Vinyl:  SEALED!  MINT!  This is the 1969 Apple 1ST PRESSING!  SW 153.  NO BARCODE!   Mostly recorded at the height of psychedelia in '68, hear The Beatles at their most, well, full-color psychedelicartoon iconic!  Plus, if you're a fan of the movie, you'll enjoy reliving the sequences with George Martin's Excellent score.  Also, particularly fun are lesser known experimentations of George's "Only A Northern song" and his paen to Lady Patty, "It's All Too Much".  Also, John's "Hey Bulldog" is a real blast!  Psychedelic Dance Party!
See Review Below!
Cover: SEALED!  MINT!  (see photos)   Nice high gloss on cover. Front and back of cover artwork and text are rich, clear and bright, with some age spots.  Seams, corners and spine are solid and clean with a tiny amount of wear on the corners.  There are some factory-made breathing holes in the shrink.  A tiny amount of shrink at the corners has split at the tips of the corners.  The shrink has a very small tear on the front cover (under Sgt. Pepper and his Band) and in the middle of the right edge, at the opening of the record jacket, there's a split in the shrink about 4 inches long.  No writing.  No stickers.  Spine print is crystal clear.  The record appears straight; when I look with one eye down all 4 edges there's no big, ominous bow that would suggest that it's warped.
I will gladly accept the return of Sealed records as long as they have not been opened (i.e. as long as they are still in the condition I sent them in).  Every record has a "fingerprint" of imperfections in the seal and/or the cover and I separately photograph and keep these details to prevent fraudulently returned items...yep, there are a few rotten apples out there!)  I will not accept a previously sealed record that has been opened, even if the complaint is that the record is warped.  This is why I look down the edge of all 4 sides of the record, to assess for potential bowing.  Look for that in the description of the covers of all my Sealed items. Thanks!  By the way, I've never (knock on wood!) had a buyer complain that they received a warped Sealed record.  :)
Goldmine Standards.   

See my other listings for other Beatles & Related items.  I also have a treasure trove of Beatles LPs, 45s and memorabilia yet to be listed.  Let me know what you're looking for.  You can also click on "Save This Seller" and you'll be among the first to be notified when I post new listings.

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All records are packaged securely.  The record is sandwiched between two cardboard stiffeners and shipped in a custom cardboard record mailer box. 
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Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album?  First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl.  Why  experience the worse elements of both formats?  These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared.  They are nearly always compressed with murky transients and a general lifelessness in the overall sound.  There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm.  First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider.  Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive.  Inner details are  clearer.   On first and early pressings, the music tends to sound more ‘alive’ and vibrant.  The physics of sound energy is hard to clarify and write about from a listening perspective, but the best we can describe it is to say that you can 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.     AllMusic Review by Richie Unterberger 

A unique  album in that as a soundtrack it utilized four new  songs (and filled out with "Yellow Submarine," "All You Need Is Love," and a  score.) Two of the four new tracks were recorded during 1967 and early 1968.  "All Together Now" is a cute, kiddie-ish  singalong, while "Hey Bulldog" has some mild  nastiness and a great beat and central piano riff, with some fine playing all around -- each is memorable in its way, and the inclusion of the Lennon song here was all the more important, as the sequence from the movie in which it was used was deleted from the original U.S. release of the movie (which had no success whatever in the U.K. and quickly disappeared, thus making the U.S. version the established cut of the film for decades. 's two contributions were the more striking of the new entries -- "Only a Northern Song" was a leftover from the  sessions, generated from a period in which the guitarist became increasingly fascinated with keyboards, especially the organ and the Mellotron (and, later, the synthesizer). It's an odd piece of psychedelic ersatz, mixing trippiness and some personal comments. Its lyrics (and title) on the one hand express the guitarist/singer/composer's displeasure at being tied in his publishing to Northern Songs, a company in which  and  were the majority shareholders; and, on the other, they present 's vision of how music and recording sounded, from the inside-out and the outside-in, during the psychedelic era -- the song thus provided a rare glimpse inside the doors of perception of being a  (or, at least, one aspect of being this particular ) circa 1967. And then there was the jewel of the new songs, "It's All Too Much." Coming from the second half of 1967, the song -- resplendent in swirling Mellotron, larger-than-life percussion, and tidal waves of feedback guitar -- was a virtuoso excursion into otherwise hazy psychedelia, and was actually superior in some respects to "Blue Jay Way," 's songwriting contribution to ; the song also later rated a dazzling cover by in the middle of the following decade. The very fact that  was afforded two song slots and a relatively uncompetitive canvas for his music shows how little the project meant to  and  -- as did the cutting of the "Hey Bulldog" sequence from the movie, apparently with no resistance from , who had other, more important artistic fish to fry in 1968. What is here, however, is a good enough reason for owning the record.