THE BEATLES Please Please Me V. RARE ORIG BLACK & GOLD

	£		460
	$		610

ONEADAYRECORDS – Delivering Quality Music to the World

Please see my Detailed Packing Description Further Down & All Shipping Costs and Options – NOTE: I now apply the Ebay ‘4-day’ rule for non-payment.

Artist or Band: THE BEATLES

Album Title: Please Please Me.

Producer(s): George Martin.

TRACK LIST:

Side 1: I Saw Her Standing There; Misery; Anna (Go to Him); Chains; Boys; Ask Me Why; Please Please Me.

Side 2: Love Me Do; P.S. I Love You; Baby It’s you; Do you Want to Know a Secret; A Taste of Honey; There’s a Place; Twist and Shout.

Label/Format etc: Parlophone – original black and gold format. This first issue includes the ‘Dick James Mus. Co.’ credits. Side one has the embossed ‘K T’ tax codes, both characters have barely any wear and retain all ink with no flattening or erosion.

Label Conditions/Info: Side one has a sticker residue mark but has not pulled the label’s surface, just slightly dulled the area on the £ logo and to it’s right. This was a retailer’s shop sticker, partially dried and some removed. I very carefully removed the rest to expose the full label. The application of shop advertisement stickers on record covers, inners and labels in the early to mid-60s was fairly commonplace and many simply were made not to be removed. Over the vast numbers of years since this record was sold, the sticker adhesive dried out and practically fell off. But mild backing residue will always leave a lightly dulled area at the very least – the good news, no real damage done.

This fairly light mark on side one apart, both are in very fine conditions with spindle marks modestly light. That is not to say this record has not been played a number of times as both playing surfaces have surface marks, but the lack of deep penetrating scratches is a massive bonus on this legendary album. Mild scuff traces around the hole but this has not widened to any real degree which another good sign, only relatively small 'give' around my LP12 spindle. Both are richly coloured and remain attractive with just a light light marks as most-all will have. In real terms, these have far fewer than most I have seen – most are a maze of heavy marks with vinyl now rendered unlistenable from years of heavy use, abuse, careless handling and poor storage. These first ‘Dick James’ format black and golds are splendid and many collectors will enjoy them. Not for the connoisseur or highly discerning, but how many available ones are?

Overview of the Early Mono Format: This, arguably is the most famous record ever issued. Issued in March of 1963 on the massively collectable and hugely sort-after black and gold (B&G) Parlophone format. This only for a brief time before the format changed to the far more common black and yellow design. Two pressings on the (B&G) were issued, the first, as per this, had Dick James music credits, then changed to Northern Music for a very brief time before the format change. The records were supremely pressed on top quality vinyl, they proved tough, and they needed to be. Most examples were played to near destruction on vintage, often very crude, heavy tracking mono equipment. Although the mono mix outsold the stereo version by a considerable distance, the monos are almost as hard to find in genuine top conditions. The long-playing record was still in it’s relative infancy – the era of the 78 rpm single had only just passed and some people even played the early long-players with steel needles – you can imagine the immediate damage and sound degrading that these inflicted. Record players of this era tracked at huge weights – a weight of 10 grams was pretty much normal – the down-force grinding into the grooves with thick-tipped stylus soon took it’s toll. These early stylus were often sapphire, a far softer and inferior tip that wore very quickly and chipped easily, they were seldom replaced when needed and often badly aligned. All recipes for disaster for the mono record. One arm drop or jolt and a deep penetrating scratch or small crator was inflicted. The invisible threat of groove-wear and resulting poor sound was almost inevitable. Hence, most examples of this groundbreaking Beatles classic are seen very badly marked with unlistenable sound. Remember, these mono records were not really designed for use on more modern stereo equipment, but most will listen on such equipment these days. Any surviving copy – and there are nothing like the numbers of these around compared to future repressings of course – that will even offer decent pleasing sound is more the exception rather than the rule. So on that basis, I consider this a very respectable copy. It has been played a number of times but far from excessive. It has some marks, mostly surface types with barely any penetrating ones at all, so barely any clicks heard at all. Any present are very few and light, any of the tiny few present, mostly lost within the loud and dynamic mono mix. A copy I happily grade as a real Very Good and the sound for most even exceeds this grading and rises to Excellent or above for much. A considerable achievement when being played on a Linn Sondek LP12 with a revealing Moving Coil stereo cartridge. A front-end that gleans most of what is good, as well as the bad from any record – a real test for a mono record fast approaching 50. It hardly seems fair to subject this record to such equipment, but this one withstands the test well. There is some light surface sound in places but any real sound degrading or distortion is minimal and light. On less critical equipment, this will become even less. The sheer power, detail and dynamics of this ultra early cut simply blows away most of any relatively minor unwanted sounds. The marks are pretty much all avoided and tracking proved effortless and easy. Although marked, the lack of deep penetrating scratches or needle-drop marks is a big bonus. Nothing of any note spoilt the drama and excitement of hearing this B&G record. The most noticeable degrading was noticed on ‘A Taste of Honey’, but even this was hardly major. ‘Twist and Shout’ is always the most critical song with massive volume and intensity. Also being the innermost song where the tracking angle becomes more critical, this often ends up sounding horrendous. With noise, break-up, clipping and distortion to the loud vocal mix. Here, this remains very much intact and focused and overall, this record gave me a very pleasing play-grade. Even exceeding my expectations to some degree, but as stated, this B&G pressing is a tough cookie as long as it was not played too many times or with a blunt or chipped stylus. Any wear or minor sound degrading here is natural usage and this has definitely avoided a worn or damaged pickup. There is just enough to remind of it’s considerable vintage, but many collectors will enjoy owning and listening to it – as I did myself. These early beat-pop albums were hugely popular at parties, many were loaned out and left on floors, tables etc, hence so many are swathed in scratches and marks. Were vinyl records ever really designed to last nearly half-a-century? These popular albums – and they hardly got more popular than this – had little chance – many written-off totally and replaced by a later pressing. This one has survived pretty well, a one-owner from new copy, not one that has changed hands a multitude of times. The likely reason the cover has survived in such fine condition too. Not good enough for the Beatles audiophile purist, but the copies that survive in such condition that hit the open market command four figure sums these days. Many fans who want an original without the massive expense, realistically have to compromise. I am a British stamp collector myself – I cannot afford to buy unused Mint Queen Victoria issues – I have to settle for a clean used example instead. The same policy applies to the rarer vinyl records.

