Sold Date: July 16, 2016
Start Date: July 9, 2016
Final Price: £164.00 (GBP)
Bid Count: 12
Seller Feedback: 4231
Buyer Feedback: 50

"GOOD TO ME AS I AM TO YOU" (Aretha Franklin / Ted White, 1967)

If you had a dollar, and I had a dime,
I wonder, could I borrow your's, as easy as you could mine?
Because when you need my love, and I give time after time,
And turn around to find me no returns,
Then my friend, you've used my dimes.

If there's water in the pitcher, and we both need a drink, to stay alive my darling,
  I'd need less water than you think.
My love, my love, these things, I swear, I say are true,
And all I'm really saying is, be as good to me, as I am to you.

Listen to this!
Some people want, but they don't wanna give,
They can do all of the wrong in the world,
And got the nerve to not understand the meaning of loving me.
Starting today, tomorrow, and forever more,
If you can't find it in your heart to do for me,
Then, baby, just don't darken my front door.

Baby, I want you to be as good to me, as I am to you,
Whoo-oo0, baby! I don't think that's asking you too much to do.
Listen! Don't you walk around here,
Feeling like you can treat me any ol' way,
Using my love, my time, my heart, day....day after day,
Oh-oh-oh-oh-oh.. baby.... baby, be as good to me as I am to you.......
ARETHA FRANKLIN: "Lady Soul" LP, FIRST UK PRESSING IN RARE STEREO, 4th APRIL, 1968.
April, 1968, Britain was completely dominated by Mono records and record players and would remain so until 1970, when new
titles were only available in Stereo.   That did not end mono equipment, record companies had to print warnings about damaging
stereo records with mono cartridges right up to 1976.  Back in the Spring of 1968, virtually all the genuine first pressings were
naturally enough mono records in mono covers,  Atlantic / Polydor did not make universal covers and a very first edition Stereo
"Lady Soul" cover in Nr. Mint condition is extremely rare, so is a Mint Stereo first pressing record, this is 1960's true Stereo.
   An incredible album in incredible condition.


RED & MAROON ATLANTIC LABEL:  588099  (588 099)
You can take your pick which is correct, the gap version in the bracket is printed on the cover's back right top corner and the
  bottom of the spine.  The labels and the maitrix prefix do not have a gap, personally I would go with the maitrix and the labels,
  the most revealing machine stamped item is next and that is definitive.

MAITRIX:  588099  A ▽ 1     1 1 1  /  588099  B ▽ 1      1 1 1
The very first Stereo UK pressing made of "Lady Soul."  


ORIGINAL 1968 POLYDOR / ATLANTIC INNER SLEEVE, PERFECT POLY-LINING UNSPLIT & UNTORN, IT WAS NOT
  CODE DATED BUT A ONE OWNER, MINT RECORD WILL ALWAYS BE IN THE ORIGINAL INNER SLEEVE.
   WITH  ABSOLUTE MINIMAL NATURAL AGEING AND ONLY A RECORD IMPRESSION AND A FEW LIGHT RELATED
   CREASES, IN EXCELLENT+++ / NEAR MINT CONDITION.


