$32.99 Buy It Now or Best Offer
free,30-Day Returns
Seller Store muitoobrigado
(2582) 100%,
Location: Baltimore, Maryland
Ships to: US,
Item: 285864198567
All returns accepted:ReturnsNotAccepted
Artist:plasmatics
Speed:33 RPM
Record Label:High Roller Records
Release Title:Coup de Grace
Case Type:Cardboard Sleeve
Color:White
Material:Vinyl
Inlay Condition:Mint (M)
Edition:Anniversary Edition,Collector’s Edition,Deluxe Edition,Limited Edition
Type:LP
Record Grading:Mint (M)
Format:Record
Release Year:2024
Sleeve Grading:Near Mint (NM or M-)
Era:1970s
Style:1970s,1980s,Black/Gothic Metal,British Metal/NWOBHM,Death Metal,Doom/Sludge Metal,Glam/Hair Metal,Gothic Metal,Heavy Metal,Power/Progressive Metal,Punk/New Wave,Punk Metal,Rap Metal,Speed & Trash Metal,Stoner Metal,True Metal
Record Size:12″
Features:Import
Genre:Metal,Punk
Country/Region of Manufacture:Germany
Brand new and sealed. PLASMATICS Coup de Grace LP – WHITE VINYL Note – The records have a small corner ding in one corner. —- High Roller Records, reissue 2024, white vinyl, ltd 200, 425gsm heavy cardboard cover, lyric sheet, poster, mastered for vinyl by Patrick W. Engel at TEMPLE OF DISHARMONY in January 2016 Wendy O. Williams – vocals Wes Beech – rhythm guitar Richard Stotts – lead guitar Chris Romanelli – bass, keyboards Joey Reese – drums -Put Your Love in Me-Stop-Rock ‘n’ Roll-Just Like on TV-Uniformed Guards-No Class-Mistress of Passion-Lightning Breaks-Path of Glory-Country Fairs-The Damned 1st+2nd pressing SOLD OUT!3rd pressing: AVAILABLE Mastered for vinyl by Patrick W. Engel at TEMPLE OF DISHARMONY in January 2016 The Plasmatics (managed by a certain Rod Swenson) were a legend in their own right. Formed in the late 1970s by guitarists Wes Beech and Richard Stotts, drummer Stu Deutsch, bassist Chosei Funahara and fronted by former porno actress Wendy Orleans Williams, the band was never really fully accepted by the original punk rock and hardcore scene in their native New York City. The Plasmatics soon signed to legendary English punk label Stiff Records (responsible for the first Motörhead 7” single) and issued their ground breaking debut album »New Hope For The Wretched« in 1980. Their sensational live shows, featuring blowing up a Mercedes car on stage and sawing guitars in half, were banned in a lot of places (like the Hammersmith Odeon in London) but did not fail to gain the Plasmatics a fanatical following mainly in continental Europe.For a lot of fans and journalists the 1982 album »Coup D’État« (for which the band had signed to major label Capitol Records) marks the Plasmatics’ finest moment in their recording career. Recorded with the help of legendary German producer Dieter Dierks, »Coup D’État« is hailed as maybe the first true blue hardcore punk/metal crossover album in rock history! Featuring songs like “The Damned”, “Just Like On TV”, “Mistress Of Taboo” as well as a fantastic cover version of Motörhead’s “No Class”, »Coup D’État« paved the way for Wendy O. Williams’ later solo career under the W.O.W. banner.However, not a lot of people know that there had been a slightly earlier attempt at recording the material in the band’s native New York. Those recordings (at Electric Lady Studios) later became known under the title of »Coup De Grace«. “The actual »Coup De Grace« recordings are very rough,” comments Gene of Plasmatics Media. “The whole thing was recorded in less than a week and then mixed in the same amount of time. »Coup D’État«, on the other hand, took almost three months plus a month of pre-production. So some of the tracks on »Coup De Grace« have a feel some people think that is kind of cool and missing on the later heavily produced version. The budget was something specifically I never heard manager Rod Swenson mention but it was miniscule by comparison.”Comparing »Coup D’État« with the original recordings of »Coup De Grace«, some people have indeed stressed that the Dierks takes were missing the raw punk energy of the early Plasmatics and sounded a bit “overproduced”, if you will… “This is a very interesting perception,” states Gene, “and it is one I have not heard except internally and yes, great production in its way by Dieter Dierks, but many thought possibly ‘overproduced’, as you say. Dieter came and had the band performing to a metronome (Wes Beech discusses this on the Plasmatics history DVD) and everything was done over and over again. So some people thought that it would have been better a bit more raw. But to Dierks’ credit it should be said that Dieter gave it a lot of power with this precision.”So why did Capitol not work with the »Coup De Grace« tapes