Sold Date: October 15, 2016
Start Date: October 8, 2016
Final Price: £675.55 (GBP)
Bid Count: 10
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Buyer Feedback: 57

"E TO D"  (Steve Marriott / Ronnie Lane)

Sometimes I feel like a frustrated child,
I got everything I want, and there's nothing that I need,
I can't stop my my brain, from running wild, from running wild,
My brain, is running wild.

Sometimes I look inside baby, and I don't like what I see,
Seems like my soul is made, is made of feathers,
So I got to step outside, try to get myself together.
Things have changed, but now I find,
I've just been messing, messing up my mind.


So now my troubles are all over and I'm pleased to find,
That I was right and they were was wrong, I have messed up my mind.

You see those colours.....
Hear those voices.....
Watch those colours!
Watch those voices!
I can't take those voices!!
SMALL FACES: "Small Faces" LP. UK FIRST PRESSING 11th MAY, 1966, THE ALBUM WAS RECORDED, MIXED AND
  ISSUED IN MONO ONLY, A STEREO MIX DOES NOT EXIST.
The Small Faces debut LP was released 11th May,1966, even though it reached No.3 in the UK charts, the rarity of first pressings
is massive, with surviving copies virtually all totally shot and scratched to the core and fall way beneath even a 'Good' grading.
  I'm delighted to offer a very first UK pressing in completely unmarked, hardly played Mint- condition, the first edition covers
  are notorious  for horrendous wear, especially the back panels highly absorbent matt panel.   Lightly aged and no scuffs or s
marks is very rare, the much abused phrase 'clean' is being correctly applied, just the usual standing in storage for 50 years
traits.  Unfortunately Decca's compact and small covers were not suitable for heavyweight 60's records but this has not been
abused and a real exception to the expected totally wrecked appearance.  A very healthy 'Excellent+++ grading is way too harsh
but I have no wish to imply the cover is in the sensational Mint- condition as the record is, but it is a real beauty!  
Mint- condition is off the scale for the rarity of a first pressing surviving without a solitary mark, being a rather old Small
  Faces fan, who also wrecked my own 1966 original, this is quite an occasion.


  FIRST PRESSING 'Unoxed' LOGO, RED DECCA LABEL:  LK 4790.
  All 1960's mono albums were released on Decca's red 'unboxed' logo labels, the 1970's pressings are known as 'boxed' labels.
 
  First pressings had two ridged grooves on the labels, one towards the outer rim, the second was around the spindle hole, later
60's pressings had standard flat labels.
 

  MAITRIX : XARL 7217 - 3A  /  XARL - 7218 - 4A.
The above is the very first pressing,in May, 1966, that was the beginning of the cycle and the end digits would increase, like
just about every 1960's first pressing, there are unique features to the Small Faces debut album.

Decca 60's singles and albums had the maitrix printed upside down to the rest of the label's printing, located at 3 o'clock.

Above that is the UK Tax Code 'KT', then the 'LK 4790' catalogue and now the first exclusive first pressing only feature, moving
down from the above, the export royalty music companies abroad are printed.  An unusual position for Decca who favoured
the left side of the spindle hole.  Side 1 has 'BIEM', 'NCB' &'NCB', Side 2 has just 'BIEM' & 'NCB,' they would be moved to the
left for the later 1960's and beyond pressings.

   
CONFIRMING THE VERY FIRST PRESSING MADE, DECCA'S CODED STAMPING AT 9 O'CLOCK IN THE RUN-OUT GROOVES
 ARE  '1'  ON BOTH SIDES.   SIGNIFYING BOTH SIDES WERE PRESSED FROM THE FIRST MOTHERS.


ORIGINAL 1966 DECCA INNER SLEEVE, WITH RECORD CARE INSTRUCTIONS.
The record is in the 1966  original Decca inner sleeve, hardly used and close to new, still at  full original strength and the
perfect poly-lining, which means perfectly clear and unyellowed in the die-cut centre' s to see the labels through on both sides
Due to not being handled it's still a pure white colour, with unfaded blue printed Decca record care information, I recommend  
the instructions are still followed to the letter.  I don't believe in using cleaning fluids or machines that 'wash' records with
  chemicals of any nature!
 