ABSOLUTELY STUNNING CONDITION FIRST ISSUE 'MacNeill Press' PRINTED, LAMINATED FRONT STEREO COVER.
  A TYPICAL 1968 POLYDOR / ATLANTIC  RELATED COVER, VERY TIGHT FITTING TO THE RECORD, THIS WAS  ONLY
  USED ONCE AND LOVINGLY KEPT, SO HARDLY ANY STORAGE / STANDING TRAITS.
Starting cover descriptions with a very critical eye is not being negative, just honest and prepared to immediately look for the
  design related causes of common problem areas.  This applies to recently issued covers but when examining a 48 year old cover,
  the passage of time must be taken into account..... but if the record was heavily played design alone is not the reason for wear
  or damage.  Then you have poor uncaring storage, ebay is full of covers with major defects and many sellers still grade covers
  as 'Mint' or 'Near Mint', when you can clearly see worn, fraying corners, heavy creases etc.  In theory this cover should be
  suffering from nearly 50 years of storage, even with a once played Mint record inside, but the storage was so perfectly made,
  even the design did not have an impact on any part of the cover. A truly stunning condition April, 1968 very first edition Stereo
  without any wear to detail without entering the trivial, but I will still discuss why the majority of 60's Polydor related covers wore
  so poorly.   A unique shape that contributed to the record impression related features, nor forgetting the spine's distinctively
  ridged edges and pointed endings.  A cover only being fractionally larger than the circumference of the massively heavyweight
  record.  This unflattened unworn cover is a real exception to the rule,  you can see the shape of the front, created by the spine
  You can see the shape of the front created by the spine in my pictures best in the side view, bowed or protruding top & bottom
sections, with the middle flat, usually squashed flat, but this is precisely the shape it first had in 1968.   The 'tight fitting' I just
mentioned was because the length and width were almost touching the record's rims, with the central section actually gripping
  the thick and chunky vinyl inside.  A record impression simply had to form with a few tiny laminate edge lines, mostly next to
  the ridged edge of the spine and obviously in a central position.  Ridged pointed ending spines were always the hardest to wrap
  lamination around, it could not be stuck into the recesses but this spine only has a few tiny areas where the laminate did not
make contact, too fractionally to even mention  The colours of the artwork are vivdly bright and unfaded, considering it stuck
just before the far right opening edge, that is is still crisp and sharp.  The right side corners are completely unworn and perfect,
the left side corners or the pointed spine ending are excepionally near perfect, the other unworn edges are just superb.
The deluxe lamination is as glossy and clear as the day this cover was first seen in 1969, please see my pictures for that.

The back is superbly clean with no scuffs or scrapes to the perfectly clear printing and the tracks listing, album credits and a
superbly written article about Aretha by Jon Landau from Rolling Stone & Crawdaddy. I included the musician credits in a close
up picture because it included Cream's genius of a lead guitarist contribution in late 1967.  Eric and Cream's credit is found at
the second from bottom.  I rarely double up on a grading when a cover is so close to the original record shop condition, but 1968
a long time ago and this is how I believe it should be accurately presented;
THE COVER IS IN TRULY BEAUTIFUL NEAR MINT / MINT- CONDITION


THE IMMACULATE TEXTURED  LABELS BARELY SHOW THAT ONE SPINDLE ALIGNMENT TRACE, THE BEAUTIFUL GLOSSY
  RECORD LOOKS LIKE BRAND NEW, WITHOUT ANY MARKS AT ALL, JUST STUNNING 60's TRUE STEREO SOUND.
THE RECORD IS IN MINT CONDITION.
SIDE 1
"Chain Of Fools" (Don Covay)
"Money Won't Change You" (James Brown / Nat Jones)
"People Get Ready" (Curtis Mayfield)
"Niki Hoeky" (Pat Vegas / Jim Ford /Lolly Vegas)
"(You Make Me Feel Like) A Natural Woman" (Gerry Goffin / Carole King / Jerry Wexler)

SIDE 2
"Since You've Been Gone" (Aretha Franklin /Ted White)
"Good To Me As I Am To You" (Aretha Franklin / Ted White)
"Come Back Baby" (Ray Charles)
"Groovin'" (Felix Cavaliere / Eddie Brigati)
"Ain't No Way" (Carolyn Franklin)


Aretha Franklin - vocals & piano
Joe South - guitar
Bobby Womack - guitar
Jimmy Johnson - guitar
Eric Clapton - lead guitar on "Good To Me As I Am To You"
Spooner Oldham - piano & organ
Tom Cogbill - bass
Roger Hawkins - drums
King Curtis - tenor sax
Seldon Powell - flute, horn & tenor sax
Frank West - flute, horn & tenor sax
Haywood Henry -  baritone sax
Mel Lastie - trumpet
Bernie Glow - trumpet
Joe Newman - trumpet
Tony Studd - bass trombone
Warren Smith -  vibraharp
The Sweet Inspirations - background vocals
(Like Carolyn, 'The Sweet Inspirations' were also Aretha's sisters, Erma and Carolyn Franklin.)


