Sold Date: June 27, 2016
Start Date: June 20, 2016
Final Price: £172.89 (GBP)
Bid Count: 6
Seller Feedback: 4219
Buyer Feedback: 49

"A HARD ROAD"  (John Mayall, 1966)

I let a life slip through my fingers,
Where am I gonna turn?
I'm the causing of the trouble,
And it makes my poor heart burn.

I've been trying to tell you people,
That the blues hit me in my life,
You know I was born for trouble,
And it's a hard road 'till I die.

I've loved and lost so many women,
The cause of many broken heart.
Drank and drifted through the years,
And watched my family fall apart.

I'm gonna pack up my suitcase,
Put my misery inside,
Throw in a bit of pain and trouble,
And that's the road I'll ride.
  JOHN MAYALL AND THE BLUES BREAKERS: "A Hard Road" LP, IN STEREO, ORIGINALLY ISSUED IN FEBRUARY,1967,
  THIS IS THE RARE, VERY FIRST 1969 /1970 PRESSING ON THE BLUE & SILVER Boxed Decca Logo LABEL.
You often see claims that boxed logo records were pressed in 1969, only a few were and "A Hard Road" was among them, the only
  rare, genuine late 1969 boxed logo records, had the label maitrix printed upside down o inverted to the rest of the printing.
  Some of the earliest very first boxed Decca label pressings were made in late 1969, I can be certain this was because the labels
are in that strictly 1960's only format.  In theory all connections with the 1960's unboxed Decca logo labels for albums, plus
the 1966 introduction of singles only with boxed labels, had been completely severed, removed or replaced when re-designing
the album labels.  The autumn 1966 - late 1969 Decca singles, has retained the inverted maitrix and that was never used again
during the coming decades.  At 3 o'clock on the labels on this record, above the 'SLK 4853' catalogue number is the maitrix, both
  sides have 'ZAL 7652' &  'ZAL 7653' printed upside down or inverted to the rest of the text.  For singles and album, that no
longer existed in January,1970 and I have found the same for the very first boxed label pressings of the Rolling Stones' 1969
"Let it Bleed" LP.  As this album was not released until until January, 1970, I am leaving that date open for the release, but I
  am still presenting the unlikely, unexpected sight of the maitrix inverted. The cover is also likely to have originated in 1969
  as well, as the inner sleeve is the 1969 type for mono / stereo format holes on the back covers in this period, I can conclude
the release date was as stated.  I am more concerned with establishing the close proximity of the record to the 1967 first issue
of  "A Hard Road", everything possible should be gleaned from pressing & printed items for a superb as new Mint record,ultra
  carefully played only twice, certainly within the plays made in the original record shop before being sold.


DECCA LABEL: SLK 4853.
Please See my label pictures for the 1960's exclusive inverted maitrix on the labels label, printed in the opposite direction than
  the rest of the printing.
 
MAITRIX: ZAL - 7652 - 2W /  ZAL - 7653 - 2W.


  BOTH CODED STAMPING CODES IN THE RUN-OUT GROOVE'S 9 O'CLOCK POSITION, ARE '1', BOTH SIDES WERE
SOURCED FROM  FIRST 'Mothers', FRESHLY CREATED FROM THE MASTER TAPES FOR THIS PRESSING.
So few stereo pressings were made between 1967 and 1969, it is more than likely this record was pressed from the same 1967 first
Stereo 'mothers,' I will also examine the coded letters at 3 o'clock in the run-out grooves for confirmation.

THE LETTERS IN THE RUN-OUT GROOVE'S 3 O'CLOCK POSITION INDEED SHOW HOW LOW THIS RECORD WAS, ONLY
A FEW COPIES OF "A Hard Road" WERE PRESSED FOR JANUARY, 1970.  THE STAMPED INDEXING DEMONSTRATES
THIS IS DEFINITELY THE RARE VERY FIRST PRESSING MADE FOR THE BOXED LOGO LABEL.  I NEVER TAKE THEM
IN ISOLATION TO MAKE SUCH CLAIMS, I WILL NEXT TURN TO THE PRINTED ITEMS AFTER EXPLAINING DECCA'S
CODE FOR THE 3 O'CLOCK LETTERS.


