Sold Date: June 4, 2014
Start Date: May 28, 2014
Final Price: £131.00 (GBP)
Bid Count: 12
Seller Feedback: 3711
Buyer Feedback: 39

My sweet Lady Jane,
When I see you again?
Your servant am I,
And will humbly remain.

Just heed this plea, my love,
On bended knees, my love,
I pledge myself to, Lady Jane.

My dear Lady Anne,
I've done what I can,
I must take my leave,
For promised I am.
This play is run, my love,
Your time has come, my love,
I've pledged my troth to, Lady Jane.

Oh, my sweet Marie,
I wait at your knee,,
The sands have run out,
For your lady and me.

Wedlock is nigh my love,
Her station's right my love,
Life is secure, with Lady Jane>
ROLLING STONES: "Aftermath" LP UK THE FIRST BOXED DECCA LOGO LABEL,PRESSED EARLY1970, ORIGINALLY
ISSUED APRIL,1966 ON THE UNBOXED DECCA LABEL IN MONO & STEREO, THE FIRST STONES LP IN TRUE STEREO.
Master Tape sourced when the most recent and still cuurrent charting Rolling Stones album was "Let It Bleed," that was also being
pressed on the boxed Decca logo label for the first time in early 1970.  "Aftermath" is much rarer though because of a low demand
for Stereo pressings in this period, so I will not play the record, I love offering true Mint Rolling Stones albums!


BLUE & SILVER BOXED DECCA LABEL: SKL 4786

MAITRIX:  XZAL - 7209 - 1W /  XZAL - 7210 - 5W
  The above is a direct continuation of the late 1960's stereo maitrixes, not that long ago I sold an unboxed label pressing and it
had ' - 5W /- 5W' maitrix ending's, so Side 1 and Side 2 were not yet re-started with '1W.'  It must be remembered how virtually
all the 1960's copies of "Aftermath" were bought in mono, in 1970, Decca and UK record shops would still have unsold unboxed
stereo records available as Stereo began to take over.  Like every 1960's Rolling Stones album ,"Aftermath" never made a UK
chart re-entry and pressings were made in very small batches, in January, 1970 "Let It Bleed" reached No.1 and that was being
pressed in mono and stereo on the boxed logo labels.  In 1970, the demand for "Aftermath" was low enough to only press in stereo
and so it does not exist on the boxed red mono label. Only these blue stereo boxed labels and as the very first made, rare in superb
condition because so few were made this early in the 70's decade, before these 1960's quality covers lost their deluxe finish.

ORIGINAL LATE 1970 POLY-LINED DECCA INNER SLEEVE, WITHOUT A DATE OF MANUFACTURE PRINTED ON IT BUT I
CAN GET VERY CLOSE WITHOUT THAT.
  This type was introduced in 1970, this still has a Foreign Patents Application number, and a UK Patent Application number, added
to that was the just granted UK Patent number for the unique design.  For a short time, all three items were pinted on the front
bottom rim with the granted British Patent number included before removing the Application number.
The sleeve was unused used, so unworn at the contact points with the record's thick edges, offering full protection to the cover
and the record.  Still the original white and blue colours with only a hint of mild geing to the white background colour. Typical of
Decca's very compact 60's and early 70's covers, only just larger than the record's circumferance, it was a tight fit to place the
inner sleeves inside.  A reasonably light record impression with a few equally light related creases, the record and inner sleeve
were not removed from the cover for the last 414 years!
THE INNER SLEEVE IS IN NEAR MINT CONDITION.


1960's, 'Robert Stace' PRINTED LAMINATED  FRONT, STEREO COVER  WITH 'SKL 4786' PRINTED ON THE
FRONT TOP LEFT CORNER, THE BACK TOP RIGHT CORNER & THE SPINE.
The above details apply to the 1966 -1969 1960's covers, one of the reasons I can place the pressing in very early 1970, concerns
  the design.  This is identical to the 1960's Stereo "Aftermath covers, the unused staggering condition clearly shows the deluxe
thick lamination is indeed still 60's quality, in fact, 'Robert Stace' made the 1960's covers anyway.  The spine is flat in the main
  section and then tapers to points gradually, making a wider ending, even though pointed!  Both ends can be viewed in my close up
pictures, unless squashed and very worn, that shape also creates a bowed or sloping effect at the top and bottom of the front
cover.  Once again my picture facing the spine clearly shows that sloping shape with the light reflection, another close picture
has yet another perfect identifying item that has been in place since early 1970.  The original record shop price sticker has a
handwritten price of, '£2 . 5/9d', which is correct for early 1970, if you move forward one year to after February, 1971, there
was the introduction of decimalisation, the above price is still in the  pound (£), shilling (s) & pence (d).   A familiar sight
for my generation and so was handwritten price stickers on LP and single covers, fortunately that was not removed and the
historical content is still in place.

