Sold Date: March 1, 2016
Start Date: February 23, 2016
Final Price: £52.00 (GBP)
Bid Count: 2
Seller Feedback: 4149
Buyer Feedback: 69

Try to see it my way,
Do I have to keep on talking till I can't go on?
While you see it your way,
Run the risk of knowing that our love may soon be gone,
We can work it out,
We can work it out.

Think of what you're saying,
You can get it wrong and still you think that it's alright,
Think of what I'm saying,
We can work it out and get it straight, or say good night,
We can work it out,
We can work it out.

Life is very short, and there's no time
For fussing and fighting my friend,
I have always thought that it's a crime,
So I will ask you once again.

Try to see it my way,
Only time will tell if I am right or I am wrong,
While you see it your way,
There's a chance that we may fall apart before too long,
We can work it out,
We can work it out.

Life is very short, and there's no time
For fussing and fighting, my friend,
I have always thought that it's a crime,
So I will ask you once again.

Try to see it my way,
Only time will tell if I am right or I am wrong,
While you see it your way,
There's a chance that we may fall apart before too long,
We can work it out,
We can work it out.
 
THE BEATLES:"Day Tripper" / "We Can Work It Out" 45 RPM, IN MONO.
ORIGINAL UK PRESSING, 3rd DECEMBER, 1965, ISSUED AS A DOUBLE A-SIDE SINGLE.

PARLOPHONE LABEL: R 5389
 
MAITRIX: 7XCE 18341 - 4  / 7XCE 18342 - 1  

EMI STAMPING CODES: RPL 1 (0)  / RHH  ? (unclearly stamped, possibly '3')


THE TEXTURED LABELS HAVE:
"Sold In UK" TEXT,
"KT" EMBOSSED ON THE CENTRE OF THE "Day Tripper" SIDE.
"Gramophone Co. Ltd." ON THE RIMS AT 8 O'CLOCK.


ORIGINAL LATE 1965 PARLOPHONE SLEEVE, THE BACK HAS THE VERY FIRST EPISODE OF "Fran The Fan."
A strip cartoon story about two girls who start a fan club for a group, 'The Frantics', every episode finds a reason for the vital
role a Morphy-Richards hairdryer plays in the life of Fran and Kate.  A 1960's advert that captured the mid-60's, Beatles era
  perfectly and as iconic as it gets for a record sleeve with a Beatles new single inside.  With the convenience of their hair dry,
they have time to write to  The Frantics offering to run a fan club on their behalf.  You had to wait with baited breath for the
next episode to find out if the Frantics wrote back to Fran and agreed.
UNAGED, UNSPLIT AND UNTORN WITH ONLY A RECORD IMPRESSION AND RELATED MODERATE CREASES OR
PAPER RIPPLES.  IN OTHER WORDS, 100% AUTHENTIC AND NOT FAKE / REPRO SLEEVES, PRINTED IN 2016!
    The untorn & unsplit Parlophone sleeve is correct sleeve for "Day Tripper" and the one it left the pressing plant in 46 years ago,
a reasonably mild impression from the heavyweight record with a few related gentle creases.  With mild ageing and moderate
  fading to the green colour on the bottom edge, as mentioned in my headings, this is authentic and a genuine Beatles artifact,
which is more than can be said for the fake sleeve currently flooding onto ebay.
THE TEXTURED SLEEVE IS IN NEAR MINT CONDITION.


THE RECORD WAS ONLY PLAYED TWICE WITH THE GREATEST CARE, LEAVING NO MARKS AT ALL, THAT WAS
NO MORE THAN A 1960's SHOP WOULD PLAY A RECORD, THEN SELL IT AS BRAND NEW, IN MINT CONDITION.


