IN FOUR EASY STEPS
Do you have quality records you'd like to sell?
Here’s a quick breakdown of the process I use to buy vinyl.
(A more informative and positively exhaustive explanation
of the process follows the testimonials.)
Assess What You Have
Take a quick look through the records you wish to sell. Ensure they’re in decent condition and determine the approximate quantity (in number or feet) and the general gist of the genres (“mostly rock”, “half jazz; half blues”, etc.)
Call or email me with the info gathered in Step 1. In addition to what you’ve found, I’ll need to know what neighborhood you’re in and a general timeline of your schedule (“Usually available weekends of evenings”, “am moving at the end of the month and need them gone”, etc.)
If your records interest me, we’ll work out a time for me to view them. I do housecalls when you’re local to me or have a large quantity, but it’s generally best for the seller to come to me.
Once I’ve gone through your records, I’ll make you an offer on the titles that appeal. I’m also able to answer any questions you may have about the offer and the records that interest me. If the offer is agreeable to you, we’ll complete the transaction. It’s as simple as that.
A MORE THOROUGH EXPLANATION
WHO AM I?
My name is Lincoln Stewart. I’m the former manager of Vortex Records and the former owner of Good Music, two much-loved and well-respected Toronto record stores. Both establishments had sterling reputations for fairness and quality. Vortex was the most highly-thought-of used record store in Toronto for almost 40 years, with The Toronto Star calling us “an oasis for music lovers,” and more than a dozen “Best Record Store” wins and nominations in the city’s newspapers’ annual “People’s Choice Awards” (Now Magazine, Eye Magazine, The Grid, etc.)
I now buy and sell top-shelf used records (and other things) out of my Dundas West loft. (Don’t let the lack of a storefront scare you — it’s by choice, having sold the entire inventory of Good Music to a competitor and entering semi-retirement in 2016 at age 48.)
My motto is Quality records bought and sold. Fair prices in and out. That means I’m not trying to screw you. I pay half of what I intend to sell a record for. Period. If I’m gonna sell it for $20, I’ll pay you $10. If I think I can sell your record for $50, that’s $25 in your wallet. It’s that simple. Unlike some of my competitors, I do not advertise that I “pay up to 60%” and then pay you good money for two records and pennies for everything else. If I want the record — and admittedly, I’m very picky — I’ll pay you 50%. Doesn’t matter if it’s a $75 record or a $750 record. No exceptions.
Importantly, I don’t expect you to be the expert. Maybe you don’t know you’ve got an $80 record. I’ll tell you — when I offer you $40. I have bought and sold vinyl in Toronto since 2005. It’s what I do. Over the years, the stores I’ve run have paid out over a million dollars for people’s used items. I’ve bought from those who’ve inherited records they know absolutely nothing about and I’ve bought from the most informed record collectors in the city — and every type of seller in between. Everyone gets treated the same way and I have the testimonials to back that up.
Most important to me is my reputation: the amount I offer a for a record is based solely on that record’s resale value to me, not on how much profit I can make on the title. This policy is the direct opposite of many of my competitors who want to pay as little as possible and sell for as much as possible.
WHAT KIND OF RECORDS DO I BUY?
I am interested in most genres, but have a reputation for late 40s to present day jazz, blues, soul, rock, and indie. The rarer the record is, the more likely I’m interested in it. Labels that are of particular interest are Blue Note, Impulse, Atlantic, Contemporary, Folkways, Verve, Okeh, Prestige, and Mosaic.
Non-domestic pressings (Japanese, UK, and American imports) are also of interest, as are smaller / indie labels (SST, Cherry Red, Rough Trade, Creation, Factory, etc.) or micro labels (Mississippi, Type, etc.).
Unsure what any of that means? Doesn’t matter. Again, I’m not expecting you to be the expert.
RECORDS I DON’T BUY
Easy listening, pop vocal, swing / big band, and non-20th Century Classical (Bach, Beethoven, etc.) are all genres I avoid. These are all very hard sells and therefore not of interest.
I also do not buy 78RPM records and am extra picky about Singles and 45s, with deep soul 45s being the exception.
Please keep in mind the first part of my slogan: “Quality records bought…”.
Because I guarantee everything that I sell, I am not interested in unplayable records. I do not sell — and therefore do not buy — records with audible scratches on them. If you can feel a scratch with your finger, the turntable will hear that scratch and therefore the record is not of interest to me.
I also do not buy records that are missing the outer sleeve (the cover art) or records with cover art that is severely water damaged, unless the pressing is particularly rare and the record in great shape.
