Billie Holiday : Lady Love (CD) -- Dusty Groove is Chicago's Online Record Store
Skip navigation
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

Lady Love

CD (Item 901440) United Artists, 1950–1953 
Out Of Stock

CD

Rare live work from Billie Holiday -- mostly from the early 50s, but not issued until a few years after her death -- in a well-done package from United Artists! The tunes were mostly recorded under the supervision of Leonard Feather -- and come from two different German tour dates -- one with Carl Drinkard on piano, Red Mitchell on bass, and Elaine Leighton on drums -- the other with a larger group that features Sonny Clark and Beryl Booker on piano, Red Norvo on vibes, Buddy DeFranco on clarinet, and Jimmy Raney on guitar! The second set features longer tracks with a bit more improvisation -- a nice treasure from these key years of Billie -- on titles that include "Lover Come Back To Me" and "Billie's Blues". The trio sides are a bit more straight, but still plenty great -- with titles that include "Blue Moon", "All Of Me", "My Man", "I Cover The Waterfront", and "I Cried For You". CD also features 6 bonus tracks, too!  © 1996-2024, Dusty Groove, Inc.

There may be different interpretations or standards used to grade pre-owned vinyl record albums & CDs. These are the grades that we use and what they mean for items that are not new copies.

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 only use the grade "Used CD" for non-new CDs. This all-encompassing grade was chosen it because we only buy and offer used CDs in the best possible condition.

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 describe the item's condition (just like we do with LPs), so look for notes on cutout marks, stickers, promo stamps or other details before ordering.

All of our used CDs are guaranteed to play without skipping or flaws. After you receive a used CD from Dusty Groove, you have 1 week to play it to determine that it plays correctly. If it does not, you can request a return for a full refund.


You might be interested


JCI, 1940s/1950s. Used
18 tracks in all featuring appearances by Lester Young, Roy Eldridge, Coleman Hawkins, Ben Webster, Gerry Mulligan, Mal Waldron, Milt Hinton and Osie Johnson. CD

Billie Holiday

American Legends
Laser Light, Late 1930s/Early 40s. Used
... CD
Blue Moon (Spain), Early 50s. Used
... CD

Billie Holiday

Live 1937 to 1956
Delta (Germany), Late 30s/1940s/Early 50s. Used
Includes "Moanin Low", "Don't Explain", "Lover Come Back To Me", and "Stormy Weather" – 16 tracks in all. CD
Commodore/GRP, Late 30s/Early 40s. Used 2 CDs
A great collection that compiles Billie's famous sides for the Commodore label in New York – recorded in 1939 and 1944, with accompaniment by the Eddy Heywood group and/or orchestra, plus additional sides led by pianist Sonny White. Titles include "Strange Fruit" (the original 1939 ... CD

Billie Holiday

Body & Soul
Verve, 1957. Used
Late work from the great Billie Holiday – the kind of mature set that made Verve Records such a perfect home for the singer in the 50s! Where other labels might have pushed too much to try to get Billie into more commercial, or more straightforward modes – Verve just relaxes into the ... CD
Columbia, Late 30s. Used
Crucial late 40s material – recorded with the group of Teddy Wilson, and also with her own combo – with either Hot Lips Page or Charlie Shavers on trumpet! CD

King Pleasure

Moody's Mood For Love
United Artists/Blue Note, Early 60s. Used
The rarest of three albums that King Pleasure ever recorded – and pretty darn hard to find, too. The set was recorded after King's earlier sides for the Prestige and HiFi jazz labels, but it's in a very similar style, with some wonderful vocalese-ing done in Pleasure's landmark style. He's ... CD
DRG, 1970s. Used
... CD
Mercury (Japan), 1960. Used
A rare solo outing from vocalist Maria Cole – quite possibly because she was best known to the rest of the world as Mrs Nat King Cole! Maria's a dusky-voiced singer who worked with Duke Ellington in the 50s, but is getting a much sweeter touch here from arranger Billy Vaughn – who uses ... CD

Helen Merrill

Helen Merrill In Tokyo
King (Japan), 1963. Used
A rare Japanese session from vocalist Helen Merrill – one of a few key 60s recordings she cut on the Tokyo scene, after initial fame in the US! The album features a great small group arranged by drummer Takeshi Inomata, played by a combo that includes alto, baritone, and trumpet – all ... CD

Noel Coward

Noel Coward Album
Sony, Mid 50s. Used
(Out of print.) CD
 



⇑ Top