Sold Date: October 3, 2015
Start Date: September 26, 2015
Final Price: £255.00 (GBP)
Bid Count: 15
Seller Feedback: 4049
Buyer Feedback: 192

"HARD, HARD YEAR" (Allan Clarke / Graham Nash / Tony Hicks, 1966)

Bad times, something's wrong,
Money's gone, I'm on my own,
Can't stay, there's nothing here,
It's been a hard, hard year.

First month, snows came,
Put me in bed, couldn't work the same,
Job's gone, bills are here,
Been a hard, hard year.

I look on the bad side of life,
I lose heart, then I want to die,
So I've got to get back on my feet,
And prove to myself, I'm a man.

I hope that the bad times are gone,
It's been work, but I think that I've won,
Now I'm happy, and I'll never be that way again,
No, I'll never be that way again.

Snow's gone, spring's here,
Won't happen twice, I've seen my way clear,
Everyone's paid, got no one to fear,
Been a hard, hard year.
THE HOLLIES: "Would You Believe" LP.  FIRST UK PRESSING IN MONO, ISSUED 16th JULY, 1966.
"Would You Believe" was released in the Summer of 1966, amazingly I have to decide between the record being named as once played
on Side 1 and unplayed on Side 2...or unplayed on both sides!   There is positively no spindle contact traces on Side 1's thickly
textured labels, one trace on Side 2's label centre, but that does look like a spindle trace, the finger tip holding position was
in use at the pressing plant and the record shop before being sold as brand new. The sun was shining brightly this morning and my
pictures perfectly caught the brand new condition of the labels and vinyl, I never like 'sitting on the fence' and prefer to give
my opinion on such Mint rarities.  My opinion is based on solid experience of specialising in buying and selling the finest vinyl
possible for decades before the internet existed.  Then I was playing records on 60's equipment from a very young kid, I still
play  tube or valve powered 1960's record players of the very era I grew up in and as I am constantly told by my family, never
left it!
This looks like a typical one play of one side in a record shop, before it was sold and with one side definitely unplayed I have
every reason to voice an opinion based on genuine experience.  Having given the details, backed up by crystal clear pictures,
that is really all that it needs,I am offering an extremely rare, Mint very first pressing of the wonderful "Would You Believe."
The possibility of one side being played once, is really being discussed, because I am dying to hear the record!  My handling and
aligning the labels to the spindle are undetectable and as it has been   many, many years since I sold "Would You Believe" and
I am looking forward to hearing and describing the album.

YELLOW & BLACK PARLOPHONE TEXTURED LABELS: PMC 7008
 
  MAITRIX: XEX 603 - 1 / XEX 604 - 1
  For anyone new to all this, EMI's prefix for Mono was 'XEX', that naturally came before the Stereo prefix, which had the first
letter increased by one to ,'YEX'.

  EMI STAMPING CODES: T 1 / O 1  
The very first pressing with both No.1 mothers on both Side's, I often wonder if records in this astounding Mint condition were
retained by a record shop or just left on a dusty shelf and forgotten about.  Bought from a contact and a friend, I cannot give
any more info about the history, but there are plenty of clues as I outlined above.

  THE TEXTURED LABELS HAVE;
"Gramophone Co. Ltd." ON THE RIMS
"Sold In UK" TEXT
  "KT" EMBOSSED ON SIDE 2's CENTER.


