From: paula@xyhouseofmusic.com (Paula(Oldie but a Goodie))
Newsgroups: 
rec.music.collecting.vinyl,rec.music.marketplace.vinyl,rec.music.collecting.cd,
rec.music.marketplace.cd,rec.music.collecting.misc,rec.music.marketplace.misc
Subject: FAQ: General ?'s, How to avoid getting ripped off
Date: Thu, 13 Jan 2000 15:06:25 GMT
Organization: Paula's House of Music 
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rec.music.marketplace.misc:41676


Vinyl Collecting FAQ

The current version of this file is also available online at:
http://www.houseofmusic.com/faqmenu.htm

FAQ FOR THE VINYL AND CD COLLECTING AND MARKETPLACE NEWSGROUPS
PART I General Questions
PART II "How Can I Avoid Getting Ripped Off When Buying Vinyl on the
Internet"

G001 How much is my collection worth?
G002 I have a record/CD/tape with a drill hole/notch cut in the cover.
Why are records/CDs/tapes "cut out"?
G003 I have some items marked "Promotional - Not For Sale".Is it
really illegal to buy and sell these?
G004 I want to buy records from someone outside the US, but I don't
want to send cash -- how can I arrange payment?

CD Questions

C001 Is "CD Rot" for real? Some of my CDs are turning a bronze color.
What's going on?
C002 What was the first CD ever?
C003 I have a mispressed CD -- it's supposed to be by Artist X but it
plays a completely different album. Is it worth anything?
C004 Why is it illegal to rent CDs but legal to rent out videogame
CD-ROMs?
C005 Where does my money go when I buy a CD?
C006 What's the longest CD ever pressed?

Vinyl Questions

V001 What is an RCA "Shaded Dog" record? Why are they so valuable?
V002 What is a test pressing? Are they collectable?
V003 Why is the Caine Mutiny soundtrack worth ten thousand dollars or
more?

General Questions

G001 How much is my collection worth?

Any item has two values: how much someone is willing to pay for it,
and how much someone would have to pay before you'd be willing to
sell. Therefore the only people who can really determine the real
"price" of an item are the buyer and seller.

It may or may not help to consult a price guide. Guide authors use all
kinds of techniques to derive the prices they list, but they can't
take into account local supply and demand, market fluctuations brought
on by reissues or changes in people's tastes, or retailer whim. Supply
and demand always trumps the price guide. Some really high guide
prices are the highest price that item brought at auction somewhere;
just because there's one person crazy enough to pay that price for the
record doesn't mean you can expect to find another.

If you're trying to sell your collection to a dealer and expect him to
pay you guide price on it, forget it. Even if he can sell the records
again for those prices, he's typically only going to want to pay you
half that price for them -- otherwise he's not making any money in
selling them. You can almost always do better in selling your
collection to other collectors than in selling to a dealer, but then
you have to do all the work (writing up and placing ads, collecting
payment, packaging and shipping).

In other words, there's no simple answer to this question. You won't
know the answer unil you've sold it all and have time to count the
money in your pocket afterwards.

G002 I have a record/CD/tape with a drill hole/notch cut in the cover.
Why are records/CDs/tapes "cut out"?

The short answer: items are "cut out" (physically damaged in some
way)to prevent record shops from returning them to the labels for
credit. Items are marked as cutouts by slicing a notch or drilling a
hole in a corner of the sleeve or jewel box.

The term "cutouts" generically refers to discontinued or overstock
items that were marked as cutouts by the record label, then sold in
bulk to a cutout distributor. The cutout distributor then sells them
(usually in "grab bag" form -- pay a flat price per unit, you don't
get to choose what you get) to record stores, who sell them on the
cheap. Artists don't get royalties on these sales, which is part of
why they can be let go for so little.

To confuse things slightly, some labels will mark promo releases in
the same way they mark cutouts -- by notching or drilling the case --
instead of using a "For Promotional Release Only" stamp or sticker. If
you run across a "cutout" of something that's been released in the
last couple of months, it's really a promo. Some promo CDs have a hole
punched (not drilled) in the UPC code on the tray insert, but leave
the jewel case intact. In general, ragged drill holes or slices mark
cutouts, and "clean" punch holes, clipped corners, etc. mark promos.

G003 I have some items marked "Promotional - Not For Sale".
Is it really illegal to buy and sell these?

No. The record companies will occasionally rattle their sabres on this
issue but in fact they have no legal power to prevent people from
buying and selling marked promos. In fact, they are well aware that
most of the promos they issue end up being sold in the open market
sooner or later, and often will send out "collectable" promos in bulk
as a sort of bribe to encourage record shops and radio stations to
push their product. The "Must Be Returned To The Record Company On
Demand" wording of some promo labels is meaningless; no record company
has ever issued the demand.

G004 I want to buy records from someone outside the US, but I don't
want to send cash -- how can I arrange payment?

Check with your bank first. Most major banks should have a department
or office that can issue checks for you in the currency of your
choice.

Unfortunately, in some areas this service is extremely expensive or
simply unavailable. If you live in the US and have difficulty getting
international checks in your area, a company called Ruesch
International can issue a check in any denomination for a flat fee of
$2.00.

Ruesch International, Inc.
700 Eleventh St. NW
Washington. DC 20001-4507
800: (800) 424-2923
Tel: (202) 408-1200
Fax: (202) 408-1211

Call their 1-800 number and ask for the "international department".
Tell them you want an international check. They'll need the name of
the person you want it made out to, so have that ready when you call.
They will issue a check drawn on a bank in the country you're sending
it too, and will hold the check(s) until they recieve payment (you can
write them a check and mail it to them -- they *do not* take credit
cards). Ruesch is reliable, friendly, and cheap.

CD Questions

C001 Is "CD Rot" for real? Some of my CDs are turning a bronze color.
What's going on?

In general, no, "CD Rot" is not real. To date there is no evidence
that CDs, if properly manufactured and stored, will gradually become
unplayable. Unfortunately there have been several occasions where
*improperly* manufactured CDs have been sold to the public only to
self-destruct in some way later on.

One early problem occurred in the mid-to-late 1980s when a number of
CDs were labeled with an ink that eventually migrated through the
lacquer on the label side and caused the aluminum surface to lose its
reflectivity. The damage is immediately visible by looking at the data
side of the discs in question. These discs self-destructed very
quickly and were pressed in relatively small numbers, so you are
unlikely to run across any today.

The best-known problem is with a larger number of discs pressed
between 1989 and 1991 by Philips Data Optical (PDO) in the UK. Due to
errors in manufacturing, these discs are slowly turning a dark orange
or bronze color, primarily on the label side. This discoloration
gradually propagates from the outer edge of the CD towards the center,
and can eventually make such discs unplayable. If you have such a
disc, PDO will replace it for free. You can contact them at the
following address to arrange for the replacement:

Dave Wilson, Marketing Services Manager
PDO Discs Ltd. (UK)
Philips Road
Blackburn, Lancashire BB1 5RZ
United Kingdom
Tel: +44 254-52448
Fax: +44 254-54729

By all reports, PDO have been very accomodating in their response to
this problem.

There *is* a real phenomenon called "laser rot" that affects 12" video
laserdiscs, but it is caused by problems that occur when the two sides
of such a disc are glued together. CDs are one-sided so they are not
at risk for this particular problem.

C002 What was the first CD ever?

According to the "Tenth Anniversary of The CD" supplement to the 26
Sep 1992 issue of Billboard Magazine (thanks to Derek Nichols for
looking this up):

* October 1982: Billy Joel - 52nd St.
(First commercial CD released in Japan.)

* June 1983: 12 CBS titles, 15 Telarc titles, 30 Denon titles (First
US CD releases. All CDs sold in the US previously had been import
titles pressed for overseas labels. These were still
manufactured overseas, but for US labels.)

* August 1983: Polygram releases 100 titles in the US

* September 1984: Bruce Springsteen - Born In The USA (First CD
manufactured in the US.)

