PLEASE NOTE: IN SOME OF THE PHOTOGRAPHS IN MY LISTINGS YOU MAY SEE SLIGHT 'SHADOWING OR DARKER PATCHES' AND 'COLOUR INCONSISTENCIES'. THIS IS DUE TO EITHER AN ABERRATION OF MY CAMERA LENS OR CHANGING LIGHT CONDITIONS AND, UNLESS I MAKE A POINT OF STATING OTHERWISE, YOU CAN ASSUME THAT IN REALITY THESE DO NOT EXIST.

An Important Foreword Regarding Condition & Grading: Previous visitors to my listings will know that I offer albums which range from 'very good plus' to 'near mint' in terms of condition. I don’t restrict my offerings to just near mint, and I don’t just call everything great or excellent plus regardless of condition. Occasionally a rare album turns up which in some respects grades 'very good plus' but in other ways is outstanding so providing each of the features are individually and accurately graded - and I take great care with this - I am happy to offer it for sale. However, all vinyl albums I offer are at least highly presentable and deliver enjoyable audio, and most are much better than that. If you are intending to bid please read my comments, observations and individual gradings and check that you are satisfied before placing your bid.

Vinyl Cleaning: I use machine cleaning only when my ‘ear’ tells me that the audio performance has deteriorated by exposure over time and will obviously be returned closer to the original sound by using this method. If I think a vinyl will benefit from this I carry out the procedure with great care, but I do not clean vinyls for the sake of it - many I offer for sale have had little use and although there can be slight contamination in the grooves, even when new, that is the original authentic sound. My preferred method with little used vinyls is by soft ‘light touch’ hand brush with natural fine hair gently moved in the direction of the microgrooves. In all methods of cleaning I use a mild solution of isopropyl alcohol with a spot of gentle detergent to lubricate and clean the playing surfaces. I am aware that cleaning can be a controversial subject with vinyl collectors, audio purists and enthusiasts so I will state on each individual listing if, and how, the vinyl(s) have been cleaned just after the ‘Vinyl Visual Grade’.

Specific notes regarding grading and description: The first section of each listing summarises the album offered, contributors and format followed by the ‘provenance’ in terms of the matrix – mother – stamper trail which determines the ‘position’ of a record in the pressing process. The dedicated sections which follow explain why I consider the particular album to be rare and / or special, accompanied by my comments and observations, and then deals with the grading of each aspect of it accompanied by a brief description. My assessment of the appropriate grade for each component is based on Record Collector ‘Rare Record Price Guide 2018’. The essential ‘play grade’ and ‘audio performance’ report rounds up the description just prior to the ‘general notes’, which is the same on all of my listings. I hope that this layout, including the extensive photo gallery, will prevent bidders from overlooking key points in their evaluation. Please read the following description and take a careful look at the comprehensive photographs which show the actual item clearly and provide an informative and accurate representation.

When I mention age in my listings it is not an excuse for poor condition but as a matter of fact. I do not regard condition as age related, it is primarily dependent on care, and if you ever see something described as ‘good for its age’ I recommend you avoid it because more often than not it’s an excuse for something that has not been carefully used.

I do not use photographs to enhance albums; they are included as an aid to bidders and I always ‘frame’ the shots to highlight any flaws or blemishes – not to bleach out, obscure or avoid them. My photo galleries always feature photos taken from as many angles as reasonably possible, with ‘zoom’ and ‘enlarge’ facilities, because I want visitors to have the best opportunity to examine visual condition. I always request the maximum photo facility from the eBay system but I have noticed that on some occasions, presumably due to technical glitches, the ‘zoom’ and ‘enlarge’ does not work. If you ever have any difficulty obtaining satisfactory images from my listings please contact me via a message to the listing and I will send you more photographs as an attachment to my reply.

Album / Record Title: THE WALL

Artiste(s): PINK FLOYD – Roger Waters, David Gilmour, Nick Mason, Richard Wright.

Track Listing: Please see label photographs for full details

Produced By: Bob Ezrin, Roger Waters, David Gilmour, James Guthrie.

Cover maker / designer / format / construction: 'T M GARROD AND LOFTHOUSE Ltd.' very first design and issue of the gatefold cover 'MADE AND PRINTED IN GREAT BRITAIN', as printed in the bottom right hand corner of the inner sleeves. Design by Gerald Scarfe and Roger Waters, artwork by Gerald Scarfe. It is a double side entry gatefold of heavy duty, rigid card construction which does not feature any text on the front, spine or back – the surfaces are sealed and have a smooth finish but it is not laminated.

Disc Format & Playing Speed: 12” LP & 33 1/3 r.p.m.

