Sold Date: November 10, 2015
Start Date: November 3, 2015
Final Price: £155.00 (GBP)
Bid Count: 7
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"NO TITLE" (Alvin Lee, 1968)

Well, I got no worry, and I got no pain,
'Cause when I get rid of them, they come back again.
I just keep on doing, what I want to do,
If I keep on trying, I'm sure to come through.

Well, money's no problem, it comes and it goes,
It stops me from starving, it keeps me in clothes.
There's a God and a devil, I'm sure it must be,
But why should I bother them, they don't bother me.

So, I'll keep on playing and do what I do,
These strings on my fingers are all that is true.
TEN YEARS AFTER: "Stonedhenge" LP, UK 1970 PRESSING WITH DATED ORIGINAL 1970 INNER SLEEVE.
"Stonedhenge" was originally released 22nd February, 1969, in that period Decca / Deram covers had a hole on the back right corner
to see a colour coded inner sleeve through, red for mono and blue for stereo.  With the advent of stereo only recordings in 1970,
that format hole was no longer required, Decca introduced that in 1969 when it was obvious mono records would be confined to the
  re-issues of mono only 60's albums. Their short sighted approach was unbelievable and in 1970 they realised they no longer needed
  to make them, this 1970 cover has the remains of that folly.  Where the hole used to be, the white arrowed line leading to information
  about the formats, just before that, the white boxed ' STEREO SML1029' is a remnant from the 1969 - 1970 format hole. This record
  was pressed in 1970 and so were the  cover and the inner sleeve printed, only a year after "Stonedhenge" was first issued, this
  second pressing was really close to the first issue, so close, it can be considered the first pressing in the 1970's, becoming the first
  laminated gatefold cover without a format hole.  To put all that into the correct perspective, this is a 45 year old Master Tape
  pressing of he magnificent "Stonedhenge" in Mint condition.
 
WHITE AND RED 'DERAM' LABEL:  SML1029.
The 1970  labels still have Deram and Decca's 1960's design, on the right side of the centre hole at 3'oclock is the catalogue
number, above that is the maitrix numbers and they are inverted, or printed up-side down.  A format adopted by most UK record
companies like Polydor and Track, but discontinued by the late 60's and normally well before 1970, so all necessary ingredients
are in place for dating purposes, with the inner sleeve providing an approximate month.

MAITRIX: ZAL 8564 - 1W  /  ZAL 8565 - 4W
A direct continuation of the 1969 Stereo maitrix indexing with Side 1 still at '- 1W'

DECCA /DERAM 1970 STEREO FORMAT INNER SLEEVE WITH BLUE BORDERS, THIS DESIGN ORIGINATED FIRST IN
1969, THEN THE BLUE OR RED SQUARES DESIGN.   THAT BECAME STANDARD RIGHT UP TO LATE 1975 AND THIS WAS
BEING DISCONTINUED THIS FAR INTO 1970.  IRONICALLY DECCA / DERAM CONTINUED WITH THE SECOND SLEEVE
DESIGN ..... FOR AN OBSOLETE SYSTEM FOR THE NEXT FIVE YEARS!
This 1970 sleeve  has the actual date and month it was made printed on the front bottom right corner;
4-70 = April, 1970
  For Mint records the inner sleeves have to be the original the record was placed inside just after it was pressed, as printed
items were made before the records, an approximate pressing date would be April - May, possibly June 1970.  Just as likely
though, the record could have been made in April, 1970, the gatefold cover certainly supports the Spring of 1970.  Ironically
that all important date originates from an obsolete system that was only in use in 1969 to early 1970, then abandoned and
the inner sleeves were testament to such folly for the next five years!  Meanwhile the rest of Britain and the world, were aware
stereo had become the one and only format in January 1970.
   THE POLY LINED INNER  SLEEVE IS IHARDLY AGED, UNSPLIT AND UNWORN, MINT- CONDITION.

'Rober Stace' PRINTED 1970 LAMINATED 'DERAM' GATEFOLD COVER, IN VIRTUALLYUNUSED CONDITION.
Leaving me to once again deal with 45 years of standing storage, there is no wear to detail, a record impression and the usual
related tiny laminate edge lines, as usual,mostly on the spine's meeting points with the front & back edges.  The traits nobody
could have prevented and the lines laminate crossing the spine was a natural event that began in 1970.  The printed titles were
placed where the spine hinged, making taking a photo very difficult, the picture taken is not ideal but better than not showing
the titles at all.   The colours of the artwork are completely unfaded and remarkably bright and deep tones, the same is true for
the inside panels, unlaminated but totallu unaged with pure white large block lettering on the top rim of both panels.  I always
find it frustrating to grade covers with only storage/ standing traits of so many decades and feel this is correct;
THE COVER IS IN EXCELLENT+++ / NEAR MINT CONDITION.

