Sold Date: April 18, 2016
Start Date: April 11, 2016
Final Price: £413.99 (GBP)
Bid Count: 22
Seller Feedback: 4183
Buyer Feedback: 41

These are the bare wires of my life,
  Since it was cut down the middle by love.
  Tides have been turning - I have been learning,
  All my bare wires are alive.

JOHN MAYALL'S BLUESBREAKERS: "Bare Wires" LP FIRST UK PRESSING  IN MONO, 12th JULY 1968.
  I must quickly mention how rare a 1968, major record like "Bare Wires," only being played twice, with the only way to tell the
  record has been on a turntable, are two light spindle contact traces on the centre of the labels.  The completely unmarked,
  pristine vinyl, is literally still like brand new.  Customers often asked to hear the first tracks per side and the latest records
  were just being played in the shop to create an atmosphere. Then maybe the record was taken homes and recorded onto tape as
  the second play....or the purchaser found the music not to their taste and never returned to it.  I would normally expect to find
  the Stereo first pressing in such immaculate condition, stereo records were treated much more carefully in this decade, but
  whatever the reason, it's wonderful to see that very special glossy top surface unique to Mint vinyl, on a very first pressing
  of the magnificent, "Bare Wires."
 

  TEXTURED, "Unboxed" DECCA LOGO, RED MONO LABEL:  DECCA LK 4945.

MAITRIX: ARL  8340 - 1A / ARL 8340 - 1A
That maitrix speaks for itself really, the very first pressing made because Decca's sequence began with; '-1 A /-1 A'.
  It goes without saying that only a late 1960's unboxed mono record was made, but if ever you want confirmation, the maitrix was
   always inverted on Decca labels, or printed upside down to the direction of all the other silver printing.   Only the initial 
  letters and digits were printed on the labels, the actual indexing of the maitrix was confined to the record's run-out grooves at
  6 o'clock.
 
BOTH SIDES HAVE '1' DIGITS AT 9 O'CLOCK IN THE RUN -OUT GROOVES, SO THE STAMPING PLATES USED TO
  PRESS THIS RECORD FROM WERE CREATED FROM THE VERY FIRST 'Mother' MADE IN 1967.
  A 'mother' was directly created from the Metal Master's imprint of the just recorded and mixed Master Tapes, then the actual
  stamping discs 'the mother gives birth to,' were clamped to the individual sides of the molten vinyl, the labels are fed down by
  a tube.   With those '1' digits on both sides this simply has to be named as a first pressing and anyone who believes otherwise,
  does not understand the manufacturing process was designed to maintain as perfect as possible sound quality on every record,
  Decca were among the world's finest in the 1960's and the 1970's decade.
 
  THE  RUN-OUT GROOVES 3 O' CLOCK POSITION CONTAINS LETTERS OR A SINGLE LETTER, VIA A UNIQUE CODE,
  DECCA INDEXED THE NUMERICAL ORDER INDIVIDUAL RECORDS WERE MADE IN, THIS RECORD HAS;
 
  SIDE 1: GG 1
  SIDE 2: GM 1
   
  Decca took the ten letter word 'BUCKINGHAM' and indexed the letters as, 'B = 1' through to 'M' = 10, this record was very early
  in the numerical pressing order, per individual side at 3 o'clock in the run-out grooves;
 
  SIDE 1: GG = 77
  SIDE 2: GM = 70
 
  The term 'Stamper' was used to refer to the metal stamping discs per side of a record, well before the metal deteriorated, they
were changed for a fresh pair,  to maintain as perfect sound as vinyl can produce and that was something very precious indeed.
The amount made before the stampers were replaced was approximately between 2,000 - 2,500, that varied for Decca and the
other UK major record companies, according to the former ex-1960's sound engineers I personally met and discussed this with.
  Each side will often vary and the 'mothers' used created unequal numbers per side of the same record, not just for Decca, but all
vinyl manufacturing when indexing was being strictly enforced.  Numbers '70' & '77' out of 2,000 - 2,500 records made from the
first 'mothers' per individual side, really are low.

