Sold Date: September 10, 2016
Start Date: September 3, 2016
Final Price: £101.00 (GBP)
Bid Count: 4
Seller Feedback: 4257
Buyer Feedback: 54

Angel came down from heaven yesterday,
Stayed with me just long enough, to rescue me....
 
And she told me a story yesterday,
About the sweet love
Between the moon and the deep blue sea.

Then she spread her wings, high over me,
She said,"I'll come back again to see you tomorrow...."

And I said,fly on, my sweet angel,
. Fly on through the sky.
Fly on, my sweet angel,
Tomorrow, I'm gonna be by your side....

Sure enough, this woman came home to me,
Silver wings silhouetted against a child's sunrise....

And my angel,
She said unto me,
"Today is the day for you to rise,
Take my hand, you're gonna be my man, you're gonna rise"
And she took me, high over yonder.....

And I said fly on, my sweet angel,
Fly on through the sky.
Fly on, my sweet angel,
Tomorrow I'm gonna be by your side....
JIMI HENDRIX: "The Cry Of Love" LP. UK FIRST PRESSING ON THE TEXTURED TRACK LABEL, 27th MARCH,1971.
The 1971 first pressing of Jimi Hendrix's final album, also became the last issued on the 'Track' label, like Jimi's 1966 debut
single "Hey Joe", all following pressings of "Cry Of Love" were on the red, white & black Polydor label for the rest of the 1970's
decade and beyond that.  Apart from two early 1980's limited retro pressings on a shiny Track label of "Are You Experienced" and
"Axis," both in stereo, 1971 marked the end of Track label re-releases for any of the previous Jimi Hendrix catalogue.  Including
all posthumous releases that still continue into 2016, for the 1967 "Are You Experienced" & "Axis Bold as Love" pair, that meant
four years of Track re-pressings and three years for "Electric Ladyland" as a double or two single LP's.   With multiple changes
to the labels and covers, including budget label issues by Track, in 1970 "Band Of Gypsys" underwent complex changes to the cover
during the charting period.  The first pressing of "Band Of Gypsys" had a controversial 'puppets cover' and that was replaced with
  a live photo of Jimi performing at the 1970 Isle Of Wight Festival.  Unlike the four previous albums issued on the Track label,
"Cry Of Love"did not  have any complications / variations to the labels or cover, simply because there was not enough time for a
  re-issue on Track, by late 1971 - early 1972, a Polydor label version was one of the first made.  With Kinney Records taking over
  so many record companies, including Polydor's Atlantic label by the end of 1971, Polydor moved very quickly to secure the Jimi
  Hendrix back catalogue and virtually all subsequent albums and singles that followed.  The one and only Track pressing had the
  effect of creating limited availability of top condition Track label "Cry Of Love" pressings, most Track covers are in a terrible
  state with the records scratched to the core.  Be very wary about counterfeit Jimi Henrix albums on the Track label on ebay now,
  the labels between 1967 and 1971 were all matt and extremely textured, with Polydor's distinctive maitrix machine stamped, fakes
  will not have either, they are poorly pressed in 'too good to be true' covers, completely unlike 1960's & early 1970's original's.


THICKLY TEXTURED, MATT TRACK DELUXE LABEL: 2408 101

MAITRIX:  2408101   A  // 1   420    1  1     /  2408101   B // 1   420  1  1  
The very first pressing made, 'A  // 1  / B  // 1' was the starting point, the end digits after the letters 'A' & 'B' designating
the Side's, would rise with every following batch, both side's can be seen in close- up pictures.
 

ORIGINAL 1971 TRACK / POLYDOR  INNER SLEEVE,  A CODED DATE '01/71' IS  ON THE FRONT BOTTOM RIGHT
CORNER, THIS WAS PRINTED IN JANUARY,1971, ONLY EIGHT WEEKS BEFORE "Cry Of Love" WAS ISSUED.
HARDLY USED AND UNSPLIT, ONLY LIGHT AGEING, MOSTLY FROM THE GLUE USED TO STICK THE POLY-LINING
TO THE ABSORBENT PAPER OUTSIDE EDGES, SHOWING THROUGH.   
As usual I have compiled a picture with an enlarged dated section underneath the inner sleeve, Mint records have the original 
inner sleeves, not all were dated and it's a bonus when they are. 
THE INNER SLEEVE IS IN EXCELLENT+++ / NEAR MINT CONDITION.
 

