Sold Date: August 30, 2014
Start Date: August 23, 2014
Final Price: £1,020.00 (GBP)
Bid Count: 34
Seller Feedback: 3765
Buyer Feedback: 123

This item is not for sale. Gripsweat is an archive of past sales and auctions, none of the items are available for purchase.

He's a real nowhere man,
Sitting in his nowhere land,
Making all his nowhere plans, for nobody.
Doesn't have a point of view,
Knows not where he's going to,
Isn't he a bit like you and me?

Nowhere man, please listen,
You don't know what you're missing,
Nowhere man, the world is at your command.

He's as blind as he can be,
Just sees what he wants to see,
Nowhere man, can you see me at all?
Nowhere man, don't worry,
Take your time, don't hurry,
Leave it all, 'till somebody else lends you a hand.

Doesn't have a point of view,
Knows not where he's going to,
Isn't he a bit like you and me?

Nowhere man, please listen,
You don't know what you're missing,
Nowhere man, the world is at your command.

He's a real Nowhere man,
Sitting in his nowhere land,
Making all his nowhere plans, for nobody.
Making all his nowhere plans, for nobody.
Making all his nowhere plans, for nobody.
THE BEATLES: "Rubber Soul" LP. UK ORIGINAL/FIRST PRESSING IN MONO, ISSUED 3rd DECEMBER, 1965.


YELLOW & BLACK PARLOPHONE LABEL: PMC 1267

MAITRIX; XEX 579 - 5 / XEX 580 - 5
Due to the negativity surrounding simple digit increases necessary to manufacture so many records, a myth has taken root that
  sells the very first made within the massive chain, in appalling, unlistenable condition.  Based on tiny molded plastic digits,
  outrageous claims are made that cannot be substantiated, especially when the same claims are being made by sellers who do not
  even own a turntable!  I will not taint this initial part of a description of a staggering condition mono "Rubber Soul" with the
  lies, but I will once again tell the truth about non existing 'loud cuts' further into the description.  As far as the ridiculous
  assertions about 'first pressings, second pressings' etc. this record proves the records made before the scheduled release date
were Not broken down into neat different pressings. with a lapse of time between them.   Nor was there anything withdrawn
either, if only sellers concentrated on the condition and sound reproduction instead of such utter nonsense.  My comments are
not made selling worn out scratched original or first pressings, this is an extremely rare once played Mint mono "Rubber Soul."

EMI STAMPING CODES: GL 1 / MD 1
Positively from the original pressings made prior to the 3rd December, 1965 release, including the maitrix and all the stamped
information in the run-out grooves.  '1' digits on both sides signifying the mothers, speak for themselves and anyone who seriously
believes one pressing batch was enough for average selling LP titles, let alone the latest mid-60's mono Beatles album, is living
  in a fantasy world.  Few  '- 1/- 1' first made records have first mother digits,  the fact this record does, more than justifies
  making that statement. Nothing wrong with fantasies, but there is no need to apply them to UK Beatles records when 100% accurate
1960's chart books are readily available. "Rubber Soul" was a No.1 album and resided in the UK charts for an astonishing 47 weeks,
the most frantic sales happened in December,1965 in order to send it straight to No.1, reality has to come into the equation and it
did not leave the British charts until October, 1966!  By then "Revolver" had been released earlier in August, 1966, not even the
equally massive sales of "Revolver" prevented "Rubber Soul" from a further three months in the charts, during the initial reign
of "Revolver." For such an incredible volume of British mono pressings, 49 years later, only a handful are still in Mint condition,
this once only played record is one the few in existence.
 

THE TEXTURED LABELS HAVE:
  "Sold In UK." PRINTED ACROSS THE CENTRES.
'Gramophone Co. Ltd.' ON THE LEFT SIDE RIMS. (Introduced four months earlier in August, 1965, to replace 'Parlophone Co. Ltd.'
'Made in G.T. Britain' AT 6 O'CLOCK.

'KT' was not embossed on the labels, No, that does not make this rare for the omition, I am only giving precise pressing details
and it was common enough to not forget to include 'KT' on 60's EM1 singles, EP, and LP's.  I regularly sell top condition Beatles
singles and EP's, I constantly write, " 'KT' was not embossed on the labels, only machine stamped in the run-out grooves."
LP's did not have "KT' or any earlier Tax Codes in the run-out grooves, the sheer scale of vinyl production just outlined and
associated printed items, oversight's, mistakes and glaring errors were only human nature in the factory working condition's.
  If the petty minded sellers want to announce, 'Major rarity!!!  Extra dot on a label!!!' take note of the condition of the record,
  I can guarantee it will be around V.G. or worse, just pathetic sales tactics, literally millions were printed with a pin sized
surplus dot, it was noticed in the 60's but considered to be of absolutely no significance, nothing has changed about that today.


