sell to us
WE BUY VINYL RECORD, CDS & MUSIC MEMORABILIA COLLECTIONS IN CWMBELAN POWYS/POWYS
WHAT WE WANT..
We will travel to Cwmbelan in Powys/Powys to buy your Rare Records, CDs and Pop Memorabilia and we are buying in all of the following local Cwmbelan areas below.
All areas covered in Cwmbelan in Powys/Powys.
To see a list of all the other towns in Powys/Powys we buy from click
here.
Here are just a few examples of what we buy :
Records – vinyl LPs, 7-inch & 12-inch singles, EPs, 33 RPM, 45 RPM, Picture Discs, Coloured Vinyls, Test Pressings, Acetates, Demos and Promo/Promotional Items
Compact Discs – CD Singles, CD/DVD singles, Limited Editions, 3” CD singles, Boxed Sets, 33 1/3 RPM, 78 RPM
Pop Memorabilia – Autographs, Guitars, Picks, Display Items, Photographs, Sheet Music, Vintage Clothing, handwritten lyrics, set lists, tour itinerary, stage props & costumes, paper goods, paintings, sketches, art, concert programmes, concert posters, tickets & stubbs, press kits, photographs, scrap books, Genesis Publications, Osiris, Hapshash & the Coloured Coat, Michael English, Ringo Or Robin, ROR, Apple Boutique items and anything interesting, unusual or downright weird.
Gold, Silver & Platinum Record Awards – Certified BPI, RIAA, IFPI or SNEP, authentic in-house variants, Grammy, Ivor Novello, ASCAP, publishing, plaques, shields, trophies, certificates & citations
Original 60s & 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 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, Spice Girls, U2
Punk, New Wave & Alternative collections by Blur, The Clash, The Cure, The Damned, Depeche Mode, The Jam / Paul Weller, Japan, David Sylvian, Joy Division, New Order, Nirvana, Oasis, Ramones, Sex Pistols, Siouxsie & The Banshees, The Smiths, Morrissey, U2, Bono, The Edge, XTC
Rock & Metal collections by AC/DC, Black Sabbath, Ozzy Osbourne, Bon Jovi, Deep Purple, Hawkwind, Iron Maiden, Metallica, Motorhead, Rush, ZZ Top
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 & etc. If we missed some, we probably need those too.
Swap your records for store credit.
Top Prices paid for MINT condition originals !
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 second-hand vinyl records and CD's wherever you may be.
We will be pleased to quote for your mint condition items and we love to buy 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 a better than a Cwmbelan high street record shop, independent record shop, record fair or any other place to sell your records in a Market, Town Centre or Cwmbelan Shopping Centre, Center or Mall and we will pay more than a Cwmbelan 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 Powys/Powys
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 Cwmbelan in Powys/Powys to buy your Rare Records, CDs and Pop Memorabilia and we are buying in all of the following local Cwmbelan areas below.
CONTACT US
E-mail -
buyers@991.com
Call FREE in the UK 0800 345 7551 | From outside the UK +44 (0)1474 815099
Contact our buyers direct on the following numbers:
Syd Franklin | UK +44(0)1474 816047
Queen, 70's Rock, any other Rock and Jethro Tull a speciality.
Mark Evetts | UK +44(0)1474 816064
Hendrix, Who, Queen, 70s, 80s, 90s Pop, Rock, Indie, Alternative, Metal, Punk, New Wave & Football expert.
Richard Austin | UK +44 (0)1474 816052
Our resident hippy - Art Pepper to Frank Zappa, via Tori Amos & Hawkwind.
Julian Thomas | UK +44 (0)1474 816069
60s & 70s, Beatles, Stones, Zep, Jazz vinyl collections - British, Modern & Avant Garde.
Rich Wilson | UK +44 (0)1474 816059
Jazz, Funk, Disco - strange & unusual preferred.
In Japan you can contact:
Yashuhiko Yashiki Tel / Fax - 0081-82-245-8830
email -
Yashiki
Our postal address is:
991 Buyers
The Nine Nine One Building
Railway Sidings
Meopham
Kent DA13 0YS
England
A FEW OF THE MOST RECENT ITEMS WE WANT...
