Sold Date: May 24, 2014
Start Date: May 17, 2014
Final Price: £255.00 (GBP)
Bid Count: 7
Seller Feedback: 3702
Buyer Feedback: 142

"WHAT A BRINGDOWN" (Ginger Baker,1968.)

Dainties in a jam-jar, parson's colour in the sky,
Water in a fountain, doesn't get me very high,
Moby Dick and Albert, making out with Captain Bligh.
So you know what you know in your head,
Will you, won't you, do you, don't you know when a head's dead?
What a bringdown!

Winter leader Lou is growning Hampstead's in the North,
Betty B's been wearing daisies since the twenty fourth,
Wears a gunner when there's one more coming forth.
And you know, what you know in your head,
Will you, won't you, do you, don't you wanna go to bed?
What a bringdown!

There's a tea leaf about in the family,
Full of nothing, their fairy tale,
There's a tea leaf a-floating, now for Rosalie,
They'll believe in ding-dong-bell.

Take a butchers at the dodgienesses of old Bill,
Aristotle's orchestra are living on the pill,
One of them gets very very prickly when he's ill.
And you know, what you know in your head,
Will you, won't you, do you, don't you wanna make more bread?
What a bringdown!
CREAM: "Goodbye" LP.  UK VERY FIRST PRESSING, 8th MARCH, 1969, ISSUED IN STEREO ONLY.

ON THE LATE 1960's THICKLY TEXTURED, POLYDOR LABEL: 583053.
Onlly genuine 1969 first pressings of  "Eric Clapton" had 1960's textured Polydor labels, not only textured but with an extra
  circled ridge.  Well, technically speaking, only Side 2's label was ridged or convex, the opposite shape on Side 1 is concave or
with a central depression/hollow.  Cream's "Goodbye" was re-issued throughout the 1970's decade and another identification of
the labels are identical, is extra thick black printing.   This really is a stunning condition, once only played record, I am not
convinced this has been played because the labels are so thickly textured they have vein like lines, best to be cautious, but there
  are no marks and 'Mint' is the one and only verdict, plus possibly one play means I get to play and describe the tracks.

MAITRIX:  583053  A // 3     1    2 (partially formed, but I am sure it is '2')  / 583053  B // 3      1 1
Like all Polydor records in every decade,  secondary digits after 'A // 3'  &  'B // 3' are too inconsistent to provide anything
that can positively affect the indexing sequences.    They are usually spread half way around the run-out grooves and I have
never made sense of them, so knowing individual title's suffix is vital, be it a Led Zeppelin LP from 1969 - 1971, all Polydor
pressings  varied for the very first pressing's actual digit following the separating symbol, either '//' or an inverted triangle
in outline format.  For "Goodbye," the very first records pressed had an  'A // 3'  &  'B // 3' maitrix suffix, please see my
label pictures for how textured the labels were for these first made records.   Amazingly for a 1969 Cream very first pressing,
Side 2's label picture shows how substantial the micro thin shavings from the pressing process, are still inside and around the
centre hole.   I have checked the centre hole carefully and there is enough room to very carefully place the record on a spindle
without disturbing the vinyl shavings, which have formed into a solid block.   That will require a 100% alignment between the
hole and my turntable's spindle, I do that for every record I play anyway and recommend all records are not slid across the metal
top of the stylus to locate it.   You just need to see through the hole and once lined up and gently slid on, labels will never a
map like series of cris-crossing lines and eventually worn away paper around the hole.

The March,1969 vinyl itself was massively thick and as heavyweight as anything ever pressed in the 1960's decade, the reason I
included in the main page heading, 60's mastering mastering for those canyon deep grooves produced extremely 'heavyweight' sound!