VERY FIRST ISSUE GATEFOLD COVER, WITH THE TRACK LOGO AND CATALOGUE NUMBER, EXCLUSIVELY PRINTED BY
'E J Day', THE CREDIT IS LOCATED ON THE INSIDE LEFT PANEL UNDER THE ALBUM DETAILS.
  A DISTINCTIVE SHAPED SQUARE SPINE, IT IS EXTREMELY RARE TO FIND THAT SQUARE SHAPE STILL THERE AND  AND
NOT FLATENNED AND AS MY PICTURES SHOW, EVEN RARER STILL,  ALL THE OF THE WHITE PRINTING IS 100%  AND
PRESENT, UNAGED WITH ALL THREE SECTIONS PERFECTLY CLEAR TO READ.  AM EXCEPTIONAL VERY FIRST EDITION 
COVER WITH ONLY THE UNAVOIDABLE STANDING /STORAGE TRAITS.   UNFORTUNATELY UNLAMINATED, WITH MATT 
CARDBOARD THAT ONLY HAD An ULTRA THIN SHEEN AS PROTECTION, THEY WORE TERRIBLY!  RAMPANT RING WEAR
SPOILT THE SUPERB ARTWORK ON THE OUTSIDE & INSIDE, THIS FIRST EDITION GATEFOLD COVER WAS PERFECTLY
STORED IN A PLASTIC OUTER SLEEVE  FOR THE LAST 45 YEARS.   ONE OF THE FEW THAT WAS AND THIS SPARED
FROM THE USUAL SEVERE DISCOLOURATION AND STAINS, 
THE FRONT POSITIVELY HAS NO RING WEAR OR SCUFFING, ONLY A RECORD IMPRESSION FAINTLY AND PARTIALLY
ON THE BACK.  SO FAINT IT'S HARDLY WORTH MENTIONING AFTER ALL THOSE DECADES, I MUST STRESS HOW
THERE HAD TO BE A RECORD IMPRESSION FROM SUCH A HEAVY WEIGHT RECORD.    A FEW LIGHT RIPPLES
ON THE INSIDE RIGHT PANEL OR THE RECORD COMPARTMENT, ON THE CORRESPONDING POSITION TO THE TOP
OUTER RIM.  THIS IS IN EXCEPTIONAL CONDITION FOR THE GENUINE 'Track Records' ISSUES, SOME VERY LIGHT
  RUBBING TO THE  EXTREMITIES LIKE THE SPINE TIPS AND EDGES, BEST SUMMED AS THE MOST MINIMAL THIS
COVER GETS AFTER 45 YEARS.
I did not personally make the covers for records, but I do try my very best to provide a reasonably critical appraisal, one based
  on first hand experience of buying albums like "Cry Of Love" on the day of release, them witnessing how they wore even with the
  loving care I had adopted after the 60's decade of failing to look after my records and covers.  That is a generalisation because
  a few were kept like new... but nowhere as I should have, by 1971, I was extra carefully and bought a cassette of "Cry Of Love"
  along with the vinyl, but my original cover has the identical storage traits I will detail, basically, they were what they were!
  A once / twice played Mint Track label 1971 pressing is extremely rare, I am counting one side as played twice,  but the reality
  for records, what goes down the spindle.....has to come back up and over, the majority did make positive contact as it was slid
  away from the spindle.
 
  The few Mint "Cry Of Love" Track label first pressings I have sold over these last decades with lovingly kept covers, also had a
  near perfect front panels but the back storage compartments had some degree of rubbing from the heavyweight record's internal
position.  A pattern that could not be prevented by storing the record outside the cover, but nobody did that and if they did, the
records would have been at risk, the fact is, a cover was made to protect the record and and we just have to accept that today.
This only has the slightest hint of rubbing as just indicated, as ever the spine tips or left corners of the gatefold, but all of
the lettering is 100% present and as perfect as it gets, I must repeat the cover was accessed once and this is all about storage
and not the usual excessive use.  I would love nothing better than selling a Mint record in a Mint cover, but for "Cry Of Love",
rubbing to extremities and a record impression and related traits, began back in late March, 1970, including my original bought
with the mentioned cassette version to play in my car and home.  The front is in really superb condition, with unworn, unfaded
colours on the brilliantly painted artwork.  The heavyweight record has only left an impression over the decades on the back
storage compartment, the front is totally clear of that so there are no creases for a change.  Only storage signs, I am repeating
for emphasis, mostly because of the remarkable condition of this very first pressing made.  If only to confirm even a Mint record
was not enough to prevent all described here... and for every copy I have sold on ebay and during the decades trading at record
fairs before the internet existed.  A really beautiful looking front cover, the portrait of Jimi Hendrix looks stunning without any
scuffs, scrapes or sticker damage etc., here are specific details.
 
