Sold Date: March 25, 2016
Start Date: March 18, 2016
Final Price: £74.88 (GBP)
Bid Count: 3
Seller Feedback: 4165
Buyer Feedback: 38

You thought the leaden winter would bring you down forever,
But you rode upon a steamer, to the violence of the sun.

And the colours of the sea, blind your eyes with trembling mermaids,
And you touch the distant beaches, with tales of brave Ulysses.
How his naked ears were tortured, by the sirens sweetly singing,
For the sparkling waves, are calling you to kiss their white laced lips.

And you see a girl's brown body, dancing through the turquoise,
And her footprints make you follow, where the sky loves the sea.
And when your fingers find her, she drowns you in her body,
Carving deep blue ripples in the tissues of your mind.

The tiny purple fishes run laughing through your fingers,
And you want to take her with you, to the hard land of the winter.

Her name is Aphrodite and she rides a crimson shell,
And you know you cannot leave her, for you touched the distant sands,
With tales of brave Ulysses, how his naked ears were tortured
By the sirens sweetly singing.

The tiny purple fishes run laughing through your fingers,
And you want to take her with you, to the hard land of the winter.
CREAM: "Disraeli Gears" LP IN STEREO, UK PRESSING LATE 1967, ORIGINALLY RELEASED 2nd NOVEMBER,1967.
Over the last 15 years I have regularly detailed  the 60's pressing sequence of "Disraeli Gears" on ebay regularly for mono and
stereo UK versions, a huge selling album that had so many changes to the cover.  Until now I have only sold the 1960's Reaction
label pressings, a minimum of Near Mint has always been in place for the 60's pressings.  In theory, this first pressing on the RSO
label in 1974 should be easier to locate in Mint, but so few copies were pressed and it was only seven years after the very first
pressings of "Disraeli Gears," any 42 year old major album made in small numbers ids by far rarer than the huge selling Reaction
label pressings.  As I will show in text, the compiled picture of the run-out grooves multiple details clearly demonstrate this
record was pressed from 1960's Reaction metal plates, the original 1967 -1968  indexing was either left in place or crossed out
by hand, with a handwritten addition of the new RSO catalogue number maitrix prefix.  Proving this has a direct 1967 psychedelic
Stereo mix, even the normal Polydor machine stamping was abandoned due to the low numbers made, it was just hand written onto
the Reaction label indexing.  The cover artwork was left unchanged,only the back top right info box had the revised '249 4129'
printed and a different printer credit, like the final Reaction label covers, this is also a matt cover.


DARK CREAM OR COFFEE BROWN RSO LABEL: 2394 129


THE MAITRIX HAND WRITTEN ADDITION WAS SIMPLE ENOUGH:  2394 129  A  / 1   /  2394 129  B  / 1
A one-off, never repeated maitrix never seen again, no ending digit increase at all, but what was left from the Reaction label
was extremely complex.   As the original 1967 mastering directly created this, the very first RSO record, the mastering details  
in the run-out are indeed 100% valid and for the last time, being pressed with even the machine stamped 1967 publishing date!

MADE IN LATE 1967, THIS IS THE MASTERING DETAILS, INCLUDING WHEN CROSSED OUT.
  SIDE 1:

'184105  A'  (Machine stamped, hand crossed out )

 '2479185  S 1 (Machine stamped in oversize digits)

Still on Side 1 in the run-out grooves;  '10    (P) 1967      K7       V'
Initially '10' in over sized digits, then normal size machine stamped letters, digits and symbols

MAITRIX  & MASTERING DETAILS SIDE 2:
Initially '2'  stamped in over sized digits but not near enough to include in the picture, next the record was turned
upside down and in Polydor's normal size stamped digits;

 '594 003  B / 1' ( hand scribed and crossed out)
Positively not in the same handwriting as the RSO maitrix, I recognise this from the 1960's Reaction records.

'184105  B'  (Machine stamped, hand  and crossed out)

'8   (P) 1967      K7       V'

Back in late 1967, this very complex mixture of untypical symbols, catalogue numbers that simply did not exist and were crossed
out and replaced by hand.  '(P) 1967' now makes perfect sense because the 60's Reaction originals made in 1967 and the early 1968
records were so close in the time frame, they still had mastering details of only weeks earlier.  Only even years later in 1974,
exactly the same event was taking place in Polydor's pressing plant, no remastering but a direct continuation to press the few
first RSO records. My sequence of those events can be seen in one compiled picture, "Disraeli Gears" was in the UK charts for
42 weeks!  An amazing consecutive chart residency, 1967 - 1968, but the album never sold enough copies to make a chart re-entry,
always in demand, but small pressing batches were required and made, I will explain why the album was pressed in 1974 below and
why the RSO connection, before long, "Disraeli Gears" was transferred onto the red Polydor label anyway.


