Sold Date: November 9, 2016
Start Date: November 2, 2016
Final Price: £101.00 (GBP)
Bid Count: 4
Seller Feedback: 4302
Buyer Feedback: 61

"WHEN THE EAGLE FLIES  (Steve Winwood / Jim Capaldi, 1974)

When the eagle flies, you'd better watch your eyes,
He's gonna sweep everything in his path.
And when the heavens cry, it's gonna drown the sky,
And you'll get caught in the aftermath.
When the mountains move, it's no good trying,
To prove that you've been doing everything you can.
And don't you start to cry, when you're about to die,
You gotta stand up and take it like a man.
Because you've been taking instead of giving,
And all the while you've been living lies.
Economics, all your atomics,
Ain't gonna save you from that bird in the sky.
And when the good times roll, wrapped up in your mink coat,
You will be stepping from your Cadillac,
And in a micro flash, you're gonna feel the lash,
Of big eagle's wing across your back.
And when the seas subside, you'll see him glide right out of view,
In clouds of snow the rains will come,
And wash away the scum, so that all the little flowers can grow.
There'll be no more taking, only giving,
And the sun pouring down.
No economics and no atomics,
Just the spread of Mother Nature's gown,
Do you hear me Mother Nature? ......
TRAFFIC; "When The Eagle Flies" LP,  FIRST UK PRESSING, ISSUED 28th SEPTEMBER, 1974.
  Always sad to present the final Traffic album, but a joy to hear the incredible music on "When The Eagle Flies", unplayed is
  rare and I simply have to hear the record.  One very careful play through without leaving any traces of ever being played, will
  allow me to write a track by track description, if slightly restricted.
 

  CUSTOM DESIGNED BLACK ISLAND LABEL, WITH THE FRONT COVER'S EAGLE DRAWING, IN WHITE.
  THIS WAS STILL PART OF THE PINK RIM /PALM TREE DESIGN IN 1974, SO THE BOTTOM CENTRE RIMS
  HAVE A WHITE "i" ISLAND LOGO.   DRAWN ON THE EAGLE IS THE FAMOUS TRAFFIC LOGO, IT FIRST APPEARED
   IN 1967 AND NOW FOR THE FINAL TIME, THE LABELS AND COVER HAVE THE FAMOUS CIRCULAR, ENTWINING
   ARROWS, AS FOUND ON ALL THEIR FIRST ISSUE UK ALBUM COVERS AND LABELS.
A very first pressing record in unplayed, Mint condition, a first edition Mint- card lyric inner sleeve and a Mint- much rarer,
very first made textured cover with a shaped, tapered, pointed spine endings.  Only a small batch was made for the earliest
  records, then the spines were made in the standard shape, by 1974 the 1960's design was being phased out and this is one of the
last covers with that shape.


ISLAND RECORDS: ILPS 9321.


MAITRIX: ILPS 9321 A - 3U  /  ILPS 9321 B - 3U
The starting point of the first pressings was indexing was 'ILPS 9321 A - 1U / ILPS 9321 B - 1U,' so only two digit increases per
individual side.  The next item confirms the status of a first pressing,  so does the maitrix textured cover and cardboard lyric
inner sleeve.   Contractually pressed by EMI in England, the 'U' ending letter was sometimes missed off, but not this time.
 

EMI THE STAMPING CODES: (Blank)  1 / (Blank)  1
Both sides were sourced from first 'mothers' and it is not rare to find EMI's sound engineer left off coded letters at 3 o'clock.
Only last week I was describing exactly the same for another EMI contractually pressed record, it was not rare at all an the all
important '1' digits are very clearly machine stamped at 9 o'clock.


  FIRST ISSUE ONLY, THICK CARD  BLACK & WHITE ILLUSTRATED LYRICS INNER SLEEVE, ONE SIDE OF THE TOP
  OPENING HAS A  HALF MOON SHAPED CENTRE, CUT AWAY TO ACCESS THE RECORD.  THE SAME SIDE ALSO HAS
   THE WHITE "i" ISLAND LOGO ON THE BOTTOM RIM, THE PRINTERS DID NOT INCLUDE THEIR OWN CREDIT
I recognise the shape and finish and I am certain it was printed by 'Garrod & Lofthouse,' the EMI connection for the very first
  pressing ties into 'Garrod', who made virtually every EMI cover and custom printed inner sleeve.  This record was never played,
sparing all the handling and heavy use of frequently played copies.