Recording Format: STEREO

Record label: ORIGINAL EMI HARVEST PICTURE LABELS FEATURING ARTWORK BY GERALD SCARFE – please see photographs

Catalogue Number(s): SHDW 411 - SHSP 4111 & SHSP 4112

Country of origin and first published date: Great Britain 1979 (November)

Vinyl ‘run off’ matrix Record 1 side 1(or A): SHSP 4111 A-2U

Vinyl ‘run off’ matrix Record 1 side 2(or B): SHSP 4111 B-2U

Vinyl ‘run off’ matrix Record 2 side 3(or A/C): SHSP 4112 A-3U

Vinyl ‘run off’ matrix Record 2 side 4(or B/D): SHSP 4112 B-3U

Vinyl ‘run off’ mother Record 1 side 1(or A): 1

Vinyl ‘run off’ mother Record 1 side 2(or B): 2

Vinyl ‘run off’ mother Record 2 side 3(or A/C): 4

Vinyl ‘run off’ mother Record 2 side 4(or B/D): 3

Vinyl ‘run off’ stamper Record 1 side 1(or A): LT

Vinyl ‘run off’ stamper Record 1 side 2(or B): PA

Vinyl ‘run off’ stamper Record 2 side 3(or A/C): T

Vinyl ‘run off’ stamper Record 2 side 4(or B/D): GAD

Vinyl ‘run off’ initials / cryptic / other identifiers Record 1 side 1(or A): TML-X

Vinyl ‘run off’ initials / cryptic / other identifiers Record 1 side 2(or B): TML-M

Vinyl ‘run off’ initials / cryptic / other identifiers Record 2 side 3(or A/C): TML-X

Vinyl ‘run off’ initials / cryptic / other identifiers Record 2 side 4(or B/D): TML-X (the 'X' is hand etched after an 'M' which has been crossed out with an 'X')

N.B. Please note that all matrices, mothers and stampers quoted in my listings are machine imprinted except where I state an alternative method next to them.

Rarity / Observations / Comments: THIS PARTICULAR EXAMPLE IS SERIOUSLY RARE DUE TO A COMBINATION OF VARIANT, CONDITION AND 'COMPLETENESS' – IT IS A UK ORIGINAL FIRST PRESS AND FIRST ISSUE, IN PRIMARILY 'EXCELLENT PLUS' CONDITION THROUGHOUT, WITH THE ELUSIVE 'SCARFE' TRANSPARENT TITLE STICKER PLUS, AND IT IS A SIGNIFICANT 'PLUS', AN ORIGINAL TOUR PROGRAMME 'PERFORMED LIVE' FROM ONE OF THE AUGUST 1980 SERIES OF CONCERTS HELD AT EARLS COURT, LONDON (WHICH IN ITSELF IS A VERY RARE COLLECTORS PIECE WHICH IS BECOMING INCREASINGLY HARD TO FIND). EXAMPLES OF THE WALL THAT MEET THESE CRITERIA ARE DIMINISHING IN AVAILABILITY AND THE OPPORTUNITIES TO BUY ARE BECOMING SCARCE.

In general terms ‘The Wall’ is not a rare album, it was one of the most popular albums from Pink Floyd released at a time when they were among the biggest selling recording artists in the world, so there were millions made - and there are many variants offered for sale on a regular basis - but there were not so many issued like this one which have survived through the years in this REMARKABLE CONDITION. This is one of the RARER EXAMPLES - A GENUINE UK FIRST PRESS THROUGHOUT IN EXCELLENT PLUS AND APPROACHING NEAR MINT condition. A key feature of this album, in common with most Pink Floyd albums, is the audio delivery - due to the nature of the music and variable volume of the recording it is very difficult to find one which grades 'EXCELLENT', and anything better is extremely scarce. Even when new many of them would not have achieved a NEAR MINT audio grade, and after they’ve been in and out of the rough card inners a few times they rarely achieve 'very good'. They are often just graded on a visual inspection and declared as excellent or better; they may look that way but they are seldom anywhere near that grade. However, I have carefully play graded this one, which looks almost as new, and it achieves at least EXCELLENT AUDIO comfortably throughout, and is EXCELLENT PLUS most of the time - please read my ‘play-grade’ below. One of the reasons for this is that the one and only previous owner realised that the 'raw' card inner sleeves would be abrasive on the vinyl playing surfaces so he kept the records in poly-lined inners from new – rare foresight. He handled and played the records carefully, and not very often, before copying them to tape and storing the records carefully in his collection. That it is not to say that they have only been played once or twice, but possibly not much more than a dozen times from new.