  THE RECORD IWAS ONLY PLAYED ONCE,  WITH SUCH CARE I CN HARDLY FIND ANY SPINDLE TRACES ON THE LABELS
AND THERE ARE NO SIGNS IT WAS EVER PLAYED, WHICH IS A STRONG POSSIBILITY WITH TEXTURED LABELS.
TOTALLY UNMARKED VINYL, THE RECORD IS IN MINT CONDITION.
SIDE 1
"Going to Try" (Alvin Lee)
"I Can't Live Without Lydia" (Chick Churchill)
"Woman Trouble" (Alvin Lee)
"Skoobly-Oobly-Doobob" (Alvin Lee)
"Hear Me Calling" (Alvin Lee)
 
SIDE 2
"A Sad Song" (Alvin Lee)
"Three Blind Mice" (traditional, arranged by Ric Lee)
"No Title" (Alvin Lee)
"Faro" (Leo Lyons)
"Speed Kills" (Alvin Lee & Mike Vernon)

Alvin Lee - vocals, guitars & piano
  Chick Churchill - organ & piano
Ric Lee - drums & tympani
Leo Lyons - bass, bow-bass, string bass & percussion

Produced By Mike Vernon (backing vocals on "Hear Me Calling")
When listing the track titles, I normally write, "All Songs Written by Alvin Lee" for Ten Years After albums, "Stonedhenge"
was the only album all four band members figured among the songwriting or arrangement credits.  Another reason concerns
  the incredibly detailed and very amusingly written album credits inside both panels of the gatefold cover.  A use of symbols
for every one one of the track credits, makes the 1971 "Led Zeppelin 4" LP's concentration on 'symbols' on the credits inner
sleeve, seem deliberately simplified!  You can spend forever pouring over them all and still have the cover open on your lap
to read and find even more info during every successive listen to the record, due to the depth and the complexity of following
them, including who wrote which song!   "Stonedhenge" is a very special album musically as well, so special, I will give the
full picture of the pressing sequence, as this record was pressed only a year after the 1969 release, it is very much part of the
history of the UK  "Stonedhenge."  The labels often confuse people because they have 'published 1968,' the genuine 1968 first
pressings were held back for an early 1969 release, bringing this record and even the very first made, even closer.  My main
  concern is the condition of the records I sell, to me a year is a very short time period between pressings and 1970 records were
generally just as heavily played as the 1969 ones, I can rarely find any pressing of "Stonedhenge" in the only condition I will
ever consider, as close to Mint as possible.  I refuse to sit listening to substandard sound personally, even more so on behalf
of my customers, this has the precise audio perfection I have waited very patiently to find. If you check the maitrix number they
are the direct continuation of the 1969 Stereo pressings, the album sold well and reached No.6 in the UK charts but after only
five weeks, it dropped straight out and never made a chart re-entry again.  Many top selling albums in this period spent over a
year in the charts and that connection in the maitrix numbers, would have been part of the initial pressings had it lasted until
  late 1970 in the charts.   Allowing for so many mono pressings in 1968 - 1968 were part of the five weeks in the charts, this
  stereo records,  'ZAL 8564 - 1W /  ZAL 8565 - 4W, ' demonstrates how only one side had risen from '1W' to '4W.'
 
For some bands success happens overnight, then with record company and management pressures, the 'sink or swim' situation
develops as they attempt to replicate their previous record that charted.  In between the need to build up a live following can
  often mean their inexperience leaves an audience unimpressed,  if the musicianship fails to excite or to hold interest.  The fate
of so many 'warm up bands', but for the naturally gifted, their musical ability to perform live had the effect of building them
up a sizable following before they even entered a recording studio.  Between 1967 and 1968, Ten Years After had earned their
  reputation almost entirely based on live performances and their ability to blow away the most initially indifferent audiences, was
down to supreme talent and a magical musical chemistry.  That had to be was done the hard way in the late 1960's, starting out
playing in small UK blues clubs, which were often a tiny back room of a pub.   Blues was really thriving in this period, with the
  pubs offering the up and coming young bands much needed experience, plus their exposure to audiences was just as essential.
Just performing live to small gathering meant there was always an outside chance of attracting a record company representative
looking out for talent to sign, or if they were special enough, even attract the presence of premier blues record producer, Mike
Vernon, to see a gig in the small clubs.  Which was exactly what happened to Ten Years After, Mike Vernon immediately knew they
had all it took to become major and as John Mayall's record producer, he had them signed onto Decca's subsidiary label for unknown
talent, Deram.

