Sold Date: July 15, 2017
Start Date: July 8, 2017
Final Price: £848.99 (GBP)
Bid Count: 10
Seller Feedback: 4466
Buyer Feedback: 79

"I HAD TOO MUCH TO DREAM (LAST NIGHT)"  ( Annette Tucker / Nancie Manz)

Last night your shadow fell upon my lonely room,
I touched your golden hair and tasted your perfume.
Your eyes were filled with love the way they used to be,
Your gentle hand reached out to comfort me.
Then came the dawn,
And you were gone,
You were gone, gone, gone.

I had too much to dream last night,
Too much to dream,
I'm not ready to face the light,
I had too much to dream,
Last night,
Last night.

The room was empty as I staggered from my bed,
I could not bear the image racing through my head,
You were so real that I could feel your eagerness,
And when you raised your lips for me to kiss.
Came the dawn,
And you were gone,
You were gone, gone, gone.

I had too much to dream last night,
Too much to dream,
I'm not ready to face the light,
I had too much to dream,
Last night,
Last night.

I had too much to dream last night.
Too much to dream,
I'm not ready to face the light,
I had too much to dream,
Last night,
Last night.

Oh, too much to dream,
Oh, too much to dream,
Too much to dream last night,
Oh, too much to dream,
Oh, too much to dream,
Oh, too much to dream.
  THE ELECTRIC PRUNES: "The Electric Prunes" LP, VERY RARE UK FIRST PRESSING,APRIL,1967, IN MONO.
The album is also incorrectly known as "I Had Too Much To Dream (Last Night )" due to their two successful singles being printed
on the front under the artist's name.  "Get Me To The World On Time" was the other single printed on the front, but at a glance
it did suggest "The Electric Prunes" was the artist and not the LP title of their debut album.  The same was repeated on the back
in the form of a quote from record producer Dave Hassinger, enthusing about the sensational psychedelic tracks.  

An amazing album and I feel I must establish this is indeed the very rare authentic 1967, very first UK pressing, bought as part
of a fantastic one owner collection.  That accounts for the record being unplayed and in Mint condition, to confirm that please
see label pictures to see how the thickly textured Pye labels do not not have a solitary spindle alignment trace on either side.
I included a close up picture of one label for the unlikely sight of an unplayed "The Electric Prunes" first pressing.  Pye's 60's
records were dinner plate thick and massively heavyweight, the textured thick label normally left rough edges with the white
sub-surface paper appearing to be torn.  An impact usually on one side, the 'exit' side. anyone familiar with Pye 60's and early
70's Mint records will know that will, especial when Pye contractually pressed for other companies, like Reprise and the pink
Island label records.  We started trading at record fairs In the late 1980's, as early as that, among other highly desired rare
records, "The Electric Prunes" had  so many counterfeit / pirate from around the globe, you really needed to know your vinyl!
In the 1970's decade and increasingly in the late 1980's,  USA and UK non original / fake copies circulated with copied tri-colour
Reprise labels, that continued over the next decades, the US fakes / 're-issues' required intimate  knowledge about 60's USA
pasted over paper seams covers.  At least the UK fakes / 're-issues' were very easily identified by the cover alone, but you still
had to know how they were designed in 1967, as so few genuine first pressings surfaced, that compounded collector's making
expensive mistakes.   Well, here we are in 2017 with an internet, and there are a shocking amount of counterfeit / pirate albums,
fake Demo's, Promo's are sold daily for outrageous prices.  I will of course detail all the key features that make 1967 first UK
pressings completely unique, I love bootlegs with exclusive material but will not tolerate counterfeit / pirate LP's and singles
of officially releases.

