Sold Date: January 31, 2017
Start Date: January 24, 2017
Final Price: £460.00 (GBP)
Bid Count: 12
Seller Feedback: 4366
Buyer Feedback: 70

"Who'll Stop The Rain" (John Fogerty, 1969)

Long as I remember,
The rain's been coming down.
Clouds of mystery pouring,
Confusion on the ground.
Good men through the ages,
  Trying to find the sun...
And I wonder,
  Still I wonder,
  Who'll stop the rain?

I went down Virginia,
  Seeking shelter from the storm,
Caught up in the fable,
I watched the tower grow.
Five year plans and new deals,
  Wrapped in golden chains.
And I wonder,
  Still I wonder,
  Who'll stop the rain.

Heard the singers playing,
  How we cheered for more.
The crowd had rushed together,
  Trying to keep warm.
Still the rain kept pouring,
  Falling on my ears.
And I wonder,
Still I wonder,
  Who'll stop the rain.
CREEDENCE CLEARWATER REVIVAL: "Cosmo's Factory" LP. FIRST UK EMI PRESSING, 25th JULY, 1970.
Before discussing the intricacies of overlapping label designs and pressing details, I want to establish this is stunning looking
and sounding record, in a Mint- cover.  I had to take one listen to an unplayed "Cosmo's Factory," which also happens to be my
personally most loved Creedence album, I never leave any spindle traces on labels or the vinyl!  My undetectable play also gave
me an opportunity to write a track by track description, what sensational sound quality! A totally unmarked, true Mint, EMI first
pressing of a Creedence album that at least equals, or in most cases, surpasses nearly ever LP released in the 1970's decade,
and most from the 1960's decade come to that.  A masterpiece, with every single track, a fantastic song and performance, with
that very firmly stated first, I now sigh deeply and once again need to verify the true status of such a rare record.  I do this for
every "Cosmo's Factory" I offer on ebay, the last was equally stunning and that was an EMI pressing, Polydor and EMI made the
records, that can cause additional confusion but that was quite normal in the early 1970's.  A very common occurrence in the just
passed 1960's decade, for more than one contracted record company to contribute the pre-arranged numbers of first pressings.
An EMI first pressing is a guarantee of the finest mastering and pressing in the world, pressing info is very important when such
complexities exist. So is keeping a perspective over the simple pressing sequences happening when new label designs are being
  incorporated into the latest releases, unlike back catalogue re-issues, they are currently being prepared during that same period
  of 'the past meeting the present'.  That was not an over dramatisation, just me being unable to use a once meaningful phrase in
  the correct context.  So many ebay sellers have taken the word 'transitional' and re-written the dictionary definition by applying
  it to blatant re-issues usually from different decades!  All vinyl pressing plants had to produce the pre-set scheduled numbers
of albums, manufactured along with related printed items before an album was released, so all are by definition, first pressings,
first editions, originals, first issues, first editions and any other method of definition, is this easy for a UK pressing;

"Available to buy in British record shops, on the first day or at least in the initial week of the release date."

This record is certainly from the multiple ways of expressing 'first pressing' but I will avoid a word like 'transitional' because
that has been rendered meaningless on ebay now, what a shame global communication on the internet has become a place where
  truth is distorted.