  The illustrated lyric inner only has a very light naturally formed record impression and traits of standing for 42 years.
THE INNER SLEEVE IS IN MINT- CONDITION.


STRICTLY VERY FIRST ISSUE ONLY, TEXTURED/EMBOSSED COVER, ONCE AGAIN WITH A 1974 "i" ISLAND LOGO.
  THE SPINE'S POINTED ENDINGS WERE ANOTHER UNIQUE FEATURE BUT ONLY THE VERY FIRST MADE HAD THEM.
THAT DESIGN HAD TO HAVE RIDGED EDGES AT THE MEETING EDGES WITH THE FRONT AND BACK, NATURAL EVENTS
FROM STANDING CAUSED LIGHT RIPPLES AND  OF COURSE SOME STORAGE TRAITS AND THE LIGHTEST POSSIBLE
AGEING.   THE POINTED SPINE TIPS HAVE THE USUAL LIGHT RUBBING, JUST  A QUICK REMINDER OF ORIGINATING
IN 1974 , STILL IN SUPERB EXCELLENT+++ / NEAR MINT CONDITION.


THE IMMACULATE LABELS DO NOT HAVE ANY SPINDLE TRACES, THE RECORD IS LITTERALLY LIKE BRAND NEW
WITHOUT ANY MARKS OF ANY KIND.
One undetectable play is not too much to ask from a Traffic fan, I'm starved of their albums because I only list them in Near Mint
to Mint, which is extremely rare from the years, 1967 - 1974.
  THE RECORD IS IN  UNPLAYED,TOTALLY UNMARKED, MINT CONDITION.
  SIDE 1
"Something New"
"Dream Gerrard" (Steve Winwood & Viv Stanshall)
  "Graveyard People"

  SIDE 2
"Walkin' In The Wind"
  "Memories of a Rock N' Rolla"
  "Love"
  "When The Eagle Flies"
 

TRAFFIC:
  Steve Winwood - guitars, all keyboards & vocals
  Jim Capaldi - drums, keyboards & vocals
  Chris Wood - flute & saxophone
  Rosko Gee - bass guitar