In my opinion 'The Wall Tour' was a very significant event in the history 'live music' because it marks the high point of progressive rock stage shows accompanied by remarkable composition and marks a pivotal moment in the genre. Nothing since has surpassed this level of excellence, although 'The Division Bell' album and tour, which I also had the pleasure to see and hear, was also brilliant.

I BELIEVE THIS TO BE AN EXTREMELY RARE VARIANT AS ONE OF THE EARLIEST UK FIRST PRESSINGS IN EXCELLENT PLUS TO NEAR MINT CONDITION THROUGHOUT AND DELIVERING ONE OF THE FINEST AUDIO PERFORMANCES I HAVE EVER HEARD FROM ANY EXAMPLE OF THIS ALBUM.

IN MY EXPERIENCE THERE ARE SPECIFIC FEATURES WHICH SHOULD EXIST TO SUBSTANTIATE A FIRST UK PRESS AND ISSUE CLAIM, so I am listing those key characteristics below for ease of reference.

First I will explain my understanding of the first press matrix sets. The record company knew this was going to be a huge commercial success, in fact just about everybody with an interest anticipated that it was going to sell in enormous quantities, so there were many UK matrix sets produced in various combinations for the initial pressings. Their codes in the UK first pressing ran from -1U to -6U prefixed by A or B according to whether they were side 1 or 2 on each record. They were used to produce a range of mothers and then stampers which were used in the pressing plants to produce the vinyls which were then collated with the other album components in the packing departments – but not in any particular order. To date I have identified more than 30 different UK first press, first issue matrix combinations and I am sure there will be more that emerge in time. Details pertaining to this particular listing / offer are set out above where you can see that both vinyls were pressed from very early matrix sets (-2U & -3U) through early mothers and stampers. It should be noted that no specific order or mix to the use of the matrices and a lower number within the first matrix sets does not indicate that it was an earlier pressing as a -1U can frequently be found paired with a -5U or -6U. However, it is fair to say that the 'style' of the stamper codes can indicate an earlier pressing because when the production run started all stamper codes were imprinted in 'letter form' made up from the letters in 'GRAMOPHLTD' (EMI's simple coding system which I am happy to explain on request). However, later on during production they changed to a straightforward numerical system for stampers and there is no doubt that the records with the numbered stampers are later pressings.

I have also listed below reliable characteristics which can be used in conjunction with the matrices to identify the UK first issue examples as although there were many produced there are surprisingly few offered today, even of these pressings, which have all of the original features of the earliest UK firsts, but this one does. It would seem that during production there were alterations made as artistic demands changed and manufacturing techniques were modified. The album went on to sell in excess of 20 million worldwide in vinyl form, and 40 million in all forms, so the vinyl matrices progressed to 10’s and 11’s for re-pressings and reissues, that I have seen, and probably go numerically higher.

THE EARLIEST HAVE ALL OF THE FOLLOWING CHARACTERISTICS.

The outer cover is by Garrod & Lofthouse Ltd., as many of them were, but on the first they are a ‘one piece’ construction – in other words made from just one piece of card folded and joined with just one seam along the top. The later issues were from two pieces of card with two seams / joins inside top and bottom - changed, I guess, for ease of manufacture and cost saving. Many of the re-issue covers were also bar coded which of course is not the case with these originals. This one piece / single seam characteristic is one of the most important features in identification of an early first issue because the design was changed quite soon after manufacturing commenced and relatively few were made like this.

The outer covers on the first are of thicker card. The colour is a creamy off-white, later they were ‘whiter’. The ‘mortar’ in the brickwork is not aligned or even at the bottom and is a dirty lilac grey colour - the later issues were a cleaner blue.

The clear plastic 'Scarfe artwork' title sticker is a random inclusion. When the albums were first distributed they were not included because Pink Floyd did not want the album cover titled at all. Anecdotally, they did not want the pure aesthetic simplicity of 'The Wall' image interfered with in any way but the record company insisted on some form of identification so the sticker was produced as a compromise – and an afterthought. Consequently it seems that the first distribution went without the stickers, which were sent to the record shops for inclusion afterwards, and some albums had been purchased before they arrived. Furthermore, some shops forgot to include them and, because they are so easily removable, some became detached after purchase and were lost – in much the same way as happens with inserts. This album does have a title sticker because, although it was in that first distribution to arrive in the record shop on the first day of UK release in 1979, the original and only previous owner who bought it on day one wanted one for 'completeness' and acquired an original later to keep with the album.

The printed inners are die-cut thick card with a ‘raw’ brown natural finish inside. This was changed to a thinner white card with smooth inner walls soon after because of cost and fear of wear to the vinyls; and then later still just white paper - all lyric printed but very different materials.