According to Clinton Heylin in his book Bootleg: The Secret History Of
The Other Recording Industry:

* 1987: The Beatles - Get Back acetate, BBC sessions, and Sessions
(Probably the first genuine bootleg CDs; a young entrepreneur
convinced the Technotronics pressing plant in Philadelphia that he
worked for EMI and needed these three CDs pressed in quantities of 500
each as "promos". They did it! He sold most of them for $100 each at
the 1987 Beatlefest.)

* Late 1987: Bob Dylan - The Gaslight Tapes (First "protection gap"
bootleg; i.e., an unauthorized release legal in some countries but not
in others because of differences in
international copyright laws.)

C003 I have a mispressed CD -- it's supposed to be by Artist X but it
plays a completely different album. Is it worth anything?

As mentioned elsewhere, any item is worth pretty much what you can
convince someone else to pay for it. At the moment, there doesn't seem
to be any real collector interest in mislabeled or mispackaged CDs --
among other reasons, they're far too common. In most cases you're
better off taking it back to the store for a new copy.

C004 Why is it illegal to rent out CDs but legal to rent out
CD-ROMs?

The law doesn't say anything about CDs per se, but rather about "sound
recordings" and "computer programs". The relevant section of US
copyright law is 17 USC 109:

[A person who owns a particular copy of a sound recording or computer
program is not allowed] for the purposes of direct or indirect
commercial advantage [to] dispose of, or authorize the
disposal of, the posession of that phonorecord or computer program
(including any tape, disk, or other medium embodying such program) by
rental, lease, or lending...
-- 17 USC 109 (b)(1)(A)

This subsection does not apply to [...] (ii) a computer program
embodied in or used in conjunction with a limited purpose computer
that is designed for playing video games and may be designed for other
purposes.
-- 17 USC 109 (b)(1)(B)

In other words:

* Renting out sound recordings is a violation.
* Renting out CD-ROMS for home computer systems is a violation.
* Renting out CD-ROMs for home videogame systems is not a violation
(there's a specific exemption).

The law prohibiting rental (17 USC 1101 as far as I can tell) applies
to sound recordings -- the format doesn't matter.

C005 Where does my money go when I buy a CD?

The Washington Post ran a report on this subject on February 15, 1995.
Based on information from the RIAA, Billboard Magazine, and elsewhere,
they broke down the $11.99 street price of a typical hit new-release
CD as follows:

$ 2.00 Record-label profit + Executive salaries
$ 1.40 New artist development
$ 1.15 Distribution
$ 1.10 Manufacturing (CD + artwork + jewel case)
$ .85 "Other"
$ .80 Performer royalties
$ .65 Songwriter royalties
$ .65 Advertising and promotion
$ .35 Producer
$ .30 Recording costs
$ .25 Music videos
$ .20 Managers and lawyers
$ .10 Artist pensions
------
$ 9.80 Wholesale cost to retailer
+
$ .95 Miscellaneous retailer expenses
$ .90 Store personnel salaries
$ .75 Rent
------
$12.40 Total cost to retailer
$11.99 CD price at retail
$ .41 Loss to retailer

These figures make it clear that everyone but the label is getting a
royal screwing. Label profit, salaries, distribution (usually
label-owned), manufacturing (label-owned again), and "other" (a.k.a.
"hookers and cocaine for the label VPs") add up to $6.50/disc -- or
more than half of a CD's retail price. The people who actually make
the music (the performers, songwriters, and producers) get less than a
third of that.

C006 What's the longest CD ever pressed?

To date, the longest CD reported is "Gridlock! CD-2", a DJ-only remix
compilation issued by the US DJ label Razormaid. This CD clocks in at
80:16. In future issues of this FAQ I'll try to list the next five or
ten runner-ups.

Vinyl Questions

V001 What is an RCA "Shaded Dog" record? Why are they so valuable?

RCA's "Shaded Dogs" are their LSC-series (Living Stereo Classical) LPs
from the late 1950s and early 1960s -- the term "shaded dog" refers to
the painting of Little Nipper on the label of these records, which has
a shaded background on a red label. This series was very exactingly
recorded and is in demand primarily among audiophiles who actually
want to listen to these excellent-sounding performances. The mere
presence of a "shaded dog" on the label doesn't automatically make it
valuable; since these are sought out for listening purposes, condition
is extremely important and some pressings (identified by the matrix
number in the runout groove) are in higher demand than others.

This is definitely a specialist's market. If you're interested in
dipping your toes, a book by Jonathan Valin called The Living Stereo
Bible describes the series in more detail.

V002 What is a test pressing? Are they collectable?
[David A. Pearlman answers:]

Test pressings were issued for many albums issued from the late '60's
through the early '80's. Typically, a small number (very rarely over a
few hundred, frequently fewer) test pressing copies of an album would
be pressed. These were obstensibly for use only by record company
personel, the artist, and/or for advanced promotion. The exact numbers
of test pressings issued varied both with the particular release and
with the label. By the mid '80's, the vinyl test pressing had
generally been replaced by advanced copies on cassette tape.

Test pressings are generally identical to their commercial
counterparts except that the label is different. In some cases, the
label will describe the contents. In most cases, it will simply list
the pressing plant where the test pressing was made. Most test
pressings were originally issued in generic white sleeves, usually
with a Xeroxed copy of the track listing, label information,
producer,publishers, etc. included. Over the years, these Xeroxed
information sheets tend to get lost, so many test pressings are found
without them.

Although most test pressings simply replicate commercially available
material, there are occasional test pressings which correspond to
music that was pulled from issue at the last minute (but after the
test pressings were distributed). These tend to be much more
desirable.

The value of test pressings vary widely. Test pressings for albums by
groups of little collectable interest can usually be obtained for
between $2-10. Test pressings for collectable artists/albums can cost
much more.

V003 Why is the Caine Mutiny soundtrack worth ten thousand dollars or
more?

The soundtrack album for the film The Caine Mutiny is extremely rare,
with possibly less than a dozen copies in circulation. The album was
pressed but never released; extant copies probably slipped out through
label executives and other label employees. Author and playwright
Herman Wouk explained the circumstances behind this release's scarcity
in the following letter to a collector, Mr. John Clark:

Dear Mr. Clark:

Here's the approximate story on LOC-1013 seen from a memory
perspective of a quarter of a century:

My play THE CAINE MUTINY COURTMARTIAL made a great hit on Broadway
while the film was still being completed. Columbia Pictures hastily
rushed out this record to cash in on the play's success. I never saw
the record or its slipcover, but I was warned that they intended to
feature the "courtmartial scene" from the picture soundtrack; the
shoddiest possible piggyback ride on my play.

I am a man of peace, but this annoyed me. I telephoned the brutal,
crafty, able head of Columbia Pictures, Harry Cohn, and warned him
that the issue of this record meant that Columbia Pictures would never
again have an opportunity to bid on one of my novels for filming. Cohn
looked into the matter, called me back, and said in his tough gravelly
voice, "I've got you beat on the legalities, but I've listened to the
record and it's no goddamn good, so I'm yanking it."
Thus was born your collector's item.
Cordially,
Herman Wouk (signed)

This document is Copyright 1995 by Ernie Longmire (Lazlo Nibble).
Permission is granted to download/print out/redistribute/establish WWW
links to this file provided it is unaltered, including credits and
copyright notice. Please ask for permission before publishing this
document(in print, off the Web, and/or for profit) or altering the
file for publishing on the Web.
Thanks to the following for help and suggestions:
David A. Pearlman 
Andrew Russ 
Jim Saxe 

Part II
How can I avoid getting ripped off when buying vinyl on the net?
Made possible by the contributions of the following:
backtrac45@aol.com  (Tim at BackTrac Records)
paula@houseofmusic.com  (Paula at Paula's House of Music)
VinylOnly@aol.com  (Fred Walker)
vinylot@panix.com  (John Hall)
normk@cts.com  (Norm Katuna)
rldarrah@unity.ncsu.edu  (Randy Darrrah)
toka@druuna.tky.hut.fi  (Tomi Kause)
steves@pluto.njcc.com  (Steven Szep)
cyteen@ix.netcom.com  (Susan Murray)

We hear too often accounts of unsuspecting buyers being taken for
$100s by unscrupulous individuals posing as dealers. If you follow the
suggestions below, your chances of getting ripped off will be greatly
reduced.