ORIGINAL 1969, POLY-LINED  POLYDOR INNER SLEEVE, THERE WAS NOT A CODED DATE, ONLY '50 R' WHICH IS
MEANINGLESS TO ME.  LAST YEAR I SOLD AN EQUALLY PERFECT OUTSTANDING FIRST PRESSING, SAME MAITRIX OF
COURSE  BUT THAT HAD AN INNER SLEEVE WITH AN ALMOST IDENTICAL '50', IF WITHOUT THE 'R' LETTER BUT
THERE HAD TO BE A REASON FOR SETTING AND PRINTING '50'.  AN EXTREMELY RARE MINT FIRST PRESSING DOES
NOT REQUIRE AN INNER SLEEVE MANUFACTURING DATE, IT HAS TO BE THE SLEEVE IT WAS FIRST PLACED INSIDE
AT POLYDOR'S  PRESSING PLANT.
 UNSPLIT AND HARDLY ANY AGEING, WITH ONLY THE HEAVYWEIGHT  RECORD'S IMPRESSION, IN MINT- CONDITION.
 
BR> FIRST ISSUE,'EJ Day' PRINTED MATT FINISH, SLIGHTLY TEXTURED, GATEFOLD COVER, BARELY USED THIS
ONLY HAS A HINT OF THE GRAINY INK FINISH AND THE USUAL AND UNAVOIDABLE STORAGE TRAITS.  
That lack of faded and 'blotchy' ink was mostly because the thin sheen top surface is miraculously still in place, which is as  
rare as a Mint record, however, that massively heavyweight and thick lipped record simply had to have an impact on the covers.
I always welcome any opportunity to discuss original 1960's album covers, especially Cream's when Mint records enter the
equation, they eliminates the wear constant use and handling, that will always accompany the average 1960's condition's.
Even the previous year's first issue silver foil, "Wheels Of Fire" covers, wore better than these first issue covers, the finish
of the ink usually created an almost mottled effect. Like all black or dark backgrounds on matt cover, severe ring wear soon took
up residency and with the edges, corners and spine easily worn down to sub-surface paper, most now have more white than
artwork and background!  Originally the thin thin sheen was all that stood between the ravages of use and storage, that soon
rubbed away, this is an exception for not having ring wear or any of the sub-surface white paper showing through, because
  nearly all the sheen is present and protecting the artwork.   Only a few tiny areas on the extremities have fractional rubbing
to the 'sheen', but that lack of handing and use means the printing is still 100% present, including even on the spine which
is a minor miracle, that has all the white & blue tinged lettering on all three sections with the artist, LP title and catalogue
  number.  That blue colour is rarely seen , the same sky blue colour was used for the tracks only on the back cover so that was
a deliberate effect, not created by erosion to black background around the lettering, my close up picture of the album title has
a perfect example of how "Goodbye" looked when first bought in March 1969.  Even more remarkable, the still square shaped
spine of the first issues is at full strength and is rarely seen the printing on the top, middle and bottom.   I will emphasise how
minor the mentioned rubbing is to the tips or the left side corners, also  there is no ageing or yellowing to the white areas of
the artwork or any of the white lettering on the back & front's main outside panels.  I write this regularly for all covers but even
  more for gatefold covers, the factory assembling and gluing placed the square shape spine at a slight angle, not squashed, just
how it was made nearing half a century ago.


The  front cover only has a few ripples and the only rubbing is to the sheen on the standing edges and corners, but so minimal
you can just about tell, thanks to a plastic outer sleeve for nearly the whole lifetime of the cover.  Plus perfect  storage ever
since, the artwork is also unfaded and unscuffed, allowing for the ink's finish on these earliest covers, looking  superb and now
that unavoidable impact of an extremely heavy records after 45 years.  As I also constant remark, I can and will produce vinyl in
  ultimate condition, but I cannot help the effect of gravity on cardboard!  The record's impression on the front is indeed minimal,
  but as the record was stored in the back compartment, there is a positive indentation/ near crease above the top right position
  of the record's internal position.   You trace that to developing at the spine, a once tiny paper edge line that followed the
contour of the record, I have gone into great detail here because the black background prevented my camera from picking that
  up.   A common enough storage feature and that often affects the inside of the right panel, but not here and that is why I could
  confidently follow that to the spine.   There are the usual small edge lines either side of the spine and the associated ripples,
  I hope I am not over emphasing the traits of virtually every genuine 1969 first pressing "Goodbye Cream" gatefold cover, it
  opens with perfect hinging to find an outstanding inside. Almost like new with very brightly coloured artwork, the tracks are
'engraved' onto  cemetery grave stones, a bit on the morbid side, the end of a band as magnificent as Cream was hardly a cause
  for celebration.
       