ORIGINAL 1965 "Use Emitex " INNER SLEEVE, UNSPLIT AND USED ONCE, UNSPLIT, UNCREASED AND HARDLY AGED, WITH
ONLY A GENTLE RECORD IMPRESSION.
 

FIRST ISSUE 'Garrod & Lofthouse' PRINTED MONO COVER, A LAMINATED FRONT WITH THREE FLIPBACK EDGES.
PPRINTED ON THE BOTTOM RIGHT EDGE NEXT TO 'Garrod' CREDIT IS:
  "Patents Pending" AND '12  LL'
('12' = December, I have never Understood How 'LL' designated the 1965 year of issue.)
A REALLY BEAUTIFUL COVER WITH A TOTALLY UNAGED PURE WHITE BACK PANEL, THE FRONT IS DEEPLY
GLOSSY AND GLEAMING LIKE NEW.
Just for confirmation this is indeed a genuine late 1965 first printed cover, if you look at John Lennon's suede jacket, the top
shoulder has a protruding, almost triangular shaped suede pointing towards the middle of George's neck.  That is tiny but the
later covers had that air brushed out, but not all.   Usually named as a 'loose thread' but threads are not solid and that thick!
Oh dear, stand by for 'rare cover with a loose thread on John Lennon's jacket'!  No, they are not rare when a million was made.
These first issue 1965 'Garrod & Lofthouse' mono covers are really distinctive for the sheer quality of both the printing and that
  ultra glossy, extra thick laminated coating on the front.  This is still in truly superb condition, few mono covers survived with the
deluxe finish unworn and not damaged.   The great artwork is totally unfaded and still with the original 1965 vividly rich, darkest
  toned colours, you can very clearly see how much darker the first printing actually was.  There is nothing here to associate with
  Excellent and this has to qualify as Near Mint, there are no creases and all the corners, edges and the spine are near perfect, so
  the 'Near' fits. The back panel is so close to how this looked in 1965, no scuffs or even a record impression, the black printing
  is still jet black, in fact, all to tell was naturally formed, a few laminate edge lines next to the front meeting point with the spine
  began the day the heavyweight record was first inserted, an astounding 49 years ago.  The front's record impression is there but
  gentle enough not to create pronounced laminate wrinkles in the contours, so literally just standing in storage and that would be
  acceptable for a 1995 stereo cover.  For 1965, this a really stunning and beautiful mono "Rubber Soul" cover, you can actually see
  and also feel how different this was in 1965 to those immediately following.   That ultra thick and glossy laminate is undulled by
  time, handling or poor storage that so often ruins great covers.  The best way I can describe the fantastic condition laminate is it
  still has a 'slippery feel', normally after all the decades it became worn down to an almost matt surface in comparison to this.
  There is the usual standing pressure on the bottom flipback edge near the left corner, with the slightest rubbing but even that
  is so slight. I could have included that with 'near perfect', as I am into trivialities, as ever, a few laminate lines developed
  on the top and bottom flipback edges. The storage was  lovingly made, the spine is still the original white, unaged and only the
  pointed endings look like they originated in 1965  The central titles are absolutely perfect and included in a close up picture,
  I love taking pictures of 60's Beatles covers that still look like they were freshly bought.  The back panels were the first place
  to show  discolouration even in the 60's, but this back panel is completely unaged and pure white.  Just extremely light handling
  and standing for nearly half a century with a heavyweight record inside, completes an absolutely stunning looking front and back.
THE COVER IS IN NEAR MINT CONDITION.


