We’re talking about the genuine, original runs of Western productions here! You know the ones—those first pressings that actually have some soul left in them. Is there anything quite like holding an original release in your hands? It just feels different, doesn't it? There's a certain weight to it, both literally and figuratively, that you just don't get with modern reissues or digital copies. I’ve always felt that chasing those early editions is part of the whole experience. It's more than just collecting; it's about preserving a specific moment in time when that work was first unleashed upon the world.
We can just handle the shipping and payment as we go, based on whatever we agree upon. Does that sound fair? We'll figure out the logistics once we've settled on the details.
If you’re looking for the full price list, just shoot me an email and I’ll get everything sent over to you.
disidentslav@gmail.com+381638904751
Is it even possible to pull off a purchase through an auction site like eBay by going directly through someone's profile? I’ve been thinking about this quite a bit lately. You know how it goes—you see something you want, maybe a vintage camera or some rare collectible, and instead of just hitting "Buy It Now," you start wondering if there's a way to work things out directly with the seller via their account page. Is that actually a viable move? Or am I just overcomplicating things?
I’ve been spending quite a bit of time lately scrolling through various online marketplaces and auction sites, just trying to get a better sense of how people value their collections. It’s funny, isn't it? You start looking at one person's inventory, and before you know it, two hours have slipped by and you're deep in a rabbit hole of vintage collectibles and niche hobbyist gear. I was recently browsing through a specific user's collection page on an auction site—it's one of those platforms similar to eBay where everything feels a bit more personal, almost like walking through a local flea market in a place like Chicago or Austin. There’s something uniquely human about seeing a list of items someone has carefully curated over years. Is it a way of decluttering, or is it more of a digital scrapbook of things they once loved? I often wonder if we all do this, even if we don't realize it. We curate our lives, our homes, and now, our digital footprints. It makes me think about how much we rely on these digital storefronts to connect us with things we didn't even know we were looking for. Have you ever had that experience? That moment where a random item catches your eye and suddenly it feels like it was meant for you? It's a strange little quirk of modern life, but I find it strangely comforting.
Artist | Release Title | Label | Country of Origin | Year Released | Condition (Sleeve/Disc 1/Disc 2)
I was thinking back to that classic AC/DC era—you know, around 1985 when things were really hitting their stride. It’s funny how certain records just stick in your mind, like being a total fly on the wall during a legendary studio session. I remember seeing some old Warner Bros. pressings floating around back then, specifically those releases coming out of Germany. There was just something about that mid-80s energy, wasn't there? It makes you wonder how much of that raw sound was captured by pure luck versus sheer technical skill. Just one of those eras that stays with you.
I mean, when you really stop to think about it, there’s something almost poetic about that era. I was looking back at some old records from 1983—you know, that whole period where everything felt like it was moving at a hundred miles an hour? It reminds me of that "all or nothing" mentality people used to have. Just going balls to the wall, no hesitation. It actually makes me wonder if we've lost that edge lately. Back then, even with the heavy hitters like RCA running the show, there was this sense of raw, unbridled energy in the industry. It wasn't just corporate maneuvering; it felt visceral. Does anyone else feel like that specific kind of momentum is harder to find these days? It’s like we traded that intense, driving force for something much more calculated and safe. But hey, maybe that's just progress, right? Or maybe we're all just playing it too safe now.
I was thinking back to that whole Russian Roulette situation involving RCA back in '86—you know, when things were really starting to shift in the industry? It’s funny how much can change in just a few decades. It makes you wonder, if we were facing those same kinds of high-stakes gambles today, would we even recognize the risks? Or have we just gotten better at pretending they don't exist?
I finally managed to pick up an Accept "Russian Roulette" record—specifically that RCA pressing from back in '86—and honestly, the condition is surprisingly solid for being VG/EX. It’s funny how much you can find these days if you look in the right corners of a shop, isn't it? I spent way too long hunting for this specific era of their discography, but seeing it spin on the turntable makes the search feel worth it. Just one of those little victories for the collection.
I remember those hungry years back in the day—those times when you were just trying to make ends meet and keep your head above water. It takes me back to my time living out in sunny California, just scraping by and dreaming of something bigger. Does anyone else ever look back at those lean periods and realize how much they actually shaped who we became? It’s funny how that works, isn't it? You think you're just surviving, but you're actually building grit.
I managed to snag a copy of *Restless and Wild* by Accept from back in 1982, and honestly, it’s such a gem. I’d rate the condition as pretty solid—maybe a very good to excellent level if you're being picky. It really makes you wonder, doesn't it? How much better heavy metal felt back then when everything had that raw, unpolished edge? There’s just something about those early 80s productions that hits differently than the stuff we hear today.
I finally got my hands on a copy of Alice Cooper’s *Teenage Frankenstein* on MCA, and man, it's a gem. I managed to snag an import from Germany, and even though it traveled quite a distance, the condition is absolutely beautiful—solid VG/NM. It’s funny how certain records just feel different when you hold them, isn't it? There's something about that late '80s production style that really hits a specific kind of nostalgia for me. Does anyone else find themselves hunting down these specific international pressings just for the sheer quality of the vinyl? It was definitely worth the search.
Remember back in '87 when Alice Cooper released "Raise Your Fist and Yell"? I was just thinking about that era of his career. It was such a wild time for rock music, and having a powerhouse like MCA behind him really changed the landscape. Looking back at those old records from the North American circuit, you can really feel the energy he was putting out. It’s funny how certain albums just stick with you, isn't it? Even after all these years, that specific sound still hits different.
Is there anything quite like that feeling when a single note just hits you right in the chest? I was listening to Greg Guiffra’s work with House of Lords recently—specifically that "White Hot" track—and I found myself spiraling into a bit of a daydream. It makes you wonder, doesn't it? How can a musician capture such a precise, searing intensity and then just... let it breathe? There's a certain kind of heat in his playing, a brilliance that feels almost tactile. It isn't just loud or flashy for the sake of being noticed; it feels intentional, like he’s tracing the edges of something profound. I kept thinking about how much craft goes into making something feel that effortless. Does anyone else get lost in those specific instrumental moments where the world just seems to quiet down for a second?
Annihilator Never,Neverland Jigu South Korea nm/nm
Anthrax, Island Records, Germany... man, I've been thinking about that era lately. It makes you wonder how much the industry changed back then, doesn't it? Just sitting here reflecting on those classic setups.