 | CHRISTINA AGUILERA Lotus (2021 US 'Urban Outfitters
Exclusive' limited edition 17-track Double Album 2-LP set
pressed on Multi-Colored Marble Opaque Vinyl, her
seventh studio album originally released in 2012, including
the singles YourBody and Just a Fool, housed in a single
pocket picture sleeve with lyric printed inners. This example
is still in the open shrink, therefore the sleeve displays
minimal wear, the inners have some light signs of handling,
with the vinyl showing minimal signs of play)
Tracklisting: A1 Lotus Intro 3:18
A2 Army Of Me 3:27
A3 Red Hot Kinda Love 3:06
A4 Make The World Move
3:00
A5 Your Body 4:00
B1 Let There Be Love 3:22
B2 Sing For Me 4:01
B3 Blank Page 4:06
B4 Cease Fire 4:08
C1 Around The World 3:25
C2 Circles 3:26
C3 Best Of Me 4:08
C4 Just A Fool
4:16
D1 Light Up The Sky 3:32
D2 Empty Words 3:48
D3 Shut Up 2:54
D4 Your Body (Martin Garrix Remix)
5:12 |
 | MILES DAVIS Jack Johnson (Original Master
Recording limited edition two-part LP mastered by Krieg
Wunderlich at Mobile Fidelity Sound Lab an the Gain 2 Ultra
Analog System, specially plated & pressed at 33RPM on
180-gram SuperVinyl from a formula developed and
manufactured by NEOTECH. Originally released in 1971 this is
one of the best jazz-rock records ever made. Miles Davis,
John McLaughlin & co. merge electric fusion and defiant rock
on their funky, freeing tributeto Jack Johnson. Deluxe
gatefold picture sleeve individually gold-foil numbered &
factory sealed inside its loose bag. Recommended)
Tracklisting: Mobile Fidelity’s Numbered-Edition 180g SuperVinyl 33RPM LP Presents 1971 Landmark in Exuberant, Full-Range Sound - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe
Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard,” his adoration of Johnson, and Black Power politics, Davis created a hard-hitting set that surges with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio — and just as infrequently accepted by the mainstream.
Sourced from the original analog master tapes and housed in a Stoughton jacket, Mobile Fidelity's 180g SuperVinyl 33RPM LP reissue brings it all to fore with startling realism. Benefitting from SuperVinyl’s nearly inaudible noise floor, superb groove definition, and clean, ultra-quiet surfaces, this 180g LP showcases everything — from the bold tonality of the headliner's white-hot trumpet solos to the decay of crashing cymbals, carry of wiry guitar notes, and echoes of the studio — in reference fashion.
Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences longtime fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires.
Utilizing wah-wah and distortion, the go-to instrumentalist of the performances— guitarist John McLaughlin — attacks with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson< cross the until-then-impenetrable divide between rock and jazz. Davis puts both feet in the former camp and erases any gap. The stories of the record’s creation are nearly as legendary as the sounds within: Two sessions, multiple jams, different sets of musicians (several uncredited), and near-miraculous production perfectionism that made it all appear cohesive.
The least-well-known masterpiece of Davis' career, the 1971 record — seamlessly assembled and spliced together by producer Teo Macero — was a victim of limited record-label promotion. Audiences also didn’t immediately know what to make of its original cover art — faithfully replicated here. In addition, the powers that be at Columbia Records were directing the public’s attention to Miles at Fillmore, a completely different kind of album guided by two keyboardists. A Tribute to Jack Johnson practically lives in a different universe, one from the future. To many listeners who did manage to hear it — among them critic/musician Robert Quine, Stooges leader Iggy Pop, and renowned critic Robert Christgau — it surpassed everything that came before.
Indeed, Davis treated it as a personal manifesto: An opportunity to salute the Black championship boxer admired for his threatening image to the establishment and impeccable taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson — a stance mirrored by the defiant music, which hits with a prize fighter's force and reflects the graceful elegance with which a pugilist navigates the ring — and closes the album with a Johnson quote read by Brock Peters.
Inspired not only by Johnson but by Jimi Hendrix and Sly Stone, Davis changed his approach and his band. He surrounds himself with a cadre of musicians in their 20s and, in the case of bassist Michael Henderson, a 19-year-old fresh from touring with Stevie Wonder. Henderson gives Davis what he requested: boogie-based grooves that don’t lose shape or direction. Soprano saxophonist Steve Grossman, drummer Billy Cobham, and organist Herbie Hancock adhere to a similar aesthetic that prizes brazenness, innovation, and energy.
In that vein, during a portion of “Yesternow,” Davis segues into a separate performance (which became known in its entirety as “Willie Nelson”) played by guitarists McLaughlin and Sonny Sharrock, bass clarinetist Bernie Maupin, keyboardist Chick Corea, bassist Dave Holland, and drummer Jack DeJohnette. Dig it!
Talking with jazz scholar Bill Milkowski — who himself noted how McLaughlin’s unrestrained style, decibel-forward volumes, and rapid-fire power chords engendered himself to the rock crowd at the same time that his harmonics and syncopation still definitely made him a jazz player — guitarist Henry Kaiser summed up part of the appeal of A Tribute to Jack Johnson as well as anyone, saying: “It’s a jazz record that way way more open than other jazz records at the time, but still not free jazz. [McLaughlin’s] rhythm guitar playing on ‘Right Off’ — the use of different chords in a rock shuffle than what anybody had used before — was revolutionary.”