in the first place? Were they just demos in Capitol’s eyes, or some kind of pre-production? Gene gladly gives us the whole story: “This was never intended to be the album. Wendy and Rod and everyone liked Dan Hartman (of Edgar Winter fame etc. and later the comeback of James Brown) a lot after doing »Metal Priestess« with him (it was done by Dan Hartman with Rod Swenson). And he wanted to produce the Capitol album, so the tracks were done as a demo principally for Capitol. Wendy and the band had already been signed but the album producer had to be picked and Capitol, because of the money they were putting in, wanted to pick or at least approve pick. So these were done as a demo. In the end Dieter also wanted to produce and he was coming off the huge Scorpions hit album and Capitol thought that would be better. The tapes themselves were done though as a demo (different drummer too, who was replaced for health problems shortly after the album was made and drummer TC who would go on to play on next four albums came in).”With «Uniformed Guards» »Coup De Grace« features a song which did not end up on the final Dierks produced »Coup D’État«. Why was that? Gene: “This was the last album for the original lead guitarist Richie Stotts, who was very theatrical and did kind of noise leads while player Wes Beech did the cover work. But the level of the music here was beyond his style and he could not meet Dieter’s stringent demands and so Wes ended up having to do most of his rhythm parts while he worked on leads. But the time got way beyond budget and so ‘Uniformed Guards’ had to be dropped simply because there was not enough time to finish it.”One of the key songs on the album is «The Damned», for which a video was shot as well. Gene explains: “Yes, this was the clip where Rod came up with this scenario with Wendy jumping from the top of a moving bus after going through a wall of TVs and the bus blows up. Scared Capitol and MTV both. Yes, a great song. Rod (who wrote all the lyrics of the songs over the years) had actually written most of the lyrics to ‘The Damned’ for another song that was never recorded called ‘Simian King’. But when he heard the riffs for what became ‘The Damned’, brought in by Chris Romanelli, he liked it so much he used them as the lyrics for that song which became ‘The Damned’.”“The Damned” was later covered by German Thrash Metal band Destruction. In the form of «No Class» »Coup D’État« also featured a Motörhead cover, but Lemmy did not participate on the album, why didn’t he? Wendy and him had recorded a single together a bit earlier (which resulted in the exodus of Fast Eddie from Motörhead…). “No, there never was any thought about having Lemmy participate in the album,” Gene is stating. “The recording of ‘Stand By Your Man’ was such a disaster that I don’t think at that time Wendy or Rod would have wanted to work with Lemmy again. The story of that recording is not what Motörhead released to the press (which Wendy and Rod didn’t actually hear until years later). Mostly involving the drugs and alcohol use by Motörhead that rendered Lemmy almost completely dysfunctional but beyond this discussion here. There were some collaborations later. Rod produced and directed Motörhead’s ‘Killed By Death’ video as a favour to their managment and some dates were arranged for the purpose of getting Wendy in front of new audiences, like any tour or appearance dates but I think the thought would have been the farthest from anyone’s mind. Also, remember Capitol was looking for big name producer and Lemmy at the time was hardly that.”As mentioned earlier, »Coup D’État« was originally released in 1982. In my book it’s one of the first true metal/punk/hardcore crossover albums. The Plasmatics just never got the credit they deserved for that. Even in N.Y.C.H.C. circles they were the odd band out… “Yes, you are absolutely right,” confirms Gene. “»Coup D’État« was a breakthrough album, very daring in that sense (you need to see Dante Bonutto’s discussion of this on the DVD »10 Years of…« and also Chris Knowles from Classic Rock also on that DVD). It was way ahead of its time. Got some high praise, but you’re right as far as real credit… or what would be proper credit or even sales that… and here is where I will tell you the main reason why it deserved it is because Wendy was a breakthrough performer in an almost all-male rock genre. People didn’t want to hear a woman that sounds tough etc. This was the main thing, an astoundingly sexist thing (some great discussion of this also on the DVD), daring but too daring for the mainstream.”The role of manager Rod Swenson