  "Cosmo's Factory" was being pressed when the blue Liberty label had been re-designed & printed in the early summer of 1970, some
  of the records made at the very beginning of the manufacturing process, used up the last of the blue labels. Had Credeence been a
  new band without much of a following yet, only a minimal number would be made to 'test the water,' then perhaps there would have
  been sufficient blue labels left, even then I doubt it due to so few copies of "Cosmo's Factory" existing with them today. Making
statements like that is backed up with a genuine wealth of experience, not just as a collector,I was buying and selling Creedence
albums way, way, before ebay and the internet.  All original UK Creedence's albums pressings are now extremely rare if still in
top condition, few are!  "Cosmo's Factory" was the last Creedence album released on the blue Liberty label, by that late July to
early September,1970 release, huge amounts were required and pressed, it was for a No.1 UK LP after all.   So these black label
pressings positively became part of the album's chart residency, EMI pressed the blue Liberty label records and you can easily
  confirm all written here by seeing how the 'past' blue design and the 'present' black labels, seamlessly merged together to form
a collective release.  For anyone new to all this, it really is so simple, EMI & Polydor indexed every single record and even if
  that was multiple million selling Beatles single in 1963, "She Loves You," every one of them can be individually identified as to
where they precisely fitted into one of the biggest vinyl pressing's undertaken by a UK factory.    If in this stunning Near Mint
condition, an inner sleeve can be deemed as the original it left the pressing plant in, both the blue and black label EMI first
pressings will be.....inside the same mid-1970 Near Mint EMI inner sleeve, as this first pressed record is!

  THE VERY FIRST BLACK LIBERTY LABEL: LBS 83388

MAITRIX: 83388  A - 1 / 83388 B - 1

EMI STAMPING CODES:  PM 2  / MM 3
EMI produced, the mothers were prepared in advance of the pressing and used in no real logical numerical order.  Pick up any
Beatles or Pink Floyd albums and the above will be found and much higher.
 

ORIGINAL 1970, EMI CURVED EDGES INNER SLEEVE, WITH THE  PATENT NUMBER AND "Made In England,"
  FOR EXAMPLE, THE SAME TYPE USED ON MAY 1970, FIRST PRESSINGS OF THE BEATLES "Let It Be" LP's.
  IN UNUSED, LIGHTLY AGED AND UNSPLIT NEAR MINT CONDITION.


FRONT LAMINATED FIRST ISSUE COVER, PRINTED BY 'Upton Printing Group", ONCE AGAIN UNUSED AND ONLY
  SHOWING THE EXPECTED STORAGE TRAITS OF HOLDING A MASSIVELY THICK & HEAVYWEIGHT RECORD FOR 47 YEARS.
The cover was is such outstanding condition, there is nothing for me to detail for use related wear, there is none, a deeply
  glossy laminated front has vividly rich, unfaded colours.  The back was not laminated, but this is also unfaded and unscuffed,
  with the colours as bright as they were an astonishing 47 years ago, the corners, the edges and spine are in perfect condition
  Not even a hint or ring wear or rubbing on the matt back panel, with the tight fitting cover with the spine tapered and pointed,
  it is amazing there is only standing traits.... a light record impression and the related laminate lines, mostly alongside the spine.
  I just wrote the same for an unplayed 1987 George Harrison LP with a Mint- cover, I had my say aboy the absurdity of discussing
natural events when an unplayed record is involved and the cover 100% perfectly stored from day one.
 

  A reasonably gentle record impression indeed, some related laminate/paper edge lines are typical of first issue covers that were
made exactly like other 1970 EMI first issue covers with ultra slim spines, once again "Let It Be" becomes perfect to illustrate
that.  The very first red and green logo covers were completely different to all that followed, please see my picture of the spine
  for how thin it is!   A plastic outer sleeve from new prevented the usual colour loss/ fading, so there is absolutely no rubbing,
As my pictures show even the spine lettering is perfectly clear & unworn, so are all the edges, the crisp barely used opening
  sides, even the spine tips are free of rubbing.  I simply refuse this time to include standing traits and a minus suffix will suffice
to signify this is a 47 year old cover...... in simply incredible condition!
THE COVER IS A REAL BEAUTY, IN MINT- CONDITION.


THE PRISTINE MATT LABELS DO NOT HAVE ANY SPINDLE ALIGNMENT TRACES ION EITHER SIDE.
THE IMMACULATE RECORD DOES NOT HAVE ANY MARKS OR SCRATCHES, ANY HANDLING WISPS ARE NEAR
INVISIBLE.  ABSOLUTELY STUNNING, ULTRA CLEAN SOUND, THE RECORD IS IN UNPLAYED MINT CONDITION.