I have spent a great deal of time on ebay discussing and documenting  Pye's contractual pressings, more than Pye's own label.
The UK Reprise label did not own their own pressing plant in Britain and in the pre- Kinney Records era of the late 1960's decade,
  Reprise records, developed a well earned reputation of extremely potent sound.  The famous 'Steamboat' on the labels would carry
over to the tan labels in 1970, but never looked as authentic as on the segments of cream, yellow & pale green in the UK, pink was
the USA preference over the cream section, but still with yellow & pale green.  This 1967 record is indeed dinner plate thick and
massively heavyweight vinyl with canyon deep grooves, mastered in Pye's Studios and pressed in their own plant, any Reprise
label with this 1960's design, which for the UK was only a slightly different set of three pastel colours, had to be pressed and
distributed by Pye.  From a Mint record like this, the sound is just staggering and nothing that followed in the early 1970's ever
looked and sounded like this very, very special album.   Amazingly this does not have the usual severe damage, all three flipback
edges are neatly glued in place and not hanging ripped and torn.  With such a tight fitting, compact small cover, no bigger than
the record's circumference, holding such a heavyweight 1967 Pye record,considering the terrible state of the surviving UK first
first edition 'Garrod & Lofthouse' gatefold covers today, the relatively minor storage and standing traits to such a vulnerable
cover, is at an absolute minimum.  Just saying there is no ring wear on the front and even the back back, in fact, the matt white
and black panel is remarkably clean and totally unscuffed or worn, a little ageing but the spine's printed sections has all three
printed items looking absolutely superb. That  alone is indicative of the unused condition for this 50 year old very rare, Mono
cover for the glorious "The Electric Prunes."


ROUGHLY TEXTURED TRI-COLOUR "Steamboat" REPRISE LABEL: RLP 6248
The 'Pop Series' lettering is in white against the pale green segment, opposite is the mentioned cream part of the smaller two
colour top sections, leaving the main in a very pleasing yellow colour.  As usual the thick, rough paper was left uneven when the
spindle hole was cut out, not be confused with wear from a spindle, there are no traces of if ever being played.


MAITRIX:  RLSP 6248  A  - 1 * M  /  RLSP 90000   B - 1 * M
  The very first and only pressing made, Pye regularly chose an end letter to signify the first pressing on singles, EP's and LP's,
but with 'A  1 / B 1' before the * dividing symbol and the letter 'M', this was indeed the very first record made.
The Pye maitrix was so unique and distinctive, no counterfeiter in the world not replicate them..... without a time machine!
Please see my pictures for the most definitive identification of "The Electric Prunes" as the UK first pressing, even the letter 'M'

  UNUSED ULTRA RARE ORIGINAL 1967 REPRISE INNER SLEEVE, PRINTED IN GREEN & BLACK.  THEY ARE RARE
BECAUSE THEY WERE MADE FROM THIN PAPER AND NOT LINED,  WITH SUCH  HEAVY RECORDS, THEY SPLIT AND
TORE.  A GREAT TIME PIECE THOUGH, THE DESIGN HAS A N ORCHESTRA RECORDING IN A STUDIO, IN THE BOTTOM
SECTION, IT WAS MORE SUITED TO THE REPRISE ARTISTS LIKE FRANK SINATRA.
Once again, an authentic 1967 item that might not belong with a psychedelic masterpiece like this, but that was exactly how this
"The Electric Prunes" album was bought.  Above the black picture and to the left of the Reprise logo, is proof this was made in
the USA.   In white printing, there is the same text found on the UK 'Garrod & Lofthouse' printed cover is;
  Distributed By Pye Records (Sales) Ltd. ATV House, Gt. Cumberland Place, London W.1.
  Trying to fit so much detail into 12 pictures requires compiled pictures, for the above text I laid the cover on top of the inner
sleeve to show the above on both authentic first edition printed items. The text is tiny but if you click on the main picture box
the pictures will become full screen.Still above the bottom flipback edge on the back cover, to the right far edge of the picture
is the  'Garrod & Lofthouse' printing credit and the text of a very first edition album;
  Patents Pending
  THE DESCRIBED ORCHESTRA  ARTWORK, GREEN COLOUR AND THE ABOVE TEXT IS PRINTED ON BOTH SIDES.
AN IMPRESSION FROM THE MASSIVELY THICK AND HEAVYWEIGHT PYE VINYL, WITH  RELATED LIGHT CREASES,
BUT NO SEAM SPLITS AND NO FADING TO THE GREEN, BLACK & WHITE COLOURS.  IN FACT, THE COVER IS SO
  COMPACT, YOU NEED THE 1967 ORIGINAL REPRISE INNER SLEEVE TO FIT IN THE COVER.
  THE UNUSED INNER SLEEVE IS IN EXCELLENT CONDITION.


GENUINE 1967 FIRST ISSUE PRINTED, LAMINATED FRONT COVER, HERE ARE THE EXCLUSIVE FEATURES.

