This image is a general representation of the item and the actual product may differ slightly in terms of color shading, logo placement, borders, or other small details. Used items may have various cosmetic differences as well.
There may be different interpretations or standards used to grade pre-owned vinyl record albums & CDs.
These are the grades that we use and what they mean for items that are not new copies.
Used Vinyl Grades
Below are stated conditions for a used vinyl records at Dusty Groove. Grading for
the cover should be assumed to be near (within a "+" or "-")
the grading for the vinyl.
If there is significant divergence from the condition of the vinyl, or specific flaws,
these will be noted in the comments section of the item. However, please be aware that
since the emphasis of this site is towards the music listener, our main concern is with
the vinyl of any used item we sell. Additionally,
all of our records are graded visually;
considering the volume of used vinyl we handle, it is impossible
for us to listen to each record. If we spot any significant flaws, we make every attempt
to listen through them and note how they play.
The following grading conditions apply to the vinyl component of an album or single:
This is what it says, that the record is still held fast in shrink-wrap.
We tend to be pretty suspicious about these things, so if the shrink-wrap doesn't
look original, or if the record seems to have undergone some damage over time,
we'll probably take it out of the wrapper to ensure that it's in good shape —
which is why we don't have more of these. In some cases the shrink-wrap may be
torn in spots, but if it's not possible the record has been taken out and played,
the record will still qualify as "Sealed".
Dusty Groove does not use the grades of Near Mint
(or Mint, for that matter) because in our experience, we find that no records
ever qualify for such a high grade. Even sealed records tend to have one or two
slight faults, enough to usually qualify them for a grade of NM- or lower. We've
often found that records which are clearly unplayed will have a slight amount of
surface noise, especially in quieter recordings.
Near Mint - (minus)
Black vinyl that may show a slight amount of dust or dirt.
Should still be very shiny under a light, even with slight amount of dust on surface.
One or two small marks that would make an otherwise near perfect record slightly less so.
These marks cannot be too deep, and should only be surface marks that won't affect play,
but might detract from the looks.
May have some flaws and discoloration in the vinyl, but only those that would be
intrinsic to the pressing. These should disappear when the record is tilted under
the light, and will only show up when looking straight at the record.
(Buddah and ABC pressings from the 70's are a good example of this.)
May have some slight marks from aging of the paper sleeve on the vinyl.
Possible minor surface noise when played.
Very Good + (plus)
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.
Vinyl can have some dirt, but nothing major.
May not shine under light, but should still be pretty clean,
and not too dirty.
May have a number of marks (5 to 10 at most), and obvious signs of play,
but never a big cluster of them, or any major mark that would be very deep.
Most marks should still not click under a fingernail.
May not look near perfect, but should play fairly well,
with slight surface noise, and the occasional click in part of a song,
but never throughout a whole song or more.
This is clearly a copy that was played by someone a number of times,
but which could also be a good "play copy" for someone new.
Very Good - (minus)
Vinyl may be dirty, and can lack a fair amount of luster.
Vinyl can have a number of marks, either in clusters or smaller amounts, but deeper.
This is the kind of record that you'd buy to play,
but not because it looked that great. Still, the flaws should be mostly cosmetic,
with nothing too deep that would ruin the overall record.
Examples include a record that has been kept for a while in a
cover without the paper sleeve, or heavily played by a previous owner
and has some marks across the surface. The record should play okay,
though probably with surface noise.
Good + (plus)
Vinyl may be dirty, or have one outstanding flaw,
such as a light residue, which could be difficult to clean.
May have marks on all parts, too many to qualify as Very Good-,
or several deeper marks, but the record should still be ok for play without skips.
In general, this is a record that was played a fair amount,
and handled without care. A typical example may be a record which has
been heavily played by a DJ, and carries marks from slip cueing.
Depending on the quality of the vinyl, may play with surface noise throughout.
A record that you'd buy to play, cheap, but which you wouldn't buy for collecting.
Will have marks across all parts of the playing surface,
and will most likely play with surface noise throughout.
May have some other significant flaws, such as residue, or a track that skips.
In most cases, a poor quality copy of a very difficult to find record.
This is a grade we rarely use, as we try not to sell records
in very bad condition, though in some rare cases we will list a
record in such bad shape that it does not conform to the standards above.
