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

Rhythm & Bluesin By The Bayou – Livin, Lovin, & Lyin

CD (Item 861160) Ace (UK), Late 50s/Early 60s — Condition: New Copy
$12.99 ...

CD

List Price: 18.98

A massive amount of musical discoveries from the Louisiana scene – a set that features a huge amount of unissued tracks from back in the day – but all with the kind of vibe that matches some of the best early soul and R&B on labels like Specialty, Minit, and Imperial! The wealth of sounds from the swamp state are mindblowing – because even though Louisiana gave us plenty of hits in the 50s and 60s, there was so much more talent bubbling just underneath – thanks not just to some top-shelf artists who never fully got their due – but also a great network of studios and labels too. Only a few of these tracks ever came out as singles around the time they were recorded – more were issued later on reissues in the 80s, and a lot more appear here for the first time ever – in a package that might well be the best so far in this excellent series. Titles include "Don't Know Why" by Little Nolton, "Give It Up" by Lonesome Sundown", "I Keep Crying" by Cookie & The Cupcakes, "Crying Crying" by Sticks Herman, "Baby If You Want To Play"b y James Freeman, "But You Thrill Me" by King Charles, "I Got It Made" by Guitar Jr, "Boogie With Calypso" by Joe August, "Don't Say" by Tabby Thomas, "Baby's Got Bad Feet" by Eddie Williams, "I Know" by Elizabeth, "I Would Be A Sinner" by Charles Sheffield, "Baby Baby Come To Papa" by King Carl, and "Mama's Little Girl" by Van Preston.  © 1996-2018, 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. 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.

With our Used CDs, you can expect the disc to be free of all but the lightest of surface marks — clean, and not dirty at all. You can also expect the case to be clean (we often change the cases ourselves — putting fresh cases on Used CDs we handle) — and you can expect the booklet to be in good shape, unless noted otherwise. We will list any specific details/defects underneath the item — so look for notes on cutout marks in the case, stamps on the barcode, or details like that.


You might be interested


Kent (UK), Late 60s/1970s. New Copy
70s soul from a 60s Detroit legend – producer, arranger, instrumentalist Jack Ashford – the many who lent his talents to both the Motown and Pied Piper production teams, and who's still going strong with all the rare work in this package! After Motown shifted much of its work to ... CD
Motown/Kent (UK), 1970. New Copy
A tremendous collection of early work by The Spinners – their sublime second album for Motown, plus 13 additional bonus tracks, most of which appear here for the first time ever! The core of the set is the 2nd Time Around album – pre-Philly magic from The Spinners – a wonderful ... CD
Out Of The Blue
Ace (UK), 2018. New Copy
The long-overdue return of a southern soul legend – as the great Willie Hightower returns to the Muscle Shoals scene that gave him some of his best music of the 60s! Hearing the sound of the record, it's as if nothing's changed at all – and we mean that in the best way possible – ... CD
Scepter/Ace (UK), 1960/1961. New Copy
A Shirelles double-header – and with bonus tracks too! Tonight's The Night is the first album in The Shirelles mighty run for Scepter Records – and a great set that really set new standards for girl soul in the 60s! Although some of the cuts crossed over bit, the whole album's got a ... CD
Kent (UK), Early 60s. New Copy
The Detroit soul scene at the start of the 60s – music from a time before Motown was dominating the city's reputation, and a whole host of other great labels brought the motor city sound to the masses! The work here is quite a surprise if you're only thinking in terms of Northern Soul and ... CD
Ace (UK), 1950s. New Copy
Fantastic sounds from the Bay Area scene of the 50s – more than enough to showcase a legacy of R&B as strong as postwar work from LA! The music here is great – tight, lively, and often very witty – with the sharpness of jump blues and pre-soul work from south Cali labels like ... CD
C'mon & Swim
Autumn/Ace (UK), Mid 60s. New Copy
Great comeback work from San Francisco's Bobby Freeman – a singer who first broke big in the early days of rock, then had this great second chapter recording for Autumn Records – with plenty of great help on songwriting, arranging, and production from a young Sly Stone! Sly's a few ... CD
Fantasy/Ace (UK), 1973/1975. New Copy
2 of Johnny Guitar Watson's best albums ever – back to back on a single CD! First up is Listen – quite possibly the rarest of all Johnny Guitar Watson albums – and his first from the 70s – a mindblowing batch of trippy soul tunes that sounds far different than much of his ... CD
Congress/Ace (UK), Mid 60s. New Copy
Hard-romping soul from the great Shirley Ellis – a singer most folks know for a single crossover hit – but an artist who's got a hell of a lot more to offer than just that novelty number! This excellent package is a long-overdue look at one of the queens of raw soul in the 60s – ... CD
Goldwax/Ace (UK), Mid 60s. New Copy 2CD
Legendary work from Goldwax Records – pulled from a stretch when the Memphis imprint was really going strong! By the time of these tracks, Goldwax was really coming into their own – picking up some of the best soul currents of the Memphis scene – and rivaling the Stax/Volt ... CD
Ace (UK), 1960s. New Copy
Our favorite volume so far in Kent's tribute to the legendary UK Sue label – and a great little collection that's overflowing with soulful tracks from the 60s! The premise is a bit obscure to most American listeners – as the CD brings together tracks that were licensed to UK indie Sue ... CD
Westbound/Ace (UK), Mid 70s. New Copy 2 CDs
A trio of albums from Junie Morrison, plus bonus tracks too – all to document the genius of the guy who really helped the Ohio Players find their groove! First up is When We Do – the solo debut of Junie – a crazy little album recorded for Westbound in the time after he split ... CD
 



⇑ Top