ROLLING STONES Let it Bleed ORIG 69 UK MONO

	£		345
	$		457

ONEADAYRECORDS – Delivering the Ultimate Rock Classics to the World

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Artist or Band: THE ROLLING STONES

Album Title: Let it Bleed

Producer(s): Jimmy Miller.

Chief Engineer: Glyn Johns.

Assistant Engineers: Bruce Botnick, Jerry Hansen and George Chiantzalias.

Cat Number: LK 5025.

TRACK LIST:

Side 1: Gimme Shelter, Love in Vain; Country Honk; Live With Me; Let it Bleed.

Side 2:Midnight Rambler; You Got the Silver; Monkey Man; You Can’t Always Get What You Want.

Label/Format: Decca – rarer original unboxed mono format.

Label Conditions: Both in super conditions. Fresh, very clean and highly attractive with only a little above light spindle marks. All very fine indeed and they show little, mostly under light. Mild friction rubbing about the hole area but no ink removal or hole expansion. Indeed this remains a very snug fit on my LP12 spindle. This has all the hallmarks of a very lightly played mono record and just what the purist collector seeks. Such modestly played examples of this legendary issue are very hard to find and this is an age-defying copy. All this reinforced by super clean audio quality.

Mode / Speed: Mono / 33.3 rpm.

Weight of this Record: A massive 160 grams, this being one of the heaviest mono copies I have ever held, surpassing my last at 151 grams. [These days, many modern Audiophile reissues are pressed on super-heavyweight 180 gram vinyl. Only a small percentage of ‘vintage vinyl’ was ever pressed this heavy. Records pressed in the 1960s averaged around 140 to 150 grams. Records pressed in the 1970s were usually lighter and averaged more around 115 – 125 grams. Some records pressed around 1973 were very thin and light due an oil crisis and shortage around this time. Some records were even issued on recycled vinyl from this period and sounded poor with crackle and surface noise evident from the very first play. If any record I buy is deemed ‘recycled’, I will never offer it, I have a very simple test to detect these records if I suspect this to be the case other than audible imperfection. Some records from this period were even pressed on other materials the most notable was ‘Dynaflex’, used by RCA around this time. Although inferior to vinyl, this at least mostly sounded reasonably acceptable but pressings on this material were wafer thin and flimsy. Beyond the 70s, records often became thinner and lighter still but most played fine but were never quite the quality as from the ‘Golden Era’]. (This was based on ‘average’ weights for 20 records from these eras. Later pressings were usually lighter still).

Country of Manufacture: England.

Rarity: Regarded by many collectors as the cornerstone of any Rolling Stones collection, this legendary title in mono is highly prized and very elusive. Genuinely rare now in terms of numbers made in mono and complete, available copies in very fine condition are nigh-on impossible to find. This was the last Stones album to be issued in mono and also the last to feature Brian Jones before his tragic and untimely death. As the 1960s drew to a close, the mono format was largely on its way out and the majority of new titles within this year were not even issued or made in the single channel mode. Most people who still wanted mono records purchased them very quickly on issue and far fewer were available in the shops. Many had to be specially ordered from the small retailers. Those who did buy the mono version usually did so to play on mono equipment (makes sense), which so often meant wear and damage from heavyweight, thick, and often worn mono stylus that were far more prone to inflict groovewear and terrible, usually penetrating marks. So many of these get seen (when available, or even in collections) with large marks, deep scratches and a multitude of spindle marks and rarely will such copies play with enjoyable sound, especially on modern critically revealing equipment (for which they are not really designed for). This copy on offer has suffered NO such abuse, in fact it looks very modestly played (especially in context of this classic album). The playing surfaces are so clean and retain fine lustre. Okay, a few minor surface marks, in the real world, not all can be totally ‘perfect’. But any present are purely superficial and non-sounding, few records this great age will be totally unmarked, it’s almost unrealistic unless unplayed. Of course these do exist, indeed I have had them, but they are very few and far between. Always for me, the most important factor is sound quality, and this gem does not disappoint. Although not a true mono recording, it still presents the music in a different way and many still prefer this album’s presentation from the mono format. The somewhat delicate cover is in stunning condition and includes a pristine sticker (please see my close-up picture). One of the most famous covers in the history of rock and this beauty does it maximum justice. This is one time and the original owner has overlooked, I doubt if it’s seen daylight for decades. The red Decca custom inner is included, which is incredibly thin and fragile, also in very fine condition. This being ‘complete’, meaning it has no overprint to cover-up the choir details that were objected too (again see my close-up of this detail). Most seen have a black band overprinted to obscure the ‘London Bach Choir’ text. The poster too, in fantastic condition and unmounted, also incredibly hard to find to find. This is an exceptional all-round copy that few will even get close too, one to get pretty excited about. I remember, as a lad, a copy of this seen that was totally trashed, and that was around 40 years ago!! A copy written-off within within a year of purchase, that was how popular this one really was (and still is) and reiterating the unfriendly equipment it was so often subjected too. How many of these unboxed monos still survive like this?, and remember the mono pressings were more limited. A good friend tells me, with great honesty, he bought a copy of this album in mono on the day of issue, and it was on the boxed labels (and he is one of the most trustworthy and reliable sources of information I know [with a very good memory]), and I do not doubt him one iota. No small wonder this legendary and timeless classic is so high on wanted lists. The very final mono issue by one of the world’s most evergreen and collectable bands of all-time – this is a major issue in all sense of the word.