All Songs Written By Steve Winwood & Jim Capaldi, Except "Dream Gerrard", Co-written By Steve Winwood & Viv Stanshall.
The Album Was Recorded Between June And July, 1974 At;
  Netherturkdonic Studios, Island's Basing Street Studios & The Island Mobile.
  Produced By Chris Blackwell And Traffic.
After seven glorious years of making some of the greatest albums and singles of all time, Traffic bowed out in the same style
  they arrived with, their final album was as individualistic and inspired as their debut LP in 1967.  Granted "Dear Mr.Fantasy"
  was conceived and recorded in the very heart of psychedelia, and "When The Eagle Flies" in the more rock orientated 1970's,
   but both LP's stood head and shoulders about all but the very finest of their contemporaries in either decade.  I declare a full
bias on that subject, you cannot assess music by the acceptability of the record buying public at the time a record is made and
  released, often decades have to pass before the true greatness is recognised.  Traffic's music never catered to commercialism,
if for not being on the Island label and founder Chris Blackwell's unconditional commitment to a musical excellence above any
financial considerations, like many other artists on Island, Traffic would not have made it as far as they did.  For such talent,
  the record's sales did no reflect their unique music, their last single to chart in the UK was in 1968 and that only made No.40.
  To find a successful Traffic album in the UK, you have to go all the way back to August,1970, when "John Barleycorn Must Die"
reached No.11. Their next three albums, well, four if you included "The Best Of....", failed to even gain a chart entry, speaking
  as someone who regularly attended their gigs, the early 70's were one of their most prolific era's for performing live concerts
and for making records beyond compare.  In fact, it took a live album to get a position in at the charts, a recording made during
  their acclaimed 1973 tour, which had the fullest stage I ever saw them performing on,'The Muscle Shoals Rhythm Section' was
  the reason so many great musicians created evenings those fortunate enough to experience will ever forget. Rebop was also in
the band then, so along with Roger Hawkins, Barry Beckett & David Hood, Traffic created some really pulsating sounds with all
  the musicians alongside the remaining original trio, Stevie Winwood, Jim Capaldi & Chris Wood.  In November,1973, that double
  live album titled "On The Road," did at least make No.40 and even today, Traffic bootlegs of any of their live concerts are still
  eagerly sought after, including by many too young to have attended them, that says it all about the staggering musicianship on
  offer.  The Muscle Shoals Rhythm Section left Traffic at the end of 1973 and the next one to desert them after one further tour
  was Repob, for all of Winwood's multi-instrumental ability, on stage he was a mere mortal and only able to play one at a time!
  The next, and as it turned out, the final addition to this much travelled band was Rosko Gee, a Jamaican bass guitarist and with
   him in August,1974, Traffic performed at the UK's annual "National Jazz, Blues, Folk & Rock Festival," or as it is known today,
  the 'Reading Festival.' Nobody knew it at the time but that was to become Traffic's final live UK concert, previously to that and
  earlier in the summer with Rosko Gee on board, between June and July they recorded "When The Eagle Flies", Island's founder
  Chris Blackwell acted as their co-record producer.  After Rebop left Jim Capaldi resumed the full time role of playing the drums,
but very strangely, if you check the front cover's pen and ink drawing, wearing a top hat and standing between Chris Wood and
  Steve Winwood, there is Rebop Kwaku Baah...who had long ago left them.  Not only was Rosko Gee not pictured, he was not even
  credited on the cover or the lyrics inner sleeve for playing  bass on the whole album. As a bit of a Traffic fanatic I can supply
  the reason, Martin Hughes, the artist who added the four band members to the stunning artwork that depicted the main theme of
  of "When The Eagle Flies," environmental ecology, had drawn the scene using an old photo taken when Rebop was still in the band.
  
  While on the artwork subject, as was customary for every Traffic cover, their circular logo was incorporated into the drawing,
  cunningly placed underneath Chris Wood's left hand, to look like a flower in his coat's buttonhole.  I cannot say why Rosko Gee
  was never credited on the cover but his bass on the album was just superb and only the most talented musicians have ever been
   involved with Traffic, in that you have to even include Jimi Hendrix.  Traffic appeared on two of Jimi's albums and they recorded
    a near hour long session together of sensational music, that still remains unreleased but it will be easily located from bootleg
  sources that cover either Jimi or Traffic.  In the following November,Traffic played a final gig together during a USA tour and
   then went their separate ways, leaving us "When The Eagle Flies" as a fitting representation of all they achieved in seven years
  of making such innovative music.  No just music, the lyrics on this album surpassed anything previously written, even during the
  time Dave Mason was with them, between 1967 & 1968 for studio albums and a brief return for live gigs only.

The songs on "When The Eagle Flies" were written by Steve Winwood and Jim Capaldi except for the astounding, eleven minute long
   "Dream Gerrard," which Steve Winwood co-wrote with the Bonzo's Viv Stanshall, an English eccentric very much in the Keith Moon
   mold. A brilliant album but not easily located still with the extraordinary sound quality mastered in 1974, because the UK first
  issues are unique in all aspects and they were plain worn out, mostly only Traffic fans that bought them...to play and play again
until the vinyl was worn smooth!   The re-issues never stopped though and the album refused to go quietly into the sunset and this
final studio recordings constituted a masterpiece.   As great as "When The Eagle Flies" was, in England during, Traffic were
left with only hardcore fans, sure, we filled venues for their electrifying concerts, but to sustain high chart positions took a
lot more than that and England/Great Britain, is notorious for having very short memories where so many of out greatest artists
  are concerned.  In September,1974, the album charted, but only for seven days, a single week briefly held No.31, the reason why
the vast majority of copies in playable condition are either the late 1970's or 1980's re-issues.  Okay, a few facts about what
constitutes the first pressing, the labels are extensively textured on thick paper, ironically not that different from their 1967
debut on the first Island logo pink labels.  My picture of the A-side labels caught today's bright sunlight today and you can see
clearly see that texturing, none of this is documented anywhere, but two very important first issue only items, are the cardboard
lyrics inner sleeve and the exclusively designed cover.
 