The original printed inners have rounded corners and a nine inch ‘cut away entry edge’, these were later changed to the easier to manufacture squared corners when the thick card inners were changed, with first a smaller ‘cut-away’ and then no ‘cut-away’- please take a look at the photographs.

The credits on the first issues were fewer and different to the later issues and re-issues - please see photographs. On the inside right gatefold of the first issues the ‘Produced by’ reads David Gilmour, Bob Ezrin, Roger Waters, on later issues these were listed in alphabetical order. These first issues credit just Roger Waters with ‘WORDS AND MUSIC’; later issues name all members of the group on the tenth brick down from the top. On the inners of the first issues there were single line credits for Roger Waters, the later ones have three lines of credits, two for Pink Floyd Music & Pink Floyd Publishing, as well as Roger Waters.

The early first pressings vinyls, such as the two with this set, are considerably heavier, typically weighing around 120 - 135 grammes each, than later pressings and re-issues typically weighing around 100 - 110 grammes each. More visibly the stamper codes imprinted in the vinyl run-offs are a different format on the earlier pressings. Also, as I have explained above, earliest stamper codes are in letter form based on EMI's original 'GRAMOPHLTD' system but as the sequence progressed EMI transitioned to a straight numerical system. So the earliest would have been like those shown in this listing and later ones would be a combination of numbers.

MY GRADING OF THIS ALBUM based on Record Collector ‘Rare Record Price Guide 2020’ (**n.b. please note that I grade accurately backed up by a description). I neither over-exaggerate nor under-exaggerate. I see no point in grading an item with multiple ++++ marks, or under-grading it and then stating that it should be graded better - I consider these methods to be confusing. I use the Record Collector system with either TOWARDS PLUS or a FULL PLUS to indicate variations above a grade. I have dropped the ‘minus’ indicator in favour of the next full grade down because I find that many sellers use the ‘minus’ as a method of implying a higher grade than is strictly deserved and I do not want to want to be associated with that practise. I always include a full set of super-sized photographs to provide bidders with the best possible opportunity to make their own visual assessment of each album in conjunction with my detailed descriptions.

Cover – front surface: EXCELLENT TO PLUS ~ a few mini indents and some very slight / minor marks, mild surface discolouration and a very small patch of light discolouration bottom right corner - all barely noticeable - please see photographs.

Cover – back surface: EXCELLENT TO PLUS ~ a few barely noticeable mini indents and some very slight / minor marks – please see photographs.

Cover – corners: EXCELLENT TO PLUS ~ miniscule rub wear at the tips.

Cover – top seam(s): NEAR MINT ~ almost as new.

Cover – bottom seam(s): NEAR MINT ~ almost as new.

Cover – leading / entry edge(s): NEAR MINT ~ almost as new.

Cover - centre spread: NEAR MINT ~ almost as new.

Cover – spine: NEAR MINT ~ just very mild, evenly distributed light discolouration, the photographs show it accurately.

Cover – overall grade: EXCELLENT TO PLUS ~ an outstanding grade for a difficult to preserve gatefold - please see the full selection of photographs which illustrate the written description.

Vinyl Visual record 1 side 1(or A): EXCELLENT TO PLUS ~ there is a small superficial scuff mark at the start and a slight haze from the original pressing process around the last track but neither of these minor blemishes have any audio consequence. Overall this is a superb high gloss surface with just a few minor and superficial surface scratches probably caused by bag movement – certainly nothing tangible, definitely nothing that interferes with play – please read the play grade below for full details.

Vinyl Visual record 1 side 2(or B): EXCELLENT PLUS ~ one superficial non-sounding wispy hairline scratch across part of the record, otherwise a superb high gloss surface with just a few minor and superficial surface scratches probably caused by bag movement – certainly nothing tangible, definitely nothing that interferes with play – please read the play grade below for full details.

Vinyl Visual record 2 side 3(or A/C): NEAR MINT ~ superb high gloss surface with just a few minor superficial surface scratches probably caused by bag movement – certainly nothing tangible, definitely nothing that interferes with play – please read the play grade below for full details.

Vinyl Visual record 2 side 4(or B/D): NEAR MINT ~ superb high gloss surface with just a few superficial surface scratches probably caused by bag movement – certainly nothing tangible, definitely nothing that interferes with play – please read the play grade below for full details.

Vinyl Warp: nothing significant when eye tested on a moving turntable.

Vinyl Weight: 127 & 127 grammes (two perfectly matched EMI Harvest pressings on very pure, top quality, vinyl)

Vinyl Cleaning: By hand only, light touch soft brush, very little required.