With so few back catalogue Stereo records being pressed, Decca had surplus 1960's Stereo covers to use before printing them in
early 1970.  Those with Mono equipment were in no hurry to buy a Stereo system when buying records took priority, if that was not
the case in late 1969 and early 1970  for "Aftermath" covers , a universal Stereo/Mono cover would have been made with a format
hole in the top corner of the back.   Something I have never seen and if a few existed, surely by now one would have surfaced.
No demand for pressing a mono or stereo copy is why that never happened and unsold unboxed label were still in record shops for
most of 1970, certainly not in the first few months before universal covers were discontinued.  I am sure that accounts for this
cover being from the 1960's, in fact, if anyone has a damaged Stereo cover from 1966 -1969, this would make a perfect replacement
and that includes the very thin white border on the front oiuside edges.  The very next made Decca covers had wider white borders,
I can name the month in 1970 when pointed spines were made for the last time and it does involve a Decca Rolling Stones latest
  album, "Get Your Ya-Ya's Out / The Rolling Stones In Concert" was issued 3rd September,1970 and only the pre-release covers
had that uniqely shaped spine.  To confirm the sheer quality of the lamination and stunning colours of the front artwork, please
see my pictures taken from revealing angles, including the spine endings, this is positively a 1960's Stereo cover.

The main reason for the 1960's and this early 70's "Aftermath" covers being almost without exception severely worn, was just
mentioned, it was Decca's fault!  With the cover barely bigger than the record's circumferance, even with an original 60's inner
sleeve's equally snug fit to the record, it's difficult to remove & slide back in the cover due to them only just fitting inside.
The only saving grace was the bowed front shape because it made it much easier to reremove and replace the record because it
had an 'inviting'entrance and exit, however, the shape was soon lost with frequent use and became as hard to use as later covers.
The struggle to remove it for frequently played records involved damaging the opening sides both times around.  Even for a
a very rare unplayed record like this, storage meant a heavyweight record was forced up against the front, back, spine and the
  top & bottom edges. I'm not making excuses about this little beauty, just being honest and admiring such fantastic condition.
  The average condition of a  1960's "Aftermath" cover is usually no better than 'Very Good' to 'Poor', this is just stunning and I
  was genuinely astounded to find the matt back  without virtually any ageing, let alone the customary stained and discoloured
yellow to brown colours.  This  back has the original off-white background to jet black unfaded pictures and text, this is at least
44 years old as the minimum, realistically this could be as old as 48 years of age, making such incredible condition even more
remarkable!
 
  The front has deeply glossy, undulled laminate, over vividly and richly toned puple colours of the superb Stones front picture and
the lettering. The colours are totally unfaded and looking superb, even an inevitable record impression is so gentle there are no
creases, it has been stored as perfectly as it gets, looking so stunning there is literally no wear to detail, which includes all
the corners, edges, opening sides and a still pure white, totally unaged and unworn spine.  A rare event is having the right side
corners absolutely perfect and unworn, the thin white border that forms corners & edges, is also unaged and still the original
pure white colour, so is the front centre large "Aftermath" lettering   The spine only has the slightest ripples from standing for
all those years, with the usual few tiny laminate line that naturally form from the moment the record was inserted.
  THE COVER IS IN TRULY BEAUTIFUL NEAR MINT/MINT- CONDITION.
 