MID-1966 EMI / PARLOPHONE INNER SLEEVE, UNUSED, UNSPLIT WITH ONLY THE HEAVYWEIGHT RECORD'S
INEVITABLE IMPRESSION AND RELATED LIGHT CREASES, NATURAL AGEING IS MINIMAL.
THE INNER SLEEVE IS IN EXCELLENT+++ / NEAR MINT CONDITION.
  This was the very point EMI were running down the earlier famous  60's "Use Emitex" inner sleeves, famous because the 1963 to
1965 Beatles albums had them.  EMI also had promo LP picture types from 1965, but they were now introducing new inner sleeves
with curved corners, plain white with only a Patent number and 'Made in Gt. Britain/England.'  By the next month's release of the
"Revolver" album  in August, 1966, EMI concentrated on only the new plain white  sleeves or the promo type.   I have found any of
the three designs were used for "Would You Believe" in Mono & Stereo, this record has the last of the tracing paper lined earlier


VERY FIRST ISSUE LAMINATED 'Garrod & Lofthouse' MONO COVER, WITH THE TEXT, "Patents Pending" ON
   ON THE BOTTOM FLIPBACK EDGE.   THERE IS ALSO THE DATE THE COVER WAS PRINTED ENCODED WITHIN;
  '6607 LL'
  THIS WAS PRINTED IN JULY,1966, THE BEGINNING OF THE SAME MONTH THE ALBUM WAS RELEASED IN.
 
The front cover has undulled, ultra glossy lamination, over unfaded and rich colour tones on the artwork, a great drawing of the
band on a blue background to the green drawing and navy blue lettering.  I always patiently explain how a heavyweight record
  leaves a circular impression for anyone starting collecting original vinyl, gravity affects the stress points for unplayed and the
expected heavily played alike. Only for Mint or barely played records, that has nothing to do with usage wear that grading has
to concentrate on, related to holding the record, a few tiny related laminate edge lines and laminate wrinkles form naturally.  
The best example of that is normally seen on the bottom standing corners, the right one has light standing pressure with the
mentioned light laminate wrinkles, very small but positively not creases because the corresponding position on the back is
not creased.  The flipback edge strengthens the back corresponding bottom left corner, so just minor standing pressure for the
last near 50 years.  The front top right side corner is in perfect condition, the left side corners or the spine's tips, have
  extremely light laminate only rubbing, too light to   really mention for 1966.  The spine itself has a superbly clear title and
the white background is unyellowed, please see my  close-up picture and the side view for what a beautiful cover this is.

Both opening sides are in superb unworn condition from not being used, the top and bottom edges are also totally unworn.

The back panel still has a pure white background to the unfaded, unscuffed jet black text and the tracks, no need to write about
ageing because I do not hesitate to say if these unlaminated, highly absorbent matt back panels have aged, but not for this cover!
This came from a collection that had plastic outer sleeves from the day of purchase, rare for the 1960's, all three flipback edges
are in superbly sound and strong condition, with all  the edges perfectly and neatly stuck in place. The bottom flipback edge has
the printer's credit plus the text  of a very first issue,"Patents Pending", in a navy blue colour, matching the front's lettering.
Very unusual to see, then so was "Evolution's" pink colour on the flipback edges in the following year, a first printed cover in
really beautiful condition and thoroughly deserving a Near Mint grading.
THE FIRST ISSUE MONO COVER IS IN NEAR MINT CONDITION.
 

IMMACULATE LABELS HAVE THE DESCRIBED ONE FAINTEST TRACE, POSITIVELY NOT FROM A SPINDLE IN MY OPINION
BECAUSE IT FOLLOWS THE LONGER FINGER TIP HELD POSITION.   'HANDLING' WHEN MANUFACTURING ALL VINYL
CONTINUES TO THIS VERY DAY, EVEN IN TODAY'S DAZZLING, STRONG SUNLIGHT I COULD ONLY FIND ONE FEATHER
LIGHT TO NEAR INVISIBLE HANDLING  TRACE.  I WOULD STRUGGLE TO FIND THAT AGAIN IN NORMAL SUNLIGHT!
THE HEAVYWEIGHT A REALLY BEAUTIFUL VERY FIRST PRESSED RECORD, IN MINT CONDITION.
SIDE 1
"I Take What I Want" (David Porter / Mabon Hodges / Isaac Hayes)
"Hard, Hard Year" (Ransford)*
"That's How Strong My Love Is"  (Roosevelt Jamison)
"Sweet Little Sixteen" (Chuck Berry)
"Oriental Sadness" (Ransford
"I Am A Rock" (Paul Simon)