(Derived From 'BUCKINGHAM', 'B = 1' Through to 'M = 0)
SIDE 1: BM = No.10  
SIDE 2: U U =No. 22
The coded letters are similar to EMI's numerical indexing, Decca took 'BUCKINGHAM' and the letters selected gave the actual order
of every individual record pressed.  I am fully aware people are staring at Decca labels in the usually mistaken belief the printing
configuration alone will identify when the late 1966 - 1970's Decca singles were pressed.  Books are written and mistakes are
believed to be facts, ironically most books and website authors are written by non UK residents about....UK records!  Most were
not even born in the decades, self appointing themselves as 'experts', limitations cause the errors by only seeing a few copies and
   drawing conclusions.
 

ORIGINAL 1969 DECCA INNER SLEEVE, ALSO A FIRST ISSUE REPLACING THE 1960's TYPE, WITH A CONTINUOUS
BORDER AROUND THE RIMS, EITHER  RED (Mono) OR BLUE (Stereo).   POLY-LINED WITH THE SAME FULL INFO
ABOUT CARE OF RECORDS AND MONO / STEREO EQUIPMENT.   IT TOOK DECCA THE WHOLE OF 1969 TO REALISE
IT ONLY NEEDED A SMALL SQUARE OF COLOUR TO SHOW THROUGH SUCH A TINY HOLE!
It might appear to be plain crazy to take until 1970  before re-designing individual mono and stereo inner sleeves, you could
  reason Decca were short sighted to continue but Mono refused to go quietly into the sunset. It was a much loved format and there
was no difference between 1968, 1969 or 1970, perfectly working mono record players were being made redundant and Decca
were in agreement.  It was much simpler to print red or blue squares in the corners to line-up with the format holes on the back
  of the covers.
  UNUSED, THE SLEEVE IS UNSPLIT WITH ONLY A GENTLE IMPRESSION WITH A FEW RELATED CREASES, BUT HARDLY
  ANY AGEING, IN MINT- CONDITION.


THIS IS HAS TO TO BE AN UNSOLD  LATE 1969 STEREO COVER, THE 'Robert Stace' PRINTER CREDIT WAS
  THE SAME IN 1967, AND IN 1969 WHEN THE FORMAT HOLE ON THE BACK COVER WAS FIRST INTRODUCED.
  AN OPINION ALSO BASED ON THE DISTINCTIVE BOWED SLOPING SHAPE AND THE ULTRA THICK, DELUXE LAMINATION
ON THE FRONT.   I DEAL WITH SOLID FACTS THAT CAN BE READ IN BLACK & WHITE,  THE TEXT TEXT UNDER
THE FORMAT HOLE  HAS A 'Patent Application Number',  THE PATENT WAS NOT ACCEPTED AND WHEN IT WAS, ALL
FOLLOWING COVERS HAD AN ACTUAL 'Patent  Number.'
 'PATENT
The spectacular colours of John Mayall's painting of the Blues Breakers  are like brand new unfaded and not a scrape or scuff on
the whole cover.   The white border is totally unaged and the matt back panel white background is still really close to the 1969
or January, 1970 original white, any light ageing is too fractional to take seriously.  The darker area on the perimeter is where the
glue soaked through the absorbent matt top panel all the printing was made on.  The black printing is still jet black and unfaded,
of course there had to the usual standing traits and I will once again repeat the unavoidable impact of a record on a cover.

An unplayed record or not, this is still a 46 / 47 year old cover and there had to be some impact from standing in storage for all
those years. A gentle record impression on the front only, a few related laminate edge lines/crinkles, as ever alongside the spine
with some crossing over the spine, but not where the perfectly clear lettering & digits of the title, artist & catalogue number.
The top & bottom corners or spine tips have minor rubbing, the right side corners are near perfect and unworn, so are the edges
and barely used opening sides.  All to add to the usual naturally formed laminate edge lines, is some spine ripples, grading is
always frustrating when a Mint record is involved and the cover was never used and stored inside a plastic outer sleeve.
AS HARSH AS THIS IS, I TRY TO BE OVER FUSSY, THE COVER IS IN EXCELLENT+++ / NEAR MINT CONDITION.