Recorded February, June & December 1967, At Atlantic Studios, New York City.
Arrangements By Arif Mardin & Tom Dowd
Tom Dowd - Sound Engineer
Produced By Jerry Wexler
Before I discuss the phenomenal vocal gifts of Aretha Franklin, I will confirm how Eric Clapton did indeed play the most stunning
  blues guitar on "Good To Me As I Am To You", the track itself was slow, burning blues.  This was the precise point where 1960's
r&b (rhythm & blues) became pure authentic blues, Otis Redding's recent death had left behind a legacy of performing blues at
  this incredible intensity, categories like blues, soul, gospel or r&b makes no difference to the inspired music created.  Otis had
Steve Cropper's lead & rhythm guitar to interpret his towering presence and passion, in 1967 Aretha had Eric Clapton on one track
of "Lady Soul."  Not only Clapton, the other tracks featured guitarist's Bobby Womack, Joe South and Jimmy Johnson, just part of
Atlantic's legendary r&b musicians, the Muscle Shoals Sound Rhythm Section, led by King Curtis. John Lennon was thrilled to have
the great King Curtis playing sax on his 1971 "Imagine" LP, he featured on "I Don't Wanna Be A Soldier Mama,I Don't Wanna Die."
Today it is sad to see a great divide between rock and soul / r&b from the 1960's, a decade when boundaries did not exist among
  music enthusiasts, if it sounded good, you listened to it.  The 60's was also a decade of black musicians being held back by the
  racial prejudices instigated from previous years, artists like Otis and Aretha who tore down racial barriers and crossed the great
  divide.  A song written by Otis became a huge hit for Aretha, it was instrumental in taking raw, exciting r&b into the mainstream
  late 60's rock, Aretha's arrangement even spelt out the title, a message coming from Martin Luther King in the USA....."Respect."

The guitar obbligatto on "Good To Me As I Am To You" is by Eric Clapton of Cream.
The above credit is from the back cover's musician credits, small and easily missed, but had it been blazed over the front cover it
would have attracted a totally different audience to soul & r&b. It was as natural for Eric to perform with Aretha Franklin as it
had been in December,1963, when the Yardbirds backed the Chicago blues legend Sonny Boy Williamson at the Crawdaddy Club,
  in Richmond, Surrey.  I'm certain only a few people are aware Eric Clapton played on Aretha Franklin's second album "Lady Soul,"
  in 1967 Cream were in America at Atlantic Studio, New Yok, recording one of the most overtly psychedelic albums of all time, the
  sensational "Disraeli Gears".   Working with Tom Dowd had been a revelation for Cream and Dowd's engineering skills managed to
  harness Cream's unbelievable power onto vinyl, even more than that, Clapton's genius for r&b/blues was perfectly suited to the
  Atlantic role call of intuitive musicians, Stax had their own legendary house musicians.  After Cream & Blind Faith etc. and Eric
  finally kicking a heroin habit, he would work extensively with Tom Dowd on his solo albums, back in 1967 Eric was involved with
  the inspired musicians recording the LP many regard being as the ultimate blues, soul, gospel or r&b album ever made by a female
  vocalist,"Lady Soul."

It was only last week I wrote a description for Aretha's debut album for Atlantic "I Have Never Loved A Man The Way I Loved You.
  With "Lady Soul" released only a year later in 1968, I am bound to repeat the basic background, not that I am in the slightest
  concerned about that.  For me to offer one of the greatest pair of r&b / soul / blues / gospel and dare I say, red hot rock LP's
  recorded by a female vocalist, in Mint condition, is a privilege and pleasure beyond words, I only know one way to write about
  the music I love and have been inspired by.  I simply have to include the same background, "Lady Soul" does indeed contain
  all the above elements, if anything, the sensational opening track, "Chain Of Fools", goes beyond being named 'red hot rock.'
  Otis Redding was the ultimate r&b/soul male vocalist and today I get to enjoy the most acclaimed album from the ultimate female
  vocalist, the 'First Lady Of Soul', Aretha Franklin. Like many r&b/soul artists such as Otis Redding who's father was a preacher,
  they began singing gospel music in churches at very tender years.  Born in Memphis, Aretha Franklin's father was also a Reverend,
  Aretha taught herself to play a piano after refusing to take the professional tutored lessons her father offered. Family friends
  taught her to sing gospel, her natural gifts did the rest, at an astonishingly young fourteen years of age, Aretha made her first
  record for the 'Checker Label' in Chicago, they were live versions of the church hymns she had learnt. She left school to tour as
  a gospel vocalist, another parallel to Otis Redding, Aretha also met and was befriended by the great Sam Cooke, he helped her to
utilise her extraordinary voice in a more secular musical field.  Still in 1960 she recorded four songs in a New York demo studio
and they brought her to Columbia's attention, they signed Aretha with a five year contract.  I just named "Lady Soul" her second
album, but I was referring to her Atlantic Records era when more than a few copies were sold, plus that referred to albums issued
in the UK and only the Atlantic records were.  Her actual debut American only album is ultra rare,"The Great Aretha Franklin" was
released in October 1960, six years passed as Aretha grew impatient to fully express the real fire iside and sing without restraint.
Finally the contract she signed with with Columbia in as a teenager expired in 1966, the turning point of her career.