THE COVER IS TYPICAL OF THIS 1960's ERA, ONLY JUST BIGGER THAN THE RECORD'S CIRCUMFERENCE BUT
DELUXE LAMINATED GLOSSY TOP SURFACE ON THE FRONT AND SPINE.  "Printed By James Upton Ltd." IS ON THE
BACK COVER, THE 60's DESIGN INCLUDES THE ENDINGS OF THE SPINE TAPERING INTO POINTS.
Overall the cover is in outstanding condition, with the above shape there had to be ridged edges and the accompanying small edge
laminate lines on the ridges and over the spine, the printed titles are absolutely clear on the spine, both ends are pictured above.
The front has reflective, highly glossy laminate, with the artwork colours as rich and deeply toned as they were in 1966.  For such
a mega heavyweight weight record, there's only the very mildest impression, without the usual multiple laminate wrinkles common
to this cover, plus a few laminate edge lines and the mentioned usual positions on the ridged spine.

All four corners are very close to being perfect, with only the very lightest brushing from standing, not use, the opening sides
and the edges are also in superb condition.

The back panel is superbly clear of any writing, sellotape, tears or scuffs, the black text is the original unfaded jet black colour.
  The vast amount of a white background to the text and track listing is still a reasonably white colour for the majority, the minority
includes some natural ageing.  Minimal though considering the blotting paper texture on the matt panel, I often feel describing
50 years old covers that survived the decades in perfectly strong and sound condition, do not deserve this intensive scrutiny
for the natural ageing process.  Especially for a superbly clean back like this, a highly absorbent paper without a sheen surface,
wide open to handling and the atmosphere. The average condition is at best poor, I consider this cover exceptional condition.
in beautiful condition.
THE COVER IS IN A MINIMUM EXCELLENT+++ CONDITION,  PLEASE REFER TO MY PICTURES FOR THE ACTUAL
BEAUTIFUL APPEARANCE OF THE COVER.


THE IMMACULATE LABELS ONLY HAVE FOUR SPINDLE ALIGNMENT TRACES, AMAZING FOR THIS ALBUM!
THE STUNNING VINYL IS LIKE BRAND NEW WITHOUT EVEN MARKS OR SCRATCHES, ANY HANDLING TRACES
ARE FEATHER LIGHT AND NEAR INVISIBLE, I COULD NOT FIND ANY BUT IT HAD TO BE HANDLED.
THE RECORD  WAS ONLY PLAYED FOUR TIMES, IN STUNNING  MINT- CONDITION.
The tracks;
SIDE 1
"Shake" (Sam Cooke)
"Come On Children" (Steve Marriott / Ronnie Lane / Kenney Jones / Jimmy Winston)
"You Better Believe It"  (Kenny Lynch / Jerry Ragovoy)
"It's Too Late" (Steve Marriott / Ronnie Lane / Kenney Jones / Jimmy Winston)
"One Night Stand" (Steve Marriott / Ronnie Lane)
"What'cha Gonna Do About It" (Steve Marriott / Ronnie Lane / Ian Samwell)

SIDE 2
"Sorry She's Mine" (Kenny Lynch)
"Own Up" (Steve Marriott / Ronnie Lane / Ian McLagan / Kenney Jones
"You Need Loving" (Steve Marriott / Ronnie Lane)
"Don't Stop What You Are Doing" (Steve Marriott / Ronnie Lane / Ian McLagan / Kenney Jones
"E To D" (Steve Marriott / Ronnie Lane)
"Sha La La La Lee" (Kenny Lynch / Mort Shuman)


Steve Marriott - vocals & guitar
Ronnie Lane -  vocals & bass guitar
Ian McLagan - keyboards
Jimmy Winston - vocals & keyboards
Kenney Jones - drums


