Sold Date: March 12, 2016
Start Date: March 5, 2016
Final Price: £146.44 (GBP)
Bid Count: 9
Seller Feedback: 4156
Buyer Feedback: 38

This is being relisted because of a non paying buyer, nothing new on ebay and we accept a very small minority do not honour the
commitment to pay for purchases.   We waited.....and waited after the 15th February auction ending, because dealaying tacticts
were used, then the 'buyer' ignored ebay's 'Non Paying Bidder' warning deadline.  If any buyer changes their mind after an auction,
no problem at all, a simple email and we can respond and arrange a friendly end of the transaction, then offer the item to the next
highest buyer.  After three weeks have passed, that feels inappropriate and much better to just start all over again with the same
  opening bid,  under the circumstances I would like to warn other sellers and give the non payer's User ID;

justavinylman
 
This superb rare Beatles first pressing has never left my room and is exactly as described below, I am not changing one word and
this is the precise text, accompanied by the same set of revealing twelve pictures.  Incidentally, right from first buying the album,
  I removed the record, re-sleeved it inside a plain cardboard cover, due to constriction properties of shrink wrapping, I placed a
correct width cardboard square inside, to keep the cover's shape rigid and supported.  Shrink wrapped 1979 UK covers are rare
  enough and this is the extremely rare first ever domestic UK pressing of the "Hey Jude" album, the first and last fully laminated
  cover with a non export, UK catalogue number, 'PCS 7184.'
If the rain comes, they run and hide their heads,
They might as well be dead,
If the rain comes, if the rain comes.

When the sun shines they slip into the shade.
(When the sun shines down)
And drink their lemonade,
(When the sun shines, down)
When the sun shines, when the sun shines.

Rain, I don't mind,
Shine, the weather's fine.

I can show you that when it starts to rain,
(When the rain comes down)
Everything's the same,
(When the rain comes down)
I can show you, I can show you.
Rain, I don't mind,
Shine, the weather's fine.

Can you hear me, that when it rains and shines,
(When it rains and shines)
It's just a state of mind?
(When it rains and shines)
Can you hear me, can you hear me?
Rain, rain....
THE BEATLES: "Hey Jude" LP.   VERY RARE FIRST NON-EXPORT, UK DOMESTIC PRESSING, STILL IN EXTREMELY
RARE SHRINK WRAPPING, ISSUED MAY,1979.
If a Mint genuine domestic 'PCS 7184' "Hey Jude" album was not rare enough, the cover is in original ultra rare shrink wrapping.
The first I have ever seen or sold before now, amazingly precisely how this first appeared 37 years ago in a British record shop.
Exactly like the trio of UK 1970's Export only "Hey Jude" LP's, the very first pressing sold in British record shops had deluxe,
fully laminated covers with ultra slim spines. Everything connected to this rare first pressing was to 1960's quality, especially
for the sound quality.  1980's re-issues did not, making identification very simple but as ever, the machine stamping in EMI's
pressing plant also make this record and cover unique to May, 1979 only, so does the code dated original EMI inner sleeve and
Side's 1 & 2 were both No.9 and sourced from the first 'mothers' / pressing plates.


BLACK & SILVER PARLOPHONE LABEL: PCS 7184   (OC 062 - 06 864)

MAITRIX: YEX 981 - 1 / YEX 982 - 1.
  Side 1 contains a handwritten mastering logo, 'HTM' is underneath the maitrix and can be seen in the picture, EMI's legendary
vinyl mastering engineer, Harry Moss, was responsible for the sensational sound quality on the first domestic pressing.  I will
give full details about the previous export only pressings in the main description.

EMI STAMPING CODES:  T 1 / T 1
The maitrix and stamping codes  demonstrate a very first pressing, but only the one was made in 1979, both side's have '1' mother
digits at 9 o'clock in the run-out grooves.  That maitrix format was only found on 1960's & 1970's Parlophone and Apple Beatles
records.  The format ended in December,1979, the letters at 3 o'clock were no longer used as a code, from the New Year of 1980,
the actual digit/digits indexed the numerical order records were pressed in.   To illustrate that, both sides of this record have
the letter 'T', which represents No.9, single letters are rare and in 1980 '9' would have been stamped instead, only for around
20 months though and then all the indexing was moved to 6 o'clock in one long line.   So any "Hey Jude" record with a digit at
  at 3 o'clock will be pressed for 1980 & towards the end of 1981, then for 1982 onward, with all the indexing at 6 o'clock, then
beyond that, the thin matt cover with a bar code is best avoided!


