Sold Date: May 20, 2016
Start Date: May 13, 2016
Final Price: £131.00 (GBP)
Bid Count: 9
Seller Feedback: 4204
Buyer Feedback: 23

"My SUNDAY FEELING" (Ian Anderson, 1968)

My Sunday feeling's,
Coming on, over me.
My Sunday feeling's,
Coming on, over me.
Now I bet the night is over,
Gotta clear my head, so I can see.

'Till I get it put together,
That old feeling won't let me be.

Won't somebody tell me,
Where I laid my head last night?
Won't somebody tell me,
Where I laid my head last night?
I really don't remember,
But give me one more cigarette, and I think I might.

'Till I get it put together,
That old feeling can't yet arrive.

Need some assistance,
Have you listened to what I said ?
Need some assistance,
Have you listened to what I said?
Oh, I don't feel so good,
Need someone to help me to my bed.

'Till I get it put together,
That old feeling is in my head.
JETHRO TULL: "This Was" LP, PRESSED BY EMI IN NOVEMBER 1970, UK PINK RIM ISLAND LOGO LABEL.
True great albums like "This Was" normally have a reasonably stable pressing history for a period as short as 24 months, but the
UK album would make an appearance on an astonishing six different label designs during that 24 month.   This is the fifth in the
closest connection ever seen in rock music, it had to be a very special album to be constantly in demand when you consider the
other momentous albums issued late 1968 - late 1970.  On this particular label design and pressing, we now have EMI pressing
on their finest vinyl and a certain young George Peckham  (Porky / Pecko) beginning his legendary vinyl mastering career at EMI.
What perfect timing for Jethro Tull's inspired very first album and I have rare unplayed, true Mint rare record waiting to have
the first play in 46 years.  Before that exciting prospect, I think it would be a good idea to fully document all six variations
here, then pressing and condition details, some background info and then the glorious music.

"This Was" was first issued on the 25th October,1968, peaking at No.22 and spent 22 consecutive weeks in the UK charts, so it was
  still being pressed until April,1969 as a current charting album.  During that period it was initially on the orange & black oval
  shape logo, first seen in 1967, then in September,1969 Island introduced their second solid black block pink label logo.  As the
  band grew in stature, pressings were next made on the second logo label and the same scenario continued to just ten weeks later,
  when the third white "i" logo was introduced, becoming the final pink design in November,1969.  That was the beginning of the
longest duration of an Island label design variation, the pink rim or a palm tree on an Island in the sea design, would continue
unchanged until late 1975.  Not that "This Was" would ever be pressed on the pink rim Island label again, the few made would be
one-off pink rim pressings.  Pye & Polydor has contractually pressed Island records and with the demise of the initial 1967 pink
label, EMI were brought in to press all Island's records in that five year period of the pink rim Island label.  Pressing No. 4 was
made at the same late November - early 1970 by Pye at the same time EMI started, Pye's contract was fulfilled entirely by earlier
titles and were very few per individual album title.  Although Pye's pressing were on the new pink rim label, Pye's distinctive
label shape and soft, felt like textured surface, completely different to EMI's shape, texture and colour tints, it became joint
No.'s 4 and 5.  EMI made a very small pressing batch of  "This Was" and the Master Tapes were given to George Peckham to
master in Abbey Road Studios in late 1970.  Once pressed in EMI's plant, almost immediately, all of the then Jethro Tull current
and back catalogue was passed over to the Chysalis green label with a red 'Chrysalis', completing label variations at No.6
and positively still in late 1970! 

PINK RIM / PALM TREE ISLAND LABEL: ILPS 9085.
  'Stereo' was continued onto these first pink rim labels and the occasional 'Mono' for a few 60's titles, 'Stereo' was initially
printed in bold large black block letters at 3 - 4 o'clock.   12 months later in 1971,  'Stereo' was no longer be printed on the
labels.  That is not just trivia, but an essential dating tool for a label that only had that one text change during five years
would be removed.

