All That Music & Video

THANK YOU LP SELLER
PLEASE BE AWARE!
ALL THAT MUSIC & VIDEO BUYS AS LITTLE AS 10% OF ANY COLLECTION.

Here’s why…

1. Our grading standards are strict and non-negotiable!
No scratches, scuffs, or excessive wear on LPs.
No dirty, torn, written-on, or missing LP covers.

2. Purchases are based on our existing inventory!
With an inventory of 40,000 LPs, yours may be duplicates we don’t need.
Regardless of LP condition, some of yours may be titles we can’t sell.

3. Our free appraisal process is a benefit to you, but costly to us!
We are offered as many as 1,500 LPs a week.
Our man-hour costs for sorting, grading and appraising LPs are substantial.

4. We’re looking for a few best sellers!
Rock N Roll sells the best.  The harder & edgier the better.  (See “Studs & Duds” below)
We pay pennies to $25 based on existing inventory, condition, collector’s value.

5. Tough economic times have created a surplus of LPs in the marketplace.
Thanks for bringing us your LPs.  Please read the essay by clicking HERE for more detailed information and selling and pricing of used media.

Selling LPs?

Time out! The new realities of collectible LPs.

Considering selling your LP collection? Because All That Music & Video is the most important seller and buyer of new and used vinyl records in the region, you will want to bring them to us first! Just be advised that although demand for collectible vinyl has increased, potential supply has grown at an even greater rate. Tough economic times have resulted in our staff evaluating many more collections than ever before. This overabundance of vinyl has made it more difficult for us to cull through and find true treasures in large collections.

Still, as a service to our customers, ATMV is happy to offer sellers free appraisals of their LP collections. We will grade, sort, and appraise your LPs as our time permits. Please be patient, however. There are always collections in the appraisal process ahead of yours. We now appraise as many as 1,500 per week. For us, this is costly, time-consuming work that takes great attention to detail. Many of these albums we are just not prepared to purchase. We will get to yours as fast as possible to give you a fair and honest appraisal.

ATMV’s store space devoted to vinyl has increased and continues to increase. But sales in our retail vinyl section do not move fast enough to keep pace with the overwhelming volume of vinyl we have in retail bins and in inventory.

Thankfully, the obsolescence of vinyl predicted with the advent of CD technology in the ‘80s has proved completely false. LPs began making a comeback thanks to their use by Hip Hop DJs. Also, some rock bands have continued to release their music on vinyl as well as CD. There is also a market composed of collectors, young and old, who appreciate the look, feel and analog sound quality of vinyl LPs.

There are some things you should know about selling your LPs.  ATMV will give you the best price possible for LPs that have some value.  However, we ask our customers to be realistic about the value of their record collections. Sometimes, there are just too many copies of some records available for sale, and not enough buyers. Consider the fact that we presently have more than 40,000 records in storage. Many of these are multiples of some of the records you may be selling.  We accumulate so many used records that periodically we throw out the duplicate copies and keep only the better ones. However, since we’ve been a great resource for vinyl collectors for more than three decades, we still seek quality LPs that may turn up.

Sometimes, sellers bring us collections with many LPs in good condition by in-demand artists. More often, though, a collection of 100 records may contain perhaps only a few items that may still hold some commercial appeal to our very selective customer base. The rest, while at one-time perhaps bona fide best sellers, are now no longer of interest to our buyers. Frequently, these customers will replace their worn or damaged LPs that are commonplace with CD versions. They’re shopping for true treasures, particularly Rock and R&B classics.

For vinyl collectors, the general condition of LPs and cover are extremely important. Record value can be compared to postage stamp & coin collecting standards. That is, the better the condition, the better odds the item will have any value. The important difference to this comparison is this: Just because the LP is in good condition, doesn’t necessarily mean it has any value or collectability. Many LPs which were never or rarely played were not destined to be classics in the first place. If your LPs are rare, but were played and enjoyed frequently, chances are the album has suffered from moderate to serious wear & tear.  On the other hand, if the LP is a historic critically acclaimed item, and has been meticulously cared for with minimal play, then there is a chance it could be worth something.  That is, of course, if it is not a commonly available recording.

Hope you’ve gotten a better understanding of our appraisal process.  Don’t be disappointed with our bid.  Be realistic. We recommend that you keep any records that have emotional or sentimental value to you, because generally speaking, 90% of the LPs in any collection are common and have little or no value. For those, we can only pay out pennies, nickels, and dimes at best.  The other 10% may have a value of 25 cents to a dollar.  True collectibles may command $5 to $25 dollars at the wholesale level.