ORIGINAL EMI, "Care of your record" INNER SLEEVE, WITH THE DATE OF THE MANUFACTURING FOUND ON THE
THE FRONT, BOTTOM MIDDLE:
'579' = MAY,1979
To include as much detail as possible for this seldom seen UK pressing, I have shown a complied picture of the inner sleeve
with a close of the date.  The shrink wrapping made it difficult to include the 1979 date's belong together anyway, the re-issue
covers were printed from this cover's template, they were not laminated, leading to ebay seller's misquoting the publication year.
Only the genuine 1979 cover's publication date is relevant;  

(P) 1979 EMI RECORDS LTD.

I love Mint unplayed records for many reasons, mostly because they by-pass decades of wear and abuse, leaving all original items
  exactly how they were first put together, in this case 37 years ago. Details tie together perfectly and historical events are not
subject to supposition and manipulation, but rock solid facts.
The inner sleeve was never used, without any splits or tears, mild natural ageing to the top edges only and a record impression
with a few related light creases/paper ripples.
THE INNER SLEEVE IS IN UNUSED, EXCELLENT+++ / NEAR MINT CONDITION


RARE 1979, VERY FIRST EVER ISSUE 'PCS 7184' ISSUE, FULLY LAMINATED FRONT & BACK COVER, AS MENTIONED
'1979' IS PRINTED ON THE BACK BOTTOM  RIGHT CORNER....ACTUALLY IN 1979, UNLIKE THE LATER RE-ISSUES!
© 1979 EMI Records Ltd.
AS I SAID BEFORE, SHRINK WRAPPED COVERS ARE VERY RARE, ESPECIALLY IF STILL UNREMOVED FOR 37 YEARS.
UNCREDITED, THIS IS A RARE UK 'Garrod & Lofthouse' PRINTED VERY FIRST 'PCS 7184' "Hey Jude" COVER,
FULLY LAMINATED ON THE FRONT AND BACK.  
Shrink wrapped, unused and stored inside a plastic outer sleeve for the last 37 years, the shrink wrapping is still complete and
has not contracted to distort the cover and turn corners etc.  A couple of parted sections on the back served to release tension
and a blessing in disguise because the shrink wrapping... shrinks, while standing in storage all those decades you can how well
this was cared for.  Nearly 40 years is a mighty long time for shrink wrapping, but this is perfectly clear and unaged, you can
see straight through it, the reflective quality of clean clear shrink wrapping, increased the still like brand new laminate's own
  ultra glossy surface, to make photography very difficult.  The laminate was never sealed but machine machine crimped just before
the opening sides,to show a fraction of uncovered lamination, I took a close up picture of the front top right corner. That gave
a view of the shrink shrink's crimped finishing position on that corner, then if you move towards the opening side, you can see
where the lamination ended. The unlaminated strip was like any 60's cover, only this a wider than usual unlaminated edge, with
several plays and handling, that unprotected edge wears and often frays, this cover was lovingly stored, there is no wear or any
rubbing on the exposed printed front or back opening sides.

The cover has a very similar design to the "Let It Be" cover, a black background that forms a border to the central colour photo
  of the Beatles in front of John Lennon's home front door in 1969, the back is naturally enough a photo taken in the back garden.
  The front and back colour photo's feature two exclusive wonderful photo from the very last Beatles photo session, the colours
  are vividly deep toned, totally unfaded under the totally undulled, deluxe, ultra glossy laminate coating.  The very heavy record
  means a circular impression is unavoidable, this cover had an extra bonus of the shrink wrapping, all four corners are in perfect
  condition.  The spine was so thin it was amazing they managed to print the titles on, this spine is totally unworn with perfectly
clear tiny, titles & catalogue number, the full protection of the thick glossy lamination, shrink wrapping and non usage of the
record account for that.   Even without the shrink wrapping, the benefits of a laminated cover on the front, spine and back
certainly makes the appearance a really deluxe affair, this first ever domestic Parlophone label "Hey Jude," had to be the last
ever cover with 'true' lamination, as found on the 1960's Beatles covers.
 