MAITRIX & MASTERING LOGO'S:
  SIDE 1: ILPS 9085   A - 3 U   ~  'Porky' SIDE 2: ILPS 9085  B - 3 U   ~  'Pecko'
 
George Peckham very conveniently 'signed' his 'Pecko' logo immediately above the 'mother' digit on Side 2, my compiled pictures
  per individual side, has one of the two '1' digits in view on Side 2.  
In 1970 EMI were using '- 3 U / 3 U ' maitrix endings for  their own labels, as this was not a new title, George Peckham chose to
  increase one digit per side.  I know that was an individual choice because the most used contractual EMI pressings in the early
  1970's was '- 5 U / 5 U. '

  EMI STAMPING CODES: T  1 / M  1
  As I said, a really small pressing batch with single letters that translate as, No.'s 9 & 3 from the very first mothers.  So much
  attention to the mastering from George Peckham, is why I can't wait to hear a much loved album from an unplayed, Mint EMI
  pressing, made only 24 months from Pye's first pressing.   In my time, audiophile records did not exist because we did not need
  them for the above reasons, nothing ever made since can compare to 46 year old original records....if still in Mint condition!
 

ORIGINAL 1970 ISLAND / EMI  WHITE INNER SLEEVE, CURVED CORNERS WITH THIS ON THE FRONT BOTTOM RIM;

"Patents Applied For" & "Made In Great Britain"

UNUSED AND UNSPLIT, JUST  LIGHT NATURAL AGEING AND THE USUAL RECORD IMPRESSION, WITH A FEW RELATED
 GENTLE CREASES, IN NEAR MINT CONDITION.


OBVIOUSLY THE THREE  PINK  LABEL PRESSINGS AND THE TWO VERY SMALL PINK RIM PRESSINGS, RETAINED THE
SAME CATALOGUE NUMBER.  BRINGING ME TO THE TRUE AGE OF THE GATEFOLD COVER.  I HAVE NO DOUBT AT ALL
THIS A MUCH EARLIER COVER FROM THE PERIOD OF NOVEMBER, 1969 -  NOVEMBER, 1970, IN OTHER WORDS, AN
UNSOLD WHITE  "i" LOGO, THIRD PINK ISLAND LABEL COVER.  LIKE THE 1968 COVERS THIS WAS ALSO PRINTED BY
'E JDAY, London,' WITH THE SAME DELUXE THICK LAMINATION ON THE OUTSIDE,
  EMI last used 'EJDay' printers in 1966 and with so few records pressed, that made economical sense, the logo on the back cover
was changed on introduction of the third and final pink label design, I included a close up picture of  the 'EJDay' cover credit.
  With the front, far right edge artwork continued over and stuck under the inside panel, I can easily identify this as being made
in November, 1969. The same time the internal flipback edges were replaced with a black border, so this a 47 year old "This Was"
gatefold cover. With an unplayed record inside this only has  unavoidable traits of standing in storage for nearly half a century,
in fact, the only real ageing is a tiny area near the bottom spine.  That is the lamination's adhesive because it is indeed under
the laminate, the main part of the spine still has a very respectable white background to the unworn, very clear black printing.  
Only the spine tips / left side corners have slight rubbing from standing, even that is as minimal as I have encountered.

The front's wonderful artwork  has unfaded, deeply toned colours, some positive small laminate edge lines but no creases.
The back cover's white sections of the artwork is also superb , the colours are as vividly bright and deeply toned as they were
  46 or 47 years ago, there is no fading at all and like the front, looking superb with the thick laminated outside also still as glossy
as the day it was made. The right side corners are all near perfect, in fact, all to tell there concerns how the lamination was
wrapped round the heavy duty cardboard, the laminate was slightly overstretched onto the double folds created by wrapping
the front over the far right edge.  All the edges including the record storage's opening sides and even the bottom edge on
that storage side has unscuffed laminate.
 