Now the music, just look at the track list I will now type, even with my familiarity with "Cosmo's Factory" I will be mentally
drooling over the prospect of re-playing this sensational sounding record. The whole album does not have one second that falls
below pure genius, including that glorious eleven minutes of "I Heard It Through The Grapevine."  Unbelievably that is preceded
by "Who'll Stop The Rain."
SIDE 1
"Ramble Tamble"
"Before You Accuse Me" (Bo Diddley)
"Travelin' Band"
"Ooby Dooby" (Wade Moore / Dick Penner)
"Lookin' Out My Back Door"
"Run Through The Jungle"
 
SIDE 2
"Up Around The Bend"
"My Baby Left Me" (Arthur Crudup)
"Who'll Stop The Rain"
"I Heard It Through The Grapevine" (full unedited 11 : 05 mins. LP version - Norman Whitfield / Barrett Strong)
  "Long As I Can See The Light"


John Fogerty - vocals, lead guitar, piano, sax & harmonica
Tom Fogerty - rhythm guitar
  Stu Cook - bass
Doug Clifford - drums
 
  All Songs Written By John Fogerty, Except Four Tracks Credited.
  Recorded Late 1969 - 1970, At Wally Heider Studios, San Francisco, California.
  Produced By John Fogerty
Having exhausted any need to discuss pressing details, I can at last turn to the music, all bands peak on a succession of albums
  and the above track listing more than suggests Creedence hit their loftiest heights in 1970 on their fifth album.  How could one
  album have a track as magnificent as "Who'll Stop The Rain" and directly follow it with the sensational 11 minutes of the most
  bitingly intensive music?  They very slowly smoulder, start to burn and catch fire with a dazzling brilliance on one one of the
  most stunning performances ever recorded in a studio spontaneously, "I Heard It Through The Grapevine" never has and never
  will never be surpassed.  For interpretations, Arthur Crudup's "My Baby Left Me" and Bo Diddley's "Before You Accuse Me" rank
  among the world's greatest pure blues versions, so great, like that Marvin Gaye r&b classic, Creedence made the songs sound like
  they wrote them.  They breathed fresh life into them, not only that, John Fogerty's songwriting created equally incredible songs
   fit to grace the same grooves of the record, containing such era defining recordings.  Perhaps the most overlooked of them all is
  one of the finest anti-war songs, as deep and heavy as they come, with mood intensive atmospherics just part of tensions so taut,
  you can taste the danger and the terror of the Vietnam War.  Yet "Run Through The Jungle" is never mentioned and still remains a
  track just waiting to be discovered, No.1 album or not, records of this unbelievable intensity and depth, are often only listened
  to on a superficial level. Then today the re-issues do not have the massive and overpowering impact, that was true of all of the
  Fantasy label re-pressings, watered down, diluted sound was all that was required for those endless 'Creedence Greatest Hits,'
  how could a vastly edited, single version of "I Heard It Through The Grapevine" generate the staggering power of a first issue
  "Cosmo's Factory", when that only offered a fleeting glimpse of the real thing?   I'm pretty fussy about how I hear this amazing
album, due to how perfectly they were mastered and pressed in 1970, colours of labels become immaterial when exactly the same
standard vinyl was used for two possibilities. I can hear a first pressing without needing to see the labels, cover, inner sleeve
or record indexing, so I have every reason to be that fussy when virtually all these 1970 first pressed records were completely
  wrecked in that initial year and ever since, just take the staggering guitar section of "Ramble Tamble."  The really long piece
  on the second half of the track ,when the band power up behind John playing Dave Gilmour like lead guitar, the tempo increases
  before they return to the infectious original riff of "Ramble Tamble," who didn't hunt around with a roving needle to find such a
  beginning to the compulsive guitars section? We all did, and in the process left nasty crackles and clicks on what was still only
  the first track, no wonder I just got frustrated at the very thought of having to justify naming this an ultimate sounding, very
  first pressing?  As it happens, in that department I am more than qualified to take on any website or text book dictating what
  constitutes a first pressing, but what a waste of time when a fantastic never played record should become the focal point of a
  description.  Most album details were given above with all the recording info, the album's title is often mistaken as being the
  name of a star constellation, but this is in fact named 'Cosmo's,' with the apostrophe before the last 's' signifying ownership.
  Creedence used to rehearse and practice almost daily and John Fogerty's role of the band's driving force and his perfectionist
  nature, drilled the band to attend a warehouse in Berkeley, where the band tightened themselves into the force heard both in
  a studio and live on stage, the two were one and alike, hence such staggering records. Doug Clifford was pushed just as hard as
the dynamo behind the rhythm, his nickname was "Cosmo" and by likening the relentless pace John Fogerty set them as being in
a workplace, Doug used to call the warehouse "the factory," so "Cosmo's Factory" it was!  The front cover picture features in the
warehouse and the band between the relentless rehearsals and practice sessions, the back's collage of pictures were taken as
they were mostly playing and unposed, the rest is there in the music on the album.  EMI pressed this and as a first generation
  from the Master Tapes, the audio potency and impact of this record is beyond anything I tried to describe, but I did try my best.
With all the text written above, knowing in advance how perfect the sound was, keeping this minimal was forced on me, just as
well!