THE IMMACULATE TEXTURED LABELS DO NOT HAVE ANY SPINDLE ALIGNMENT TRACES, NEITHER SIDE HAS  A SOLITARY
MARK OR EVEN ANY HANDLING TRACES, THE RECORD IS DEEPLY GLOSSY AND LOOKS LIKE IT WAS JUST PRESSED.
THE RECORD IS IN UNPLAYED, MINT CONDITION.
SIDE 1 "Mother's Little Helper"
"Stupid Girl"
"Lady Jane"
"Under My Thumb"
"Doncha Bother Me"
"Goin' Home"

SIDE 2
"Flight 505"
"High And Dry"
"Out Of Time"
"It's Not Easy"
"I Am Waiting"
"Take It Or Leave It"
"Think"
"What To Do"


Mick Jagger - lead vocals, harmonica & percussion
  Keith Richards - guitars & backing vocals
Brian Jones - guitars, keyboards, marimbas, bells, dulcimer, koto, harmonica & backing vocals
Charlie Watts - drums, percussion & marimba
Bill Wyman - bass, marimba & organ


Jack Nitzsche - percussion, piano, organ & harpsichord
Ian Stewart - piano & organ


All songs written by Mick Jagger & Keith Richards.
  Recorded 3th - 8th December 1965, 6th - 9th March 1966, At RCA Hollywood Studios
Produced By Andrew Loog Oldham.
Due to both the unplayed record and the rarity of an early 1970 pressing, it would not be right to play this now, I readily accept such
amazing condition has to remain as unplayed again by myself.  Serves me right for finding ultimate records!  I am just delighted
offering hardly played records and then I can enjoy hearing them,but  unplayed for a 1970 Rolling Stones pressing is mighty rare!
It must have sounded bizarre to sat there was little or no demand for "Aftermath" in  1970, but we an original only four or less
  years previously and most people were still using mono equipment in 1970 and deep into the whole decade.  Any seller who states
'visual grading only' for any record is absurd unless they are true Mint, but for 1960's and 1970's vinyl, any grading below Mint
is ignoring the fact worn out mono needles were scoring  the grooves and wrecking the music signals.  'Very Good' grading's have
to include no sound problems at all, we all know how abused the grading has become on ebay and sad to say, also record fairs and
most second hand / collector's shops, one play with a blunt needle ruined a record but they took uncountable plays with stubbs of
a stylus left!  During 1970 there was a gradual move over to stereo equipment but it meant buying latest or current albums, the
replacement of worn out mono records was a long drawn out procedure for the overwhelming majority.  I personally experienced
that myself and the fact even the 1960's Beatles and Rolling Stones albums never re-charted, demonstrates how few pressings were
required and made.  The early boxed Decca 70's Stones albums in top condition are extremely, so are the 1980's pressings today
  and as Decca made direct Master Tape pressings to the precise quality of 60's records, they are very precious today and their age
alone demands the same respect given to 1960's records. Be it the Rolling Stones or the Beatles, however big the artists were,
the 1960's was completely dominated by mono records and mono equipment to play them on.  So records pressed only single years
earlier were within touching distance of first issues, in this case, only four years had passed since "Aftermath" became the first
ever true Stereo Rolling Stones album.   Being a mono dominated decade, that milestone went almost unnoticed and only a few had
a stereo system to play the few copies pressed, I sold an equally perfect condition 1960's stereo pressinglast year as mentioned,
they are extremely rare on the unboxed labels, especially in playable condition.  "Aftermath" has a wonderful variety of music,
from superbly constructed and produced songs, to incredible improvised blues, but also the exquisite and delicacy of "Lady Jane."
A mono record can to a certain extent mask the wear of the decades, but with such a carefully crafted original stereo mix, that
track become completely exposed in the individual channels of true stereo to the worst, horrific noise ever heard outside of an
  acoustic folk album, condition is vital!  1966 or not, "Aftermath" was the fourth Rolling Stones UK LP and the first mastered and
pressed in true Stereo, in 1964 -1965 their previous three albums had been mono only, partially because of Decca's attitude to
what they termed 'pop music'and because this was a mono era.  Had that been EMI's policy, the first six pre-1966 Beatles albums
would have still sold in the same volume and the same scenario about demand would have held with record buyers and artists alike.
There was virtually no demand at all in the UK for stereo Rolling Stones albums, if there had been Decca would not have got away
  with the disgraceful way they issued the 1965  'stereo' "Out Of Our Heads," like the Stones first two 1964 pair of albums, it was
recorded and mixed in mono only.  The so called 'stereo' album had been the mono mix electronically faked to create the horrible
  echo effect of mono in both stereo channels with a slight delay between them, why?  I cannot say, but it was common practice in
  the USA and you can only put that down to the public being in the dark about the sound of true stereo, it amuses me how today
  both sellers and buyers, listen to either the 1960's original and the later boxed label 'stereo' "Out Of Our Heads," without even
  hearing fake 'stereo.'   As usual I have strayed from the  main subject, I never worry about that due to the related information
  will be very useful for anyone who missed the era and keep reading misleading and contradicting details on ebay, internet sites
  and that certain text book so many rely on for accuracy.
     