  THE RECORD HAS ONLY BEEN PLAYED ONCE PER SIDE, EVEN THAT TRACE IS SO FAINT IT COULD BE MISSED,
  ONE PLAY IS BEYOND BELIEF FOR A MONO "Rubber Soul" AND EVEN THAT WAS MADE WITH LOVING CARE.
AS EVER, I WILL STATE THAT ANY FEATHER LIGHT HANDLING  FROM THE PRESSING PLANT, RECORD SHOP OR
DURING THAT OE PLAY, IS NEAR INVISIBLE TO INVISIBLE.
The fantastic Beatles condition record even has me wondering if that one play was indeed made by the original 1965 record shop,
Both labels are in pristine unblemished condition with untarnished ultra bright silver printing on the titles & credits, unscuffed
  lettering for "Parlophone" and the '£' logo, they are an unfaded deep yellow colour.  The "The Gramophone Co. Ltd." rim text was
  introduced to replace "Parlophone Co. Ltd." just a few months previously  on the "Help!" album.  Only one  spindle use traces is
sensationally low, particularly being a mono record from  the mid-1960's.  Especially low for the latest Beatles album, I can't
wait to say how stunning the sound quality is!   I will quickly slip in how perfect "Girl", "Nowhere Man" and even "Michelle" are
and how the entire record plays without virtually any static/ surface sound.  So it should with one play in 49 years, of course the
record was handled at several stages before being bought.   A once played record exactly how it left the pressing plant, can only
be named as 'Mint', that is whole point of descriptions with every possible scrutiny made in person, then explained in extensive
honest text, and also illustrated with revealing digital photo's. A really beautiful looking record that still has the shimmering
pattern of just pressed vinyl, with such incredible sound it thoroughly deserves a Mint grading.  Few, if any ebay sellers discuss
the impact of a metal stamping disc on molten plastic but the signs are there on Mint records, especially in the 60's when the
tone arms swept through microscopic pressing pips etc. with a dismissive ease.
Just having "Girl", "Norwegian Wood", Nowhere Man" & "Michelle" playing so perfectly and cleanly from a mono 1965 record is a
a major rarity.  You only have to see the fantastic condition of the cover and inner sleeve in my selection in the 12  pictures,
the back panel really is unbelievable and looking exactly like it did in late 1965, that alone tells of the loving care taken since
it was first bought and as importantly, the long term storage over all those intervening decades.
A REALLY BEAUTIFUL RECORD IN MINT CONDITION.
SIDE 1
"Drive My Car"
"Norwegian Wood (This Bird Has Flown)"
"You Won't See Me"
"Nowhere Man"
"Think For Yourself"
"The Word"
"Michelle"

SIDE 2
"What Goes On"
"Girl"
"I'm Looking Through You"
"In My Life"
"Wait"
"If I Needed Someone"
"Run For Your Life"  
 
John Lennon - vocals, acoustic & electric rhythm guitars & electric piano on "Think for Yourself"
Paul McCartney - vocals, bass, piano & guitars
George Harrison - vocals, lead guitar & sitar on "Norwegian Wood"
Ringo Starr - drums & lead vocals on "What Goes On"

Mal Evans – Hammond organ
George Martin piano on "In My Life" and harmonium  on "The Word"
"Rubber Soul" was a milestone in the development of both the Beatles' musical creativity and for entering into the second half of
  of the 1960's, even more so, as a catalyst for what was to follow in that decade of wonders.  Such fantastic sound textures with
  deeply beautiful melodies enhanced by acoustic instruments, would become the basis of all psychedelic music, the first changes
  that began the most major change in direction for popular music ever known, affecting both the UK and the USA.  The touch paper
  had been lit, Brian Wilson was so strongly influenced in late 1965 /early 1966, he still regularly tells in interviews how he was
  inspired by hearing "Rubber Soul," it spurred him on to producing his 1966 masterwork, "Pet Sounds."  The Beatles had not made
  an overnight progression, right from 1962 every Beatles LP, EP and single traces their astoundingly rapid progression from their
  earliest influences, r&b/blues & rock & roll.  Bob Dylan had encouraged folk music and more meaningful lyrics, ironically in 1965
  Dylan was getting into more electric r&b music I just outlined, a cultural exchange between England & America was happening on a
  scale nobody could have predicted, that just evolved with the leading artists running on pure inspiration and following their own
  instincts. So rapid, only 1963 stayed relatively stable, during 1964 and positively by late 1965, the Beatles songwriting centred
  around an acoustic instrumental style, that in itself accounted for why they were now placing the fullest emphasis onto melodies
  and beautiful sound textures.  Even though two out of their last three albums were dominated by writing film soundtrack music,
  newly written original songs on all three albums were favouring acoustic instruments backing intricate vocal harmonies, without
  ever sacrificing their love of a 'shot of rhythm and blues.'
 