Unhappy with her second, final Columbia album,"Soul Sister," Aretha Franklin felt she had sacrificed the real strength her voice
possessed, she now wanted to sing in a much tougher, rawer, looser, r&b style to recapture her original gospel fire and passion.
She had been 'de-fused' in other other words, toned down and restrained because such power and passion from a female vocalist,
was too unorthodox for a record company like Columbia in the first half of the 60's decade in America. There was only two choices
and instead of Volt/Stax, she felt she belonged at Atlantic Records, now Aretha relaxed and sang her heart out and after just one
day recording, she had laid down the simply awesome "I Have Never Loved A Man The Way I Loved You." In the charged atmosphere
of Muscle Shoals legendary studios,Aretha had re-discovered her natural singing voice, backed by Wilson Pickett's rhythm section.
   By March, 1967, Aretha Franklin topped the USA r&b charts and stayed there for seven weeks, with her scintillating and completely
  shattering "I Have Never Loved A Man The Way I Loved You." "Aretha Arrives" was the title of her first US Atlantic LP and it made
No.2 in the main USA charts and earned her a gold disc and that was when she was dubbed, "Lady Soul" by the media. In Britain the
album was re-titled after the single,"I Have Never Loved A Man The Way I Loved You" the LP only reached No.36 in August 1967, in
spite of the single "Respect" making No.10 during the previous June of that year.  I sold a Mint first pressing several years ago
on ebay and like all Aretha's 1960's albums, I insist on only presenting them when in top condition, the greatness of "Lady Soul"
improved on that by reaching No.25 in April 1968.  There was a delayed UK release, the American issue was in January, 1968, but
with all the recording completed in 1967, it must be regarded as originating in 1967 not 1968. The year her cover version of Otis
Redding's "Respect" made it to No.1  in America, the single made it's way to the UK, where she had her first UK chart success in
  in June 1967.  From a personal angle, one hearing of "Respect" on the radio sent me rushing out to my local record shop to buy my
first ever Aretha Franklin record.  The single "I Have Never Loved a Man The Way I loved You," surprisingly failed to sell here.
So a mono "Lady Soul" will be easier to locate but as that was exactly 43 years ago now, today most mono and the rarer stereo
first pressings are scratched to the core and totally unlistenable, with the covers as badly battered and torn. This is a stunning
once only played Mint condition, very first stereo pressing,  I will have to leave this here or I will never get to describing an LP
  stacked with staggering songs and performances, I have just been blown away (again!) by hearing this album from mint vinyl!
 
Unless a record is unplayed I prefer to sit and just absorb the music before beginning to type descriptions, then they seem to
'write themselves.'  Having just heard both sides and the staggering sound quality  made it quite an experience!  1960's original
soul/r&b albums are normally deeply scratched and severely damaged records, there is almost an acceptance of hearing the music
through the worst possible wear inflicted noise.  Records are deemed to be only ever available with the appearance and sound of
something that has passed the end of a lifetime of heavy use, personally I do rather prefer hearing them at the beginning of their
lifetime!  Worn out music signals are not how I ever want to hear these fantastic records, so I apply my normal selective process
  to find the few that escaped the excessive playing all great albums were subjected to.
  