Their self titled debut album was issued in 1967,  it was only bought by the few who had experienced those amazing early gigs and
failed to enter the charts.  As Deram were set up for little known unestablished artists, pressures to sell records lessened, but
the the need to succeed was always there hanging over the artists.  An unusual set of circumstances surrounded the issue of this,
the intended follow up and second album in 1968, "Stonedhenge"  was recorded, mixed and mastered but left unissued, instead the
live "Undead" LP became their second album.  There was an expectancy and a confirmation needed that the band were capable of
attracting record sales.  Even though Ten Years After had only just recorded the intended next studio album in September, 1968,
titled, "Stonedhenge", after a re-think by Mike Vernon and Deram, the imminent release was shelved and it remained unissued until
  February, 1969.
 
Meanwhile, in that same September of 1968, Ten Years After performed a live set at one of those small blues club, the very famous
'Klooks Kleek', Railway Hotel in Hampstead, North London, was almost touching Decca's studios.  The club's name will nudge a few
  memories for those as old as me who lived around or visited London in the late 60's!  They performed live versions of most of the
  "Stonedhenge" studio tracks, the set was recorded, produced and mixed by Mike Vernon, recent founder of the 'Blue Horizon' label,
most noted for signing Peter Green's Fleetwood Mac.   "Undead" was soon ready and was issued on the 28th September and the idea
to release "Stonedhenge" as a live album version first, was previously untried, a very bold and brave one.  From memory, only the
Yardbirds with Eric Clapton had previously succeeded with a live set in the UK charts as an established blues band, it would be
the 70's decade and introduction of bootlegs, that brought record companies around to the realisation there was a high demand for
live music on records.  Ten Years After had major talent when performing live, their musical ability alone made the idea work for
introducing "Stonedhenge" in concert, before releasing the earlier studio recorded version.  It has to said, perhaps the stunning
psychedelic artwork on the front cover of "Undead" made it an eye catching, hard to  put down LP cover in record shops.  Although
not quite a major success, "Undead" made it to a respectable enough No.26 in the UK charts, TYA were on the map and their music
had reached beyond the converted in small blues clubs, paving the way for the February 1969 issue of  "Stonedhenge".  The tracks
on "Undead" were so staggering in content and performance, eagerly sought after studio versions saw "Stonedhenge" storming up
to that No.6 chart position!   If nothing else it showed how the ability of a band to perform live  made their career successful,
skilfully guided by Mike Vernon's extensive experience of course, it was likely without the in-roads "Undead" made, "Stonedhenge"
could well have failed to sell or even worse still, remained unreleased.  Decca and Deram were not exactly Island Records in late
1968 and it was still much too early for the likes of the Vertigo, Dawn or Harvest labels.  Just making it in the UK was quite an
achievement, but they were not quite finished yet because America was about to experience  the full force of TYA , they caused
a sensation at the August 1969 Woodstock Festival, performing a blistering eleven minutes version of, "I'm Going Home."  They
subsequently toured the USA for the next eight months and the film of the event gave them the kind of exposure that brought the
world's attention to their records.  I have to regularly write about how their early 1970's albums were no longer selling, so that
was highly enjoyable to chronicle their rise from obscurity to world fame, right, time for me to hear and describe the record, all
possible pressing and printing details are clearly given in my main headings.   If I am uncertain about which year a record was
pressed in, I say so, but when I am able to give a precise date, I always include conclusive information, not forgetting I was a
fanatical music  and record enthusiast from early 1963.   To have experienced how that 1960's dominated mono era made the
transition into 1970 and the coming decade, has always been vital to my profession, I do not have to play guessing games, I was
there at the time!   I can also categorically state, there is no difference between the sound and staggering true stereo sensory
mix, on the late 1968/1969 records and this 1970 record.  How can there be, the massively heavyweight vinyl is identical and
time wise, it was more like a matter on months that separated the pressing?  I will try my best to include the sensational stereo
mix, but sensory stereo of this magnitude is really a personal listening experience.
 