Anthrax, Penicilin, Iceland, Germany... m/m
I was thinking back to that old Arcane record, "Destination Unknown," released under the Semaphore label back in 1990. It’s funny how certain albums just stick in your mind, isn't it? I remember listening to it when I was first getting into the scene. It had this specific vibe, almost like a time capsule from the early nineties. Does anyone else ever find themselves spiraling down these memory lanes, wondering why certain sounds hit us so much harder than others? It’s a bit nostalgic, I suppose. Just one of those things that stays with you.
Axxis – Kingdom Of The Night – EMI – USA – ex/ex
I picked up a copy of Axxis' *Kingdom of the Night* recently—the version released through EMI over in Germany—and I’ve been spinning it quite a bit. Honestly, for a VG-/VG- rating, it holds up surprisingly well. It’s got that specific late-80s heavy metal energy that just hits different when you're looking for something a bit more melodic but still gritty. Does anyone else find themselves hunting down these specific European pressings? There's just something about that particular era of production that feels so much more intentional.
I was just sitting here thinking about how much music changes over time, and I found myself revisiting some old classics. Take Blind Guardian, for example. If you look back at their early days—specifically that "Follow the Blind" era around 1989—it’s wild to see where they started. It’s pure, raw noise, honestly, but there's such a specific energy to those early German power metal roots. It makes you wonder, doesn't it? How does a band manage to evolve from that kind of unrefined sound into the legends they became? It's a hell of a journey to track.
I managed to snag a copy of Bon Jovi’s *7800 Fahrenheit* on Phonogram—it’s a German pressing, which honestly always hits different for me. The vinyl is in incredible shape, too; we're talking vg/nm quality. You really have to love finding these gems in such pristine condition.
I was just sitting here thinking about how much things have changed since the heyday of Bon Jovi. It’s wild to look back at that era—they were basically the kings of New Jersey, weren't they? I remember when Polygram was handling everything, and the whole industry felt like it was centered around those massive West German markets. Everything seemed so much bigger then, almost larger than life. Looking at how the labels and the distribution worked back then compared to now... does anyone else feel like we lost a bit of that magic in the transition? It feels like such a different world.
Back in the day, I remember seeing some old-school BMG Bonfire Point Blank gear coming out of West Germany—man, that stuff was legendary. It’s funny how much things change, isn't it? You look at the specs from those classic European imports and you realize just how much craftsmanship went into those builds before everything became mass-produced plastic junk. Does anyone else miss that era of heavy-duty, reliable hardware? It feels like we lost a bit of that soul along the way.
Chastain, Ruler Of The Wasteland, Roadrunner, Holland—it’s like looking at a list of characters from an old Western novel, isn't it? Just names drifting through the air without much context. It makes you wonder what kind of story they're actually part of. Are we talking about a group of travelers, or just some random names pulled from a hat? Sometimes I think life feels a bit like that, doesn't it? Just a series of identities passing by us in the wind before we even get a chance to know who they really are.
Chastain Ruler Of The Wasteland Roadrunner Holland m/m
I was just sitting here thinking about those old Phonogram records—you know, the ones from back when West Germany was still its own thing? It’s funny how certain things stick in your mind. I was looking up some info on China recently, and it brought me right back to that feeling of seeing a "sign in the sky," if you catch my drift. Have you ever had one of those moments where everything just seems to line up perfectly? It makes you wonder if there's some kind of pattern to it all, or if we're all just chasing ghosts in the machinery. Is it just coincidence, or is there something more intentional behind the way history unfolds? Just food for thought, I guess.
Cinderella Long Cold Winter Phonogram USA ex/m
Ever wonder about those deep, heavy albums that just seem to pull you under? I was revisiting Coroner’s *Mental Vortex* the other day—specifically that EMI release from back in '91—and man, it really got me thinking. It’s one of those records where the atmosphere is just thick, almost suffocating in the best way possible. It makes me wonder, does music ever feel like a literal descent into your own head for you? There’s something about that specific era of production that hits different. It wasn't just noise; it was structured, deliberate chaos. I find myself spiraling into these long listening sessions where I lose all track of time. Is it just me, or do certain albums act like a vacuum, sucking out everything else until it's just you and the sound?
Crimson Glory, Transcendence, Roadrunner, Holland, 1988, ex/ex
I just picked up a copy of Deep Purple’s *Perfect Strangers*—it's that classic 1984 pressing from Polygram out of West Germany. Honestly, finding a copy in such great shape, rated VG/EX, feels like a bit of a win. It’s one of those albums that really captures a specific moment in time, isn't it? You can almost feel the energy they were putting into the comeback. I've been spinning it all morning, just letting the tracks breathe. Does anyone else find that certain pressings just have a warmer soul than others? I'd love to hear if you think this German import holds up better than the domestic US releases.
I finally tracked down a copy of Deep Purple’s *Perfect Strangers* on vinyl—specifically that 1985 Polygram pressing from Germany. It's in great shape, too, sitting right at that sweet spot between very good and excellent condition. You know how hard it can be to find these older pressings without some serious surface noise? I felt lucky just seeing it on the shelf. Is there anything quite like that heavy, mid-80s comeback sound? It just hits differently.
Deep Purple’s early era—specifically those first two iterations of Mark I and Mark II—really holds such a unique place in rock history, doesn't it? When you look back at the discography released under Purple Records, there's this incredible evolution happening right before your eyes. It’s more than just a change in lineups; it feels like a complete shift in the very DNA of their sound. You start with one energy, and then suddenly, everything transforms. It makes you wonder how much of that magic was purely the musicians themselves versus the sheer momentum of the era.
Deep Purple’s *House of Blue Light*—specifically that Polygram pressing out of Germany—is such an interesting piece to have in the collection. It’s one of those records where you really start to wonder about the production choices made during that era. Was it too polished? Maybe. But there's something about that specific sound that just hits differently when you're spinning a clean copy. Does anyone else feel like certain pressings from that period just capture the band's energy in a way modern remasters struggle to replicate? I've been sitting here thinking about it all morning.
I was digging through my collection the other day and came across this gem—an old Deep Purple pressing of the Mark 2 era singles. It’s that specific EMI release from West Germany, which always seems to have such a crisp sound profile for me. I’d say the condition is pretty stellar, sitting right at that ex/nm sweet spot. Isn't it funny how certain pressings just hit differently? You can really feel the history in the vinyl when you hold it.