for the Plasmatics has often been compared to that of Malcolm McLaren regarding the Sex Pistols. Maybe an unfair assessment? “Well for us WOW/Plasmatics people we don’t think a whole lot of the Sex Pistols,” says Gene. “And of course they were around for what, an album or two, and a dismal tour (see Chris Knowles on the DVD who calls it a ‘joke’). But I know what you mean. I’m not sure exactly what Malcolm McLaren is now historically said to have done but it is not likely to have been as much as Rod, who likely is under not overinterpreted for his role. The Plasmatics were literally a creation of Rod Swenson. He created the name (which was originally Butcher Babies but when he wrote the lyrics to the song of that name, ‘Butcher Baby’, he changed the name to Plasmatics). It was built and created around Wendy and as a very specific assault as they used to say on the status quo (which included sexism or male dominated rock and roll or female ‘sing pretty’ music) etc. So Wendy was the stage, the performer side, and Rod was the eyes, ears, creation side. Rod wrote all the lyrics from day one for all the songs, shot the album covers, the latter done initially under pseudonyms (Stellar Axeman for the music/lyric part, and Butch Star for al the photography and videos etc.) to specifically take the spotlight off of him and put it on Wendy. The project was built as a vehicle for her. In addition, of course he did produce, story-board and direct all the over the top videos as well as designing and creating the staging (the car explosions and all that). He designed and laid out the posters, produced the advertising, both the newspaper ads and radio spots that show promoters around the U.S. were given to use as part of their kit. There was no ‘band’ as such, I think 17 different members over the whole ten year period with changes of personnel, roughly at least two per album, I think. In the earliest days, Rod also designed and physically ran the lighting during the shows although as the band grew, this was giving to a lighting director but he continued with design. There’s a lot of stuff in the staging (like airforce landing lights pointing at the audience) that became widely adopted that were, as far as I know, created by him. A lot of the other staging, too. During the ten year run his role was downplayed (which I think would be ‘underinterpreted’ if I have your phrasing) intentionally to make Wendy the star, and she was, a really one of a kind daring and OTT performer. The only band member that was really permanent was Wes Beech, who performed or worked on almost every WOW/Plasmatics record and was there from the early pre-»New Hope For The Wretched« days right through until the end.”Matthias Mader In their decade-long career, the Plasmatics worked with a number of notable rock producers—Jimmy Miller, Ed Stasium, Gene Simmons, Dieter Dierks—but besides Rod Swenson who was also the band’s creator, lyricist, manager, photographer and music video director, the producer with the most Plasmatics credits to his name is Dan Hartman, a guy best known for hits that topped the dance charts. He produced Metal Priestess and the Stand by Your Man split (which was supposed to be produced by Motörhead axeman “Fast” Eddie Clark who instead quit the job and his band in protest), but Hartman’s biggest project with the Plasmatics wouldn’t see the light of day until 2002, sadly years after the band’s end and the deaths of both himself and singer Wendy O. Williams. That project is the demo for the songs that became Coup d’État. These tracks were recorded at Electric Lady Studios in NYC, and eventually released as Coup de Grace on CD by Plasmatics Media and later on vinyl by High Roller Records. You can notice differences with the final release before even hearing the music. Joey Reese is on drums, the track order is different and “Mistress of Taboo” is titled “Mistress of Passion”. Listening to the album reveals that this track order doesn’t leave an impression one way or the other, and the nature of the titular mistress turns out to be an even less consequential change. They made the right choice changing “Passion” to “Taboo”, but she sings “taboo” in both versions of the song, so the difference rests entirely in the title. The one other change gleaned from perusing the back cover is significant. Unlike the other tracks, “Uniformed Guards” didn’t make it onto Coup d’État or even any subsequent Plasmatics/Wendy O. Williams albums, singles or EPs. According to High Roller’s write-up, the track was the casualty of the arduous recording sessions with Dieter Dierks that had gone over