   All three items have the original "i" Island logo that started in November, 1969, for some of Island's selected albums, picture
labels were used, they can be seen in my pictures. I will concentrate on the parts that need to be seen in 3D or at least held
and seen in the first person rather than on a screen. The first issue covers were uniquely textured or embossed, not exactly made
 to withstand wear after 42 years, but this is way above average condition, the re-issue covers has a smooth sheen top surface.
By late 1974, the spine's pinched top and bottom ot the left side corners had begun to disappear but this cover definitely still
  had them, those and the textured top surface were not re-used again, the late 1970's issue had a plain matt finish and then the
  1980's pre-bar code re-issue covers had a plasticised sheen.  The textured raised bobbly surface on the cover wore very poorly
  in the 1970's alone, but a plastic outer sleeve and no handling prevented that happening, no scuffs, scrapes and positively no
  ring wear even on the back.  The original colour was an off- white and  re-issues also have the same colour, it never was toned
  up to pure white, this cover is reasonably close to the original 1974 white.  Even the spine has the same white consistent
  with the cover artwork that continues from the front, over the spine and onto the back.  A countryside setting, moving from the
  front, downhill, into an industrial town pumping out the same pollution that continues today, even though global warming and the
  melting glaciers are a stark reality.  I could really offer this without playing the record, but I will take one undetectable play
and write a track by track description.  It will be  the first play since being pressed in 1974, any natural faint pressing related
static will be included but not dwelled over because after a few   plays it will be long gone, I know these first EMI pressings
rather well!
 