Good Luck!

Thanks for considering All That Music & Video for the most honest and fair appraisal of your LPs!

LP Demand – “Studs & Duds”

“Studs” (Sought-After Artists on LP)

The artists below are only a sampling of many LP’s that are in demand.

Generally speaking, any Rock ‘n Roll, Psycaldelic, Punk, R&B, or Chicano Rock LP from the (50’s-80’s) era, are high in-demand.  The edgier, more obscure, or rarer – the better.

• Animals
• Beatles (original Vee-Jay & Apple)
• Beatles solo albums by Lennon, McCartney, Harrison, or Starr
• Berry, Chuck (early Chess)
• Bowie, David (early)
• Brown, James (early king and Federal)
• Clark Dave Five
• Cooke, Sam (early Keen and RCA)
• Creedence Clearwater Revival
• Crystals, The (on Phillies)
• Domino, Fats (early Imperial)
• Doors & Jim Morrison
• Dylan, Bob (early Columbia)
• Gaye Marvin (early Tamla)
• Hendrix, Jimi
• Jives
• Led Zeppelin
• Little Joe and the Latinaries
• Malo
• Pickett, Wilson
• Pink Floyd
• Presley, Elvis (early RCA)
• Price Lloyd (early ABC Paramount)
• Rolling Stones (early London)
• Ronettes, The (on Phillies)
• Sunny and the Sunglows (Sun liners) on Sunglow or Teardrop
• Turner, Joe (early Atlantic)
• Wells, Mary
• Zappa Frank (early Verve)

“Duds” (Least Sought-After Artists on LP)

The artists below are only a sampling of many LP’s that are not in demand. Often many of these types of records are routinely abandoned or donated. We cannot pay cash on many of the artists on this list.

Generally speaking, any Classical, string, house orchestra, instrumental, or no-name budget LPs from the 60s-70s also fall into this category.

• Alpert, Herb or Tijuana Brass
• Ames, Nancy
• Campbell Glen
• Conniff, Ray
• Crosby, Bill
• Denver, John
• Diamond, Neil
• Enoch Light
• Faith, Percy
• Ferrante and Teicher
• Four Freshmen
• Grateful Dead
• Hall and Oates
• Hirt, Al
• Joel, Billy
• John, Elton (on MCA)
• Kaempfert, Bert
• Kingston Trio
• Lettermen
• Living Strings
• Guy Lombardo
• Longines Symphony
• Mancini, Henry
• Manilow, Barry
• Mantovani
• Martin, Dean
• Miller, Mitch
• Moody Blues
• Newton-John, Olivia
• Readers-Digest recordings
• Rogers, Kenny
• Simon, Carly
• Streisand, Barbra
• Warwick, Dionne
• Welk, Lawrence
• Williams, Roger
• Wilson, Nancy

Marina & The Diamonds “The Family Jewels”

Tom Petty & The Heartbreakers-”Mojo”
It was once said that “the longer you live, the better you get.” In recording Mojo, Tom Petty and the Heartbreakers took to the studio in a way they hadn’t done before (at least to such an extent); not only did the group go into recording the album with an entirely blank canvas—the decision was made to go into Mojo without any demos in hand—but much of the album was essentially recorded live: no headphones, each member facing each other while they played out their ideas. Speaking to Greg Kot of the Chicago Tribune, Petty shed some light on the process, “This is a record we couldn’t have made in the ’70s and ’80s because we weren’t really good enough as musicians.” He continued, “We’re using our age as a plus in this sense, in that we’ve become better musicians.” It would seem that Petty would agree with the statement of aging gracefully, if only in terms of he and his band’s musical evolution. And if Mojo is the evidence that we have to either confirm or deny whether Petty and the Heartbreakers have gotten better or worse with age, it would seem wholeheartedly irrational to argue the latter.

In 2006 Tom Petty released his third solo album, and first in over a decade, Highway Companion. That same year a number of other veteran acts (Young, Springsteen, the Who, Frampton, John, Meat Loaf, etc.) joined Petty in releasing new material, though the majority of the releases proved the initial quote to have plenty of exceptions. It’s fitting that those aforementioned words were muttered by Bob Dylan as he also released an album in 2006 (Modern Times); one that serves up even more evidence supporting the quote. While Highway Companion was expectedly strong, the album eventually claimed spots on a myriad of year end lists, it doesn’t resonate in the same way as Mojo; which might, once again, relate to Bob Dylan. Further along in his interview with Kot, Petty revealed the prime influence on Mojo, “For the last 10, 11 years, I’ve been immersed in blues. That’s what I listen to all the time and we got caught up in that vibe on this record.” It might be a bit of a stretch, but Dylan’s last two albums (or at least the last two albums that weren’t nut-bar crazy) also cracked at the seams with the blues. Putting the similarities to Dylan and the focus on the blues aside for a moment however, the album actually does have its fair share of tracks that sound like the Heartbreakers of old; even if Mojo‘s opening song is titled “Jefferson Jericho Blues.”