budget, which is a shame as “Uniformed Guards” stands toe to toe with the other tracks. Right out the gate its riffs rock hard and the bassline kills. When Williams’ vocals enter, she imbues them with a timbre she rarely used by putting behind them a force usually absent in her clean singing, but without her usual gravel. At points, the tempo bursts into high speed. The leads are energetic throughout, culminating in a nice brew of whammy abuse—no question, one of the band’s most manic solos. If that’s not enough, the lyrics are Swenson at his most pointed, skewering the same enemies targeted in Beyond the Valley of 1984’s “Pig Is a Pig”. Before this release, Razor & Tie let the public hear the song when they included it as a bonus on their 2000 reissue CD of Coup d’État. Arrangement is another area Coup de Grace diverges from its major label counterpart. Track lengths don’t match between any demo and its final version, with no pattern to be seen (five are longer on Grace, five on d’État). Differentials of a few seconds can be easily explained away, but “Just Like on TV” stands out with the demo clocking in nearly a minute longer than the official release. The reason is simple: the verse and chorus are sung twice on the version we’re used to, once before and once after the mid-song jam, while the demo repeats them two additional times before the jam. Fat waiting to be trimmed, if you ask me. “The Damned” is just shy of thirty seconds leaner on the demo, though that’s explained by it including neither the water dripping and atmospheric noises preceding the keyboard intro nor the backmasked coda. “Lightning Breaks” has its freakout bridge truncated, though they included cowbell as consolation. People may notice other minor alterations, but these stood out to me. Considering Hartman took a week to record these songs compared to the months they’d spend with Dierks, it’s no wonder the production is so much rawer. The songwriting is still metal-oriented, but fans let down by the band’s change in sound, will be heartened by the punkier atmosphere (the cover of “No Class” even starts with their variation of Dee Dee Ramone’s count off—“one, two, fuck you”—which they stopped using on Metal Priestess). I love Coup d’État, but value the opportunity to hear new (even if actually old) takes on these tunes. Some aspects of the production are beauties, like how the bass pops through at all times. In other ways the production is a hindrance, “Country Fairs” being the severest example. It became a highlight on an album that’s nothing but, but those unaware would never guess that by listening to its initial form. Wafer thin guitars render the song feeble. Instead of gathering storm clouds, the riffs float by like the clouds you’d stare at on a lazy summer afternoon. Ooh, that one looks like a rabbit. Other songs suffer too, but that’s the only one ruined. We come to the final significant difference and it keeps me from awarding a higher rating: Wendy O. Williams’ performance. There are things in its favor. Her repetitions of the title at the beginning of “Rock ‘n’ Roll” are so breathy as to spur tumescence. Her clean singing is several takes away from presentable, only adding to the no-fucks-given roughness. The guttural tone she more commonly employs sounds good. Screaming is where things fall apart. It’s understandable she didn’t push her vocal cords to the brink of death for recordings that were always meant to be a demo. That doesn’t make the chasm between the two performances any less vast. Opener “Put Your Love in Me” is, in form and lyrics, a typical “let’s bang” anthem, but on Coup d’État Williams’ agonized shrieks transform it into something unnerving, confrontational. On Coup de Grace, the screams don’t seem much out of place for hard rock, and the official version’s terminal squalling so powerful it could compress a Boeing 717 to the size of a crouton is replaced with a comparative whimper. Measuring against the best works is not an advisable tack for reviewing art, but in cases such as this it’s unavoidable. Inhabiting the shadow of an album as titanic as Coup d’État, is an unenviable position for any release. I am glad Coup de Grace exists, as any Plasmatics fan should be, especially longtime fans. If you got Coup d’État back in the 80s, I can see you cherishing Coup de Grace. Since the period of time between me first hearing both albums was not huge, my impressions of the demos are these takes are not fresh so much as inferior. Still the historic value is high and this is anything but unlistenable. Now pray for me that I may never have to type the word “coup” again.