  The spine is a major weak point but this is amazingly still the original square shape, if assembled at a slight angle, there is only
  the very slightest, minimal rubbing to the tips only, the rest is exceptional with clear, unscuffed titles.
 
  The right side corners are still square shaped, virtually perfect and unworn on the right hand side, only the spine's extreme
tips have the very lightest possible rubbing.  The edges hardly have any storage rubbing, I cannot stress enough how minor
  that is, the front's glued together vertical right side's edges and the back opening sides are in remarkable unworn condition.
 
  The back has that expected record shape impression, I have described the minimal rubbing and the the light creases top right, but
positively not the extreme wear to the artwork that normally leaves a white ring of sub-surface paper and often right down to the
  cardboard.  A record impression from the thick edged, deep grooved heavyweight record but still stunning looking, the colours of
the sun setting over water are superbly rich, completely unfaded and vividly bright.  A still pure white track listing and the Track
logo etc. are unyellowed and unaged.
 
  To sum up, a EJDay printed, very first edition Track  gatefold cover in outstanding condition, when compared to the 1971 average
covers, like all unlaminated covers of this vintage, it did not take kindly to heavy, constant handling, this cover definitely
was spared that. Please see  my pictures, paying so much attention to tiny details does tend to create a false impression,
everything is laid out with all the edges, corners and spine there to see, not 'conveniently' cropped or hidden away under the
 record or inner sleeve.
THE GATEFOLD COVER IS IN EXCELLENT+++/ NEAR MINT CONDITION


THE MATT TEXTURED LABELS AND VINYL ARE IMMACULATE, SPINDLE ALIGNMENT TRACES IN THE CENTRE'S SHOW
SHOW ONLY ONE  / TWO PLAYS PER SIDE, NUMERICALLY, BECAUSE I AM CERTAIN THE SECOND IS WITHDRAWAL.
A personal opinion, but one made from genuinely experiencing the album on releases and how in 1971, most of us were just getting
into stereo records and equipment after a decade of only knowing Mono sound.  Either way, this record is still in astonishing
  condition, a very first pressing of such a major Jimi Hendrix album, one I am thrilled to offer. I do my very best to present and
  describe how time takes a toll on covers  inside the "Cry Of Love" gatefold cover is a gleaming totally unmarked Mint record.
  VERY CAREFULLY MADE, LEAVING NO MARKS, SCUFFS OR SIGNS OF HANDLING OR PLAYING ON THE VINYL ITSELF.
  I WILL ALWAYS  STRICTLY ASSESS AND GRADE CARDBOARD COVERS, BUT FOR A RECORD WITH NO MORE THAN
  EXPECTED FROM A RECORD SHOP PLAY(S) IN THE 60's AND VERY MUCH STILL IN THE EARLY 70's
  THE GRADING WRITES ITSELF...... THE DEEPLY GLOSSY, AS NEW RECORD, IS IN MINT CONDITION.
SIDE 1
"Freedom"
"Drifting"
"Ezy Ryder"
"Night Bird Flying"
"My Friend"
 
SIDE 2
"Straight Ahead"
"Astro Man"
"Angel"
"In From The Storm"
"Belly Button Window"

Jimi Hendrix - lead vocals, guitars, backing vocals on "Ezy Ryder" & "In From The Storm", piano on "Freedom."
Billy Cox - bass on all tracks except "My Friend" & "Belly Button Window"
Mitch Mitchell - drums on all tracks except "Ezy Ryder", "My Friend" & "Belly Button Window"
  Buddy Miles - drums on "Ezy Ryder"
Noel Redding - bass on "My Friend"

Steve Winwood - backing vocals on "Ezy Ryder"
  Chris Wood - backing vocals on "Ezy Ryder"
  Billy Armstrong - percussion on "Ezy Ryder"
  Kenny Pine - twelve-string guitar on "My Friend"
Stephen Stills - piano on "My Friend"
Jimmy Mayes - drums on "My Friend"
Paul Caruso - harmonica "My Friend"
Juma Sultan - percussion on "Freedom",  "Night Bird Flying" &"Astro Man"
The Ghetto Brothers - backing vocals on "Freedom"
Buzzy Linhart - vibraphone on "Drifting"
  Emeretta Marks - backing vocals on "In From The Storm"