SIDE 2
"Take Your Time" (Buddy Holly / Norman Petty)
"Don't You Even Care" (Clint Ballard Jr.)
"Fifi The Flea" (Ransford)
"Stewball" (Bob Yellin / Ralph Rinzler / John Herald)
"I've Got A Way Of My Own" (Ransford)
"I Can't Let Go" (Chip Taylor / Al Gorgoni)

Allan Clarke -  vocals & harmonica
Graham Nash - rhythm guitar & vocals
Tony Hicks - lead guitar & vocals
Eric Haydock - bass
Bobby Elliott - drums


*'Ransford' songwriting credit was the pseudonym of Alan Clark, Graham Nash & Tony Hicks.
Recorded In 1966, At Abbey Road Studios.
Produced By Ron Richards.
Like the Beatles, the Hollies were named after the great Buddy Holly, the Beatles name came from a similar source, John Lennon
  combined the insect theme taken from Buddy's backing group, 'The Crickets' with 'Beat' music.  The Hollies were equally talented
   at singing vocal harmonies and and they were competent songwriters, even their debut single's B-side was the first to contain a
  'Nash/Clarke' writing credit.  Just like the Beatles, from covering American r&b classics, the Hollies music would also undergo
  an 'Evolution,' in only three/four years after their first single, the Hollies would also become pioneers of psychedelia and two of
   their albums are hailed today as being psychedelic masterpieces.  So this 1966 album is fascinating to hear, back in 1963 though
  another parallel between Parlophone's finest was the Hollies genius to master the 45 RPM format developed at approximately the
  same pace.   They would have no less than nineteen top selling singles in the rest of of the 60's decade,  Abbey Road Studios was
  as custom made for their innovative melodic recordings as it was for the Beatles.   The No.1 success with, "Please Please Me" was
  a signal for record companies to begin searching for other new groups with a similar spark of originality, former beliefs only solo
   artists with a backing instrumental group could command a huge following, was well and truly over.  The Beatles record company,
   EMI, sent record producer Ron Richard scouting for new talent and he was in the same club that spawned the Beatles, Liverpool's
   Cavern Club in January,1963, he saw The Hollies performing a live set and immediately signed them up to EMI's Parlophone label.
  Formed a year earlier in 1962, the Hollies were originally a duo "The Two Teens", two Manchester born school friends, Allan Clarke
    was a vocalist and Graham Nash sang vocals and played a rhythm guitar.  Several names as a duo were used while they perfected
   vocal harmonies, 'Ricky and Dane' and then 'The Fourtones' when Eric Haydock on bass and drummer Don Rathbone  filled out their
   rhythm section.  Next came 'The Deltas' before 'The Hollies' became the final name and how they were known when signed to EMI.
  Just before the freshly signed Hollies became acquainted with Abbey Road studios,  Bobby Elliott took over on drums and the very
   young Tony Hicks became lead guitarist, aged only seventeen.  Like the genuinely talented early 1960's bands, the Hollies kept a
  distinctive sound successfully throughout the 1960's 'pop' era and with the dawn of new exciting psychedelic music, unlike most of
  the early 1960's groups who were found wanting, lacking the ability to evolve beyond a now rapidly dating formula, sheer talent
  in the Hollies saw them embracing those new sounds.  With their superb vocal harmonies and an ability to write all their own songs,
   they produced that pair of the greatest psychedelic albums, in 1967,"Evolution" and in 1968,"Butterfly".  The third psychedelic LP
   recording sessions began and after they recorded some extraordinary songs the project was abandoned, all available today on the
  "Rarities" album, well worth checking out because they were true lost unreleased masterpieces.
 