1.) 'Garrod & Lofthouse' printed with their credit and the text, "Patents Pending"

2.)  The text; "Distributed By Pye Records (Sales) Ltd.  ATV House, Gt. Cumberland Place, London W.1"
 
3.) Three flipback edges with rounded endings, or outside seams folded onto the top, bottom and spine and glued onto the rims on
the back cover.  A 1960's design in the UK that ended in 1969, there are one or two examples from the early 1970's, the Move's
"Message To The Country" and King Crimson's "Islands" first edition covers, had flipback edges.

4.) The spine is flat for the main section, the top and bottom taper into pointed endings, plus after 50 years, there simply had
to be an impact on the cover from just standing holding the record.

The lamination is still deeply glossy and highly reflective in today's July sun, the colours are totaly unfaded and unaged, of
course there is a record impression but virtually only in the front.  Related to the record's internal position, there are some
laminate crinkles in the contours but minimal, hence no nasty creases or ring wear through to the matt back panel.  Therefore
no rubbing from the record's internal position on the superbly clean back panel. Also related to the record impression and I
will not avoid the subject on any cover, the edge of the thick record has been resting against the spine, laminate lines are the
resulting stress.  50 years later the laminate and e top surface have been eroded, be it slim, tiny lines, they formed naturally
and I must stress even an unplayed record cannot  prevent natural events and the reality of cardboard covers.  I am making sure
  that is clear, but for goodness sake, how rare does an unplayed record have to be?  Today we can store records and covers in
  a range of plastic sleeves, cardboard substitute covers, plain inner sleeves etc etc. I pioneered that at record fairs and certainly
  put that into practice for my ebay customers, anyway, minimal or negligible ageing for the back matt panel, any edge or the
spine endings is at an absolute minimum, the usual spine ends rubbing completes the negative comments. I rely on my pictures
  to offset negative comments, I cannot prevent the effect of standing in storage for half a century, but I can give an open and
  honest assessment


  The front has a classical 1967 band photo, merging from the shadows, the top boxed section is in black and white, a psychedelic 
version of the band, well more like surrealistic Pablo Picasso Cubism painting of the colour photo.  In full scale on the back
cover, this was 1967 all right!  The spine's printing is unaffected and this is a really strong and robust cover with all three
  flipback edges are perfectly and neatly stuck in position, they were vital to holding the record and they did keep the cover
  from buckling under the weight of the record.  The right side corners are near perfect, 'near' is for the slightest standing
  pressure, once again not from use.  Even a cover with an incredible Mint record inside was not immune to gravity and I really
  think negative comments about this cover are unfair and unjust when every effort possible was made to keep it in as perfect
  condition as possible.  Grading this is very tricky but I am accustomed to grading 60's and 70's covers accurately.
  THE COVER IS IN A MINIMUM OF EXCELLENT++ CONDITION, IN OTHER WORDS, I WOULD LOVE TO SEE ONE TO
  BETTER THIS!
 

THE PASTEL YELLOW MATT, SOFTLY TEXTURED TO TOUCH, REPRISE LABELS, WERE EASILY STAINED AND SCUFFED,
BOTH ARE EXCEPTIONALLY IMMACULATE WITHOUT ANY SPINDLE ALIGNMENT TRACES.  CONFIRMED BY THE DEEPLY
GLOSSY, JUST PRESSED APPEARANCE OF THE VINYL.  AS I CONSISTENTLY STATE DAILY, RECORDS WERE HANDLED
  AT PRESSING PLANTS AND IN RECORD SHOPS BEFORE ANYONE EVEN BOUGHT THEM, YOU ONLY NEED TO OPEN TODAY'S
  FACTORY SEALED VINYL FOR...FACTORY HANDLING.  THERE ARE NO STYLUS SCRATCHES AND ANY HANDLING TRACES
  ARE NEAR INVISIBLE .  GREAT TO SEE THE  DISTINCTIVE PYE 'PATTERN' FROM THEIR DISTINCTIVE METAL STAMPING
  PLATES, ONLY  FOUND ON TRUE MINT VINYL.....THE RECORD IS IN MINT CONDITION.
SIDE 1
"I Had Too Much To Dream ( Last Night )" ( Annette Tucker / Nancie Manz)
"Bangles" (J. Walsh)
"Onie" ( Annette Tucker / Nancie Manz)
"Are You Lovin' Me More ( But Enjoying It Less)" ( Annette Tucker / Nancie Manz)
"Train For Tomorrow" (James Lowe / Mark Tulin / Ken Williams / James Spagnola / Preston Ritter)
"Sold To The Highest Bidder" ( Annette Tucker / Nancie Manz )