  Guided by George Martin's production skills, unreserved encouragement and sympathetic ears, they were now gradually starting to
  take command of the Abbey Road recording studio.  Without such a gifted ability to create new songs, they could not have made the
  album with such unique  material.  The recording sessions for "Rubber Soul" began in October,1965, their contracted two albums a
  year schedule meant after "Help!" this was getting very late in the year to start a new album from scratch without any new material
  written yet.  They had to come up with the entire album's songs without a single one left over from previous sessions, managing to
  not only produce fourteen self written tracks and avoided performing any cover versions, they composed two further new songs for
  the next  scheduled 1965 single, "Day Tripper" / "We Can Work It Out."  Not forgetting they had to fit in recording material for their
  UK Fan Club annual Christmas record.   I have regularly fully detailed that for ebay and with the staggering condition Beatles  
  records I have been selling on ebay recently, I will be listing a true Mint, 1965 Fan Club Christmas unplayed record, cover and a
  totally umblemished gatefold insert, pure white is unreal for the cover and the inset. Why I am listing a 1965 mono "Rubber Soul"
in such astonishing condition, back to Christmas, 1965!  If you examine the Beatles tour schedule in the late 1965 alone, from
  October and leading up to and including Christmas, add in TV, radio & media work, it was a monumental feat still unacknowledged
  today. By that I mean the astonishing quality of the sixteen songs, plus it was certainly not a hurried or functionally produced
  body of work, the greatest care possible went into the finished album, the Beatles had always been perfectionist's when making
  records, they were also backed up by EMI's sound engineers, who made certain the resulting stunning sound of the master tapes
  was perfectly transferred onto vinyl. "Rubber Soul" is the most unique Beatles album, bridging two distinctive era's, from "Help!"
  to "Revolver", now standing on the very threshold to psychedelia, not with the studio effects quite yet, just beautiful melodies
  and softer textures that were always leading into new concepts in the mid-60's.  Until then, albums were just a loose collection
  of usually dis-jointed and unconnected songs, "Rubber Soul" went beyond that, unintentionally or not, it was an album with songs
  that flowed so sweetly into each other, it became the creation of a single entity.
 
  This stunningly perfect pressing has that incredible sound achieved, although for the actual order or sequence, not the very first
  made, like every latest Beatles LP and single, (EP's were losing their appeal by now) they were made in astronomical numbers
to meet the colossal demand on the issue date and the initial first few weeks of sales leading up to Christmas. It was not by any
means a coincidence EMI aimed their second album of the year's release,  to fall during November to December for very obvious
  economic reasons.  Now I enter an era that sadly "Rubber Soul" should never be dragged into, lies and deceit when there should
  only be a celebration of the beautiful music in both original mono and stereo, in fact even digital sound has an honesty that has
  not been affected by financial gain.
 