  True to Decca's immaculate master tape pressings, Side 1 has near silent, then completely silent  run-in grooves well before the
first wonderfully crafted sound effects acts as the intro to "Going to Try."   A 'breathing' kind of sound called 'Chinese Fans' on
the extensive credits inside the cover, followed by percussion, obviously this is very exposed to needle noise from original vinyl
  but this incredible condition first pressings has none!  My stylus glides through quite remarkably without any annoying clicks or
  crackles and 'surface sound' does not enter the equation here.  That percussion on the first stereo pressings is in an incredible
  sensory true stereo mix, in other words Mike Vernon created some typical late 1960's panning effects.  The individual parts of
  the percussion are a low bass drum with a higher frequency beat mixed in, when I say 'incredible sensory true stereo', without me
  giving too specific details, the cover's liner notes actually detail some parts not included on the mono LP, how unique does that
  make "Stonedhenge"?  I know of no other album that actually informed you the positive differences in instrumental sections or
  sound effects between a mono and stereo version, normally that is down to the 'ears' of those into such intricate matters.  To find
  a mono LP in this staggering condition is as hard as the stereo albums, I have only sold one mono copy in Mint- on ebay, this is
  only the fourth stereo pressing in nearly 15 years on ebay.  This is definitely among the greatest ever late 60's albums made, it
has to be, I have written this much so far and I will have to re-start the record because I have only described about a minute of
the intro to the opening track!    I will just conclude this before moving on, the mono mix has an amazing impact, but this has
the two individual parts of the percussion alternating in the right and left channels, a mesmerising pattern of fantastic sounds!
The effect is just awesome, in the same way the 1968 mixed stereo mix drastically differs on the intro to "Beggar's Banquet's"
"Sympathy For The Devil," to the mono version's tamer, one dimensional version.  Heard here in such immaculate sound quality,
that effect is magnified.  The percussion increases in tempo, slowing  as the rest of the band now come in and Alvin Lee begins
the vocals.  I've written quite a lot about a short intro,  that's how I recognise this record has the precise sound and the same
first stereo pressing, 46 years of knowing and loving the album tells me that without needing any printing or record stamping
details.  Complications of printing anomalies and pressings are there to unravel, but the ultimate identification comes out of my
speakers, 'sound' is not subject to any kind of variation when it comes to only accepting the first made, original stereo mix.
  I know other ebay sellers mock my descriptions, but they couldn't care less about the music and I am genuinely passionate about
the records I buy and sell.  The track now explodes with just incredible power!  The stereo mix  is stunning in such perfectly
clean and clear sound, without any background surface sound at all, the individual instruments are in the same total separation
  of true stereo.  I can't possibly devote that much space to all of this record's amazing panning effects, a real joy to experience
such wide, spacious sound, a stunning way to hear the music.   As an unworn 1970 Decca pressing, the instruments the vocals are
in perfectly sharp edged sound.   Albums this magnificent were subjected to excessive playing, rendering once perfect audio to
awful degraded sound and terrible crackles. Not the way I will ever listen to the music I love, this is incredible sound quality!
"Going to Try" is a track with multiple musical sections and the basic melody is gentle blues at first, then speeding up to a much
faster tempo. Then back to the softer,gentler segment, this time an acoustic guitar is the backing for Alvin Lee's superb vocals.
