Sold Date: June 21, 2016
Start Date: June 14, 2016
Final Price: £147.85 (GBP)
Bid Count: 2
Seller Feedback: 4219
Buyer Feedback: 36

This item is not for sale. Gripsweat is an archive of past sales and auctions, none of the items are available for purchase.

May I make my fond excuses for the lateness of the hour,
But we accept your invitation, and we bring you Beltane's flower.
For the May Day is the great day, sung along the old straight track.
And those who ancient lines did lay, will heed the song that calls them back.
Pass the word and pass the lady, and pass the plate to all who hunger.
Pass the wit of ancient wisdom, pass the cup of crimson wonder.....
Pass the cup of crimson wonder......

Ask the green man where he comes from, ask the cup that fills with red.
Ask the old grey standing stones, that show the sun its way to bed.
Question all as to their ways, and learn the secrets that they hold.
Walk the lines of nature's palm, crossed with silver and with gold.
Pass the cup and pass the lady, pass the plate to all who hunger.
Pass the wit of ancient wisdom, pass the cup of crimson wonder....
And pass the cup of crimson wonder......

Join in black December's sadness, lie in August's welcome corn.
Stir the cup that's ever-filling with the blood of all that's born.
But the May Day is the great day, sung along the old straight track.
And those who ancient lines did lay, will heed this song that calls them back.
Pass the word and pass the lady, and pass the plate to all who hunger.
Pass the wit of ancient wisdom, pass the cup of crimson wonder.....
Pass the cup of crimson wonder......
JETHRO TULL:"Songs From The Wood" (With Kitchen Prose, Gutter Rhymes And Divers.) LP.
THE VERY FIRST UK PRESSING MADE, ISSUED 19th FEBRUARY, 1977.

TEXTURED, MATT GREEN CHRYSALIS LABEL: CHR 1132 .
Quite how textured they actually were in early 1977, is best seen in my pictures ....and how immaculate they are!
 

  MAITRIX & MASTERING DETAILS SCRIBED ON BOTH SIDE'S FIRST PRESSING RUN-OUT GROOVES.

SIDE 1:  CHR - 1 - 1132      10th SET  (SIDE ONE)

SIDE 2: CHR - 2 - 1132       10th SET  (SIDE TWO)

The above shows this is the very first pressing made, both Side's scribed indexing can be seen in full scale pictures.
"Jethro Tull Collectively."
ORIGINAL 1977 CUSTOM PRINTED INNER SLEEVE UNIQUE TO "Songs From The Wood," WITH PICTURES AND TEXT
  PROMOTING ALL THE PREVIOUS JETHRO TULL LP'S FROM 1968, UNDER THE HEADING,"Jethro Tull Collectively."
UNSPLIT AND UNTORN, YES, THE EVER PRESENT, USUAL AGEING TO THE ABSORBENT OPEN GRAIN SOFT PAPER.
In 1978 another version was printed but due to the problems with easy splitting and instant ageing, the paper was changed and
the background was white, nice, but lacking the character of the 1978 originals.  Everyone aged and with constant handling they
were soon really stained, in other words the degree of ageing was in direct proportion to use, this is an unplayed record and it
drastically reduced the degree of the discolouration, but positively 'aged' all the same.  Not that the inner sleeves require
identification with such an unmissable feature, one side has '6418' hand written vertically on the the top  right corner by a
record shop. That tells me the record & inner sleeve was separated from the cover that was placed on display, the vertical
stock number enabled finding the correct record by looking at the top right corner of displayed records on an eye level shelf.
Not just me, others buying records in the 1970's will remember the indexing system, it preventing handling the records and in
  this case, this first pressing record remained unhandled and unplayed.  A superb cover and any light handling was not from
using the cover, just being occaisionally being looked at....but never bought!  This is the reality of covers and inner sleeves
from that era, I tell it how it was and there are always clues if the record is still like brand new like this.

The exclusive, first issue only, 'Jethro Tull Collectively' inner sleeve, has promotional pictures of every UK Jethro Tull album,
  including "Songs From The Wood."  Not all first issues had them, in fact, most were split and long ago discarded, this is unsplit
  and untorn with only a record impression, a few related gentle ripples and the same ageing I find on every one.   As I only sell
this album in Mint condition, that comment is indeed connected to the highly absorbent paper, not use or uncaring storage, this
this is after all 39 years old soft, thin paper!
THE "Jethro Tull Collectively" INNER SLEEVE IS IN EXCELLENT+++ / NEAR MINT CONDITION.