Due to the complications of contractual ties to both EMI and Apple, George Harrison was only credited for the co-songwriting of
  "Badge" with Eric Clapton, but he not not officially permitted to play on the track, even though Eric had recently played on the
  "White Album's" "While My Guitar Gently Weeps", also uncredited on the cover or the poster.  Sheer hypocrisy or not, the original
  or first issue covers listed George's contribution's on rhythm guitar as the cryptic, "L'Angelo Misterioso," George also sang on
  the backing vocals of "Badge" uncredited.
  AS USUAL I WILL GRADE THE COVER VERY STRICTLY, IN THE KNOWLEDGE MY PICTURES SHOW HOW SUPERB
THIS REALLY IS, THE COVER IS OVER HARSHLY GRADED AS EXCELLENT+++ CONDITION.


  THE TEXTURED AND EVEN PITTED LABELS ARE IMMACULATE AND LIKE BRAND NEW, MY EARLIER COMMENTS ABOUT
  SPINDLE TRACES ARE CONCLUSIVE FOR SUCH EASILY MARKED LABELS.  THERE ARE NO MARKS AND ANY FACTORY
  HANDLING IS NEAR INVISIBLE TO INVISIBLE! ,AS A CREAM FANATIC, I WILL TAKE JUST THE ONE ULTRA CAREFUL,
  UNDETECTABLE PLAY AND WRITE A RESTRICTED DESCRIPTION.  I AM REALLY LOOKING FORWARD TO HEARING
  THIS IMMACULATE RECORD, WHICH IS IN MINT CONDITION.
SIDE 1
"I'm So Glad" (Skip James) *
"Politician" (Jack Bruce / Pete Brown) *

SIDE 2
"Sitting On Top Of The World" * (Walter Vinson/Lonnie Chatmon; arr. Chester Burnett)  
"Badge" (Eric Clapton / George Harrison) **
"Doing That Scrapyard Thing" (Bruce, Brown) **
  "What a Bringdown" (Ginger Baker) **

Eric Clapton - guitars & vocals
Jack Bruce - bass, vocals, piano & Hammond organ on "Doing That Scrapyard Thing" & "What A Bringdown"
Ginger Baker - drums, percussion & vocals
 
Felix Pappalardi - piano, Mellotron & bass guitar on "What a Bringdown"
George Harrison, Credited as "L'Angelo Misterioso"- rhythm guitar & backing vocals on "Badge"