THE RECORD WAS ONLY BEEN PLAYED TWICE, IMMACULATE LABELS AND AS NEW TOTALLY UNMARKED
GLEAMING VINYL.   I SINCERELY BELIEVE THIS WAS ONLY PLAYED ONCE BECAUSE ONE SIDE ONLY HAS ONE
TRACE, THE OTHER TWO, BUT REMOVING RECORDS VERY OFTEN ALSO LEAVES ONE SPINDLE TRACE.
SO THE GRADING WRITES ITSELF, MINT CONDITION.
SIDE 1
"A Hard Road" (John Mayall)
"It's Over" (John Mayall)
"You Don't Love Me" (Willie Cobbs)
"The Stumble" (Freddie King / Sonny Thompson)
"Another Kinda Love" (John Mayall)
"Hit The Highway" (John Mayall)
"Leaping Christine" (John Mayall)

SIDE 2
"Dust My Blues" (Elmore James / Joe Josea)
"There's Always Work" (John Mayall)
"The Same Way" (Peter Green)
"The Supernatural" (Peter Green)
"Top Of The Hill" (John Mayall)
"Someday After A While (You'll Be Sorry)" (Freddie King / Sonny Thompson)
"Living Alone" (John Mayall)


John Mayall - vocals, guitar, harmonica, piano & organ
Peter Green - guitar & vocals John McVie - bass
Hughie Flint - drums
Aynsley Dunbar - drums
John Almond - sax
Alan Skidmore - sax
Ray Warleigh - brass
 
Recorded October - November 1966, At Decca Studios, Hampstead, North London.
Produced By Mike Vernon.
  I would like to concentrate on the album itself, to me, a Mint "A Hard Road" Master Tape sourced pressing, made under two years
after the ultra rare, February,1967 first stereo pressing of such a masterpiece, is a really precious record.   The 1960's decade
was literally 'touching' the pressing and regardless of the cover originating in 1969 or 1970, a superb "A Hard Road"cover that
looks and feels like this really makes a very special package.  1960's records were usually subjected to such excessively heavy
plays, this 100% faithfully mastered 1969 pressing, made ideal stereo replacements but like most in 1970, I personally replaced
my mono original. That meant the first boxed logo pressings were 'first pressings' by virtue of having the above stamped details
and because they were the first pressing the vast majority heard in stereo.  In other words, we completely missed out on buying
the unboxed stereo records because we only had mono systems and bought mono records, in 1970 the curtain finally came down
  on stereo for every record company, Decca issued some titles in mono and stereo but mostly the mono only albums.  There never
was a 60's John Mayall album in mono and stereo re-pressed in mono on the 1970 boxed labels, making this condition rare as the
very first made in such pristine condition. This year I sold a beautiful mono first pressing, now a late 1969 first stereo boxed
pressing, in mid-2016 I can now offer the nearest I can to 1967 in stereo, the hardest format for the era.  I am rather proud to
have produced them in Mint, with that said I can forget all about pressing details, digits, and printing etc. and turn to where I
first came in, the staggering "A Hard Road" that introduced me to the then unknown Peter Green in 1967.  I have told the story
of how it all came together earlier this year, so I will write a brief background to this one and only John Mayall and Peter Green
collaboration, a blues genius met another blues genius, with the other gifted, inspired musicians, sparks flew and caught fire!

I regularly describe the Blues Breakers albums, I have no intention of getting into extensive text because that also involved
blues becoming psychedelia, the 1960's were just unbelievable for astounding music, it had be to still be loved as much in 2016.
The first ever "Blues Breakers" album featured the great Eric Clapton, after one exceptional LP, he he left to form Cream in 1966.
  To replace him John Mayall had a real problem on paper, but just before Eric Clapton another real talent had briefly played with
  John Mayall, Peter Green.  Even with Peter Green enrolled, John Mayall had another near impossible task, recording the second
  "Blues Breakers" LP and meeting that unbelievable musical level achieved in 1966.  With some fantastic new material and Peter
Green's born with blues genius, losing Eric Clapton was not the disaster it might otherwise have been would become the making of
Peter Green, "A Hard Road" established he was indeed a man born to play blues.  In late 1966, drummer Hughie Flint left them to
be replaced by ex-Mojo's Aynsley Dumbar, with John McVie playing the  bass and John Mayall on keyboards, harmonica & vocals,
  this was now a band with unlimited talent. The resulting album was an absolute classic but it was to be the only Green and Mayall
recording together, Peter moved on to form Fleetwood Mac with John McVie, later in 1967.   John Mayall's record producer was
Mike Vernon, 'Peter Green's Fleetwood Mac' signed to Vernon's just formed Blue Horizon label, I am trying to be brief but there
are too many similarities to several recent description.  I'm really pleased to say this record was only played twice and that is
all the excuse I need to play it myself.  , I have not heard the record ye but I know this first boxed label pressing intimately,
it's exactly the same as the copy I bought in January,1970, my newly bought stereo system revealed astonishing sound quality and
it was a wonderful experience to hear such a loved album with a new discovered dimension in sound.  I will have to temper my
enthusiasm and not forget this is very close to an unplayed record.   I never leave any spindle etc. traces of my plays on any of
the records I sell or buy for myself, nobody bothered in the 60's and 70's and I will be extremely careful with the strictly one
play only.  So It will look exactly like you see it in the above pictures, the heavyweight record is without any surface playing
or handling , the vinyl is in beautiful condition, I can't wait toto hear it, fitting in as much stereo panning details as possible.