  Not that I strayed too far, because that is directly connected to the stunning condition of a 44 year old stereo record and older
cover.  The stereo mix on this record is identical to the very rare unboxed 60's pressings, a direct transfer from Decca's Master
Tapes, 'rare' very much concerns this first boxed label pressing looking and sounding like brand new.  I have listed and sold just
about every Rolling Stones Decca albums as boxed label pressings, in most cases several times, but this my second "Aftermath"
on ebay, I cannot stress enough how important and rare a Mint LP and Mint- cover are.  The material on the previous three British
Rolling Stones albums, issued between 1964 and 1965, had relied very heavily on recording cover versions of American r&b/blues
standards.  They were the band's inspirations, but the Mick Jagger/Keith Richards songwriting partnership was still developing in
  that period, which was also true for the singles & EP's.  That was not a criticism, the constant touring was restrictive and even
  the Beatles took until their third album to produce a whole album of self composed tracks, then the next two albums included a
  few cover versions and finally in December 1965, "Rubber Soul" began the end of cover versions, unless in rehearsal.  The Stones
  came of age when the time was right and wrote all fourteen tracks, well, depending which side of the Atlantic Ocean you lived in
  1966.  Once again the Beatles comparison rings true because for the Beatles and  Stones albums before 1967, different versions
  were issued in America, for "Aftermath" even the cover artwork was different.  Musically the Beatles and the Stones chose to make
  singles as exclusive as possible and not include them on albums in the UK, American versions removed key tracks to include the
  current singles.  Plus it was almost a tradition here to record at least 14 tracks and American LP's favoured two less on average,
  In 1966 "Paint It Black" was a single only here but appeared on the USA London label of version of "Aftermath," with only eleven
  tracks, that meant four tracks were left off the USA album, in the 60's, that was like losing a whole EP's worth of new material.
  "Out Of Time", "Take It Or Leave It", "What To Do" and "Mother's Little Helper" were indeed key tracks  and would only be heard
  on later compilations, with "Mother's Little Helper" appearing as a single.  If you ever wondered why the run-in grooves on every
  is very impressive indeed, "Paint It Black"  is always a joy to hear, having become familiar with the British version since 1966,
  it does leave you reaching for the UK Decca album, "Mother's Little Helper" opened the album and of all the tracks to reject, that
  should have remained as the first you heard. A personal opinion, like all my descriptions, I will happily provide all the facts and
  figures but they are accompanied by my own input. 

  "Aftermath" was not recorded in Chicago like the majority of the three previous albums, it was the first one recorded entirely in
  America, at the RCA Studios, Hollywood.   Another 'first' was breaking out of looking for an authentic blues sound only, although
  there was plenty of that, over eleven minutes of purely blues improvisations created the sensational "Goin' Home."   It was Brian
  Jones who particularly developed musical diversity by experimenting with previously unused instruments, even without his sitar
  on "Paint It Black", the album included Brian's Appalachian dulcimer for two tracks "Lady Jane" and "I Am Waiting",  an African
  sound on "Under My Thumb" and "Out of Time" was an innovative use of marimbas, Charlie also experimented with that.  I love
  the mono version of the album I grew up with, but if ever a Stones album developed an extra depth and a new dimension in sound,
  the 60's true stereo original mix is an awesome listening experience.   A new sound was emerging, with Brian Jones introducing
  new instruments, the music's development had taken a dramatic leap from the Stones previous 1965 "Out of Our Heads" album.
  {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.  Over twenty years ago now 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 RESPONSIBITY FOR A RECORD
WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
 

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.  

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 12 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  £7.00
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.

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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.


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