1974 RSO/ POLYDOR POLY-LINED INNER SLEEVE,  AN UNUSED SLEEVE, UNSPLIT WITH LIGHT NATURAL AGEING,
A RECORD IMPRESSION WITH A FEW RELATED LIGHT CREASES.
THE INNER SLEEVE IS IN NEAR MINT CONDITION.
 

'James Upton, London' PRINTED MATT RSO COVER WITH "Stereo" AND THE CATALOGUE NUMBER PRINTED ON
THE BACK'S TOP RIGHT CORNER IN A 'STEREO' INFORMATION BOX.
In other words, the final Reaction "Disraeli Gears" unlaminated, matt cover had hardly any additions, the catalogue number and a
revised 'EJday' printer credit on the back bottom rim.  Including leaving the 'Reaction' logo lettering on the back, bottom left
corner, printed over Eric Clapton's boots, like the record, this cover is a direct continuation of the late 1967 cover that took
your breath away for the dazzling, eye popping, psychedelic artwork.  My pictures say all this needed about the stunning unfaded
and unworn colours,of course, unplayed record or not, this matt cover is now 42 years old.  Not even a hint of ring wear on the
font or the back, only minimal acceptable ageing, a record impression and any edge rubbing from standing, is as light as it gets.
The spine only has fractional rubbing and a few ripples, as shown in my pictures.
A REALLY STUNNING AND BEAUTIFUL COVER, IN NEAR MINT CONDITION.
   

THE RECORD IS UNPLAYED WITHOUT ANY FORM OF SCRATCHES, SCUFFS OR MARKS, THE RSO LABELS ARE AS TEXTURED
AS THE POLYDOR /REACTION LABELS AND THE PRINTING IS ALSO IMMACULATE. IF THERE ARE ANY EVEN ANY FACTORY
HANDLING TRACES, I COULD NOT FIND THEM, SO NEAR INVISIBLE TO INVISIBLE.
  THE GLOSSY TOP SURFACE IS THAT OF A BRAND NEW RECORD, EVEN IF THIS WAS PRESSED BACK IN 1974.
THE RECORD IS IN UNPLAYED, MINT CONDITION.
SIDE 1
"Strange Brew" (Eric Clapton, Felix Pappalardi & Gail Collins Pappalardi)
"Sunshine Of Your Love" (Eric Clapton, Jack Bruce & Pete Brown)
"World Of Pain" (Felix Pappalardi & Gail Collins Pappalardi)
"Dance The Night Away" (Jack Bruce & Pete Brown)
"Blue Condition" (Ginger Baker)
 
SIDE 2
"Tales Of Brave Ulysses" (Eric Clapton & Martin Sharp)
"SWLABR" (Jack Bruce & Pete Brown)
"We're Going Wrong" (Jack Bruce)
"Outside Woman Blues" (Blind Joe Reynolds, Arr. Eric Clapton)
"Take It Back" (Jack Bruce & Pete Brown)
"Mother's Lament" (Traditional, Arr. Eric Clapton, Jack Bruce & Ginger Baker)

Eric Clapton - guitar & vocals
Jack Bruce - bass, harmonica & vocals  
Ginger Baker - drums, percussion & vocals

Recorded May,1967 At Atlantic Studios, New York.
Originally Released In The UK, 2nd November, 1967.
The reason for pressing this first ever RSO "Disraeli Gears", concerns the world's greatest living guitarist, Eric Clapton, who
had only just survived life threatening drug and alcohol addictions, was making a return to recording and performing in concert.
Eric's come back album in 1974 was a revelation and his manager was now keen to release Cream's ultimate album alongside it.
When we traded at record fairs I was often asked to recommend an Eric Clapton solo album by people yet to sample them, without
  hesitation, "461 Ocean Boulevard" was my immediate answer, for a Cream album recommendation.... it had to be "Disraeli Gears."
  Eric Clapton's recording career began with The Yardbirds and he took off on an extraordinary journey through the 1960's decade,
  next teaming up with John Mayall for the superb 1966 "Bluesbreakers" album.  Followed by the combustible Cream era that projected
Clapton's blues music and the decade itself towards the psychedelic period. After Cream came to a logical conclusion in 1968, his
  next alliance was with good friend Steve Winwood from Traffic, plus fellow ex-Cream Ginger Baker and ex-Family Rick Grech for
  one incredible "Blind Faith" LP in 1969.  Followed by a studio and live pairing with John Lennon in 1969, the very strong Beatles
  connection with George Harrison was heard on the "White Album" and George's first ever solo album, "Wonderwall Music" in 1968,
  not forgetting Cream's "Badge."  Next came the Delaney and Bonnie link up, before playing on all George Harrison's triple album,
"All Things Must Pass." In 1970 Eric Clapton began recording the "Derek & The Dominos" LP but after a great deal of time spent on
the sessions, it was left unfinished while Eric concentrated on making his first solo LP, released that same year. I deliberately
kept it as short as possible or there would have been volumes of text!  As one of the world's greatest blues guitarists and also
the innovator of psychedelia with Cream, he had performed at the cutting edge with all the excesses available in the late 1960's,
making his survival until the present day remarkable.  So many others from that era lost their sanity or their lives, the price
Clapton paid, was a life threatening heroin addiction, alcohol was another but heroin had become life threatening.  He finished
  the "Derek & The Dominos"album in Miami and it was released in November,1970 without his name appearing on the front cover,
a second LP was started in April 1971 but the heroin habit saw him retreating to his Surrey home, now Eric Clapton was on the same
slippery slope so many never recovered from.  He was no longer able to record or tour, only managing a few isolated sessions and
live appearances, they began to slow to a crawl as the addictions completely took over his life and threatened to end it.
     