*Three Live Track Were Recorded Live At The Forum, Los Angeles, 19th October, 1968.*
** Three Studio Tracks Were Recorded At Wally Heider's Studio, L.A. & I.B.C. Studios, London, October 1968.
Produced By Felix Pappalardi.
Cream might have played their final historic gig, 26th November,1968 at London's Royal Albert Hall, and gone out with all guns
blazing in what was surely the most triumphant last performances, but they still had an album's worth of material left.  That was
  compiled and released in March, 1969, a year that saw so many of the 60's greats disbanding, but Cream no longer existed to tour
  and promote "Goodbye Cream" but the esteem they were held in, meant the album did not need promotional work. Within a week it
  was sitting at No.1 , becoming their first and last LP to make it there, like all four huge selling Cream LP's, that kind of love
  and devotion to their music, meant the records were excessively played.  Without the lamination of the 1966 "Fresh Cream" and
  the 1967 "Disraeli Gears, and even the silver foil protection for the 1968 "Wheels Of Fire", the matt gatefold cover on the 1969
  "Goodbye Cream" holding such a heavyweight, thick first pressing, was reduced to a battered worn out wreck, with more ring wear
  than artwork left.  I have always struggled to locate the final album in the only condition I consider for Cream,as close to Mint
  as possible, tough for the record and particularly the gatefold cover.  I am thrilled to  offer such a fantastic record and the
described storage impact on the cover is as minimal as possible, I do not believe in making excuses, just telling it as it was.
No guesswork or unknown events because I watched my own 1969 bought gatefold cover develop the same impact from the record.
that original March, 1969 release after the band had gone their separate ways, there was one other major success.   Ironically it
  came in the format of a single, one of the bone of contentions that contributed to their break-up had been a single released from
  the recording sessions for the double album, "Wheels Of Fire."  "Anyone For Tennis" had been Eric Clapton's composition and as
it was recorded in 1967, the gentle psychedelic feel was deemed unsuitable to release in 1968 by Jack and Ginger, they were
very concerned the single had to be successful in order to launch the new double album.  Cream's fourth single was released in
the summer of '68, but "Anyone For Tennis" has been recorded during the sessions for the studio half of the double album and it's
  failure to sell had far reaching implications for the long term future of Cream, so much time had spent working on the track.
  The sessions were the longest Cream had ever spent over new material and it was not just because that set included a live LP to
  accompany their latest songs, almost an entire year, between July 1967 & June 1968, the same month they released the single
   "Anyone For Tennis"/"Pressed Rat And Warthog."  "Wheels Of Fire" was not released until the August of 1968 and the rejection of
  "Anyone For Tennis" created disharmony between the band, because the track was also used in a film and in America when it was
   issued on "The Savage Seven Theme" soundtrack album.   In England it was their fourth single, recorded in March,1968, so that
   large amount of time and attention centered around their studio tracks, another reason was because Cream were finally really
    breaking in the USA.  A great deal was riding on "Anyone For Tennis," the track they selected to release as a single against the
  approval of Jack Bruce and Ginger Baker, who favoured "White Room."  Cream had always been a fiery band with the more easy
  going Eric Clapton having to step in between Jack and Ginger, who's fiery tempers boiled over into actual fights.   A lovely song
  from the height of psychedelia  ended up become a contributory factor to the Clapton, Bruce and Baker relationship becoming even
  more strained, by the September of 1968 Cream announced after the next tour they were breaking up.

   With the band broken up it did not seem possible, but there was be a hit single released from "Goodbye Cream" in the following
  April when it was still a currently selling and charting album, the glorious "Badge" composed by Eric Clapton & George Harrison,
  made No.18 here.  That was just part of how the loss of Cream was felt so strongly, I doubt if this even known today, but in the
  February of 1969 just before the release of "Goodbye Cream, the seemingly impossible happened in Britain, "Fresh Cream" was in
  such demand it was re-issued and quite amazingly, it actually re-charted as high as No.17.  Bands often break up leaving nothing
  behind, but the previously recorded LP's that often date back to era's when their music was still evolving, especially for 1960's
  pioneering artists.   As Cream only made three studio albums prior to "Goodbye Cream," from the blistering, powerhouse blues of
  "Fresh Cream," into the dazzling, multi-coloured full psychedelia on the 1967 "Disraeli Gears", in 1968  the studio and live set
  on their double album, "Wheels Of Fire".  The younger record buying public were discovering "Fresh Cream," for the first time in
  early 1969 and the Cream legend just grew and grew, because the music was so sensational right from their debut album and with
  fresh appetites truly established for more, Polydor now issued perhaps the finest ever combination of studio and live tracks from
  the band at their most potent.  To any later Cream fans, well, I suppose I could include any later Beatles fans, can  you imagine
  hearing the stunning spine tingling bass, percussion and guitar intro to "Badge" for the first time, after just being blown clean
  away by the live version of Howlin' Wolf's "Sitting On Top Of The World" that just preceded it?   Nothing prepared you for that,
  this was like having them back, fresh and inspired as ever and what an amazing album it was,"Goodbye Cream" contained the
  culmination of those fully evolved styles, blues still as their ultimate musical expression, but unlike "Wheels Of Fire," this has
  their awesome live performances right alongside the latest & last ever studio recordings.  I cannot avoid including my 45 year
  long love of Cream's extraordinary music in the description, I do usually start out intending to write only an unpersonalised and
factual band history, but it's out of the question.  Within seconds of hearing that stunning live version of "I'm So Glad," with Eric
Clapton on fire during his solo, anything else becomes empty meaningless text unless I write it as I am hearing/feeling.  This was
  nearing the end of the 1960's, but there was still time for one of the greatest albums ever recorded, to end a decade of wonder
with the same explosive music that had lit the fuse in the first place.  Cream's three musical genius's  had reached an inevitable
conclusion as a band, Eric Clapton had been reduced to tears after arguments about the merits of releasing  "Anyone For Tennis"
in 1968, the last year together. It wasn't just Cream, the 60's musical innovators were all at the 'crossroads' at the end of the
decade and so many never even made it into the full 1970's decade, those that did mostly underwent major personnel changes.
Musical genius did come come with a very heavy price to pay, death, a drugs dependency or severe mental health problems took
their toll. Tensions were so much a part of an unique musical chemistry that went into creating Cream's fiery music, blues is a
very emotional musical expression and sparks were flying whenever they played either in the studio or live. "Goodbye Cream"
encapsulates all that fire, the two long tracks on Side 1 and the first track on Side 2 represent three of Cream's ultimate live
recordings.  With three inspirational studio tracks that include the majestic "Badge," it  was the one and only way to finish such
a fantastic two years with more of their magical music on the final   Cream LP.  The legacy they left us was four of the UK's all
time classic 1960's albums, something to be eternally grateful for.
 