Frequently Asked Questions About PLASMATICS COUP DE GRACE PUNK rock color vinyl cbgb heavy metal import LP rare in My Website
quediade.com is the best online shopping platform where you can buy PLASMATICS COUP DE GRACE PUNK rock color vinyl cbgb heavy metal import LP rare from renowned brand(s). quediade.com delivers the most unique and largest selection of products from across the world especially from the US, UK and India at best prices and the fastest delivery time.
What are the best-selling PLASMATICS COUP DE GRACE PUNK rock color vinyl cbgb heavy metal import LP rare on quediade.com?
quediade.com helps you to shop online and delivers Rayban to your doorstep. The best-selling Rayban on quediade.com are: Ray Ban 601/9A Black WRAP Gray Polarized Sunglasses Italy Ray Ban RB 4181 Polarized Sunglasses, 710/83 Havana / Brown (BAD LENSES) #G06 RAY BAN RB8313 001 51 Gold Arista Men’s 58 mm Sunglasses Brand New Sealed Ray-Ban RB 4440-N-F Blaze Wayfarer in Blue Violet Gradient Lens NEW Ray Ban Polished Black POLARIZED Gray Green Lens Sunglass RB 3516 006/9A Ray Ban Sunglasses Classic Wayfarer RB2151 Brown Made In Italy NEW* Ray Ban AVIATOR SILVER 64mm w Brown Purple Gradient Sunglass RB 3387 003 Ray-Ban Sunglasses RB3023 Highstreet MSW W3132 Brown Oval Frames Only 55[]00 3N RAY BAN RB3016 133751 Pink Havana Unisex 49 mm Sunglasses Ray-Ban RB2132 New Wayfarer Square Polarized Sunglasses Black With Divots Ray-Ban Sunglasses RB3025 Aviator Classic Gold Frame Polarized Brown Lens 58mm Ray-Ban Gatsby I RB4256 Round Sunglasses 6092/55 Havana Brown Blue Mirror Lens Ray Ban Italy RB4640 601/31 50[]20 Black Sunglasses “ READ” Sunglasses Ray Ban AVIATOR; Light GRAY GRADIENT Lens: RB3025; Size 58 standard Ray-Ban Wayfarer Black On Yellow /Light Gray Lens Discounted Model 2140 1000/32 RAY BAN RB3721CH 9144A1 Black Blue Mirror Polarized Men’s 59 mm Sunglasses Ray Ban Polarized Sunglasses Only Worn Once used rb3721ch RAY BAN RB3016F W0366 Tortoise on Arista Square 55 mm Unisex Sunglasses RAY BAN RB3016 114517 Sand Havana on Arista Square 51 mm Unisex Sunglasses Ray Ban RB 4078 642 Brown Striped Rectangle Sunglasses Frames Italy Designer Ray-Ban Titanium Chromance RB8062 Sunglasses Arista Gold w/ Polarized Blue Ray-Ban Caribbean Sunglasses Striped Grey w/ Dark Grey Lenses RB2248 Ray-Ban New Wayfarer Matte Black Rubber l Green G-15XLT RB2132 622 58mm Ray-Ban Boyfriend Reverse Sunglasses RB R0501S Polished Black Green Tint w/case Ray Ban Sunglasses Frames RB3293 004/9A 67-13 3P Nice RAY BAN RBR0502S 6707GR Transparent Dark Grey Unisex 53 mm Sunglasses RAY-BAN RB3273 