sell to us
WE BUY RECORDS, CDS, and MUSIC MEMORABILIA COLLECTIONS IN RIALTO CALIFORNIA
WHAT WE WANT
We will travel to Rialto in California to buy your Rare Records, CDs and Pop Memorabilia and we are buying in all of the following local Rialto areas below.
Including all of the California boroughs and district areas Orange County, Inland Empire.
To see a list of all the other towns in California we buy from click
here.
Here are just a few examples of what we buy :
Records – vinyl LPs, 7-inch and 12-inch singles, EPs, 33 RPM, 45 RPM, Picture Discs, Colored Vinyl, Test Pressings, Acetates, Demos and Promo/Promotional Items
Compact Discs – CD Singles, CD/DVD singles, Limited Editions, 3" CD singles, Boxed Sets
Pop Memorabilia – Genuine Autographs, Display Items, Photographs, Tour Clothing, original/authenticated handwritten lyrics, tour itineraries, stage props and costumes, paper goods, concert programs, collectable band posters, press kits, photographs, Genesis Publications, the interesting, the unusual and sometimes the downright weird
Gold, Silver and Platinum Record Awards – Certified BPI, RIAA, IFPI or SNEP, authentic in-house variants, Grammy, Ivor Novello, ASCAP, publishing, plaques, shields, trophies, certificates and citations with proper provenance
Original 60s and 70s vinyl record pressings by The Beatles, John Lennon, Paul McCartney, George Harrison, Ringo Starr, Marc Bolan / T-Rex, David Bowie, Eric Clapton / Cream, Bob Dylan, Elvis Presley, Fleetwood Mac, Genesis, Jimi Hendrix, Led Zeppelin, Pink Floyd, Queen, Rolling Stones, Bruce Springsteen, Velvet Underground, The Who, Neil Young, Frank Zappa… and thousands more always required!
Jazz original or audiophile pressing vinyl LPs by Miles Davis, John Coltrane, Dave Brubeck, Paul Gonsalves, Herbie Hancock, Art Pepper, Tina Brooks, Thelonious Monk, Jackie McLean, Shelly Manne, Sonny Clark, Cannonball Adderley, Sonny Stitt, Zoot Simms, Kenny Drew, Duke Pearson, Dexter Gordon, Charlie Parker, Dizzy Gillespie, Don Ellis, Lennie Niehaus, Kenny Clarke, Francy Boland, Donald Byrd, Hank Mobley, Horace Silver...
British Jazz vinyl LPs by Neil Ardley, Gordon Beck, Bill le Sage, Ronnie Ross, Ian Carr, Jeff Clyne, Tony Coe, Mike Cotton, Michael Garrick, Michael Gibbs, Joe Harriott, John Mayer, Tubby Hayes, Allan Holdsworth, John McLaughlin, Harold McNair, Dudley Moore, Dick Morrissey, Mike Osborne, Stan Tracey, Tony Oxley, Don Rendell, Ronnie Scott, Victor Feldman, John Surman, Keith Tippett, Julie Tippett, Mike Westbrook...
Pop record collections by Abba, Kate Bush, Mariah Carey, Duran Duran, Kylie Minogue, Madonna, Pet Shop Boys, U2, and more...
Punk, New Wave and Alternative collections by The Clash, The Cure, Depeche Mode, The Jam/Paul Weller, Japan/David Sylvian, Joy Division/New Order, Nirvana, Oasis, Ramones, Sex Pistols, The Smiths/Morrissey, U2/related, and more...
Rock & Metal collections by AC/DC, Black Sabbath, Ozzy Osbourne, Bon Jovi, Deep Purple, Iron Maiden, Metallica, Motorhead, Rush, Tool, and more...
Genres - 60s, 70s, 80s, 90s, Pop, Beat, Rock, Progressive, Psychedelic, Freakbeat, Krautrock, Heavy Metal, Indie, Jazz (modern, be-bop, avant garde, Britjazz), Funk, Fusion, Blues, Soul, R&B, Punk, New Wave, Mod, 2-Tone, Ska, Reggae, Folk, Italo Disco, Library, Motown
Labels - 4AD, A&M, ABC, Ace, Apple, Argo, Arista, Atco, Atlantic, Audio Lab, BBC, Bell, Bethlehem, Blue Horizon, Blue Note, Bronze, Brunswick, Buddah, Cadet, Capitol, Carnaby, Casablanca, CBS, Charisma, Chess, Chrysalis, Columbia, Contemporary, Coral, Cotillon, Dandelion, Dark Horse, Dawn, Decca, Deram, Disneyland, Dot, Dunhill, Elektra, Emarcy, Ember, EMI, Epic, Factory, Fantasy, Fontana, Geffen, Gordy, Harmony, Harvest, HMV, Immediate, Impulse!, Island, Kama Sutra, KPM, Liberty, London, Mainstream, Marmelade, MCA, Mercury, MGM, Monument, Motown, Neon, Odeon, Page One, Paramount, Parlophone, Philips, Planet, Polydor, Portrait, Prestige, Pye, Rare Earth, RCA, Regal Zonophone, Reprise, Ring O’, Riverside, Rolling Stone, Roulette, Savoy, Sire, Spark, Stax, Straight, Sue, Sun, Swan, Tamla, Threshold, Transatlantic, Tollie, Tower, Track, United Artists, Universal, Vanguard, Vee Jay, Vertigo swirl, Vertigo spaceship, Verve, Virgin, Volt, Warner, ZTT... if we missed some, we probably need those, too...
