Jive Time Records

Jive Time Records Buying and selling quality new and used vinyl in Seattle's Fremont neighborhood for over 21 years!
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Jive Time Records proudly celebrates its sixteenth year as Seattle’s premiere used and new vinyl destination. After more than a decade our mission remains the same: to make shopping for music as much fun as listening to it! From classic rock, soul and jazz to the most obscure corners of the underground, you'll find it all at Jive Time. We're open to buy, sell, and trade quality used records, CDs,

DVDs and tapes seven days a week. We're located in Seattle's Fremont neighborhood just two blocks north of the Fremont bridge.

If you think you *really* know master drummer Ginger Baker, listening to Horses And Trees (1986) may change your impress...
06/15/2026

If you think you *really* know master drummer Ginger Baker, listening to Horses And Trees (1986) may change your impression of his music. Produced by Bill Laswell, Horses And Trees sounds more like a 1980s Laswell joint than it does anything by Cream, Blind Faith, Ginger Baker’s Air Force, or his collabs with Afrobeat pioneer Fela Kuti. And that’s more than okay, because the NYC bassist and producer enlisted some amazing players—including Bernie Worrell and Naná Vasconcelos—to help Baker create a hard-to-classify global beatfest. Critic Buckley Mayfield reviews this riveting anomaly on our blog. Link in comments.

Legendary Philadelphia musician/producer Dexter Wansel passed away in May at age 75, and respect must be paid. He’d made...
06/07/2026

Legendary Philadelphia musician/producer Dexter Wansel passed away in May at age 75, and respect must be paid. He’d made his name as an in-demand session keyboardist at Sigma Sound Studios for artists such as the O’Jays, Yellow Sunshine, MFSB, and Billy Paul, and also had played with Stanley Clarke, the Jacksons, and Grover Washington Jr. After signing with Philadelphia International Records as an in-house studio wiz, Dexter launched his auspicious solo career with 1976's Life On Mars. Wansel’s peak, Mars is an outward-bound, ARP 2600-enhanced jazz-funk opus that can hold its own with Herbie Hancock and Lenny White‘s best releases. Read critic Buckley Mayfield's review of Life On Mars on our blog. Link in comments.

Cher’s best LP, 3614 Jackson Highway (1969), is her Dusty In Memphis, a kind of gritty Southern soul/funk outing that de...
06/01/2026

Cher’s best LP, 3614 Jackson Highway (1969), is her Dusty In Memphis, a kind of gritty Southern soul/funk outing that deviated from her usual output. Recorded at the Alabama studio bearing that address, Muscle Shoals, with its stable of fantastic session players and singers, 3614 Jackson Highway was a critical success and consensus Cher favorite among true heads, but a relative commercial failure.

Cher sounds like she’s in her element amid an array of interesting covers, including Buffalo Springfield's "For What It's Worth," Dr. John's "I Walk On Guilded Splinters," and THREE Dylan songs from Nashville Skyline. Critic Buckley Mayfield reviews this lovely outlier in Cher's huge catalog on our blog. Link in comments.

Based in Detroit, the Politicians' members were the equivalent to Motown's Funk Brothers, but for the Hot Wax and Invict...
05/23/2026

Based in Detroit, the Politicians' members were the equivalent to Motown's Funk Brothers, but for the Hot Wax and Invictus labels. Though the Politicians recorded only one album, 1972's The Politicians Featuring McKinley Jackson, it contained enough heat for three. Led by trombonist/composer/producer/arranger Jackson, the group created a treasure trove of brash and soulful funk here. On the evidence of The Politicians..., Jackson deserves to be much better known and this record is DJ gold. Read critic Buckley Mayfield's review of it on our blog. Link in comments.

Led by prolific German drummer/library-music composer Klaus Weiss, Niagara were a showcase for his and fellow drummer/pe...
05/14/2026

Led by prolific German drummer/library-music composer Klaus Weiss, Niagara were a showcase for his and fellow drummer/percussionist mates to go beat crazy in the studio. On their 1970 debut LP, Niagara erected two sidelong jams that undulate and mutate with spontaneous-seeming invention, but knowing Weiss, they were likely precisely composed.

This record may change haters’ bias against drum solos, as there are many phenomenal ones transpiring throughout Niagara‘s 40 minutes. Critic Buckley Mayfield reviews this little-known monster LP on our blog. Link in comments. [Note: Because FB likely would censor the Niagara cover's naked breast, I've posted a panel from inside the gatefold sleeve.]

