Sold Date: August 13, 2016
Start Date: August 6, 2016
Final Price: £203.25 (GBP)
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"FOTHERINGAY" (Sandy Denny, 1967)

How often she has gazed from castle windows over,
And watched the daylight passing within her captive wall,
With no one to heed her call.

The evening hour is fading within the dwindling sun,
And in a lonely moment, those embers will be gone,
And the last of all the young birds flown.

Her days of precious freedom, forfeited long before,
To live such fruitless years, behind a guarded door,
But those days will last no more.

Tomorrow, at this hour, she will be far away,
Much farther than these islands,
Of the lonely Fotheringay.
FAIRPORT CONVENTION:"What We Did On Our Holidays" LP, UK NOVEMBER, 1969 WHITE "i" PINK ISLAND LABEL
PRESSING.   AS BIZARRE AS IT GETS, "What We Did On Our Holidays" WAS RELEASED ON THREE DIFFERENT
PINK LABEL DESIGNS, STILL WITHIN IN THE SAME YEAR OF THE FIRST RELEASE, WELL,  WITHIN ONLY 11 MONTHS
OF 1969.   NONE OF THE FEW PRESSINGS ON THE TRIO OF ISLAND PINK LABEL SOLD AND TO THIS DAY, THE
ABSOLUTE MASTERPIECE , "What We Did On Our Holidays," HAS NEVER MADE A BRITISH CHART ENTRY.
SO ALL THREE OF THE 1969 PINK LABEL PRESSINGS ARE VERY RARE IN PLAYABLE CONDITION, LET ALONE IN
THIS ASTOUNDING MINT CONDITION!
Great to be back listing records on ebay and what an album to return with, does it get any better "What We Did On Our Holidays"?
The last time I sold one of my revered and loved albums was back in 2004, in theory this is the 'third pressing' but that is just
absurd to think in those terms!   Released in January, 1969 when the likes of Richard Thompson, Sandy Denny, Ian Matthews and
the rest of Fairport were virtually unknown, there would have have only been one small pressing made at the beginning of 1969.
With the January unsold copies in storage, if not for the quick fire pink Island label logo's changing within the really short 44
week period, no other pressings would have been made until the early 1970's, when the pink rim Island labels were introduced.  
For anyone unfamiliar with these UK Island Records late 1960's legendary pink colour labels, I will give all the details below.
Apart from a few obscure 1967 solo tracks and with the Strawbs, Sandy Denny was really recording her first meaningful debut
by replacing Fairport's former female vocalist, if you read the above lyrics Fairport had more than just a stunning new vocalist,
Sandy could also write incredible songs as well as play an acoustic guitar and multiple keyboards. The haunting, deeply melodic
and evocative poetic lyrics of "Fotheringay," was an epic way to begin an album, Sandy Denny completely changed the dynamics of
the band and as delicately as "Fotheringay" was performed, this album was still the actual beginning of 'folk / rock.'