  THE FIRST ISSUE COVER IS AGAIN UNUSED AND WITH SUCH CAREFUL STORAGE, THE ONLY ULTRA LIGHT HINT
OF HANDLING HAS BEEN DESCRIBED.   THERE ARE NO CREASES OR ACTUAL WEAR TO DETAIL, EXACTLY HOW IT
LOOKED IN 1977, I CANNOT OFFER BETTER THAN THAT FOR A COVER AND ESPECIALLY WHEN AN UNPLAYED RECORD
INSIDE.  THE RECORD SHOP'S METICULOUS STOCK INDEXING PREVENTED CURIOUS INSPECTIONS THAT DID CAUSE
SCRATCHES AND SCUFFS FROM FINGERNAILS ETC.   AN UNAVOIDABLE RECORD IMPRESSION AND THE RELATED
FEW TINY EDGE LINES THAT FORM NATURALLY, ALL THE CORNERS AND THE EDGES ONLY HAVE THE MEREST
BRUSHING AND A FEW RIPPLES IN THE SPINE.  TO VERIFY THAT, THE FRONT & BACK STILL HAVE THE VERY THIN
SHINY TOP SURFACE OVER COMPLETELY UNFADED, ULTRA BRIGHT COLOUR TONES.  PLEASE SEE MY PICTURE OF
THE SPINE'S TITLE AND ARTIST FOR HOW UNAGED THE PURE WHITE LETTERING STILL IS.
What stunning artwork on both sides of the cover, reflecting on the magical contents of this LP, the front pictures Ian Anderson
  crouched in front of an open fire, made up from a forest's dead branches.  Boiling a pot over the fire, with his dog looking over
  his shoulder, the very setting that inspired the whole album's theme and next to Ian is a tree stump with his hat covering it.
 
Turn the cover over to find that tree trunk is in full scale size, now without the hat, you can now see a record player tone arm
  with the stylus is 'playing' the rings in the wood, the concentric circles looking so much like a record, a really ingenious idea and
for the artwork, because the seemingly simple artwork is literally and perfectly portraying, 'songs from the wood'.  In case the
expression from the 60's & 70's is lost today,'wooden music' was 'acoustic' for obvious reasons about guitar structures, so the
album title was as inspired as the music and.....the cover's artwork.  In saying that, this is still typical Jethro Tull at their
most potent, the music includes heavy rock and psychedelia balancing out the beautiful acoustic tracks.

  This first issue cover is in superb condition, beyond the inevitable record impression, which seems unfair to mention me as it
was placed into a plastic outer sleeve from the day of it's record shop display.  What more could anyone do?  Check  the state of
most CD jewel cases from the late 1980's to 1990's and see how scratched and discoloured most are, 1977 was a very different era.
  There are none of the usual heavy scuffs or any ring wear, the autumnal colours are as brightly rich as the day this was printed.
Having identified a displayed cover via the record shop stock number, I feel obliged to reflect that in the grading, crazy really,
because nearly all first issue "Songs From The Wood" covers are in a dreadful state now, just look round ebay for the extent of
the wear.  This is a truly beautiful cover but I always try to include the full history of an album when possible so....
THE COVER IS IN EXCELLENT+++  /  NEAR MINT CONDITION.


THE  TEXTURED LABELS CLEARLY SHOW HOW LIKE BRAND NEW THEY AND THE RECORD ARE, NO SPINDLE ALIGNMENT
TRACES AT ALL.   BOTH SIDES ARE IN TOTALLY UNMARKED, UNPLAYED, MINT CONDITION.
DUE TO TAKING A LARGE PICTURES OF ALL THE MASTERING & MAITRIX DETAILS IN THE RUN-OUT GROOVES,
THE MIDDLE OF THE LABELS / SPINDLE HOLES ARE SHOWN FROM DIFFERENT ANGLES.
As a much loved album, I will take one of my undetectable plays, taking my usual professional care not to leave any signs of ever
being on a spindle or turntable, that way I get to describe the wonderful, magical tracks.
SIDE 1
"Songs From The Wood"
"Jack-In-The-Green"
"Cup Of Wonder"
"Hunting Girl"
"Ring Out, Solstice Bells"

SIDE 2
"Velvet Green"
  "The Whistler"
"Pibroch (Cup In Hand)"
  "Fire At Midnight"