Original Year of Release: 1969

Matrix Nos: XARL 9363.P-1A / XARL 9364.P-2A

Stamper Codes: 1 A / 1 B (letters slightly unclear).

Brief Artist & Album Info: One of the most collectable albums ever made, and its always a real pleasure offering a very clean copy with a breathtaking stickered cover, barely creased and untorn inner and ultra clean, unmounted poster. One of the genuine greatest albums ever made by one of the most popular British bands - a truly essential album to any serious vinyl collector. It was one of the last original classic UK mono albums pressed late in 1969. By then stereo had largely replaced the ageing mono format for new issues and was arguably, the last classic to be issued as such. The way the music is presented is different hence serious collectors want it. For sure this masterpiece has to be heard in mono, its one of the great vinyl experiences - it has to be played loud. The last Rolling Stones album to feature the presence of the band’s creator, Brian Jones. It was a brilliant culmination of all their musical influences throughout music’s greatest decade. The power of the opening track, ‘Gimme Shelter’, will haunt many forever with the memory of the Altamont murder, Jagger’s top hat and scarf and the death of the 60s. The repeated line, ‘It’s just a shot away’, complements the repetition of the naively profound lyric of the album’s last track: ‘You can’t always get what you want’. The filling in-between, like the layered cake on the cover, is equally delectable. This copy on offer is complete and all parts in very fine to near immaculate conditions. The sheer pleasure in hearing what is near perfect mono presentation is not to be taken lightly. Although it has a couple of three light surface marks each side, they have NO sound and this record has survived all the perils of the mono age almost unscathed, and few ever do. The playing surfaces are very clean indeed with any surface blemishes few and very light, and importantly, nothing sounds. If all records of this vintage were like this, I would be more than happy, thus never the case of course. Many virtually worn-out, taken out to friends, used at parties and with playing surfaces amassed with scuffs, deep scratches, dulled tired looks and swathed in fingermarks – we have all seen them – I will not offer records remotely like that. This is a lovely all-round example and it could well be just the one you have been waiting for.

This Cover’s Potential for Wear: High: Always prone to laminate blistering, creasing and dulling. The back, ringwear, rubbing and grubbiness. When one is seen like this, it simply reminds of what they once looked like when new – yes, this one really IS that good.

Cover Condition and Details: Mint(-) and looking at it closely, I am actually asking myself, ‘why the minus’? This is almost back to the record shop racks of 1969, a truly stunning example of one of the classics. A single format, the front is laminated with Clarifoil and has the original sticker on front (which is immaculate, pristine as made as can be seen in my close-up picture). This too, looking even extra-special being upright, most seen are placed at angles. A minor detail, but it’s rarely seen this neat. A peep-hole on back to identify mono or stereo copy from the colour coded inner – mono being red, stereo blue (again see the close-up picture detail). The inner here being mono red. It was printed in England and has the UK Patents Applications No 43212/68 number. One of most famous covers ever produced and this is up there with the best I have ever seen or had to offer from any title since selling on Ebay. This will please even the most discerning connoisseur needing this one. It could prove the ultimate upgrade for many too, to state this is outstanding is something of an understatement.