  Inside the gatefold the colours are just as vivid and unfaded, like every "This Was" with a massively wide spine, there are a few
  ripples on the left side panel that originated the day it was folded and assembled, the factory workers must have had sore hands
  after assembling any of the 1968 - 1970 gatefold covers!  All to add,an expected record impression, considering the heavyweight
  vinyl was never removed for all those decades, surprisingly gentle with the back perfectly flat and without the usual pronounced
  creases. A few handling signs and storage add up to a unused ,stored gatefold cover, I will grade it very harshly, while stressing
  the unplayed record inside, the cover only has natural occurrences for the vintage age.
  THE COVER IS IN EXCELLENT+++ CONDITION

THE RECORD WAS NOT PLAYED TWICE PER SIDE, THERE NO SCRATCHES OR MARKS AND ANY FACTORY HANDLING IS
  FAINT TO NEAR INVISIBLE.  
  A DEEPLY GLOSSY, REALLY BEAUTIFUL LOOKING RECORD IN UNPLAYED, MINT CONDITION
SIDE 1
"My Sunday Feeling" (Ian Anderson)
  "Some Day The Sun Won't Shine For You" (Ian Anderson)
"Beggar's Farm" (Mick Abrahams / Ian Anderson)
"Move On Alone" (Mick Abrahams)
"Serenade to a Cuckoo" (Roland Kirk)

SIDE 2
  "Dharma For One" (Ian Anderson / Clive Bunker)
"It's Breaking Me Up" (Ian Anderson)
  "Cat's Squirrel" (Traditional, arranged by Mick Abrahams)
"A Song For Jeffrey" (Ian Anderson)

 (Ian Anderson / Mick Abraham /Clive Bunker/ Glenn Cornick / Terry Ellis )

Ian Anderson - vocals, flute, mouth organ, harmonica, claghorn & piano
Mick Abrahams - vocals, guitar & nine-string guitar
Glenn Cornick - bass
Clive Bunker - drums

David Palmer - French horn and orchestral arrangements
Recorded June 1968 - August 1968, At Sound Techniques, Chelsea, London.
Produced By Terry Ellis & Jethro Tull.
  Even during the late 60's, for something both magical and unique, the debut Island Jethro Tull album was a listening experience
  both fresh and absorbing, "This Was" sounds just as stunning today. You can try to find a suitable category to place the album in
but 'progressive music' had yet to be named, with the most intoxicating mixture of blues, jazz and the very feel of this inspired
  late 60's era, the only possible category is...Jethro Tull. Over the coming years the albums would become conceptual, written to
themes with artwork so imaginative, nobody was surprised to find their latest album's cover was an actual large newspaper, folded
  to form a cover and also to be read like a newspaper.  I have never understood why the back picture has Ian Anderson holding a
  fish skeleton, the others are laughing, so it had to be current joke!  Blues was the well they sprung from though in 1967, formed
  out of the ashes of two blues bands based in Luton, 'John Evan Band' and 'McGregor's Engine' folded and out of them Jethro Tull
  were born. John Evan Band were formally The Blades until 1965, with guitarist Michael Stephens, keyboards naturally played by
  John Evan, on the bass guitar, a certain double barelled Jeffrey Hammond-Hammond.  From McGregor's Engine, came Ian Anderson,
  who's earliest instrument was a flute, Mick Abrahams and Clive Bunker once of Toggery Five completed the line-up as the guitarist
  and drummer respectively. Luton was not exactly the most exotic English location for a band to earn their reputation in, nor was
  it steeped in blues and rock traditions, but it was very conveniently placed to access London from!

