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

Unusual Sounds

CD (Item 897965) Anthology, Late 60s/1970s — Condition: New Copy
Out Of Stock

CD

✈
Also available
Various — Unusual Sounds ... LP 22.99
Various — Unusual Sounds ... LP 19.99

The sounds here aren't that unusual at all – and in fact, they're mostly pretty darn groovy – a superb selection of sound library funk from the glory days of the European scene – collected here together in support of the book of the same name! In case you're new to the scene – the Euro sound library world of the 60s and 70s was a place where extremely creative musicians could come together and create their own sort of grooves without a worry for placement on the record charts – as most of these cuts were locked in the vaults, then licensed briefly for use on radio, TV, or commercials – which led to a few of these gems getting some famous, but anonymous play on classic cop or crime shows at the time. The compilation brings together some of the best examples of this scene – loads of cuts that have been our favorites over the years – a whopping 20 tracks that include "Half Forgotten Daydreams" by John Cameron, "Funky Fanfare" by Keith Mansfield, "Weeping Eelgrass" by Mladen Franko, "Mild Maniac" by Peter Patzer, "Dream Number Two" by Roland Hollinger, "Soft Wind" by Gary Pacific Orchestra, "Tropicola" by Stringtronics, "Survivor" by Klaus Weiss, "La Dimonstrazione" by Daniele Patucchi, "Feeling Tense" by Stefano Torossi, "Xenos Cosmos" by Janko Nilovic, "Night Breeze" by Franco Micalizzi, and "Fancy Good" by Electric Machine.  © 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


Fonit/Schema (Italy), 1973. New Copy
Exactly the kind of record that makes us love sound library records so much – and definitely the sort that sets the style apart from anything else we can think of! Both Sandro Brugnolini and Giorgio Carnini turn in some great work here – a mindblowing mix of modes over the space of ten ... CD

Metrum

Zielony Dach
GAD (Poland), 1977. New Copy
A sweet set of grooves from the 70s – served up here by a Polish combo rooted in jazz, but who also seem to have a pretty great ear for clubby styles of the time! The music is mostly instrumental disco, but delivered from a jazz funk perspective – with some especially nice flute work ... CD

Mateusz Swiecicki

Halo Wenus (with bonus tracks)
GAD (Poland), 1974. New Copy
Dig space age sounds? Then you're going to find plenty to love here – in a record that's filled with sweet keyboard instrumentals, odd electronics, and lots of lovely little melodies – all brought together in a record that easily transports the listener to the planet Venus! The ... CD
GAD (Poland), Late 60s/Early 70s. New Copy
A killer look at the ultra-obscure world of Polish sound library recordings in the 60s and 70s – music that's even rarer than the small pressing albums from Western Europe at the time, and equally groovy as well! The track selection here is superb – handled by the Soul Service team who ... CD

Wladyslaw Komendarek

Dotyk Chmur (with bonus tracks)
Pronit/GAD (Poland), Mid 80s. New Copy
Sweet keyboard lines from Wladyslaw Komendarek – a Polish musician with a sound that's a lot leaner than his name – wrapped up here in a tight set of sound library instrumentals with a mighty nice 80s electro soul style! The tracks are tuneful, and have a bit of a groove – but ... CD

Marcello Giombini

Astromusic Synthesizer
Fifth Dimension (Germany), 1981. New Copy
CD...$6.99 16.99
A record that definitely lives up to its name – given its blend of synthesizer sounds, and it's musical approach to the twelve segments of astrology! Each track has a different astrological sign as its title – "Virgo", "Taurus", "Cancer", "Scorpio" ... CD
Fifth Dimension (Germany), 1969. New Copy
CD...$6.99 16.99
Fantastic funky electronics – a rare sound library set from Cecil Luter, done in a mad mod style that's not unlike some of the cosmic breaks you'd get from fellow Frenchmen Jean-Jacques Perrey or Pierre Henry! Cecil moogs it along fast and funky on a dozen tracks – backed by a small ... CD
GAD (Poland), Mid 2000s. New Copy
Here's a trip we'd love to take – going around on the world on one of the coolest keyboards ever, served up here in a series of live recordings from Polish electronic musician Jozef Skrezek! The album features two long tracks that pull together material recorded live between 2003 and 2009 ... CD

Mikolaj Hertel

Spleen
GAD (Poland), 2002. New Copy
Mikolaj Hertel may not be a household name, but he certainly knows how to create some great electronic sounds when he wants to – and even on an album as late as this, he comes across with a sound to rival the spacey electronic masters of the European scene of the 70s! The music is spare and ... CD
Schema (Italy), 1960s/1970s. New Copy
Sublime bossa groovers from Italy! The first volume of this series was one of our favorite compilations that year it was released – and this second volume is equally as great! Schema groover Gerardo Frisina serves up a hand-picked batch of 16 tunes, mostly classic numbers from the late 60s ... CD
Schema (Italy), Early 70s. New Copy
Stunning compilation of Italian grooves from the early 70's – and one that has a slightly different twist than some of the other one's we've been stocking. The folks at Schema have put this one together, and the set's got a feel that's similar to some of the newer releases they've been ... CD

Laurence Vanay (Jacqueline Thibault)

Evening Colours (with bonus tracks)
CAM/Lion, 1976. New Copy
Amazing music from Laurance Vanay – actually a recording name for Jacqueline Thibault, a hell of a great keyboardist but an artist the label thought would be better off billed as a man! The sound here is halfway between the spacey experiments of Brian Eno and Cluster, and some of the more ... CD
 



⇑ Top