Scripting is disabled or not working. dustygroove.com requires JavaScript to function correctly.
Style sheets are disabled or not working. dustygroove.com requires style sheets to function correctly.
CD, LP, Vinyl record album cover art
Enlarge       Note

Together Again

CD (Item 477147) Jazzman (UK), 1983 — Condition: New Copy
Out Of Stock

CD

✈

An amazing bit of funky jazz – recorded in the Indy scene of the early 80s, but with enough raw power to blow away most soul jazz sides of the 70s! The album's filled with massively funky bass – played by key group member Larry Ridley, who brings amazing energy to the core "Uncle Funkenstein" jam that the album's best known for! The tune's an extended workout with a choppy, funky groove – started by bass, peppered with percussion, and really brought home with instrumentation that features group leader Russell Webster on tenor, James Spaulding on flute, Clifford Ratcliff on trumpet, Melvin Rhyne on piano, and Alonzo Pookie Johnson on additional tenor. Given the presence of both bigger names like Ridley, Spaulding, and Rhyne on the set – and that of local players under the direction of Webster – the record's a great bridge between the larger jazz community at the time and some of the key local scenes in which players would retreat and cook up even greater music. A few tracks on the album are a bit more conventional, or a bit mellow – but overall, the record's filled with plenty of soul, and more than enough funky power to live up to the group's name! Titles include the jamming "Uncle Funkenstein", "Unkle Funkenstein (part 2)", and "Uncle Funkenstein (cont)" – at 30 minutes, way more of the "Uncle Funkenstein" jam than appeared on the Luv N Haight reissue years back. Other titles include "Together Again", "Blue Robe", "Where Does life Come From", "Rock My Cradle", "Third Bosinova", and "500 Finished".  © 1996-2021, Dusty Groove, Inc.

We realize that there are many different interpretations of the standard grades used for pre-owned vinyl record albums & CD, so we thought we'd offer you the ones that we are working with, so you have an idea what we mean when we give the grade for a non-new item on our pages.

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:

Sealed

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".

Near Mint

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.

Very Good

  • 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.

Good

  • 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.

Fair

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.

Poor

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 have only one grade for non-new CDs at Dusty Groove — "Used CD". This grade is somewhat all-encompassing, but we choose it because we try to offer Used CDs in the best shape possible.

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 list them underneath the item — just like we do with LPs — so look there for notes on cutout marks, stickers, promo stamps or other details.

All of our Used CDs are guaranteed to play without skipping or flaws. If you purchase a Used CD from Dusty Groove, you have 1 week to play it to determine that it plays correctly — and if it does not, then you may return it for a full refund.


You might be interested


Amanda Whiting

After Dark
Jazzman (UK), 2021. New Copy
The harp in jazz is nothing new – Dorothy Ashby and Alice Coltrane both gave us fantastic records on the instrument many years ago – but Amanda Whiting is out to use the instrument in ways that are very much her own, and which bring a whole new sort of role to the stringed sounds in ... CD

Fire (Mats Gustafsson)

Defeat
Rune Grammafon (Germany), 2021. New Copy
One of the more intimate albums recorded under the Fire name – a set that features core work from the trio of Johan Berthling on electric bass, Andreas Wearlin on drums, and Mats Gustafsson on flute, baritone sax, and live electronics! The electric bass is key here, and often sets up a ... CD

Amaro Freitas

Rasif
Far Out (UK), 2018. New Copy
CD...$7.99 16.99
A whole new flavor of Brazilian jazz – served up by pianist Amaro Freitas, whose work on the Pernambuco scene is a great cross-crossing of modes! Freitas has all the fluid, modern elements of some of the better-known Brazilian pianists from Rio and Sao Paulo – but he also mixes in some ... CD
ESP, 1964. New Copy
A landmark recording – Albert Ayler's first album for the ESP label, and a record that hit the jazz world like a bullet! Spiritual Unity sets the stage for a format that would become huge in the European avant scene of the 70s, 80s, 90s, and even today – the sax-driven power-trio, ... CD

Muriel Grossmann

Elevation
Jazzman (UK), 2020. New Copy
Fantastic work from saxophonist Muriel Grossmann – a player who's turning out to be as important to our generation as John Coltrane and Pharoah Sanders were to theirs! Over the course of a handful of albums, mostly issued under the radar, Muriel has been building up this tremendous legacy in ... CD

Roscoe Weathers

I'll Remember
Jazzman (UK), Mid 60s. New Copy
Really wonderful work from a very overlooked talent – reedman Roscoe Weathers, a player who worked the west coast in the 60s before settling in LA – then led a group with a very strong flute sound in the lead! Roscoe's music here has plenty of echoes of the spiritualism of Yusef Lateef ... CD

Vibration Black Finger

Can You See What I'm Trying To Say
Jazzman (UK), 2020. New Copy
The deepest work to date from Vibration Black Finger – a group headed up by UK drummer Lascelle Gordon, and who effortlessly mix together acoustic jazz elements and other sonic elements – very much in the best spirit of some of their contemporaries on the London scene! Gordon's drums ... CD
Jazz Haus (Germany), Mid 60s. New Copy 2CD
Incredible early work from German guitarist Volker Kriegel – rare recordings that easily stand strong alongside his classic work for the MPS label – including his trippy sides with the Dave Pike set! A number of tracks here preface his work with Pike – and feature vibes from ... CD

Doug Carn

Revelation
Black Jazz/Real Gone, 1973. New Copy
The Black Jazz recordings of Doug Carn are always a revelation – some of the most powerful, progressive work on the American underground of the early 70s – music that got Carn into way more record collections than you might expect! The sound here is a perfect summation of Doug's early ... CD

Horace Tapscott & The Pan Afrikan Peoples Arkestra

Ancestral Echoes – The Covina Sessions 1976
Dark Tree (France), 1976. New Copy
A never-issued performance from Horace Tapscott and his Pan Afrika Peoples Arkestra – the large ensemble that provided a perfect platform for the bigger ideas he was bringing into his music in the 70s! A record like this marks Tapscott as every bit the spiritual visionary as Charles Tolliver ... CD

Anthony Braxton/Milford Graves/William Parker

Beyond Quantum
Tzadik, 2008. New Copy
A fantastic outing from these three legends of improvised music – set that's maybe more in the territory of work by Milford Graves and William Parker than it is the usual work of Anthony Braxton – especially for this time in his career! Graves plays drums and percussion, Parker is on ... CD

Quin Kirchner

Shadows & The Light
Astral Spirits, 2020. New Copy 2CD
A double-length set that showcases the ever-growing, ever-evolving talents of drummer Quin Kirchner – working here in a variety of settings with help from some other great talents on the Chicago scene! Most of these tunes have a core sense of structure – and even when Quin is ... CD
 



⇑ Top