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

Garland Records – Pacific Northwest Stash Box (with bonus tracks)

CD (Item 929102) Garland/Beat Rocket, Late 60s — Condition: New Copy
Out Of Stock

CD

✈

We're not entirely sure what a "stash box" means in terms of music – but after hearing this very groovy collection, we may well be using it as a term ourselves! The set features rare material recorded for the tiny Garland Records label in Salem, Oregon during the late 60s – but the sound and style is different than other Pacific Northwest material of that decade – often a bit sweeter and sunnier, with elements that resonate more strongly with changes taking place on the LA scene of the mid 60s – including some great harmony vocals on a few numbers, and a way of mixing slight psych touches with romping rhythms – all to to create sounds that are almost a garage equivalent of Sunshine Pop from bigger studios. Most of these tracks were never issued at the time, and even the few that were are pretty darn obscure – making the whole thing a treasure trove of really fresh music – with titles that include "Life Laced Leaf" by Inner Circle, "Maybe Today" by Tim Culbertson, "What Goes Up Must Come Down" by Fatty Twice Together, "Grey Day" by The Wild Side, "Parousia" by Lawe, "We'll Meet Again" by Tyme, "Part Time Love" by Will Logan, "Keep On Looing" by The Ultimate, and "Tears" by The New Dawn. CD features bonus tracks – "Love Is All I Have To Give" by Tyme and "Ichabod" by Lawe.  © 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


Garland/Beat Rocket, Late 60s. New Copy
A really great collection that charts a very unusual strain of music – tracks from the Pacific Northwest scene that represent a slice of their famous garage rock style leaning a bit more towards soul music – with results that make this whole collection a fantastic discovery of new music! ... CD
Columbia/Real Gone, Late 60s/Early 70s. New Copy
A sweet set of Mark Lindsay's solo work for Columbia – mellow soft rock and soaring sunshine pop from the voice of Paul Revere & The Raiders! This set puts together his complete run of singles at the label, along with some rarities that are surprisingly great. We've dug what we ... CD

Lothar & The Hand People

Come Along – The Exodus 1966
Beat Rocket, 1966. New Copy
Lothar & The Hand People gave the world one of the greatest psych albums ever issued by Capitol Records – but this set of earlier recordings shows the group in a very different light – raw, noisy, and very garagey – much more in the territory of The Seeds or The Sonics! The ... CD

Bing & Ruth

Species
4AD, 2020. New Copy
There's no Bing, there's no Ruth – just a trio headed by composer David Moore, who plays these fantastic lines on Farfisa organ alongside the clarinet of Jeremy Viner and bass of Jeff Ratner! The instrument was maybe used most famously in a setting like this by Philip Glass in the 70s – ... CD

13th Floor Elevators

You & I & Me
Sunset Blvd, Mid 60s/1976. New Copy 2CDs
A huge batch of rare material from one of the freakiest, fuzziest groups of the 60s – all pulled from the archives of Roy Ames, and recorded in Houston and San Francisco in 1966 and 1967 – and mixed here with some equally wild Roky Erikson solo material from 1976! There's not much in ... CD

Bushmen

Bushmen
Beat Rocket, Mid 60s. New Copy
Great garagey work from The Bushmen – a mid 60s combo from Fresno, CA – and one who reveled in the best gritty modes of the time! The vocals are stark, the rhythms are too, and there's some great swirling organ lines in there amidst all the guitar – a garage/psych blend at times, ... CD
Warner/Real Gone, Early 70s. New Copy
Really great material from Tony Joe White – a never-issued live album recorded during his early 70s stretch at Warner Brothers – done with a raw, stripped-down vibe that offers up an even grittier take on the territory of his early albums for Monument Records! The group is pretty small ... CD

Groupies

Primitive
Beat Rocket, 1967. New Copy
Not the girl groupies of backstage legend, but a really great late 60s group from New York – one who work with some of the same raw, pre-punk energy as The Stooges or The Seeds! Like both of those groups, these guys come from garage roots, but are really hitting an edge on these tracks ... CD
Numero, Late 60s/Early 70s. New Copy
CD...$7.99 18.98
Some of the most underground sounds you could ever hope to hear – quite literally, as the music on the set was recorded in a subterranean studio based in a cavern in Missouri! We could go on making endless jokes about "hard rock" and things like that – but we'll quickly skip ... CD

Brian Eno

Discreet Music
Virgin/EMI (UK), 1975. New Copy
A modern minimalist watershed – and maybe one of the first indications that Brian Eno was moving onto higher ideas in his music! The album's an important release on the Obscure series from Island Records – a special imprint that was curated by Eno, as a way of giving showcase to new ... CD
Grapefruit (UK), 1971. New Copy 3CD
Short songs, but exploding with a huge range of new musical ideas – not the side-long jams of the progressive rock generation, but instead some singles and album tracks that manage to pack all of the best elements into some mighty catchy tunes! These tracks all benefit from a huge explosion ... CD
Rev-Ola (UK), Mid/Late 60s. New Copy
A nice reissue of this late 60s compilation of highlights from the first couple (and best) albums by Them – the British (by way of Belfast) psych soul powerhouses that managed to snap down on West Coast psychedelia, hard soul, and adventurous guitar driven pop in a single bound! The original ... CD
 



⇑ Top