Label Visual record 1 side 1(or A): NEAR MINT ~ possibly a few tiny light spindle trace lines – but I cannot see any.

Label Visual record 1 side 2(or B): NEAR MINT ~ possibly a few tiny light spindle trace lines – but I cannot see any.

Label Visual record 2 side 3(or A/C): NEAR MINT ~ possibly a few tiny light spindle trace lines – but I cannot see any.

Label Visual record 2 side 4(or B/D): NEAR MINT ~ possibly a few tiny light spindle trace lines – but I cannot see any.

N.B. Please note that I make no adjustment or allowance in grading for minor marks, slight shrinkage marks, stretch marks / lines on labels, misalignment or marginal print bleed caused in original pressing; these features are quite normal and in my opinion are individual characteristics – not defects.

Inner Sleeves: NEAR MINT ~ the UK original album dedicated die cut thick card lyric inner sleeves with shaped entry edge, raw card non-lined inner surfaces but with removable anti-static liners (I have renewed them and they are now in the plain white 'transit' sleeves) to protect the records labels and playing surfaces, which are in almost as new condition, no seam splits, no damage (n.b. all records I sell are shipped in separate new plain white inners with removable anti-static liners).

Title Sticker: EXCELLENT PLUS ~ An original 'Scarfe' designed 'The Wall' title sticker acquired by the previous owner who had this album from new / first day of UK release because many of the earliest issues did not have them and he wanted one to 'complete' his album. It is in first rate condition, just mild and barely noticeable superficial surface lines and it does not readily adhere to the gatefold surface (probably because the surfaces have become slightly smoother with age).

'The Wall Tour – Performed Live Programme': EXCELLENT TO PLUS ~ Original 12 pages (24 sides), size 11.5 x 9.5 inches (29.5 x 24 centimetres), brilliantly illustrated by Gerald Scarfe, with credits, group performance photographs and lyrics from one of the Earls Court, London Performances in August 1980. I am grading this on the same basis that I apply to albums - which may be a bit harsh on a paper booklet which has been to a concert and handled / stored for 38 years. It is fully intact with just light signs of handling and use. There's a small crease across the bottom right corner, some light superficial surface wrinkling on some of the pages caused by thumb / fingertips opening / closing the pages and very minor handling marks / the slightest of discolouration on the front and back covers. Overall a highly respectable and presentable piece of rock history the like of which is already extremely scarce and will become more so.

Play Grade: I consider all aspects of an albums condition and grading to be highly important and none more so than the quality of the audio delivery; superior audio performance is, above all, the main reasons for listening to vinyl. For this reason I have decided to extend my play grade to rate separately how ‘clearly’ and ‘cleanly’ the sound is received. With vinyl the listener can experience almost perfect ‘clarity’ and reality without the sound being perfectly ‘clean’ due to the fact that this is a medium where physical contact is unavoidable and the ‘finish’ in the original pressing process could vary during the course of a production run. Other factors can make very small differences: for example - lack of use, environment or type of equipment can cause variations in cleanliness. Therefore, where my cleanliness grade is lower, based on the conditions prevailing at the time I carried out my audio test, with careful use this is likely to improve.

A NOTE ON AUDIO GRADING: I REGARD PLAY GRADING RECORDS AS A PLEASURE RATHER THAN A TASK, BUT EVEN WITH MY EXPERIENCE IT IS SOMETIMES DIFFICULT TO TREAD THE FINE LINE THAT WEAVES ITS WAY BETWEEN THE VARIATIONS IN DIFFERENT LISTENERS EXPECTATIONS AND / OR THE EQUIPMENT AND CONDITIONS WHICH PREVAIL IN DIFFERENT ENVIRONMENTS. I SET OUT IN THE ‘GENERAL NOTES’ SECTION BELOW THE TYPE OF EQUIPMENT I USE AND, AS I MENTIONED IN THE PREVIOUS PARAGRAPH, I DO FIND THAT LIGHTLY USED UNDAMAGED VINYLS OFTEN IMPROVE SIGNIFICANTLY WITH PLAY. HOWEVER, UNLESS I GRADE A RECORD AS A NEAR MINT ‘DOUBLE’ FOR CLARITY AND CLEANLINESS THERE IS ALWAYS THE CHANCE OF A RANDOM ‘POP’, ‘TICK’ OR LOW LEVEL SURFACE SOUND (EVEN WITH NEAR MINT AND NEW RECORDS THERE IS THE POSSIBILITY OF LIGHT TRANSITIONAL SURFACE SOUND). SO, PLEASE ALWAYS ASSUME THAT THERE WILL BE SOME EVIDENCE OF THIS BEING A MEDIUM WHICH RELIES ON PHYSICAL CONTACT AND THEREFORE BY DEFINITION CANNOT BE ABSOLUTELY FLAWLESS. CLARITY AND REALITY OF SOUND IS THE REASON THAT MOST PEOPLE CHOOSE TO LISTEN TO ANALOGUE RECORDINGS FROM VINYL AND THAT IS WHAT I STRIVE TO PROVIDE. EQUALLY, I UNDERSTAND THAT NOBODY ENJOYS NASTY SURPRISES SO YOU CAN BE SURE THAT I WILL ALWAYS AIM TO HIGHLIGHT ANY MINOR DEFECTS AND EXPLAIN THEIR AFFECT ON THE AUDIO REPRODUCTION.