A "Fair" record will have enough marks or significant flaws that it
does not even qualify as "Good", but is a copy you might consider
for playing, if you're willing to put up with noise and/or flaws.
An example might be a recording with surface noise so heavy that
it is equal to the volume of the music. For records listed as "Fair",
we will describe the extent of the condition in the comments.
Like "Fair", we rarely list records in this condition,
as they represent the extreme low end of spectrum.
These records typically have multiple serious problems,
and we offer them as "relics" or "objects" only — for
those who want to at least have a copy of a record,
even if it is not really worthy of play, perhaps for the cover alone.
For these records, we will describe the extent of the condition in the comments.
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.
Used CD Grade
We only use the grade "Used CD" for non-new CDs.
This all-encompassing grade was chosen it because we only buy and offer
used CDs in the best possible condition.
When you purchase a used CD you can expect the disc to be free of all but the
lightest of surface marks, the case to be clean (we often change the cases ourselves),
and the booklet to be in good shape.
Used CDs may show some signs of use, but if there are significant details or
defects we will describe the item's condition (just like we do with LPs),
so look for notes on cutout marks, stickers, promo stamps or other details before ordering.
All of our used CDs are guaranteed to play without skipping or flaws.
After you receive a used CD from Dusty Groove, you have 1 week to play it to determine
that it plays correctly.
If it does not, you can request a return for a full refund.
The final chapter in the triplet of trios albums recorded by reedman Charles Lloyd in 2022 – and one that really holds onto the special spirit of the others! As before, there's a lean setting that's perfect for the maturing talents of Lloyd – this open sonic space delivered with the ... CD
The start of an amazing new chapter in the career of Robert Glasper – one that would soon set the tone for a number of other records to come! This set features loads of Glasper's enigmatic piano lines – those fluid, elliptical sounds that are always filled with plenty of soul and ... CD
A beautifully straightforward set from guitarist Bill Frisell – one that strips away some of the bigger concepts and shifts in instrumentation of other projects – and instead lets us focus on Bill's basic talents at the core! As you'd guess from the title and cover, the album's a ... CD
Although Blue Note is probably one of the most iconic record labels on the planet, the company's also done a great job of reinventing itself as the years go on – always showing that they've still got an ear for the same sort of new talent that made Blue Note so important back in the day! ... CD
A nicely lean set from guitarist Julian Lage, even though his trio is expanded here by work on a second guitar from Bill Frisell – a legendary leader in his own right, but one who really follows the younger player's lead on the set! Other group members include Jorge Roeder on bass and Dave ... CD
A really wonderful little record from Pat Metheny – quite possibly our favorite by the man, thanks to some really inventive sounds that still resonate strongly in the groove scene today! Pat's skirting nicely here between the sound-based quality of earlier records, and some of the more fluid ... CD
A standout classic from trumpeter Luis Gasca – and a set that may well be the artists' most complete musical vision of the 70s! The group here is larger than on previous records, and Gasca's dropped a bit of his Latin roots in exchange for a soaring, slightly spiritual sound put together by ... CD
A great lost chapter in the Larry Mizell story – a record that's not nearly as well known as Mizell-produced jams for Bobbi Humphrey or Johnny Hammond, but which is every bit as great! Roger Glenn's a funky flute player with a really great groove – California groovy, with just a touch ... CD
Freddie Hubbard makes a sweet splash for the 80s in this great little set – one of his last electric outings before a return to more acoustic modes! The vibe's a bit leaner than some of his late 70s albums, with most of the electricity coming from the bass, and from the keyboards by Chester ... CD
The one and only album that Sun Ra ever cut for the Savoy label – a beautifully understated session that mixes more conventional jazz with some particularly Ra-like touches! The group on the set is extremely tight – especially the horn work of John Gilmore, Marshall Allen, and Pat ... CD
One of the last albums ever issued by the great Cannonball Adderley – and one of the most ambitious, too! The set's a concept album – done in close collaboration with David Axelrod, in a similar spirit to some of Cannon's projects on the zodiac or the bible – but this time turned ... CD
Wonderful late work from piano legend Bill Evans – a set that was recorded in 1977, but not issued until after his death in 1980 – at which point it became an instant essential in his catalog! As with so many of Bill's 70s recordings, the session benefits from the bass work of Eddie ... CD