  Standing on the threshold of psychedelia during mid-1966 was a fascinating position, the Hollies had now begun the metamorphosis
  that would fulfill the 'evolution' into a 'butterfly.' That sentence was unintentionally written to incorporate two album titles
  but I might as well finish it in the same manner, in December, '66 the second step towards psychedelia was 'for certain because'
they had the necessary talent to fully embrace and become innovators of the new sounds in 1967 and 1968.  I am wasted on ebay!
  The Hollies' music was gradually undergoing a transitional and creative process and the summer of 1966 was ripe for very exciting
  new sounds with the early psychedelic influences clearly heard within the songs.  Creatively still a time where the Hollies were
learning the art of songwriting and the fantastic material for this album drew mostly from their very wide range of musical styles
  and influences.   Like the Beatles and the Rolling Stones, they never lost their love of the r&b/blues songs that had provided an
  inspiration to become musicians in the first place, but critics consider recording cover versions from that influential period as
  signs of weakness. Crazy, this was only three years after the Beatles first established themselves in 1963 and under one year ago
  they recorded several covers of r&b American songs, only "Dizzy Miss Lizzie" was included on the August,1965 "Help!" album, but
  in December,1966, "A Collection Of Oldies" included "Bad Boy"recorded  in the same sessions. On stage the Beatles, Stones and the
  Hollies were still performing the same 'oldies' in concert, so what exactly do today's critics expect to find on current albums?
Personally having followed the Hollies from the earliest singles, I think "Would You Believe" has never been fully appreciated
  and is one of the 1960's most underrated albums. Containing fantastic songs that covered r&b to folk music, performed with their
  unique brand of stunning vocals and outstanding musicianship.  The twelve tracks on this album are all outstanding, with such vast
  diversity as a glorious version of Paul Simon's "I Am A Rock," onto the really stunning  "Hard, Hard Year," with acid influenced
  distortion duruing the guitar solo. "Would You Believe" was the real turning point for The Hollies, by 1966 many of those earlier
  1960's groups struggled to come to terms with how music was rapidly changing, the less talented were found wanting and those
  rooted in dated formulas, soon fell by the wayside.  You cannot run without learning to walk first and the Hollies were among the
  earliest UK 'beat groups', the reason I opened this with their history that dated as far back as 1961, unlike so many groups that
  sprung up after the Beatles became established, they even pre-dated their debut single in 1962, "Love Me Do." Three years later
  it was still very much the Graham Nash era and their musical progress began right here, they were on the way to producing their
  own "Sgt.Pepper" in 1967, the magnificent "Evolution" album.   Like the Beatles, the Hollies had long mastered the art of making
  classic singles, now they were paying extra attention to their LP's.  "Would You Believe" reached No.16 in the UK charts but that
was a rather long time ago now, these mono first pressings took severe wear from rough handling with excessively heavy plays,
  all the great albums had to endure that in the 1960's.  This record escaped that type of over use and abuse, in really beautiful
  condition visually and the sound quality is immaculate, including the folk songs.   How early this still was can be seen in their
  songwriting credits of 'Ransford', that had forced on them because unbelievably 'Clarke / Nash / Hicks' was considered too long!
  Ironic really because Graham Nash would later become a part of the famous 'Crosby, Stills, Nash and Young' composing credit.

  I can't wait to hear the heavyweight vinyl of a first pressed record, a real beauty that will have the stunning mono sound Abbey
Road Studio's are renowned for. This also happens to be the very  first pressing with both sides mastered from the first mothers
created for the Master Tapes. The sensational perfect sound quality of a mono Mint first pressing, will be a privilege to describe.
Pleae bear in mind this will be the first play in 49 years and any faint static will play through, often true Mint vinyl has no static,
  this is one incredible record and now I finally get to hear it!