This stunning pair of tracks were recorded during the late 1965, "Rubber Soul" album's recording sessions, making the perfect
representation of the Lennon and McCartney composing genius.  Basically they wrote songs separately and then got together to
finalise the lyrics, the arrangements and  work on musical sections like the middle eight or instrumental segments between the
main verses.  I will give full pressing info shortly, either side of the record has songs written individually by John & Paul, the
inspiration behind "We Can Work It Out" came from Paul's relationship with the actress most thought at the time he would end up
  marrying, Jane Asher.  Just as the recording sessions began in October,1965, Jane Asher joined the 'Bristol Old Vic Company' in
Bristol, located in the west of England, that involved her up-rooting from London and moving a long way from Paul.  Most women
would have delighted to stay close to Paul, who was very upset about her taking off and losing a day to day contact, it was much
  too early for liberated feminism, but Jane Asher was highly intelligent and stubbornly independent enough to follow her career.
Paul's writing produced a very uplifting and positive message, "We can work it out," and John picked up on that theme when the
Beatles started to breath life into the freshly written but still incomplete song.  John came up with these lyrics before the chorus,
"Life is very short, there's no time for fussing and fighting my friend," and while working in Abbey Road studios they thought of a
  great idea, having a harmonium on the backing track.  George also had an input to the instrumental backing, a waltz tempo during
the middle eight was his idea, all the rest was created by their naturally arrived at vocal harmonies, but the beautiful melody was
  a direct result of Paul's attempt at finding a way for their relationship to cope with the enforced separation.

Their new sounds in 1965 were now down to marijuana and acid, they  were very much an influence on "Rubber Soul", if not quite
  the radical psychedelic productions that immediately followed the album and this single. If anything there was a more melodic and
  acoustic feel to the music with a sitar being integrated for the very first time, but of far great significance for rock music, Paul's
'fuzzed' bass guitar was a major innovation.  Stoned jokes like singing,'tit-tit-tit' on "Girl" were also the signs of the Beatles about
  to drop previous conventions and change the whole face of popular music.  The other track on this single was the heaviest track to
date the Beatles had recorded, the emphatic guitar riff contained the psychedelic sounds about to explode between 1966 and 1967.
"Day Tripper" was a direct reference in John's writing to drugs, this was specifically referring to their first experience with LSD in
the summer of '65, the song title was a very typical Lennon word play and the other lyrics conveyed overt sexual references that
somehow avoided the media's attention.  Well, they just couldn't accept it yet that the 'Fab Four' had outgrown their nice and cosy
image and radios were playing a song about drugs and sex, the very essence of rock & roll!  John Lennon said rather wryly at the
time, "It's just a rock & roll song."  The Beatles took the opportunity to record a hard edged rock number that pointed their way
  to a heavier direction, that was taken to it's absolute limits in 1968 with "Helter Skelter."

  I have sold the earlier August, 1965 "Help!" single on ebay as a a Beatles rarity, one side's label rim text as "Gramophone Co. Ltd."
and the other 'Parlophone', plus a totally different text lay out and font that accompanied the introduction of "Gramophone" text.
Being released four months before this "Day Tripper"/"We Can Work It Out" single, that conclusively proved that both rim texts
co-existed, so there was not a time delay even for the August '65 "Help" single. I said all along it was mistake thinking in terms
of a 'second pressing', with that proven I could skip the details here, I must still assert the correct status of this single and
not dwell on the previous Beatles single, however, there is great  importance attached  to the "Help!" single and the "Help!" LP.

As I am sure it will be commonly enough known, in 1965, EMI/Parlophone changed the label's text on the rim from the earlier 60's
  'Parlophone Co. Ltd.' into 'Gramophone Co. Ltd', which was same text EMI used for their 'HMV' label in the early part of the decade.
  That would remain in place for the next eight years before evolving one stage further in March, 1973, when 'EMI' took that pride of
place. This all started in August ,1965, although that was the month only the albums had a changed rim text, meanwhile the singles
  continued with 'Parlophone' right up to the end of the year.  A classic example affected the Beatles' "Help!" LP and "Help!" single,
the album was released simultaneously with the single in August '65, yet the LP had the new 'Gramophone' text but singles still
had 'Parlophone.' Of course EMI were aware of the longevity of all Beatles' singles duration in the charts and they pressed them
accordingly, this must all sound complicated to anyone new to UK Beatles originals. So please remember EMI were dealing with a
phenomenon of million+ selling records, by a group who were releasing two LP's, at least three EP's and three singles in one year,
  by 1965 EMI had two years of learning to cope with it all. Advance pressings and a planned out continuous cycle while those items
remained in the charts, meant any printing design changes had to be meticulously mapped out to seamlessly incorperate into their
  production.  At times they simply could not cope and looked to other UK record companies to contract press the records and in 1966
they even used French pressing plants.  The printing of the 1965 newly designed labels had to be made well in advance to keep the
continuous supply of records to record shops, where the demand over the counter was unrelenting.  For this latest Beatles single,
released in December just before Christmas, a full scale operation swung into action, it was just not permitted for record shops
  to 'run dry' the wrong side of Christmas and certainly not during the New Year. That involved EMI having all the labels printed
well in advance to cope with such massive distribution nationwide to the UK, the re-designing was not just about changes in the
Parlophonetext to 'Gramophone' on the rims, the label's complete font printing style was also being overhauled and changed at
the same time.  It was even bigger than the previous year's introduction of the "Sold In UK" text because now there would be a
completely differentlook to the silver printing on all Beatles EP's, LP's as well as their singles.
    