1) Before buying from someone who represents themselves as a record
dealer, ask for references -- and check them! This is the most
effective safeguard recommended.

2) Ask for opinions from the readership of rec.music. marketplace.
vinyl and/or rec.music.collecting.vinyl of the dealer you are
considering doing business with. Does the dealer come through with
good products in a reasonable amount of time after payment is
received? Are the records packaged and shipped with care?

3) Check the dealer's return policy and make sure that you may
return damaged or misgraded product within a reasonable amount of
time. Don't expect a dealer to accept returns weeks after the fact or
accept returns simply because you don't like the record you ordered.
The buyer has a resposibility to do his/her homework.

4) Dealers who regularly post are a safer bet than those who simply
lurk and respond to WTB (Want to Buy) advertisements. If you are
posting WTBs for pricey LPs or memorabilia, be particularly careful of
lurkers.

5) If you are the least uncertain about a dealer's authenticity, get
their phone number and speak to them. If the record in question is
expensive, ask the dealer to play it on the phone for you. Trust your
"bullshit-o-meter"!

6) Pay by credit card if possible. You have recourse with your
credit card company if you are defrauded. Remember, however, some
smaller dealers do not accept credit cards, and that fact does not
imply they are dishonest. Just be sure to follow 1 through 5 above.
Checks are easier to trace than money orders, and it is worth the
extra wait (usually a business week) for the check to clear. Tracing a
money order can be difficult.

7) Dealers who have permanent web pages or space provided by
"malls," are a safer bet than those who don't. Setting up shop on the
net indicates a degree of permanance and commitment.

8) ALWAYS send checks and money orders using the postal system,
rather than Federal Express or UPS overnight. You have recourse with
the postal inspector using the USPS; otherwise, you have none. And
never fall into the trap of using someone else's FedEx shipper number
to send funds. If you are in a hurry, then use Express Mail or pay by
credit card. Most credit card transactions clear
within 48 business hours. If a substantial sum is involved, spend
the extra $2 plus change and send the payment "certified mail, return
receipt requested." If you are outside of the US, please check with
your postal service for details on your country's laws covering postal
fraud. It is beyond the scope of this FAQ to cover every country's
postal regulations.

9) If you still have some doubts, ask that your package be shipped
COD, either with UPS (preferrable) or the USPS. Don't expect the
dealer, however, to pay the COD charges.

10) While there are many reputable dealers using America OnLine
(aol.com), AOL makes it very easy for anyone to hide behind "screen
names," and it is almost impossible to uncover the identity of an AOL
user. "Starshoppe@aol.com" is a known scam artist.

Shipping Considerations

After your've done your homework and feel confident you are doing
buisiness with a reputable dealer, then you need to ensure your
package arrives safely.

1) Always buy insurance when using the postal service. This small
investment (usually $0.75) is prudent. Don't assume the dealer will
automatically mail with insurance. Always specificy insured mail.

2) You can avoid the "I shipped it!" claim from a dealer (who may or
may not have done so) with a request for shipping with a "merchandise
receipt" from the postal service. The dealer will receive a card back
from the post office with a signature indicating who received the
package. This extra protection costs $1.20 and can be used with
international orders also. Alternatively, you can
have your package shipped UPS groundtrac. This option includes $100
of insurance and the ability to track the package. Expect to pay $5-$6
in shipping charges per order for these extras within the US. Most
dealers will ship international orders with the USPS as UPS simply
cannot compete in price.

3) Make sure your packages are being shipped in appropriate sized
mailers with pads. Mailers are a cost of doing business and a
professional dealer would never dream of not using one. 78 rpm records
must be shipped with additional protection in the form of shredded
paper, styrofoam peanuts or other packaging material. Air-popped
popcorn makes a cheap and enviromentally-friendly stuffing
between bundles of 78s!

Final caveat: There's really no recourse against dealers who have
not come through with a "bootleg" record. (The use of the term
'bootleg'implies a record which would be illegal to sell in the
country of origin because of copyright infringement or other reasons.)

By following the sage advice outlined above, your risk of being
ripped off when buying vinyl on the internet will be greatly reduced.
Thanks to all of the regular contributors to r.m.c.v. whose ideas have
made this FAQ possible.

Copyright 1996 Susan Murray. This FAQ may be freely distributed
without modification. Additions, corrections and comments may be sent
to cyteen@ix.netcom.com.

----------------------------------------------------------------------

From: paula@xyhouseofmusic.com (Paula(Oldie but a Goodie))
Newsgroups: 
rec.music.collecting.vinyl,rec.music.marketplace.vinyl,rec.music.collecting.cd,
rec.music.marketplace.cd,rec.music.collecting.misc,rec.music.marketplace.misc
Subject: FAQ: Collecting Terminology
Date: Thu, 13 Jan 2000 15:06:36 GMT
Organization: Paula's House of Music 
Lines: 740
Message-ID: <387fe9f7.4535471@news.door.net>
X-Complaints-To: newsabuse@supernews.com
X-Newsreader: Forte Agent 1.5/32.452
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Xref: news.infoave.net rec.music.collecting.vinyl:30018 
rec.music.marketplace.vinyl:101285 rec.music.collecting.cd:12747 
rec.music.marketplace.cd:72717 rec.music.collecting.misc:8774 
rec.music.marketplace.misc:41677


*********************************************
FAQ:  TERMINOLOGY FOR THE VINYL NEWSGROUPS
Updated 7/11/98
*********************************************
This is a list of definitions and abbreviations for
rec.music.collecting.vinyl
and rec.music.marketplace.vinyl

This will be cross-posted to rec.music.collecting.vinyl and
rec.music.marketplace.vinyl once a week

The current version of this file is also available online at:
http://www.houseofmusic.com/faqmenu.htm

Additions and corrections to: normk1@xxhome.com (when writing, remove
the xx from the address )
Norm Katuna P. O. Box 80154, San Diego, Ca.  92138

Thanks to the following individuals for their additions and help:
Randy Darrah, Tim at Back-trac records, Susan Murray ,Tapio Keihanen,
John Hall at vinylot, Mike Murray, and a big thanks to Michael Biel.

This will be broken up into two sections.  Part one:  Terms and
definitions and part two:  Abbreviations.

PART ONE:  TERMS AND DEFINITIONS

These are terms and definitions that are common and not so common to the record 
collecting and record selling community.  If you have any additions or 
corrections please e-mail me at the address at the end of the FAQ.

Styrene (properly, Polystyrene).  Hard, relatively inflexible plastic used to 
press records, mainly 7-inch singles, mainly using the Injection Moulding 
process.  The material is heated to a liquid form and is then squirted or 
injected into the closed stampers in the press.  This requires that the labels 
be either glued or painted on after the record leaves the press.  The cost 
savings to the manufacturer comes from the extended life of the stampers because 
of the lack of a heating cycle to the stampers.  The material can also be reused 
without noticeable change to its moulding properties.  Styrene records will 
therefore usually have very quiet surfaces when found in an UNPLAYED Mint 
condition, but unfortunately they will wear to a noisy condition rapidly, 
especially if played with a bad stylus or an improperly tracking tonearm.  They 
also are more prone to Cue Burn.  The Columbia Records Pittman, New Jersey 
pressing plant was once the major source of Injection Moulded Styrene pressings, 
and pressings from this plant are found on MANY small labels.  Look for the 
glued-on labels.  Painted-on labels can be found on records from the 
Amy/Bell/Mala group.