So, to sum up: a moderately played copy with several marks that show, but barely any penetrating the surface or sound. A little surface sound at times, very occasionally a little more, but a high percentage plays pretty much devoid of anything. The odd sporadic click or two, but very few indeed compared to most that will be around. No pops, sticks, jumps – all tracking is effortless. No horrible pressing sounds or distortions, generally sound is very sharp, focused and precise. Very loud, ultra detailed with that supreme feeling and audio delivery only the first issues really offer. Just enough to remind of age, but many like that, it simply adds to the authenticity of the age. CDs will give clinical silence and focus, but sound so cold in comparison. This does set a fairly high standard overall and will continue to do so indefinitely if treated with the care it deserves. Not museum quality, but a very, very respectable survivor – it truly did please please me and hopefully it will the winning bidder too.

Cat Number: PMC 1202.

Mode / Speed: Mono / 33.3 rpm.

Warps: Assume all records I offer have no warping of any significance and all tracking is easy and effortless and should play on all turntables and even ‘budget’ decks.

Weight of this Record: 155 grams. A typical heavy pressing for this record and era.

Country of Manufacture: England.

Rarity & Details: I always state that Beatles albums are not rare with a few exceptions. Clearly this is more a case in point. This is a legendary issue and quite possibly the most famous album ever issued within the popular music genre. The B&G label originals were not available for any great time, and over the years a high percentage of them no longer offer sound that is acceptable – many trashed and only of use as ‘fillers’ for those who simply want to say they own one. The mono, arguably even more than the stereo, is the bedrock cornerstone of any Beatles collection. Mono was very much the mode of the period until the end of the 1960s. The single-channel sound was the choice of most listeners of the day with stereo equipment for the specialist audiophiles, it was still new to the market and very expensive. Although this record can be found without huge searching, so many fail to offer decent sound for all the reasons outlined above. The high Excellent or Near Mint copies command vast prices as demand exceeds supply. This is a hugely respectable copy, better than average for looks and sound with a very fine and attractive cover – albeit not a very first printing (more on that further down). A copy like this can justifiably be classed as ‘scarce’, not rare.

Original Year of Release: 1963

Matrix Nos: XEX 421-1N / XEX 422-1N

Stamper Codes: 2 GO / 1 H

Brief Artist & Album Info: The legendary debut that started the greatest musical phenomenon in popular music history. Beautifully produced by George Martin and this record still gives a strong insight to it’s original quality. The world-famous black and gold format label original that still has few equals to stimulate the Beatles collector’s mind. All fans will know about this record anyway (I was only six when this record was made and I never claim to know all the fine details). I will concentrate on conditions and what is offer rather than unnecessary history lessons.