The summer of that year of year's, 1967, found the band in London and playing their first gig at the very famous Marquee Club.
  Unnamed as 'Jethro Tull' just yet, the 'John Evan Band' now saw Ian Anderson, Glenn Cornick, Mick Abrahams and Clive Bunker
  branching out as either 'Bag of Blues' or 'Navy Blue' being used as band names. It was at this stage, Jeffrey Hammond-Hammond,
  who was also a close schoolboy friend of Ian Anderson's, was no longer involved, but he stayed on the fringes when Jethro Tull
  made their breakthrough and released two of the greatest 1960's albums. He would not resume a bass guitar role until 1970 when
  Glen Cornick left the band just after their third album ''Benefit'', by then they moved from Island to the label they signed with,
  Chrysalis. Unable to afford to pay for studio time, record pressing, promotion and distribution, Chrysalis licensed the band to
  Island, their logo appeared on every Island single and LP, ironically in the late 60's Jethro Tull would go on to become Island's
  financial saviours with huge selling albums. The compliment was returned when they joined Chrysalis, the mutual agreement was
  reversed with the Island Records logo's etc appearing on the first three Jethro Tull Chrysalis labels and covers, meanwhile I am
  referring to the period when the band were struggling for recognition as London was brimming with unknown talent. The story of
  those early days in small London clubs was immortalised on a track not included on "This Was", "One For John Gee" appeared on
  the B-side of their 1968 debut Island single, the A-side, "A Song For Jeffrey" was a key track on this incredible debut album.
  The famous London blues venue, the Marquee Club, was where the band blossomed and built up a loyal following, directly inspiring
  Ian Anderson to write "One For John Gee," the Marquee was managed by John Gee, who recognised their raw talent and he really
  encouraged them. Ian Anderson wrote the A-side and Mick Abrahams the B-side, both songs were tributes to two important figures
  in their earliest days struggling for recognition in an era when unknown talent was pouring into London. The actual debut record
  was "Sunshine Day" which was released on the MGM label in January,1968, an unsuccessful release by the now named, 'Jethro Tull'.
  The name was previously owned by an English engineer who had invented a special form of drill to plant seeds with in the 1700's,
  ironically the name itself created an even bigger collecting field for "Sunshine Day," which is obviously as rare as records get.
  You can blame both the UK 'Melody Maker' and MGM for the label credit 'Jethro Toe', it was first mis-printed in the music paper,
  then read by an MGM executive, who was responsible for the incorrectly printed 'Toe' on the record.

I first saw Jethro Tull live in this very era, not in the blues clubs, but outdoors in the very hot summer of 1968 when attending
a free Pink Floyd concert in London's Hyde Park. Then unknown to me and to most other people, they were indeed a sensational
  new band visually, as well as playing a unique brand of music.  Signed to the Island label, home to all with genuine talent, if
  yet to taste success, or often totally unknown's and why London was so essential for exposure. Their new Island Records stable
  mates,Traffic, had introduced a flute to their music in 1967, Chris Wood was hardly a wild eyed charismatic character standing on
  just one leg!  To keep it accurate, Manfred Mann predated Traffic with a flute played for blues & jazz, Traffic were the first
  with a flute for overtly psychedelic music. Not that the extraordinary "A Song For Jeffrey" was remotely commercial, in the
psychedelic/blues of '68, it stood a chance of breaking into the Top 100, unfortunately it went the way of "Sunshine Day" on MGM,
  and "A Song For Jeffrey" totally failed to even enter the charts, hence the major rarity today.  Nothing unusual for any 1960's
  Island debut single, on a positive note, the few months until "This Was" followed the single, allowed Jethro Tull's fast growing
  reputation as an amazing live band to spread by word of mouth and gathering praise from the music press.  As mentioned before,
  "This Was" sold exceptionally well to reach No.22, one of the few occasions in the 60's a debut album was unreliant on a single
  paving the way to promote a following album, but it had to be a very special album for that to happen. "Love Story" was the first
  Jethro Tull single to chart in the UK, but that had to wait until the New Year of 1969, even then it only achieved a low position
  of No.29. Jethro Tull were formed on the crest of the UK late 1960's blues wave, I have always wondered if the strange title of
  "This Was" was due to the original lead guitarist Mick Abrahams clashing with Ian Anderson and leaving the band after the tracks
were finished. Mick Abrahams was more than a guitarist, he was an important songwriter, as the album song credits demonstrate,
  he wanted to continue with the blues direction of "This Was" but Ian Anderson's songwriting was becoming so prolific, he could no
  longer be restricted to performing blues.  That in itself created another unique factor for "This Was," I am really keen to move
onto describing the record but I feel I have to finish the story of the departing Mick Abrahams and his replacement Martin Barre,
who would become a permanent fixture over the coming decades.  In May, 1969, Martin recorded his first track with Jethro Tull,
there was not a radical difference to the original 1968 sound for "Living In The Past," a huge single, by making No.3 Jethro Tull
  appeared on UK TV for the first time. Jethro Tull bedded in Barre during that summer and their live performances made them the
  favourites at the 1969 festivals.

