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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:
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".
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.
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.
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.
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.
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.
Gerry Mulligan's still far from the mainstream of jazz on this sweet little set – a great date that expands nicely from the mellower styles of the Pacific Jazz years – expanding the group a bit, with some really great results! In addition to Mulligan's usual baritone sax, Gerry also ... CD
A never-issued live set from Japanese pianist Ryo Fukui – a tremendous player who was part of a special new generation of piano players in the 70s – very warm and fluid, but always with a sense of adventure too – in ways that make music like this very different than American work ... CD
A real treasure from the Detroit scene of the 70s – a never-issued Tribe Records album by Wendell Harrison, and one that's got a bit more of a soul/funk vibe than some of the other sessions on the label! The album's a key missing piece of the puzzle in Harrison's career – not as avant ... CD
The tenor of Stan Getz meets the baritone sax of Gerry Mulligan – and then they switch things around for half of the record, as Stan picks up the baritone and Mulligan takes on tenor! Gerry always seems to open up whole new sides of his playing when sharing the leader spotlight with another ... CD
An overlooked 60s gem from Oscar Peterson – one of his great sides for Limelight Records, and possibly the most soulful of the bunch! The group's a trio – with either Sam Jones or Ray Brown on bass, and Louis Hayes on drums – and they've got a really great feel, one that's a bit ... CD
Some of the best work by an overlooked pianist from the 50s! Back in the days when most of the easy keyboardists were trying for a sound that was filled with overdramatic flourishes, and too much emotional Carmen Cavellarroing, Paul Smith was perfecting a mellow easy style that he called his " ... CD
The title certainly gets it right – as the album's an early showcase for the piano of Hank Jones – a talented touch that's already able to rise above most of his contemporaries! The date's a trio outing, and Jones is allowed a bit more freedom than the usual jazz musician on Capitol at ... CD
A real cooker – and a stone soulful set that works some real magic at so many levels! First off, the record brings together two of the hottest talents on the west coast scene of the 60s – pianist Les McCann, and the firey young Jazz Crusaders – who are really burning here with a ... CD
One of Booker Ervin's last sessions – quite different than some of his earlier work, and a great indication of the way that he was stretching his style in the years before his untimely death. The group's a committed band of modernists, and includes a young Charles Tolliver on trumpet, plus ... CD
A beautiful example of why the west coast scene was great when it was working at its finest – that perfect blend of group formation and individual identity that could make a record like this so great! Tenor player Jack Montrose cut a rare few albums in the 50s, but this one's a gem – ... CD
Back in the 50s, LA reedman Bud Shank was maybe best known for his work on alto sax, and occasionally flute – but this standout album for Pacific Jazz shows that Bud could be equally great on tenor – a quality he'd take up more in later years, as he disappeared into studio work away ... CD
A really unusual trio outing from Jim Hall – almost overlooked, and with a really unusual feel overall – quite airy at times, but with a bluesy undercurrent too! There's a bit more bite here than on some of Jim's other records – a harder-edged, bluesier way of hitting the guitar ... CD