Cover Lamination and Front: Firstly, can I make this clear, this cover is made from thin and delicate card making this sleeve very vulnerable to most forms of wear. This front looks fantastic and as clean and fresh as new. It has gorgeous lustre and shine with super clarity, the famous cake will never look much better. The laminate being fully adhered and devoid of the blistering and lifting that spoil so many. Yes, even the vulnerable spine edge is perfectly stuck down with no lifting at all, one of the very few I have seen like this. This can never be taken for granted and although non-adhesion (usually) has nothing to do with ‘wear’, it does not look pretty when present. So many Clarifoil laminated covers lift and blister especially on the spine edge and to find one that has avoided it totally, I consider a massive bonus. This enhances further this cover’s incredible looks. Not only that, this one has avoided any creasing worthy of note. Any present are ultra tiny and faint and barely at all. The lack of friction rubs or dulling is almost remarkable – storage within a protective cover makes all the difference of course – the surface remains clear and very smooth – it almost feels like glass and even under light, it has barely even a hairline surface mark of any note. Any blemishes are microscopic and has no scuffs or indentations. The laminate wraps around all closed edges and on to the back via the spine. The front right edge ends slightly short of full width, the exposed strip remains largely devoid of any grime-line build-up and has no damage. There is no peeling, mottling and devoid of press marks. The hugely important sticker, so often removed by buyers at time of purchase, is immaculate and has not been picked at or ever removed or tampered with, that will be more than obvious from my close-up picture, it remains exactly as it did when purchased from new, lovely to see so horizontal too. The protective cover has meant this sticker has not aged one iota and these are incredibly hard to find like this, truly it’s like when first made. That famous old cake will rarely be found better especially with an unboxed mono record inside - now over 40 years old - incredible, but true.

Cover Back: The front has the advantage of laminate protection but not the back. Hence finding this back looking so incredible must not be taken for granted. Again this has defied all what time, handling and bad storage can offer. This has barely anything to fault. The peep-hole is ultra neat and as new and nice to see a RED inner filling it denoting a mono copy inside (please see this detail in close-up). Just one ultra faint and small surface crease (but look hard) away from the edges and on them, just a mere couple of super-fine hairlines. The lack of grubbiness, set-off or rubbing is unusual, but great news of course. The laminate on the spine edge is again fully adhered and shiny, its end has a a merest trace of darkening which is difficult to avoid over the long years. This being very critical also. Barely any record impression of note and no ringwear, any pressmarks from the record on either side are ultra faint and barely even register. A superb back to complement the wonderfully impressive front.

Top & Bottom Edges: Full laminate is retained with no peeling or scuffing, little short of as made.

Right Edge(s), and Type: Clean, very sharp with no real wear or feathering. Crisp with no burring or thickening at all, the record entered on this vulnerable wear prone side which is guaranteed untrimmed or enhanced.

Spine and Text: Pristine Mint: yes true. Totally wear- and blemish-free. Very solid and very straight with no compressions. All text is perfect and unworn under the very solid and uncracked laminate (and even this is shiny and fresh). This early cover has both mono and stereo numbers on its spine. Importantly, still pure white with no age toning or darkening and yes this can and does happen on laminated spines. Even the very tips are very neat with any rub traces almost microscopic.

Corners: A tiny (and I do mean tiny) semi-crease on the bottom right tip, that’s the only minuscule blemish just about worthy of mention. Any other rub traces are beyond tiny and all retain very sharp and neat definition with no dinks and pointed shape retained.

Cover Summary: In terms of classic vintage covers, this is a piece de resistance, and this will prove immensely difficult to find much better (or like it again) especially with an original mono record inside. Many are carelessly stored, roughly handled or simply used and abused. This one clearly cherished, sympathetically and little handled and stored with longevity in mind. It’s paid-off, it looks gorgeous, very little short of pristine. No cover can ever truly be flawless, you scrutinised closely enough, something can always be found however small. But small here is the operative word. It should please all collectors, even the most discerning, I simply cannot imagine finding a better one.