THE FIRST PRESSINGS WERE ON THE INITIAL 1967 ORANGE & BLACK LOGO PINK ISLAND LABEL, THEN ONTO THE
BLACK BLOCK LOGO PINK LABELS UNTIL OCTOBER, 1969,  THIS IS THE NOVEMBER, 1969  PRESSING ON THE
WHITE "i" LOGO PINK ISLAND LABEL.   THAT HAPPENED IN AN AMAZINGLY SHORT PERIOD OF APPROXIMATELY,
ONLY 44 WEEKS.  AS PYE PRESSED ALL THREE 1969 VARIANTS, THESE WHITE "i" LOGO PINK ISLAND LABELS ARE
ARE AS THICKLY AND SOFTLY TEXTURED AS THE JANUARY & OCTOBER VERSIONS.
PRESSED LATE 1969.
The same scenario affected many of the late 1960's pink Island albums, the best known example is the huge selling Jethro Tull album,
"Stand Up"also appeared on all three pink labels within the 11 or 12 weeks of that quick succession of 3 pink Island logo labels.  
Pye pressed all three label designs with exactly the same dinner plate vinyl and familiar maitrix machine stamped  format, the same
mothers prepared for January, so precisely the same 1960's stereo sound and mix.  As mentioned, the same thick, softly textured
labels, the same 1969 only, distinctive salmon pink colour tone, just the logo design evolving before the 1970's decade began,
then the vivid pink colour tone was introduced and stability lasted until November, 1970.  To the initiated that must sound very
confusing, but the last few months of the 60's decade saw endless changes for most record companies, but Island records were
not even changing the label text.  Removing Tax Codes and "Sold In UK" was one thing, but it was only a logo on a label that had
only been in existence for 2 years!  To place this first textured pink "i" logo label pressing of, "What We Did On Our Holidays,"
into the context of the November, 1969 pressings, it will help if I set out the exact sequence of how 3 Island logo's overlapped
each other in a matter of only 11 / 12 weeks, they were indeed only those few weeks apart, the maitrix of this record places it
  firmly in November as a direct continuation of the pressing process.  However, my own personal acquaintance with the pink Island
label for a genuine 49 years now, is not required to tell the year it was pressed by eye.  The actual pink tone colour is subtle,
but as an unplayed Mint record the inner sleeve simply has to be the original, Island used both Pye and Polydor inner sleeves
  regardless of who was contractually pressing their records.  This is a Polydor type, if made only for contractually pressings and
without the rest of their normal front printing, the bottom rim alone ws printed and as can be seen in a compiled picture of this
inner sleeve, fortunately that included an encoded date of when the inner sleeve was manufactured.....November, 1969.  
For me the biggest rarity here is a 47 year old unplayed, as new, Mint "What We Did On Our Holiday" record inside a January, 1969
first issue fully laminated cover.

Island Record's pink label was first seen in January, 1967 on a single, Owen Gray's "Help Me" had that honour, for albums, the
very first was John Martyn's "London Conversation" LP, released October, 1967.  I will fully document the closeness of the orange
and black logo, the black block logo label and the genuine 1969 very first white "i" logo pressings of  "What We Did.......", but  
must stress that all the UK pink label records were so close, they were almost touching, due to all three originating in 1969.  
With three different logo's in only 35 months, there had to an overlapping effect for albums issued during the change over, as I
will now show.  Please do not send me emails on this subject, unlike info on websites where the compiler's missed the era or were
not born in Britain, I was buying Island singles and albums in 1967 and followed every move.  The long decades spent buying and
selling them has given my first hand experience invaluable details about the variations, I do not need to consult any website or  
text book, personal experience has been proven to be 100% accurate and I have reached the point where I refuse to waste time
discussing a subject, I have thoroughly covered in my fifteen years of ebay descriptions.  We served out time at record fairs  
before that, my time is spent and devoting that genuine experience to individual records, exhausting enough mentally, not to
continue repeating it all over again in emails.  You name it, I have seen it, from mono labels on stereo only Island records, even  
so, variations continue to surface and I will deal with them when listing them.
 

During 1967, Chris Blackwell started a rock / blues / folk pink Island label with an orange and black oval shape logo pink label,
the last album released with the logo was on the 1st August,1969, Jethro Tull's second album,"Stand Up." Then this and some other
albums were immediately pressed on the very short lived second, black block logo pink label, so short lived, only as low as three
albums as newly recorded titles, were released on it in a four week only period, between August and September, 1969;

Fairport Convention - "Unhalfbricking"
Clouds - "Scrapbook"
Nick Drake - "Five Leaves Left"
 