All Songs Written By Jimi Hendrix.
All Tracks Produced By Jimi Hendrix Except "My Friend."
Recorded 1968 - 1970 At: Record Plant Studios, Sound Center & Electric Lady Studios In New York.
  Michael Jeffrey - Executive Producer.
  Eddie Kramer -  Posthumous Producer, Engineer On All Tracks Except "Ezy Ryder" & "My Friend."
Tony Bongiovi - Sound engineer on "Ezy Ryder."
With a very rare Mint record I decided not to play it  until I was ready to write a description for the tracks, so I have not
  taken my normal complete play through out of respect for such incredible condition.  I am really looking forward to hearing this
  immaculate first pressing and waited impatiently since buying it last week, I will restrict this to only one play of both sides.
  I find only one or two plays unreal for any Jimi Hendrix album released on the Track label, between 1967 and 1971, the same
  applies to following Polydor & Reprise labels.  In my long experience selling Jimi's records, those wonderful Track pressings are
  among the most likely records and covers, to be absolutely wrecked....only to be expected as masterworks from a musical genius.
  Jimi's final studio album might have been issued seven months after his sad death, "The Cry Of Love" is not one of the many 70's
  albums compiled from studio out-takes and partially started projects, or just studio jams.  This was the album Hendrix had spent
  a great deal of studio time working on and he fully intended this to be his next release.  If any of the really worthy posthumous
  studio LP's deserved to be honoured with the title, "The Last Hendrix LP", "The Cry Of Love" was certainly the work of a musical
  genius taking his dazzling 1960's recordings into the new 1970's decade.  Due to his astonishing ability with a guitar, the most
  overlooked part of his extraordinary talents was songwriting, these final compositions were every bit as inspired as anything he
  had previously written.  It was the stunning content of the album that made "A Cry Of Love" a fitting swan-song to the fantastic
  legacy of music Jimi Hendrix left us, "The Cry Of Love" was filling a huge void, naturally moral issues about releasing artist's
  recordings after their death, will be always be debated.  I do not believe anyone could possibly argue that it was not perfectly
correct and ethical to release "A Cry Of Love," bearing in mind the previous Jimi Hendrix album was "Band of Gypsys," a live in
concert recording.  "A Cry Of Love" was indeed the studio album Jimi Hendrix purposely recorded to follow up the live LP with,
  his tragic death in September,1970 was hard enough to accept at the time, 46 years ago now, but I still remember it so clearly,
  the shock of his sudden departure left a musical void I was referring to, even to this day it has never been filled and is never
  likely to be.  Without the release of "The Cry Of Love", it would have been even more tragic for the 1968 "Electric Ladyland" to
  have become the final representation of Jimi Hendrix's studio work in 1970.  In the intervening two years so much had changed,
  The Experience had long ago been disbanded and Jimi Hendrix moved onto newer musical pastures, Mitch Mitchell still played on
  most of the tracks because Buddy Miles' drums were only featured on "Ezy Ryder." Jimi's incredible songs and the performances
  on "The Cry Of Love" showed how his current music was equally as inspired as anything that preceded it, we can only imagine
  where that would have led over the coming decades, had he lived.  That really sums the man up, even dying 46 years ago has not
   stopped every successive generation into music, from discovering the same astounding sounds that blew us away in the 1960's.
  Not just the screaming guitars with backward psychedelic sounds etc. Jimi also wrote and performed some of the most beautiful
   melodies of all time, just take "Angel" on this album, it was apparently written about his mother and the haunting melody and the
  lyrics are the inspired work of a musical genius. I am thrilled to offer a Mint very first pressing, I could even accurately date
  the inner sleeve to being made a few weeks before the album was released, every time I list authentic items like this on ebay I
  resent having to place them among the counterfeit junk.  On the other hand, I love how genuine artifacts shine out like a beacon
   and expose the junk and those seeking to rip off naive, inexperienced music lovers, I only sell Jimi's records in Nr. Mint/Mint,
  1/2 ultra careful plays all those years ago, cannot alter the fact this was how records were bought as brand new in the era they
conceived and released.  Especially not leaving any marks or scratches, demands the highest possible grading, the true meaning
  of 'Mint' has to take into account record shops played them before they were sold as brand new, I often compare that to  new cars
  having delivery miles on the speedometer, they are still brand new!  The sound will be stunning, this is the sound arrived at by
  Jimi Hendrix and in his untimely absence, his close friend and top sound engineer, Eddie Kramer knew exactly how Jimi Hendrix
  wanted the record to sound like.  How can anyone improve on that? Steve Cropper did the same for Otis Redding after his death,
  his most loved track was not finally mastered yet either and "(Sitting On) The Dock Of The Bay" was heard precisely how Otis had
  intended.