True, I am probably the pickiest buyer in the city. But this is why I pay so well — I only purchase quality product and do not clutter my inventory with dollar records.
WHY CHOOSE ME?
For all the years I owned or ran record stores, I was the only store in the city with “fair” offered as an explanation of what I paid. It was on my signage and business cards. I was also the only store to state clearly and upfront my buying percentage: fifty percent.
Other stores are now adding “fair” to their own mottos — and at least two are lying that it’s always been the case — but the internet has a good memory and quickly reveals this to not be true. (The Wayback Machine archives deleted website content.)
I have a hard-earned reputation for fairness, honesty, and transparency, though admittedly I can be a little blunt.
Though 75% of the people who sell records to me are repeat sellers–they’re my most vocal supporters (and some of them have been selling to me for more than a decade)–one of the most satisfying parts of my job is paying big money to people who don’t know the value of a rare vinyl gem tucked next to their beat up copy of Led Zeppelin II.
WHAT’S THE PROCESS?
Usually it’s best if you bring the records to me. I’m in the Dundas and Sorauren neighborhood of Toronto. Contact me to book an appointment.
When records are brought to me, you’re welcome to hang out in my loft while I go through them. Or, you can explore the Roncesvalles neighborhood, grab a coffee or a bite, and I can call you when I’m finished and you can return at your leisure. Keep in mind that if you prefer to stay, I do have a dog — mentioned for the sake of those phobic or allergic. It’s a loft (one giant room) so I can’t separate her for the duration.
WHAT IF I’M UNABLE TO BRING THEM TO YOU?
If you have too many records to transport or are unable to bring them for other reasons, please get in touch and I’ll consider a housecall.
When I do housecalls, I need the records to be in a well-lighted room. I’ll go through them and make you an offer on the ones that appeal. Depending on the quantity of records, it could take under 30 minutes or several hours. You’re welcome to observe the process, but it’s quickest when I’m uninterrupted.
To determine if I’m interested in your records, it is best if you send me some basic information. Most importantly, which records do you have to sell and what condition are they in. Please be specific — vague terms like “All kinds of music” or “Everything” are not helpful.
For instance, “I have 3 crates of records, mostly fifties and sixties blues and jazz (Miles Davis, John Coltrane, Charles Mingus, etc). I’m near High Park.” is helpful, as is, “3 feet of rock records from the seventies. Led Zeppelin, Black Sabbath, Pink Floyd, Beatles, and other popular bands of the era. I’m near Yonge and Eglinton.”
But… “A pile of vinyl records from when I was in high school! I’m not sure what they are as I haven’t looked at them in years. Please come!” is not so helpful.
If the records aren’t yours (perhaps you inherited them or moved into a space filled with vinyl from a former occupant), and you know nothing about them, you can call me and I can ask you questions about them that you’ll easily be able to answer, assuming you’re in front of the records.
Some people have gone to the trouble of making detailed spreadsheets with titles, catalog numbers, etc. Though this is nice, 90% of the time it is a wasted effort as it takes many hours to do and it isn’t necessary for me to know that much information about every record before determining if they’re of interest. If you haven’t done this yet, I would advise you to spend your time otherwise.
Please list a dozen or so artists from the various genres. A few photos of the covers and records themselves, attached to your email, are helpful if you’re unsure about condition.
You also need to tell me approximately where you’re located. City and nearest intersection is enough for the initial email.
More than likely I’ll get back to you with a few questions and then perhaps we’ll talk briefly on the phone.
If you prefer to call rather than email, my number is 416 556 6278. Please try to have access to your records when you call, as I’ll certainly have some questions about them.
SOME FREQUENTLY ASKED QUESTIONS ABOUT SELLING RECORDS IN TORONTO
YOU SAY YOU PAY THE BEST IN THE CITY — WHAT MAKES YOU SO SURE?
Actually, I don’t say that. People who repeatedly sell records in Toronto say that about me because they have experience repeatedly selling records in Toronto. I do say that I pay half my sale price for every record I buy. More importantly, I don’t just say I pay 50% — many of my competitors now say it — but I actually do it.
A number of my competitors say they pay “at least 50%” or “the most” or “the best,” but when they’re buying a record from you, they’ll pay you $20 and tell you it’s worth $40 and then sell it for $60 or a $70. This happens most frequently when they’re buying all of your records because they know you’re not going to come into their shop to verify what they’ve told you–if you still had an interest in records, you wouldn’t have sold them your collection!