Vinyl (properly Polyvinyl Chloride).  Relatively flexible material used since 
the early 1930s to make non-breakable records.  Its fumes are an acknowledged 
carcinogen, so don't breathe in deeply when you have your next holy burning of 
Beatles or back-masked devil-worship records. :-)  Usually pressed by 
Compression Moulding which allows the label to be an ntegral part of the 
pressing itself.  This process also requires that there be extra material which 
spills out the sides of the press, therefore this extra material is routinely 
ground up and re-used.  Because vinyl does not re-heat and re-cool to a smooth, 
glossy surface, the excessive use of "re-grind" mixed in with Virgin Vinyl can 
account for the inherently noisy surface of even Unplayed Mint examples of the 
cheap pressings that some record companies used.  Noise can be seen AND HEARD by 
looking at and/or playing the un-grooved surface of the lead-in and lead-out 
areas.  If this area looks or sounds grainy, then the grooves will also have 
some of this grainy background sound.  The stampers used for the compression 
moulding process will start to break down after only 1,000 pressings because 
they are forced to expand and contract when heated by steam at the start of the 
pressing cycle and then cooled to solidify the record.  Some companies routinely 
overused their stampers for their pop record series.

Dynaflex.  Ultra-thin pressings of high-grade Virgin Vinyl introduced by RCA 
Victor in late 1969.  Although considered crap by most collectors because they 
do not seem flat when held, they actually have much quieter surfaces then most 
of the popular records pressed by RCA in the mid-to-late-1960s due to the 
extraordinarily high percentage of Re-grind Vinyl used in all but its Red Seal, 
Vintage Series, and Original Cast pressings.  Dynaflex was also less prone to 
breakage and permanent warpage in shipment.  Its lighter weight reduced shipping 
costs and allowed for the use of a higher grade of Vinyl because less material 
was required. They were supposed to lie flat on the turntable due to their own 
weight, but RCA forgot that many people had changers with 8-inch turntables!

Dynagroove.  Record cutting system introduced by RCA Victor in 1962 that 
supposedly reduced tracking distortion by computer controlling cutting 
characteristics to overcome the imagined faults of playback equipment.

Considered a disaster by everyone except the New York Times writer Hans Fantel 
who wrote the blurb inserted in all of the early pressings, it brought the 
golden age of RCA Victor Living Stereo to a screeching halt. Because there is a 
possibility that this system was used on later re-masterings of the early Living 
Stereo records, collectors try to obtain only early pressings of these 
masterpieces--usually called "Shaded Dogs."  The words "Stereo-Orthophonic" are 
on the record label and sometimes the cover of the "good" Living Stereo albums.

Acetate/Lacquer--Is usually a reference cut that is made on ultra high-grade 
methyl cellulose sprayed onto thick aluminum discs. Reference acetates are 
primarily to make certain the record will sound somewhat like the tape. Often 
they are also made to allow a club or radio disc-jockey to play the music on 
turntables before it has been pressed as a normal record.  Acetate is a 
misnomer.  It is actually a Lacquer, but since so many people call these 
acetates, both will be used here.

Alternate take--At a recording seesion more than one take (recorded version) may 
be kept on file for future use.  What is considered the best take at the time is 
usually used for the commercial release.  Sometimes a different take is used for 
a compilation album or in really rare cases the first recording that was issued 
is pulled and an alternate take from the same session is used.  When this 
happens a lot of people will think "There is something different about that 
song."  This was done with a 50s record from Whirling Disc records. It was 
Whirling Disc 107 and the songs were "I Really Love You"/"What Do You Do" by The 
Channels.  After a couple of months in release, Bobby Robinson (the owner) for 
whatever reason, used  two different takes (one for each side) from the same 
session for subsequent releases.  Anyone that has heard both records (I have 
both) can tell the difference between the two in a minute.  The most famous of 
all is the Bob Dylan, "Positively 4th Street" 45 on Columbia.  For some reason, 
some copies of the commercial 45 were issued with a version of "Can You Please 
Crawl Out Your Window" instead of "Positively 4th Street".  The funny thing is 
that Dylan's next release on Columbia "Can you please crawl out your window" was 
a different take than the mistake on "PositivelyÉ".

Test pressing--A "true" test pressing is sent back to the cutting engineer, 
producer and sometimes the perfomer, to confirm that the pressings will sound as 
intended.  Most TP's are really just early pressings, frequently without artwork 
of any kind, and they are serviced to whoever as early promo's. In many cases 
this was done to rush the record out to radio stations to try and get immediate 
airplay before the complete label could be finished.

Original Label--This refers to the company that first issued a certain record. A 
lot of times small labels will have a record that will become very popular and 
they cannot meet the sales demand.  In a lot of cases the master is sold or 
leased to a larger record company and the record is released on the larger 
company's own label.  Also look at the small label examples under "Reissue." All 
of these fall under "Original label."

First Pressing--The way the record first came out on a certain label. Examples: 
The first pressing of "Sixty Minute Man" by the Dominoes came out on Gold top 
Federal.  The first pressing of "Church Bells May Ring" by the Willows came out 
as "Church Bells Are Ringing" and all that was changed a few weeks later was the 
title.  The label design and color remained the same.

Reissue--There are several types of reissues.  There is the budget reissue. This 
falls into the K-tell, design, forum and etc labels.  These are discount labels 
that got the permission to use the original master to issue songs (usually hits) 
later as discount compilations.  Then there is the reissue that is just a later 
issue that isn't a budget item.  Labels that can fit here are: Collectibles, 
Eric, Rhino and etc.  And then there is the other type reissue.  A record that 
was originally pressed on a small label (see Original label above) and then was 
picked up by a major or by a big independent.  Examples: Question Mark & The 
Mysterians--"96 Tears". First recorded for Pa-go-go.  It was picked up by 
Cameo/Parkway and reissued on Cameo. "At The Hop", Danny and the Juniors--
original on Singular with a count-off intro.  It was then picked up by ABC 
Paramount and the intro was deleted.  "Short Shorts", the Royal Teens--original 
on Power but the hit was on ABC Paramount after ABC picked it up from Power and 
reissued it on their own label.  The Motley Crue's first album originally came 
out on Leather and then was picked up and reissued on Elektra.







Re-release--A record that was out of print for a certain period of time and the 
original company decides to put it back into their catalog of available items.

Re-number--Taking a currently available record and re-numbering it.

Re-recording--A song that was originally recorded by an artist for one label and 
then was re-recorded and issued later by another label (Sometimes the original 
label will record the same song by the artist years later). Examples: Roy 
Orbison and the Teen Kings.  "Ooby Dooby"--originally recorded for Je-wel 
records and was later re-recorded and issued on Sun.  Penguins--"Earth Angel 
(Will You Be Mine)"--Originally recorded by the Penguins and released by Dootone 
records.  Re-recorded and issued later on Mercury.

Revision/RE--To RCA Victor it means that something was revised, a credit was 
changed, the layout of the cover was changed, something simple like that. 
Sometimes the first pressings of the record has an RE.  They did their changes 
even before issuing and felt it important enough to note it. You see things like 
this in the RCA files.  This is the meaning of RE on the back of some of the RCA 
albums.

Cover--The same song issued by another artist at about the same time as the 
first record.  This was done to "cover up" or take away sales from the first 
record.  Timeliness was important in issuing "cover" records.  Many times in the 
50s the "cover" record was by a white artist "covering" a song by a black artist 
or black group.  If the white artist or group was successful, the black artists 
record either died, or did not sell very well outside R & B circles. Examples: 
are:  "Sh-boom" The Chords covered by the Crew-Cuts.  The Crew-Cuts far outsold 
The Chords.  "Wheel Of Fortune by the Cardinals  was covered by Kay Starr. Starr 
far outsold the Cardinals.

Remake--A song done later-on by another artist.  This was not timely enough to 
be called a "cover" record.  Examples:  "Hound Dog" Big Mama Thornton remade a 
few years later by Elvis.  "The Train Kept a-Rollin', orignally by Tiny 
Bradshaw.  Remade a few years later by the Rock'n Roll Trio.  Remade again in 
the mid 60s by The Yardbirds.  "Louie Louie" Richard Berry in the mid 50s. 
Remade by the Kingsmen in the early 60s and then by 9 million other artists.