The red and maroon Atlantic labels are in pristine condition, I could hardly even find the faintest trace of a spindle alignment,
astonishingly, one ultra careful play in April 1968 in 48 years.  This deep grooved heavyweight vinyl of a 1968 first pressing,
has the beautiful glossy sheen of mint vinyl and there are none of the usual deep marks or scratches.  The entire album plays
with perfect, stunning stereo sound quality without virtually any surface sound, I intend just one more undetectable play for a
track description, I will try to be be briefer than usual, the implausibility of records this age still looking and sounding like new,
  never has and never will, be anything less than a minor miracle.  Those who also lived through the 1960's and the 1970's will
  understand that sentiment and think back to how terribly most of us treated our loved vinyl. Being a Mint record, this offers the
  opportunity to enjoy and hear this masterpiece of an album precisely how the few who bought Stereo in 1968.  The danger with
  any 60's stereo record is they were often mistakenly bought in place of a mono copy, then subjected to a blunt stub of a mono
  needle, do ebay sellers today realise some of those mono needles were made from metal, copper to be precise? Once the tips
  were worn away broad metal was gouging through the precious music signals, when they write in descriptions scratches and
  marks 'should  not affect play/sound,' I look on in horror at such ridiculous statements. This is a genuine Mint looking and also
  sounding 1968 stereo rarity, I will not waste time over the natural static of Mint vinyl still not played through yet.


  Side 1 has near silent run-in grooves, summing up all said previously, then just a few notes from a guitar plays the intro without
any surface sound, Aretha and her sisters power out Don Convay's blockbuster of a song, "Chain Of Fools." This is gospel, soul,
r&b & rock in one glorious celebration of music from the heavens, what an opening track to an album. The vocals have sensational
audio clarity, the call and answer chorus that start the song are panned into individual channels, the stereo version blows away
the more static mono mix.  The wonderful moment when just very low, but heavy bass and handclaps, accompany a near acapella
  section, just fantastic from Mint vinyl. All you hear is spellbinding music being generated by those overpowering voices, I would
never write that unless it was true.  A real joy to experience "Chain Of Fools" impacting so powerfully and cleanly.  I must stay
with the tracks, the first gap is near silent, allowing the intro to James Brown's "Money Won't Change You" to once again impact
the same perfect sound first heard in 1968, unbelievable to be so besieged by the massed voices and an instrumental backing that
sounds so overpowering. The short brass instrumental bridge has an amazing stereo effect, you are litterally hearing the Atlantic
  band either side of your ears, the bass and drums are just as clear, this is after a first generation Master Tape pressing of one
of, if not the greatest female vocalist soul album ever made.  I must extend that to 'vocalist's' because Aretha's ever present
three sisters who also sing it out with such heartfelt passion. A shorter track and another near silent gap means the "I believe,
I believe, I do believe," sung as an intro is heard without any form of intrusive noise and certainly no surface sound, Aretha's
lead vocal on Curtis Mayfield's classic "People Get Ready" is panned from both speakers, slightly favouring the right channel,
The Sweet Inspirations are heard entirely from the left speaker, dead centre of my speakers is such a wonderful place to be for
  "People Get Ready."  The sheer clarity of it all within the powerful mastering justifies waiting for many years to find a perfect
record to surface.  Another smooth as silk gap and the tempo lifts as the bass and drums preface the vocals to "Niki Hoeky," the
song title means nothing to me, but the lyrics suggest the name of a dance connected to a hoola-hoop, not that you need to worry
  about them, just be bowled over by the performance and production.  A production that effortlessly balances out the instruments
with the magnificent vocals, a compelling track and all I can do is continue praising how immaculately this record performs on
all the tracks. The stereo mix was a work of art, amazing to think how Cream were creating psychedelic sounds in the same studio
but the power of both albums had a common denominator in both the studio and the sound engineer.  The track gradually fades out
and even during the faintest final note there is still no form of surface sound /static, my stylus silently glides into the first
side's last gap, a silent one, yet again a perfectly clear, clear intro to one of Aretha Franklin's most loved slow performances.
Aretha's sensational voice sings "(You Make Me Feel Like) A Natural Woman," written by Gerry Goffin,Carole King& Jerry Wexler,
  with all the gospel influences they tried so hard to dilute and take away from her at Columbia.  She sings with an intensity that
totally absorbs you, one of the main things you also have on this superb album is outstanding songs, Atlantic Records made sure
the material brought out her natural talents, and what better than having Aretha perform this beautiful melody.  The stereo sound
quality is just as stunning as her performance, the backing vocalists would blow away most other lead singers, but not when in the
company of Aretha.  I really hope this does not read as hurredly written because I feel relaxed while managing to keep this first
this side's description to a minimum, I will try to continue that for Side 2.