Typical of any 60's Parlophone first pressing in this remarkable condition, Side 1 initially has light static then then silence as
a perfectly clean and ultra clear intro begins for "I Take What I Want."  Perfection for a superb r&b performance of the classic
song, the guitar riff rings out in perfectly defined sound, the vocals are delivered in the Hollies distinctive style, generating
  a loose and exciting start for this album.   The back cover's sleeve notes were excellently written by Andy Wickham, they include
a discussion about the various musical styles like folk, concerning the Hollies, he wrote,"They rock and are not ashamed of it!"
Well said!  This 1966 period was rather special, as I was saying earlier, the earlier 1960's r&b/blues was at an evolving stage,
Cream had re-written the rule book and "Rubber Soul"confounded all expectations by the sitars and acoustic music that really
  inspired Brian Wilson, "Pet Sounds" was very much influenced by these new developments.  The Hollies were also evolving fast
but their roots were not discarded, the opening track was a statement of intent, they perform this opening song with real venom.
Allan Clarke sings the lead and the backing vocals join him during the chorus, with some mean bass playing and great drumming for
the main rhythm, as expected from the Hollies, but now there was a real edge to Tony Hicks' lead guitar. The sound quality is just
sensational, in loud and extremely powerful mono with the perfect sharpness to the vocals and all the instruments expected from
  a first pressing without the slightest wear. This was certainly a very loudly mastered record, I review all records with my amp
  set at wall shaking volume, there is not even a hint of any distortion and why I immediately noted the bass just now. This superb
  version of a really great r&b song gave very little indication of the transitional stage their music was currently in, other than
  the lead guitar sound, the following track definitely contains all those elements.  The first gap is really close to being silent
  and with only such low level natural static,to avoidid constant repitition, please take it as how the rest of the linking grooves
  run so smoothly.  There are no crackles or wear and any absolutely minimal pressing related surface sound is the natural sound
  of vinyl, I find it ridiculous having to write that, but It has to be said, now I can concentrate on the music!  "Hard Hard Year"
  has an intro of just a single acoustic guitar and light percussion, as I said there are no crackles and I daily find it absurd to
  be placed in a position where I feel obliged to state the obvious,  a record is.....a record.  Almost a folk song, but not quite,
  this melody is just stunning, sung with the most delightful and intricate harmonies, Graham Nash's contribution was superb.
   First the acoustic guitar backing and then wonderful vocal harmonies, this is almost a Beatles sound and very similar to say,
  "You've Got To Hide Your Love Away" , next the incredible electric guitar solo completely changes the whole feel of the track.
   Played with all the influence of the acid sounds circulating during the period, then back again to the acoustic backing and the
  fantastic melodic vocals.  Variety is the spice of life and the next track serves up a generous helping of a simply awesome r&b,
  deeply soulful rendition of Roosevelt Jamison's composition "That's How Strong My Love Is," or best known by the Rolling Stones
version.  Allan Clarke sings the lead vocal magnificently to an outstanding atmospheric instrumental backing, plus superb vocal
harmonies.  Once again the audio is razor sharp, with the powerful mono sound crystal clear, the ending builds into a tremendous
final flourish, the Hollies at their most potent.  The non-stop musical variety that made "Would You Believe" such an endearing