Master #s/Matrix #s.  These terms (interchangeable) are used for the side 
identification # for each side of a record.  It is usually printed on the label 
and is also in the dead wax of a record.  I think it was also the catalog # 
given to each recorded song of a record label.  RCA, Columbia and Epic had 
special alphabetical prefixes for their master #s.

Dated master #s.  Some labels for a time put a date at the beginning of their 
master #s.  This would show the releases for that year.  The next year would 
start at the bottom of the numbering sequence.  Labels that did this were:  VJ, 
Tollie, M-G-M and Cub. RCA also did this from the late 40 to the early 60s. They 
used a letter and a # to denote the date.  D8 would be 1948; E4 was 1954. In 
1956 they changed again with F being 1956, G being 1957 and H being 1958. And 
they skipped I for 1959.

Machine Stamped--A lot of labels used perfect die cut letters to put the master 
#s and pressing #s in the dead wax of their records.  This is different than the 
hand written #s that some companies used.  In a lot of cases this can be used to 
a certain degree of certainty in determining a counterfeit with U. S. pressings. 
Some companies that had machine stamped master #s  were:  RCA, Decca, Coral, 
Brunswick, Capitol. Columbia, Liberty, Laurie and Rust.  Atlantic had the #s 
usually hand written, but somewhere in the dead wax had AT---machine stamped, 
but once in awhile it was handwritten.

Lead-in groove.  This is the silent area at the beginning of a record.

Cue-up area--This is the area where a disc jockey "cues up" the record so that 
the music will start as soon as he starts the turntable.  With the stylus on the 
record the disc jockey moves the record back and forth over the same area to get 
the desired start-up point.

Cueing scratch/Cue burn--A common phenomenon with 45s that were cued-up by disc 
jockeys.  In most cases there is either a hiss or a loss of fidelity in the 
first few revolutions of the record.

Dead Wax--Also known as the trail-off groove and lead-out area. Also known as 
the run-off area. The area between the end of the recording and the label.

Delta #-- In July of 1954 an independent pressing plant in Los Angeles, called 
Monarch Records started putting a Delta (triangle) with a # next to it in the 
dead wax of each record that they pressed.  This is the way that they kept track 
of the order of items pressed.  Each side had it's own Delta #.

Repaired Seam---In a lot of cases the edge seam on album covers, EP covers and 
picture sleeves become split.  This is a designation to show that this has been 
repaired.  Sometimes this is done by gluing the ends together and sometimes tape 
is used to close the split.

Colored wax (this is actually colored vinyl)--Several companies in the early 50s 
used color vinyl on some of their 45 issues.  These are normally a lot rarer and 
more sought after than the normal black vinyl release. Some examples: King--
Blueish green for its R&B series, and red vinylfor its maroon label country 
series. Federal--Same blueish green vinyl as King Chance--Red vinyl Vee Jay--Red 
vinyl Gotham--Pink vinyl Jubilee--Red vinyl Imperial--purple vinyl And the most 
famous of the 60s labels to issue white label promos on colored wax.  Columbia 
with the following known colors:  Red vinyl, green vinyl, blue vinyl, yellow 
vinyl and purple vinyl.

Timing strip--This is usually found glued to the front of promo copies of 
albums.  This shows the song titles and playing times for each cut on the album. 
These can take up a small space at the bottom of an album or can take up to half 
of the album cover at the bottom.

Gatefold--An album cover, EP cover or Picture sleeve that opens up like a gate. 
Sometimes has records that fit in both open ends.

Vinyl Junkie--A record collector that has the collecting fever so bad that 
nothing else really matters.  He/she plans his/her vacations around looking for 
records.  He/she spends his/her weekends going to the usual swap meets, garage 
sales and record meets.  He/she spends hours on the phone and internet with 
fellow record collectors.

Lunched--A term used by the old time R & B collectors to denote a record that is 
so beat up that it has no redeeming value.  This came from seeing a record that 
was so trashed that you thought somebody tried eating it for lunch.

Break-in record--A record that usually has a story line and has a lot of 
segments of different records mixed in.  In most cases the records used are 
current of that time period.  This form was first popularlized by Bill Buchanan 
and Dicke Goodman otherwise known as Buchanan and Goodman.

Answer record--A record that is usually a response to another record, usually a 
hit.  This is usually done by a different artist, not by the original artist. 
Examples:  "Duke of Earl"---"Duchess of Earl";  "Mother in-law"---"Son in-law"; 
"Oh Carol"--"Oh Neil","A Boy Named Sue"---"A Girl Named Johnny Cash" and so on.

Kiddie Record--These were usually records that were put out for children by the 
big labels.  In the early 50s they came out in both 45 and 78 form. RCA had the 
"Little Nipper" Series.  Decca had the "Children's Series"  and Capitol had the 
"Bozo Approved" series and the "Record Reader" series where you followed along 
in a booklet attached between the covers, and read along while the record 
played.  RCA also had versions of this.

Bootleg-- (Bootleg is also incorrectly and improperly used as a synonym of 
counterfeit and reproduction).  An illegal pressing of a record that was 
recorded at a concert and does not have the band or record company's permission 
to do so. Can also be used to describe illegally pressed music from a company's 
vaults that was acquired without the record company's permission. The term was 
also used with 50s and 60s 45 rpm collectors as exact reproduction and forgery.

Counterfeit--also known as bootleg, also known as a repro--(Bootleg and Repro 
are commonly used but wrongly used terms)This is a record that was illegally 
remade to look and sound like the original issue.  This is usually done by 
making a tape of a regular pressing of an original copy of one of the records 
and then pressing this up on vinyl.  Most of these types are made up to look 
exactly like the original with the same artwork and label design.  The 
counterfeiter does not show any distinction between his forgery and the original 
(Once in awhile the bootlegger will make a subtle change to the label to let 
collectors know his record is in fact a counterfeit--Henry Mariano used to 
scratch in the current year into the deadwax of his counterfeits).

Repro---Reproduction--Same as Counterfeit.  An exact copy of a record done 
without permission of the original record company or without permission of the 
owner of the master recording.

Radio Spots--Promotional Adverstising records that went to radio stations. These 
were mainly records that had a few one minute (or so) spots plugging a product 
or even a current movie.

Studio Tracks--Film or cast music which has been re-recorded [i.e. not an 
"original soundtrack" taken directly from the film/cast, even if featuring the 
same cast, musicians or orchestra 



PART TWO:  ABBREVIATIONS

These are abbreviations that are usually used in shorthand notations for certain 
terms on auction and for sale lists.

BB hole/Drill hole--A small hole that looks like a bb hole, that denotes a non-
returnable record.  If there is a record and cover involved it usually is 
through both.  Sometimes the term CO or cutout is used for the same thing. 
Sometimes a punch hole was used to designate a promo.  Capitol would sometimes 
use a half inch hole for this and then at another time used small holes that 
spelled out free, for this purpose of promo designation.  In regards, to the 
Capitol promo the large hole and the small holes saying Free were through the 
cover only.

CC--Cut corner.  One corner of the cover of an LP or picture sleeve has a 45-
degree corner cut to denote that a record cannot be returned for credit. Again, 
can be called a cutout.

C&W--Country and Western

CVR/REC--This is a designation to show the grade of a record and cover together. 
This is for Albums, 45s and pic sleeves,  EPs and covers, Compact 33s and 
covers.  The general useage is for Cover first and then the record. An ad 
without the designation, that has two grades, one for a cover and and one for a 
record, should have the default as CVR/REC.

EP--Extended Play. Usually a 7 inch 45 record with 2 or 3 cuts per side.  There 
are also 12" inch EPs with 2 or 3 cuts per side and there are also 7 inch 
compact 33 EPs.

E.P.--Shorthand for Elvis Presley.

FOC---Fold out cover.  Another way to show a gatefold cover.