Mens Aviator Sunglasses Polarized Lenses Clamshell Hard Case Ray Ban RB 4184 Black Sunglasses Ray-Ban AVIATOR RB3025 112/4L MATTE GOLD W/ 58-14 58mm BLUE MIRROR POLARIZED D78 Ray-Ban RB 4057 601 3N Sunglasses Mens Black Full Frame 15156 RAY BAN RB4165 651287 Transparent Dark Grey Men’s 55 mm Sunglasses Ray-ban RB4331 601 S 80 Black Mens Rectangle Sunglasses 59-17 3N “ READ” RAY BAN RB2132 865 B1 Rubber Havana Dark Grey Unisex 58 mm Sunglasses RAY BAN RB3016F W0365 Black on Arista Square 55 mm Unisex Sunglasses New Ray-Ban Round Gray Gunmetal Green Mirror Sunglasses RB4243 6262B4 49 $153 Ray-Ban Gatsby II RB4257 Round Sunglasses 601/71 Black Gold Frame Green Lens 50 [RB4188-600/783_63] Mens Ray-Ban Rectangle Polarized Sunglasses Ray-Ban RB3527 Sunglasses 029/9A Matte Gunmetal Frame Green Polarized Lens 61mm Sunglasses Ray Ban CLUBMASTER RB3016 / SILVER MIRRORED Lens / Standard Size Ray-Ban RB4171 Black Matte/ Mirrored Erika Sunglasses RAY-BAN Sunglasses RB4162 601/32 Polished Black/Gray Aviator NEW Italy RAY-BAN RB3387 POLARIZED Sunglasses 002/9A Black/Green Gray NEW Aviator 🔥 Ray-Ban RB3549 POLARIZED Sunglasses | 006/9A – Black / Classic G-15 Lens $188 Vintage RAY BAN B&L Sunglasses PREDATOR CATS Black Plastic Frame Ray-Ban RB3717 002/B1 57-18, Polished Black Frame, Dark Grey Lens, NEW! RAY BAN RB 8301 Aviator Sunglasses 61 14 140 Made In Italy Ray Ban Justin Rb4165 622/T3 Black Rubber Matte Sunglasses Frame Only RAY-BAN CATS 4000 SUNGLASSES LIGHT HAVANA / CRYSTAL BROWN GRADIENT RB4128 710/51 Open Box Ray-Ban 0RB4428 Sunglasses, Havana Frame, Blue Lens RAY BAN RB2210 901 58 Black Green Polarized Unisex 53 mm Sunglasses Ray-Ban RB3576N 043/71 Blaze Polished Gold Frame With Dark Green Lenses Ray-Ban New Aviator Sunglasses RB 3625 002/B1 Polished Black Metal 62mm w/case Ray Ban Sunglasses Blaze Shooter RB3581N 1537V Demi gloss Black 32mm Blue Lens Ray Ban RB3447 001 ROUND METAL Gold/ Green Classic G-15 AUTHENTIC ITALY Ray-Ban RB2027 Black l Polarized Mirror Grey RB2027 601/W1 62mm Ray-Ban Wayfarer Folding Classic RB4105 601 50 Ray-Ban Original Wayfarer Style Classic Sunglasses – Black 2140 Aftermarket Silicone RayBan Replacement Temple (Arm) Tips BROWN 3217 Ray Ban Ray Ban RB R0101S Ray-Ban Aviator Reverse 001/VR 62011 145 3N Italy Ray-Ban Aviator Classic Gold Framed Sunglasses Great Used Condition Ray-Ban Sunglasses RB4395 Kiliane 667771 Black green Man Woman [RB3293-001/13_63] Mens Ray-Ban Aviator Sunglasses Ray-Ban Boyfriend Reverse Brown Transparent Sunglasses RBR0501S 6709CB 56 Ray Ban Sunglasses Frames RB 4107 601/58 Rectangle Black Sunglasses