  THE MUCH MISUNDERSTOOD DECCA MAITRIX CONCERNS THE LETTER AFTER THE  DIGIT, IT WAS WAS NOT CHOSEN
  IN ALPHABETICAL ORDER.   THE END LETTER WAS CODED TO IDENTIFY WHO AMONG DECCA'S SOUND ENGINEERS,
MASTERED ANY GIVEN ALBUM TITLE.   HERE IS THIS RECORD'S FULL MAITRIX TRANSLATED;
  
  'ARL  8340 - 1A / ARL 8340 - 1A'

  1.) 'ARL' SIMPLY SIGNIFIES MONO RECORDS, THE FOLLOWING DIGITS ARE A FACTORY FILE NUMBER PER TITLE.
 
  2.) THE '1' DIGITS ARE AS EXPLAINED ABOVE, TO NUMERICALLY PRESS PRE-RELEASE RECORDS AND ENSURE THE
  SOUND QUALITY WAS NEVER ALLOWED TO BE PUT AT RISK, INDEXING THE BATCHES PREVENTED THAT.
 
  3.) THE LETTERS WERE CODED FOR ALL DECCA'S SOUND ENGINEERS DURING THE 1960's, NO NEED TO LIST ALL
  TEN, BECAUSE THAT WOULD GO PAST 1967, I DO KNOW THEM ALL, BUT THIS IS JUST FOR THIS RECORD;
 
  The 'A' letter after the digit represents Guy Fletcher, he mastered "Bare Wires" and among many really major albums he
  was also responsible for most of the Rolling Stones' first pressings.  So NOT an alphabetical method of indexing first pressings,
  for example 'W' was designated to Harry Fisher, one of the UK's most respected sound engineers, not just at Decca, he carved
  his logo and legendary status on EMI's records and in particular, so many of the Beatles records.
 
  THE FINAL ITEM, 'J / T'  IS MACHINE STAMPED AT 12 0'CLOCK IN THE RUN-OUT GROOVES OF BOTH SIDES OF
  FIRST PRESSINGS OF "Bare Wires".   WHICH HAS ALWAYS BEEN A  MYSTERY TO ME, IT WOULD BE EASY TO NAME
  IT THE 1968 UK TAX CODE, BUT I  AM NOT CONVINCED BECAUSE OF THE ( / ) DIVIDING SYMBOL ON THE LABELS.
  AS I HAVE DEMONSTRATED ABOVE, THE MAITRIX LETTER 'A' REPRESENTS THE SOUND ENGINEER, SO THEY MIGHT
  BE INITIALS AS THEY NORMALLY MATCH THE LETTERS ON THE LABELS.  IF YOU LOOK AT MY LABEL PICTURES
   YOU WILL FIND 'J / T'  AT 6 O' CLOCK UNDER '(P) 1968.'
Decca singles have similar letters on the right side of their centre holes, usually 'S' or 'H',  I have never spoken to anyone
  with professional first hand knowledge who could supply the meaning, I will not give my theory because this is a factual only
  description of a very first pressing.


FIRST ISSUE 1968 DECCA INNER SLEEVE, POLY-LINED AND UNSPLIT AND BARELY EVEN AGED, JUST A RECORD
  IMPRESSION AND A FEW RELATED MINOR CREASES, IN NEAR MINT CONDITION.
Some were date coded for the year and month of manufacturing, but often what appears to be a date is just  an illogical jumble of
  digits.  This inner sleeve certainly belongs in that category, this earlier 60's  design was discontinued in early 1969 and the
  number on the front bottom right corner is, 'RS 5-73'.  Obviously not 'May, 1973,' John Mayall had left Decca in late 1969 and
  in 1973, this type had been deleted four years ago!
 