  Moving onto the staggering instrumental piece with Chick Churchill playing inspired organ, the percussion switches to bongo's
first heard on intro now take this into the final section.  Rick Lee uses his snares to emphasise the great rhythm, the sound of
which is ultra sharp edged, Chick Churchill's piano notes fade away naturally, the gap is completely silent as Chick's lone piano
plays a light jazzy, blues piece unaccompanied. He wrote this and as exposed as it is to  vinyl's potential noise, absolutely no
  surface sound, "I Can't Live Without Lydia" is a short but superb instrumental, ending into another silent gap.  So the intro to
"Woman Trouble" is perfectly clean, wonderful free flowing slow blues is played with the looseness expected from the band back
in London blues clubs, allowing full freedom of expression for the instruments.  First Chic Churchill performs inspired keyboards,
panned entirely from the left speaker, before Alvin Lee takes over on his lead guitar in the  same left channel. In this prolific
form, Ten Years After were fast becoming supreme musicians, it should be remembered this was still only their second studio
album, I had better speed up, the sound is sheer perfection, loud and powerful with stunning definition on all instruments and
particularly Alvin Lee's vocals.  For Woman Trouble", the drums are positioned on the right and it certainly is absorbing to have
this fluid flowing movement that never remains static, so many albums kept the same instruments in the same channels for every
track.  "Skoobly- Ooobly-Doobob" is another delighful short track composed by Alvin, performed as an improvised scat vocalisation
with the only backing here a guitar and bass. Yet another track that is normally a crackly mess, not on  this record, completely
free of any form of surface sound, from the start to the the silent linking grooves to my all time LP favourite, "Hear Me Calling."
More of a TYA favourite, a superb slow blues track with a creeping element creating dramatic tension right from the guitar and
percussion intro, in synch, independently from either speaker, an intro too often ruined and drowned out by horrific noise, this
is so perfectly clean. IA quick reminder this might even be an unplayed record or at most, it was only played once.  Written by
Alvin Lee who plays a stunning slow blues guitar riff for that intro,  quietly played as the rest of the band join in before the
vocals begin.  They are sung in closely knitted harmonies for the chorus, kind of Canned  Heat's "On The Road Again" vocal style
but positively featuring the genius emerging from Ten Years After during September '68.   Ric Lee's drums remain in the right
speaker, they and Leo Lyons' bass guitar stay down low in the mix, until the song moves into the second verse, then the volume
hits top level!  The top volume level of a 1968, 1969 or 1970 Deram / Decca mastering and pressing, is extremely powerful, Ric
Lee's bass increases along with all the other instruments.  Alvin plays a staggering blues guitar solo, then back to wonderfully
harmonised vocals.  "Hear Me Calling" shakes off the taut, strung out tension of the opening and this is just incredible stereo
sound, with the audio sheer perfection.  The fullest volume causes no distortion or to the record's massive bottom end or bass
sound, that remains as crystal clear.  The single issued of "Hear Me Calling" had the guitar solo edited out, this is the amazing
full length version, playing here in staggering sound quality and being the original stereo mix,  "Hear Me Calling" is  awesome!
Alvin Lee's guitar plays from the left initially but during the solo the notes begin to alternate, flying between both speakers
like lightning, by now Ric's drums have also occupied both channels, the effect is magnificent!  Then that 'Canned Heat' style
harmonised chorus is very quietly sung, almost acapella but there's still not a hint of any  surface sound, an unworn absolutely
perfect pressing, in fact, the only notion this is indeed vinyl over both sides, is only a few seconds of low level static.