Island's catalogue numbers were out of synch with time periods due to delays for the releases, the first of the above three on the
black block label was "Unhalfbricking" on the 2nd August, the last of the trio was "Five Leaves Left," issued the 1st September.
  The main use of this label was for pressing re-issues of 1967 to mid-1969 albums for the more successful Island artists such as
  Jethro Tull, "This Was" and "Stand Up" were issued on all three Island logo labels.  The black block logo ended  October,1969,
  the third and final pink label design appeared at the beginning of November,1969, the bottom centre black block was replaced with
  a white "i" logo and that design lasted for exactly one year until November, 1970, then the palm tree / pink rim labels followed.
Why end all re-designed labels in October and bring in the new logo designs in November?  You have to refer to my comment above,
  it all started with the introduction of John Martyn's "London Conversation" LP in October,1969, November became an annual event.
  All three 1969 logo labels had one thing in common, the paper was textured visually, now the pink colour tone, the actual shade
of the pink colours changed during 1970 and although subtly, with experience it can easily be seen because the two months
  of pressings in late 1969, only represented 8 - 9 weeks, all that year's labels will have approximately the same colour tones.
I can only discuss records and labels still in top condition because with the normal handling and exposure to light, the colours
not only faded, they became worn, grubby and stained, so datable colour tones can only apply  to records in a minimum of true
Excellent++ / Near Mint.   That grading on ebay has become so distorted and abused, I suggest collector's refer to the actual
definition given by 'Record Collector' who have a website.  Most records graded as 'Very Good' are in reality 'Good' or 'Poor,'
  so the further you move towards Mint from poor, the more distorted the grading is, not all ebay sellers abuse the perfectly clear
and universally accepted system.  The rest of the precise dating methods is in the covers, inner sleeves and of course maitrix
numbers and even the configurations that identify the contracted pressing plants that manufactured the for Island. I will give
this record's maitrix exactly as it was stamped by Pye in the run-out grooves.


NOVEMBER,1969 WHITE "i" LOGO, SALMON TONE PINK ISLAND LABELS: ILPS 9092

MAITRIX: ILPS + 9092 + A2  /  ILPS + 9092 + B2  
  The above format will be found all three pink label pressings, right from the initial orange & black logo pressings, that is definitive.
Unlike Polydor's preferred 12 0'clock position in the run-out grooves, Pye always chose the 6 0'clock position and the separating
  symbol '+' was unique to Pye's pressing plant alone.  As I said, without doubt the very first "i" pink label pressing from the same
metal pressing plates, just a bonus, on an unplayed true Mint 1969 record!


UNUSED ORIGINAL 1969 ISLAND / PYE POLY LINED INNER SLEEVE, IN NEAR MINT CONDITION.
Pye and Polydor were contract pressing for the small independent Island, often Pye inner's were used for Polydor records but
in this case a Polydor inner for a Pye record.   As a Mint record I can be 99.9% confident this is the very inner sleeve the record was
first placed into and is printed in blue ink on the front bottom rim.  In the 1960's decade it was taken for granted the actual
year prefix was '19', so the month first, followed by the actual year:
119 = November, 1969
NO SPLITS OR TEARS, EVEN AGEING IS MINIMAL, JUST A RECORD IMPRESSION AND A FEW RELATED RELATIVELY
GENTLES CREASES, IN NEAR MINT CONDITION.


FIRST ISSUE FULLY LAMINATED FRONT AND BACK, 'EJDay.' PRINTED COVER COMMON TO ALL THREE 1969 PINK
LABEL PRESSINGS.   RECORDS WERE  MADE TO BE IN LINE WITH CURRENT RECORD COMPANY  LOGO's OR TEXT
UNSOLD COVERS WERE UTILISED REGARDLESS OF ANY EARLIER LOGO'S AS ALL WERE MADE AT THE SAME TIME.
THE COVER HAS THE ENTWINED FIRST 1967 PINK ISLAND LOGO ON THE TOP RIGHT CORNER OF THE BACK.
Once again I am frustrated to remind collector's I can and do regularly produce true Mint vinyl from every decade, but after a
period as long as 47 years, I cannot defy gravity for the covers.  Unused covers can and usually have storage traits just from
standing holding records, that applies to records made in this decade, but the late 1960's stretches a very long time ago now!
As the January, 1969 very first  issue, this cover is laminated on both sides, there were re-issues though with the same full
lamination, but only this "E J day" made cover was original to the year of release, 1969.  At that grand age, this is a superb
first issue cover, with only relatively light storage traits,  not technically wear,  only the natural way a 49 years old laminated
cover moulds round such a heavyweight record, unremoved for every one of those years.  The front and back have deeply glossy
  laminate, unworn and undulled, the chalk blackboard drawing of the band and their ever present German Shepherd dog, is unfaded
and the front white on black, is totally unyellowed.  The record's inevitable impression is not over severe, but there along with
related small laminate edge lines and a few small laminate wrinkles.  The laminate was wrapped straight over the spine with it's
pointed ends and flat main area.  As I'm often writing for this 60's cover design, the ridged shape of the spine caused some of
the laminate to not make contact, giving a lifted effect.  I include that in my grading, unfairly I feel,  because this was how
covers left the printers back in 1969, that is do tiny it does not require detailing but I will anyway, just the very top of the back's
meeting point with the spine's ridge, I do mean tiny!