  VERY FIRST 'Robert Stace' PRINTED, LAMINATED GATEFOLD 'LK 4945' MONO COVER.
  EASILY IDENTIFIED BY NOT HAVING A STEREO / MONO FORMAT HOLE ON THE BACK TOP RIGHT CORNER, THAT WAS,
  INTRODUCED EARLY 1969, THE ABOVE INNER SLEEVE IS ALSO NOT A COLOUR CODED TYPE INTRODUCED IN 1969.
The gatefold cover is over all way, way above average condition's of Mono & Stereo first issues, due to the hardly played record,
  only the unavoidable storage and standing traits unique to the actual cover design.   A typical design Decca were fond of in the
  60's, but extremely vulnerable to severe wear, a single card thinness front was enough, but to compound potential horrific wear,
  an internally stuck in record compartment on the right side, was made from paper and usually split. A 'hollow' spine did not have
  the thick double cardboard thickness of standard gatefold covers, few spines still have the printing left because the laminate
  very easily split and peeled.  The spine also had enforced ridges due to the gatefold hinging with only the thin single cardboard,
  I am not looking for excuses by analysing the deign, just being ruthlessly honest about a design that was more suited to CD's
  today.  I am discussing 1960's heavyweight vinyl in a decade when records and covers were heavily handled and poorly stored.
 
  The best known examples of this design are, "Beatles For Sale", "Dear Mr. Fantasy" & "Blind Faith,"  all were prone to creases,
  crumpled, worn edges and corners on the front single card. This front has perfectly sharp, unworn edges without those ugly creased
  or even folded over cardboard to such a degree, the lamination splits and peels away on the folds / creases. Only the very top and
  bottom of the spine or pair of left side corner hinging has the usual, reasonable light bunching, with a single card unsupported,
  hollow inside to the spine, how could any 1968 cover with that design not be be slightly pressured as a minimum ?  The ends of
  the spine are not creased and certainly belong to the just mentioned 'minimum,' like the two right side single card corners, are
  square shaped and barely even showing the merest standing, too minor to draw attention to.  The edges of the vulnerable single
  card are so close to being perfect they do not need any further comment. The outside has ultra glossy and undulled laminate, the
colours are as deeply toned and richly vibrant as in 1968, being a graphic artist proved useful for John Mayall.  Once again, like
  his band painting for the 1967 "A Hard Year" LP, he designed this cover's artwork and lay-out, outside and inside.   Shame Mayall
  didn't design the actual shape of the cover, "Bare Wires" was the first of a trio of late 1960's Bluesbreakers album, give me the
  " A Hard Road's" 1967 tried and tested standard cover for a single album.  Just folding and gluing the cover was difficult, once
  more, the spine has a slight  sloping angle common to this cover, but I still insist to say it retains the original square shape,
  if a slightly angled square!  I become much too critical when describing covers of this vintage, but I know the pictures contain
  the outstanding condition, leaving me to focus on the relatively few negatives for this particular design.   I can only continue
  in that vein, the described ridged or raised spine edges made sticking the lamination really hard to smooth into the recess that
  created, I fully expect to see a small area next to the spine's ridge was never stuck down.  This has some areas adjacent to  the
  meeting points of the front and back's far edges and the spine's edges, plus the left side corners of course.
   
