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(Late 70s pressing on Shanachie. Cover has a cut corner.)
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.
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.
Phil Ochs really opens up his sound on this one – working with larger arrangements that make the album sound quite different than the stark, angry folk of his Elektra albums – in a way that creates an even more complicated approach to Ochs' themes cynicism and bitterness. Arrangements ... LP, Vinyl record album
A great album from the late 70's, featuring the excellent jazz vocalist backed by a totally tight group led by Gildo Mahones. The sound is deep and loud, and there's some nice phat bass on here, particularly on the intro to "Baltimore Oriole", which has a nice break sound at the ... LP, Vinyl record album
Surprisingly nice album from the late 80s, with tight Marley Marl production that sounds great on tracks like "Knockin' Hiney", "Fatal Attraction", "Go On Girl", and "Live On Stage". LP, Vinyl record album