and absorbing album, now features a highly energetic cover version of Chuck Berry's "Sweet Little Sixteen" emphasising their
  determination to keep in touch with their r&b/rock roots along with the more experimental music, the same formula worked
  for the other artists who successfully evolved into psychedelia.  Just listen to the opening track on this year's "Revolver" for
conformation.  A track maybe more in line with the Hollies' 1964 period, but a very welcome inclusion all the same and where I
personally came in, to anyone yet to the sample their previous albums, I sincerely recommend that early Hollies era.  Tony Hicks
really gets into the lead guitar playing with a perfectly executed authentic sounding guitar solo. The audio definition on Tony's
guitar is stunning with the 'ringing sound' outstanding, they were such a tight band in 1963 to 1964, but two years later in 1966,
the Hollies rhythm section was now water tight.  From that familiar Chuck Berry classic of a song, into "Oriental Sadness" for an
absolutely inspired original composition, that demonstrates their newly found ability for creating exotic sounds.  Why wasn't
  this released as a single?  That can only be down to the amazing abundance of great 45 material the Hollies produced, at the end
of Side 2 you have the sublime,"I Can't Let Go."  "Oriental Sadness" has a superb intro of Chinese sounds, the stunning melody
begins in staggering clarity with Allan Clarke singing the lead, the highly infectious chorus features Graham Nash's distinctive
voice singing that, then the two share the vocals between them and double up to create some really delightful harmonies. I love
all the bvarious periods of the Hollies but my real affection centers around  Graham Nash's time in the band.  Graham sings on
the line,"She'll never trust in anybody no more," as well as solo during the verses.  This was very current to the 1966's sounds,
using the vocals to elevate a fantastic melody even further.  The sound from this amazing condition record is so clear, every one
of the individual parts of the track I have been describing is in stunning definition, an unworn first pressing on the Parlophone
label is a guarantee of audio perfection, it was the year of "Revolver" after all!   I am not convinced he should have left them in
  1968, but forming Crosby, Sills & Nash and then the addition of Neil Young, was too major an event to allow negative thoughts.
Hearing Graham Nash from a few years earlier singing on "Oriental Sadness" is as magical as the music I enjoyed from 1969 and
  all that followed ever since.  Ending this first side is my all time favourite version of a Paul Simon composition, the truly great,
"I Am A Rock."  The gap simply has to be included hear for such a delicate intro, absolute silence says it all about an incredible
audio standard for EMI / Parlophone/ Abbey Road records from so long ago.  When I said it was priviliege to play this record, it
was sincerely said. If  ever a song was written ideally for vocal harmonies as remarkable as the Hollies, that choice was a really
 inspired one, Simon & Garfunkel's original is pure genius for harmonies, so in a way it was a brave move to even try emulating
  that. It could easily have fallen short of the mark but they produced a really astonishing version! Not just for staggering vocal
harmonies, the wonderful instrumental backing of acoustic and electric guitars has a Byrds like production and sound the melody
worked perfectly with.  The acoustic guitars and bells etc. began from that silent gap, the main vocal harmonies were directly
Nash and Clarke combining to a devastating effect, the mono sound quality here is simply breathtaking.  The electric guitar has
fantastic sound and as fussy as I am about the audio on this loved version, this is as perfect mono sound as I have yet to hear,
right until the final note of the sung ending, there is no surface sound as my needle glides smoothly into the run-out grooves.