Other to that, no laminate scuffs or scrapes on the front or the back, which is in the same outstanding condition as the front,
including record impression from the heavyweight vinyl.  The spine is still the original described shape with the yellow titles
unscuffed, unaged and perfectly clear under the completely unworn laminate. When Island had laminated covers made they were
produced such strong and sturdy spines, considering the title is central, in line with the very heavy record's edge, this spine
is in incredible condition.  The corners are all their original shape, the right side's pair are in outstanding unworn condition,
  the left side's are not far behind either, with only the very slightest, negligible rubbing to the extreme pointed spine tips.
  
The unused opening edges are superbly crisp with sharp, straight card and unfrayed laminate, so they  should be, the record was
  never taken out to be played. The top & bottom edges also have unworn laminate, to me, a beautiful cover, in reality. Near Mint,
but I cannot take a naturally formed record impression and a few related laminate wrinkles are unconnected to wear, grading is
  an enforced 'Excellent+++, if reluctantly.  To quantify that remark, I'd love to see a rare first printed cover to equal this and
  even checked out my own cover with a Mint record inside earlier, like the two records, it was like looking at a pair of twins!
 
Final point about when this was printed, in 1969 Blind Faith recorded a rare Promo only single titled,"Change Of Address," if a
copy surfaces it sells for a small fortune. The change of address was Island moving from Oxford Street, London to Basing Street.
The back cover bottom rim has Island's office located in Oxford Street, by early 1970 Chrysalis had moved into the vacated
offices, no Promo singles issued by Chrysalis though!
THE COVER IS IN NEAR MINT CONDITION.


THE IMMACULATE TEXTURED LABELS LOOK LIKE THEY WERE JUST PRINTED AS WELL, NO SPINDLE ALIGNMENT'S.
THERE ARE NO MARKS OF ANY KIND AND WITH PRISTINE, THE RECORD IS IN UNPLAYED MINT CONDITION.
No 1969 "What We Did On Our Holidays" leaves me without hearing it, so just the one ultra careful, undetectable play, with a
restricted tracks description..... I earn the right to play some of the true Mint records I buy and sell!
SIDE 1
"Fotheringay" (Sandy Denny)
"Mr. Lacy" (Ashley Hutchings)
"Book Song"(Ian Matthews / Richard Thompson)
"The Lord Is In This Place, How Dreadful Is This Place" (Ashley Hutchings / Richard Thompson / Sandy Denny)
"No Man's Land" (Richard Thompson)
"I'll Keep it With Mine" (Bob Dylan)

SIDE 2
"Eastern Rain" (Joni Mitchell)
"Nottamun Town" (Traditional, arranged by Fairport Convention)
"Tale In Hard Time" (Richard Thompson)
"She Moves Through The Fair" (Traditional, arranged by Fairport Convention)
"Meet On The Ledge" (Richard Thompson)
"End Of A Holiday" (Simon Nicol)


FAIRPORT CONVENTION, 1968 -1969:
Sandy Denny - vocals, acoustic & 12-string acoustic guitars, organ, piano, harpsichord
Iain Matthews - vocals & congas
Richard Thompson - electric, acoustic & 12-string acoustic guitars, piano accordion, sitar on "Book Song" & vocals
Ashley Hutchings - bass & backing vocals
Simon Nicol - electric & acoustic guitars, electric autoharp, electric dulcimer & backing vocals
Martin Lamble - drums, percussion, violin, tabla & footsteps