Recorded At IBC Studios, Portland Place, London, February 1966.
  Produced By Ian Samwell
When an LP as magnificent as this debut Small Faces album becomes almost extinct in listenable condition, I just wait patiently
in hope or look to the nearest Master Tape pressing containing 100% faithful mastering.    Average condition 1966 "Small Faces"
first pressing is between Poor and Good, a 60's mono only album without a Stereo original version that would have been much
better cared for, drastically cuts the chances of even Excellent condition, has eluded me for so long, I can't remember the year
when I sold the last copy on ebay.  Probably around 2003, I have sold two 1970's boxed "Small Faces" since then but spread too
thinly over that twelve year period, a fantastic pressing but it never sold enough copies to enter the UK charts, one release on
the boxed Decca label was in 1978.  That was when Punk was ruling the roost, ironic when the Small Faces 60's records were being
boxed  raided from the likes of the Sex Pistols and Mod revivalist's like the Jam & Paul Weller. I'm not objecting at all, that comment
was intended as a compliment for their taste, in 1969, even Led Zeppelin 'borrowed' Steve and Ronnie's composition on Side 2 of
this album, "You Need Loving," the main heavy guitar riff and even the vocals and lyrics, with huge chunks of the track becoming
"Whole Lotta Love."  Rock was constantly re-inventing itself but you have to first credit the blues greats and to acknowledge the
Small Faces were among the most original and innovative bands of all time.


As I started to detail, 1978 was also the period the Small Faces briefly re-formed after their Immediate recording's received new
interest with re-issues on the 'Nems Immediate' label charting again, that included the first re-issue of their 1968 "Ogdens" in a
circular cover.  Decca were never slow to issue records around other events that placed one of their former major artists back
into the spotlight.   A whole decade later I was listening to a 'sound' I first heard aged 13 in 1966, still a Mod myself then!
All I am writing was inspired by just hearing this amazing condition first pressing of "Small Faces," a truly stunning sounding
record.  Fully capturing the incredible red hot r&b energy from one the greatest bands the UK and the world ever produced, Robert
Plant learnt to sing from hearing Marriott's extraordinary voice, Steve sung like one of  his own heroes, the great Otis Redding.
  Steve also sang with improvisations coming 'quite naturally' and the other three played with the same freedom and stomping, hard
rocking r&b music, the 'flavour of the month' was the "Otis Blue" album and this album opens with a version of a track from that
album, "Shake" written by Sam Cooke.   Any band who influenced Led Zeppelin had to be very special, for me the key track on this
debut album was not a cover version but a stunning Steve Marriott and Ronnie Lane composition that knows no equal, "E To D".  
Often cited as being written about the Mod associated speed (amphetamines), but in 1966 the Small Faces were into acid and the
lyrics and simply staggering music behind Steve's penultimate vocals, was in fact, really early psychedelia. The band played their
hearts out, Steve sung like his life depended on it, sure, Decca put two successful singles on the album but there was more than
  enough original tracks to not affect hearing something so unique, even the Rolling Stones debut album sounds tame and subdued in
comparison.  They never entered full on improvisations on tracks like "You Need Loving", "Come On Children", "Own Up" and that
  sensational "E To D", until they reached their fourth album, "Aftermath."  The Small Faces were also just as comfortable with the
  more restrained, melodic r&b songs,"It's Too Late", "One Night Stand" & "Sorry She's Mine" feature the band excelling at making
and maintaining a cutting edge.  Steve's vocals and lead guitar were not confined to full throttle blues / r&b, above all else they
made staggering records!  Kenney Jones was such a prolific drummer, only Keith Moon rivalled him and it was no coincidence he
ended up as The Who's drummer.  Mac was an incredible keyboard player and replacing the pedestrian Jimmy Winston in 1965, was the
reason both were credited on a few earlier tracks, as for Ronnie Lane, a songwriter, a vocalist and a bass guitarist capable of
performing and composing from folk music to mind blowing psychedelia, what a band, even if this was their debut album.

I am much to biased to discuss an album that I am still in awe of, the other major influence in the same direction, was the Who's
  own debut album, "My Generation." Viewed as a debut album, this is one of the most extraordinary records ever made, on a par with
  the just mentioned "My Generation", "Fresh Cream", " Piper At The Gates Of Dawn" & "Are You Experienced."  For totally original,
  unique music, but mostly because the Small Faces had no other previous bands to compare themselves to.   I am taking into account
  the fact that out of 12 tracks, 7 were self composed songs, I can't wait to describe the amazing sound record, track by track now, I had
better keep the text minimal though.
   