Side 2's run-in grooves also run ultra smoothly and silently, the organ, piano, bass & percussion start with the same stunningly
perfect audio clarity and razor sharp sound.  The wonderful r&b fast rhythm is picked up by a guitar and brass, the opening track,
"Since You've Been Gone" composed by Aretha Franklin and Ted White flows with a fantastic musical backing, Aretha's vocals
are astounding.  What a fantastic performance this is, the original rhythm set on the intro holds for the track, the vocals just
  build and build on it, Aretha is in such stunning voice here.  It is pointless to keep repeating how superb the music's sound is
but I still can't take in hearing the amazing tracks playing so perfectly myself.  There are mint records out there and as tough
as it is locating them, all my long, long years of buying and loving records has left me with the standard I stubbournly hold out
for, I will continue hunting for a few records with this level of audio perfection until such time it's not possible.  The first gap
on Side 2 suddenly has my acute attention, faint static before the piano only, plays the slow blues intro with spares notes
from mostly the right channel, with the bass and percussion, a familiar blues guitar tone plays just as intensively, this is the
lead guitarist from Cream playing his heart and soul out on, "Good To Me As I Am To You."  Aretha sings with such passion and
Eric Clapton responds like only he could, that does sound like a dream scenario... it was!  The house band expand the track but
keeping it to the basics of slow 'late night, smokey blues.'  Perhaps Eric's guitar is near to Peter Green's than he was playing
with Cream, where he was doubling up as a rhythm and lead guitarist.  Here he went with the feel generated and just played lead
  guitar. You can actually hear the magical musical chemistry at work and this is really compulsive listening, it would be tempting
to say "Good To Me As I Am To You" is worth hearing the album for alone, but the other tracks are at the same inspired level.
  The sound quality is beyond any superlative, there is no sensation of vinyl rotating, just breath taking devastating music, the
final section when improvisations take over Aretha and Eric, it becomes a form of perfection.  Finishing into another silent gap,
and the uplifting fast tempo of Ray Charles' r&B "Come Back Baby" changes the mood completely, the actual pacing of the tracks
contributed to creating such a fantastic album, being great songs is not enough, the configuration of them was essential because
  of such open emotions on tracks like "Good To Me As I Am To You." The instrumentation is a joy to follow in such a crafted stereo
  mix, 60's stereo always was the ultimate for affecting the senses, the following track refers to 1967's "Summer Of Love", why I
  insisted this was a 1967 album even if it was released in 1968.  The Young Rascals released "Groovin' " just before the summer
  began in May, 1967, Aretha's version also captured the very laid back, lazy feel that seemed to dominate that 'year of year's',
  she injected something extra into it vocally. The instruments are similar with a lovely r&b organ, the sisters sing the answering
  vocals from the left channel, even slipping in a part of the Mama's & Papa's "Monday, Monday ", the two beautiful melodies merge
  together superbly.  A fantastic performance from all concerned, the sound quality could not possibly be bettered, I am delighted
  to present this loved album in the ultimate condition. To the very last the final gap remains silent and allows another perfectly
  clean intro to the slow and searing blues of "Ain't No Way", written by Carolyn Franklin, Aretha smoulders away and stretches her
  incredible voice to unbelievable proportions here.  The album started sensationally with "Chain Of Fools" and ends with the most
   staggering performance imaginable.  So intensive, I cannot possible concentrate on typing any longer!  I will end this immensely
  enjoyable description by saying how perfect the sound and clarity are on one of the album's most exposed tracks to noise, I could
  not handle any intrusive crackles or clicks on "Ain't No Way" and there are none here or on the whole album.
{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!