The Inner: I cannot grade this equally impressive inner less than Mint(-), given its delicate disposition, this is a fantastic example. Constructed from very thin paper it is unlined and was way under-strength for practicality and longevity, but this is ultra clean and very attractive. No hard creases at all, minor ruffling only, few will even get close to this. The record was not stored inside but put inside a polylined inner to protect both record and inner – it has more than paid off. This is the ‘uncensored’ version e.g. no black overprint on the ‘London Bach Choir’ text that was objected too. Most seen are covered over with an overprint obscuring this text. Unusually, there are no edge splits or tears and this is practically as clean as new, it has not aged at all and is unmarked. Even seam glue darkening has been avoided and there is no ink erosion from ring wear, again that is unusual. The top opening is crisp and sharp with no tearing and barely any traces of use, simply incredible. Again this has to be my best thus far and again, can hardly imagine a better one. Given all the facts with so many seen ripped, torn and split, this is an amazing example.

Poster Condition: Critically graded EX++ but little short of perfect. Ultimately attractive, printed on one side only and on the thinnest of paper, no wonder so few survive like this. This has just two manufactured folds with no splits or weakening. Just one small corner semi-crease near the Decca logo. This is as fresh and clean as manufacture day and the matt surfaces probably have seldom, if ever been touched. It’s the original flat matt version, reprinted posters had a more glossy finish and were very slightly thicker and heavier – there is quite a difference visually when seen side-by-side. It is much sort-after and very important to any collector for this album. Importantly, this is unmounted with no blue-tac, cellotape or pin-hole marks and the back is clean, still very white and unbrowned with age. Just a tiny few, ultra small tone spots - please see my poster pictures (front and back). Both sides appear almost as new and this unforgiving matt surface is prone to showing all handling marks – once fingermarks are applied to its surface, they are virtually impossible to remove. A fantastic example of this elusive insert and it will please most-all collectors, these are getting increasingly difficult to find like this.

Vinyl Condition/Visual Grading: Grading this Stones diamond less than Excellent would not be doing it full justice. As stated above, it does have a couple or three light marks each side, more fine scuffs and not scratches in what I deem a proper scratch. A scratch for me is a penetrating needle mark that sounds. No mark on this record sounds at all, all are merely surface marks, mostly small land superficial. No arm drops or jolts on this one and few examples will show much fewer on the more vulnerable mono format. This is an lovely sight, one of the most sort-after mono albums of all time looking marvellous – we all know what most look like these days with the ravishes of multiple plays on Dansettes with wornout piledriver needles. A lovely visual copy that only lightly reminds of its great age. Given all the facts of mode, era and popularity, this is pretty exceptional. This is a very clean record with a lovely shine, intense black and heavily pressed on tough, high quality Decca vinyl. For me, the very best manufacturer of records bar none. No penetrating scratches at all, hence the lack of pops and clicks and a clean pressing as would be expected from this company. Also I have seen some copies with pressing blisters or heat bumps, and these most often do sound. Tiny spots that the stylus hits with often loud clunks or clicks. This one has NONE, both surfaces are totally flat. Visually a gorgeous record, the minor visual blemishes have no audio consequence, so on that most important of factors, it should please most collectors. If a totally pristine unmarked mono original is wanted, well you can wait for the near impossible.

Album Played For Grading: Yes. [I play ALL records I offer before submitting to Ebay, also the record is played in its entirety unless clearly stated otherwise. I do NOT play snippets or joining grooves to check for sound quality and quietness – I play from the beginning to end via clinically revealing B&W speakers that include the legendary tweeter from their awesome Nautilus range that reveals every blemish or minuscule sound present on any record.]