Bruce Lacey & his robots on "Mr. Lacey"
Claire Lowther - cello on "Book Song"
Kingsley Abbott - coins on "The Lord Is In This Place" & backing vocals on "Meet On The Ledge"
Paul Ghosh & Andrew Horvitch & Marc Ellington – backing vocals on "Meet oOn The Ledge" Peter Ross - harmonica on "Throwaway Street Puzzle"


Recorded June - October, 1968, at Sound Techniques, London & Olympic Studio No. 1, London,  
Except, "The Lord Is in This Place, How Dreadful Is This Place" recorded at St. Peter's Church, Westbourne Grove, West London.
  Further Recording at Morgan Studios, London.
Engineered by John Wood, Sound Techniques, London.
Produced by Joe Boyd.
Maybe a rest from typing duties had an effect, I feel like I have written enough for two descriptions, I will keep the background
  reasonably brief,  I do tend to get carried away with my most loved albums and artists, I can't wait to hear the unplayed record!
  The first band name featuring the embryonic Fairport Convention, was "Tim Turner's Narration," formed by bass guitarist Ashley
  Hutchings.  Although Fairport were to become the very epitomy and the finest exponents of of traditional English Folk music, their
  early influences were 1960's American artists such as Bob Dylan and Joni Mitchell.  They were also strongly influenced by other
  incredible music coming from the USA, their original sounds had elements of the Byrds and Buffalo Springfield.  Re-named Fairport
  Convention, they played the London clubs in 1967, they were; Ian MacDonald and Judy Dyble lead vocals, Simon Nicol and Richard
  Thompson were the guitarists, their self titled Polydor album was released in 1968, produced by Joe Boyd & Tod Lloyd for their
  Witchseason Productions company, but  a great album was only heard by a very small minority.

After Fairport Convention's 1968 debut album on the Polydor label failed to chart, still with Joe Boyd producing them, they moved
  onto Island Records where pressures were not applied to their artists to achieve instant commercial success.  Later on in 1968 the
  addition of the then unknown Sandy Denny would have an electrifying impact on the rest of the musicians, she was replacing Judy
  Dyble on vocals, this was a marriage made in heaven.  Even allowing for my own personal love of her unique talents, Sandy has now
been cited as the finest ever female vocalist the UK ever produced, as she was in 1971 and 1972 when she voted into that position
  in "Melody Maker's" annual music polls. On Fairport Convention's Polydor debut LP, folk music was their inspiration, although they
  also flirted with USA West Coast  psychedelia, a superb album that promised greater things to come.  Sandy Denny's arrival in the
  band had a rejuvenating effect on the more withdrawn individuals, her bubbly enthusiastic personality gave everyone a huge boost,
  any of her own insecurities or lacking in confidence never surfaced.  Sandy had been solo working in folk clubs and when she was
  enrolled into the Strawbs in 1967 by Dave Cousins, Sandy thoroughly enjoyed being part of a band and like the Strawbs had been,
  she was much more into traditional English folk music but it was the 1960's, that did not preclude rock and folk working perfectly
  together. American influences like Joni Mitchell and Richard & Mimi Farina were more in line with British traditional folk than a
  psychedelic leaning, so it was not exactly musical diversions, more like focusing on the music that allowed full expression. Take
  "A Sailor's Life" on "Unhalfbrickings," listen to the incredible improvisations forming the lengthy instrumental ending and I defy
  anyone to find a suitable category, 'folk/rock' does not quite fit,you have to conclude it was Fairport performing so inspiredly
  they created unique music because of the genius within the band. Talking about that brings me back from moving away from what
  was their second album, Sandy's encouragement had a very profound effect on the whole band, none more so than the young
  musical genius Richard Thompson, who was only 17 years old when Sandy breezed in and Richard became the biggest benefactor.
  A major turning point in his career as well as in Fairport's, the musical chemistry was just perfect for this, their stunning 1969
  debut Island  album, "What We Did On Our Holidays," they all now concentrated on  traditional English folk / blues music and that
  brought out the finest musicianship and vocals, plus Ian Matthews and Sandy Denny combined to a devastating effect, Richard's
  "Meet On the Ledge" is still a folk classic today.   The whole band played like never before, Ian and Sandy sang so inspiredly,
  it could and should have replaced our National Anthem!  With Sandy Denny's expanding songwriting and her gifted vocal ability,
everything came together like magic, it really was as if she had a magic wand, Richard Thompson now wrote outstanding songs
and performed to an extraordinary level.  It has often been said by those closest to her, Sandy only had to walk into a room and
the whole atmosphere changed to one of joy and happiness.   At last the amazing Island album, "What We Did On Our Holidays"
is finally being recognised for true greatness, but like the earliest Fairport records, they are becoming increasingly rare in a
listenable condition, the severe wear reflects the normal uncountable plays they had.  "What We Did On Our Holidays" failed to
even make the UK charts but Island Record's founder Chris Blackwell was unconcerned, he had signed the most talented set of UK
folk musicians of all time, it was only a matter of when, not if, their music would soon be heard by a wider audience.
  