  This record was positively pressed prior to the 3rd December,1965 release, normally that detail would suffice, first here are the
  reasons that conclusively place this in a British record shop on the above date.  The labels are printed with all the lettering in the
  same 1965 type face as found on the August 1965 "Help!" LP, the cover and the inner sleeve are directly tied into 1965, not 1966.
    I have to once again firmly dismiss a completely mistaken tag placed onto the first pressing with maitrix digit ending, '-1 /-1'.
   This has incorrectly and outrageously inherited the ridiculous 'loud cut' title, thanks to an unbelievable term in the UK main
      Price Guide. (Record Collector).   Over the last thirteen years I have sold several top condition very first pressing, '-1 /-1'
      on ebay, but even for on my own sales I have always given my strongest possible disclaimer to that utter nonsense.  I was not
    prepared to use a descriptive term that is totally untrue about a much loved, really major Beatles record just to attract higher
    bids.  Unfortunately few who sell Beatles records regularly, even care about the music, they blindly, well more deafly, announce
    a record has a 'loud cut' without even bothering to find out, or personally verify if it's true.  Now become accepted in the same
    way as the children's fable,"The Emperor's Invisible Clothes", I find it crazy people actually believe they are hearing something
    that did not exist in 1965 and was invented in the the 1990's by one man, I happen to know him, another 'Beatles expert,' but
    this one was unable to tell mono from stereo!  I can 'name names' but what is the point after twenty eight years of lies?  As well
     as being a Beatles collector since 1963, in my genuine long experience of selling their records, I have listened to uncountable
     original 1965 UK mono pressings of every variation possible of "Rubber Soul". Not just functionally playing them, I listened
to them intently!   I find it ridiculous using a crude 'loud cut', to describe an album with tracks of the delicate beauty of "Girl",
    and "Nowhere Man" etc.  Every Beatles first pressing are very special indeed but the '-1 / -1' pressing and any one of the other
  originals have exactly the same precise George Martin mono mix, as intended to give maximum power to balancing out the vocals
   and the instruments.  The volume levels are exactly the same!  Not only for every UK Mono "Rubber Soul", but for all the 1960's
  stereo records, how convenient nobody claimed that, then the maitrix digits did not need to have batch rises due to so few made.
  Play any Beatles record against a '66 original then you will hear a 'loud cut'!  I can only continue being the only record seller
  who refuses to tell lies, if people choose to believe in myths than fair enough but if you just want to hear "Rubber Soul" in all
  it's original 1965 mono glory, the condition of the record is absolutely vital, not machine stamped digits.  Even if those lies
  were factually based, a worn scratched record will always have needle noise louder than the music, of all the Beatles albums,
  that applies to "Rubber Soul" more than any other Beatles single album.  I know I am wasting my time, but I have been waiting
  for over 13 years for anyone claiming a 'loud cut' for "Rubber Soul", to answer my challenge to prove it is any louder than any
  60's mono or stereo pressing. Loud?  The setting on your amp controls the volume!  How can you know how loudly set the amp of
  so many individual sellers and in turn, buyers actually are?  It really is that crazy, as I said, self appointed 'Beatles experts'
  on ebay are declaring a mispressing or 'massive rarity' without playing the records!  "Love Me Do" has been dragged into this now
  and £3 singles were sold for ridiculous prices based on...'sound' and a slightly different version, but the records have not been
  played.  Even if they were, were those making obscene profits qualified or able to tell one version from the other?  Such concern