  To sum up, a beautiful looking very rare first "Hey Jude" fully laminated cover, a record shop appearance of when brand new,
  I never grade shrink wrapped covers, this only has one or two tiny snags and the described stress relieving parting, I doubt very
much if another of the authentic very first domestic pressings exists with shrink wrapping.  Usually I never give such specific
details for a shrink wrapped cover because they are in the ultimate condition, but this particular "Hey Jude" cover is much rarer
than the previous Apple label export only covers and records!
 

THE IMMACULATE LABELS CAN BE VIEWED AS INDIVIDUAL PICTURES, WITH ONLY ONE SPINDLE ALIGNMENT TRACE.
WITH THE DEEPLY GLOSSY VINYL LOOKING LIKE BRAND NEW, THIS HAS ONLY BEEN PLAYED ONCE AND NO MORE
THAN A RECORD SHOP WOULD. ANY PRESSING PLANT OR RECORD SHOP HANDLING IS NEAR INVISIBLE TO INVISIBLE.
  I have been unable to locate one of these very rare, first UK domestic pressings for at least five years now, I think one of my
  undetectable plays and a track by track description, is justified by that long wait for a Mint 1979 record.
  THE RECORD IS IN MINT CONDITION.
SIDE 1
"Can't Buy Me Love"
  "I Should Have Known Better"
"Paperback Writer"
"Rain"
"Lady Madonna"
"Revolution"

SIDE 2
"Hey Jude"
"Old Brown Shoe"
"Don't Let Me Down"
"Ballad Of John And Yoko"
The history of the UK pressings of the "Hey Jude" LP is complex and very involved, here is as brief as possible how it eventually
  went from being an export only pressing, into finally going on sale in domestic UK record shops. "Let It Be" may have been the
last UK Beatles album issued in May,1970, but there was still one other LP pressed by EMI while the Beatles were still together,
"Hey Jude".  On the 26th February,1970, Capitol Records first issued "Hey Jude" in America, which was two months before the
year long delayed  "Let It Be" album.  In 1970, the UK pressings of "Hey Jude" were not released in Britain, most likely to avoid
taking any of the sales away from "Let It Be," and not forgetting Paul McCartney also issued his first solo LP at this same time.
"Hey Jude" was only made as an export album and it was not given a release here until right at the end of that decade, in 1979.
  The ultra rare first UK export pressing was on the silver and black Parlophone label, not the Apple label that had been used for
  their domestic albums since "The White Album," the only exception was the "Yellow Submarine" LP, but the film really began in
  1967.  EMI used the yellow & black Parlophone as an outlet for the export albums from 1968 and from the late summer of 1969,
  the silver & black label that replaced it.   In that period "Hey Jude" was exported on a one' boxed' EMI logo label, it was given
  the export catalogue number of, 'CPCS 106'.  There were two further export Apple pressings of "Hey Jude", the first was in 1970
  on the darker green Apple label and for the final time in 1973, now a lighter green Apple half of the label.  All three pressings
  were never made available in UK record shops, in 1970 I clearly remember having to head into London to buy my first "Hey Jude"
  as an LP, imported back into the UK!