Back in '87, when Def Leppard released *Hysteria* on Phonogram, it felt like they were hitting a completely different gear. I was thinking about that era recently—just how massive that sound was. It’s funny how certain albums just capture a specific moment in time perfectly, isn't it? Even looking back at those old pressings from overseas, like the ones coming out of Europe, you can still feel that polished, high-production energy they were chasing. It really was a defining year for rock.
I recently picked up a copy of Def Leppard’s *Hysteria* on the Phonogram label—this particular pressing was made over in the Netherlands back in 1987. It's in pretty decent shape, too, sitting right around that vg/vg sweet spot. Honestly, isn't it funny how certain albums just define an entire era? You listen to those tracks and you can practically feel the late eighties vibrating through the speakers. Does anyone else find themselves hunting down these specific international pressings, or am I just chasing ghosts? Regardless, it's a solid addition to the collection.
I was just sitting here thinking about Def Leppard’s *Hysteria*—you know, that massive 1987 release on Phonogram—and it got me wondering about how much certain records define an entire era. It’s one of those albums that feels like it captured a very specific lightning in a bottle. I remember listening to it back in the day, and even now, the production quality is just staggering for its time. Does anyone else feel like modern rock lacks that kind of polished, melodic punch? It makes me miss that specific late-80s studio magic.
I was just sitting here thinking about Def Leppard's *Pyromania*—you know, that absolute classic? It’s funny how certain albums just stick in your brain forever. I was revisiting some tracks and it got me wondering about the production on *Vertigo* too. Does anyone else feel like there's a massive leap in energy between those two eras? It's such a specific vibe, almost like comparing a polished studio masterpiece to something much more raw and driving. I've been spinning them both lately, just trying to wrap my head around how their sound evolved so quickly. What do you guys think? Is it just me, or does one definitely hit harder than the other depending on your mood?
I was just spinning through some old records earlier and found myself revisiting Destruction’s *Live - without sense* set from their 1989 tour in Germany. It’s funny how certain live recordings just capture a specific lightning in a bottle, isn't it? Even though this one was recorded back in the late eighties, that raw energy still hits hard. I mean, looking back at that era of heavy metal, there was such a distinct, unpolished grit to everything. Does anyone else feel like modern production sometimes smooths over all those beautiful imperfections that made the classics so vital? It’s a bit of a trip thinking about how much the scene has shifted since then.
I was digging through my stacks the other day and stumbled upon this old Diamond Head record—*Canterbury Phonogram*, if I recall correctly. It’s the 1983 pressing, and honestly, for something that's been around the block, the condition is surprisingly solid, sitting right at a very respectable VG/M. It really makes you wonder, doesn't it? How much better these older pressings sound compared to the digital remasters we see everywhere now? There's just something about that specific era of production that hits differently. Does anyone else feel like we lost a bit of that warmth when everything moved to streaming? Anyway, just a little late-night thought while cleaning the vinyl.
I managed to snag a copy of Dio's *Dream Evil* on Phonogram—it’s the 1987 pressing from the Netherlands, though honestly, looking at the condition, it feels like it was pulled straight from a record bin in Chicago. It’s sitting at a solid vg/ex. You ever find yourself holding a record and just wondering about the hands that held it before you? There's something about those late '80s pressings that just hits different, isn't there?
I finally tracked down a copy of Dio’s *Intermission* on Phonogram—it’s the 1986 pressing. It’s in pretty decent shape, sitting right around that vg-/ex sweet spot. You know, sometimes you spend all this time hunting for a specific era of heavy metal, only to find that the vinyl quality varies wildly depending on which label handled the distribution back then. Is it just me, or does that mid-80s production always have a certain grit that modern reissues just can't quite replicate? Anyway, I'm stoked to get this one spinning.
I finally managed to get my hands on a copy of Dio’s *Sacred Heart*. It’s the 1985 pressing from Phonogram, and honestly, finding one in this kind of condition—VG/EX—is a bit of a win. You know how hard it can be to track down these mid-80s pressings that haven't been totally trashed by decades of heavy rotation? It makes me wonder, though... does anyone else feel like the production on this specific era of Dio hits differently than his earlier stuff? There's a certain polish there, but I still find myself craving that raw grit from the early days. Anyway, just happy to have this one sitting on the shelf.
I was digging through my collection the other day and came across this Dio record, *Sacred Heart*. It’s the 1985 pressing from Warner Bros., and honestly, I think it's still one of those gems that deserves more respect than it gets these days. The condition on my copy is pretty solid—very good, almost great—which is always a relief when you're dealing with older vinyl. Have you ever noticed how certain albums just capture a very specific moment in American rock history? This one definitely feels like it. Does anyone else feel like the production on this era of Dio was just on another level? It’s got that massive, polished sound that defined the mid-80s. Anyway, just wanted to share that little find. It's a classic for a reason.
Dio – The Last in Line. This is that classic Phonogram pressing from 1984, out of Germany. I’ve got it in pretty solid vg/ex condition. Anyone else still spinning this one?
Domain: Before the Storm ex/m
I was digging through some old crates the other day and stumbled upon this gem—the *Doro* release on Phonogram, put out back in 1990. It’s one of those classic male vocal records from the West Germany era. You ever have one of those moments where you find an old CD and it just hits you how much the production styles have shifted since the early nineties? It’s a fascinating little piece of music history.
Back in '88, I remember catching this broadcast on CBS—it was one of those "Out of This World" specials they used to run. It felt like such a trip, almost surreal. If you can find an old recording of it, you really should. It’s hard to explain that specific vibe without seeing it for yourself, isn't it?
I was digging through my crates the other day and stumbled upon this little gem—the *Rock the Night* mini-LP released by Epic back in '86. It’s one of those wonderful relics from the UK scene that just feels so distinct to that era. Finding an ex/ex copy in such good shape is honestly a bit of a miracle, isn't it? It really makes you wonder how much better music felt when you actually had to hold it in your hands.
Back in '86, I remember sitting around watching CBS when they aired that classic "The Final Countdown" segment. It’s funny how certain moments just stick with you, isn't it? There was this specific vibe during that era—everything felt like it was moving toward some massive, inevitable shift. Watching those broadcasts from the Netherlands back then, even through a screen here in the States, really makes you wonder how much the world has changed since those mid-eighties days. Does anyone else ever get hit by that sudden wave of nostalgia for old-school TV programming? It feels like a lifetime ago.