  Side 1 has near silent run-in grooves, only really low natural level static, I find it crazy mentioning next to nothing but I have
and now I must concentrate only on the music and not the patently obvious.  This was the track I anticipated being blown away by
  before,"I'm So Glad", erupts from the speakers with the most  incredible impact! The 1969 first made stereo mix, is just amazing,
full of the most wonderful panning effects, this is 60's mastering and stereo mixing in every sense of the word.  The live version
was played at a furious tempo, with just astounding bass guitar from Jack Bruce, who had long since created a totally unique bass
style, playing it like a lead guitarist.  With Ginger Baker producing such explosive drumming, this was a really fired up Cream, in
  my humble opinion, they were the all time greatest band to to ever step onto a stage,  I haven't even mentioned Eric Clapton yet!
  Eric's guitar here is just awesome, his lightning fast style in the Yardbirds earned him the 'Slowhand' middle name and his fingers
are flying at an unbelievable speed, firing out flurries of the most staggering blues notes. With Bruce and Baker also running on
pure inspiration as well, they push him harder and further into improvisations for every second of the staggering ten minutes long
version. As "I'm So Glad" progresses, the tempo is increased until Jack Bruce's bass is being played so fast, even Ginger Baker's
frantic drums have to step up yet another notch just to stay with him! Meanwhile, Clapton is just as wrapped up in this intensive
perfomance, his blistering solo is simply breathtaking to hear, blues being taken into the realms only Jimi Hendrix ever visited
in his own live performances.  The end slows down like a train that has been running without any brakes, the final verse winds up
one of the finest live performances ever recorded.   I write as a collector of not just Cream's official albums, but unofficial vinyl,
tapes and CD's, there are many, many live versions of this track, an often played song since 1966 and this was beyond any doubt
Cream's ultimate live version of "I'm So Glad ".  10 minute long tracks are a blessing to write along to, oh yes, I'm supposed to
be sound grading, the sound is as staggering as the music!  As loudly as the record was mastered, I still have my volume at wall
  shaking level, unnecessary but it means I can accurately say there is not even a suggestion of distortion, Jack Bruce's massive
bass remains crystal clearand the sound is as sharp as razor. Just as I'm geting my breath back, Eric Clapton plays the extremely
  heavy blues riff  intro to an equally awesome live version of Jack Bruces', "Polititician."  If any blossoming bass guitarists are
reading this, find / borrow this sensational live version of "Polititician" because you will never hear a bass as amazing as this
on any other record. When we were trading at record fairs I often had young musicians asking for a 60's record with something
special to listen and learn from, I miss that on ebay, but I know how effective these Cream records were I recommened to the up
coming  guitarists, bassists and drummers.  Returning to the next event, estatic about what they had heard, imagine hearing a
Cream record or the very first time!   The first stereo mix has Eric Clapton panned in the right channel only and Jack Bruce on
the left, with Ginger Baker taking the central position, a fantastic effect to be in the middle of!   I have been concerntrating on
Clapton's awe inspiring guitar, with the massive volume of Bruce's bass, they almost merge together. In such a stunning stereo
mix as this, you really get to hear precisely how inspired Eric Clapton was in late 1968, stunning audio clarity means his unique
  guitar tone is in perfectly clear sound definition.  My words used here are useless to describe Cream playing on fire, this record
  is  up there as one of the most staggering for perfect sound quality I've ever heard for "Goodbye (Cream)."