Swap your records for store credit.
Top Prices paid for MINT condition originals! Still in original seal from new a plus!
WHY SELL TO US?
Our experienced team of buyers has been sourcing records, CDs and music memorabilia collections for over 25 years - we like to keep things simple. We"re keen to purchase your quality collectables or undamaged second-hand vinyl records and CD"s wherever you may be.
We will be pleased to quote for your mint condition items, and we are open to negotiating for complete collections.
Sell to us with complete confidence and safety - we even refund your postage. If you have a large or valuable collection, we can arrange to visit you.
No fees, no negative feedback, no excuses, no fuss. We buy outright and pay immediately.
We are the world leader in the online seller/dealer platform, so why not cash in on your collectable or blue chip record if it is presently only gathering dust?
We have international representatives located in Las Vegas and Hiroshima City, Japan, and our home office is located in Kent, England. We travel extensively to buy rare items and large collections.
Feel free to e-mail us with a detailed description of the items you have to offer -- you may be surprised at what your records are worth!
We are a better than a Rialto high street record shop, independent record shop, record fair or any other place to sell your records in a Market, Town Centre or Rialto Shopping Centre, Center or Mall and we will pay more than a Rialto HMV, Our Price, Zavvi, Fopp, Virgin or Rough Trade shop. We buy unwanted Christmas / Xmas / Birthday gifts & presents from the 1960s, 1970s, 1980s, 1990s, 2000s and 2010s.
We are the world leader of online sellers & record dealers so make money and cash in on a collectable or blue chip record which has gathered dust for years
We also buy Records and CD collections in house clearances and from dead or deceased relatives in the North, South, East and West of California
Our UK office is located in Kent although we travel worldwide. We have international offices located in Las Vegas USA, and Hiroshima City, Japan. We travel extensively to buy rare items and large collections.
Call us first on the numbers below if you have a collection to sell, or e-mail a detailed description of the items you have. Don’t delay… you may be surprised at what your records are worth!
INSTANT CASH WAITING TODAY
Remember, we will travel to Rialto in California to buy your Rare Records, CDs and Pop Memorabilia and we are buying in all of the following local Rialto areas below.
Including all of the California boroughs and district areas Orange County, Inland Empire.
CONTACT US
E-mail -
USA@991.com
Our UK Home Office is:
991 Buyers
5 Railway Sidings
Meopham, Kent DA13 0YS
England
A FEW OF THE MOST RECENT ITEMS WE WANT...
 | JOHNNY CASH At Folsom Prison (Mobile Fidelity Sound Lab
limited edition 16-track double album 2-LP mastered by Krieg
Wunderlich, specially plated and pressed on 180-gram
High-Definion Vinyl at 45RPM. The 1968 album on which
Johnny Cash becamealegend, At Folsom Prison is
among the most important and potent statements of the 20th
century. Mastered on the GAIN2 system this stereo set plays
with arresting immediacy, spaciousness and directness.
Housed inside a deluxe gatefoldpic
#Top 500 Greatest Albums Of All Timeture sleeve individually
gold-foil numbered & factopry sealed inside its perforated
loose bag. Recommended)
Tracklisting: 1/4" / 15 IPS analog copy to DSD 256 to analog console to lathe
Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution’s forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He’d played there two years prior. But this time was different.
Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.
Mastered on MoFi’s renowned mastering system at its California studio and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set of At Folsom Prison veritably places you in the cafeteria with the hootin’ and hollerin’ prisoners with which Cash felt a mutual chemistry, sympathy, and spirit. A through-line to the no-frills rawness that helps make this landmark record among the most genuine documents ever committed to tape, this audiophile reissue presents what transpired that winter day with a fullness, directness, spaciousness, and dynamic absent prior editions.
You can hear it echo off the walls of the room; pulse through the Tennessee Three’s itchy, acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash’s knockout singing. The bedrock foundation of all his music, the singer’s baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him — and the extent he was living the narratives.
Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions — mental, emotional, physical, geographical, legal, social — the inmates confronted on a daily basis. Beginning with the explicit messages of the opening “Folsom Prison Blues,” Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That’s how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.