And to think that’s just one aspect of a record that contains multitudes. “Never let them forget it.” Indeed.
MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what t |
| MILES DAVIS Jack Johnson (Original Master
Recording limited edition two-part LP mastered by Krieg
Wunderlich at Mobile Fidelity Sound Lab an the Gain 2 Ultra
Analog System, specially plated & pressed at 33RPM on
180-gram SuperVinyl from a formula developed and
manufactured by NEOTECH. Originally released in 1971 this is
one of the best jazz-rock records ever made. Miles Davis,
John McLaughlin & co. merge electric fusion and defiant rock
on their funky, freeing tributeto Jack Johnson. Deluxe
gatefold picture sleeve individually gold-foil numbered &
factory sealed inside its loose bag. Recommended)
Tracklisting: Mobile Fidelity’s Numbered-Edition 180g SuperVinyl 33RPM LP Presents 1971 Landmark in Exuberant, Full-Range Sound - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe
Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard,” his adoration of Johnson, and Black Power politics, Davis created a hard-hitting set that surges with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio — and just as infrequently accepted by the mainstream.
Sourced from the original analog master tapes and housed in a Stoughton jacket, Mobile Fidelity's 180g SuperVinyl 33RPM LP reissue brings it all to fore with startling realism. Benefitting from SuperVinyl’s nearly inaudible noise floor, superb groove definition, and clean, ultra-quiet surfaces, this 180g LP showcases everything — from the bold tonality of the headliner's white-hot trumpet solos to the decay of crashing cymbals, carry of wiry guitar notes, and echoes of the studio — in reference fashion.
Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences longtime fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires.
Utilizing wah-wah and distortion, the go-to instrumentalist of the performances— guitarist John McLaughlin — attacks with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson< cross the until-then-impenetrable divide between rock and jazz. Davis puts both feet in the former camp and erases any gap. The stories of the record’s creation are nearly as legendary as the sounds within: Two sessions, multiple jams, different sets of musicians (several uncredited), and near-miraculous production perfectionism that made it all appear cohesive.
The least-well-known masterpiece of Davis' career, the 1971 record — seamlessly assembled and spliced together by producer Teo Macero — was a victim of limited record-label promotion. Audiences also didn’t immediately know what to make of its original cover art — faithfully replicated here. In addition, the powers that be at Columbia Records were directing the public’s attention to Miles at Fillmore, a completely different kind of album guided by two keyboardists. A Tribute to Jack Johnson practically lives in a different universe, one from the future. To many listeners who did manage to hear it — among them critic/musician Robert Quine, Stooges leader Iggy Pop, and renowned critic Robert Christgau — it surpassed everything that came before.
Indeed, Davis treated it as a personal manifesto: An opportunity to salute the Black championship boxer admired for his threatening image to the establishment and impeccable taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson — a stance mirrored by the defiant music, which hits with a prize fighter's force and reflects the graceful elegance with which a pugilist navigates the ring — and closes the album with a Johnson quote read by Brock Peters.
Inspired not only by Johnson but by Jimi Hendrix and Sly Stone, Davis changed his approach and his band. He surrounds himself with a cadre of musicians in their 20s and, in the case of bassist Michael Henderson, a 19-year-old fresh from touring with Stevie Wonder. Henderson gives Davis what he requested: boogie-based grooves that don’t lose shape or direction. Soprano saxophonist Steve Grossman, drummer Billy Cobham, and organist Herbie Hancock adhere to a similar aesthetic that prizes brazenness, innovation, and energy.
In that vein, during a portion of “Yesternow,” Davis segues into a separate performance (which became known in its entirety as “Willie Nelson”) played by guitarists McLaughlin and Sonny Sharrock, bass clarinetist Bernie Maupin, keyboardist Chick Corea, bassist Dave Holland, and drummer Jack DeJohnette. Dig it!
Talking with jazz scholar Bill Milkowski — who himself noted how McLaughlin’s unrestrained style, decibel-forward volumes, and rapid-fire power chords engendered himself to the rock crowd at the same time that his harmonics and syncopation still definitely made him a jazz player — guitarist Henry Kaiser summed up part of the appeal of A Tribute to Jack Johnson as well as anyone, saying: “It’s a jazz record that way way more open than other jazz records at the time, but still not free jazz. [McLaughlin’s] rhythm guitar playing on ‘Right Off’ — the use of different chords in a rock shuffle than what anybody had used before — was revolutionary.”
And to think that’s just one aspect of a record that contains multitudes. “Never let them forget it.” Indeed.
MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what t |
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