  The first UK Parlophone domestic pressing came in May, 1979, the cover was identical to the 1970 export album, with the same
  superb artwork on the front and back.  Two different stunning photo's taken at the very last Beatles photo session in 1969, the
  catalogue number became, 'PCS 7184' and there were obviously two 'boxed' EMI logo's on the labels by 1979. Unbelievably the
  UK record buying public chose to totally ignore such a major Beatles album being issued for the first time here and it completely
  failed to sell. Not even entering the UK chart defied all logic because only a hardcore went to the trouble of locating an export
  copy, collecting the more obscure, rare Beatles & solo records required real dedication then, first it was record fairs and then
  the internet that gave a far easier access to them.  Only months later in 1980, EMI made a second attempt to release the album
  and continued doing so into the bar coded eras of the 1980's and 1990's.  By 1980, there had been a decrease in quality, well,
  to be accurate, by the late 1970's a front laminated cover was a major rarity, thickly laminated on both sides in 1979 was like a
  step back in time. By the 80's re-issues "Hey Jude's" once glorious cover and top quality vinyl was progressively deteriorating in
  all round quality, the vinyl alarmingly shrunk into wafer thin and there was by now a cheaper version, a matt cover that was as
  pathetically thin and the printing was grainy and poor.  In stark contrast to these fully laminated, 1979 covers with the pictures
  in top photographic quality, the 1980 cover was at least given a protective sheen coating or a plasticised surface, but the third
  issued covers were matt and made from a poor grade cardboard.  By then EMI were just not prepared to spend any money on the
  quality of an album that had been all but ignored in the country the Beatles originated from.  Something I found beyond belief,
  because the "Hey Jude" LP features every single track as an essential Beatles recording, all three of those export pressings are
  identical for sound because EMI's policy in the 1970's, was only to master and press directly from Abbey Road's Master Tapes,
  without re-mixing one note!  So these are indeed the original UK 1960's true stereo mixes as prepared by George Martin, those
  tracks are just stunning!  "Hey Jude" contains some of the ultimate Beatles recordings, after all, the whole point of the album in
  1970 was the inclusion of the very first UK stereo mixes issued of their previously mono only single's B-sides.  "Hey Jude" has
  one of my all time favourite B-sides, "Rain" is also among my most loved Beatles tracks, "Rain" in the psychedelic 60's sensory
  true stereo mix is yet another reason I consider the album to be such an essential part of my Beatles records.  They are not just
  empty words, over the years I picked up all of the variations and I still love settling down with "Hey Jude" to listen because of
  how superbly the songs flow together.  The tracks that were appearing in a stereo mix for the very first time, were created by
  George Martin at the same time as the UK single's mono mixes, but they were left left unissued until "Hey Jude" was compiled,
  for example not just B-sides,"Lady Madonna."   That made it even  more unbelievable for "Hey Jude" to become the worst selling
  UK Beatles album of all time in May,1979.  Harry Moss had a relatively easy job during 1979 because he only had to monitor the
Master Tape transfer, from memory, he had been mastering Beatles albums since 1965 and I believe "Rubber Soul" was the first.

 
I will make sure not to leave any traces of being played, I have a lifetime of experience with records,the description will be
  slightly restricted by the one play through.
 