Side 2 barely has any static in the run-in grooves, amazing for the first ever play of 43 year old vinyl!  For ebay descriptions
I always make sure I adopt a neutral stance, if not for the artists and music, I can do that from a sound perspective.  The music
kicks in mean, hard and loud, that is all you hear,no crackles or clicks here! The third and last live track, the purest blues on
Howlin' Wolf's,"Sitting On Top Of The World" and a truly inspired performance, with Jack Bruce singing the lead vocals as if his
  life depended on it.  The unique and magical musical chemistry between the three extraordinary musicians is right here on this
  towering performance, to say Clapton's playing out of his skin is inaccurate, his staggering solo exceeds even that, Clapton was
simply on a different planet!  The audio here hits another peak of perfection for razor sharp edged sound, more as expected from
a studio recording, let alone from a live concert back in 1968.  Amazingly loud, powerful sound, Eric Clapton's sensational blues
guitar is panned in the right speaker only and Jack Bruce's bass impacts from the left with Ginger Baker's emphatic snares. As I
said, Bruce's vocal is sung with tremendous force from the centre of the stereo, Clapton is firing blues notes like bullets, the
joys experiencing of Cream in devastating form!   At the end Jack Bruce says,"Eric Clapton, thank you...yeh!"  I only offer first
pressings in top condition occasionally and this most certainly is, I always give completely honest appraisals of the pressing
itself and even the quality and  design of the cover.  A staggering pressing and beautiful cover, but I did not personally press
the records or print the covers, but quite willingly and take full responsibility to inform potential customers exactly what they
will receive, in this case a stunning looking and sounding record in a superb gatefold cover!  This is Cream and no way will I
ever consider any of their records in substandard sound, it is essential I know precisely how the first pressings should sound.
   The next track has the first of the studio material, a song that makes this a very special album,"Badge,"was written with Eric
Clapton's good friend George Harrison in his garden, this also features an uncredited George playing some superb rhythm guitar
and singing on the backing harmonies.  Due to the complications of contractual ties to EMI / Apple, George was only credited on
the cover as the cryptic "L'Angelo Misterioso"!  I will say how there are silent linking grooves, because now there is one of the
  most remarkable Eric Clapton guitar intro's outside of "Layla."  Eric's guitar rings out massively loud but crystal clear sound,
  the powerful bass was an important part of the intro, Eric's vocals sounds superb!  I mentioned minor static on a live track, so
  now I will scream from the rooftops how absolutely perfect the sound quality is here on the studio recordings, this cannot be
  bettered for having no surface sound or static, exactly like my own first pressing!  The wonderful part when the music stops,
  then Clapton's guitar plays those incredible notes, is heard in ultra sharp clean and clear audio, this amazing stereo mix does
  wonders for the impact of them as well.  Jack Bruce and Pete Brown composed the brilliant, "Doing That Scrapyard Thing" and
  what a great Cream track, with stereo panning of the very highest order, placing Clapton's guitar in the right channel with the
  piano. A very full production, this song is packed  with so many different instruments and as a really nice touch, Eric Clapton's
   final guitar notes are projected from the right speaker, stereo was treated as a work of art back then, now used as just a way
  to fill the tracks up to bursting point, without any subtlety or thought for the listener.  The final song on a Cream LP was very
  fittingly titled,"What A Bringdown". One of Ginger Baker's finest compositions, the perfectly clean intro starts from a smooth
  as silk gap and the superb melody begins in supremely clean sound quality, once again I'm amazed by the stereo effects I know
  so well, but Eric Clapton's guitar sounds stunning here. He plays sparingly, every note is made to tell on a track with so much
   happening in the backing, a great one to pick out the individual sounds from. The tubular bells are ringing away but with so much
  else surrounding them, only during the finishing piece are they heard as individual sounds, immaculate sounds as well.  The bells
  were also tolling the end of Cream, they seemed to have dominated the whole of the 60's, but they only lasted for just over two
  years, what an amazing set of albums and singles they produced in that comparatively short time.
{Roy}
  R & M RECORDS.