Ian Anderson - flute, acoustic guitar, mandolin, whistles & vocals. (All instruments on "Jack-In-The-Green".)
Martin Barre - electric guitar & lute
Barriemore Barlow - drums, marimba, glockenspiel, bells, nacres & tabor
John Glascock - bass, & vocals
  John Evans - piano, organ & synthesizers
David Palmer - piano, portative organ & synthesizers

All Songs Produced And Written By Ian Anderson.
  Additional Material By David Palmer & Martin Barre.
Arrangements By Jethro Tull.
Recorded At Morgan Studios & La Maison Rouge Mobile Studio.
From my long experience of selling Jethro Tull LP's at both record fairs and then on ebay, I have always found the main attention
  focuses on their 1968 to 1972 albums. During 1968 their music evolved from originating as a blues band....with a real difference,
that 'difference' of course was the extraordinary presence of Ian Anderson with his magical flute, vocals and gifted songwriting.
They next became progressive rock's favourites, in spite of Ian's refusal to accept that unfathomable restrictive term, something
I also came to find distasteful and misused, until it became meaningless, Jethro Tull's LP's like "Thick As A Brick" did explore
areas that a catagorising obsession prevailing in the early 1970's, very conveniently placed them into. They were a band still in
  the process of evolving and maturing musically, why I dislike the over use and misuse of 'progressive rock,' implying back then
  and today, artists had arrived at the stage their music could now grind to a halt or stagnate, formula's could be repeated with a
  now ready made and undemanding audience.  Many bands did, but those with a burning genius were ever evolving and seeking the
  artistic freedom to express new ideas, assuming record companies trusted them of course. Experimentation cannot always become
  successful and an uninspired, bland, boring album that was always going nowhere, cannot be improved by being placed into the
most convenient category, then I have never heard one single Jethro Tull album that needed to be excused as a failed experiment!
'Progressive' was once an accurate description originally intended for the music between 1969 to the the early 1970's, the very
meaning of 'progressive' by definition, should have meant the music was ever moving forward, which Jethro Tull always achieved.
By the mid-1970's, rock journalists and also many Jethro Tull fans found their 1976, "Too Old To Rock & Roll" album, a fantastic
recording and concept.... because it was almost self mocking, even the album title affected buying it. Reaching No.25 in the British
charts was hardly a commercial disaster, but that was the lowest position of a Jethro Tull LP since their 1969 "Stand Up" which
  made No.29.  That was crazy because the album had a typical Ian Anderson theme, featuring an ageing rock and roller who was
  finding it hard to relate to ever changing current music and fashion. He even had the storyline placed inside the gatefold cover,
  in the wonderful  format of comic strip pictures, covering both panels, Ian's brilliant cutting lyrics were getting too close to
  home for anyone uncomfortable with hearing the truth, or just lacking a sense of humour!

The following year, 1977, a Jethro Tull LP was released that I personally consider one of their very greatest, an opinion about
  "Songs From The Wood" that is based on buying "This Was" in 1968 and every following album and single as they were issued.
  They had moved on once again, the album was completely different to all preceding recordings, the songs explored the modern
  day period, to living in a fairy tale world where magical woods still existed. They were the place where fairy tales and folklore
were not just legends and myths, but a reality much stronger and truer than our modern world, something we have sadly lost to
to materialism and technology.
 
I think it's fair to say Ian guided the band into a field much more associated with the late 1960's when 'folk/rock' evolved, and
like then, the folk feel prevailing on "Songs From The Wood" was perfectly balanced out by the wonderful blend of acoustic and
electric music.  The best example from the UK would be Fairport Convention between 1968 - 1970, Richard Thompson's electric
guitar could just as easily encompass blues and psychedelia, as well as enhancing acoustic guitars, sitars mandolins and fiddles.
  After all, Jethro Tull had embraced both acoustic and electric music on virtually every album they ever made, maybe not with the
fiddle, but Ian's flute was just as adaptable, "Aqualung" being a prime example.  That album contained the combination of tracks
connected by short acoustic folk songs with such an intensity, they worked superbly to link other tracks together and to create a
flow to the music,  it wasn't so much a new direction, more like creating a whole album containing music both beautiful and filled
  with wonder and magic.  We all need that in our lives, even children today are only given a fleeting glimpse of such beauty and
goodness, before the world adults occupy starts to corrupt their innocence.  I think attempting to delve too far into the music's
inspiration will best wait until I am describing the tracks.   My opening point is, "Songs From The Wood" is just as stunning an
album as any of their earlier work, it's a shame so few have heard it, yet happily play LP's like "Stand Up" endlessly, almost as
if Jethro Tull had ceased to exist after "Thick As A Brick."  I gave the 1977 line-up above, including the instruments individual
  musicians played, that alone gives the extent of the acoustic elements that made up this fantastic album.  An album I was always
extremely fussy about for the sound quality, it was mastered to such audio perfection I will only listen to "Songs From The Wood"
with the sound at that extraordinary level.  'Perfection or nothing' is possible but rare enough to be very frustrating, virtually all
first pressings fail to meet those strictest of standards I set, just reading this far into the description, tells you this record has to
be very special.  Unplayed is unreal, but very welcome and I'm looking forward to hearing absolutely stunning, perfect sound.