  Side 1 starts from as close to silent run-in grooves as you could wish to find, which is true for all the 1970's "Hey Jude" LP's,
  provided there are no wear factors, 37 years of potential damage to the music signals was eliminated by being unplayed. Those
  near silent run-in grooves mean the true stereo "Can't Buy Me Love" begins from an immaculately clean intro and now continues
to play with astonishing power, a feature of every track regardless of different years, this 1964 recording or those from 1969,
the sound has  Abbey Road's master tape's overpowering impact.  The amazing 1960's true stereo contains the very sound of those
precious master tapes, the total channel separation of true stereo.  A spacious, wide, dynamic stereo mix can be fully enjoyed in
absolutely stunning audio perfection, I cannot even tell a 1964 track is coming from a record because it has such a crystal clear
sound reproduction.  EMI faithfully mastered George Martin's stereo mixes because it was naturally done back in 1973, it's a real
tragedy how things have now changed for the worse. When the album was compiled in 1969 the Beatles were still together and an
  EMI sound technician would not have dared to tamper with their music!  Since the 1990's, the sheer arrogance of taking works of
art and altering perfect sound to be in-line with digital CD's, as a result the very feel of the Beatles music has recently reached
  tragic proportions. I was actually shocked when I heard the Beatles CD's album versions, I don't believe that would have possibly
  happened if John Lennon was still with us in the 1980's decade, he was much too hot about the sound quality of the music to have
  ever allowed that or those latest re-masters.  John was trying to bring back mono in the early 1970's!  Thanks to original vinyl
  we do at least have the music's actual analogue sound preserved exactly as it was recorded and mixed, why change perfection
  anyway, if it does not need fixing.....?   The sublime folk melody of "I Should Have Known Better" starts from near enough silent
  linking grooves, into the sounds of Lennon's wonderful harmonica intro, the fantastic audio clarity is staggering, the powerful
  mastering is astonishingly loud.  John's lead vocals were double tracked, so his two separate vocals are equally split between
  the left and right channels.  Creating an amazing effect, projected with quite an impact from the right speaker, just one of his
  individual vocals with the harmonica & George's electric lead guitar, John's acoustic rhythm guitar, Paul's bass & Ringo's drums
  are entirely from  the left channel. Which is precisely George Martin's original UK stereo mix and the devastating effect of that
  in such perfect audio is a real pleasure to hear!  "Hey Jude" is the most stunning sounding Beatles album of them all, the whole
  track does not have even a split second of any surface sound, crackles/noise were never there when the record was made, wear
caused them and all these years later you can hear how perfect that actually was.   I can only highly praise such an immaculately
  mastered and pressed record but I had better cut back on the amount of text, this is only the second track!  One of the two 1966
  tracks appearing in their original Abbey Road Master Tape stereo mixes, "Paperback Writer" begins from another silent gap, the
  following two songs are from the Beatles' most overtly psychedelic era, in just stunning master tape sound quality!   Paul's bass
  guitar is massively loud and it really does power out, exactly how it should, the volume setting is the same on the vocals, drums
  track, for such powerful sounding music, the audio clarity is superbly clear without any of the distortion common to the worn out
"Hey Jude"records.  Not here, there is not even a suggestion of any surface sound, that is certainly not an issue from 'as new,'
unworn grooves. The vari-speed used in 1966 is completely unaltered, so this was definitely a straight transfer from the original
1966 master tapes in Abbey Road, no problem getting that onto the mega heavyweight 1969 vinyl   The psychedelic vocals are
  crystal clear, the stereo mix delivers colossal impact here, it doesn't get any better than this, stunning! Next, the main reason
  "Hey Jude" was the export LP I urgently had to find in 1970, because it included "Rain", just about my most loved Beatles track
  was available in stereo for the very first time!  "Rain" begins from a silent gap, the sound is over poweringly loud, Paul's bass
  guitar is threatening loose objects in my room!  That 1966 "Revolver" era's vari-speed technique, was used to affect the song's
  running speed and this was left exactly how George  Martin finished it in 1966, giving John Lennon's voice that slowed down and
  dream like quality, the very essence of the psychedelic feel and sound. The senses tingling true stereo mix reflects how this was
  originally recorded, individual elements of the separate tracks are heard coming at you from both directions, the effect is just
  awesome, the sound from this record record is sheer perfection, an immaculate pressing.  This might be 37 year old vinyl, but it
  blows away any digital attempt to re-master this Lennon masterpiece, the sharpness to the sound is beyond compare and Ringo's
  excellent drumming is so effective when heard in original stereo, above all the vocals really have the most impact of all. Fading
  out into silent grooves, next is yet another ultra powerful playing track, the great "Lady Madonna," with the UK stereo mix an
  incredible way of hearing this outstanding pre "White Album", 1968 track.   Paul's vocals are panned from the right in with his
tremendous bass guitar, the brass is panned from both channels, the dominating piano and main part of the drums are positioned
  in the left speaker. The brilliant backing harmony vocals are superbly clear, allowing you to hear how they actually recorded the
song, a mono single only until 1969, but everything was recorded in stereo, then mono was a mix down/reduction from the stereo
tape.  The track running order could not have been selected better, the explosive, emphatic electric guitar intro for "Revolution"
errupts loudly, in absolutely stunning audio perfection. A third version of "Revolution" from the same 1968, an electrifying very
heavy rock performance, only issued on the B-side of the "Hey Jude" single and had never previously appeared on an album before.
The best way I could illustrate the first staggering true stereo mix to someone without the original single, this sounds true to the
original UK stereo mix of the 1968 "White Album". I apologise for the repetition while describing the record's sound, the massive
  power of this track is amazing, hitting you like a sledge hammer while still maintaining perfect clarity and definition. Like the
45 RPM mix, this stereo panning also adds to the impact and the rather loud electric guitars from George and John, play from the
  opposite speakers for the maximum effect and impact. Paul's bass guitar is just as loud, the vocals are in simply awesome sound
quality, you cannot beat a Mint- record to really appreciate these finest ever Beatle recordings from.  In fact, who needs CD's
when vinyl performs so amazingly, there has literally not been a split second of surface sound on the entire first side, I fully
  expect, the same wonderful flawless listening pleasure is waiting to be enjoyed on Side 2.  "Hey Jude" has the toughest intro
for irritating noise I have ever dealt with for Beatles original vinyl, but I know these 1979 pressings well enough not to worry,
I have this pressing in my own Beatles collection and can't wait to hear the second side.