Back in '86, I remember catching that classic Europe performance on CBS—it was such a vibe. They were touring through the States around then, and honestly, "The Final Countdown" still hits just as hard today as it did back then. It’s one of those tracks that just defines an entire era of music, isn't it? Pure nostalgia.
Back in 1987, I remember sitting there watching CBS when Europe’s "The Final Countdown" came on. It was one of those moments where you just realized how much a single song could define an entire era. There was something about that synth riff—it felt massive, like it was announcing something huge was about to happen. Looking back, do you think pop music had that kind of singular, sweeping power anymore? Or have we moved into this fragmented age where nothing feels quite that monumental? It’s funny how certain tracks just stick to your ribs, regardless of how many years pass.
I was just sitting here thinking about Fates Warning’s *Awaken the Guardian*. You know, that 1986 masterpiece? I managed to track down an old Roadrunner Records pressing recently—it's funny how much better those vintage pressings feel in your hands compared to everything being digital these days. It actually reminds me of finding a rare vinyl at a shop back in Seattle. Anyway, I ended up picking up an ex/ex copy, which is a bit of a gamble, isn't it? But man, does it bring back memories. Is there anything quite like that mid-80s progressive metal era where everyone was just trying to push the boundaries of what a heavy band could actually do?
Is there anything more exhausting than sheer greed? It’s like watching someone try to grab everything on the table at once, forgetting that if they don't slow down, they'll just end up dropping it all. I was thinking about this while looking at some recent market shifts—it reminds me of those old stories about corporate giants in Chicago trying to corner every single niche before anyone else even realizes what's happening. It feels relentless, doesn't it? Sometimes you have to wonder if anyone actually knows when enough is enough.
Golgotha World Destroyer Dispatch United States 1990 divorced
I’ve been thinking quite a bit about that whole Grave Digger situation—you know, the War Games incident? It’s funny how much noise people make about things like that, isn't it? Sometimes I wonder if we all just get caught up in the volume of the conversation rather than actually looking at what happened. It feels like everyone has an opinion, but does anyone really stop to listen to the silence underneath the chaos? It makes me wonder if we're all just shouting into the wind.
The Great White Recovery: A live session from Aegen Records, recorded over in Canada. It's still sealed.
Griffin Protectors Of The Lair SPV United States
Back in 2002, I remember picking up this Hammerfall record, Crimson Thunder, released through SPV out of Germany. It was an excellent find for me—definitely one of those gems that stays in the rotation.
I finally managed to get my hands on this 3LP pressing of Hammerfall’s *One Crimson Night* through SPV. It’s listed in ex/m/m/m condition, which honestly feels like a win for a collector. There’s just something about holding these heavy triple vinyl sets that digital streaming can never quite replicate, isn't there? You can feel the weight of the music before you even drop the needle. Does anyone else find themselves chasing these specific pressings just for the tactile experience alone?
The Heir Apparent? Graceful Inheritance? Black Dragon? France? It’s all just... exes. Everything from that past life is just an old chapter now.
I just picked up a copy of Helloween’s *Keeper of the Seven Keys Part I*. It’s an original 1987 pressing from Germany, and honestly, for being nearly forty years old, the condition is pretty solid—it’s sitting right at that very good/very good sweet spot. It’s funny how certain albums just define an entire era of heavy metal, isn't it? You listen to these tracks and you can practically feel the energy of the late eighties pulsing through the vinyl. There's a specific kind of magic in those power metal melodies that feels so much more intentional than the stuff we hear on streaming today. Is it just me, or does the analog warmth make those soaring vocals hit completely differently? Anyway, I'm really happy with this find. Just a classic piece of history to add to the collection.
I was just sitting here thinking about Helloween and that legendary Keeper of the Seven Keys Part II album. It’s wild to think back to 1988 when they released that masterpiece—it really felt like a turning point for power metal. I remember listening to it and just being floored by the production. Even though it came out of Germany, it had this massive, universal energy that hit home right here in the States. There’s just something about that specific era of heavy metal, isn't there? That raw, soaring sound before everything became so polished and commercialized. It’s one of those records you can listen to from start to finish and never feel like you're wasting a second. Does anyone else feel like that late '80s era of metal just had a soul that's hard to find today?
I just picked up a copy of Iron Maiden’s *Can I Play With Madness* on vinyl—got it in mint condition, too. It’s an EMI release from back in '88, originally out of the UK. Honestly, does anyone else feel like that era of heavy metal just hit differently? There was something about the production in the late eighties that felt so much more massive than what we hear today. Anyway, just wanted to share this little win with you all.
I was digging through my collection the other day and came across this old Iron Maiden pressing—it's one of those Maiden Japan releases on EMI from back in the day when they were still distributing through West Germany. It’s in such pristine condition, too, just nothing but mint on mint. Have you ever had one of those finds that just feels like a little gift from the universe? It really makes you wonder how many of these survived the decades in such perfect shape.
I managed to get my hands on this Iron Maiden pressing—it’s the Japanese import released under EMI back when they were still distributing through West Germany. Honestly, for an older record like this, the condition is incredible; I'd give it a very solid VG+/NM rating. It’s funny how much better these imports can feel compared to the standard domestic pressings we grew up with, isn't it? There's just something about that specific era of production that hits differently.
I was just digging through some old crates the other day and stumbled upon this Iron Maiden pressing—it’s that "Running Free" Maxi single released under EMI over in Germany. It’s on that classic nm/m condition, which is honestly a miracle for a record this age. Doesn't it just take you back? There's something about those early heavy metal imports that hits differently than anything you find at a local shop here in the States. Have you ever noticed how much more soul seems to be baked into those European pressings from back in the day? Anyway, just wanted to share the find.
I finally got my hands on a copy of Iron Maiden’s *Seventh Son of a Seventh Son*. It’s an EMI pressing from back in '88—it actually came over from France originally—and honestly? The condition is incredible. I’d call it Near Mint to Excellent. You don't see much like this anymore, especially with stuff that old. Is there anything quite like holding a classic like this in your hands and knowing it's been preserved so well? Just a beautiful piece of music history to add to the collection.
I just picked up a copy of Iron Maiden’s *Seventh Son of a Seventh Son* on vinyl. It was released through EMI back in '88, and I managed to snag this one in really great condition—it's listed as vg/ex-, which is pretty solid for a record that's been around this long. It actually shipped over from a distributor in the Netherlands, which is always a bit of a trip when you think about how much effort goes into getting these things across the Atlantic to us here in the States. Does anyone else find themselves hunting down specific European pressings just for that slightly different sound profile? There's just something about those late '80s productions that hits differently, don't you think?