Italy 3P RAY BAN Clubround Classic Sunglasses 51-19 Tortoise Black Unisex w Case Ray Ban RB3447 112/Z2 ROUND FLASH LENSES Copper Flash lenses; Gold AUTHENTIC NEW Men’s Ray-Ban Sunglasses RB4331 710/73 Havana brown, FREE SHIPPING Ray-Ban Sunglasses RB 3254 Pilot Black Full-Rim With Case Frames Only New Ray Ban Sunglasses 3016 W0365 Clubmaster Black and Gold G-15 Lens 51mm Ray Ban RB2447 1159/4E Round Fleck Black Havena Unisex Italy W/ Case Rayban RB3588 55 19 140 Sunglasses 9014/80 3N READ DESCRIPTION Ray Ban RB4089 Balorama Sunglasses Polarized Ray Ban rb3162 006 Sleek Black Metal Sunglasses Frame Only 52-19 NO LENSES Ray-Ban Sunglasses RB3016 Clubmaster Classic Black Frame Green Lens 49mm Unisex Ray-Ban RB3664CH Chromance Square Sunglasses Light Brown w/ Brown Rayban Mens Sunglasses RB4184 Black Gray Ray-Ban Sunglasses RB 4194 601-53-17 Unisex Black Plastic Frames Ray-Ban Olympian Aviator Sunglasses Gray Gradient Havana Green Lens Case Cloth Ray-Ban Sunglasses Junior RJ9548SN Ray-Bans Black New Wayfarar Polarized Sunglasses 😎 Ray Ban RB3198 014/83 Sleek Brown Wrap Polarized Sunglasses 55-18 Read RAY-BAN RB 4387 601/71 BLACK AUTHENTIC FRAMES SUNGLASSES 56-18 Rayban RB3689 Aviator Sunglasses 001/GE Gold Frame Blue To Peach Gradient 62mm Ray-Ban Mega Wayfarer Sunglasses RB 0840S Polished Transparent Dark Gray w/case Ray-Ban Sunglasses RB4416 NEW CLUBMASTER 601/31 Black Gold Frames G-15 Lenses Ray-Ban RB 3364 014 Brown / Tortoise Wrap Sunglasses 59[]17 MADE IN ITALY Ray-Ban RB3025 019/W3 Aviator Sunglasses Matte Silver / Polarized Silver Mirror Aftermarket Silicone RayBan Replacement Temple/Arm Tips RB 3506 BROWN Ray Ban Ray-Ban RB 3490 Brown Copper Sunglasses Dark Brown Lens 62-16-140 Italy Eyewear Ray Ban RB3025 AVIATOR 58mm Blue Flash POLARIZED/Silver AUTHENTIC ITALY Ray-Ban Aviator Reverse Gold Frame, Green Lens Sunglasses RBR0101S 001/82 59 Pre-Owned Ray-Ban RB3447 112/17 Round Metal Gold Frame / Blue Mirrored Lenses Ray-Ban RB3025 002/58 Black Aviator Green Classic Polarized 58mm Sunglasses Ray Ban Italy RB 4285 710/14 55-20-140 3N Tortoise/Brown Sunglasses Frame UY81 Men’s Rayban Sunglasses | Used Condition Dark Blue Made In Italy RAY BAN ANDREA BLACK SUNGLASSES WITH DARK BLUE LENSES AVIATION RB3595 901480 Ray-Ban RB3119 001 Olympian Gold/Green G15 Men’s Sport Sunglasses Sizes 59 & 62 Ray-Ban Boyfriend Light Grey Lens Black Frame Unisex Sunglasses RB4147 601/32-60 Ray-Ban Classic Aviators RB3025 Total Silver Sunglasses (Open Box, Never Used) Sunglasses 2132 Ray Ban NEW WAYFARER / CLASSIC Lens / Standard Size Mens Pullover Fleece Hoodie