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Vinyl should be very clean, but can have less luster than near mint.
Should still shine under a light, but one or two marks may show up when tilted.
Can have a few small marks that may show up easily, but which do not affect play at all. Most marks of this quality will disappear when the record is tilted, and will not be felt with the back of a fingernail.
This is the kind of record that will play "near mint", but which will have
some signs of use (although not major ones).
May have slight surface noise when played.
Additional Marks & Notes
If something is noteworthy, we try to note it in the comments — especially
if it is an oddity that is the only wrong thing about the record.
This might include, but isn't limited to, warped records, tracks that skip,
cover damage or wear as noted above, or strictly cosmetic flaws.
Not of Johnny's more famous albums, but it's plenty darn nice – and done in a wicked blend of spacey vocals and keyboards that's very much in the best Guitar Watson mode! There's a bit of a bump to a few tunes on the set, clearly a move to make it onto the dancefloor – but the album's ... LP, Vinyl record album
Maybe the best album that Johnny Watson cut during his DJM years – a totally tight, totally soulful set that avoids any fake funk cliches! The record's got some wonderful trippy numbers – cut in that slow g-funky mode that was Johnny's huge legacy to the west coast scene – best ... LP, Vinyl record album
Nice lost bit of Chicago female soul, produced by the Ohio Players, and with a sound that sounds a lot like their Mercury albums of the time – that is, with some hard slap-bass funk on most cuts, and some slower spacier sounds on others. Includes one of our fave tracks these days, the spacey ... LP, Vinyl record album
One of the most enduring albums on the Prelude label, and a great bit of modern soul by James "D-Train" Williams. Hubert Eaves produced the album, and he added lots of tasty electro keyboards to the set, played with his usual jazzy touches and a nice flourish that gives Williams' voice a ... LP, Vinyl record album
Funky soul from Johnnie Taylor – a set that mixes tight core grooving with some larger arrangements from Bert Keyes and Rudy Robinson – a perfect blend that shows why Taylor easily stood out from some of his bluesy contemporaries! It's clear that Johnnie's just the right guy to handle ... LP, Vinyl record album
One of Barrabas' best-selling records – and a mixture of club grooves and funky playing, recorded in New York with work by Herbie Mann, Michael Brecker, and Ray Gomez in addition to the group's usual mix of heavy percussion and guitar/keyboard riffing. The sound is a lot slicker than earlier ... LP, Vinyl record album
Near-perfect work from Ashford & Simpson – really grooving in full powerhouse mode here, and never missing a beat! By all rights, the team should have run out of steam by this point, but the album's another winner from their sublime Warner years – caught in a unique space between ... LP, Vinyl record album
Seminal 80s work from Kleeer – a really wonderful record with a sound that's a heck of a lot more soulful than some of the group's contemporaries! A lot of the credit here goes to singer/songwriter Woody Cunningham – whose lead vocals really give the album a wonderfully solid feel, and ... LP, Vinyl record album
The last Buddah Records album from Gladys Knight & The Pips – and a set that's a great summation of all the new territory the group hit with the label! The album's a mix of the mellower ballads that made Gladys one of the biggest female soul singers of the 70s, and some of the upbeat ... LP, Vinyl record album
One of the grooviest albums ever cut by Papa John Creach – a set that mixes his bluesy roots with some stoner funk and rock elements from the early 70s! Creach is on vocals and violin, and working here with a host of famous luminaries – including Grace Slick, Carlos Santana, Paul ... LP, Vinyl record album
A simple formula, but one of Shirley's best records from the mid 60s, and a tight batch of quartet tracks that also features Stanley Turrentine on tenor. The title cut's a classic jazz stepper in Chicago, with a subtly loping groove that works pretty darn well. Other tracks include "Blue ... LP, Vinyl record album