I was just digging through my collection today and came across this gem: Iron Maiden’s *Seventh Son of a Seventh Son*. It was released back in '88 under the EMI label, and I actually have a pressing that was manufactured over in the Netherlands. Honestly, for an album that's decades old, the condition is pretty incredible—it's basically near-mint, maybe even better than excellent. Have you ever noticed how certain records from that era just seem to hold their magic no matter how many times you spin them? There's just something about that specific production style that hits differently.
I recently picked up a copy of Iron Maiden’s *Somewhere in Time*. It’s the EMI pressing from 1986, originally released over in the Netherlands, and honestly, the condition is pretty solid—definitely a very good plus rating on both the sleeve and the vinyl itself. It makes me wonder, though... does anyone else feel like the mid-80s were just a different era for production quality? There was something about those European pressings from that decade that felt just a little more substantial, wouldn't you agree? It’s funny how much a specific pressing can change the listening experience. Anyway, just thought I'd share this little find with the group.
I was just sitting here thinking about Iron Maiden’s *Somewhere in Time*. You know, that specific era around 1986 when they were really pushing the envelope? It’s such a fascinating period for them. I was looking at some old records from the EMI days—back when everything felt a little more tactile, you know?—and it got me wondering about the production quality of those mid-80s releases. There’s something about that specific sound, almost like it captures a moment in time perfectly. Does anyone else feel like the heavy use of synthesizers on that album actually enhanced their classic metal sound rather than distracting from it? It feels like a bold move that really paid off in the long run. Just one of those albums that stays with you.
I was digging through some old crates recently and stumbled upon this absolute gem: an Iron Maiden 12" maxi single for *The Number of the Beast*. It’s an EMI pressing out of the Netherlands, which always feels like such a cool find when you're hunting for that specific European press quality. There's just something about those old-school maxi singles, isn't there? The extra tracks, the artwork—it feels more substantial than just grabbing a standard CD. Anyone else out there still collecting these physical formats, or have we all moved on to streaming everything?
Jon Butcher | Photos From The Field | EMI | New York | m/m
I was digging through my old vinyl collection the other day and stumbled upon this absolute gem: Judas Priest’s *British Steel*. It’s funny how certain records just grab you out of nowhere, isn't it? This particular pressing is the one released through CBS back in 1980, and honestly, even though it was manufactured over in Europe, that classic heavy metal sound hits just as hard as any domestic release here in the States. I was looking at the condition too—it's an ex/ex copy, which is pretty rare for something that's been around since the turn of the decade. Does anyone else find themselves holding onto these old pressings more tightly than their actual modern collections? There's just something about that era of production that feels so much more intentional.
I finally got my hands on this 1987 pressing of Judas Priest’s *Priest... Live!* It’s that classic two-LP set released through CBS, and I managed to find a copy pressed in Europe—you know how those specific imports can sometimes have a slightly different warmth to them? Anyway, I picked up a decent copy, graded at VG/VG/VG across the board. For anyone who appreciates the raw energy of their live shows from that era, this one is such a gem. Is there anything quite like hearing those heavy riffs captured live on vinyl? It just hits differently.
I finally got my hands on a copy of Judas Priest’s *Ram It Down* on vinyl. This one was released through CBS back in '88, which is such a specific era for heavy metal—kind of that transition period where everything felt massive and polished but still had that raw edge. I managed to find this particular pressing in pretty solid condition, sitting right around that VG-/EX sweet spot. It’s a killer record to spin when you just want to lean into those classic riffs. Does anyone else feel like late '80s production has a certain magic that modern digital recordings just can't quite replicate? It's hard to find that specific warmth sometimes.
Remember back in '86 when Judas Priest dropped *Turbo*? I was just thinking about that era lately. It’s funny how much things change, isn't it? Back then, you could pick up a record like that through major distributors or even find it on heavy rotation on networks like CBS. I actually remember tracking down an import version from the Netherlands once—there was just something different about those European pressings, wasn't there? Even if it was a bit of a hassle to get, it felt worth it. It really makes you wonder why everything feels so much more complicated now compared to the mid-eighties.
I’ve been sitting here thinking about those old King Diamond conspiracy theories floating around back in the day. You remember how intense things got? It feels like a lifetime ago, specifically around '89, when everything was shifting in the metal scene. I was looking back at some old Roadrunner Records history, and it really makes you wonder about how much of that era was just pure chaos versus actual calculated moves by the labels. It’s funny how we used to obsess over these deep-dive theories. Was there actually something going on behind the scenes during those European tours, or were we all just staring too hard at the album art? Sometimes I think we wanted the mystery to be real just to make the music feel more legendary. Does anyone else ever look back at those late 80s industry rumors and realize how little we actually knew about how the machine worked? It’s a trip, honestly.
I finally tracked down a copy of Kingdom Come's "In Your Face" on Polydor—this particular pressing was made in West Germany back in '89. It’s in really solid shape, too, sitting right at that vg/nm sweet spot. You ever find yourself hunting for those specific European pressings because they just feel a little different? It's been a great addition to the collection.
I was just sitting here thinking about the sheer weight of 1991. It feels like such a pivotal year for music, doesn't it? I recently revisited *King of Kings* from Geffen, and man, it really makes you stop and reflect. There’s something about that specific era of production—it hits differently when you listen to it now compared to how it felt back then. Does anyone else get that sense of nostalgia where a single album can act like a time machine? It's funny how certain sounds just anchor you to a specific moment in time. Anyway, just some thoughts swirling around my head today.
Living Death, Vengeance Of Hell, Mausoleum... Belgium... ex/ex.
Wait, I was just thinking about that Loverboy track—you know, the one everyone played back in the day? It’s funny how certain songs just stick with you. I was actually catching some CBS programming recently and it got me thinking about how much media consumption has changed since we were kids. It’s almost like looking back at old footage from Canada, if you catch my drift. Does anyone else feel that weird sense of nostalgia when they stumble upon those old hits on a major network? Or am I just overthinking things again?
Loverboy | Loverboy | CBS | USA | m/m
I was just sitting here thinking about that old Roadrunner release from '88—you know, that Surfin' M.O.D. track? It’s funny how certain songs just stick in the back of your mind after all these years. It makes me wonder, does anyone else ever find themselves spiraling down these musical rabbit holes? I was revisiting it the other day and it really hit differently than it did back in the day. It’s got that specific energy, that raw feeling you only get from certain eras. Does that make sense? It feels like we're always looking for that one specific sound to ground us.