Sound Quality and Audio Grading: This rare record with its unique to vinyl mono sound plays even above its high visual grading with nothing to fault. This has strong, distortion-free sound, all frequencies are sharp and clear - sound quality is superb with a wide dynamic range and very detailed sound. Fully focused and quiet audio quality, this is a gateway into the recording studio itself and will provide years of flawless sound if treated with respect it deserves. So many examples subjected to heavy needle abuse, badly marked and totally worn out. This copy has avoided such traumas and even on revealing modern equipment gives the ultimate sound the connoisseur audiophile listener demands. Even the ultimately difficult final song with its fragile choir plays supremely well and this is never easy. I state again, there are a few light surface marks, they do not sound and this gives forth the superb sound quality demanded from this old single channel format. Both channels are clean and sharp with no ‘mono’ single channel noise, often caused by uneven wear. I know this record has been played quite lightly and has been clearly well stored and carefully handled within a non-smoking environment. Nothing at all spoilt my pleasure when play-grading this wonderful record. This copy will prove immensely difficult to find better and is strongly recommended to all collectors.

End Piece: How many copies of this one will truly still even exist in ‘perfect’ conditions? Even high grading excellent copies are hard to find and fewer are coming available on the open market. I am a critical listener and I would never personally buy a mono copy of this album that has not been play-graded, this is a minimum mandatory service for any potential buyer of this hugely important record. Groovewear or damage cannot be seen – the hidden enemy – and I have heard really disappointing copies of this and other mono gems that have even been unmarked, but play with unwanted groove sounds and clipping. This record has NO high frequency clipping, distortions, horrible pressing noises or crackle. Many regard it as the ultimate Stones albums and remains totally essential - in mono it’s the cornerstone of any serious collection – the cherry on the famous cake, but never underestimate the stereo original either. The mix mix is the same as the stereo but it just presents itself in a different manner. Many seek it out on bootleg CDs – forget it – this is real thing and nothing comes close. This mono copy was never really designed to be played on high-end stereo turntables, but my LP12 made this sound pretty amazing. A ruthlessly revealing deck that brings out all the wonderful details and all what’s good about vinyl (unfortunately the bad too, if present, but not here). It’s clear detailed sound takes you almost into the recording studio itself and this is the definitive copy to own. This no way undervalues the stereo version because both are essential. This mode is unique to vinyl and was not available for too long before being phased-out. Let it Bleed charted at One in the UK and Three in the US, a big seller, but mono originals are a different matter. It’s a title that always features high in any all-time greats list whether compiled by critics or the record buying public. It’s classic stature and timeless brilliance is etched into these vintage grooves. With the correct care, this fine record will last indefinitely and give pleasure for many more years. With such lovely audio quality, very clean labels, a stunning cover, sticker and inner, and finally, a super-clean unmounted poster, this is a memorable copy that should delight most collectors seeking it. One to value and treasure and without any doubt, one that will prove a very sound investment too.

Now one of the most established sellers on Ebay and still offering the finest and most accurately described and graded records I can find. I pride myself on offering a variety of genres to keep my site as interesting as possible. I will rarely offer any record that falls below a true Excellent grading, unless its of a certain rarity which will justify offering a lesser grade. I try, to the best of my ability to describe as accurately and as honesty as I can all items I offer for sale with all the relevant information I can think of to help any potential bidder and collector. You may notice I only submit records sparingly on Ebay - on average ONEADAY, a couple more at weekends if time permits, hence the name - time rarely allows for more as I Play-Grade virtually every record I offer in their entirety, not just bits to guess a grade - visuals alone do not always tell a true or full story. I will mention any defects or flaws no matter how small that I notice to be fair as possible to any interested collector – I am very fussy and my buyers have the right to be too. Every record I offer, whether it be a common or rare item deserves the same respect as far as I am concerned and will be treated the same - just because an item is rare does not always mean its good. I get just as much pleasure offering a relatively common record in stunning near mint condition as the real rare items. All the pictures I use for your guidance are taken with a digital camera or scanned - they are NOT improved, cleaned-up or made better looking than they are with camera trickery or enhancing with digital programmes. What you see is what you get and scanned labels will give a more accurate representation of the genuine colour than flash photography where light is variable. I cannot guarantee total accuracy for colours however but most will be very close. If any picture I take looks more flattering than the actual item for any reason, I will clearly state the fact in the advert and vice-versa. I hope the item below is to your liking - any questions can be emailed and I will do my very best to answer you. I am enthusiastic, and have a fair degree of knowledge about many genres and I promise quality items - bid with confidence - excellence comes as standard and so does Near Mint regularly. Please assume all records I offer have NO jumps, sticks, warps or writing on covers or labels unless clearly stated to the contrary. Thanks for your interest and Good luck – MIKE.

