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.
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 quite up to the standards of the Jonzun Crew classics, with production by Maurice Starr. Still a little of the electro sound, but it sounds more like something from Atlantic Star. 12-inch, Vinyl record
One of the big early hits for Stetsasonic, from the Full Gear LP, with one of the first, and still the best uses of the Dyke & the Blazers "Let A Woman Be A Woman, Let A Man Be A Man" sample! 12-inch, Vinyl record
Six different mixes of this meeting of two greats. Admittedly not as entirely dope as it could have been, but still as nice as a Soul Sonic Force records with backing by Doug Wimbish and Keith LeBlanc. Also, there's a few interludes with James Brown saying a few words about the record. 12-inch, Vinyl record
Unlike his earlier tracks, this one sounds like it could be from the "Beat Street" soundtrack, complete with a sampler bassline, sung vocals, and samplers from the old Whiz Kid hits. 12-inch, Vinyl record