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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.
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.
A record that has Julie London already hitting that great "Nice Girls Don't Stay For Breakfast" mode of later years – the adult, informed approach that showed that the teasing nude of the 50s had turned into a pleasing woman of the 60s – capable of frank presentation of ... LP, Vinyl record album
A nice, mature effort from Julie London – done with a great mix of 60s pop modes and some of the breathier styles of Julie's earlier years – often served up with backings from Ernie Freeman that have a bit of electric bass at the bottom, which helps to step the tunes along with a subtle ... LP, Vinyl record album
A set that has Julie London still working in the breathy and mellow style of her late 50s classics – with very spare backings that really let Julie's vocals take center stage, and often a nice guitar line in the front of the mix, picking its way through the tunes right behind Julie's voice! ... LP, Vinyl record album
Hip early work from Julie London – with full jazz orchestra backing by Russ Garcia, whose soundscapes are perfect for that dreamy style of singing she was using at the time – a blend of the sublime and sad, floating along with almost effortless ease, but hiding a huge wellspring of ... LP, Vinyl record album
An album of straight jazz vocals from Hawaiian singer Ethel Azama – an artist who's perhaps better known for her more exotic Liberty album with Martin Denny, but who's working here in a much straighter mode with backings from the great Marty Paich! Paich is at the height of his powers here ... LP, Vinyl record album
Like Sergio Mendes and Brasil 66? Then you'll love The Carnival! The group was formed by three former members of Sergio's group, working in 1969 with stellar LA pop production from the mighty Bones Howe – all grooving in a style that's got all the best traces of the Brasil 66 sound! The ... LP, Vinyl record album
A beautiful little vocal set – and not nearly as gimmicky as you'd expect! The album's "presented" by Martin Denny, but overall it's a pretty straight jazz set – featuring vocals by Japanese/Hawaiian Ethel, sung in a cool and moody style that's got lots of 50s west coast ... LP, Vinyl record album
The album that put Nancy over the top – and one with lots of stellar Lee Hazlewood writing and production, and cuts like "I Move Around", "So Long, Babe", "Flowers On The Wall", and the title cut. Nice liner notes, too – with a conversation in which Nancy ... LP, Vinyl record album
One of our favorite albums ever by Sarah Vaughan – and a really jazz-based session that's totally hip! Sarah's working here live at the legendary London House nightclub in Chicago – singing with a small combo that includes Ronnell Bright on piano, Richard Davis on bass, and Roy Haynes ... LP, Vinyl record album