The often split apart and badly worn spine is in exceptional condition, with unworn lamination over the still superbly clear,
  lettering of the titles.  After taking a close up picture of the top,"Bare Wires" title, I decided to also show the much longer
  "John Mayall's Bluesbreakers" that was positioned right in the middle of the spine, therefore up against the record's thick
  edge for the last 48 years. I never avoid the most vulnerable position on the entire cover, allowing for a few ripples, a longer
artist name than the LP title  in that position should in theory be damaged.   Not here, as my close up picture shows how perfect
the printing still is centrally, virtually unaged and still the 1968 off-white colour.  If anything, the spine's top album title
and the bottom 'Mono' & catalogue number, have more ripples for the above reasons.  Only the hardly played record and the lack
of constant handling account for the perfect central section of the spine's lettering still being perfect and unaffected by the
record's edge.  I have spent a great of time over the cover to present a balanced description, highly critical of the design and
the resulting traits, but honestly praising the main panels of the front and the still to be mentioned, the outstanding back.
  By the 'main' panels, I am not referring to the ridged spine's design leading to the difficulty of smoothing the lamination into
  the recess, I have used all of the twelve pictures available on ebay.  This cover has a really strong and sturdy spine, in fact,
   that's the best way to describe this cover, still with the starchy rigidity it was first made with in 1968,  a minor miracle for
   the mono or stereo first issue covers.  I will discuss the uniqueness of the first issue covers below, all the other edges are in
   remarkable condition.
 
  The inside is unaged, still crisp and as clean as you could wish to see for a Mono cover, the grading simply simply has to take
  into account the design itself.  I believe in common sense when dealing with such fragile designs from 48 years ago, basically
  a record impression and the described standing in storage traits, with  Mint record inside I simply have to accept natural events
  and grade accordingly.
  THE GATEFOLD COVER IS IN HARDLY USED, EXCELLENT+++ / NEAR NEAR MINT CONDITION.


AS COMMENTED, THE RECORD AND TEXTURED LABELS ONLY HAVE TWO SPINDLE TRACES OF TWO PLAYS.
A STUNNING LOOKING AND SOUNDING RECORD  WITHOUT ANY MARKS, SCUFFS OR SCRATCHES, I COULD NOT FIND
ANY ANY HANDLING TRACES, IF I MISSED ANYTHING IT HAD TO  MORE THAN  NEAR INVISIBLE.... IT NOT INVISIBLE!
  THE RECORD IS IN MINT CONDITION.
SIDE 1
"Bare Wires" (John Mayall)
"Where Did I Belong" (John Mayall)
"I Started Walking " (John Mayall)
"Fire" (John Mayall)
"Open Up A New Door" (John Mayall)
"I Know Now" (John Mayall)
"Look In The Mirror" (John Mayall)

SIDE 2
"I'm A Stranger" (John Mayall)
"No Reply" (John Mayall/Mick Taylor)
"Hartley Quits " ( Mick Taylor)
"Killing Time" (Mick Taylor)
"Sandy" (John Mayall)


John Mayall - vocals, harmonica, piano, harpsichord, organ, harmonium & guitar
  Mick Taylor - lead guitar
Tony Reeves - string bass & bass guitar
  Jon Hiseman - drums & percussion
  Chris Mercer - tenor & baritone sax
Dick Heckstall - Smith - tenor & soprano sax
Henry Lowther - cornet & violin
 
  Recorded At Decca Studios In West Hampstead, London, April,1968.
Produced By Mike Vernon & John Mayall

While writing a description of a 1974 Rolling Stones album on Wednesday, I discussed how Mick Taylor had joined John Mayall's
  Bluesbreakers as an unknown very young blues guitarist genius, with this "Bare Wires" album becoming his studio debut.  He had
  to be something really special to follow the previous lead guitarist's, Eric Clapton & Peter Green, then two years later in 1969,
  Mick Taylor replaced Brian Jones in the Rolling Stones and stayed with them for the next five years. The common denominator that
  nurtured and connected artists with such unique talent, was of course the great John Mayall and the three studio albums recorded
  between 1966 and 1968, are up there with the greatest of all time......"Bare Wires" was the second album in an astonishing trio.
  As an introduction for the John Mayall's Bluesbreakers albums I sell, I normally start at the 1966 first Bluesbreakers album with
Eric Clapton, this time I'll take it all the way back to how it all started.  To think John Mayall is 83 years of age now is hard
to take in, his influence on so many true great young artists was immeasurable, it is probably not well known he was 30 years of
age before he became a professional musician.  Born in North England's Manchester in 1933, that was a really different era to
today, Mayall's father was a musician who played the guitar and from an early age he was listening to his father's jazz records,
more so to his favoured blues music, Leadbelly was an inspiration among other USA greats. By thirteen years of age, John could
  play a guitar, piano and harmonica. Times were financially tough for his working class family, musical instruments were luxuries,
  the piano belonged to a neighbour, he borrowed the guitar and made do with a used harmonica.  John had artistic tendencies and
  was somewhat of an eccentric, which included setting up his home in a tree house, in the family's back garden.  He went to Art
School and then served the then compulsory conscription into the armed forces with the British Army, who stationed him in Korea.
Returning after three years and married, Mayall and his wife moved into the treehouse, this a true story, picking up where he
left his education, the next move was to begin a career in graphic design, there he remained until he reached the age of thirty.
 