All my sales are done through my website (I do not sell on eBay of Discogs or other such services) and the prices are visible while the title is for sale. If I tell you a record is worth $40, you’ll end up seeing it listed on my website for $40.
Here’s a fact: when the staff (current and former) of many of Toronto’s best-known record stores have records to sell, they call me rather than selling to their own employers. This includes my competitors who insist they also pay half. Why? Because they know their employer’s claims are nonsense. When my employees had records to sell, they sold to me, not to my competition. They worked for me every day and knew that I paid what I said I did because their own jobs consisted of paying 50% to every seller who came in the door.
YOUR COMPETITORS INSIST I NOT SELL INDIVIDUAL PIECES, BUT THAT IT’S “BETTER” TO SELL TO THEM AS A WHOLE LOT. YOU PREFER TO ONLY BUY THE RARE RECORDS… WHY IS YOUR SYSTEM BETTER FOR ME?
This is a negotiating maneuver used by stores who pay a flat price per record, something I do not do.
Here’s an example: You’ve got 300 records you want to sell. Four of them are the kinds of records I’m looking for — uncommon, much-sought-after titles. The other 296 are perfectly good records, but not the kind of records I deal in.
Here’s how some of my competition approach this: They flip through the records, see the rarities, and tells you, “Yeah, there’s a couple good records in there but the rest are very common. How about a buck each?” (Sometimes they’ll go as low as 50 cents each and add that they’re doing you a favor by hauling them away.)
Accept their offer and you’ve got $300. Not bad for a bunch of stuff sitting in your garage or basement.
But — call me first and I’ll go through the 300, show you those 4 gems, and offer you $200 for them, which is half of the $400 I plan to sell them for.
But what are you going to do with the other 296 records? Simple: sell them to that same competitor for the same dollar each–hell, I’ll even tell you which competitor to go to based on the remaining titles. Now you’ve got $200 from me and $296 from them. Essentially, you’re ahead $196 and all you had to do was call me first and don’t tell them I was there.
Do I really think this would work? Yes! Because I’ve literally done thousands of referrals since I started selling records in 2005.
YOU SAY IT CAN TAKE 30 MINUTES TO A FEW HOURS TO GO THROUGH MY RECORDS AND MAKE AN OFFER. MY FRIEND SOLD HIS COLLECTION TO YOUR COMPETITOR AND IT TOOK THEM 5 MINUTES TO MAKE HIM AN OFFER. WHY THE DIFFERENCE?
Your friend got ripped off.
No doubt the buyer flipped through the records and made an offer based on the covers. Only an amateur or a crook buys records based on covers, and my money’s on the latter.
Look at these two covers:
Sure, one is a little faded, but they’re the same record, right? Yup.
But they’re not the same pressing. The pressing is what determines a record’s value. Anyone who makes an offer on a record, let alone a collection, without examining what’s inside the cover, is terrible at their job. Or — and this is more likely — they’ve been doing this for decades and they’re deliberately simplifying the buying process to benefit themselves. Would you buy a car without lifting the hood or opening the doors? Record resellers deal in pressings, not records, and you can’t be certain of the pressing from the cover. Hell, sometimes it’s difficult to determine the pressing based on the label.
Lets open these two Coltrane sleeves and see what’s inside:
A slight glance at the two labels reveals only subtle differences. They’re both on Blue Note. They’re both labeled as mono, “microgroove” pressings (though only one truly is). They both identify Blue Note as being located at “47 West 63rd Street NYC” (the label’s stated address from 1957 to 1962).
But today, you could walk into any decent record store and purchase one of these pressing for under $20, brand new. The other, in Very Good Plus condition, sold for more than $1000 in late 2017.
With that big of a price variation between these two seemingly identical records (manufactured sixty years apart), how can a buyer assess value by flipping through the covers? They can’t. But if that’s what they’ve been trained to do and have been doing for decades, do you think they’re going to value that record at $5 or $500 when they’re spending only 5 minutes tallying what to pay you for your record collection?
It would take me a few minutes to determine the provenance of this one record alone. An entire collection? Trust me, your friend got taken for a ride.
Here’s another example from a housecall I did in August, 2018. The seller had a copy of this record:
At the time of the housecall, this original pressing was worth about $100. However, opening it up, I found this label:
As you can see, it says “Promotion Copy Not for Sale”. Much more rare than the general release. The album went from a $100 record to $180 record because I was thorough enough to check the label. Of course, I then paid $90 to the seller instead of $50.