Tom Petty & The Heartbreaker’s new album “Mojo” is available at All That Music & Video
for only $16.99!

The Roots-”How I Got Over”

The Roots new album “How I Got Over” is now available at All That Music & Video for only $13.99!

The greatest tropical artist of the past quarter-century, Juan Luis Guerra adds another dazzling album to his catalog with A Son de Guerra, a rhythmically wide-ranging effort that may not run long but is packed with highlights. Since the mid-’90s Guerra has released albums at a leisurely pace, taking four years to release Ni Es Lo Mismo Ni Es Igual (1998), six years for Para Ti (2004), three years for La Llave de Mi Corazón (2007), and another three years for A Son de Guerra. Though the wait between albums is often agonizing for fans, in particular the six-year wait for Para Ti, each album has proved excellent and different from its predecessor. A Son de Guerra is different from its predecessor in that it doesn’t aim for crossover success in the way that the Latin Grammy-sweeping La Llave de Mi Corazón did with its bilingual title track and its Black Eyed Peas remix. In some ways rather modest in its aims, this self-produced album is brief at 11 tracks in 37 minutes and flows with such ease from one song to the next that it feels almost effortless. While it’s true that there’s nothing extravagant here, not even the Juanes collaboration, “La Calle,” which is more of a musical showcase than a ready-made hit single, every song is interesting from one standpoint or another. The lead single, “Bachata en Fukuoka,” is a lovely bachata whose lyrics are set in Japan of all places and give the otherwise simple song an air of exoticism. A Son de Guerra also includes another similarly styled bachata, “Mi Bendición,” and a couple merengues typical of Guerra‘s past work, “No Aparecen” and “Apaga y Vámonos.” Guerra‘s bread and butter, these bachatas and merengues are spread out a bit on the first half of A Son de Guerra. The remainder of the album, the second half in particular, is remarkably eclectic. Highlights include “La Guagua,” a witty guaracha with a political message; “Son al Rey,” a Christian song with an infectious Cuban son rhythm; “Arregla los Papeles,” an intricate salsa; and “Caribbean Blues,” an English-language Latin-style blues sequenced last as a bonus track. Like the aforementioned Juanes collaboration, the remaining songs, “Cayo Arena” and “Lola’s Mambo,” the latter featuring trumpeter Chris Botti, are essentially musical showcases for Guerra and his red-hot 4.40 band.

Juan Luis Guerra’s new album “Asondeguerra” is now available at All That Music & Video
for only $14.99!

Periphery-Self Titled debut album
One of the most anticipated releases in the progressive metal genre has finally been unleashed upon the world.

After much hype and online buzz , progressive-metal-djent masters, Periphery finally unveiled their crushing debut album via Sumerian Records earlier this year and have unveiled their new video for “Icarus Lives” .

As a genre, metal has always been firmly rooted in pushing music to new extremes, taking the sounds we’ve come to know and love from other styles and pushing them well past their limits until they become something new. Always looking to pushing things into increasingly lower directions is Periphery, the new project from expanded-range guitarist Misha “Bulb” Mansoor. Utilizing a combination of extreme tunings and studio magic on the eponymous album, Periphery presents us with a combination of blistering fretwork, extreme tunings, and studio magic to create a maelstrom of prog guitar worship reminiscent of Meshuggah and the Dillinger Escape Plan. While lightning-fast playing and odd chord structures and time signatures are certainly a part of Periphery’s charm, the production on the album helps to give it a razor-sharp edge over some of the competition. The band uses the studio here almost as an instrument in and of itself, controlling not just what you hear, but how you hear it. Guitars are gated and compressed into tones that are almost mechanical, replacing anything resembling bluesy warmth with a sound that is stark and metallic, at times sounding more like a piece of industrial equipment than a stringed instrument. What’s most impressive about the whole thing is that they manage to pull the whole thing off without sounding over-produced. By pushing the production to such limits, the album manages to blast through the typical production clichés to create a sonic assault that should quickly change your reaction from “Why did they do that?” to “How did they do that?,” making Periphery an album that’ll give lovers of prog metal something to sink their teeth into.

Periphery’s Self titled debut album is available at All That Music & Video for only $13.99!

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