Side 1 only has just the faintest possible natural static in the run-in grooves, that was there in 1971 and nobody noticed such
trivialities, unless it intruded into the fullest enjoyment of the music.  I had better stay clear of my usual personal comments
about top condition records occasionally sounding like...records, that fantastic clarity and lack of annoying crackles & clicks
will be a feature of the whole record. It will be pointless constantly writing, virtually no static before, between, during, or
after the tracks finish, a gleaming Mint record and the sound can only be nothing less than perfection. On cue, now Jimi Hendrix's
lone guitar riff introduces an incredible "Freedom," his guitar is entirely panned in the right channel, leaving the left speaker
dormant until the track explodes into full life. True late 60's stereo of such totality, in such exposed situations usually have
horrendous crackles from the speaker still waiting to be fed music signals, this record plays without any of the wear factors
that cause that.  I wrote earlier that Jimi's song writing was ever improving and progressing, "Freedom" contains some of the
most stinging lyrics Hendrix had ever written, including this; "Get off my back, if you want to get out out here alive!" Hardly
the usual peace loving words Hendrix had previously written, in the four years since he came over to England in 1966, he had
crammed more into those four years than most of us ever will experience in a whole lifetime.  A stunning opening album track,
with angry and aggressive lyrics backed by an equally volatile lead guitar, creating a real edge to a studio recording, really
more expected when live on stage.  A very loud and powerful sounding first pressing, wonderful to experience "Freedom" with all
the original fullest impact, undiluted by wear and abuse.  The audio is as stunning as the song itself, affecting the senses with
the most amazing stereo panning effects, a connection to "Electric Ladyland" is apparent right from the first track on the album.
From the song angrily demanding freedom from those who were pressuring him into joining violent militants, we move into the far
gentler side of Jimi on the glorious "Drifting." The first gap on the album and I feel I really should say it runs ultra smoothly
and near silently as I fully expected for this fantastic, as new condition.   A deeply beautiful haunting melody, sung so serenely
and almost sleepily, psychedelia was not quite over for the master of the art, Jimi effortlessly creates floaty, dreamy sounds,
a delightful guitar intro has stunning razor sharp sound, so good to hear without even the very slightest surface sound.  I often
  not play a record through before starting to write the description, knowing the amazingly high audio standards of the first UK
pressings, my expectations are to hear perfection only, this first ever play confirms the virtual lack of any pressing related
sounds.   The guitar playing here is pure genius with the sounds only one man was capable of producing, the stereo is staggering
on "Drifting," the razor sharp audio is the very sound I first heard in 1971 and only possible from unworn vinyl, in this case it
happens to be 45 year old vinyl. Near silent gaps include perfectly clean intro's, next to benefit is my personal favourite album
track, "Ezy Ryder" is a fantastic track with a truly inspired Jimi Hendrix performance.  Jimi was joined on "Ezy Ryder" by
Traffic's Chris Wood  and Steve Winwood, who also played such a major role on "Electric Ladyland" in 1968, they also played
and sung  frequently with Jimi on stage.   If fate had not intervened so cruelly, I am certain Jimi Hendrix and Traffic would have
regularly played together, maybe even forming a permanent band later on in the 1970's.  Hendrix's guitar on  "Ezy Ryder" is just
awesome!  So are the mesmerising stereo sound movement created by the  individual panning, heard at their most potent from a
first pressing is quite a rarity.  The production of "Cry Of Love" was as ever in the very capable hands of Eddie Kramer, aided
by Jimi and Mitch.  The guitar's sensational stereo panning effects have to be heard to be believed, the last minute is something
very special indeed.  There's no chance I can remain neutral towards this loved album, I also become extremely critical and fussy
  about the way the record plays, this is in absolute audio perfection.  "Night Bird Flying" is pure magic, a truly great song with
some more of that outstanding guitar, to think how we took it for granted in the late 1960's that Jimi Hendrix would be around
for decades.   Yet another brilliant vocal from Jimi, his double tracked guitar on the instrumental parts, produces a real feast
of spine tingling sounds, the notes reached on the fade-out are just fantastic.  This extremely powerful sounding, heavyweight
vinyl, reproduces the amazing sounds in stunning audio clarity, all Track Jimi Hendrix records are among the finest pressings of
all time.  A near enough silent gap before "My Friend" is very welcome, 'near' allows for nearly inaudible static,I can't believe
I have reached the last track on this side, a really laid back song played almost as acoustic blues.  The great harmonica here is
in keeping with that kind of acoustic blues, Jimi's brilliant lyrics make "My Friend" fascinating to hear.  Drinking glasses are
clinked together and party sounds are all part of the background to "My Friend", the incredible stereo panning effects even have
breaking glass and the background voices in purely sensory sound movements, you are drawn into sound so realistic, I can only
  wonder why analogue sound was deemed as being in need of 'improvement.' The minimalist instruments make this essentially heard
  without any of the loud crackles or wear associated with these first pressings.   It took me three years to find and list this, I
  refuse to accept there was not a a Mint first pressing out there there.... here it is!  Great patience and positive thinking are
  worth the frustrating wait, even "My Friend" plays precisely as it was first mastered and pressed, the audio clarity here is sheer
  perfection from the beginning party sounds to the final note.  For this track alone, that acts as the grading for the album as a
  whole, so I can predict Side 2 will be just as stunning for flawless sound reproduction.