SIDE 2
"Get Me To The World On Time" (Annette Tucker / Jill Jones)
"About A Quarter To Nine" (Al Dubin / Harry Warren)
"The King Is In The Counting House"  (Annette Tucker  "Luvin' " (James Lowe / Tulin)
"Try Me On For Size" ( Annette Tucker / Nancie Manz)
"Tunerville Trolley" ( Annette Tucker / Nancie Manz )*

*First pressings list "Tunerville Trolley" on the labels, but in the cover track list, the spelling is "The Toonerville Trolley."


James Lowe - lead vocals, autoharp, rhythm guitar & tambourine
Ken Williams - lead guitar
James "Weasel" Spagnola - rhythm guitar, backing & lead vocals
Mark Tulin - bass guitar, piano & organ
Preston Ritter - drums & percussion

Recorded 1966 - 1967, At American Recording Co., Power House, Hollywood, C.A.
The UK Pressings Were Mastered At Pye Studios.
Produced By Dave Hassinger, who also wrote the back cover liner notes.
  I couldn't resist taking one play, a play that leaves any sign of ever being on a spindle or turntable, as expected the Mono mix
sounded amazing.  Pye certainly knew how to master and press psychedelic music, loud and powerfully but perfectly clear, an
unplayed record of this density had some minor static from the pressing process, incredible to think that was first play in 50
years. That will be long long after a few plays and I am only discussing very low level static, I will not get into a description
because that seven hours ago now, a chance to settle down and soak the fantastic music, instead a brief background to one
of the greatest early psychedelic bands.

The Electric Prunes were a classic example of a bunch of teenagers getting together to form a band, practicing playing in a
garage.  They lived in Los Angeles in the mid 1960's and under their first  names, 'The Sanctions' and  then 'Jim And The Lords,'
before becoming the Electric Prunes they had personnel changes.  The Byrds song, "Do You Wanna Be A Rock & Roll Star" applies
perfectly to how they ended up making this self titled debut album.  James Lowe (guitar), Mark Tulin ( lead guitar) and Michael Weakley
(drums) were literally having a practice session in a garage when a real estate lady happened to be passing and heard their music.
Impressed, she spoke to them and offered to introduce them to a friend, Dave Hassinger, who worked for RCA studios as a sound
recording engineer, Hassinger had assisted on the recording of several Rolling Stones LP's.  Dave Hassinger arranged for Demo's to
be recorded at Leon Russell's home where he had recording equipment set up. The first Electric Prunes single,"Ain't It Hard," did
not sell but it was enough to alert Reprise they had raw talent  and were keen to sign them.  A few musician changes were made,
drummer Preston Ritter was brought in to replace Michael Weakley and James Spagnola became the rhythm guitarist.  Dave Hassinger
was not convinced about their ability to write their own material, he commissioned professional songwriters, Annette Tucker and
Nancie Mantz.  That was the turning point because they composed "I Had Too Much to Dream Last Night", although at first it was
intended to be performed as  a slow ballad.  Not in the Electric Prunes hands, with staggering guitars heavily saturated in echo
and every studio effect available, they produced a psychedelic epic of a recording.  Released as a single in November, 1966, it
made No.11 in the U.S. charts in the New Year of 1967 and No. 49 in the U.K.  An amazing story of obscurity to fame, all because
an estate agent was passing by a young band playing in a garage, you couldn't make up fiction like that.  Success led to tours
and for their second single, another  amazing track, "Get Me To The World On Time."It was not quite as successful in the States
where it still reached No. 27, but an improvement in the UK at No. 42.  They were constantly on tour and time between concerts to
record their debut album, when released in April, 1967 "The Electric Prunes" only reached No.113 in America and No.42  in the UK.
This was a very exciting period when a cultural exchange between American and English bands were both pushing music ever further
ahead, not just the famous established names, there was plenty of room for new comers to make their mark.  I have sold a USA Mint
second pressing on ebay, but that was over ten years ago now, so I'm thrilled to offer this unplayed, first UK pressing.
{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.