FS:---For sale.  The preferred beginning of a header in 
rec.music.marketplace.vinyl  when listing an item or items for sale.

G/F--Gatefold (Usually with LPs and double EPs)

LP--Long Play--Usually used for 10" and 12"  33 1/3 record albums.

M/S--Mono/stereo.  Starting from around 1963 on, to denote a promo 45 that had 
the same song on both sides but mono on one side and stereo on the other.

NAP--[not affect play] refering to minor scuffs or scratches on vinyl that do 
not cause any noise during the playing of the record.

N/R--Non returnable.  Some companies most notably stamped their 45s and albums 
with N/R to show records that could not be returned for credit. The most famous 
of these were on  Cameo/Parkway 45s and LPs. These records with those 
designations usually showed up at over stock and cutout sales at discount stores 
such as:  Woolworth's, Thrifty Drug, Zody's, SS Kresge, K-mart and Akron.

Promo-- Promotional.  Can also be designated as DJ, Disc jockey, Audition, Not 
for sale, Preview copy, Demo, Demonstration copy.  These were records that the 
labels are usually a different color than the regular issue and have these 
designations to show that these records were free or at a reduced price to DJs, 
radio stations, record reviewers and the like and that they cannot be returned 
for credit. These designations are part of the label from the factory or 
pressing plant.  Most promos are of the white label variety.  But some companies 
had different colors.  For example (and these are for 45s only): Atlantic--White 
Coral---Blue and Yellow Decca--Pink and for a short time green Brunswick---
yellow Capitol--Yellow in the early 50s and then white in the mid to late 50s. 
Capitol--blueish green in the mid 60s.  They also had red label promos for a 
short period in the very late 50s and very early 60s.

PS, pic/slv--Picture sleeve, usually in conjunction with 45s.

R-A-B--Rock-a-billy

R&B--Rhythm and blues

RI--Reissue

Rivitted--A small brass rivet that was placed on the corner of an album cover to 
denote a cut-out.

R 'n' R--Rock and Roll

RW---Ring wear, usually referring to picture sleeves, album and EP covers.

S or ST--A stereo issue

SCR---A scratch on the record

SCU--A scuff on the record.  Scuffs are usually cosmetic and usually don't cause 
noised on the record.

SLT/WRP---A small warp that usually doesn't cause any problems with record play 
but is noticeable when the record is spinning.

SLV---Sleeve.  Usually used in conjunction with PIC, as in Picture sleeve.  and 
also be used with a title sleeve and now with a record company's stock logo 
sleeve.

SM---Saw mark.  Another method record companies used to show a cut out.

SOC--Sticker on cover.  Also used for a tag

SOBC--Sticker on back cover.  Also used for a tag

SOL--Sticker on label.  Also used for a tag

SPLT/SM or SM/SPLIT--Split seam or seam split.  Is sometimes used in conjunction 
with % to indicate how much of a seam split.

SS--Still sealed--This should be used with factory sealed records, but a lot of 
people use this for any sealed record, including reseals.  There are a lot of 
used record stores that have there own shrink-wrapping machines, and if nobody 
asks they let the customer think that the item is factory sealed when in fact it 
could be a scratched record that was resealed.

Stamped promo--These were copies of a record that were issued with the regular 
stock label but had "promo" or such designation stamped on the label after the 
fact.

TOBC--Tear on back cover

TOC--Tear on cover

TOL--Tear on label

TAPE/OBC--Tape on back cove

TAPE/OC--Tape on cover

TAPE/OL--Tape on label

T. P.--Test pressing

TS---Taped seams.  Usually meaning a tape repair of a seam split

WLP--White label promo.  The most common designation for a promo record.

WOC--Writing on cover

WOBC---Writing on back cover

WOL--Writing on label

WSOBC--Water stain on back cover

WSOC--Water stain on cover

WSOL--Water stain on label

WRP--Bigger than a SLT/WRP and can cause the needle to jump on light tracking 
machines or just plain looks bad as the record is spinning.

WTB:---Wanted to buy.  The preferred beginning of a header when looking for 
items to buy in rec.music.marketplace.vinyl

WTD:---Wanted.  The beginning of a header in rec.music.marketplace.vinyl  that 
shows an item is wanted.  It can mean that item is to be purchased or traded 
for.

2P, 3P etc--Second pressing, third pressing and so on.

%CT--Shows the percentage of a torn album cover, picture cover or E.P. cover.

%LT--For a Label tear, and showing how much of the total in percentage of the 
label that is torn.

------------------------------------------------------------------------------
       This document is Copyright 1998 by Norm Katuna
Permission is granted to download/print out/redistribute/establish WWW
links to
this file.
------------------------------------------------------------------------------

----------------------------------------------------------------------

From: paula@xyhouseofmusic.com (Paula(Oldie but a Goodie))
Newsgroups: 
rec.music.collecting.vinyl,rec.music.marketplace.vinyl,rec.music.collecting.cd,
rec.music.marketplace.cd,rec.music.collecting.misc,rec.music.marketplace.misc
Subject: FAQ: Resource guide for vinyl/cd/misc newsgroups
Date: Thu, 13 Jan 2000 15:06:42 GMT
Organization: Paula's House of Music 
Lines: 508
Message-ID: <3880e9fb.4539148@news.door.net>
X-Complaints-To: newsabuse@supernews.com
X-Newsreader: Forte Agent 1.5/32.452
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1
Content-Transfer-Encoding: 8bit
Xref: news.infoave.net rec.music.collecting.vinyl:30019 
rec.music.marketplace.vinyl:101286 rec.music.collecting.cd:12748 
rec.music.marketplace.cd:72718 rec.music.collecting.misc:8775 
rec.music.marketplace.misc:41678

RESOURCE List for the Vinyl and CD Newsgroups Record Collector's
Resource Guide
rec.music.{marketplace/collecting} Hierarchies

Last Update: July 13, 1999
See the end of this file for detailed copyright info

Additions, corrections, and inquiries to paula@houseofmusic.com
Paula Major, Lubbock, Texas

The current version of this file is available at:
.... http://houseofmusic.com/faqmenu.htm

or to receive this file by email, send a blank email to:
resource@houseofmusic.com

T P Uschanov's list of Web-accessable resources is available at:
http://www.helsinki.fi/~tuschano/records.html

PLEASE NOTE --
All entries to this guide are made at my discretion, including the
listings of electronically-accessable retailers. This is not an
advertising service. My inclusion of a retailer or service does
not imply that I recommend them, nor does my failure to include
one imply that I *don't* recommend them. -- paula@houseofmusic.com
-------------------------------------------------------------------------
::: Resources Listed In This Guide :::::::::::::::::::::::::::::::::::::::::::
-------------------------------------------------------------------------
R001 Periodicals
R002 Internet Mailing Lists (Collecting-Specific Lists Only)
R003 Record Shop And Convention Guides - Regional
R004 Electronically Accessable Retailers And Wanted/Forsale Databases
R005 Supplies
R006 Cataloging Software
R007 Bibliography
R999 Miscellaneous Information Sources

--------------------------------------------------------------------------
::: Collecting Resources :::::::::::::::::::::::::::::::::::::::::::::::::::::
--------------------------------------------------------------------------
R001 Periodicals

* BBC Classical Music (CD+magazine)
Tel: (800) 972-3700

* Goldmine music collector's magazine. Published biweekly. Lots of ads
and excellent in-depth editorial content.
Subscriptions $35/year; Free trial issues available.
Goldmine, 700 E. State St., Iola, WI 54990
Tel: (715) 445-2214,
FAX: (715) 445-4087
Subscriptions: (715) 445-3775 x257

* Discoveries magazine, published monthly. One year sub in the U.S. is
$21.00; airmail to Asia, Africa, and Pacific Rim is $114.00. Airmail
to Europe is $89.00. Surface rate anywhere outside US is $35.00. Fax
your subscription with MasterCard or Visa informatin to 800-531-0880,
or from overseas, to 319-588-0888.