Cover Potential for Wear & Damage: High: simply due to it’s great age and popularity, this was often moved around and handled a great deal, often found at parties or loaned to friends, many were written on by owners for that very reason. These early Ernest J. Day covers had a different style of flipback which were very thin and offered less rigidity to the cover than the more standard G&L ones that followed shortly afterwards.

Cover Grade & Format: NEAR EXCELLENT: a single format with a laminated front, this wraps around the closed edges on to three huge rear flipbacks. The card is a little thinner than the slightly later G&L version and flipback ends are angle cut instead of rounded on the spine, a unique trait of this version. Also the flipback are very thin and appear far less dominant than standard ones. Running the fingers over the top means they can hardly be felt, clearly these are hugely fragile and easily torn. It has the very large ‘mono’ on the front and the Angus McBean photo credit on the bottom front right corner area. This is a second printed version: the credit is shifted a little to the left compared to the first printing. That apart, it is the same. Printed and made in England by Ernest J. Day & Co. An example that defies its great age and is a thing of genuine beauty, even with a little wear. Again, how many will avoid some over time?

Cover Front: The front is very impressive, the most wear seen on the bottom edge area with some fairly modest surface chipping. One that retains an excellent freshness with very fine laminate shine and clarity. The famous balcony artwork still looks very impressive (please my close-up picture). All is fully adhered with no lifting, blistering or peeling and any creasing is very light and few, most seen on the edges. Just a couple of three non-edge surface ones that show little being small and very minor. Even under light, barley any friction rubs or dulling is seen with no press marks, scuffs or impression. Barely a record rim trace to be seen, hence no dulling around the shape – very few could ever state that. Overall, a very impressive eye-pleasing front.

Cover Back: The back is almost equally impressive: the only real issue is a crease on the top flipback end near the left corner. My hunch is sometime this has lifted and been re-adhered, so it now has a crease which is only small. Overall, these very fragile ultra thin card flipbacks have stood up well to time, handling and storage. The small left top area apart, all elsewhere are very neat, clean and solid. The ends are clean with no grime-line formation and any end burring tiny, very few and minor. Even creasing on the flipbacks is tiny and few. The main unprotected back panel shows minimal traces of discolour or ageing and any grubbiness or marks equally few and faint. No ringwear or rubbing of any note, few of these B&G back covers will show much less wear overall (until you venture into connoisseur territory).

Top Edge: A few light surface scuffs or laminate chip, being white, little really registers visually.

Bottom Edge: There is some surface chipping mostly directly below the Ringo area and a couple further to the right. All reasonably small to small. Mostly still a solid and intact edge with little wear elsewhere.

Right Edge(s), and Type: Clean, sharp with minimal thickening, no feathering or chipping and guaranteed untrimmed. Few examples with have such a neat entrance edge, remember the sheer weight of the record inside for five decades. Another unusual factor, this entrance edge sits very flush and neatly together with barely any softening of the card.

Spine and Text: A very impressive, little worn spine: solid, straight with negligible compression, just a rub to the bottom corner area. All text pristine Mint perfect under clean, solid and shiny laminate. Really beautiful, I hope my picture shows this well.

Corners: The bottom left has rubbed and very slightly eroded. The others are in super shape with only small tip rubs. So often, these are badly dinked with huge chips and rubs – this one has mostly avoided such trauma and three of the four retain very fine to excellent shape.

Cover Summary: One of the rarest ever Beatles covers and a delightful example. This is highly attractive and a very important piece of musical history. I feel sure many, if not most realistic Beatles fans will enjoy owning it. I state again, this is second printing example with the ‘P’ in ‘Photo:’ (for the McBean credit), ranging with the right edge of the ‘g’ in ‘songs’ above. Taken in context for fragility, age and popularity, this is an exceptional example.

The Inner: EXCELLENT(++): an equally fine inner. A very solid, robust inner that is polylined with a clear, neat window with pristine circles. The lining very solid with only a little gentle crinkle. This has the important ‘PATENTS APPLIED FOR’ text and shows no creases worthy of mention and all edges unsplit. The top opening is very sharp and neat too and few will ever show less blemishing. Any age discolour is very slight and mild.