 
I thoroughly covered all the details of this UK pink rim label pressings factually, Island were unlike any other record company
  in Britain, maybe the world. All three pink label logo records and the two pink rim pressings are  closely connected, 'sound' is
always my priority, but it runs much deeper than just label designs, during a two year period virtually all other labels remained
unchanged.  Maybe rim text was altered but six variations is excessive, in fact, Island could have kept the first pink label logo
and only tiny details would tell the 1968 records from the 1970 records. The most important and hardest part of all was to find a 
  46 year old record in perfect playing condition, I will take my usual great care not to leave any trace of being on a turntable,
for the pristine labels and vinyl. Unplayed vinyl can have pressing related static, sometimes it's into an immediately, absolutely
stunning sounding record, what a prospect this is for this rather old Jethro Tull fan.  "This Was" is filled with all those rich
  sound textures, it will be a real delight to hear. Selling loved albums makes me hyper critical about the sound reproduction,
for example, "Round" is a very short final track that lasts for seconds, but completely exposed to any static or surface sound,
at only 50 seconds long, I have yet to hear any pink label or pink rim pressings that do not have some form of static / surface
and I am about to find out. The main features of "This Was" are the wealth of outstanding songs, they offer a fantastic variety
of music, my bias towards the album places great demands on the sound quality, I had better try to limit the potential volume
of text I could end up writing while describing the tracks.
 