Between 1956 and1962, John spent the six years as a part time musician performing live, the frontman for a quartet called the
  'Powerhouse Four' and then 'The Blues Syndicate.'   Alexis Korner's blues band, 'Blues Incorporated' were making waves and
Korner offered encouragement to Mayall and also assisted him moving permanently from the north to London where blues was
starting to flourish in the small clubs.  It was there John Mayall started to find enough work to finance becoming a professional
musician, 'John Mayall's Bluesbreakers' were now up and running.   After 1964, he was doing well enough but fate lent him a hand
when Eric Clapton left the Yardbirds and formed an alliance with John Mayall.  That was during 1966, where I normally start from,
  I have also avoided a stream of names that make up a host of musicians who passed through John Mayall's Bluesbreakers even
  by 1966!  The main point about Eric Clapton and Mayall teaming up for a pure blues album, was it went and became a massive hit
  and suddenly blues was on the map in Britain, not just here either, a stirring in the USA was simultaneously happening, even Bob
Dylan had gone electric by now.  Eric Clapton and Jack Bruce left Mayall to form Cream, Bruce's time was very short and he only
played with Clapton during live Bluesbreakers gigs, "Stormy Monday" was recorded though and uniquely features them performing
just before Cream were founded.
'Musical chairs' in the Bluesbreakers began, however great the talent was leaving John to go it alone and start their own bands,
John Mayall found fresh new artists to take over. In 1967, Peter Green, John McVie and Mick Fleetwood formed 'Fleetwood Mac,'
Andy Fraser formed Free in 1968 and Mick Taylor would become the lead guitarist for the Rolling Stones in 1969.  Even this 1968
line-up would see, Dick Heckstall-Smith, Tony Reeves and Jon Hiseman leaving to form 'Colosseum', in May,1969 they released
their acclaimed debut album for Fontana, "Those Who Are About to Die Salute You," then signing to Vertigo.  John Mayall had first
replaced Eric Clapton with Peter Green, two of the UK's most gifted blues guitarists' only stayed around long enough to make one
Bluesbreakers album each.   Then in Mick Taylor, Mayall unearthed a real gem of a young highly gifted guitarist and after the two
  volumes of the live LP's, "Diaries Of A Band", Taylor's first studio album was "Bare Wires."   It was issued in July,1968 in mono
  and stereo.  Being still very much a mono dominated UK era, the first pressing stereo album is extremely rare, but even though
  these mono LP's made up the overwhelming majority, first pressed mono LP's were played until they were worn smooth and are
  rarely available in top condition.  The few 1968 stereo records made were no different to the mono ones, all were were played
  excessively, so it is always extremely difficult to find either without terrible groove wear and mood destroying, loud crackles
  and clicks.
 
  This is the very first pressing made with the maitrix ending digits, '-1A / -1A,' all dealt with in my headings, regarding very
  first printed gatefold covers, they were unique to 1968 only.  In 1969, Decca introduced just THE one universal cover for both
  stereo & mono records, with a format hole on the back's top right corner through which to identify the format, via colour coded
  inner sleeves.  This is clearly identifiable as the first 1968 mono Decca cover and inner sleeve, without the hole on the back
  and the record in the distinctive 1968 Decca type inner sleeve, as shown in the above pictures.
 