After very carefully turning the record over, all the discussions about played or unplayed on this side end, all that matters is
Side 2 has near silent run-in grooves, you can't beat 60's Mint vinyl, now ultra cleanly into another Byrds style, 'jangling'
guitar intro from Tony, playing with fantastic audio clarity. Mint is a very tough condition for a 1966 LP but refusing to settle
for worn out records means I never suffer the horrific noise.  I mentioned earlier the Hollies name was derived from one of their
main inspirations,  Buddy Holly, "Take Your Time" is one of the lesser known Buddy Holly songs, a superb track very strong on
  melody.  Their incredible vocal combination's explore every possible part of the vocal harmony possibilities, Graham Nash was
in outstanding form on this album and he obviously loved this song.  The percussion has the Buddy Holly rhythm to perfection, the
great guitar sound is as stunning as the vocals, mono was custom made to hear this sublime production and performance from, the
the audio continues the stunning standards set on Side 1.  A silent first gap,  "Don't You Even Care" has a single guitar intro,
but unllike most originals this is untroubled by any sound irritants of course, Allan Clarke's superb lead vocals have wonderful
harmonised vocal backing, led mostly by Graham Nash, the further the track progresses, enthusiastic energy in the performance
lifts the track and the extraordinary level of the album's individual tracks never relents.   Twelve tracks on a album leaves scope
  to introduce many musical styles, the 1960's decade thrived on that, especially when you had a whole LP by artists who produced
such monumental singles, when they did likewise for an album, the touch paper was lit to attain something magical. Talking of
that, now for something really special!  The gap is completely silent before  "Fifi The Flea," purely folk, an original composition
played on just a single acoustic guitar while Graham Nash sings this beautiful melody solo, giving a foretaste of his work with
CSN & Young in 1969.  As the most exposed  track for surface or needle sound, this is in stunning audio perfection and only split
seconds of low level static during the softly played intro, give any indication this is indeed vinyl producing such superb sound.
I have written that for an unplayed first pressing, the rarity is massive and it really is absurd for this original 1966 record,
  let alone one pressed in 2015.  The entire rest of the track has ultra clear and clear sound quality, the superb analogue mono
  sound  is a joy to hear. Perfectly clear, but also really powerfully projected, this is the tale about a circus clown and I cannot
  stress enough how perfectly this plays or how incredible the vocals from Graham were, then the quieter folk theme carries over
into another of "Would You Believe's" stunning songs, "Stewball."  There's just a hint of country/folk music with the backing of
acoustic guitars, the lyrics concern a racehorse.  Most of all here, their vocal harmonies are just breathtaking, a superb melody
  would have still been very special if sung with only a single voice, but with the  closely knit harmonies and in particular from
Graham Nash, makes this just delightful to hear.  Needless to say, the sound quality is immaculate, mono this pure and true does
depend 100%  on the record's condition, you do need as close to mint vinyl as possible to fully appreciate just how amazing the
  original recording actually was.  It's also  fascinating to hear how much attention the Hollies paid to folk music now, the same
as the Beatles were searching for new melodic sounds, just prior to the massive explosion of  fully psychedelic productions on
singles and albums.  Please bear in mind this album pre-dated "Revolver" and the "Rubber Soul" LP was contemporary for the
writing, performing and production as far as influences were concerned, the Beatles influenced every artist on the planet!
"I've Got A Way Of My Own" now brings blues together with pure melody, the intro has a fantastic blues harmonica, continuing
an inspired instrumental backing track to the most amazing and glorious vocals.   Allan Clarke was just outstanding on the lead
vocals with ample vocal support from those glorious vocal harmonies. Yet another song with the emerging new Hollies sound,
  the lyrics are also outwards looking about people in search of something more substantial from life.  This backing also includes
acoustic guitars, not the expected electric blues guitars only and that combination works superbly for it, an acute sharpness to
the sound gives pin-point definition and detail to the individual instruments.  The LP's only hit single ends the side in real style,
  demonstrating the Hollies new found ability, a major Chip Taylor song with building dynamics, "I Can't Let Go", Taylor wrote
"Wild Thing", made famous by The Troggs in this same exciting year when music suddenly accelerated.   For the intro, a strident
electric guitar powers out in simply incredible volume as well as stunning clarity, then the masterful vocal harmonies deliver a
  wonderful melody.  I love the dramatic tension that guitar created on it's own, Graham Nash sings the remarkable harmony as
Nash and Clarke's voices weave patterns around each other's voices, during a memorable chorus. You could call this 'pop music'
of the very purest kind, the Hollies made that into such an art form, you can only look to the Beach Boys or the Beatles for such
fantastic vocal arrangements as they conjured up here.  "I Can't Let Go" is such a wonderful song and performance, heard in such
perfect mono, it only emphases once again what a stunning looking and sounding record this is!
{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.  Nearly thirty years ago 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 RESPONSIBILITY FOR A RECORD
WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
 

  We take 100% responsibility after an item has been posted and offer our fullest support in the event of any problems.
"There Are No Problems, Only Solutions" (John Lennon)
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.  A temporary reduction this week means we can
now post LP's for £5, but who knows how long before the Post Office return to £7?

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 13 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  £5.00
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!