The first pressing Chrysalis labels are very distinctively still 1970's matt, textured paper, positively green only in 1977, it
  was only a matter of months before the immediately following re-issues would be re-designed in 1978 to blue and white Chrysalis
 labels.  The labels are in pristine condition, no spindle traces on the labels show this record was never played, not forgetting
 perfectly stored for the next 39 years either, which is always great news for the inner sleeve and cover as well.
  The record is gleaming with that really special deeply glossy sheen, exclusive to mint or brand new vinyl, without any of the
  usual deep scuffs, scratches & marks.   Why I expect absolutely perfect sound quality, especially for the very exposed to noise,
acoustic tracks, the sound will still be as stunning as it was in February,1977 when first pressed, so virtually no surface sound
and any light to faint static from the pressing will be mentioned but not dramatised.  In my experience "Songs From The Wood"
is always the toughest of all Jethro Tull LP's as a first pressing, for not encountering severe audio problems, I am delighted to
have an absolutely pristine, virgin record waiting to be described.  I must remain aware this will be the first ever play and not
waste time over trivial static not yet removed from the pressing process, although for the first track. I will examine virtually
ever second.  The opener, "Songs From The Wood" provides the most stringent test vinyl can possible have..... and pass.


  Side 1's beginning actually extends that last comment, by having the most exposed intro for potential crackles, clicks & general
  very annoying noise, found on any opening track of any Jethro Tull album I can think of.  The title track,"Songs From The Wood,"
  has a folk music acapella intro, or vocals only without any accompanying instruments, which explains why I said how tough this
  is to locate first pressings without severe audio problems.  I will describe this in detail from the initial groove alongside the
record's outside rim, the first revolutions hardly have any static and that belongs there, hardly worthy of this attention, then
  as my stylus moves near to the first notes of the intro there is a complete silence.  In the old days of recording onto cassettes
that would nicely match a fraction of the leader tape and give total silence before and during the intro, that is the best way to
  describe a record without any irritants on the opening track.  Unplayed is extremely rare, a great find in 2016!  Which makes
  the ultra smooth run-in grooves a genuine pleasure, in reality they are as silent as I have ever heard from this album, then Ian
  sings the first verse acapella, backed only by the most glorious vocal harmonies.  Even here, there is literally no form of any
  pressing surface sound and this is as immaculately clean as vinyl gets, so the fantastic lyrics are crystal clear and the sound is
  as sharp as a razor.  I am not implying this is not vinyl, on the contrary, by honestly stating how exposed that beginning is and
  carefully describing that piece accurately, I am saying this is vinyl performing amazingly!  Ian's flute signals the start of the
   lovely instrumentation, that includes electric instruments enhancing the delightful melody and creating a contemporary sound
  while maintaining just a hint of an Elizabethan or a Medieval feel.  The first made stereo mix is incredible from a first pressing,
  the finest example comes after a really heavy piece with fantastic John Glascock bass guitar, the song's title or the chorus is
  sung acapella as described for the intro, their voices are panned on the  alternating lines into the individual channels, what a
   wonderful section to listen to through headphones!  The album's sub-title is the second part of these lyrics;
"A singer of these ageless times, with kitchen prose and gutter rhymes."
There is no surface sound at all for the whole duration and the first gap runs in total silence before the track performed by Ian
    Anderson solo, he played every instrument as well as singing the stunning, "Jack-In-The-Green."  If that opening track sets up
   the atmosphere to enter into this magical and mythical world, the deeply beautiful melody and an exquisite acoustic production of
   "Jack-In-The-Green," personifies the very theme of the album.   Jack-in-the-Green's" lyrics are fascinating to follow, telling of
     a tiny woodland sprite who, "Drinks from the empty acorn cup," and this fairy works only to bring in the green's of the summer.
     The crafted story is deeper than just a fantasy, much more,  a brilliant examination of how Nature struggles to co-exist with
   Man's technology, the music and lyrics managed to express both, as found here, "changing times of motorways and powerlines."
   You can only sit, admire and enjoy Ian's unbelievable talents, if you included writing such a timeless and beautiful melody, his
   superb acoustic guitar, bass, flute and percussion, all clearly demonstrated the actual depth of his musical genius.  I can only