  if a dot is missing on a label or even worse, an extra dot was printed from a template that produced uncountable replicas, but
  records are about music not petty printing errors made by tired overworked printers.   If unworn and undamaged, Beatles records
  mastered in Abbey Road and pressed in EMI's pressing plant, which the 50th Anniversary "Love Me Do" most certainly was not,
  are potentially the greatest sounding records ever pressed in any decade, including the 21st century
 
  This record does indeed hold that staggering sound, just as loud as they all are, a fantastic '-5/-5' pressing, bringing me full
  circle to where I first came in, the music on "Rubber Soul".  Who gave sellers the right to sell the following increased maitrix
  end digit records like this, by claiming they had been 'corrected?'  Corrected by who?  The Mono mothers were prepared at the
  same time, so were the Stereo mothers, are the sellers suggesting EMI destroyed them and made another set?  If so, that had to
  logged in Abbey Road's meticulously kept records, even the Beatles had to sign the book to take an acetate or rough mix home,
  anyone claiming to have a 'loud cut' mono "Rubber Soul" to explain that one, I'm not holding my breath while waiting because it
  cannot be true with such solid evidence!  Since a 12 years kid smitten by hearing the latest Beatles album, I'm qualified to state
  is a staggering playing record with the true mix /sound of an original UK mono, "Rubber Soul" pressed from a  first 'mother' on
  both sides.

As a quick summary of the overall sound quality, every track has the most perfect, crystal clear audio definition imaginable and
like all the 1960's UK Beatles singles, EP's and LP's, extremely loud and powerful indeed, enough said on that one!  Most mono
pressing from 1965 - 1969 have only one track  positively with some minor in-built pressing static/surface sound, "Michelle."
Not every mono record, like every rule exceptions exist and this record is exceptional for incredibly clean sound on "Michelle."
It was corrected on "Collection Of Oldies" but a perfectly clean stereo or mono first pressing of "Oldies" for "Michelle" is rare
but once again possible.  EMI very rarely produced individual tracks on singles or albums with surface sound, but they were not
immune to human error.  Any absolutely minuscule static or surface sound is so minor, I do not hesitate saying this record is one
of the finest original pressings I have been privileged to hear.  Acoustic music is always prone to vinyl's natural static, I never
pretend otherwise, not only superbly clean on every track, the music has it's natural razor sharp edge, with the music signals at
their fullest strength, which for "Rubber Soul", particularly for the wonderful 1965 mono mix, a mouthwatering scenario. As you
  might have noticed by my firm refusal to buckle under pressure from other sellers or text books, to conform and accept the lies,
  "Rubber Soul"always was a very special Beatles album for me, with some of my all time favourite songs.  They are all acoustic
based recordings with such minimalist instrumental backing's, leaving them completely vulnerable to excessive needle noise.
Those much loved tracks include, "Norwegian Wood", "Girl", "Nowhere Man" and "In My Life" etc. so I am very easily offended by
  hearing them below the staggering audio standard of sound reproduction EMI pressed them with. That's why over the years I have
  rejected more great looking, but poor playing original "Rubber Soul" LP's, from being good enough to sell, than any other Beatles
album.  I can only repeat how a blunt 60's mono needle was very common, undetectable visually, but just one play was enough to
  cause horrific damage to the precious music signals that blunt stubs unmercifully ploughed through, like chalk on a blackboard to
my ears.  My simple way of approaching every record I sell applies here, either"Rubber Soul" blows me away or it's not worthy
enough to recommend or offer for sale.