Manilla Road – Out Of The Abyss / Leviathan. Released back in '88. This was an ex/m copy. North America.
I was just digging through my old stacks and came across this Manowar record—*Sign of the Hammer*. It’s that classic Virgin pressing from back in '84, originally released in West Germany. I’ve got it in near-mint condition, basically ex/ex if you want to get technical about the grading. Does anyone else still hold onto these heavy metal gems from the eighties? It feels like a different world sometimes, doesn't it?
I finally got my hands on the Reign In Glory 2LP reissue from Massacre. It’s an absolute beast of a release, much like how those classic heavy metal imports used to land on our doorsteps back in the day. There’s just something about having that physical weight in your hands, isn't there? It feels more substantial than any digital file ever could. I've been spinning it all afternoon, just letting the riffs wash over me. Does anyone else find themselves getting lost in the ritual of it all—cleaning the vinyl, dropping the needle, just sitting there in the dark? It’s a meditative experience, honestly. Truly glorious stuff.
I finally got my hands on a copy of Manowar’s *Fighting the World*. It’s that classic Atlantic release from back in '87—you know, during that era when West Germany was still a whole different world. I managed to snag one in really solid condition, somewhere between very good and near mint. Honestly, does anyone else feel like heavy metal just hit differently in the late eighties? There was an energy then that feels almost impossible to replicate today.
Mat Sinner, Back to the Bullet, BMG, Germany, 1990, ex/vg
I was looking back through some old records from 1989—back when everything felt a bit more straightforward, I suppose—and I came across these specific notations regarding the Mekong Delta. It’s funny how certain data points stick with you, isn't it? We were tracking measurements in nm/m, likely related to those GWR studies conducted over in the States during that era. It makes you wonder how much the landscape and the way we measure these environmental shifts have changed since then. Does anyone else find themselves circling back to these older datasets just to get a sense of perspective?
Mekong Delta The Principle Of Doubt Ugh... honestly, just ugh.
I was thinking about that Mekong Delta trip again—you know, the one where everything just felt so vast and overwhelming? It’s funny how certain places stick in your mind like that. I kept thinking about that Toccata piece playing in the background of my thoughts, almost like a soundtrack to the heat and the humidity. And honestly? Aargh. Just... aargh. Sometimes you can't quite find the right word for that specific brand of frustration when things don't go exactly as planned, even when you're somewhere beautiful. Does anyone else get that feeling? Like you're caught between being completely awestruck and just wanting to scream at the sheer chaos of it all?
Looking back at that Metal Hammer collection—specifically the "Metal Decade Vol. 1" covering the early eighties—it’s such a trip. It was put out by Teldec over in Germany, which always makes me wonder how much of that specific European energy influenced the heavy metal scene here in the States. You look at those tracks from 1980 and 1981, and you can really feel the tectonic plates shifting under the genre, can't you? It’s like watching the foundation being poured for everything we love today. Is it just me, or does listening to these early recordings feel less like just playing music and more like witnessing history in real-time? It’s a solid piece of a larger puzzle.
I just picked up a copy of Metal Hammer, Vol. II, released by RCA back in '85. It’s in great shape—VG/EX condition if you're looking for it. Honestly, finding these old pressings from that era in such good condition feels like a small victory every single time. Does anyone else find themselves hunting down these specific vintage releases just for the nostalgia?
So, I finally got my hands on this 1988 pressing of Metallica’s *...And Justice for All*. It’s that classic double LP release from Vertigo—though, since we're looking at this through an American lens, you could say it feels like one of those iconic imports you'd hunt down at a specialized shop in Seattle or Austin. This particular copy was pressed over in Europe, specifically the Netherlands, which always adds a little extra flavor to the vinyl, don't you think? As for the condition, I'd grade it somewhere between Very Good and Excellent. It’s held up remarkably well over the decades. There's just something about that era of thrash metal that hits differently when you spin it on a real turntable. Is it getting old, or does the production just get better with age? I'm leaning toward the latter.
I was just sitting here thinking about 1986—what a wild year for everything, right? I mean, looking back at that era, it feels like everything was just hitting its stride. Take Metallica, for example. They dropped *Master of Puppets* that year, and honestly, does anything else even come close to that level of sheer, unadulterated energy? It’s one of those albums that defines an entire movement. Even back when they were signed to Music For Nations and making waves over in the UK, you could tell they were destined for something massive. It wasn't just music; it felt like a shift in the atmosphere. Does anyone else ever get that feeling when listening to old classics, where you can almost smell the vinyl and feel the specific tension of that time period? It’s hard to replicate that kind of lightning in a bottle.
I finally got my hands on this 1991 pressing of Metallica’s self-titled masterpiece—you know, the "Black Album." It’s that classic double LP release on Vertigo, but this specific one was pressed over in the Netherlands. Honestly, does anyone else find those European pressings just hit different? There’s something about them. The condition is solid, too. I’d grade it VG/VG/VG across the board—the vinyl, the sleeve, and the inserts all look great for being three decades old. It’s such a heavy, defining record. Looking back at 1991, can you even imagine how much the landscape changed after this dropped? It’s a total staple for any collection.
I was digging through my collection the other day and came across this Michael Schenker Group record. It’s an MSG release from back in '84, put out by Ariola over in West Germany. I’ve got it in excellent condition—really close to near-mint, actually. It’s funny how these old pressings just feel different in your hands, isn't it? You can almost sense the era they were recorded in. Anyway, if anyone is looking for a solid copy, let me know.
I was just sitting here thinking about the Michael Schenker Group and their 1983 release, *Built To Destroy*. It’s funny how certain albums just stick in your head, isn't it? This one was put out through Chrysalis back in the day, and looking back, you can really feel that specific era of heavy rock. It’s got that classic energy—that raw, driving sound that feels like it belongs to a very particular moment in music history. Does anyone else ever find themselves revisiting these old records just to see if they still hit the same way they did years ago? For me, there's something about that mid-80s production that carries a certain weight.
I was just spinning through some old classics and ended up back at Motörhead. You can't help but feel that energy, right? I finally sat down with "No Sleep Till Hammersmith" and honestly, it still hits just as hard as it did years ago. That raw, gritty sound is something else entirely. Even looking back at the "Bronze" era, there’s just a certain grit to their work that feels timeless. It reminds me of those legendary live shows you hear about—the kind of intensity that makes you wonder how any other band could even try to compete. Truly top-tier stuff. Very good, very good.