From the earliest times, the Small Faces attitude to life was a simple enough one, to have a ball while making great music, their
first gig in a East London pub ended up with a very drunk Steve Marriott jumping onto the pub's piano and proceeding to totally
  wreck it.  That happened  back in 1965, when the conventions were normally strictly adhered to by young bands starting out, but
for the Small Faces and fellow Mods,The Who, their music was pure energy, volatile and aggressive, they lived their lives exactly
  as they performed.  Publicity seeking bands tried to fabricate notorious images, for both Mod bands it was for real, they were
playing to pill popping, drunk audiences and violence was always there in the audience and outside the venues, the Small Faces
and the Who were no different to those they played to.  I must include the Kinks in that, this was certainly not the peace loving
  period of the later 60's in the UK, r&b music was an outlet for releasing tension and pent up aggression, as well as dancing to.
  Colourful and individual fashion styles merged with music and art, like never seen before, between 1963 and 1966, the  drugs
culture developed way before the psychedelic era.  That period's Mod culture and music were never better represented than on
  two key albums, 45's played a huge part as well but it's all there on the Who's "My Generation" debut  LP and this "Small Faces",
their debut and first of only two LP's released by Decca. In reality, this was the only LP custom recorded for their first record
company, the 1967 "From The Beginning" has a fantastic collection of rarities and hits, but it was released after the Small Faces
had moved onto the Immediate label.  If anything this Small Faces first LP is much more of a truer representation of the actual
sound of this exciting brand of music, Shel Talmy's production for the great "My Generation" is legendary but he smoothed over a
great deal of the Who's rough edges. The "Small Faces" LP gloried in their 'rough edges', creating more of a 'live in the studio'
recording, they did no more than play with all their wildest ad-libbing and improvisations,it's open, raw and abrasive, packed
  with genuine electrifying excitement, but also the most incredibly talented musicianship.  Plus of course there the album was a
vehicle for Steve Marriott's extraordinary energy, vocal ability and explosive lead guitar, nobody back then or since, has sung
or performed like Marriott on this sensational record.  60's groups were hopelessly ripped off, by the record companies, agents,
promoters and managers, but none more so than the happy-go-lucky and carefree Small Faces. In spite of a string of top selling UK
  singles with this debut LP making No.3, and Marriott and Lane being a formidable writing partnership as well as very competent
record producers.  They got only a pittance of the money they earned for Decca, their manager Don Arden and Decca were in full
control of their finances and grew rich on the money the Small Faces generated.
 

Side 1's run-in grooves have light natural static, then in staggering power and perfect audio clarity, an almighty explosion of
very powerful mono sound as "Shake" erupts from my speakers.   Kenny Jones' drumming is at a manic level and Ronnie's bass  
pumps out just as loud and clear.  Ronnie Lane sings the lead vocals and as the organ plays the melody as the lead instrument,
  Steve's r&b guitar is backing it up with some beefy  guitar work.  Steve Marriott's voice is heard giving Ronnie vocal support as  
well as encouraging wild whoops and yell of joy, what more could you hope to find on the opening track of an album? You won't  
hear a liver studio sound than this, as I wrote before there are none of the smoothed out edges Shal Talmy applied to the Who's
  to The Who for their debut Brunswick album "My Generation". The Small Faces worked off each other, with add-libbing a swagger
  that happened "quite naturally", it's rough, raw, raucous and very exciting!  You can feel their adrenaline pumping as they played  
and sung, the last verse has Steve taking over through sheer exuberance.  Sam Cooke's great song was taken to it's very limits,
even Otis Redding's version, as great as it is, lacks these astonishing dynamics.  The sound is awesome, that of a Mint very first
pressed record then ending into near silence, all of the track linking grooves are this clean, I can concentrate on the staggering
sharpness of the music.  These are very rare as new, unworn grooves and I'm loving every second of hearing this loved record in
such perfect sound, I'm not wasting an opportunity to describe such magnificent music as this. "Come On Children" is absolutely
classic for the early Small Faces, Steve was very fond of that expression to get the others to step up their playing, even when
they were giving it all they had.  He took that phrase from a James Brown record, another of his many r&b influences from being
a young teenager to his very sad death.  Steve's guitar is just amazing, playing blues with all of the screaming aggression of the
wonderful Mod era I was describing before. After a fantastic instrumental intro, Steve's into his blues / soul mode and with all
  the power his mighty voice had, he sings"Oh yeh...all right",  very loud handclaps punch out a fast growing, very tight rhythm.  
  Ronnie's bass and Kenny's drums and the handclaps are the only sound behind  Marriott's extraordinary vocal.  A dramatic tension
  builds and builds to breaking point, Steve's completely add-libbing, then with a  mighty "Yeh, my, come on children!!" Marriott's
  guitar explodes with the rest of the band, then s back for a near acapella last line.  The audio throughout all the volume dips and
  rises is just stunning, the sheer purity of the sound is my highlight of the week, Saturday has always been the day to play your
  favourite records as a weekend treat.  I spent the week waiting to hear, describe and offer on ebay and knowing how perfect the
  condition was, I knew it would be a very special record, it certainly is!  From the loosness of the feel of a blues jam, next the
  superbly structured "You Better Believe It."  Steve Marriott was capable of singing with great subtlety, giving  the melody full
  prominence, but even when he sung with a more subdued tone, he still blew away just about any other vocalist singing flat out!
   The organ is the lead instrument here and even during the solo, Steve's still going with a continuous flow of vocal add-libbs,
  he doesn't slow down and keeps going with the organ accompanying.  I don't want this to become repetitive,as I'm supposed to be
  be sound grading, the sound quality of this record is immaculate, especially because I'm hearing this at an unnecessarily high
  volume setting, distortion will not figure anywhere in the description of such an incredible sounding record.  Another brilliant
  self written song follows,"It's Too Late," Steve wraps his voice around the opening line:
 