Side 1's run-in grooves only have very faint, natural static, I do include the whole listening experience but I must comment that
empty bands on records were not intended to produce total silence, it's a bonus if they do but EMI records generally improve from
brand new.  Well before the music begins there are no crackles or clicks, with only the lowest possible level of natural static,
  and now the massive power and audio sharpness of the UK mono mix is heard on the intro to the opening track, "Drive My Car".
   Paul's superb bass guitar lines are very prominent, the percussion was a major part of the track, sounding amazingly crisp and in
a real to life authenticity, analogue sound really delivers. It amuses to think the staggering in-built volume could be in anyway
  thought to be less than another pressing. UK original Beatles records do not require selling tactics that involve downright lies,
the purity and beauty of the music shines through everything being invented, my amp is at the same level I set years ago and the
massive volume here is how they were all mastered and pressed, including no needle noise.  My records will perform exactly as
'it says on the tin,'  I am not influenced or swayed by stamped digits, if I do find I have bought a damaged record with inferior
or substandard sound reproduction, unless a major rarity, which few Beatles LP's are, I am fully prepared to accept it can never
be re-sold, regardless of the visual appearance.   The sound is just incredible, superb vocals ring out, perfectly defined audio,
Paul's piano played is way up in the mix.  This is indeed George Martin's mono mix being enjoyed in all it's glory, a fantastic
opening track with a very strong r&b rhythm, the 'beep, beep' backing vocals are stunningly clear, a wonderful pressing like this
  is not about volume alone, it places listeners in No.2 Studio, Abbey Road in 1965.  In close up detail, you can hear every single
individual part of this song, or you just let a colossal impact submerge you in the audio magic of the Beatles, I enjoy a bit of
both!  The ending fades into a totally silent gap, no crackles or static, I always include any natural static but there's nothing,
I am straining my ears to check because this is one of those acoustic tracks starting.  Miraculously, John's singular acoustic
guitar intro to his beautiful "Norwegian Wood", is heard in superbly clean and clear sound.  There simply is no actual static or
surface/needle sound, George Harrison's sitar is in pristine audio and John Lennon's intensive vocal has a real cutting edge to
it, add the powerful mono mix into the equation and this wonderful melody is just staggering to hear!  If anyone reading this has
  ever tried to play a record for sound grading, they will understand the strange paradox of hearing such amazing sounding music,
yet trying to ignore magnificent audio, instead straining your ears for the slightest hint...a record is producing the immaculate
sound quality.  I'm used to that but it does seem quite bizarre when "Norwegian Wood" is playing with sheer audio perfection!
When a record lacks the common noise or irritations and has such astounding sound as this stunning record, I get to thoroughly
enjoy my most loved Beatles songs.  A major reason for being so objective and obsessed with finding perfection on original vinyl,
the final note of the sitar fades away naturally into near enough silent grooves, before Paul's outstanding "You Won't See Me"
begins with an ultra clean intro.  I describe exactly what I am hearing and this happens to be an amazing record, another superb
  track in maximum sound quality, backing harmonised "la-la-la-la" after the lines in the verses, are as crystal clear as Paul's
brilliant lead vocals.  As well as standard guitars, the instruments include a piano and a Hammond organ, from worn out vinyl
  they become victims of deteriorating sound. Not here!  They are being heard with the original full strength signals, still with a
natural edge undulled from heavy plays. The fade-out is perfectly clear of any needle sound so another smooth as silk gap gives
a wonderfully clean intro to the sublime "Nowhere Man", as I said, this is some record!  A stunning and deeply beautiful acapella
or vocals only intro, from the first seconds to the last, this has just awesome sound, mega sharp definition on the vocals here is
the ultimate way to hear and enjoy it, without one second of any static or surface sound.  A very emphatic powerful mono mix
tends to magnify one of, if not the John Lennon's greatest ever melodic vocal performances.   John had introduced his personal
  experiences into songs, giving him additional inspiration for writing beautiful melodies and challenging lyrics.   I am trying to
write an informative but concise description with sound quality the priority, or I indulge my fanatical love of discussing the
recording sessions and out-takes etc.   So far so good, I cannot avoid the superlatives for such a fantastic record, the backing
harmonies are just breathtaking!   Complete silence in the gap also waits for the intro to the first of the two great songs George
Harrison contributed, "Think For Yourself ".  Once again heard with the same stunning audio sharpness, with George's 'fuzzed'
  lead guitar in the clearest and cleanest audio, if you listen closely there's a very clever piece of percussion, just a little detail
now and again is impossible to avoid.  After the verses, a shuffling drum part is closely followed by four beats on a tambourine,
this record really is That sharp!   The mono sound on an unworn 1965 pressing is sensational!   Absolutely silent grooves run
into a perfectly clean intro to "The Word", one of the last songs written as time was running out, these are very mature lyrics,
not that far from the 1967 message of, "All You Need Is Love", the sheer clarity on the George Martin played harmonium, is the
ideal indication of how this pristine 1965 record gives such immaculate sound reproduction. The Beatles vocals are astonishingly
projected in the mono mix, reinforcing how these music signals are the equivalent of a just pressed record. Please bear in mind
how every second of this first side has been as perfect as you could wish to hear as we approach the last track. It requires such
a stunning record to validate previously made comments about static/surface on the same track of most mono pressing's made.
"Think For Yourself" fades into a totally silent linking gap, the single acoustic guitar intro to Paul's atmospheric "Michelle" is
  exceptionally clear and this was indeed a fantastic pressing.  Of course this is a record, but with so little of vinyl's natural
  static even on "Michelle", I suspect the actual first 'mother' played an important  part in such exceptional pressing.  However
  clean I consider the sound quality to be, I insist on including the most minor static, while stressing how minor and background
  only that is.  Musically, the vocals and acoustic instruments are projected with mono's powerful impact, gentle or not this is
  how all the 60's mono "Rubber Soul" were mastered right at the very beginning, regardless of the maitrix indexing, the mother
  was not used exclusively for the '-1 / -1' pressings.  I cann actually hear how perfectly made that was by the ultra clean sound
  on "Michelle."   I am trying to maintain a distance from the term, 'first pressing', what a shame we now have a contorted view of
  an otherwise uncomplicated Beatles pressing in mono and stereo.  A fantastic sounding "Michelle", now to try keeping Side 2's
  description to the same reasonably minimal amount of text.
 

