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.
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:
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 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.
Beautiful work from pianist Misha Tsiganov – not a newcomer to jazz, but a player who's really seemed to find his way forward in recent years – with a lyrical, soulful sound that's very much his own – and which really seems to bring out the best here in his all-star lineup! Many ... CD
David Binney is one of those generous saxophonists who seem to often let the role of the rest of the group shape their records as much as the vision and solos of the leader – and that's definitely the case here, on a wonderful date that draws a lot from the presence of pianist Craig Taborn in ... CD
A second great set from a group that's even greater than the sum of its parts – a formation that seems to breathe new life into the talents of the four legendary musicians who make up its core! Not that these players were ever flagging at all – but there's really something special ... CD
Three legendary improvisers – coming together in a set of music that reminds us that with work like this, they're maybe even more essential than ever! All three players have risen to new heights in recent years – giving us music under their own names that really re-affirm their place ... CD
Pianist Vijay Iyer has left his own very strong mark on the world of jazz in the past decade or so – but here, he's in a completely different setting, and a surprisingly strong fit for the sort of spirit we're used to hearing from trumpeter Wadada Leo Smith! The set also features drummer ... CD
A fantastic package from trumpeter Wadada Leo Smith – one that's billed as "symphonies" in the title, but which instead features quartet jazz performances throughout – as you've maybe guessed by the name of the group! There's maybe a more compositional structure here than on ... CD
The only recorded work of this crucial group on the Chicago scene of the late 60s – a pre-Art Ensemble quartet that features Roscoe Mitchell on reeds, Lester Bowie on trumpet, and Malachi Favors on bass – as well as drummer Philip Wilson, who'd later depart for work in a blues group! ... CD
One of the best albums ever by this legendary Chicago trio – a great example of the way that records on the Nessa label can really get to the heart of artists' intentions! The trio of Henry Threadgill on reeds, Fred Hopkins on bass, and Steve McCall on percussion have never sounded better ... CD
A wonderful later album from 50s cool jazz saxophonist Warne Marsh – one that really has an incredible focus on his tone! With his combination of a warm full tone and cool post-Tristano phrasing, Marsh has one of the most singular voices on the tenor, and one of our favorites! This mid 70s ... CD
We're not sure what "congliptious" means – but to us, it's always been the title of this excellent early session from reedman Roscoe Mitchell! The sessions here were recorded in 1968, at the Ter-Mar (Chess) Studios in Chicago – and they document a key coming-together of ... CD
One of the most compelling Von Freeman recordings we've ever heard – and one of the few to actually capture the real performance presence of the legendary Chicago tenorist! The date was recorded in Berlin, but it's got a homegrown feel that takes us right back to Von's famous Tuesday night ... CD
Completely sublime duets between alto saxophonist Nick Mazzarella and cellist Tomeka Reid – working here together at a level that seems to both bring a whole new sense of energy to duo improvisation, and also put the record at the level of some of the most exciting work of the 70s! The ... CD