best defined the overall themes of the set. Having helped create a movement renowned for its fashion victims and superficiality, Ultravox recoiled from the Frankenstein they'd birthed. "The Song (We Go)" may have been a cry of welcome, but both "Dance" and "Serenade" make clear the music scene's terrifying capacity to unleash both Dionysian abandon and militaristic conformity. "When the Scream Subsides" further fuels the album's existential angst, which reaches its emotional nadir on the suicidal "Cut and Run." With their toe-tapping rhythms, billowing synths, and rousing melodies, one is often tempted to ignore the darkness of Ultravox's themes, but with Quartet, the band deliberately made that nigh on impossible." All Music Guide - Dave Thompson ... more
	Please Used - LP - PW-17193 1985 original, Allied pressing still in shrink with the hype sticker. Absolutely stunning NM- vinyl. "A collection of immaculately crafted and seamlessly produced synthesized dance-pop, the Pet Shop Boys' debut album, Please, sketches out the basic elements of the duo's sound. At first listen, most of the songs come off as mere excuses for the dancefloor, driven by cold, melodic keyboard riffs and pulsing drum machines. However, the songcraft that the beats support is surprisingly strong, featuring catchy melodies that appear slight because of Neil Tennant's thin voice. Tennant's lyrics were still in their formative stages, with half of the record failing to transcend the formulaic constraints of dance-pop. The songs that do break free -- the intentionally crass "Opportunities (Let's Make Lots of Money)," the lulling "Suburbia," and the hypnotic "West End Girls" -- are not only classic dance singles, they're classic pop singles." All Music Guide - Stephen Thomas Erlewine. ... more
	Brother Where You Bound Used - LP - SP-5014 1985 EDP pressing still in shrink with the hye sticker. Glossy, NM- vinyl. Pristine copy! "When vocalist-guitarist Roger Hodgson left Supertramp after 1982's ...famous last words..., few could have guessed that the band would continue and solidify its pop-oriented songcraft, let alone re-embrace its progressive-rock roots on 1985's underrated Brother Where You Bound. With vocalist-keyboardist Rick Davies firmly in control -- he wrote all the music and lyrics -- the album examined tensions at the tail end of the Cold War. In a thematic sense, Brother Where You Bound is dated and hasn't aged very well -- Davies' politically oriented lyrics are heavy-handed -- but the music is a pleasure. The crystalline sound of the album, particularly Davies' piano, is breathtaking; kudos to co-producers David Kershenbaum and Supertramp and engineer Norman Hall. The hit single "Cannonball" is a jazz-rock delight, especially in full-length album form. Lyrically, it can be interpreted as Davies' feelings of betrayal at Hodgson's departure, but the piano, percussion and horns are superb. Saxophonist John A. Helliwell, bass guitarist Dougie Thomson, and drummer Bob Siebenberg all contribute vital parts, as does guest trombonist Doug Wintz. "No Inbetween" begins with a lovely, bittersweet percussion (or synthesizer?) and piano melody. "Better Days" is a rather bleak look at the unfulfilled promises of the "good life" in Western society; the dramatic music is highlighted by guest Scott Page's flute solos. The fantastic title track examines Cold War paranoia and clocks in at more than 16 minutes; after the creepy opening narration taken from George Orwell's 1984, the song becomes a composite of several complex prog-rock "movements." Pink Floyd's David Gilmour contributes the searing, distorted guitar solos. Unfortunately, Brother Where You Bound never received the attention it deserved; it isn't a perfect album, but it was a gutsy project for Supertramp to take on." All Music Guide - Bret Adams ... more
	Women And Children First Used - LP - HS 3415 1980 RCA Music Service SRC club pressing. Glossy, NM- vinyl. Light wear to VG+ jacket. "After two pure party albums, the inevitable had to happen: it was time for Van Halen to mature, or at least get a little serious. And so, Women and Children First, a record where the group started to get heavier, both sonically and, to a lesser extent, thematically, changing the feel of the band ever so slightly. Where the first two records were nothing but nonstop parties, there's a bit of a dark heart beating on this record, most evident on the breakneck metal of "Romeo Delight," but also the pair of opening party anthems, "And the Cradle Will Rock" and "Everybody Wants Some!!," which don't fly quite as high as "Dance the Night Away" or "Runnin' with the Devil" because of the tense, roiling undercurrents in Eddie's riffs, especially the thudding, circular keyboard riff propelling "And the Cradle Will Rock." The very fact that a keyboard drives this song, not a guitar, is a signal of Eddie's burgeoning ambition (which would soon become inseparable from his desire for respectability), and there are already some conflicts between this somber musicality and David Lee Roth's irrepressible hunger for fun. Where that tension would eventually tear the band apart, here it just makes for compelling music, adding richness and depth to this half-hour blast of rock & roll. This is the first Van Halen album to consist entirely of original material and there's some significant growth here to the writing, evident in the