Listen to the sorrow, regret, pity, and loneliness of Merle Travis’ “Dark as the Dungeon,” Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as “pleasures are few” and “the sun never shines.” Witness the isolation, dejection, and sadness punctuating the walking-blues “I Still Miss Someone,” matched in gravity by a solemn reading of “The Long Black Veil” — a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of “Send a Picture of Mother” and plainspoken version of Harlan Howard’s “The Wall,” detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.
In chronicling temptations, mistakes, mortality, punishment, and life “inside” — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant — At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of “Cocaine Blues,” taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of “25 Minutes to Go”; quicksilver accents and resigned acceptance of “I Got Stripes”; train-whistle blare and twangy locomotion of “Folsom Prison Blues” — all fight the law only to see the law win.
Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day’s first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black’s soon-to-be-wife, June Carter. The couple’s fiery duet on “Jackson” scorches; their combination of surrender and fortitude “Give My Love to Rose” puts us in the dying protagonist’s shoes.
And with the closing “Greystone Chapel,” famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he’d return for the remainder of his illustrious career.
Side 1
Folsom Prison Blues
Dark as the Dungeon
I Still Miss Someone
Cocaine Blues
Side 2
25 Minutes to Go
Orange Blossom Special
The Long Black Veil
Side 3
Send a Picture of Mother
The Wall
Dirty Old Egg-Suckin' Dog
Flushed from the Bathroom of Your Heart
Jackson
Side 4
Give My Love to Rose
I Got Stripes
Green, Green Grass of Home
Greystone Chapel |
| JOHNNY CASH At Folsom Prison (Mobile Fidelity Sound Lab
limited edition 16-track double album 2-LP mastered by Krieg
Wunderlich, specially plated and pressed on 180-gram
High-Definion Vinyl at 45RPM. The 1968 album on which
Johnny Cash becamealegend, At Folsom Prison is
among the most important and potent statements of the 20th
century. Mastered on the GAIN2 system this stereo set plays
with arresting immediacy, spaciousness and directness.
Housed inside a deluxe gatefoldpic
#Top 500 Greatest Albums Of All Timeture sleeve individually
gold-foil numbered & factopry sealed inside its perforated
loose bag. Recommended)
Tracklisting: 1/4" / 15 IPS analog copy to DSD 256 to analog console to lathe
Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution’s forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He’d played there two years prior. But this time was different.
Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.
Mastered on MoFi’s renowned mastering system at its California studio and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set of At Folsom Prison veritably places you in the cafeteria with the hootin’ and hollerin’ prisoners with which Cash felt a mutual chemistry, sympathy, and spirit. A through-line to the no-frills rawness that helps make this landmark record among the most genuine documents ever committed to tape, this audiophile reissue presents what transpired that winter day with a fullness, directness, spaciousness, and dynamic absent prior editions.
You can hear it echo off the walls of the room; pulse through the Tennessee Three’s itchy, acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash’s knockout singing. The bedrock foundation of all his music, the singer’s baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him — and the extent he was living the narratives.
Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions — mental, emotional, physical, geographical, legal, social — the inmates confronted on a daily basis. Beginning with the explicit messages of the opening “Folsom Prison Blues,” Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That’s how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.
Listen to the sorrow, regret, pity, and loneliness of Merle Travis’ “Dark as the Dungeon,” Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as “pleasures are few” and “the sun never shines.” Witness the isolation, dejection, and sadness punctuating the walking-blues “I Still Miss Someone,” matched in gravity by a solemn reading of “The Long Black Veil” — a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of “Send a Picture of Mother” and plainspoken version of Harlan Howard’s “The Wall,” detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.
In chronicling temptations, mistakes, mortality, punishment, and life “inside” — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant — At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of “Cocaine Blues,” taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of “25 Minutes to Go”; quicksilver accents and resigned acceptance of “I Got Stripes”; train-whistle blare and twangy locomotion of “Folsom Prison Blues” — all fight the law only to see the law win.
Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day’s first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black’s soon-to-be-wife, June Carter. The couple’s fiery duet on “Jackson” scorches; their combination of surrender and fortitude “Give My Love to Rose” puts us in the dying protagonist’s shoes.
And with the closing “Greystone Chapel,” famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he’d return for the remainder of his illustrious career.
Side 1
Folsom Prison Blues
Dark as the Dungeon
I Still Miss Someone
Cocaine Blues
Side 2
25 Minutes to Go
Orange Blossom Special
The Long Black Veil
Side 3
Send a Picture of Mother
The Wall
Dirty Old Egg-Suckin' Dog
Flushed from the Bathroom of Your Heart
Jackson
Side 4
Give My Love to Rose
I Got Stripes
Green, Green Grass of Home
Greystone Chapel |
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