Advertising information and rates: 800-480-0132 or 480-7111.
Overseas call 319-588-2073.
Editorial office: 922 Churchill St., Suite #1, Waupaca, WI 54981.
Editor: John Koenig email: jmkoenig@add-inc.com
Web site: http://www.csmonline.com/discoveries

* ICE (International CD Exchange)
In-depth news of interest to CD collectors, including comprehensive
new-release and reissue information. Monthly.
http://www.icemagazine.com/~ice

* Jazziz (CD+magazine)
Tel: (800) 274-9800

* Record Collector (UK monthly)
ÊÊÊÊÊÊÊÊ43/45 St. Mary's Road
ÊÊÊÊÊÊÊÊEaling
ÊÊÊÊÊÊÊÊLondon W5 5RQ
ÊÊÊÊÊÊÊÊEngland
--------------------------------------------------------------------------
R002 Internet Mailing Lists (Collecting-Specific Lists Only)

* Exotica (exotic vinyl from the 1950s and 1960s)
Email: majordomo@xmission.com
(with command "info exotica")

* MD-L (Sony's MiniDisc format)
Email: listserver@nstn.ca
(with command "subscribe MD-L [your email address]")

* Used-Music-Web (wanted and forsale listings, all formats)
http://cygnus.uwa.edu.au/~cpudney/usedmusic/
Mail-server
cpudney@cygnus.uwa.edu.au (Subject: HELP)
mailto:cpudney@cygnus.uwa.edu.au?subject=HELP
or
http://cygnus.uwa.edu.au/~cpudney/usedmusic/help.html
and a discussion list
http://www.listbot.com/cgi-bin/subscriber?Act=subscribe_list&list_id=usedmusic

--------------------------------------------------------------------------
R003 Online Record Shop And Convention Guides

WORLDWIDE

* Rotator Locator (by Jeff Davis; techno/ambient/dance focus)
http://hyperreal.com/music/rotator/

JAPAN--TOKYO

* Asian Pops CD Stores in Tokyo (by Hosokawa Tatsumi)
http://frig.mt.cs.keio.ac.jp/person/hosokawa/asian_CD_store_e.html

* Stomping Grounds: Club & Shop Guide (by Ele-Bugi Japanese Hip-Hop
Online)
http://www.eccosys.com/ELEBUGI/eb9510/stomping.html

* Tokyo Record Stores (by robbs@twics.com)
http://www.twics.com/~robbs/rekodoya.html

* Tokyo Soul Record Shop Guide
http://www.st.rim.or.jp:80/~sho-/SHOP-e.HTML

UK--LONDON

* UK-Dance Guide To London Record Shops (by Stephen Hebditch)
http://www.tecc.co.uk/public/tqm/uk-dance/features/shops.html
Email listserv@tqmcomms.co.uk with 'get uk-dance london-shops' in body

*Record Shops in London (by Tapio Keihanen)
http://www.iki.fi/dio/Lists/london.html

* Directory of UK online Shops
http://www.moremusic.co.uk/links/uk_shops.htm

USA--CALIFORNIA

* Los Angeles Record Shops (by Lazlo Nibble)
* San Diego Record Shops (by Lazlo Nibble)
http://www.swcp.com/lazlo/MusicResources.html
ftp://ftp.swcp.com/pub/users/lazlo/marketplace-collecting/

* The LP Lover's Guide To San Francisco (by Bruce Goldberg)
http://www.webcom.com/bg63/

USA--NEW YORK

* New York City Record Stores Guide (by William "Will-E" Perez)
http://www.hyperreal.com/raves/nyc/NYC.html

* Unofficial Guide To Music In Greenwich Village and More (by Bob
Gajarsky)
http://www.columbia.edu/~hauben/text/NYC.music_guide

USA--PACIFIC NORTHWEST
* Northwest Record Stores Guide (by Brian Eck)
http://www.eskimo.com/~eck/nw.music

USA÷Washington D.C. /Baltimore (by Gary M. Gettier)
* CD/Record shops in the Baltimore/Washington D.C. area.
http://www.erols.com/openmind/music/cdshops.html

CANADA * Music by Mail - Canada
http://www.musicbymailcanada.com

-----------------------------------------------------------------------
R004 Electronically Accessable Retailers And Wanted/Forsale Databases

* Further listings may be found at:
http://www.cs.clemson.edu/~junderw/music/onlinestores.html
http://www.yahoo.com/Business_and_Economy/Companies/Music/CDs__Records__and_Tape
s/

* ALH - Movies, Tapes and CDs
http://www.alh.tj/tapes/index.html,

* B's House Of Wax (primarily vinyl LPs and 45's,some music related
books, posters, and a small selection of CD's)
http://www.netcom.com/~bjkelley/bwax.html
Email: bjkelley@ix.netcom.com
Toll Free Telephone # 1-888-268-1104
Fax # = 1-864-268-1104

* CD Banzai (bootlegs, Japanese CDs)
http://www.lainet.com/~cdbanzai/

* CD Plus (Canadian)
Tel: (800) 263-4020 [valid throughout North America and Australia?]
http://www.cd-plus.com/music

* CDnow (CDs, videos, t-shirts)
http://cdnow.com
telnet:cdnow.com

* Compact Disc Connection (CDs, many imports)
1030 E. El Camino #322, Sunnyvale, CA 94087
http://ftp.cdconnection.com
ftp://ftp.cdconnection.com
Tel: (408) 985-7905
Fax: (408) 985-0464
BBS: (408) 985-8982

* Compact Discovery (specialize in used, out of print,imported, and
all new CD's. Want lists accepted)
http://www.compactdiscovery.com
Email: johnnyb@compactdiscovery.com
Compact Discovery
400 21st Ave.
Nashville, TN 37013

* DCL - House of Records (soul/funk/r&b/jazz vinyl)
Box 260834, Tampa, FL 33685
Email: dclabarr@gate.net
Tel/Fax: (813) 882-3929

* DIMAR DISCHI (current Italian releases, deleted items, all genres)
http://www.rimini.com/aziende/dimar
DIMAR DISCHI
Corso d'Augusto 49
47900 Rimini RN
Italy
Tel +39 0541 786292
Fax +39 0541 787233
Email dimar@rimini.com

* Ear/Rational Music (import/domestic CDs, esp. import dance music)
1592 Kilkenny St, Boulder, CO 80303-1646
http://www.xmission.com/~ear
ftp://ftp.xmission.com/pub/other/ear-rational/
Email: ear-rational@xmission.com [automated requests]
Email: ear@xmission.com [to reach a human]
Tel/Fax: (303) 665-3325

* Ellesdesia Online (house/techno/ambient/trance/triphop; search+id
service)
http://www.ellesdesia.nl

* Forever Vinyl (out-of-print vinyl from 1950s-1980s; search service)
http://www.exit109.com/~sneuman/fv.htm/
Tel: (908) 505-3646
Fax: (908) 505-5337
BBS: (908) 505-8420

* Golden Oldies (Seattle-area retailer; accepts wantlists)
http://www.accelerated.com/goldenoldies/
Email: oldies@ix.netcom.com

* Harvard Square Records (Sealed vinyl only, catalog available)
Box 381975, Cambridge, MA 02238
Tel: (617) 868-3385
Email: hsrecord@tiac.net

* HMV Canada (good source for Canadian music & video not out in US)
Tel: (800) 5678-HMV

* HotPlatters (rare vinyl and music related paper goods)
http://www.hotplatters.com
Email: HotPlatter@aol.com

* Intergalactic Garage (new imports, CDs/vinyl)
110 W. German Street, POB 3047, Shepherdstown, WV 25443
http://www.intrepid.net/igg/igg.html
Email: igg@intrepid.net [SUBSCRIBE in message body for weekly updates]
Tel: (304) 876-6818
Fax: (304) 876-9414

* Internet Music Wantlists (CD and Vinyl)
Email: wantlists@swcp.com [with HELP command in message body]