For CLARITY the audio from this vinyl grades: NEAR MINT

For CLEANLINESS the audio from this vinyl grades: EXCELLENT TO PLUS

Audio Performance: CLEARLY THESE RECORDS HAVE HAD LITTLE USE AND THEY HAVE BEEN HANDLED AND STORED CAREFULLY. THEY DELIVER ABSOLUTELY BRILLIANT AUDIO FROM START TO FINISH AND ONLY THE FACT THAT THERE IS, DURING THE QUIETER PASSAGES OF PLAY AND NON-RECORDED SECTIONS, SLIGHT SURFACE SOUND, WHICH COULD BE ATTRIBUTED TO LACK OF USE / PLAY, PREVENT ME FROM AWARDING IT THE NEAR MINT DOUBLE. THERE ARE NO PERSISTENTLY REPETITIVE TICKS, NOTHING DISTRACTING AND NOTHING WHICH INTERFERES WITH MY ENJOYMENT OF THIS GREAT CLASSIC. PLEASE BEAR IN MIND THAT THIS SECTION AND THE GRADING IS BASED ENTIRELY ON MY PERSONAL OPINION AND AUDIO PERCEPTION BELONGS TO THE INDIVIDUAL. HOWEVER. WHILE THESE RECORDS MAY NOT QUITE ACHIEVE THE THE FULL NEAR MINT GRADE THEY ARE CLOSE AND WOULD BE VERY DIFFICULT TO IMPROVE UPON. OVERALL THIS IS AN OUTSTANDING, AND THOROUGHLY ENJOYABLE, EXAMPLE OF ONE OF THEIR MOST IMPRESSIVE PIECES OF WORK.

PLEASE TAKE A LOOK AT MY OTHER LISTINGS BY CLICKING ON THE ‘VIEW SELLERS OTHER ITEMS’ IN THE TOP RIGHT HAND CORNER BOX OF THIS LISTING - THANK YOU.

GENERAL NOTES

Thank you for visiting my listing. The section immediately above sets out information specific to the particular album / record offered in this listing. Below are some of my general comments about vinyl which you may want to browse through if you have time. Please feel free to email me with any related comments or observations; particularly if you have any reliable information which contradicts any of my descriptions as I am always interested in adding to my knowledge on this subject. When preparing my listings I use a combination of facts from reliable sources, more than forty years of personal experience and, occasionally, music industry anecdotes.

Just a visual inspection of used vinyls is almost always misleading so I play grade every vinyl I offer, before listing, on a LINN SONDEK LP12 deck fitted with a LINN KARMA cartridge down-force set at 17.5 mN (1.75 g) and a top quality stylus which I renew at intervals according to manufacturers specification, through a PRO-JECT Phono Box DS Preamplifier and manufacturers pre-set REGA BRIO amplifier with sound delivered through FOCAL CHORUS 706 loudspeakers - this is a brilliant and revealing combination enabling me to be informative with play grading.

Although it is extremely rare, there can be a difference between my descriptions, and opinions, and an individual buyer’s expectations so I have a clearly stated Returns Policy for added reassurance which is detailed at the bottom of all my listings. In the unlikely event that you want to use this facility please read the details carefully first, and then contact me to agree the procedure. There really will never be a reason to have any problem with an item you purchase from me. Before bidding please read my terms and conditions of sale below which are there to inform bidders and prevent any misunderstandings.