Side 1, faint static in the outer lip grooves and revolves into virtually near silent run-in grooves,'near' signifies the lowest
  possible natural static.  An unplayed record behaving amazingly, after all, this is still vinyl and I should really be celebrating
  stating 'silently,' I will have to cut out such nonsense to keep the descriptive text to a manageable amount.  A perfectly clean,
  clear intro to the brilliant first track, there is no surface sound at all and the crystal clear beginning for "My Sunday Feeling" is
  extremely rare from any of the 6 Island label pressings. Opening up the debut album, a wonderful track could not have been a
  better way to introduce Jethro Tull for the first time in late 1968, when starting the description I decided these lyrics would
be ideal to represent the album as a whole. Containing every element of their unique sound, a glorious melody to a bright and
breezy blues/ jazz influenced song, with Ian Anderson's flute just as prominent as their original lead guitarist, Mick Abrahams.
  I cannot avoid a little info, the 60's true stereo mix places Ian Anderson's incredible vocal entirely panned in the left speaker
  with the bass & drums. The lead guitar is initially heard from the right channel, for Mick's solo, it drifts across into the left
  speaker, meanwhile Ian Anderson's flute is heard mostly from the right, but there is such constant sound movements, only the
  vocal has a fixed position. These are not just isolated sounds, stereo was designed for both ears to absorb the different parts,
  the overall sensory effect created such a fantastic way of hearing the music, I love the mono mix but the stereo version is far
  more dimensional and a real soundscape. The sound of the first or original mix becomes ingrained if like myself, you have been
  been playing an album since it's original release, I started out with a mono album and was blown away when first hearing the true
  stereo. I am hopeless at writing with discipline, the sound quality is both extremely powerful but also absolutely perfect for a
  lack of a solitary irritant. With hardly any static in the first gap, once again outstanding mastering and pressing, it could not
  be cleaner for a first ever play, especially such an exposed intro to the purest blues of,"Next Day The Sun Won't Shine For You,"
  my personal favourite "This Was" track.  'Porky' made a really amazing job on the sound, no wonder Jimmy Page sought out George
  Peckham to master the 1971 "Led Zeppelin 4" LP.  A very gently, softly played electric guitar is positioned in the right channel,
  from the left, the superb blues harmonica, what superb true stereo for Ian's vocal as well, even the two part harmony is equally
  split in the left & right channels, two individual voices are heard from opposite directions.  Considering there's not even any
  drums or a bass guitar on this completely exposed to needle noise track, the faintest of faint static is all there is, maybe there
  when the record was pressed, but possibly in need of a few pays to arrive at the optimum sound quality.  Split second click
  in the otherwise silent gap, certainly relates to a microscopic vinyl droplet, most negative comments will most likely be gone
  because a very first play in 46 years, is not a true assessment, only my determination to write open and honest descriptions.
  The audio itself is projected with massive power, clear sound like this should never be associated with new vinyl's 'natural.'
  I am realistic and honest, but refuse to criticise near perfection for the delicacy of "Next Day The Sun Won't Shine For You."
  This record is just stunning, as clean and clear of vinyl's potential irritants I have ever heard from any Island label pressing,
  allowing of course for vinyl's natural faint static. The last harmonica note fades away naturally and in an even more exposed
moment without any instruments, just the merest hint of vague static in the gap, is followed by the cleanest intro to one of the
  album's many outstanding tracks, "Beggar's Farm." What sensational sound quality here as well, a really beautiful melody with
  Ian Anderson's lead vocal in simply stunningly clear sound quality, I am mightily impressed  by such staggering sound, whenever
you see George Packham's logo's, you are guaranteed an audio treat and that is exactly what I am thoroughly enjoying right now.
  A superb blues based instrumental backing from these multiple talented musicians, creates an ever building tension behind
the vocals, holding until an instrumental section, when Ian Anderson's flute plays a short solo.Mick Abrahams fires out guitar
  notes and the track lifts and expands, for their debut album this was sensational in the 60's and holds up in 2016.  As much as I
enjoy itemising the original mix, I can't possibly write a full description about the first stereo mix, but will add more details
  further on.  My main concern is always to give a perfectly accurate sound description, to me that is the very substance anyone
considering buying a record should always be given. On that score this sound quality is just awesome, razor sharp definition on
every second. Such powerful mastering on a worn out record deteriorates to awful distortion, even with my amp set so high that
  is definitely not an issue, playing as a mint record.   I just noted a click in a gap, well, a very first play in 47 years or not, it's only
  fair to balance that by saying this is a completely silent gap. Mick Abrahams also composed "Move On Alone," as I commented,
music doesn't fit into categories conveniently, I call it 'Jethro Tull sound!' A very full production with brass sparingly with
with their usual instruments, I did say I would not describe every single stereo effect, I just have mention Ian Anderson's vocal
is entirely panned from the right channel. This is the total separation of 1960's true stereo, if you feel inclined to turn your
speaker's balance, you can listen to just Ian Anderson's vocal without the other half of the recording. Finishing into another
problem free, smooth running silent gap into an ultra clean flute and light percussion only, intro to the glorious instrumental,
"Serenade To A Cuckoo", what incredible audio sharpness with the sound reproduction sheer perfection! When music is so mood
orientated, wear induced crackles spoil the very feel of superb tracks like this, but there's nothing like that from the start to
to the finish. With a six minutes duration there is plenty of scope for "Serenade To A Cuckoo" to suffer from such irritations,
it really is a genuine pleasure to just relax and enjoy this truly magical song. According to Ian Anderson's sleeve notes inside
the gatefold cover, jazz musician, Roland Kirk's composition was the very first song he learnt to play his flute along to, that
was how such innovative music began, as well as providing the extraordinary image of Ian's stage presence. The whole of the
long track and in fact, the first Side has been enjoyed in immaculate sound quality, one click in one gap has been highlighted
  and one second is hardly an issue for an unplayed record from any decade.... or should I say, any century!
 