     repeat how there is the most incredible sound from Ian's acoustic guitar, which can only come from the totally unworn grooves,
   the mastering was mighty loud indeed, I must remember to include how there is no distortion on the very quietest, to the loudest
    moments on this album.  I love the feel of this track as much as the lyrics and the melody, to hear this in such staggering audio
   perfection is a genuine pleasure, then I would never consider offering this album if it failed to reach the exceptional sound I
   demand from the first pressings.   I must keep a check on my inclination to write excessive text about these wonderful tracks,
   from here I will exercise some discipline for a more restrained description, or at least try to!  I do not need to report all the
   linking grooves because they are all problem free and smooth running, just like this next completely silent gap, but I cannot
   resist saying how clean and ultra clear the intro for  "Cup of Wonder" is, most of these first pressings have horrendous noise
   here.  You are now out there among the swirling mists of the forest, "Cup of Wonder" invites you to drink a toast and to meet in
    good fellowship, with this poetic and ancient gesture,
 "Pass the plate to all who hunger, pass the cup of crimson wonder."
  Once more the song has stunning vocal harmonies to Ian Anderson's lead vocal, his flute was also played at an inspired setting.
     Fantastic keyboards bridge an acoustic folk feel perfectly, if this was from the late 1960's, this track would positively qualify
as 'folk / rock' but if you allow your imagination to roam freely, the lyrics alone will draw you into 'magical woods' to join in
  with all the festivities celebrating Nature. You will actually feel the damp ground under your feet, superb music like this does
  tend to bring out an unusual description from me, I have long ago abandoned writing 'conventional' record descriptions, this is
  music that dictates whatever comes to mind!  Then I love the countryside, just by walking in an ancient forest is to experience
  all the hidden away secrets in the shadows and in the hollows of old trees, set to such beautifully evocative Jethro Tull music,
  it reaches out to  reveal all of the physical aspects of the glory of ancient forests. So much for me cutting back  writing about
  these wonderful tracks, the potency of this music from such a powerful, perfect playing record instills a strong hold, but I will
  have to positively write just a few sentences per track.  I'm sure anyone reading this will love and know the album intimately
anyway, I think I have now explained those opening comment about why I regard this album as up there with Jethro Tull and
  Ian Anderson's most inspired work, on the first three tracks alone.  Another silent set of linking grooves, as the mood shifts
  into much more of a rock performance on "Hunting Girl," even then, this track has a Medieval feel right from an engaging intro,
   a really awesome Jethro Tull performance that could so easily originate from either of the "Benefit" or "Aqualung" LP's period.
    Martin Barre’s electric guitar and David Palmer's keyboards supply the main instrumental backing, which often verges on being
    period music momentarily, then just as quickly it has become really heavy rock music.  Martin Barre’s guitar soon develops into
    a fantastic studio tone I can only name as psychedelic overtones,1977 or not!   His electric guitar is entirely panned from the
    right speaker, then for a special studio effect, it occupies both of the channels. The sound quality is just stunning, as loud as
     this song is, you only hear ultra clear and undistorted audio definition.  Although there is no need to, I have to report this gap
    runs as smooth as silk, because virtually every first pressing is terribly crackly from wear immediately before and during the
    track beginning, this record has a perfectly clean and clear intro into "Ring Out, Solstice Bells."  Obviously a Christmas song,
    and it fits superbly just after "Hunting Girl," Ian was always very keen on writing these seasonal songs, he certainly had the
     gift for doing that and more so for the productions, and not forgetting the whole band are credited for the song arrangements.
     "Ring Out, Sing the arrival of the Winter Solstice when daylight's hours begin to diminish."  A fantastic production here, with
     ringing bells and even handclaps adding to the percussive feast of sounds, the vocal harmonies are sublime.  When the single,
    well, more of an EP really, only made No.28 in the UK charts just two months before "Songs From The Wood" was released, it
    was a real waste of such joyous sounds, but on the album it merges in with the other tracks so sweetly.  That audio perfection
     continues, I did not have to make a single negative comment for the entire first side, which for an unplayed true Mint record,
   serves to emphasise once again, how perfectly the very first pressing were mastered and pressed, creating the stunning sound.
 