First Issues, First Pressings & Originals: Please note that when I refer to a First Issue I mean that the evidence suggests that the album offered is from the first batch that was issued for commercial release in the country of origin stated in the listing. Where I state First Press I mean that based on a reasonable interpretation of the matrices, mothers and stamper codes the vinyl comes from the first, or extended first, production run; these statements alone do not always mean that the vinyl is from the very first ’stamper’ ever made. However, where I state First Issue and First Press it is likely that the album offered includes one (or more) of the early vinyl(s) produced in the country of origin from the first matrix sets, first or early ‘mother(s)’ and first or early ‘stamper(s)’. Original means that the record bears the first label design for that particular pressing and, in the case of the cover, it is from the first cover manufacturer for that pressing; the label and / or cover may have very slight changes, if they were made within the first production run or, if the album was issued with an ‘in run’ label change or choice of cover designs or colours on first release, but in these cases I will try and explain the differences. This is not an exact science and anomalies will occur where I may make a mistake but I believe this will not happen very often - if it does then all of my buyers have the unequivocal reassurance of my Comprehensive Returns Policy.

My definition of a rare vinyl: Generally there is agreement that to qualify for the description rare there should not be too many of the type offered, available on the market at the time. With my listings that will be the main criterion however I will also occasionally claim rarity based on excellence of condition, or some other key feature, or an accompanying item such as an insert, which is not often found with similar vinyls.

UK first and early pressings: In many cases inexperienced sellers claim first pressing status without knowledge or evidence in the hope of achieving high prices – experienced buyers will know better and avoid those offers. Of course with the more popular huge selling albums, where the record companies were fairly sure of major sales from the outset, there were many first pressings. Also, in cases where demand was sustained or emerging the first press run was maintained over an extended release period; in other cases the first press run was specific. Generally the lower the numbers in the matrices and stamper codes on the vinyl ‘run off’ areas, on both sides of a record, the earlier the pressing therefore ‘A1’ & ‘B1’ are most often first or early pressings, but there are variants and exceptions to the rule. The most notable ones, for example where the ‘1’ matrix was only used for test, promo or industry pressings so the commercial releases started at ‘2’ or even higher, and there are a few more observations which are worth noting. There are low numbered matrices which belong to second and even third pressings (in these cases the record companies gave similar numbers to the first press of a re-issue) you can normally identify these by, examining the labels which are often different in texture and/or design, and by checking the weight of the record as the earlier pressings were normally heavier. Sometimes different symbols were used in the matrices; these may indicate an earlier pressing, a contract pressing or just simply a change of format. For example some records have A▼1 & B▼1 others A // 1 & B // 1 others A-1 & B-1 and so on. In these cases the mother and stamper references can help with establishing the proximity of an individual record to the original recording – each different record company had their own coding system, some using letters from words to indicate numbers, others just using numbers. Better known examples include GRAMOPHLTD & BUCKINGHAM – used by EMI and DECCA respectively. Occasionally there are high numbers on first pressings, but this is unusual. Other points to note are the manufacturer of the ‘cover’ or ‘outer sleeve’ and various characteristics or design variants. The ‘inner sleeve’ or ‘bag’ can also be an indicator. However it is not wise to rely on details beyond the matrices and labels as the covers and sleeves can easily be interchanged. ‘Made Up’, Swapped’ or ‘Doctored’ sets are not uncommon, particularly with high value albums which have inserts and special text, so the best advice is to try and make sure that everything matches the criteria thus eliminating most of the risk (a good look at the photographs on the listing, if they are of the actual item offered as they are on all of my listings, is always advisable – hopefully the sellers will also include the ‘zoom’ and ‘enlarge’ photograph facility which only costs pennies to include and it remains a mystery to me as to why many avoid this service?). As a general rule I suggest that you don’t pay hundred’s or thousands of pounds unless you are buying from a reliable source who provide you with comprehensive information and have a clearly stated ‘Returns Policy’ - or unless you’ve got money to throw away (and in that case there are any number of far more deserving charities).

Audio reproduction on vinyl: In my experience there is always an element of surface or background sound with audio reproduction on vinyl, even when new - very hard to imagine how there could not be when two solid surfaces come into contact with each other and are then amplified! In my opinion anybody who claims there is no surface sound, or ‘silence’, is hard of hearing, has not turned the amplifier on, or is using very poor quality audio equipment. Almost all used vinyl has at least light surface scratches which are always visible when viewed under a bright halogen light - which is what I use for inspection. So if you are uncomfortable with a bit of light crackling it’s probably best not to buy vinyl. In my opinion the light surface sound is more than compensated for by the clarity and ‘reality’ of the overall sound reproduction. I listen carefully to every album I list, before listing it for sale.

Please Note: All of the comment contained in this listing is subjective, it is based only on my opinion and your expectations may not necessarily correspond with my standards. If you receive an album from me and you have some differences please remember to use reasonable communication as a first option. I have a comprehensive non confrontational ‘Returns Policy’ which is clearly set out below and providing there is no abuse, or use the negative feedback system, I will always reimburse you in full for your direct costs if you return the album correctly.