Deck: Linn LP12/Hercules/Cirkus with Ittok Mk II arm and Ortofon Rondo Red moving coil cartridge (tracks at 2 grams). Amps: Naim Nait 5i with Project USB phono stage and Chord interconnects. Speakers: B&W 704 Floorstanding 3-way Monitors (bi-wired with QED Silver terminated cable). All records I offer on Ebay are cleaned on a professional Moth vacuum machine before play-grading for the cleanest and best possible sound and will include a brand new lined inner and protective cover too.

First-time, zero-rated bidders, who do not ask permission to bid, will be cancelled immediately and blocked – NO exceptions. For winning bidders who I consider excessively slow to make contact or submit payment, I will use my right to block future bids. If any bidder who wins in the final seconds is present to do so, surely they can at least email me to inform of intention and payment method? If swift or promp payment is a problem, please do not bid.

PACKING - THIS IS WHAT YOU GET - PLEASE SEE MY TYPICAL PACKING BOX PICTURE.

What You Get: To confirm to the strict Ebay rules on shipping, I must now send ALL my packets ‘Signed-For’ with NO exceptions. Both buyers and sellers want their packets to have a safer journey and this is not a bad thing.

I now offer the fastest possible posting, often the very next day after payment is received or within two to three days maximum (unless on holiday). I only use FIRST-CLASS Mail. The record’s cover will be placed within a BRAND NEW soft protective sleeve and the actual record will be professionally cleaned on my Moth Pro vacuum system to give ultimate clean grooves and playing surfaces and the best possible looks and ultimate sound quality. You will NOT get tired, dull looking, dust infested records inside worn and foggy covers with tatty inners from this seller and that’s a promise and guarantee. All records are posted in professional thick boxes (NOT Mailers or Cruciforms, these do not offer maximum protection). The record(s) REMOVED from their main cover to avoid edge splits and placed within a brand new polylined inner. The record’s original inner will be included if available. The boxes are then reinforced with THREE or EVEN FOUR ULTRA THICK stiffeners for maximum extra protection – these are FOUR TIMES thicker than commercial stiffeners and are custom-made for oneadayrecords. Really rare and expensive albums will even be Double Boxed if deemed necessary and possible. The thick record and stiffener ‘sandwich’ is then thickly embedded into bubble-wrap to bulk out the record inside the box to centre the item inside to reduce the risk of damage still further. Printed address labels are used for clarity as well as a sender label. Customers requests or special needs for P&P will be respected if at all possible but ‘Signed-For’ posting is NOT an option anymore. Please see my picture of a typical finished box packet that will now be used on ALL transactions as from now. I do not profit on posting and the cost of this lavish packing is NOT even charged for, I offer probably the best-value and safest shipping possible for ultimate confidence. These boxes and ultra thick double-wall stiffners and bubble wrap make a near impregnable fortress for safe shipping and this is used inland and overseas for ALL my records, not just the rare and expensive. I will invoice any winning bidder as soon as possible after the auction ends. My ‘loss’ or ‘damage rate’ is less than one in two thousand based on over 6,000+ items sold in over 8 years of Ebay trading and I consider that pretty exceptional. The only damage rate acceptable for this seller is ZERO and I think my packets will offer just that. It would take a vicious postman or postal service to damage these for sure. Even one of these stiffners cannot be bent by hand, so what chance 3 or 4 inside a box? Oneadayrecords is a MAILER-FREE ZONE. I discount of course for multiple purchases with a maximum of FOUR records per box (one double can sometimes be included subject to total weight). I will not respond to questions on shipping costs as all the details are included here and on ALL of my adverts. Details below:

NOTE: First Time Bidders: I will cancel ALL first-time bidders with no feedbacks or excessive negatives who do not ask me if its OK to bid first – NO EXCEPTIONS.