Side 2 could not have a better opening than the LP's title track, the wonderful "Hey Jude", as the side opener I should in theory
be writing,"Cue the crackles, clicks and generally  annoying noise".  The run-in grooves are again as close to silent as it gets,
allowing that extremely sensitive to noise, exposed intro to be heard without the usual excessively loud crackles etc.  Any faint
static does not register with me, even even with my volume at wall shaking, that very quiet piano and voice intro is supremely
clear and clean, this really is the most glorious analogue sound imaginable!  The audio clarity for this epic song is staggering!
  It's not possible for me but it's like hearing "Hey Jude" for the first time, such is the cutting edge and sharpness of the sound
  quality.  Paul's superb vocals sound amazing, as the long fade-out gathers a full momentum he gives his all time greatest ever
vocally ad-libbed finishes.  I'm once again marvelling at how this album lives up to it's namesake in the title, the track itself
just had to be in the ultimate, pristine sound from EMI's Harry Moss perfectly transferred Master Tape, originally made only one
  year after the Beatles performed in such a spectacular fashion.  The greatest pointer for the audio's acute sharpness, comes
from the outstanding sound of Ringo's very important drumming. I can't believe I am able to write this, here is the single's full
length, very gradually and slowly faded ending down to a near silence, but even here there is still no surface sound irritations.
Next to have a perfectly clean intro, is George Harrison's brilliant "Old Brown Shoe," this was relegated onto the B-side of the
1969, "Ballad Of John And Yoko" single, a really great song, but still an overlooked gem that features all of the Beatles playing
at their very best.  Paul's bass on these selected tracks place him as the UK's, if not the world's most gifted bass guitarist of
all time, what a pleasure to hear every track with the original 1960's high volume levels, left exactly as recorded, extremely
loudly!  Paul's bass during "Old Brown Shoe" figures among his greatest performances, still in 1969, from yet another silent gap,
"Don't Let Me Down", one of John Lennon's finest and most moving love songs, not necessarily softly sung, but very passionately
and intensively.  This emerged from the near chaos of the "Get Back" or "Let It Be" recording sessions, although they were seen
performing this live on the rooftop during the film, it was not included on the "Let It Be" album, only as the B-side of the 1969
"Get Back" single, releasing this in 1969 on "Hey Jude" made perfect sense.  John sings the lyrics with that impassioned voice
we first heard on the "Please Please Me" album on the slow r&b tracks like "Anna" and "Baby It's You."  Such a great live feel,
listen for him calling out the chord changes during a chorus, that becomes drowned out on the worn out copies, but clearly heard
from this amazing record.  On an unofficial source, a delightful moment is when John sings with just an acoustic guitar for the
first time to George Harrison, it was the morning immediately after it was written the night before.  From that, many rehearsals
with the Beatles and then they took it onto the rooftop of the Apple building for this live performance, then from the "Get back"
single, it was mastered to 33.3rd to arrive at this stunning playing version.  The Lennon connection continues, moving as smooth
as silk through the final gap into "The Ballad Of John And Yoko," coming over very loud and perfectly clear, an underestimated
song due the the diary style contents in the lyrics. A wonderful slice of history from 1969 within the lyrics, should not detract
from their superb performances and a superb melody.   Or hearing it from this album, where the bass guitar was left at the same
huge volume level as the original UK single's mix.  This is the truest 'Lennon and McCartney' record of them all, Paul had filled
  in as the drummer and John played the lead guitar because the other two were away and John Lennon could not wait to get the
song recorded, pressed and into record shops.  Ringo was away filming and George was on holiday, often the musicianship of the
individual Beatles is underestimated, but this demonstrated how just the two effortlessly created 'the sound', even including the
magical chords as an outro that were a throw-back to the Cavern.

A thoroughly enjoyable, highly recommended Beatles album, with every track heard in absolutely stunning sound quality, no wonder
I couldn't resist hearing a Mint, first generation pressing from Abbey Road's Master Tapes.
  {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!