For the first time in 42 years, I carefully lowed my stylus manually, expecting some pressing related surface sound on a first
ever play, I was pleasantly surprised to find virtually none, EMI's  first pressings were always very special in the 1970's etc.
Side 1 has near silent run-in grooves, the faintest static only before "Something New" gets off to a perfectly clear, clean start
of a song about hope for the future, quite ironic to begin an album that would become the last to feature the talented musicians.
  The tightness of the backing instruments is purely Traffic slipping into a rock groove, the rhythm section behind Winwood's piano
  fits like a hand in a glove, Steve's very assertive but melodic vocals have fantastic audio clarity. Traffic in concert were just
  superb, I personally preferred Traffic without that 'huge' Muscle Shoals sound, Capaldi was more than enough as a drummer here.
  "Something New" was aptly titled from that perspective, this was more back to the late 60's or as far as 1970 for their sound.
   That is not a criticism but an opinion, the 1970's suddenly placed demands onto live sets to add more and more musicians and with
  an artist with Winwood's born with gifts & genius, it was perfect as it was.  I have no time for my usual additions, memories and
  opinions that music nudges into the open, this sound is absolutely stunning, Steve's guitar solo is mouth watering stuff and when
  he plays as intensively as this, it's where I first came in with The Spencer Davis Group.   I will have much more time for the next
  track though, the gap is near silent, perfect clarity for just Winwood's piano and vocals, one of many reasons why this is such a
tough LP as a first issue for not being full of annoying loud crackles & clicks.  It was not how it was pressed in 1974 and those
  piano notes have perfect definition, not having to compete with noise does mean virtually no form of natural static on just about
  the most exposed part of the LP, the other's now join him.  I never wish to imply records do not sound like.....a record, but the
difference between the natural low level, background only static or surface sound from unmarked mint vinyl, is light years apart.
Steve's voice is exactly the same as when he sang with Spencer Davies aged only fifteen, absolutely stunning.  "Dream Gerrard"
  begins with a beautiful slow melody, which is just perfect for his blues soaked voice, I just explained why I always try to find the
  records I sell all over again,well, self interest as well because it really is a genuine pleasure to these inspired performances.
  "Dream Gerrard" was composed by Steve Winwood with assistance of Bonzo Dog Band's lead singer and English eccentric, the late
  great Viv Stanshall.  Steve returned his friend's compliment by playing on his solo LP's, in fact, after this last Traffic LP, he
spent until 1977 playing sessions for a multitude of other artists, until he got his solo career together to record a self titled
  first album. The track is over 11 minutes long so I can take full advantage of squeezing in a few related details, the haunting
  melody gets inside your head and says there, Chris Wood takes the song's riff on his sax, this track alone justifies the earlier
comments about the greatness of this final Traffic album.  Steve is immense on the piano, with the synthesiser and the mellotron
played by such a genius, all three of the keyboards used here are just as amazing as his vocals. Traffic's improvisational skills
  within musical structures are legendary, the fantastic "Dream Gerrard" has everything that made Traffic loved around the world.
  I do get the impression that this album has been deemed unworthy by those who like to influence others into being so negative,
  don't believe a word, this is Traffic at their most potent and the sound quality from this Mint record is simply awesome. Even a
  quietly ending section of just a few sparse notes, is amazingly clear of any form of pressing sound, into the almost psychedelic
mellotron, bass and percussion, growing in intensity and volume, they now really take this off into the hemisphere. Is it jazz or
blues?  'Traffic playing inspiredly' is the only possible answer, even the gradual fade out to just a bass is without any kind of
sensation of vinyl. incredible for the first ever play!  Hopefully Side 2 will be as stunning, two different metal plates pressed
each side of a record and variations in surface sound / static can be the result.  I will emphasise how any true Mint record like
  this will positively improve with several plays, microscopic pressing 'pips' are played through.   I find it better to comment on
that while hearing a perfectly clean record being played for the first time,  the last gap on this side is near silent, but no time
for that really as the gap has none of the potential static and I am including absolutely everything regardless of how minor
it is.  A gently played electric piano begins the highly atmospheric, "Graveyard People," yet another of those haunting melodies,
featuring Steve Winwood singing his heart out as the band created a positively jazz & blues feel, I'm not even sure that fits the
feel or the looseness of how this develops. Trying to categorise Traffic's music is out of the question, they created sounds like
  no other band in this period and ever since.  Jim Capaldi's percussion is outstanding and with Chris Wood adding his sax into the
mixture of exotic sounds, a jazz influence does prevail, Rosko Gee's bass guitar is exceptional on this wonderful performance.
  I am amazed to now find the track finishing, how could six minutes have possibly flashed past like that?  I guess that's the true
  meaning of being completely drawn in and becoming 100% absorbed by what you are hearing and experiencing, that included
razor sharp and absolutely perfect sound quality. There is a studio tone on Winwood's vocals that really evokes the magical LP,
"Mr. Fantasy", the senses tingling stereo mix certainly does as well. This was so typical of Traffic, following that epic track
"Dream Gerrard" with the mood intensive "Graveyard People," an incredible first side and even allowing for turning the record
over now, next up is the really dazzling brilliance of "Walkin' In The Wind."