My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade
  in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl
  into becoming a professional record seller.  Over twenty years ago now we entered into the wonderful atmosphere
of record fairs with the highest possible standards set. When the Internet became the world's new market place for
  vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be,
the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly
and very efficient service we are proud to provide;

EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE.
  I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY
  FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK.
THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE
AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL
INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE
OF GENUINELY UNPLAYED VINYL.  EVEN THEN WE STILL TAKE FULL RESPONSIBITY FOR A RECORD
WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
 

MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS
FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION.


ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.
 

WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT
RECORDS AND COVERS ETC.  WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD.

ALL RECORDS ARE REMOVED FROM THEIR SLEEVES AND PLACED INTO NEW PROTECTIVE CARD
SLEEVES AND THEN PLACED INTO NEW, HEAVYWEIGHT PLASTIC OUTER SLEEVES.
THE GREATEST ATTENTION IS PAID TO MAKING THE PACKAGING EXTREMELY STRONG & SECURE.
EVERY POSSIBLE EFFORT IS MADE TO ENSURE A SAFE DELIVERY AND WE ONLY USE THE VERY BEST
QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS
TREATED EXACTLY THE SAME.

WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING
ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES
WEIGH A LITTLE EXTRA.

UNDER PAYPAL & EBAY'S GUIDELINES, ALL RECORDS WILL BE SENT VIA A FULLY INSURED TRACKABLE
SERVICE.


We have kept all our charges at the same level for years now, but due to the Post Office's new price increases, regretfully we
will have to increase the cost of LP's, however, singles will remain unchanged.  Ebay were aware of that happening and have
  increased their minimum postal cost for LP's to £7.00, that figure has been enforced by the UK Post Office and it will become
our UK First Class, Recorded Delivery cost for albums up to the value of £46.  

For LP's valued above £46, the cost will be £9, we are unhappy about either increase but our high standard of packaging has meant
in 12 years of ebay trading, there has not been one record damaged, we are determined to maintain that in the present and future.

IN THE UK RECORDS UP TO THE VALUE OF £46 WILL BE SENT RECORDED DELIVERY, OVER £46 WILL BE
SENT SPECIAL DELIVERY.
  FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA 'INTERNATIONAL SIGNED FOR.'

POSTAGE  COST FOR LP's
UK: UP TO VALUE OF £46, FIRST CLASS RECORDED DELIVERY  £7.00
UK: OVER VALUE OF £46, FULLY INSURED SPECIAL DELIVERY £9.00


EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR  £15.00


USA,JAPAN & REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR £20.00


POSTAGE COST FOR EP's & 7"
UK: UP TO THE VALUE OF £46 FIRST CLASS RECORDED DELIVERY £3.00
UK: OVER THE VALUE OF £46 FULLY INSURED SPECIAL DELIVERY £6.00
EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR £10.00
USA, JAPAN ETC. AIRMAIL VIA INTERNATIONAL SIGNED FOR £12.00


PAYMENT DETAILS.

WE WILL SEND ALL WINNING BIDDERS AN INVOICE WITH THE FULL PAYMENT AND POSTAL DETAILS,
AS NEAR TO THE AUCTION ENDING AS POSSIBLE.

OUR AIM IS TO MAKE YOUR PURCHASE SMOOTH AND TROUBLE FREE.


FOR UK BUYERS;

WE ACCEPT:  PAYPAL, CHEQUES, POSTAL ORDERS & BANK WIRES.


FOR OVERSEAS BUYERS;

WE ACCEPT:  PAYPAL, INTERNATIONAL MONEY ORDERS IN POUNDS STERLING ONLY.
OR BANK TO BANK WIRE TRANSFERS.

WE WILL NOT MAKE FALSE STATEMENTS ON CUSTOMS DECLARATION FORMS AND WILL ALWAYS
CONDUCT ALL OF OUR BUSINESS WITH TOTAL HONESTY.
AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT
DUTIES, WE WILL NOT LIE.


  Pay me with PayPal.

I don't charge my buyers extra!