Sold Date: July 3, 2015
Start Date: June 26, 2015
Final Price: $21.00 (USD)
Bid Count: 10
Seller Feedback: 646
Buyer Feedback: 34

The Everly Brothers - Two Yanks in England (Warner Bros W 1646), 1966.  MONO
This album features tracks recorded in England with THE HOLLIES.  In fact, 8 of the songs featured herein were written by the Hollies -- credited to L. Ransford, the songwriting pseudonym for Alan Clarke, Tony Hicks and Graham Nash.  (All of these songs were also, at one time or another, recorded by The Hollies.)  The Hollies backed the Everlys on 8 tracks (Alan Clarke, however, did not participate.)  Due to record company contractual stipulations, etc., The Hollies are not credited on the album and, in fact, their names were never registered on the recording logs at Decca Studios.  On several occasions, Graham Nash has mentioned that a young Reg Dwight, a/k/a Elton John, played piano on the record.  He is not listed in any track-by-track information from Hollies Box Set compilations or elsewhere but, seeing as how the Hollies themselves didn't appear on studio listings, perhaps Reg did indeed play on a session or two.
This is a super album.  Also featured are Jimmy Page on guitar and John Paul Jones on bass, Alan White on drums and Arthur Greenslade on keyboards.  There were 4 tracks recorded in the USA with a bevy of super session players.  
Some notes:
May 14, 1966, Decca Studio, West Hampton, London, p. Dick Glasser, personnel: Don & Phil Everly (they did all vocals, but did not play any guitar on any of these tracks), Jimmy Page - g,  - b, Andy White -d, Arthur Greenslade - keys, 'other details unknown'. These are the tracks that presumably include Tony Hicks, Bobby Elliott, Graham Nash, and Bernie Calvert. All parties mention Clarke not playing on it. 
All tracks were Hollies compositions:
Don't Run and Hide, Have You Ever Loved Somebody, Fifi The Flea, Hard Hard Year (I think that's Page), Like Every Time Before, and Signs That Will Never Change

A second session for the album included two more Hollies songs, and was held at United Recording Corporation, Sunset Blvd, Hollywood, June 2, 1966, produced by Dick Glasser, engineered by Lee Herschberg. Personnel: Don & Phil Everly, guitars by James Burton, Glen Campbell, Al Casey, Jay Lacy, Don Lanier; Terry Slater - bass, Jim Gordon - drums, Larry Knechtel - keys, Don Randi - keys, and on organ, Billy Liebert. Overdubs on June 3, same details, but Eddie Brackett also engineered. 
Songs:
The Collector (Sonny Curtis), Kiss Your Man Goodbye (the third version of this Everlys comp), and two Hollies tracks: So Lonely & I've Been Wrong Before.

Two more songs were cut on June 3 to complete the album, same studio, producer, both engineers, but these players: Don & Phil Everly, Burton, Campbell, Lacy, Lanier, Slater, Randi, and with Bud Coleman on guitar (also the overdubs above) and Leslie Milton on drums.
Songs:
Pretty Flamingo (Mark Brokan) and Somebody Help Me (Jackie Edwards), these being covers of course of Manfred Mann and Spencer Davis Group hits.
A truly magical album.  In glorious MONO.
Condition:  Record is VG+; cover is VG+.
All records are visually graded unless stated otherwise.   Extremely conservative (and ACCURATE) grading.  
****    SEE GRADING GUIDELINES BELOW     ****
Packaged in professional heavy cardboard mailers.  Records are removed from covers for shipping; cardboard inserts are provided for extra protection.
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GRADING GUIDELINES:
Mint (M)   Absolutely perfect in every way.  Appears to have never been played, possibly even still sealed.
Near Mint (NM or M-)   A nearly perfect record showing no obvious signs of wear. A 45 RPM or EP sleeve should have no more than the most minor defects, such as almost invisible ring wear or other signs of slight handling. 
An LP cover should have no creases, folds, seam splits or other noticeable similar defects.  Basically, an LP in near mint condition looks as if you just got it home from a new record store and removed the shrink wrap. 
Very Good Plus (VG+)   A Very Good Plus record will show some signs that it was played and otherwise handled by a previous owner who took good care of it.  Record surfaces may show some signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experiences. Slight warps that do not affect the sound are "OK". 
The label may have some ring wear or discoloration, but it should be barely noticeable. The center hole will not have been misshapen by repeated play. 
Picture sleeves and LP inner sleeves will have some slight wear, lightly turned up corners, or a minor, slight seam split. An LP cover may have slight signs of wear also and may be marred by a cut-out hole, saw-cut, cut corner, grommet hole or another sign indicating that this may have been a remaindered album.
Very Good (VG)   On the disc, groove wear will start to be noticeable, as with light scratches (deep enough to feel with a fingernail) that will affect the sound. 
Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, only two or three of them.  Records with an abundance of these defects are considered Very Good Minus (VG-).
Good (G)   A record in Good condition can be put onto a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear (on a styrene record, the groove will be starting to turn white). 
A cover or sleeve may have major seam splits, tape, writing, fading, stains, major ring wear, foxing, storage grime or other such defects. 
Poor (P)   The record may be badly warped or scratched to the point that it won't play through without skipping or repeating. The picture sleeve is water damaged, split on all three seams and heavily marred by wear and writing. The LP cover has severe wear and damage to its integrity.