So, in order to make an accurate and fair offer on your collection, I need to examine every record I’m going to pay you for in detail. (I don’t bother opening the records that don’t interest me.) I identify the pressing based on all sorts of factors: groove depth, label color and paper, font, logo style, company address, parent company name, scribbles and stamps in the deadwax or runout, cover (paper texture, printing method, and assembly type), country of origin, format (stereo, mono, fold-down), etc. I do this very quickly — 30 seconds or less — unless it’s a particularly rare pressing or one with many variations.
So, if you don’t have the time for me to do that, I understand. There’s more to life than getting the most for your records — maybe you just want them gone. If that’s the case, there are plenty of people in this business who’d be happy to make you an offer based on the covers. I’m just not one of them.
SOME STORES OFFER A “GUARANTEE” OR “PROMISE” THAT THEY PAY THE “FAIREST”. DO YOU?
Short answer: No.
EDIT: The owners of the shop that was doing this have read my website and have now removed their “guarantee” from their own website — worse, they replaced it with false claims that they would never say they guarantee such a thing. (Again, thanks to the Wayback Machine, the internet never forgets.) So, essentially, you can skip the answer to this question. I’ll leave it intact for those who are curious:
Long answer: Those guarantees and promises aren’t worth the pixels they’re written with. Think about it — how would such a guarantee be backed up? Once you’ve sold the records, you’ll not get an offer from another buyer so you have nothing to compare it with. Further, what if you passed on their offer and got a better offer from someone else — what is the store with the guarantee going to do? Match the offer? Why would you drag the records back to them to get the higher amount the second store was offering from the git-go?
The only reason a store makes such a silly claim is to take advantage of neophytes. They know they’ll never have to back it up. Avoid buyers with guarantees. If they’re not charlatans, at the very least they’re not respecting your intelligence.
Another fact: in my years of buying records, my offer to purchase a collection has only been turned down once. Why only once out of, literally, thousands of buys? Because I’m so great at my job? No!
It’s because selling a record collection can be an intimidating, frustrating, and back-breaking process: you’ve got to do your research, possibly book an appointment, pack up the records, lug them to the car, drive to the store, carry the records from car to store, wait while the buyer goes through them, often be belittled by a buyer trying to make it look like you’ve got nothing of value, listen to and weigh their offer…
They said on the phone or on their web site that they’re fair. Maybe you don’t know anything about vinyl or the current used record market. So — are they being fair or are they preying on your ignorance and exhaustion? After all that work, should you put the records back into the car, drive back home, and repeat the process with another buyer who will probably make a similar offer? Most people won’t. They’ll take what they’re being offered. That goes for people selling to me as much as it does for people selling to anyone else. It’s human nature.
This is why it’s so important to pick the right buyer first.
I’d love the opportunity to consider your records, but if you’d rather go with someone else, here’s a list of my competitors. If you choose me and your records aren’t right for Volver, I’d be happy to make a personal recommendation for one of the other stores on the list to ensure you get treated as fair as possible. I’ll even check back with you to ensure your experience with my competition was worthy of my recommendation, just like I’ve done after hundreds of referrals over the years.
If you have other questions, or wish to talk to me about your records, call 416 556 6278, or send me an email via the link at the bottom of every page of my site.
Best of luck, and thanks for your consideration.
PS One final word: One of the reasons I’m still able to pay 50% for every record I buy is because I’m just me. Every record store in Toronto is “a family business” — there’s nothing special about that, but my family is just me, my dog, and a bunch of plants. I don’t have a store and all that comes with it (crazy rent, insurance, utilities, advertising, BIA, TMI, etc). And, I don’t have staff.
Having owned and managed stores for many, many years, I know how much these things cost. Keep in mind that, generally speaking, if a store pays 50% for their inventory, they don’t make a dime in profit until they sell 50% of that inventory. It is extremely difficult to pay staff a decent wage and manage Toronto commercial rents when half your money has gone to inventory. This is why I say I sell out of my loft by choice — it’s also why I do not begrudge stores that pay 30% — which was the standard before I got in the business and, if stores are honest, is still the standard today. They’re not ripping you off — they’re making a decent living. What angers me are the stores that lie about it. My store was on Dundas and my rent was $1200. Rents on Dundas now are triple that. Queen Street? Danforth? Little Italy? Forget about it. And with multiple staff? In my opinion it’s simply no longer possible to run a brick-and-mortar shop in Toronto and pay 50% across the board. Stores are also more likely to pay a higher percentage to customers who also buy records from them. This is both to not offend them and because they know those customers will see their own records once they’re priced. This isn’t the case for people trying to sell entire collections.
Thanks for reading!