    Eric Clapton would not return to making another studio album for four years, his second solo album, "461 Ocean Boulevard," was
not released until July,1974, his road to recovery began in January,1973, all thanks to Pete Towshend who organised the historic
Rainbow Concert in north London.  Pete Townshend coaxed him back onto a stage again and Eric's caring friends included an array
of astonishing talent, along with Townshend were, Steve Winwood, Ron Wood, Rick Grech, Jim Capaldi, Rebop and Jimmy Karstein.
  In September,1973 it was released as a live album, in the following November Eric began two months of acupuncture treatment to
finally kick a heroin habit that appeared to have ended his career.  In April,1974 Clapton contacted Robert Stigwood to announce
he was now ready to return to recording and make an album, the owner of RSO Records, Stigwood, laid on a celebration meal in a
Chinese restaurant, two years after Eric abandoned making the second "Derek & The Dominos" album.  Stigwood enrolled American
producer Tom Dowd who acted as the sound engineer for Cream's records, Eric headed to Miami, Florida and the Criteria Recording
Studios, staying at a house in Miami Beach the album was named after, located at '461 Ocean Boulevard.'

Like a man re-born, Eric Clapton's long lay off created an album of true greatness, so great, most fans would agree that it still
  remains as his finest solo album, in spite of how many superb recording's followed over the decades.   Musically this had it all,
Eric Clapton's most stunning composition "Let It Grow" is at least an equal to "Layla", now for his slightly earlier genius and
track as sensational as "Strange Brew" and "Sunshine Of Your Love."  How could two staggering tracks originate from the same LP,
yet include another nine tracks that also completely blow you way?  "Disraeli Gears" was and still is, one of the greatest albums
of all time, a devastating masterpiece of songwriting, performances and record production, we will never see the like of again.


There is no finer example than "Disraeli Gears" of late 60's psychedelia, musicianship beyond compare with imaginations let loose
on the material, senses affecting sounds were accompanied by absolutely stunning artwork.  Both sides of the cover have every
possible part of space available on both 12" panels, covered with the most fantastic, intricate psychedelic artwork, courtesy of
Martin Sharp.  This is a truly stunning  cover, with an astounding as the surreal collage on the back panel.  Fantastic artwork with
colours, nothing else equalled that level of artistic expression, than Cream's extraordinary recordings on only the second album.
  Other artists presented their inspired music with imaginative surreal images on the artwork in 1967, but far too many covers from
  this era had no more than just window dressing though, an artist's ability to create wonderful images did not mean the musicians
  recorded anything particularly innovative, this is where breathtaking music and genuine psychedelic lyrics on "Disraeli Gears"
came into their own.  Jack Bruce and  Pete Brown are often thought of as being the sole writers of the album lyrics,I made sure
all the songwriters were credited with the track titles listed above. All three Cream members contributed songs, the lyrics given
above are my choice as the finest, if I remember correctly it was directly after introducing lyrics to John Lennon's "Imagine" LP
and they were the first lyrics I ever began a description with. "Tales Of Brave Ulysses" was written by Eric Clapton along with
artist Martin Sharp, a product of the time, Cream first lit the touch paper of inspired psychedelic music with staggering talent
and a magical musical chemistry, sparks really flew and ignited!   Collective individualism was first heard on their 1966 debut,
"Fresh Cream," one the 1960's greatest debut albums, blues was always their main love but something very special had started
to happen on their first album, a catalyst really, "Disraeli Gears" fulfilled all the potential opened up by "Fresh Cream," that
was even before Jimi Hendrix arrived in England.  In spite of listing every possible variation of the mono & stereo UK original
albums, words always fail me to place this magnificent album into some sort of perspective, it was so immersed in the era itself.
I will not be playing this record and although I would prefer to describe the glorious tracks, I have done that many, many times
  for Reaction label pressings, they exist in vast numbers but rare in Near Mint /Mint condition.   So few copies were made in 1974
this is the first time I have offered the directly connected RSO pressing, well, pressed by Polydor who also made all the Reaction
records, being so rare, I will resist playing the record this time.
  {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.


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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
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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


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AS NEAR TO THE AUCTION ENDING AS POSSIBLE.

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