Mirroring Side 1, Side 2 also opens up with another magnificent song,"Straight Ahead" was yet another indication of how Jimi's
  songwriting was forever evolving.  Once again, near silent opening grooves give a perfectly clean great guitar intro, his lyrics
  were a recipe for coping with life's troubles, by living for today not tomorrow, how true when he tragically lived such a short
   life.  Dealing with growing trends of a very troubled, turbulent period at the end of the 60's decade, the peace and love ethos
  had been replaced by those who were now advocating starting violent revolutions against the establishment.  He was answering
  them here, with the same messages found in "Freedom."  The title of this album and the Side opening songs are really the theme of
  "Cry Of Love," an inspirational concept and the music is just stunning, with the guitar weaving magical sounds behind brilliantly
  written and sung lyrics.  I'm fast running out of ways to describe this record's immaculate sound quality, now from a silent gap,
  "Astro Man" erupts in sensationally powerful sound, if you like hearing Jimi's music with a bit of volume, the record comes ready
made. Not just about volume though, more the staggering impact of this track, the power builds up as the song progresses with
truly outstanding bass guitar & percussion.  Jimi plays that chopping guitar style of his, creating fantastic patterns of rhythm,
  while providing astounding lead guitar.  In complete contrast, now I must include there is a completely silent track gap here for
  the deeply beautiful, fragile gentility of "Angel," regardless of all five studio albums  this is surely one of Henrdix's greatest
  ever melodies. The first pressings and the early 70's Polydor pressing have a unique sound on his vocals, just a touch of reverb
  created the feel of him singing as if from slightly off in the distance. The effect was lost on later pressings, I do not wish to
  sound like I am only emphasising the key points about original vinyl, constantly playing an album does leave an unshakable
  expectancy of the precise sound of every part of an individual track.  The audio clarity on "Angel" is just breathtaking, this has
  the purest sound you could hope to hear, those pestering Jimi to join their call for violence, would have been very disappointed
  by both his emphatic answering lyrics on the tracks opening both sides, but even more so, by these very peaceful, gentle songs
  like "Angel."  The militants felt they owned him, but he was not interested, if anything their calls for a violent revolution got
  an angry, aggressive response back!  "In From The Storm" takes the energy levels back into overdrive, an amazing performance
  to leave you completely drained!   The stereo panning on Hendrix's guitar features it moving between the speakers at lightning
  speed, a staggering effect!  I was just about to try to describing the guitar's travels between the speakers, but fluid movements
  are much faster than I can type, so instead I will say that the sound is once more absolute perfection. The rhythm takes off for
  the last verse as Jimi sings this much faster and the drums join him as he moves between heavy guitar riffs and melodic notes,
  in the bitter/sweet moods of how he was writing in 1970.  " Belly Button Window" is a slow blues song played with a minimal
backing, this track is all about the vocals and the extraordinary lyrics, yet another perfectly clean intro follows a silent gap.
  The lyrics do seem to be suggesting Jimi Hendrix knew he was on borrowed time, these are very profound and concerned with
  birth, death and re-incarnation.  As the track most vulnerable to needle sound, this is in stunning audio, with barely the slightest
  hint this quiet track is being heard from a 45 year old record, quite honestly that is a ridiculous comment because I had to strain
  my ears to pick up on any minor natural static, far too minimal to take seriously on such a quietly performed track.   This is a
  truly stunning sounding "Cry of Love", the precise sound of a Mint first pressing Track record.
{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!