  Side 2 also has completely silent run-in grooves, by now I have lost interest in any virtually inaudible faint static, but not in
  a perfectly clean, clear entrance for "Dharma's For One." The finest indication of an unworn perfect playing record is always
the opening track's run-in grooves and intro, the heavily played records have had the stylus landing or being dropped there for
uncountable times, causing the noise. In stunning audio clarity,Ian Anderson's flute takes over the leading instrument role on
the album's second instrumental, what an amazing pair they are! The band must also take the fullest credit for this incredible
  performance. Glen Cornick's bass is really exceptional here, but most of all the excellent drumming of Clive Bunker. He takes
  a solo here and the senses spinning stereo panning on those drums, is just amazing to hear from this pristine sounding record.
The staggering clarity of Glen's bass guitar when Clive's drums wind down and the bass now plays a really delightful run, is yet
again in absolutely perfect sound quality. The final sound is a long rattle of the drum sticks, followed by pure silence in the
first gap of this second side before, the blues of the outstanding "You're Breaking Me Up". This is blues in John Mayall's mode,
next up, we have blues in Cream's mode!   "This Was" has just about everything you could wish to hear from the inspired 1960's,
"You're Breaking Me Up" returns to a vocal track and Ian's brilliantly sung lead vocal has the first mix's placement in the right
channel, impacting from the left speaker, Ian's superb blues harmonica blowing is a joy to hear and experience in such incredible
sound reproduction. The blues guitar riff is a real classic, joined by Glen's pulsating bass guitar setting up a solid foundation
along with Clive Bunker's incredible drumming, the genius of Jethro Tull is here on "You're Breaking Me Up" and this was their
first ever album!  No wonder "This Was" caused such a sensation in the closing years of the 60's decade, I clearly remember how
everywhere you went, someone was asking if you had heard this brilliant new band. I had seen them live previously so it was no
  surprise, but as an album to return to over & over again, it became an instantly loved record. The last harmonica note fades out
  very gradually and even in that exposed few seconds, there's not a trace of any needle or surface sound. Following that silence,
next is the truly awesome, purest blues of "Cat's Squirrel". What a version this is, as powerful and as explosive as Cream's,
also aired on their relative recent debut LP, "Fresh Cream" in 1966. The bass levels are exceptionally high, another feature of
  the original stereo mix, oh yes, the sound is ultra sharp! I always keep my volume louder than necessary for such a powerfully
mastered record, deliberately to check for any distortion, there's none here or on any part of this immaculately pressed record.
  I frequently sing the praises of Pye's mastering & pressing, this record contains why, "Cat's Squirrel" is a fantastic track with
  a sensational ending, now the band collectively hit a peak of performance with stunning Abrahams blues guitar, then the tempo is
  taken right down to almost a full stop, only for the main riff to suddenly be taken to it's absolute limit with flat out inspired
  musicianship. Mick Abrahams becomes even more inspired, taking off into an astounding grand finalé. The 60's pink Island records
  have such incredible sound in their deep grooves, only wear alone reduces that sound to a mere shadow of the true potential for
  the music's sound reproduction. This record is just awesome! What can I say about "A Song For Jeffrey"? A simply staggering
  recording of a song exclusive to Jethro Tull, so much so, it sounds just as fresh and innovative as all those years ago, the single
is worth hunting down because the mix is different even to the mono album. 'Jeffrey' was a name that would feature again....and
  again in Jethro Tull songs. Ian Anderson would later write two further songs with his name, "Jeffrey Goes to Leicester Square,"
  and "For Michael Collins, Jeffrey And Me," this is where is were it all began. The emphasis on blues for their debut Island album
  was a reflection on their roots and the earliest incarnations of the band I detailed in the introduction. Ian Anderson's amazing
vocals have vacated the right speaker to move move over to the left channel, the added studio effect on his voice is heard in
the most fantastic razor sharp sound. It's not really possible for me after playing this album for 48 years now, but listening to
"This Was" in such staggering stereo sound, only vinyl can create the impression of hearing the album for the first time, I have
  explained who 'Jeffrey' was, but not how he was a school friend of Ian Anderson's, he was mostly kept on the fringes of the band.
Perfect sound all the way and now for the sternest test imaginable for a record of this age, with that 50 second track to end on,
"Round." A very short melodic instrumental featuring Ian's gently played flute, and needless to say, for the quietest track on
the entire album, just the usual lightest of light static sound, I think 'Pecko' was determined to produce the cleanest "Round"
and even for the first play, he most certainly succeeded!  What a lovely way to finish one of the world's finest debut albums,
  the whole band were credited for writing "Round", no doubt a spontaneous improvised jam from just a few basic chords and a key.
I tend to listen to the music and in the 60's hardly noticed static! The light hum of mono valve powered record players thundered
out the music, all the same, I look for the closest to Mint vinyl to give the best sound reproduction on today's stereo equipment
and can conclude, this is an absolutely stunning sounding "This Was", thanks to George Peckham' and EMI!
{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!