Although Sonny Bono wrote many hits with Cher in the '60s, he was generally not taken very seriously by true heads. His ...
05/07/2026

Although Sonny Bono wrote many hits with Cher in the '60s, he was generally not taken very seriously by true heads. His '70s TV variety show with Ms. Sarkisian, in which Bono was often the butt of jokes, nudged him further into buffoonish territory. But Sonny was a solid tunesmith, and his lone solo LP, 1967's Inner Views, sounds like his bid to be a genuine Artiste™—or was it just another psychsploitation cash-in... albeit one that didn't sell well? Whatever the case, Inner Views is an interesting curio/period piece. Read critic Buckley Mayfield's review of it on our blog. Link in comments.

A white Englishwoman with phenomenal pipes singing and writing songs while backed by early-’70s Funkadelic? And we get *...
05/03/2026

A white Englishwoman with phenomenal pipes singing and writing songs while backed by early-’70s Funkadelic? And we get *two* excellent Rolling Stones covers, to boot? Jeez, Ruth Copeland’s 1971 sophomore LP I Am What I Am should be WAY better known than it is. Writing two songs for Parliament's debut Osmium led to Copeland getting signed to Detroit's Invictus label, who tried to make Ruth the Caucasian Diana Ross. Alas, the foolish public weren't buying it. Still, I Am What I Am—which Copeland also produced—is a cult classic, a real IYKYK funk/soul gem. Read critic Buckley Mayfield's review of it on our blog. Link in comments.

Harumi Ando is part of that rarefied club of one-and-done artists: musicians who released one great LP and then peaced o...
04/24/2026

Harumi Ando is part of that rarefied club of one-and-done artists: musicians who released one great LP and then peaced out for various reasons. What makes Harumi’s case even more interesting is that he seems to have vanished from everyone’s radar in the decades following the release of his 1968 self-titled debut album.

Mystery pervades Harumi and his psych-pop oddity. How did an unproven Japanese solo musician hook up with accomplished—and uncredited—New York players in a studio helmed by Tom Wilson, producer of classics by the Velvet Underground and others? Why did Verve allow him to cut a double LP whose second disc consists of sidelong excursions with zero commercial potential? Could the reason really be down to Verve’s execs being high on hallucinogens and the notion that “this is what the kids want”?

On our blog, critic Buckley Mayfield dives deep into this enigmatic record. Link in comments.

Marvin Gaye’s only film score is one of the zeniths of the short-lived blaxploitation genre. Beyond that major feat, Tro...
04/21/2026

Marvin Gaye’s only film score is one of the zeniths of the short-lived blaxploitation genre. Beyond that major feat, Trouble Man (1972) stands as one of Gaye’s greatest albums, as well as the first one he totally wrote and produced. The odd thing about Trouble Man is that Gaye—one of soul music’s most emotive and powerful vocalists—seldom sings on it. No, Marvin was more interested in playing the Moog synthesizer that fellow Motown superstar Stevie Wonder had recently gifted him. The result is a stunning anomaly in Gaye’s phenomenal catalog. Read critic Buckley Mayfield's review of his favorite Marvin Gaye LP on our blog. Link in comments.

Before they became a well-oiled hit machine and the punch line to millions of unfunny discophobic jokes, KC & The Sunshi...
04/13/2026

Before they became a well-oiled hit machine and the punch line to millions of unfunny discophobic jokes, KC & The Sunshine Band were a tight little funk group of distinction. Then their second album yielded TWO chart-topping singles and they became superstars riding the burgeoning disco phenomenon. But a strange thing happened: Their third LP came out the same year as their breakthrough record, but under The Sunshine Band moniker, and it consisted of funky-as-hell instrumentals. What was up with that? Critic Buckley Mayfield explains in a review of 1975's aptly titled The Sound Of Sunshine on our blog. Link in comments.

Address

3506 Fremont Avenue N
Seattle, WA
98103

Opening Hours

Monday 11am - 6pm
Tuesday 11am - 6pm
Wednesday 11am - 6pm
Thursday 11am - 6pm
Friday 11am - 6pm
Saturday 11am - 6pm
Sunday 11am - 6pm

Telephone

+12066325483

Website

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