The red (mono) labels are in outstanding, unblemished condition with only two spindle traces, the silver print looks like it was
  just made.  An ultra heavyweight, deep grooved record, gleaming with the glossy sheen exclusive to Mint vinyl, positively without
  any scratches on either side.  As a 1968, very first  Decca pressing, mastered by Guy Fletcher, every track has stunning, perfect
  Mono sound quality, even during the really quiet opening pair of  tracks, the intensive mood orientated suite of "Bare Wires" and
  "Where Did I Belong" are completely exposed to noise.  Most  records of this vintage and just made in 2016 have some light static
  from the pressing process, I will include as much as possible in a once only play through, but I will not highlight trivialities for a Mint
  unmarked, near 50 year old record, that probably needs several plays to disperse any light natured static.  Crazy to even write
  that for such a beautiful looking, perfect record    Absolutely staggering and ultra sharp edged sound is the only way to fully
  appreciate the UK Mono mix of "Bare Wires,"  record producer Mike Vernon was also at his inspired best.
 

  Side 1 has as close to silent run-in grooves as is physically possible for any record, which is wonderful news for the low level
  gentle intro of John Mayall's superb organ, played really softly and delicately.  The lone notes could not be more exposed and
  even when he sings the lyrics I typed above, there are no drums, bass guitar or any other instruments on the track.  A tall order
  for a 1968 record to perform perfectly here, but that is precisely the sounds I am again marvelling at and thoroughly enjoying.
   Any natural static is exceptionally low and belongs there, I love this track and there is not worthy of inclusion, not the common
  loud explosive crackles of nearly every mono first pressing. The album title track, "Bare Wires" has staggeringly razor sharp
  sound, late 1960's mono at it's very finest, the beautiful lone organ is superbly played with Mayall's equally softly sung vocal.
   Listed as individual tracks, in reality, there is not a separating band before the next section of what I prefer to name a suite,
  "Where Do I Belong," which also runs straight into the final part of this opening "Bare Wires" suite, "Open Up A New Door."
   The initial or first song continues with the band now joining John Mayall, John Lowther's violin plays such a haunting melody,
  joined by a quiet and subtly played sax.  The sublime bass and great percussion were played by, Jon Hisemen (drums) and Tony
  Reeves on the bass guitar and a strings bass. Together the inspired musicians created the most delightful drifting, dreamy sounds
  that have never left the opening section performed by the solo John Mayall. On this very mood intensive, late night smokey blues
  track, the sound is just incredible, razor sharp in perfect definition for the vocals and the described instruments.  Such audio
  standards are directly attributable to a barely played Mint record, the first gap runs smoothly and silently,  you can enjoy the
  perfectly clean intro for "I'm Walking", another Mayall composition that brings a tempo change, a blues song with a magnificent
  guitar solo from Mick Taylor.  Aged only 18, John Mayall's latest protegé played like a seasoned blues musician and the sound of
  his unique guitar tone, is crystal clear, the other instruments are in the most stunning audio definition.  The drums are so clear
  as the notes blown by the sax, ring out in a true life sound, Mono sound so perfect, you have to wonder how mono ever became