After a perfectly clean alignment to my spindle and manually lowering my regularly replaced stylus into the outside rim, I am
back in my chair with full concentration on the initial empty band.  As expected, Side 1 has completely silent run-in grooves,
beginning with the title track, John Mayall's piano intro is entirely panned from the right channel, for one split second the left
speaker is silent, then it comes to life with the drums, guitar and bass.  Mayall's intensive late night blues vocal is panned from
both speakers, this means Green's guitar is an individual sound, with Mayall's piano playing opposite. That's the sound of true
60's stereo for "A Hard Road," just awesome!  I also have an unboxed stereo pressing and there no difference at all between the
sound or stereo effects, a superb track performed with the purest blues feel possible, a perfect opening to an LP that never dips
below the most inspired level of musicianship.  As with all Decca pressings, the sound is incredibly powerful with just wonderful
audio clarity.  As much as I love my mono album, stereo records give a wider, liver dynamic sound, this amazing stereo  mix was
crafted by the UK's greatest producer of blues music, Mike Vernon.  His relationship with Peter Green would form the ultimate
60's recording partnership, taking Peter's next project onto his "Blue Horizon" label later in the year with Fleetwood Mac. Not
that I have any time to expand on that, the faded ending is into a silent gap, the last time I'll mention them on a mint record.
"It's Over" features John Mayall's great harmonica in crystal clear audio, Ansley Dumbar makes a fine contribution to this LP
and the 60's true stereo separation can be very revealing but his drumming stands up to the closest inspection. John Mayall sure
knew how to pick his musicians!  "You Don't Love Me" has a great blues riff, Peter Green plays as a rhythm guitarist to Mayall's
harmonica, that guitar is panned right on this track, fascinating to hear Peter playing a background role, but blues required a
rock solid rhythm and that was how rock grew and flourished into the music we have today.  "The Stumble" is the first track on
the album where Green's guitar dominates on a brilliant instrumental and his staggering blues feel, is a joy to hear with that
unique tone in sound I can only name as sheer perfection.  His guitar starts in the right speaker, but there is excellent use of
stereo that creates fluid sound movement between both channels. The sound is pure, clean and extremely powerful, with the
definition of the instruments as sharp as a razor!   I will say the next and the previous gaps remain silent, not even static is
how amazing Decca mastering was, analogue sound that puts digital re-mastering to shame.  Very powerful mastering and
pristine sound is evident on the amazing "Another Kind Of Love"and what a track this is, now Peter Green really opens up
and plays a brilliant solo.   The original Vernon stereo mix places him panned on the right, creating a live intimate feel to his
performance because it's like having him playing next to your right shoulder. John Mayall is equally inspired on the organ,
with the brass boosting the overall sound, the mix is a delight to experience from such a fantastic sounding track.  I am
just about keeping up, "Hit The Highway" is stunning in true stereo, by that I mean 1960's stereo, John Mayall's vocal was
double tracked, involving two slightly different vocals, in mono you hardly notice that but in stereo the individual voices hit
you from the from opposite speakers, the effectiveness of that more than justifies me having a mono and a stereo pressing, or
  how could I even write this description? The final gap on Side 1 once again runs smoothly into a perfectly clean harmonica intro
to the romping blues of "Leaping Christine," coming in with tremendous power and impact, then featuring outstanding interplay
between Mayall's organ & harmonica and the Bluesbreakers instruments, they really cook here and your ears are spoilt with the
great vocals and superb performance from the whole band.  if any track on the album gave a foretaste of Fleetwood Mac's faster
tempo tracks on their debut and "Mr. Wonderful" albums, this was it.  I do hope my fast typing and short sharp sentences do not
detract from how stunning the record is, Mint vinyl has to be respected.