  I will not waste precious time over any faint natural static of an unplayed record of 47 years vintage, a record is....a record!
I am offering the opportunity to slip back in time to the summer of 1970, buy "Cosmo's Factory" from a record shop, take it back
 to January, 2017 and play a brand new, just pressed record.  What I am privileged to play and describe now, was exactly how it
sounded in 1970, before it was ever played, that sentiment was what actually inspired me to become a professional record seller.
From near silent run-in grooves, Side 1 up opens to the mega powerful sounds of "Ramble Tamble," any natural low level static
is precisely that and unworthy of wasting time over. The guitar intro is followed by a full throttle John Fogerty vocal, loud and
  perfectly clean, then that magical moment, the tempo slows from a blues/rock performance track and becomes a magnificently
melodic guitar theme.  Reminding me vaguely of Cream's great "Badge", but can I best compare John's superb lead guitar sound to
having more than a touch of Pink Floyd's lead guitarists, Dave Gilmour at his most emotionally flowing, so very special indeed.
The way this builds is incredible, the basic rhythm guitar from Tom and Stu Cook's bass riff, pins down the gradually increasing
tempo song, John's lead guitar plays a wonderful ever ascending part, then back to the faster blues tempo and a superb Fogerty
vocal for a final verse. The guitars section is the most staggering combination of soaring  melody, emotionally performed with a
very aggressive guitar riff. The audio clarity is stunning,  for such astronomical power of the record, no distortion at all on the
loudest notes and joy of joy's, not a solitary crackle or click from virgin vinyl, running for seven minutes, I don't want this
track to ever end!  Mint vinyl is unbelievable because when "Ramble Tamble" does finish, silent linking grooves take you into the
purest blues of Bo Diddley's composition, "Before You Accuse Me", a track frequently played by the master himself, Eric Clapton.
A superb version with the authentic feel of the song respected, maintained and venerated, but it still has that unique Creedence
sound from the two Fogerty brother's guitars, Tom on rhythm and John playing the lead.  You do not get any vocal sound anymore
distinctive than these amazing vocals, the audio itself has the first pressing's flattening impact I know and love, combined with
a razor sharp cutting edge, these are full strength music signals, undulled and unworn, wonderful!  "Travelin' Band" was one of
the outstanding singles released around this period, an absolute classic, grabbing your attention from a radio and this album has
  a slightly different guitar solo, at least to my ears it always sounded different to the single version.  Heard in the incredible
first stereo mix and such perfect audio,a real pleasure to experience in the original album context, why I relax before detailing
every possible pressing detail, right now it's just the music.  Another silent gap, it's time to stop repeating that and also how
there is a perfectly clean, clear intro to, "Ooby Dooby,"  please also take it as read all the up coming intro and outro's are as
immaculately pure and clear.  There is no surface sound or audible static at all and definitely none of those irritating crackles
of a worn out record, playing as though I have just stepped into a time machine, returned to my local record shop in 1970 and
just bought this record, even if was 47 years ago!  "Ooby Dooby" may have 'nonsense' lyrics but this is all the feel of the track
and what a brilliant performance from the band here, that 'feel of the music' is all that mattered, taking precedence over needing
meaningful lyrics.  This song is simply the joy of making music and that transfers directly to the listener, besides, John Fogerty
singing a blues song with his vocal power, is reason enough  to hear it!   A smooth gap once again gives a perfectly clear and
and clean entrance to "Lookin' Out My Back Door," finding that voice in great form, a folk flavoured song so softer tones from
John this time, the less forcefully projected vocal demonstrate the versatility of John Fogerty.  A slower song with outstanding
sound quality that allows all the instruments and the vocals to be heard in crystal clear, absolutely stunning sound, there has
not been any surface sound, even on the more exposed to noise, "Lookin' Out My Back Door," this was an immaculate pressing.
"Run Through The Jungle" is a spectacular, mood intensive song I always look forward to hearing, pure blues again, with a superb
harmonica played around outstanding guitars. This first stereo mix features brilliant panning effects in 60's style total channel
separation, maybe misinterpreted and misunderstood, a fantastic anti-war song, delivered with a heartfelt and deeply passionate
vocal, with war zone noises initiating the atmospherics at the beginning and the end.  In 1970. the Vietnam War showed no signs
  of ever relenting, Richard Nixon was obsessively ranting and raving like a madman, young soldiers were fighting in horrendous
jungle conditions, the lyrics graphically portray the horrors of the senseless war.  Despair is there in the lyrics but even more,
the vocal itself has a real intensity, it seems petty to even discuss sound quality here, but this is in immaculate audio and I
will give the full lyrics here because the side is just finishing and nothing I have written conveys the impact of them, or the
chillingly intensive performance of the band.
Whoa, thought it was a nightmare,
Lor', it's all so true.
They told me, "Don't go walking slow,
'Cause Devil's on the loose."