Please Note: I will now offer any item to the runner-up after the mandatory Ebay 3 days if no contact is made by the winning bidder unless prior notice of any delay is given beforehand. The same applies if no payment is received within the mandatory 7 days so any bidder who has just lost out can still email me to reserve the item as priority second chance – it’s always worth asking.

SHIPPING COSTS & CONDITIONS – THESE comply with EBAY’S RULES - PLEASE READ CAREFULLY:

Posting & Packing: UK & CHANNEL ISLANDS all now sent via Recorded Delivery:

1 LP (FIRST-CLASS Recorded Delivery with Standard Royal Mail Insurance) [Signed For] = £4.

1 LP (Special Delivery with Standard £500 Maximum Insurance) [Signed For, Next Day] = £7.50. (this includes insurance of £500). Add £2 per extra LP.

Posting & Packing: EUROPE & SCANDINAVIA. (Airmail Only):

1 LP (Small Packet ‘Signed For’ with Standard Royal Mail Insurance [£40 maximum]) = £9. (insurance optional extra £3). Add £2.50 per extra LP.

Posting & Packing: ALL OVERSEAS (non-European) e.g. USA (ANY PART OF); Australia; Canada; Japan and other Far East; (Airmail Only: I NEVER use Surface Mail):

1 LP (Small Packet ‘Signed For’ with Standard Royal Mail Insurance [£39 maximum]) = £13. Add £4 per extra LP. (insurance optional extra £3)

Payment Conditions:

I prefer PayPal or cheque from UK winning bidders. I can accept PayPal from overseas bidders or direct payment into my bank account.

Potential Bidders: Please do not bid if you have negative feedback unless checking first, I will cancel any bids I feel are timewasters. A maximum 3 days for communication and 7 days for payment to arrive - if not I will relist the item or offer to the runner-up. Fast deals get great feedback from me. Any questions - please ask and thanks for looking.

My Guarantee: If any winning bidder is not satisfied with their purchase I will offer a complete refund. I will not refund if any defect detail is clearly stated on the advert and missed by the buyer, so read the item description carefully. If any overseas collector does not understand anything in my listing, please email and ask me to help. Thank You.

SOME GENERAL GUIDES TO WEAR AND CONDITIONS TO HELP YOU DECIDE

My Use of Description Terminology: Surface Marks = Superficial, usually light marks, hairlines or light scuffs that rarely sound. Scratch = a needle mark that goes below the record’s surface, some will sound, some will not, my play-grade will inform. Original = a record that has been pressed with the first label design which does NOT neccessarily mean a very first pressed record. First Pressing = A record that I believe or know to be a genuine very first pressed record. I do not claim to always know for sure, and that’s why I state the stamper and matrix numbers if at all possible, for those who claim to know what they all mean, the information is there for the collector to decide. I prefer to use terms like ‘Early Copy’ rather than ‘First Pressing’ if I am not totally sure. Surface Sound = Mild, light sound, usually light crackle or similar. Distortion = Break up of the actual sound caused by groove wear or damage from a chipped stylus – the most undesirable form of unwanted sound, vintage mono records were the most prone to this happening but not exclusively so. The symptoms of distortion are high frequency clipping, moderate constant crackle or an echo type sound quality. Violin, piano and vocals are most prone to groove-wear distortion. Feathering = Fraying or softening of the entry edge of a cover. Covers with feathered entrance edges are more likely to have had the actual record inserted and removed more than a non-feathered, sharp-edged cover which are always far more attractive. Set Off, actually a printer’s term for dark ink leaving mild residue on pale or white ink when rested upon. e.g. when a gatefold cover has black ink closed against white, this can leave some black residue on the pale area – this is mostly unavoidable or course.

The Argument for Vinyl Original sound and mix (mono mixes are rarely available on CD), high quality sound on clean copies (played on a hi-end dedicated analogue system – breathtaking sound!), beautiful, large format covers, artwork, inserts and even full size posters etc; huge investment potential, and the pleasure of owning ‘the real thing’.