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

She Came From Hungary – 60s Beat Girls From The Eastern Bloc (red vinyl pressing)

LP (Item 893754) Qualiton/Ace (UK), Late 60s/Early 70s — Condition: New Copy

Great girl pop from a really unlikely source – not the better-known British and French female singles that rocked the European scene in the 60s – but a whole host of more obscure numbers from behind the Iron Curtain – all tracks recorded in Hungary, but hardly ever issued to the rest of the world at the time! Turns out, those Hungarians were very much in line with the kinds of sounds that were romping up London, Paris, and Rome at the time – beat-heavy, soul-influenced grooves that bring a new sort of brashness to the female singers in the lead – and give them a kind of universal appeal, even if you can't understand the lyrics at all! At some level, the instrumentation here is more than enough – loads of groovy organ lines, thumping bass, soaring horns, and all sorts of other groovy touches – but the unusual language of the vocals adds a very cool other aspect to the sound. All tracks are from the Qualiton catalog, and presented here with detailed notes and history in English – for titles tha tinclude "Ez Az Utolso Randevunk" by Eva Nagy, "Konyorogni Nem Fogok" by Zsuzsa Matray, "Keresek Egy Fiut" by Maria Wittek, "Mindig Tanul Az Ember" by Beata Karda, "Fekete Beat" by Sarolta Zalatnay, "Ha Csak Egy Fokkal Szebb Az Ordognel" by Gabi Fenyvesi, "Judas Vagy" by Kyri Ambrus, "Keresem A Szot" by Zsuzsa Koncz, and "Zsakutca" by Clementina Magay.  © 1996-2020, 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


Ace (UK), Late 60s. New Copy
A searing set of all-girl rockers from the late 60s – underground work from the hinterland of the American garage scene – all rare material originally issued on a handful of small indie labels! This vinyl set is a great addition to the CD series of the same name – and like those ... LP, Vinyl record album
Ace (UK), Early 70s. New Copy 2LP Gatefold
A fantastic collection from the team of Bob Stanley and Pete Wiggs – and, like the rest of their gems, a record that really helps define a genre unto itself! This time around, the vibe is England at the dawn of the 70s – waking up to the realization that the changes of the 60s maybe ... LP, Vinyl record album
Ace (UK), Late 70s/Early 80s. New Copy 2LP Gatefold
Great tracks from the early years of the synthesizer in British music – or at least the early years of the form in mainstream styles – and not some of the colder, more academic modes of the past! Yet the music also mostly predates the big Brit electro pop explosion that would come ... LP, Vinyl record album
Ace (UK), 1960s. New Copy
Girls with guitars – a very dangerous combination, and one that's served up nicely by this sweet little vinyl set! The package brings together obscure girl rock tracks from the 60s – most of them in a rough garagey mode that stands as a very nice counterpoint to the sweeter girl group ... LP, Vinyl record album
Ace (UK), Late 60s/Early 70s. New Copy 2LP Gatefold
A great document of a really cool moment in British pop – a time when the music eschwed guitars in favor of strings and larger arrangements – not in the sweet style that American singers were using at the start of the 60s, but a much darker mode that paved the way for even more complex ... LP, Vinyl record album
Big Beat (UK), 1960s/1970s. New Copy
Blazing 60s & 70s string-shredding mastery from Japan's great guitar instrumentals guru Takeshi Terauchi – whose playing matches the greatest 50s & 60s rock guitar gurus in both dexterous ability and pulpy mood setting! Takeshi put his own unique spin on the chugging styles of the ... LP, Vinyl record album

Naz Nomad & The Nightmares (The Damned)

Give Daddy The Knife Cindy
Big Beat/Ace (UK), 1984. New Copy (reissue)
Looks like a 60s soundtrack, but the set's actually an unusual psychedelic project by The Damned – released as if the whole thing was a record designed to accompany one of those schlocky AIP exploitation films from years back – but actually better than most of those albums from a ... LP, Vinyl record album
Kling Klang/Parlophone, 1981. New Copy (reissue)
It's definitely a computer world when you're inside the mind of Kraftwerk – the machine made man, given a wonderful showcase here for the new decade! The sound is maybe a bit leaner and even more electronic than before – with the introduction of some digital elements, and a mix of ... LP, Vinyl record album
Kling Klang/Parlophone, 1986. New Copy (reissue)
A mid-80s gem from Krafwerk – a record that almost caught the world by a bit of surprise, and which showed that the four robotic guys from Germany were alive and well! The influence of Kraftwerk on the sound of early 80s music is undeniable – from rock to soul to hip hop – yet ... LP, Vinyl record album
Kling Klang/Parlophone, 1974. New Copy (reissue)
A groundbreaking record from Kraftwerk – a set that unified the 70s worlds of analogue electronics and prog rock – yet somehow managed to set the scene for a whole new sound to come! The album's a treasure all the way through – slow-building, and with beautiful bubbling moments ... LP, Vinyl record album
Warner, 1968. New Copy (reissue)
A classic set from the Grateful Dead – and one that features the group mixing studio tracks with their rising fame as a must-see live act! The package features both concert and studio recordings, and there's a wonderfully optimistic, late 60s vibe to the whole thing – the group still ... LP, Vinyl record album
Warner/Rhino, 1993. New Copy (reissue)
A big crossover moment from the Flaming Lips and their genius producer Keith Cleversley – filled with all the fuzz from before, but given all these cool, catchy elements that forever cemented the group's legacy in modern music! Titles include "She Don't Use Jelly", "Pilot Can ... LP, Vinyl record album
 



⇑ Top