So the initial pressings of "Day Tripper" had 'Parlophone' rims and as those pressings continued, in came 'Gramophone' labels,
totally unlike how this has been incorrectly presented in text books. The process did not have a discernible break in the record
production, as the strictly sequenced maitrix's very clearly demonstrate.  Sure, under the normal circumstances pressing's with
  'Gramophone' labels were all made at the same time and that is a really easy thing to verify.  Apart from "Help!",  the single and
album,  Beatles singles had '- 1 / - 1' maitrix endings, often with the letter 'N' following digits and the vast majority of the
earliest 'Gramophone' pressings of "Day Tripper" were incorrectly given '4' or that was mistakenly stamped below the intended
'1', usually at a very awkward angle and certainly not in line with  '1'.  The '4' digit became an accepted end digit by default,
there are even copies of "Day Tripper" that had those two different label rims on either side of the same record.  Positively
giving the definitive proof again, both label types co-existed simultaneously, certainly while all the records made were being
pressed before the 3rd December release date. This record has 'Gramophone' on both sides of the record so I have used the correct
terminology by naming this as an 'original' to avoid complications, I peronally regard this as a first pressing.  The rare "Help!"
single I sold last week, more than justified saying that because of the earlier time period involved, but no doubt many prefer to
accept text books and websites, I can only continue to stick to sold facts and the truth.
 
Both labels are in pristine, condition,  ultra faint spindle use traces are showing this was only played twice, sensationally low
  for a mid-60's Beatles single.  You cannot find more textured matt Parlophone labels than this, it was all but impossible to play
on mid-60's mono record players and not make contact with a spindle, let alone a projecting sprung loaded clip designed to hold
and release stacked records, or they would have dropped straight down.  Two plays is accurate and simple to read, after all I did
grow up with mono record players in the 60's, I still have and use two mono only 60's record players.  I can now pass any record
over the sprung clip without contact with the centre of the labels, to do that requires such perfect timing and a synchronisation
we simply did not dream about developing or using in December,1965!  

Both sides of the record are gleaming with the special deeply glossy sheen of mint vinyl,without needle marks,only near invisible
ultra fine handling traces that can be found on just about any decade's brand new vinyl.  Quite honestly exactly as present on a
sealed record or CD, of course a Beatles record was handled at various stages in the 60's alone, record plants, record shops and
first owners slipped a record out of the sleeve, no, paper sleeves did not leave traces of that, fingers did!   I can't believe how
sellers insist 'the paper marks vinyl,' what is wrong with just telling the truth?  Surely the most important part is what happens
today when buyers lower a stylus to hear the music, the brightest lights in in the world will not change a thing if music signals
  have been damaged by a blunt 60's needle, are now being fed into your amps and speakers.  For such an exceptionally beautiful
  looking record in once played Mint- condition, however many intrigues are there in label texts and machine stamping's, ultimately
  this was the latest Beatles pair of recordings and from the wonderful "Rubber Soul" era.  This was when the sound textures were
   reaching and searching for the next stage, sound reproduction becomes imperative, this record has stunningly crystal clear, very
  powerful mono sound.  Still precisely as it was recorded, mixed and mastered at Abbey Road Studios and pressed in EMI's plant at
  Hayes, Middlesex before the Christmas of '65.  I am not attempting to be a 'salesman', Beatles records are above and beyond that,
   I fell in love with these magical singles in the 1960's and giving a brilliant track a whole side of a record, is exactly what the true
   great recordings deserve.  Fitting 12 hours of music into an Ipod has it's place in the 21st century, but I am only trying to explain
  the joys of one wonderful song per side and what is waiting to be discovered from that simple formula.  From fantastic harmonics
  on one side, you turn it over for the onset of rock music becoming psychedelia on the other side, the heaviest Beatles recording
to date and the next stopping off point of their amazing musical journey, would be "Revolver."  Last Saturday  I was priviliged
to play and describe a very first Stereo pressing, my comments here were exactly the same about the stunning sound quality on
  every second and "Revolver" includes several slow, acoustic based tracks wide open to noise inflicted by wear and abuse.