Better run through the jungle,
Better run through the jungle,
Better run through the jungle,
Woa, don't look back to see.

Thought I heard a rumbling,
Calling to my name,
Two hundred million guns are loaded,
Satan cries, "Take aim!"

Better run through the jungle,
Better run through the jungle,
Better run through the jungle,
Woh, Don't look back to see.

Over on the mountain,
Thunder magic spoke;
"Let the people know my wisdom,
Fill the land with smoke."

Better run through the jungle,
Better run through the jungle,
Better run through the jungle,
Woa, don't look back to see.
From more near silent run-in grooves, Side 2 starts with a really stunning powerful guitar intro for another John Fogerty song
of true greatness,"Up Around The Bend".  Powering in without any surface sound, which is exceptional for a side opening track, so
  was the audio standard of the mastering and the pressing.  I emphasised how every track was a masterpiece and here is another of
those amazing songs, such a remarkable single, but it belongs within the context of this album, for me this became the track that
followed "Run Through The Jungle."   Performed with real style and electrifying energy, John's vocals are just magnificent for an
excellence that carries onto the entire album, the guitars ring out with stunning audio definition, the sheer power of it all is not
just about my amp's volume, this was all about making some of the greatest records of all time and this qualifies alongside any of
them you could name.  An ideal side opener and on any other album this would have stood out, but "Cosmo's Factory" features every
single track at an unbelievably high standard.  Creedence's main strength was in simplicity, as the 1970's decade moved away from
the 60's era of inspired music, Creedence worked harder and harder to keep it as consistent as anything that preceded their last
recordings, unfortunately that was always going to reach a peak and nobody could sustain originality indefinitely.  Two albums
after this would see the band disbanding and really the next LP, "Pendulum" became the last with all four still together, but they
certainly made music that outlasted the self indulgences of the era, by being prepared to burn out.  Just to reinforce that, next
  the inspiration stakes now find them dipping into the classic blues of Arthur Cradup's great "My Baby Left Me," also recorded by
  Elvis Presley, quite an act to follow.  John Fogerty was not found wanting in the vocal department either, as Creedence play this
  as an authentic late 1950's backing, providing a perfect backdrop to allow John to reveal another facet of his unlimited talents
  as a vocalist. Led Zeppelin often performed like this, I had better concentrate on the record's sound to avoid writing too much,
  best summed up by saying, 'there is no surface sound and the audio is absolute perfection,' those incredible songs just keep on
  coming, the next  is just about my all time personal favourite Creedence Clearwater song, performance and recording, a melody of
  beauty but the contents are as intensive as anything on the album.  "Who'll Stop the Rain" was another emotionally stirred, very
  strongly felt anti-war song, the Vietnam War in 1970 occupied every news broadcast around the world, as atrocity after atrocity
  was broadcast as they happened and politicians were trying to justify.  The integrity of some artists who had watched children on
  fire and the lunacy of young soldiers ordered to massacre entire villages, moved them to writing songs in protest, which was all
  they could do,"Who'll Stop the Rain" is one of the subtlest written. Using acoustic guitars added a gentleness to the lyrics and