  obsolete.  From this line-up, not only would the Rolling Stones acquire their new lead guitarist, a really special brand new band
  would emerge for the Bluesbreakers as well.  In 1969, Colloseum were formed by the drummer John Hiseman, the bass guitarist
   Tony Reeves and saxophonist Dick Heckstall - Smith, you rarely hear about that, only Cream and Fleetwood Mac. Yet John Mayall
  gave them all his experience, well, maybe not how to live in a tree house at the bottom of your garden!  Vernon's production was
   precise and clean, giving the songs a 'live in the studio feel', the instruments were so finely and perfectly balanced in a mono mix
  that summed up Mike Vernon's genuine love of blues.  He had his Blue Horizon label up and running  since 1967, but a John Mayall
  Decca album still had his production expertise.  From a smooth as silk gap, "Fire" begins with John Mayall's vocal and harmonica
   with some incredible drumming on this track from John Hiseman, who's drum rolls are so effective on a very mood intensive track.
  The percussion gradually picks up pace then reaches a crescendo of rhythm, as the mournful, deeply sad vocal maintains the same
slow, down on the floor blues tempo.  John Mayall was never restricted to a rigid blues song structure though, "Fire" shows how
  this dark and sad mood, well, the very feel of the song was left in the hands of the other musicians, his own vocal inspirations
  were dependent on their collective input to "Fire".  A really endearing part of the "Bare Wires" album, is the lack of any track
  banding, these superb songs flow directly into each other.   "I Know Now" has no 'joins', as the organ gets the song underway as
  slow, burning blues with John Mayall's voice perfectly suited to this musical style .  I must always remember to say the sound is
absolutely perfect, the 1968 incarnation of the Bluesbreakers was very much in the tradition of the previous line-up's, musicians
   who never overplay, just go with the feel of the song, they were natural's for improvisation when required on the track.  This is
  slow, laid back blues with a suitably subdued instrumental backing, John Mayall's vocal is the focal point, the sheer clarity of
  the sound here is just stunning.  Once again, this is only the fourth time the record has been played in nearly 50 years, any low
  level static is certainly not an issue, after several plays even that will be gone.  A very quietly played harpsichord takes over
  for the ending section of this mood intensive song and performance, now John Mayall's delicate harpsichord plays the track out.
  A magnificent sounding record!  "Look In The Mirror" has such a wonderful bass part, played very loudly with the percussion at
  an equal volume level.  The sax and a piano combine together in an improvised blues fashion, while Mick Taylor's superb blues
  guitar responds in kind to them.  It's so good to hear a mono "Bare Wires" in such perfect sound, my descriptions are intended
  to be informative for all aspects of a record and cover, while allowing a personal but honest reaction to the music I love dearly.
  At the very end the track appears to have finished, then in a mighty volume leap, with a mighty explosion of sound, mostly piano
  generated.  Before that are studio whispers, there is positively no intrusive needle sound prior to the surprise ending, nor is
  there any distortion as the studio recording level's must have jumped into the red!   For all my fussing, the entire side played
  without hardly any static and even that was from the pressing in 1968, I am sure the second side will perform just as perfectly,
   what a record, what an album!