The run-in grooves to "We Can Work It Out" are near silent, light natural static only and that's great news for the superb intro,
which is a combination of gently played instruments, with Paul's initial lead vocals.  All immaculately clean and clear, there are
no crackles or clicks, so this 51 year old Beatles masterpiece has a fantastic beginning and then continuing to play all the way
  through without any surface sound, is really outstanding.  I spend as long as it takes me on all matters relating to the record's
pressing and the label's printing, they are important but once the 'nuts and bolts' are established, when it comes to the Beatles
music, the real rarity for me is hearing this beautiful melody in the most staggeringly perfect sound quality.  Mono 45's have
  developed a reputation they do not deserve, originated by ebay sellers who are covering up for worn out, abused records that
undoubtably make up the overwhelming majority.  They never were crackling, distorting, sub-standard objects, but for artists
who were perfectionists in sound like the Beatles and also George Martin was, from an audio perspective they were a stunning
  representation of their best songs and performances.   A single had to be something very special musically, so like my albums,
my singles are carefully selected, not on the basis of rare labels but because they blow you away by the music in the grooves.
Yes of course I appreciate Beatles rarities, I collect and sell them but a 'rarity' includes being in this astounding condition, as
I just commented, both sides were written during the great "Rubber Soul" LP's recording sessions and since 1963, they made
unbelievable progressions  only two years later in 1965.  Their ability to create melodies was taken to incredible lengths and
the sound of those fantastic vocals is absolute perfection.  This song features one of the purest merging together of Paul's and
John's voices, the harmonies they produced was so natural yet still unique enough to still have a folk music feel. The harmonium
is in superbly clean audio, even the tambourine's bells ring out loud and true.  Paul's bass guitar on the original UK 45 mono mix
is powerfully prominent, that is when worn out grooves degenerate to distortion,n here the bass notes just boom out in crystal
clear sound, exactly as mixed and mastered by George Martin.  Original records are so essential to hear how the producer and
the artists wanted the music to actually sound, it does take a record in this awesome Mint- condition, to still contain the truest
magic of this "We Can Work It Out," a Beatles recording only ever intended to be heard in mono..... from a single.

  Once again there are the same near silent run-in grooves to "Day Tripper", the brilliant really heavy guitar and bass intro is
stunningly clear of the normal volcanic like crackles. I often write 'low level static', stating the obvious about fast spinning
  discs in contact with a needle is unnecessary, but I never avoid the fact a record is....a record.  This was really late in 1965,
the Beatles were almost into psychedelia and a much heavier sound, that intro has an amazingly heavy sound from all of their
instruments and the guitars sound incredible.  Paul's bass guitar just blasts out of the speakers, George and John's respective
lead and rhythm guitars are playing that driving riff and it sounds magnificent, the sheer clarity of it all is why I try so hard to
find as perfect playing Beatles records as physically possible. I get to hear these loved tracks at their absolute maximum, I do
have my own complete set in this ultimate condition so it matters even more to offer equally stunning Beatles playing records.
  John Lennon who wrote this, features prominently in creating new heavier guitar sounds and the superb riff is played in perfect
synch with George and also Paul's bass.  John sings the lead vocals, this was the era when Paul and John sang some of the finest
  ever harmonies and considering how they arrived at the "Rubber Soul" recording sessions without one song written, it was their
  songwriting genius and inspired performances that created a masterpiece like this.  Their vocal harmonies were necessarily just
  for love songs or ballads, psychedelia thrived on them as well so it included transferring that onto a rock track like this, Ringo's
drums also have that heavier sound and "Day Tripper" simply has to be heard from a mono first pressing. The build up just after
George's solo features ascending vocally harmonised "ah's" with their instruments also climbing as they head to a brilliant final
verse.  Both sides of the single would have graced "Rubber Soul" but as two of their greatest songs and performances so far, they
deserved the status of being the only tracks on a record, granted by the single format alone offering such a setting.  "Day Tripper"
was the greatest mid-60's Beatles rock songs and as soon as they discoveried vari-speed and backward guitars etc. this was the
very music those innovative, ground breaking psychedelic effects would be crafted onto.
{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!