  I did give all the verses at the top of the page.  The melody is memorable and sung with the greatest sensitivity, should anyone
   reading this who has not heard it and not necessarily into original vinyl, find the CD and take a listen because this is essential
  music and the performance transcends the format you hear it from.  For those into the fullest possible impact of loved music, the
  true Mint condition first pressings will blow you clean away!  A relatively short track if compared with what comes next, but it's
exactly as long as it needs to be.  The sound is unflawed in anyway and stunningly perfect, as far as song length's go on this LP
  the eleven+ minutes version of Marvin Gaye's "I Heard It Through The Grapevine" is simply a staggering track.  A soul element is
  expressed with equal intensity but now as a blues/rock rhythm, the song builds up gradually and very slowly, smouldering along
  with the most incredible atmosphere developing with every passing second.  The twin Fogerty lead and rhythm guitar's are heard
  at their most potent, the sound quality is just staggering, as I knew it would be, but nothing prepares you for hearing this from a
  Mint record, I was joking about a 'time machine' before, but now I am perfectly serious because of the rarity of hearing such a
  perfect record as a genuine first UK pressing.  When I first saw this superb record, my thoughts turned to Side 2 because of the
  prospect of hearing "Who'll Stop the Rain" with a perfectly clean intro and outro, which would then run smooth as silk into the
  fantastic intro to "I Heard It Through The Grapevine."   That actually just happened and there was a near silent gap between both
   tracks, which is something very special, this is without doubt a perfect sounding "Cosmo's Factory!"   Always the most heavily
  played track on the album, causing severe wear and just awful sound deterioration, but this record has stunning audio clarity on
  every track so far, shame there is only one left.   Nothing less than awesome sound quality and now I am into the ending section
  which musically is so magnificent you don't want it to stop!  The percussion throughout is a major part of an overall performance
  and heard from this record in the most wonderful stereo panning.  The final minutes wind down with the percussion almost as the
  lone sound, normally you have to prepare for the crackles to become louder than the percussion, not here, there is not even any
   static when the volume drops to a near whisper, what a record!   The final gap remains silent, "As Long As I See The Light" has
  John Fogerty singing a mixture of soul and r&b at a slower tempo, suiting the lyrics perfectly, Doug's superb drums hit the solid
  rhythm everything else works off.   What a brilliant production on this last track!  The saxophone was played by 'Mr. Versatile,'
  John Fogerty and that brings a 60's Stax r&b /soul feel, you could imagine Otis Redding singing this, I am just about out of any
  more superlatives for the music, mentioning Otis is complimentary enough not to expand any further.  The sound quality of this
  record fulfilled all my expectations and I am really thrilled to offer it, an incredible album and it has been a major pleasure.
{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.
 

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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
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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


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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
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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!