  "My Daddy told me there were girls like you, I guess my Daddy had his hard times too".
  
  A slow r&b performance from the band, with Marriott in magnificent vocal form, as well as playing an outstanding, tasteful blues
   uitar solo.  The backing is so tightly knit together, a solid block of fantastic sound pushes Steve even harder now, not that he
  needed much encouraging, but the Small Faces were as tight as the Stax records they loved.  Steve's brilliant lead and backing
vocals have crystal clear audio, I can't help praising the astounding audio clarity, Decca pressings were consistently impressive
but then you find something that could not beat for the sound and impact, an absolutely perfectly pressed record, first 'Mothers'
on both sides and Mint vinyl are a joy to see and hear.  As much as I bitterly resent how Decca treated the Small Faces, I'm still
delighted they were the record company who pressed their stunning 45's and the two Small Faces Decca albums.  I will just
mention how smooth the track gaps are and appreciated before the sublime "One Night Stand,"an outstanding Marriott and
Lane composition, starting slowly and gradually building and simmering into an r&b epic track.  Steve sings with restraint, his
guitar is also restricted to a few nicely played notes. Mac's organ figures very strongly with Kenny's great drumming locked into
Ronnie's bass guitar.  This was a mono only recording and mix, every Decca Small Faces track was, with the only one exception,
a stereo version was recorded of "Sha La La La Lee" for overseas distribution.  This is 1960's mono sound at it's very finest,
  the Small Faces were all about maximum impact, making mono the perfect medium for their music. "What'cha Gonna Do About It"
 was their debut single, giving them their first success and a break through to national recognition.  Marriott's vocal alone was
reason for it's popularity, that takes nothing away from the contribution the band made.  Rumours of Don Arden buying multiple
copies for a bit of chart rigging are more than likely true.  At that time Ian McClagan was yet to be installed and Jimmy Winston
 played the keyboards.  Playing in ultra powerful sound and the sheer clarity of this record makes it really good to hear.
 