Side 2 has near silent /silent run-in grooves, so yet another clear and clean intro for the incredible "I'm A Stranger", a slow
  and smouldering blues performance, with this superb 1968 line-up of the  Bluesbreakers hitting peaks of sublime musicianship.
   John Mayall plays the most wonderful organ piece and the band immediately pick up on the intensive feel, now the music just flows
  so sweetly on yet another compelling John  Mayall composition.  Dick's sax keeps to the basic riff, then lets loose with a stunning
  solo, the mono sound is unbelievably powerful but the audio clarity remains as absolute perfection. I should be saying how every
  note is still as crystal clear as the day this very first made record left Decca's pressing plant, distortion is a really major problem
  for the majority of 60's records because of the colossal power they were mastered with. That certainly is not a problem for this
  immaculate record, not only for the full, louder productions like "I'm A Stranger" easily suffer from distortion but that is just
   as likely on quieter track with less instruments.  Coming up is a great example, particularly because John Mayall's harmonica is
  featured on "No Reply", co-composed by by Mick Taylor and John Mayall. Eighteen years old and writing a song with the great John
  Mayall on his debut studio album, the gap is totally silent, I really did concentrate on that one. "No Reply" starts very loosely
  more like authentic blues, you hear a count -in, then a single handclap before Mayall sings a line, blows his harmonica and this
  very live sounding performance has started to build up with the bass, bongos and Mick Taylor's guitar coming in.  This was blues
being created right in front of you on a record, simple, basic stuff, but so rivetting to listen to, without anything negative to
comment about.  I have always loved the soothing quality to the music, importantly the sound quality for the rest of this quiet
  approach to recording, is sharp edged with a real sense of the actual recording studio in '68.  From another silent gap, smoothly
  into the outstanding "Hartley Quits," the title explains itself, a fully produced blues instrumental, then not everyone knows this
  extraordinary gathering of the UK's greatest talent, the title refers to when former drummer Keef Hartly recently left the band.
  What did Mayall do? He recruited none other than John Hiseman, no doubt aware he too would move on soon, Eric Clapton has said,
  "John Mayall had a school for blues musicians," Mayall's pupils were privileged to be in such company and it was no coincidence
  how those leaving stayed together in a newly formed band.  Mick Taylor's guitar is stunning on "Hartley Quits,", best compared to
  to "Stepping Out", almost a reversion to that amazing Eric Clapton,1966 Bluesbreakers album.  Tough to pick one from so many
  outstanding songs on this fantastic blues album, my favourite one follows,"Killing Time". The gap is naturally problem free and
  silent, Mick Taylor's glorious slide blues guitar is perfectly clean and clear of any surface sound,which is always great to hear
  for this track! The mass of crackles on most original's, were the direct result of it being understandably selected for multiple
  plays.  A really stunning song and performance by all the band, John Mayall's vocal is one of his very finest, he's 'breathing'
  the lyrics, his voice drops right down to a conspiratorial whisper of the deepest intensity. The music is just as intensive, Mick
  Taylor's blues guitar playing is nothing short of being awesome and the great Mayall  piano adds to the late night atmosphere.
   I can't praise this record's audio properties enough, something that surely must take full priority over anything when grading
  records, especially where 47 year old rare first pressing of such a major LP are concerned.  Mick Taylor certainly filled a void
  created by the two guitarist genius' that  precede him, they would have been proud of performing such magnificent blues.  Mayall's
  vocal ability seldom gets mentioned, here he sings the most fantastic vocals with the emotional content vital to authentic blues.
  "She's Too Young" has lyrics covering a subject often covered in blues songs, they were written about a 16 year old schoolgirl!
  The Yardbirds had their "Good Morning Little Schoolgirl" single banned here because they dared to cover Muddy Waters' song.
   All very tastefully handled by John Mayall here, a fully produced but very short track with some extremely tight playing from the
  whole band, with just a little hint of jazz/blues in the instrumental backing. The magnificent sound quality is continuing because
  now this fades into silent linking grooves, giving a superbly clear intro to "Sandy".   A brilliant John Mayall composition with
  the tale of a lost  girlfriend who has taken a new lover, a slow and beautiful acoustic bottleneck blues song, sung to only the
  most minimal instrumentation, really effective for that. Just a hint of a violin playing and the percussion was played on bongos,
  Taylor plays some awesome slide guitar here.  It was no wonder the Stones wanted him, with "Beggar's Banquet" the final full
  Brian Jones album in 1968, Mick Taylor was in perfect synch with the direction the Stones were heading towards. On this track's
  performance alone, the sound was close to "Beggar's Banquet".   The sound quality on such a spartan backing is just immaculate,
  not even a suggestion of a record playing in the very quietest moments.  Once more I can only praise  this staggering sounding
  track, the minimalist backing is always a cue for loud and annoying crackles on average condition vinyl, this performs superbly,
as the whole record has from the first seconds of Side 1.  2015 has produced some incredible condition records and even this late
  in the year, "Bare Wires" is among my pick of them all, such instant audio perfection on tracks as delicate as the "Bare Wires"
  opening track and the "Sandy" closing track, what a pleasure to hear a glorious 1968 mono record in the ultimate Mint condition.
  {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!