  Side 2's run-in grooves, including right from the initial outer rim, are completely silent, amazing, personally I avoid placing
  the stylus into the very first grooves, but for descriptions I deliberately check out the one closest to the lip.  Certainly not a
  recommended thing to do because auto play avoids that position for a good reason, you can land on the 'lip' of the edge and it
  sends the stylus skimming across the first grooves of the actual opening track.  Anyway, now into the purest silence for the
  duration of the long run-in grooves, they are a feature of the first pressings/original, "What Goes On" powerfully now kicks in
  forcefully to make a real impact.  This is Ringo's turn to sing the lead vocals, the Beatles were very fond of always providing him
  one track on every album to feature as lead vocalist, that also happened in concert, and what better than having John, Paul and
  George singing backing vocals!  "Let It Be" was the only album Ringo did not sing on but that was hardly a standard studio album,
  I muss stick to sound information, the instruments are exceptionally clear, with Ringo's lead and backing vocals in perfect sound
  quality, electric instruments here but the subtle arrangement finds John's rhythm guitar pushed up front and louder than George's
  lead. Such is the clarity all their guitars ring out with really outstanding sound, George's solo now commands all that volume as
  John eases back, the Beatles guitar playing ability never stood still, they were still young enough to be maturing as musicians in
  1965. Starting from an absolutely silent track gap, I will repeat that, a silent gap before my personal choice as "Rubber Soul's"
  most outstanding track,"Girl", if the Beatles had split up in 1965 this would have been greatness achieved, but the story was far
  from over yet.  This is the toughest track for needle noise, ironically much more exposed than "Michelle," but this plays without
  any form of audible surface / needle sound at all, way off in the background static is much too faint to register and natural to
  vinyl, a magnificently clean sounding "Girl."  I will emphatically re-emphasise how the very softly sung gentleness of "Girl," is
unspoilt by anything and so clean, I do not hesitate to say this is up there with the finest sounding "Rubber Soul" imaginable.
Allowing the deeply beautiful backing harmonies to John Lennon's most stunning lead vocals, to be fully enjoyed in nothing less
  than staggeringly clean sound quality.  John takes a long intake of breath between the verses, as he sighs very deeply the audio
  definition on that really quiet sound is immaculately clear. The simplistic but really effective instrumental backing is actually
  pronounced in mono but crystal clear, nothing to do with those outrageous claims for a 'loud cut'!  It most certainly is one hell
  of a powerful track, then so is every UK original pressing of "Rubber Soul" in mono and stereo!  This is the Master Tape sound,
  in a purity that defies the age of the 1965 analogue recording, to master that onto vinyl is just part of the legend of The Beatles
  and the decade this originated from.  A 'Golden Era' that produced 'Golden Music' makes sense to me, as I was saying before, the
  first to invent lies did not even vaguely appreciate the actual magic of "Rubber Soul", just the opportunity to sell records in
  poor condition.   I doubt if anyone would believe me now, but I was the first at record fairs to identify first pressings of the
  mono UK "Revolver" contained a withdrawn mix, from my information the entry was written into the 'Record Collector Price Guide"
  without my permission or acknowledgment. I do not set out to upset other sellers, I care passionately about the music I loved all
  my life, I cannot and will not play their stupid games with something as sacred and precious as a Beatles album, the beautiful
  "Girl" and the staggering "Tomorrow Never Knows" are light years away from  stamp  collecting!  The Greek sound from the
  acoustic guitar was Paul's idea after returning from a recent holiday in Greece. "Girl" fades into more of those problem free
  gaps, next to benefit from Mint vinyl is an ultra clean acoustic guitar intro to Paul's "I'm Looking Through You", in comes the
  very powerful sound of the percussion, such extraordinary audio clarity means even the simplest instrument, a tambourine,
  rings out in perfect clarity, Paul's vocals sound superl and so does the piano played by George Martin. This track perfectly
  conveys how effective mono actually is.  The true great's just keep coming,"In My Life" starts from more silent linking grooves,
  I am usually fed up mentioning parts without music by now, but this is "Rubber Soul" and absolutely essential details for any
   potential next owner.  The sharpness makes the vocals a joy to hear and experience, a beautiful melody, but this has wonderful
   sentiments expressed in the lyrics, John's vocal delivery is once more him at his most inspired, the melodic tone in his voice is
  particularly heard when he hits the final really high note.  With George Martin emphasing this melody with his exquisite piano,
  yet another reason this album became a major stepping stone to the next year's "Revolver". The Beatles could have successfully
  stayed at this amazing level of recording but they were now on a roller coaster ride, which would lead to staggering records over
  the next few years.  "Wait" maintains the superb top quality audio, particularly with the vocal harmonies in the extremely sharp
  sound this record was pressed with. The pleasure of hearing these amazing tracks without someone else's wear is why I insist on
patiently waiting until audio perfection like this emerges from among the usual worn out originals. I forgot to say how perfectly
clean and silent the gap before "Wait" began with another immaculately clear intro.  A mid tempo song, Ringo's percussion rings out
  in true life sound, the interchange between Paul and John's vocals created a very special song, then a gap as smooth as silk into
  George's second great composition ,"If I Needed Someone", now equal to Lennon & McCartney's songwriting, George's lead guitar
  is just as superb as the delightful vocal harmonies.  Another wonderful melody given a stunning production, the vocal arrangement
  was of maximum importance, the sheer quality of the audio enhances the glorious mono mix.  So many great songs and to end this
  side and the album, a really strong electric guitar riff punches out the intro to "Run For Your Life." John may have later voiced
  dislike for the lyrics during his time with Yoko and a better understanding of female rights, but his vocal was as great as any
of the tracks on "Rubber Soul".  He was unhappy about writing threatening lyrics, his up-bringing in the 1950's north England,
  was during a time when men adopted a different attitude to women, interviews were conducted with John's more enlightened views
after meeting Yoko. The melody is as superb, once more a combination of the three guitarist's created a distinctive sound of the
Beatles in full flight, a great rhythm developed with Ringo's percussion pushing the tempo along.  The sheer clarity here reflects
how an immaculate sounding record presented the most exposed acoustic tracks so cleanly, but it also powered out the electric r&b
  performances like "Run For Your Life" &  "Drive My Car," a fantastic all round listening experience on an ultimate "Rubber Soul."
{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 RESPONSIBILITY 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.

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!