Side 2 has light static in the initial run-in grooves, opening with Kenny Lynch written song, he also co-wrote "Sha La La La Lee"
after their second single, "I've Got Mine," failed to follow up the chart success of  "What'cha Gonna Do About It." Lynch came up
with a great track to get this second side underway, "Sorry She's Mine".   The intro is only a few keyboard notes and one tap on a
cow bell, to hear this without the usual loud clicks and crackles, is wonderful!  The cleanness of the sound also means the same
singular percussion sound used between the verses, rings out in a true to life sharpness, it's not often this side's opening track
can be heard above the crackles and clicks,  what great sound here!  Steve's vocal here is a wonderful mixture of his softer tone
and singing out with his fullest  power.  Ronnie plays his part by singing superb vocal harmonies, when they needed to perform a
slower song like this, their voices blended together perfectly. My original LP was completely unplayable on this track, so I'm
really enjoying the stunning sound quality!  From a structured song to the incredible r&b instrumental "Own Up".   Mac played out
of his skin, the organ sound is ultra mega sharp edged and over to Steve who gets the track going with his loud aggressive guitar
playing, Ronnie's exceptional full volume bass was a vital part of all their records, an instrumental, though you get to hear
what a brilliant bass guitarist he was from their earliest recordings.  Kenney hits the rhythm just as hard and Mac plays a superb
piece before Steve Marriott's guitar comes screaming back in again.  Booker T and The MG's had a huge influence on their music,
but "Own Up" is the best example of their combined instrumental ability in full flight.  There's a joy to their playing words can
never capture, an instrumental but the yells and shouts in the background, were as much an important part of the track as this
stunning performance. Next,  a very special recording, the absolutely staggering "You Need Loving".  A very intense, moody blues
Marriot / Lane composition, Steve Marriott's vocal is just awesome!  The band kick up a real storm, but they also  keep it tight,
smouldering along and bursting into flames with incredible power!  This was a completely improvised vocal from Steve Marriott,
he was out on his own when it came to a live vocal of this  proportion.  The track I wrote about, in 1969 Led Zeppelin based the
song that made them a household name entirely on "Whole Lotta Love."    Before any Led Zeppelin fans flood me with irate emails,
Robert Plant was influenced by Marriott's vocal style. Nobody sung like Steve but if you listen to the backing track very closely
and are also paying particular attention to the very last Marriott vocal, when he sings,"Woman you need love, yeh".  Steve's
stunning drawn out delivery was unique to his way of singing, compare it to Robert Plant's similar line on "Whole Lotta Love" and
it will become obvious who was the originator.  "Don't Stop What You Are Doing" keeps the music very firmly in hard edged r&b,
an earlier song from the original line up with Jimmy Winston.  A deeply moody song,  this is heavy in atmospherics, so Marriott is
on home territory and singing his heart out.  A lovely moment is when Steve instructs the rest to "Play the blues" and then hits a
superb blues run on his guitar, this is still in the most incredible sound quality!  The next track is the one I highlighted as an
acid influenced track,"E To D," Kenny Jones excepted, the Small Faces were rather fond of indulging in acid well before the main
1967 psychedelic era.  From the first seconds this is purely sensory music, a blistering Steve Marriott guitar plays a savage run
and the percussion and bass respond, Steve opens up and sings the most awesome vocal I've ever heard:

"My brain, my brain is running wild"

Steve Marriott sings in a voice of such intensity, it's overpowering to listen to, a devastating  track, the original working
title was "Running Wild" after the lyric, they include lines like:

"Now I find I've just been messing up my mind, see those colours,
Hear those voices, watch those voices, I can't take these voices."

The lyrics cannot possibly read with the chilling intensity as they impact on the record, but with Marriott singing with his
fullest passion and emotion in that incredible voice, this was the most sensational track to be recorded even before there was
  a 'psychedelic' was even a term used for music.   Jimi Hendrix was still one year away from his similarly worded and executed,
 "Purple Haze".  I could write endlessly about this immense track, but unless you are hearing this staggering sound quality, it's
mere words.  Music that simply blows you away, even after 50 years of constant playing, this is much too special to analyse, just
be blown away..again! Playing "E To D" from Mint original vinyl is far more of a personal experience than trying to write about
it.  This track alone will give your Hi-Fi system the test of it's life!  The LP ends with the song that re-established the Small
Faces chart credentials after their second single"I've Got Mine" failed to sell at all.  "Sha La La La Lee" was also the last 45
not to have a Marriott and Lane writing credit. Kenny Lynch wrote an ideal song for the band with lyrics Steve sung in his unique
manner and the sheer vitality of the band's performance gave the song the necessary ingredients to become a No.3 UK single.
The sound quality is absolute perfection to the very end note.
  {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.

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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!