Side 2 has near silent run-in grooves, I find it absurd to include the natural sound of vinyl because I have to concentrate hard
on next to nothing, a record has to sound.... like a record.  That will spare me having to state the obvious again, a very quietly
played guitar and organ intro is usually having to compete with loud and irritating needle noise, there is only the merest static
  and if turned my volume down from wall shaking I'm sure I would not even hear that.  I like my music loud and it is the only way
to sound grade records, but being realistic this record is as clean as it gets. This is the incredible "A Sad Song," slow burning
blues of the very finest kind, another of those spine tingling slowly creeping songs that smoulders along but never quite ignite!
The production  of the great Mike Vernon is really heard on this track, I mentioned him in my introduction, highly respected for
production  work on some of the all time greatest 60's blues albums, as well as all of the 1960's John Mayall Bluesbreakers LP's,
also the producer responsible for Savoy Brown and the incredible Peter Green's Fleetwood Mac records.  The audio here needs
only twowords to describe it, absolute perfection.  For a track that is constantly dropping down to just an almost acapella vocal,
the two words are a genuine pleasure  to write,  yes, occasionally fractional reminders vinyl is producing such amazing analogue
sound quality but that was true when they were all first bought.  "A Sad Song" is a track with simply  breathtaking performances,
essentially heard without any of vinyl's potential severe irritations.  The slightest studio echo can be heard on Alvin's vocals,
this really is a staggering pressing!  Believe it or not, without giving away any specifics  to avoid 'over describing' the most
delicate sound texturing, even studio echo/reverb is among the credits pertaining to either the mono or stereo mixes that some
tracks exclusively have.   The liner notes on the inside of the cover went above and beyond any album I know of and I got into
  alternate mixes as early as late 1969 to 1970 when I discovered 1960's stereo for the first time, after the whole decade was
spent only hearing mono sound.  "Three Blind Mice" is exactly that, but played only with percussion by Ric Lee who arranged and
  improvised during the recording, stunning sound quality, the stereo panning has the same stunning sound movements, as found on
Side 1's intro to "Going to Try."  The next gap is smooth & silent running, into the next very quietly played intro's, "No Title"
is once more perfectly clean and clear.  Played as delicately as anything on the whole of "Stonedhenge," once again there is only
negligible natural static occasionally on this ultra quiet section, then a really sensationally loud and overpowering explosion
  of electrifying blues guitar, Alvin Lee is simply on fire!   The band hang back here to allow him the fullest prominence, panned
entirely from the right the guitar becomes a 'live and raw' sound and that is one hell of a sensational sound!   After blistering
guitar, Chick Churchill is equally inspired to produce some stunning organ, this would be named as 'progressive music in 1969 to
the early 1970's, but in 1968 TYA were improvising blues and jazz and it was still termed as psychedelia in my era.  The panning
effects of the organ's rapid alternating notes created a simply mesmerising sound movement, by increasing the dynamics to just
unbelievable proportions.  Only Lyons' bass provides the lone backing, now Ric Lee's drums erupt to perform dazzling patterns
of rhythms, Leo's bass guitar plays a short solo and this, the original or master tape stereo mix, becomes absolutely awesome!
The band now perform ultra tightly together, an amazing volume leap for a studio sound effect heard in crystal clear undistorted
sound, as indeed are all the very loudest notes on both sides of a remarkable pressing.  Should anyone be unfamiliar with this LP
or more to the point, the amazing original dynamic stereo mix, this record will give your hi-fi system and you a real treat, with
headphones you will not believe the stereo panning effects, they just blow you away and so does the music itself.   I dearly love
mono, but when stereo gives you an experience in 'sound' like this, you cannot even get close to that in mono and the expression
I used before was spot on.  The Mono version becomes one dimensional in comparison to all the attention given by Mike Vernon to
every note played and sung on the original stereo Multi-Track master tape recording.   If my introduction about how any why the
studio versions were held back, until the live versions on "Undead" grabbed the record buyer's attentions,made no sense earlier,
hopefully it should now be clear why so much faith was placed in the studio version needing and getting every chance of success.
Of course after the latter part of 1969, when America heard this sensational stereo version of "Stonedhenge," TYA's reputation
was even further boosted after the Woodstock footage was seen and heard en masse.   Mike Vernon's gushing praise on the liner
notes were genuinely felt, never before had a record producer's shrewd judgement about recording a live set of the songs he knew
were mind blowing as the studio versions, acted as the greatest possible guide to such raw talent in need of his knowledge and
expertise. Making the record was one thing, the timing of the release was even more crucial, "Stonedhenge" should never be listed
with only a catalogue number, a track listing and a hopelessly inadequate grading cliché, I care passionately about the music I
experienced from the birth pangs of rock & roll, everything of any merit that grew and prospered should not now be cheapened
and demeaned because of an internet.  A gently sung final verse bring an astounding track to an end, problem free linking grooves
  allow another perfectly clean intro a bass guitar extravaganza, "Faro" is one of the album's most innovative features, inserting the
  short instrumentals that worked perfectly to bridge the tracks, the gaps are so short to mention and hardly register. Recorded in
1968, Ten Years After were in such a confident, authoritative control of their musical direction, no attempt was made to pander to
commercialism, they making a definitive album.   To end this masterpiece of an LP, what else but authentic 'freight train blues',
  "Speed Kills."  The beginning has the realistic and startling sound of an actual train, great intro on the mono version but this
is something else in stereo!   The steam train is in mega powerful sound, starting out panned left, hurtling it's way across into
the right speaker!    call of "Get on board that train!" and they instantly hit the familiar train rhythm that inspired the blues
greats,Alvin certainly had no problem playing his guitar at the faster incessant rhythm!   A brilliant vocal and his guitar solo
is incredible, TYA were never just about Alvin Lee, this track is totally dependent on the bass guitar and drums, they are both
an equal to Alvin's guitar.  An astonishing stereo effect is when Alvin Lee plays like a train on his guitar, those notes move
across to the opposite speaker just like the steam train did, we are entering a territory only Jimi Hendrix explored, making his
guitar imitate sounds, well, Jeff Beck must also be included in that one.   At the end Alvin sings, "He ain't gonna make it!",
the freight train applies brakes and crashes, all in staggering stereo effects, then like an old silent movie a piano plays as
the steam carries on escaping, the sound of the steam from the train at the very end is astonishing, why I said you should hear
this record through headphones!  A remarkable sounding record, I would not hesitate naming "Stonedhenge" as Ten Years After's
greatest album, certainly their most inspired.
  {Roy}
{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.


  Pay me with PayPal.

I don't charge my buyers extra!