Vinyl Condition/Visual Grading: VERY GOOD: properbly graded. By definition a Very Good record should still be exactly that, not swathed in deep penetrating scratches with dull, greyed vinyl that has been played to near destruction. Just compare to most around that will be more recent copies too. A very fine visual copy that is clean, intense black and retaining a fine shine within a real heavyweight pressing. Very thick vinyl with wide, deep grooves and still looking fine. These vintage records could withstand normal mono record play usage for a time, but any arm dropping or scraping across the grooves always proved disasterous – this has avoided that with NO penetrating scratches. Yes some light and small surface marks and superficial mild scuffs that few will avoid totally. A small few more visible marks but most are lighter ones. The fact is, most-all are avoided with no sound and only the hardly played mono examples this age or popularity will better this significantly. Without doubt played a number of times and marks have occurred, but when they have minimal effect on sound, that’s the really important factor Simply compare to most found that have been horribly used, abused and played to greyness. Covered in massive deep scratches, dulled with grubby fingermarks and a home for inground grime and dust – we have all such copies. This may have some mainly light marks, but the vinyl is very clean and even retains a very decent degree of freshness. This major Beatles record will not be too easy to find significantly better unless purchased from specialists at huge cost (and huge can mean HUGE). But if unmarked records are only for you, this is not.

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 miniscule sound present on any record.]

Sound Quality and Audio Grading: This wonderful and groundbreaking piece of vinyl history plays largely above it’s visual grading and retains the drama and pure excitement it did when it hit the shops in early 1963. The sound remains mostly clear with no pressing noises but does portray a little very gentle surface sound in places. A little more evident on ‘A Taste of Honey’, briefly but very modest indeed elsewhere. This is being quite critical and I have to emphasise again, being played on a ruthlessly revealing system. The Linn LP12 was not designed to play mono records and any record like this that can still offer anything like enjoyable sound is something of an achievement. Overall, sound quality is impressive with a massive dynamic range and a ultra loud mono mix. The rule applies, the earlier the pressing, the cleaner the sound and this album was pressed so many times (on subsequent label variations). The mothers and stampers on this copy are very low for this album (as seen further up). I am a highly critical listener, and yes, this does have a little mild sound degrading, but this is being somewhat critical of a 1963 record. It is almost unreasonable not to expect minor sound blemishing on a record now fast approaching 50. Truthfully, many are totally unlistenable. Lennon’s shrill harmonica almost removes the speaker cloth and sends a shiver down the spine – still very focused, clear and precise. The difficult song ‘Misery’ plays very well, always a challenging song. This record tracks perfectly and the lack of pops and significant clicks a real bonus. Even the final song, ‘Twist & Shout’ plays very well – the sheer volume and power on this critical track is truly incredible. Recorded so loud, it almost saturates and will test the tracking of lesser equipment. Here at the most critical tracking angle of all, so many break-up totally and sound a real mess. The legendary production by Martin takes you into the recording studio itself with wonderful presence and detail. Very little spoilt my pleasure when play-grading this astonishing record, I almost expect a little mild sound degrading at the least on a record this age, especially in mono. Let me be clear: if this record failed to please me, no matter how rare it is, I simply would not offer it. Many collectors actually like to be remind they are actually listening to a vintage record without the clinical clarity of perfection – a CD will offer noise-free and crystal clear sound – so you pays you money and takes your choice. What is certain, nothing betters hearing this classic pop music from a very early black and gold label vinyl record, even if with minor sound imperfection. This record does not have loud constant crackle or anything like that, any surface sound is gentle and almost lost within the loud mix of the music. A proper Very Good record that will please many collectors but NOT the perfectionists. I found this very enjoyable and if that had not been the case, believe me, I would not have rejected it. Please read my (probably overlong) listing and decide yourself, any doubts… .

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 VPI-17 vacuum machine before play-grading for the cleanest and best possible sound and will include a brand new lined inner and protective cover too. Pictures taken with a Nikon D5000 SLR Digital Camera.

PACKING - THIS IS WHAT YOU GET.

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 new VPI-17 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 boxes (NOT Mailers, these do not offer any real protection). The record(s) are 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 at least TWO, 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. When larger boxes are used, 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. 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. The boxes and ultra thick double-wall stiffeners 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 7,000+ items sold in nearly 10 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 stiffeners 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 FIVE 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: Please as me first.

PLEASE NOTE: I now exercise my right to open a dispute after the Ebay rule of FOUR days if no payment is received. I will then cancel the dispute to end the, again after the mandatory FOUR days and then offer the item to the runner-up or relist. The non-payer will also be blocked from my Ebay site and they take the Ebay consequences (a strike or removal from the system). Small businesses need prompt payment to trade and these strict rules WILL be applied.

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 [£46 maximum]) = £10. (Royal Mail insurance is an optional extra £3). Add £3 per extra LP.

Posting & Packing: ALL OVERSEAS (non-European) e.g. USA (ANY PART OF); South America; New Zealand; 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 [£46 maximum]) = £14. Add £4 per extra LP. (Royal Mail insurance is an 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: I will cancel any bids I feel are time-wasters. 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 necessarily 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’.