Is there anything quite like the raw energy of Motörhead? I was just sitting here thinking about *No Sleep 'til Hammersmith*—that live album is an absolute masterpiece. There’s just something about that grit and soul that hits differently when you listen to it. It’s got that heavy, driving rhythm that stays with you long after the needle lifts. And then there's *Bronze*, which is another incredible piece of work. It makes me wonder, does modern rock even attempt to capture that kind of lightning in a bottle anymore? Probably not. It’s hard to replicate that specific magic.
Back in 1990, there was this one release that really stuck with me—Nocturnus, *The Key*, put out by Earache Records over in the UK. Looking back, it’s wild how much that era shaped everything we listen to now. It had this specific, dark energy that felt like nothing else at the time. Does anyone else ever find themselves circling back to those early 90s classics just to remember where it all started? It's hard to replicate that raw, experimental feeling they were chasing back then.
Omen – Escape to Nowhere – Metal Blade – 1988 – ex/nm
OverKill. Years Of Decay. Megaforce. France. ex-/ex.
OverKill – Feel The Fire. Now that’s some heavy noise right there. I was spinning this one from 1985—back when things were just starting to get really intense—and man, it still hits. It’s got that raw, unfiltered energy that you just don't see much of these days. Makes you wonder, does modern metal even know how to capture that specific kind of grit anymore? Probably not. Just a classic piece of history for the collection.
I just picked up the Fuck You EP by Overkill on vinyl. It’s the Warner release from Germany, and honestly, the condition is solid—definitely a very good copy. Is there anything quite like holding a physical record in your hands? There's just something about that tactile connection to the music that digital streaming can never quite replicate, don't you think?
Overkill, Under the Influence, Warner, Germany... ex/m
Paul Samson — Joint Forces — Gama — West Germany — vg/m
Pink Cream 69 | Germany | m/m
Pretty Maids, "Future World," CBS... now that brings back some memories. Does anyone else find themselves circling back to those classic tracks? It’s funny how certain songs just stick in your head, especially when you think about the era they came from. Just makes you wonder how much the landscape has shifted since then.
Pretty Maids – Sin Decade (Sony, 1992) – m/m
Back in '83, I was listening to Quiet Riot’s *Metal Health* on repeat. It’s funny how certain albums just capture a specific moment in time, isn't it? I remember catching a broadcast of them on CBS, and man, that energy was something else. It felt like the whole world was shifting toward that heavy sound. I actually had a copy of the record from an old connection out in the Netherlands—well, I think they called it Holland back then—and even though I was miles away from where the music was being made, it felt incredibly close. It’s strange how a piece of vinyl can bridge that kind of distance, don't you think?
Quiet Riot... man, that brings back some memories. I was just thinking about them the other day while watching some old clips on CBS. It’s funny how certain bands just stick in your head, isn't it? They had that specific energy, that grit, that felt so right for the era. I remember seeing a segment about them back when I lived near Holland—well, more like a similar small town out in the Midwest—and it just sparked this whole internal monologue about the evolution of rock. Does anyone else feel like the heavy hitters from that period had a soul that modern tracks just can't seem to replicate? It's hard to find that same lightning in a bottle these days.
I was digging through some old crates the other day and stumbled upon a pressing of Queensrÿche’s *Operation: Mindcrime*. It’s that specific 1988 release handled by EMI, but interestingly enough, this particular version was manufactured over in the Netherlands. Even though it wasn't pressed stateside, the sound quality is still incredible. There’s just something about that era of progressive metal that hits differently, isn't there? Does anyone else find themselves hunting down those specific European pressings just for the sonic clarity? It's a bit of a rabbit hole once you start.
Back in '84, I was spinning that Queensrÿche album, *The Warning*, over and over again. It’s funny how certain records just grab you at that specific moment in time, isn't it? I remember listening to it through my old stereo, thinking about how much heavy metal was changing back then. Even though the label behind it was EMI—which, let's face it, was a massive powerhouse back in the day—there was something about that specific era of production that felt so intentional. I often wonder if modern digital recording can ever truly capture that raw, soaring energy they had in the mid-eighties. It wasn't just music; it was an atmosphere. Does anyone else feel like that decade had a specific sonic fingerprint that we just haven't quite replicated since?
I was spinning that classic Queensrÿche record earlier—you know, the one from back in '84? It’s funny how much better those old pressings sound compared to everything else these days. I actually managed to snag an original import pressing, though it came all the way from Germany. There’s just something about that era of heavy metal that hits different, isn't there? It wasn't just noise; there was actual substance to it. Even with the packaging being a bit worn, hearing those tracks kick in feels like stepping back in time. Does anyone else find themselves hunting down these specific international pressings just to get that perfect sound?
Anger. It’s funny how we talk about it like it’s this sudden, explosive thing, isn't it? But when I really sit down and think about it—really look at the shadows it casts—it feels more like a low, constant hum. Like background noise you eventually stop noticing until it suddenly gets too loud to ignore. I've been thinking a lot lately about how much of our frustration actually comes from that internal static. We carry these echoes of past grievances around with us, don't we? It’s almost like living in a city where there's always some construction going on just out of sight; you know it's there, you feel the vibration in your feet, but you try to go about your day as if everything is peaceful. Then, one small thing happens—a red light when you're already late, or a spilled coffee—and suddenly that quiet vibration turns into a roar. Is it even possible to truly separate ourselves from that noise? Or is anger just the way our psyche tries to process the friction of existing in a world that rarely aligns with what we expect? I'm still trying to figure that part out.
It’s funny how much noise people make when they're just plain angry. You see it all the time—that pure, unadulterated rage that seems to bubble up over nothing at all. It makes me wonder, though: is there actually such a thing as a "perfect man"? We spend so much time chasing this impossible ideal, this flawless version of ourselves or someone else, that we end up drowning out everything else with all this pointless friction. It’s like we’re so focused on being perfect that we forget how to just be human. Why do we let the frustration take over so easily? Is the constant yelling just a way to mask the fact that none of us really have it all figured out?
Back in '91, I remember catching Century Media while they were still carving out their space in the industry. It’s funny how certain eras just stick with you, isn't it? There was this specific energy back then—that raw, unfiltered Rumble Militia vibe that felt like it was trying to dismantle everything in its path. It was all about tearing down fascism and shaking up the status quo. Looking back, does anyone else feel like that kind of intensity is harder to find in today's music scene? Everything feels a bit more polished now, maybe even a little too safe. I still find myself circling back to those old releases whenever I need to remember what true conviction sounds like.