Side 2 also starts from more of those silent grooves and now for that fantastic version of Elmore James' classic "Dust My Blues",
this track is my personal album favourite. The stereo panning here is just superb, with Peter's incredible slide guitar weaving
it's magic between both channels. Playing in his own unique style, using bottle neck slide guitar on one of his two guitar parts,
panned in the left speaker.  The second guitar was layered onto the basic track, then suddenly that sensational heavier classic
blues riff hits you from the right with incredible force!   This is the genius of the then unknown Peter Green being heard in the
most devastating stereo mix, shades of Jeff Beck in the Yardbirds, what a track to open a side with!  Mike Vernon knew exactly
how to harness Peter Green's staggering guitar dexterity, then produce a mix containing Peter's genius indelibly stamped onto
every second of "Dust My Blues."  The sound of this astounding sounding record is pure master tape!  "There's Always Work" makes
an entrance from a silent gap, a truly remarkable song, performance and recording, mostly just John Mayall's harmonica with an
earthy blues chant , the only way I know how to describe the vocals.  The stereo separation is so complete, it has the most amazing
effect that involves feeling like you're hearing individual parts played live, even though it was 49 years ago.  Perfect sound!
Peter Green wrote the outstanding "The Same Way," a very tight blues rhythm from the band gathers behind an inspired Peter Green
lead guitar, he was inspired out of his skin here, I wish I could spend as much time as music this incredible deserves,  the sound
continues to be that of a Mint 1970 Decca pressing, just staggering!  When it comes to unbelievable, mind blowing guitar playing,
"The Supernatural" is simply awesome!   Another Peter Green composition, a guitar instrumental that is simply breathtaking in the
original 60's stereo mix.  If you think of Green's greatest Fleetwood Mac guitar, "The Supernatural" is up there with anything he
ever recorded during his much too short career.  The sustain he achieves on the notes is only describable as pure genius, Mayall
  wrote this in his back cover sleeve notes;
"Peter wrote"The Supernatural" particularly for inclusion on this LP, I consider this one of the most meaningful instrumentals
  I've heard, and certainly stands as one of the  high spots on the record."
  The words and glowing admiration of the UK's premier blues pioneer, are high praise indeed, even 49 years later, I do not think
  anyone has ever poured more emotion into their guitar playing, than this very special performance.  Well, Eric Clapton and Jimi
   Hendrix were the only musicians capable, just naming him in their company is unreal, considering it's Peter Green's debut album.
John Mayall takes a great deal of credit for recognising and nurturing such natural talent, the audio is magnificent, Mike Vernon's
  masterful stereo mix in this staggering sound quality, leaves me almost speechless, marvelling at Decca's mastering & pressing.
   Peter Green held down the notes for sustain that lasted for a near impossible time, stretching out and hanging in the air, as the
  same individual note starts in one speaker and  almost imperceptibly, it has arrived in the opposite speaker.  One of those notes
near the end is literally suspended in mid air, my love of mono does not exclude hearing something so amazing and being able to
say, this sensationally mixed  mastered first stereo mix of "The Supernatural" alone, makes this 1970 pressing just as essential
as the rather elusive 1967 stereo pressing.  Little wonder the few that occasionally surface are played to death & just wrecked!
  "Top Of The Hill" is a John Mayall composition seeped in traditional blues, with his band performing so inspiredly, it developed
an authenticity of it's very own.  Mayall's vocals are superb and his finest piano invited Peter Green to rise to his potential,
a potential of true greatness, he was born for the role of pure blues lead guitar, the tone of which is amazingly close to Eric
Clapton's on this track.  Audio perfection of this remarkable standards requires no further superlatives and the next track is
about to star, the spine tingling  guitar intro to "Someday After A While" alerts you to expect something magical from Peter and
does he deliver!  A slow smouldering blues song that leaves him plenty of scope to improvise and dig into the feel created from
intro, even 'genius' fails to describe Peter Green's performance on "Someday After A While."    I don't want to labour the point,
but having the 'melt in the mouth' guitar exclusively panned right for the whole song, is an astonishing listening experience, if
time allowed, I would cut out my left speaker to leave that burning guitar... to burn!   Add in the sound in such perfect clarity
  without any needle sound at all, you have a very special recording vinyl alone can reproduce.   A final silent gap and the album
ends how it began, with a brilliant John Mayall blues composition, what else would you expect?  "Living Alone" was the final
performance from this one and only Blues  Breakers line-up.  They play out in real style, the sound quality is immaculate, I am so
pleased I did play and describe the original UK stereo mix, it took me back to first hearing "A Hard Road" in 1970. A revelation
as I was weaned off mono to discover stereo versions of loved albums, being revisited all those years later today, it took a really
incredible sounding record to return me to where I first came in!
{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)
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FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION.


ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.
 

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