  Side 2's extreme outer rim grooves are once again so close to silent, no record could begin so smoothly in spite of never being
  played for 39 years, the run-in grooves do not have even a split second of static in the run-in grooves.  Absolutely silent before
  the most perfect clarity, this intro consists of a really lovely celeste, classical keyboards playing a deeply beautiful melody to
  start the second helping of, "Songs From The Wood."  What fantastic sound quality this is, an immaculate pressing and a track
  to again transport you right out of today's modern world.  "Velvet Green" is one of my many album favourites but this track also
    ranks alongside my most loved Jethro Tull songs and performances. "Velvet Green" has such a magical charm that mere words
     cannot capture such wondrous sounds, melody and lyrics. Featuring only acoustic guitars in with the woodwind and percussion,
     they are multi-layered and in this amazing first stereo mix, the effect of the massed bank of acoustic guitars, coming at you from
      both directions, makes this a real delight to experience from mint vinyl.  It seemed absurd adding a 'minus' for such a fantastic
     39 year old record, the sound quality is staggering, I guess you will need to listen to the average condition 1977 vinyl to fully
     appreciate how awesome this sound reproduction is.  'Barriemore Barlow' might sound like a firm of lawyers, but his drumming
     on the track is magnificent, the acoustic guitars work as the rhythm, Barlow excels for the medieval parts.  As for those vocals,
      Ian Anderson is incredible, I have always felt his voice set against acoustic guitars was always something very special, right, I
     cannot allow all this indulgence however much I love "Velvet Green", so I will move onto the next portion of Jethro Tull magic.
     "The Whistler" has such a highly infectious melody, it was the obvious choice to release as the album's single but amazingly fell
     from grace though, and it failed to even enter our charts, unbelievable!   A song that superbly combines Celtic music with just a
  touch of rock, the flute and the guitar blend together in that distinctive Jethro Tull sound, Ian Anderson's vocals on this whole
     album are just stunning, here he goes beyond even that.  The overriding success of the tracks centres around just how superbly
     Martin Barre’s electric and Ian’s acoustic guitars became the ultimate combination and make this track.  The rarity of the single
     being in Mint condition is made lighter by having this playing in flawless, breathtakingly perfect audio, I'm not even going into
      occasional faint static for once, this is vinyl after all.  A completely silent gap follows,  that says it all anyway, I will be
     lost for words trying to describe the astounding and the beautiful, "Pibroch (Cap In Hand)", this runs for nearly nine minutes
      and is the longest track on the album, as well the most outstanding track.  Should there happen to be a Jethro Tull fan out there
     who has not heard "Pibroch (Cap In Hand)", shame on you!   Whatever your musical taste this has something for everyone, folk,
     very heavy rock, staggering vocals and the band play out of their skins!  There are so many sounds on here, from Martin Barre's
     awesome blues/psychedelic guitar to Ian's breathy flute playing, a track to totally lose yourself in and then want to hear it all
     over again.  Few albums have every track as amazing as this LP certainly does, "Pibroch" is both a heavy rock track as well as a
     folk period song at the same time, almost an 'album within an album.'  I've done well on this second side to keep my enthusiasm
  reasonably in check, so I will just repeat how stunning the sound is on every second of the nine minutes and move onto the last
   track, it seems impossible to be still have one more left, but what a track this is, to end such a magnificent album, it had to be!
   The memorable and dazzling brilliance of "Fire At Midnight" is actually a shorter affair at 2:30 minutes long, beginning from a
  near silent gap, first, 'near' means a split second of static, blink and next to nothing has been and gone...to leave a perfectly
clear and clean intro, as the beautiful heavenly harmonised vocals fade in with a cathedral like majestic organ ringing out, then
  stunning acoustic guitars back Ian Anderson's superb vocals. The lyrics ease you back into a reality that can only be the modern
   world, a song about a lady returning from work, going upstairs to remove her make up and now the person singing, settles down
  with her in front of a roaring fire at midnight.  Ian managed to knit together the album's theme of magical happenings within the
  modern day setting, ending up with the cosy togetherness in front of the simplicity of a fire, identical primeval security that Man
  has experienced ever since fire was first discovered in prehistory. That timeless image is conveyed with words and such deeply
  beautiful music.  "Songs From The Wood" is a real masterpiece of an album, one I cannot recommend highly enough for such an
  inspired musical content  and of course, this very first pressing true Mint record for having absolutely perfect sound quality.
{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.
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  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
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WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
 

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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!