  Side 2 has a very long set of run-in grooves, then a gradually faded up sound of the wind blowing, has most records filled with
  horrific crackles, clicks and general noise. Not here, the initial opening grooves have light static then nearly silent during the
long faded- up intro to the wind blowing, I must stress that reminder this is the first play in 42 years and this is near perfect
if not perfect right now.  I do fuss too much but I genuinely care, anyway, the next sounds are  the wind gently blowing as part
of the intro to "Walkin' In The Wind," the sound is as superbly clean & clear as I look for, perfection is indeed accurate when a
faded-up actual musical intro begins, there is not a hint of any surface sound.  A really special song and a performance of true
greatness, it would not be out of place on the four pink Island label Traffic LP's, including the "Best Of Traffic" compilation.
For the first time Steve Winwood is playing the Hammond organ, I could even wind that back to the Spencer Davis Group as well.
Rosko Gee's bass guitar hits a glorious riff and with Steve's magical piano, Chris blows some incredible notes on his sax and Jim
keeps a water tight rhythm, this is music of such excellence, I cannot find the correct words to describe it. Winwood's genius on
both keyboards is matched by one of his finest ever vocals, the band are right alongside him and it would be unfair just praising
  his massive input.  All in fantastic, crystal clear sound quality, the percussion is particularly sharp and the bass guitar booms
out perfectly defined.  I have to return to those vocals though, they are a monumental feature of the whole album and at nearly
seven minutes long, I will include the chorus for the pefect example of the intensity within the song musically and lyrically;
The prostitute is standing on the corner,
Suffering so much pain to stay alive,
She's so real, that life itself bows down before her,
She couldn't make that nine to five.
The President is crying, crying in the White House,
The Prime Minister's really got the blues,
All the Heads Of State are busy playing cat and mouse,
'Cause you see, none of them have ever paid their dues,
Why? Why?
God knows why.
Why? Why?
What an amazing sounding record and this is the first play, the dynamics and sonic properties are nothing less than sensational!
Slowly fading out without any surface sound or static in the first gap, then sheer perfection during another ultra clean intro to
"Memories Of A Rock N' Rolla." If that title suggested loud screaming rock, far from it, this is a sad, nostalgic song concerning
committed musicians who love their music, but never reap any of the financial rewards. Steve Winwood's vocals are just awesome
here, this was now ten years after he first signed a recording  contract, he sings about being a young boy autobiographically,
that personalised the lyrics, so a very emotionally sincere and moving realism.  The song is slow blues here, the lyrics change
  to a young man who is now experiencing some success and as the tempo increases, you move onto him being an old man, sung as
near acapella with superb harmonies from Jim, naturally without virtually any surface sound.  Suddenly the track ignites into
faster tempo rock, Steve plays stunning blues guitar as the band really take off, Chris delivers great sax, Jim's drumming and
Rosko's bass are now locked into a very tight rhythm.  Phew, possibly, all I can now do is say how stunning the sound quality is.
  How I love this next track, "Love" may be relatively short at 3:20 minutes but what a fantastic track, just like the live side of
  "Last Exit," the sound gradually and slowly fades up into the band just hitting a blues/jazz groove, Chris Wood says to Winwood,
  "Are you playing in 'E' Steve?" and  then proceeds to join Winwood's Hammond with an exquisite light and breeezy flute, this is
  classic Traffic, again, belonging on any of their 1960's albums for such magical sounds and glorious feel.  Winwood's vocals are
  just devastating, can any performance from any other artist come close to the amazing "Love."?  The band were in such inspired
  form, slow r&b with the addition of Traffic's indefinable musical improvisational genius. The sound quality is just as perfect as
the sensational music, I recommend anyone yet to hear "Love" but has no interest in original vinyl, download this track and be
  amazed!  Without barely any static on the opening or the whole track, certainly nothing that not there in '74 and on that subject
  I am qualified to make such positive statements.   You can actually hear Traffic improvising around the loose structure and as
Winwood gets into another part he calls out chord 'A' and they go with him, how many bands then or today make music like this?
The quiet section near the ending is free from any static/surface sound, I have reluctantly reached a faded ending, the last gap
is totally silent, running ultra clearly and cleanly  into the intro to the album's title track and inspiration for the front and
  back cover's superb artwork, "When The Eagle Flies."  The lyrics were directly responsible for the deepest level of intensity
  in their performance, I deliberately picked them to represent the album, because by reading them they say more about this track
than anything I could write about it.  This has a distinctive late 1960's psychedelic feel and sound, Steve's Hammond and piano
evoke the feel of Procol Harum's "Whiter Shade Of Pale" in parts, but even more, this was when "Mr. Fantasy" met the present
  in 1974, because these dreamy, floaty acid like sounds can only be associated with "Mr. Fantasy."  The impassioned vocals were
delivered by that blues soaked Steve Winwood voice, bringing even more emphasis and meaning to how they might read in cold text.
They are dealing with Man's insatiable greed and the insane destruction of both our planet and the wildlife we share it with, on
a really emotionally packed track.  If listened to on a purely musical level, Traffic were one of the greatest bands of all time,
but as a swan song, "When The Eagle Flies" as both a track and an album as a whole, this was the perfect way to end seven years
of making the most stunning records.  The final track was enjoyed in the same stunning sound quality heard on Track 1, Side 1.
{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!