winding, cynical neo-boogie "Fools" and also in the manic "Loss of Control," which gallops by with the ferocity of hardcore punk. These, along with all previously mentioned songs, are the heaviest music Van Halen has made (or would ever make), but as the album rushes toward the end Diamond Dave pulls them toward his country-blues jive fixation with "Take Your Whiskey Home" and the all-acoustic "Could This Be Magic?" giving the album a dose of levity that is welcome if not necessarily needed. Then, before the album comes a close, the band unleashes its first stab at a power ballad with "In a Simple Rhyme," where the group's attempts at melodic grace are undercut by their compulsion to rock. This may not make for a full-fledged power ballad, but this tension between the two extremes -- by their increasing songcraft and their unhinged rock & roll -- makes for dynamic music, and captures all the contrasting glories of the album in one song." All Music Guide - Stephen Thomas Erlewine ... more
	Stoney End New - LP - KC 30378 Sealed 1971 original. Large "The Nice Price" sticker on shrink. "Barbra Streisand scored her second Top Ten hit in early 1971 by treating Laura Nyro's recording of her song "Stoney End" as a demo and copying it practically note for note. "Mama, let me start all over," she sang, and her wish was granted. The followup album of the same title was, in its own way, as surprising as Streisand's debut album eight years earlier. Where that record had redefined the role of the traditional pop singer in contemporary terms for the early '60s, Stoney End redefined Streisand as an effective pop/rock singer, which her last outing, What About Today?, had failed to do. Maybe she listened as closely to Nyro and Joni Mitchell as she had to Ethel Merman and Judy Garland a decade earlier, but somehow she re-oriented her approach to music, adapting herself to vocal demands that were very different in terms of dynamics, expressiveness, and especially rhythm from the traditional pop and theater music she had sung previously. Producer Richard Perry may have eased the transition by using sessionmen like Randy Newman, who played piano on two of his own compositions and who bridged the worlds of show tunes and rock. But Streisand herself found something to identify with in songs like Gordon Lightfoot's "If You Could Read My Mind" (maybe that passage about the movie queen) and Mitchell's "I Don't Know Where I Stand." Stoney End was not a perfect album -- the reliance on minor Brill Building material and two more Nyro copies kept it from classic status -- but it was so far removed from what Streisand's fans and her detractors thought her capable of that it stands as one of her major triumphs. It was also her biggest seller in four years and launched the comeback that saw her through the '70s." All Music Guide - William Ruhlmann ... more
	Iteration Used - LP - GI-296 2017 2LP standard black vinyl pressing housed in a matte textured jacket with customer inner sleeves. "Iteration is only the second proper full-length from Com Truise, and according to mastermind Seth Haley, it's the conclusion of the story line that began with 2011's Galactic Melt, involving a robot astronaut who falls in love while serving time on a battle mission. East Coast native Haley composed Iteration as he was settling into his new life in Los Angeles, and the album mirrors his own emotions and experiences as well as those of the Com Truise character. As with 2016 EP Silicon Tare, Iteration seems much clearer and more defined than the hazy, lo-fi synth funk of earlier Com Truise releases. The EP contained more uptempo tracks than usual for him, and it seemed to be the ideal soundtrack for intergalactic battle scenes. Iteration generally returns to the midtempo range, and doesn't seem quite as busy as the previous EP. Not that Com Truise's work has ever seemed cluttered, but this album seems significantly airier. While Iteration is fit for a day spent lounging by the pool as much as any other Com Truise release, it's anything but lazy. Even when the glittery melodies and booming beats have a slow-motion sway to them, they seem heavily detailed and considered. On a few occasions, a scrambled female computer voice makes an appearance, providing glimpses of what one can assume is the Com Truise character's object of affection and inspiration. A few songs, especially "Memory," feature Ibiza-ready melodies that would've popped up in tracks by progressive trance producers such as Paul van Dyk once upon a time, but they manage to sound fresh in this context. Others, such as "Vacuume," sound instantly familiar as Com Truise songs, yet there are enough added flourishes (bigger bass swerves, dreamier synth textures) that they don't sound like he's repeating himself. With Iteration, Haley has retained all of the qualities that made Com Truise so appealing while blowing everything up into a higher resolution than before. If this is truly the end of the Com Truise saga, then it's the project's definitive release." All Music Guide - Paul Simpson ... more
	DISCO4 Generations Colored Vinyl - Used - LVR02671 2022 2LP Limited edition pressed on White vinyl. NM copy with two small corner dings. Housed in a slip outer sleeve, containing two further outer sleeves with custom printed inner sleeves. "This record was engineered to be played in excess of 90 decibels: please do your best" ... more