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.
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.
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.
Excellent! The cut's a dancefloor classic – and it's got this wonderful little moogy instrumentation that's a perfect example of the genius of Patrick Adams and Greg Carmichael, who put the whole thing together, and who give the cut a real P&P funky flavor. A real killer, and one that ... 12-inch, Vinyl record
A fantastic mellow groover from Lowrell! The cut's got a bit of a Barry White approach – but with a groove that's stripped down more, and which slinks along a bassline and guitar riff that really sparkle nicely. The whole thing's super-tasty – and it's one of the best indie soul ... 12-inch, Vinyl record
Jesse Saunders has some fun with an 8-bit sampler and little vocal bits referencing the Amityville Horror film (we think) over this spare, almost electro-sounding early Chicago house cut. 12-inch, Vinyl record