So, I was thinking about Sammy Hagar the other day—you know, that whole era when he was running things over at Geffen? It’s funny how much things change. He actually spent some significant time working out in Germany back then, which is such a massive leap from anything we see here in the States. It really makes you wonder, doesn't it? How does an artist transition from the local scene to navigating the complexities of a major international label while living halfway across the world? It’s a hell of a journey to take.
I was just spinning some old Savatage earlier—specifically that "Hall of the Mountain King" track—and it got me thinking about how much the industry has shifted since 1987. Back then, seeing a release through a major label like Atlantic Records felt like such a massive milestone for a band. It’s funny how certain albums just stick in your mind, isn't it? I remember tracking these specific pressings from the late eighties, specifically those imports coming out of Germany, which always seemed to have that slightly different grit to them. It makes you wonder if the production quality we take for granted today actually stripped away some of that raw, analog magic we loved back then. Does anyone else feel like the soul of heavy metal changed once everything moved away from those classic European pressings and toward the more polished, digital standard we see in the States now?
Remember back in '86 when Savatage released *Fight for the Rock*? I was just thinking about that era of Atlantic Records—it’s funny how certain albums just stick in your brain, isn't it? I remember hearing tracks from them during a tour over in Germany, and man, the energy was something else. It really makes you wonder if heavy metal had a different soul back then compared to what we're seeing today. Does anyone else feel like those mid-80s releases had a specific kind of grit that's getting harder to find?
Savatage’s *Sirens* on Music For Nations—man, I was just thinking about that era. It’s one of those albums that really sticks with you, isn't it? I remember hearing it back when it first dropped, and there was just something about that specific production style. It makes me wonder, does anyone else feel like certain labels just had a "sound" during that period? It feels like a lost piece of history sometimes.
Savatage – The Dungeons are calling | Combat | U.S.A.
Saxon. A total rock solid classic. It’s one of those pure, untouched gems from back in 1990. Honestly, looking back at that era, there was just something special about the sound, wasn't there? No fluff, just straight-up heavy metal. Pure, unadulterated energy.
Back in 1981, I was really getting into that heavy metal scene. There was this band, Saxon, and they had this track called "Wheels of Steel" on their Carrere label release. It’s funny how certain songs just stick with you, isn't it? Looking back at that era in the US, everything felt like it was shifting, moving toward something louder and more intense. That specific sound—that raw, driving energy—it really defined a moment for me. I wonder if anyone else feels that same nostalgic pull when they hear those old recordings? It’s more than just music; it’s like a time capsule of who we were back then.
Scorpions, "Love at First Sting," on the Amiga... man, that brings back memories. I was just thinking about those old-school German rock bands and how much they influenced everything. Does anyone else ever get hit by that sudden wave of nostalgia for certain albums? It’s funny how a single piece of music can transport you right back to a specific moment in time.
Scorpions – Savage Amusement (EMI, USA) – VG/VG
Scorpions Savage Amusement EMI USA g/vg -
Scorpions World Wide Live 2 LP EMI USA vg/ex/ex
Skid Row Skid Row Atlantic USA vg/ex
Skid Row Skid Row Atlantic USA nm/m
Steelover Glove Me Mausoleum USA nm/m
Stratovarius Elements Pt. 1 2LP Nuclear Blast USA 2003 ex/m/m
Tankard Alien EP Noise international USA ex/nm
Tankard Hair Of The Dog Picture Lp Noise international USA ex
Tankard The Meaning Of Life Noise USA ex/nm
Testament Practice What You Preach WEA USA ex/nm
Testament Practice What You Preach WEA USA vg/ex
Testament The New Order Megaforce USA ex/nm
Testament Trial By Fire EP WEA USA m/m
Therion Of darkness Deaf Records U.K. 1991 ex/nm
Tony MacAlpine Maximum Security Phonogram USA 1987 m/m
Tony MacAlpine Eyes of the World Polygram 1990 m/m
Toranaga God's Gift Chrysalis USA m/m
Torment Experience a new dimension of fear SPV USA 1991 m/m
Treat Dreamhunter Polygram USA m/m
Treat Scratch and Bite
The New Gladiators V/A
Tyrant Mean Machine Gama USA 1984 vg/vg
Twisted sister Come Out And Play Atlantic USA 1984 ex/nm
Twisted sister Love is for suckers Atlantic USA ex/nm
U.D.O. Animal House BMG USA vg/g
U.D.O. Animal House BMG USA ex/ex
U.D.O. Faceless World BMG USA ex/nm
U.D.O. Mean Machine BMG USA 1988 ex/ex
Hammer Rocks V/A CBS ex/ex
Vinnie Moore Time Odyssey Squawk m/nm
Vinnie Moore Time Odyssey Squawk m/m
Van Halen 5150 WEA USA vg-/nm
Van Halen 5150 WEA USA vg/nm
Vamp The rich don’t rock Atlantic USA 1989 ex/m
Vice Made for Pleasure Bmg USA ex/ex
Victory That``s VICTORY Live Tour'88 Metronome USA m/m
Victory Temples Of Gold Metronome USA 1990 ex/vg-
Victory Temples Of Gold 2LP incl Ltd Editon 6 tracks live in L.A. Metronome USA 1990 ex/ex/ex
Warlock Triumph And Agony Vertigo USA ex/vg
Warlock Triumph And Agony Vertigo USA vg/ex
Warlock Triumph And Agony Vertigo USA ex/nm
Warlock True as Steel Phonogram USA 1986 ex/nm
Warlock True as Steel Vertigo USA 1986 ex/m
Warpath When War Begins West Virginia USA 1992 m/m
Whitesnake 1987 EMI USA 1988 ex/ex
Whitesnake Live…In the Heart Of The City 2LP Carrere USA 1980 vg/m/m
White Lion Pride Atlantic USA nm/m
Xxaron The Legacy nm/nm
X-Mas Project Aargh USA ex/vg
Yngwie Malmsteen Trilogy Polygram USA 1986 m/m
Yngwie Malmsteen Trilogy Polygram USA 1986
Yngwie Malmsteen Odyssey Polygram USA 1988 vg/ex
Zed Yago Pilgrimage Bmg USA nm/m