* MadCity Music Exchange at
http://www.madcitymusic.com/

* Nowhere (all formats, specializing in vinyl, accepts wantlists)
2016 Crompond Rd, Yorktown Heights, NY 10598
Email: nowhere247@aol.com
Tel: (914) 962-6274

* PastelBlue (UK-based search service)
http://www.demon.co.uk/pastel/
Email: search@pastel.demon.co.uk [with command HELP in message body]
Email: Mike@pastel.demon.co.uk [to reach a human]

* Paula's House of Music (out of print vinyl 45's, albums & 12"
singles all genres & years. Specializing in 50s and 60s. Want lists
accepted)
http://www.houseofmusic.com
Email: paula@houseofmusic.com
Phone: 806-793-0111
Fax: 806-793-0111

* Record Collector's Web
http://www.onramp.net:80/RecordWeb/record.html

* Recordings Unlimited (CDs/collectables; mostly alternative)
http:://www.recunltd.com

* ReCycled Music (All genres of primarily vinyl LPs, all guaranteed,
sold exclusively on the Net for over 2 years).
http://www.execpc.com/~jimeukey/
Email: jimeukey@execpc.com
Phone: 414-272-7446
no fax

* Sound City 2000, a/k/a Overseas Shopper, Simmons Overseas Shopper,
et al. Due to the number of complaints voiced about this company on
the net and to the Better Business Bureau, I cannot recommend you deal
with this company or with its owner Linda Simmons.

* TurtleTunes (We specialize in collectable and rare used vinyl from
the 50's through the 90's.
http://www.turtletunes.com
E-mail: deron@turtletunes.com
Phone: 410-620-0866
Fax: 410-620-0866

* VideoExpress (videos)
http://www.videoexpress.com
ftp://ftp.videoexpress.com
telnet:videoexpress.com

--------------------------------------------------------------------------
R005 Supplies

* Acoustic Sounds (VPI and Nitty Gritty record cleaners, etc.)
Tel: (800) 716-3553

* AGM Wordworking (CD storage)
Tel: (800) 858-9005

* Andy's Record Supplies (record sleeves, other supplies)
48 Colonial Road, Providence, RI 02906
Tel: (401) 421-9453
Fax: (401) 421-0841

* Bags Unlimited
Everything imaginable, in single units or bulk. Record sleeves,
CD/tape jewel cases, cleaning supplies, storage and shipping boxes,
you name it.
7 Canal Street, Dept. A, Rochester, NY 14608
Tel: (800) 767-BAGS
Tel: (716) 436-9006
Fax: (716) 328-8526

* Can-Am
Metal office-furniture style storage units. Best-known for their CD
drawers. 3-drawer units hold 800+ CDs; well-made but expensive.
Tel: (800) 387-9790

* Davidson-Whitehall (CD storage)
Tel: (800) 848-9811

* Hy-Q Enterprises (CD storage)
Tel: (800) 878-7458

* Leslie Dame Enterprises (CD storage)
Tel: (800) 261-4919

* Lorentz Designs (CD storage)
Tel: (800) 933-0403

* Lyle's Cartridges (phonograph supplies)
Tel: (800) 221-0906

* The Needle Doctor (phonograph supplies)
Tel: (800) 229-0644

* Something Special Enterprises (general collecting supplies, storage
& shipping boxes, record sleeves)
Tel: (412) 487-2626

* Sorice (CD storage)
Tel: (800) 432-8005
Email: soriceav@aol.com

* VPI (record cleaners)
VPI, Aberdeen Business Park, 77 Cliffwood Avenue, Cliffwood, NJ 07721

--------------------------------------------------------------------------
R006 Cataloging Software

CATraxx for Windows (shareware)
* Do you have a record collection you need to organize and catalog?
You find all the details (including how to download)
http://www.prodat.no/fnp/eng/

MASTER PAGES

* Music Collection Software Page
http://www.inch.com/~jasonh/cdclubs/dl.html

MACINTOSH

* CDMatica 1.1 (by Otto Krauth)
http://www.sfu.ca/~okrauth/CDmatica.html

WINDOWS

* ClassiCat (for classical music collections)
http://www.tdware.com/

* DiscTrak
ftp://204.118.131.125, get "DT-811.ZIP"
Tel: (206) 814-9676, get "DT-811.ZIP"
Email: Blam1@aol.com (Blaine Young)

* MusicFile 2.0
http://www.ixl.net/~gmarkl
Email: gmarkl@ixl.net (George Markell)

* Music Catalog
ftp://ftp.marcam.com/win3/pim/am_mu40.zip

* Recording Master
http://www.mbnet.mb.ca/~hobson/

--------------------------------------------------------------------------
R007 Selected Bibliography

* Bootleg: The Secret History Of The Other Recording Industry
By Clinton Heylin. Overview of the history and politics of
bootlegging.
ISBN 0-312-13031-7; hardcover $29.95.

* The Complete Introduction To Record Collecting
ISBN 0-9515553-8-3; Lstg. 14.95. (IBD Ltd; UK 1996)

* Goldmine's Price Guide To Collectable Records
ISBN 0-87341-325-3; softcover $19.95.

* McNally's Soundtrack Guide (?)
ISBN 0-964-3539-1-1; $29.95.
West Point Records, 24325 San Fernando Rd, Newhall, CA 91321
Tel/fax: (805) 253 2190

* Rockin' Records
By Jerry Osborne. Price guide.
Sun Ripe Productions, (800) 543-7133 ($40+$4 s+h.)

* Rare Record Price Guide 1997/98
By Record Collector magazine. Guide to British pressings of 45s,
EPs, LPs, tapes and CDs
ISBN 0-9515553-9-1; 19.95 UK pounds

* Search for the Black Gold: A Guide to Buying Used LP's
By Roger Gordon. Specialises in classical recordings. $25.
Roger Gordon, 312 Highland Ave Suite D, El Cajon, CA 92020

* Goldmine Standard Catalog of American Records:
1950-1975 by Tim Neely, published in 1998 by Krause Publications. 
It is softcover and is 1226 pages. 

--------------------------------------------------------------------------
R999 Miscellaneous Information Sources

*Casbah (http://www.casbah.net/) is a comprehensive resource ÊÊÊÊÊÊÊÊ
featuring several music directories, including releases.

* The Finding Musical Info FAQ
http://www.cs.ubc.ca/spider/edmonds/usenet/musical-info.txt
Email: majordomo@edmonds.home.cs.ubc.ca
(with command "get faq musical-info.txt")

* The CD Club Home Page
Includes full catalogs for the RCA/BMG and Columbia House CD clubs,
the CD Club FAQ, etc.
http://www.cd-clubs.com/

* CD Club FAQs
http://www.primenet.com/~bpvh/cdclubs
ftp://ftp.primenet.com/users/b/bpvh/cdclubfq.txt
Email: bpvh@primenet.com

* The Soundtrack List
5000+ listings of soundtrack recordings on LP and CD; searchable by
title, composer, label, etc.
http://www.filmmusic.com/soundtracks/

*Webnoize (http://www.webnoize.com) covers music, music sites,
artists' online activities, media and technology.

*International Lyrics Server - over 90,000 lyrics
http://www.lyrics.ch/

--------------------------------------------------------------------------
This document is Copyright 1996 by Ernie Longmire (Lazlo Nibble).
Permission is granted to download/print out/redistribute/establish WWW
links to this file provided it is unaltered, including credits and
copyright notice.
Please ask for permission before publishing this document (in print,
off the Web, and/or for profit) or altering the file for publishing on
the Web.
Thanks to the following for help and suggestions:
Andrew Russ 
Jim Saxe 
Reto Koradi 
Gary M. Gettier 
Jason Hirschhorn 
Jeff Davis 
Rob McIntyre 
-------------------------------------------------------------------------
Paula's House Of Music
http://www.houseofmusic.com
Thousands of collectible vinyl albums, 45s and 12" singles,
from the 50s to the 80s. 
**** Remove the xy from my email address before responding ***
 
####