TERMS AND CONDITIONS OF SALE

DESCRIPTIONS: Are given in good faith, but they are based on my opinion and standards. Bidders should note that they offer at their own risk and must satisfy themselves that they have sufficient information about the item before they enter the bidding process. Please ask questions before you become involved with the auction, NOT afterwards! Where I list sizes/dimensions they are either as stated on the item/label by the supplier/manufacturer or reasonably accurately hand tape measured; however, they are not necessarily precise, should be taken as approximate and not relied upon where absolute precision is required. This clause does not in any way affect your rights under the terms of my ‘Returns Policy’, it is stated to prevent unnecessary inconvenience to both parties.

INFORMATION: Whilst I take care to try and provide accurate information on the original listing it is possible that new information may become available to me afterwards. I therefore strongly recommend that all bidders read any revisions and the ongoing questions / answers section of the listing before bidding as they may contain updated information which could affect your valuation of the item(s). In the event that new information is published, after the time you have become the high bidder, which adversely affects your valuation of the item(s) and you wish to withdraw from the bidding process please email your request and I will use the cancel bid option with no ongoing liability to any of the parties involved in the auction.

PHOTOGRAPHS: All photographs contained within this listing show the actual item (s) offered – they are not catalogue, archive or library photographs. Furthermore they are direct images and not re-touched or modified in any way. I try to make good and comprehensive use of images on the listing in order to give the prospective bidder the best opportunity to evaluate the item(s); however it is possible that in some circumstances the photographs can enhance the appearance of the item(s) due to compression so please take this into account before bidding and do not hesitate to ask for more images or information which I am happy to send by attachment to email. This is particularly recommended with overseas buyers where returns are often not a viable option.

OVERSEAS BUYERS WELCOME: I am pleased to deal with buyers from anywhere in the world. My method of LP packaging reduces the risk to your valuable vinyls & covers in transit. Makes no sense to me to buy something important and then play a ‘high risk of damage game’ when having it shipped around the world – I hope you feel the same. I will only dispatch using a fully insured and Signed-for delivery service.

PACKING & POSTAGE: Vinyl’s are removed from covers and placed in separate transit sleeves. All components are then placed side by side in a polythene inner for extra safety and water resistance and then secured between two corrugated card stiffeners. I use Heavy Duty Mailers Specifically Designed for Vinyl Albums, which provide excellent security and protection, in conjunction with my own Ultra Safe reinforced sealing and packaging method. Internally I use 2 of the highest grade ‘B’ flute corrugated card stiffeners to prevent bending, deformation or edge/corner creasing. Packing & postage prices are NOT negotiable on items dispatched individually or separately. However, if you are a similar time multiple buyer where all items purchased are being sent to the same address and they can be combined safely, you can ask for a discounted quotation before bidding. I will only dispatch using a fully insured and Signed-for delivery service.

Postal insurance is subject to Royal Mail Standard Terms & Conditions. Quotations for other insurance such as premiums to cover non-standard risks or consequential losses are available on request.

PAYMENT: For Buyers WITHIN the UK: PayPal, or Pound sterling cheques / money orders, with minimum 7 days to clear before despatch.

PAYMENT: For Buyers OUTSIDE of the UK: Payments by PayPal only please.

CANCELLATION: The Seller reserves the right to cancel any bid, entirely at his discretion and without giving prior notice, in the following circumstances:

They have reason to believe that the bidder has not complied with the terms of their offer as set out on the listing.

The bidder’s feedback is of such limited quantity that it cannot be regarded as reliable.

The bidder’s feedback is of dubious quality and/or gives the seller any indication or reason to doubt the credibility of the bid.

MY FEEDBACK POLICY: I leave feedback for buyers after they inform me that they have received the item(s) and have left me their feedback. As I have a clearly stated Returns Policy, which does not expose the buyer to any direct loss whatsoever, I see no reason for either side to indulge in negative feedback. Providing the buyer does not engage in threats, abuse or use of negative feedback I will resolve any problem in a fair and reasonable way. If you have a problem or complaint about any transaction you have made with me contact me on somemightsell_e@btinternet.com and we will find a solution that is acceptable to you.

SUPERSIZED PHOTOGRAPHS: I have super-sized the photographs above to provide prospective bidders with the best opportunity to make their valuation before entering the bidding process, please just click on the ‘Zoom or Enlarge’ and arrows to use this facility. Sometimes due to reflection these images can appear slightly distorted, ‘graining’ can appear and dust particles can be exaggerated by the light - in reality there are no defects of this kind.