The front cover features a hand drawn chalk of the band performing, they were playing at a school and it was drawn and scribbled
to pass time.  Then the idea to use the blackboard drawings as the cover artwork, including the crossed out heading as the album
title!  A photographer was sent back in hope it had not been rubbed out, it was still as you see it on the cover, the back cover
has an actual colour photo from a 1968 gig, with their German Sheepdog asleep on the stage... but awake on the blackboard.
 

Amazing to be the first to really carefully align the spine and ease it onto a turntable, becoming the first ever unplayed 1969
  pink label pressing I have seen since...1969!  What a glorious opening track, "Fotheringay" has always been my all time favourite
  folk song and performance, truly beautiful and emotionally saturated to say the least.  An extremely quietly played intro of a
  gentle acoustic guitar and just a few sparse bass notes from Ashley, making this one of the most difficult side opening tracks
  to locate without excessive needle and irritating general noise.  Not here, the initial and immediate run-in grooves before the
  intro are exceptionally quiet for the first ever play, hardly any static.  When Richard Thompson's acoustic guitar plays from the
  right  speaker only I am delighted to hear such fantastic audio clarity.   99.9% of every 1969 pink label pressings have audible
  surface sound even in genuine Excellent condition, but not Mint, which is off the scale for such rarity of a non selling/charting
  folk album like this.  Then the bass notes from the left with the second acoustic guitar, Sandy Denny sings the sad and mournful
  melody with an authentic emotional tone to her voice. The instrumental backing remains so gentle and minimalist, a song that is
  completely reliant on the vocals and Sandy Denny is just magnificent.  The sound quality here is simply breathtaking, this record
  is precisely why as close to mint vinyl as possible, is vital for the intensive music.  I am most certainly not about to claim there is
  not the occasional minor static during the first ever play but  with "Fotheringay" sounding so stunning, I am confident that will
apply to all the tracks and the gaps. I have spent twelve very long years spent searching, as ever Pye had the finest sound
  engineers working from the the master tapes.  "Fotheringay" is track a track I could write about endlessly,  a song it has all the
qualities of a traditional English folk song, it was written by Sandy in 1967.  For vocal backing there's no more than harmonised
"ooh's,"mostly supplied by Ian Mathews,they add to the saddness of this track and contribute to creating superb atmospherics.
  Richard Thompson's acoustic guitar is beautifully played as this very moving melody now moves into the greatest  intensity, in
such stunning audio perfection, a track to treasure.  A fantastic opening to the the album, I lifted my stylus to allow the full
details because I would have wanted to know them if considering buying this album. I will cut back on the amount written about
"Fotheringay," alone, it will be hard to , every track is just as equally inspired.  Finishing into a smooth running, near silent
grooves, then with the pink label's astonishing power and massive volume, Richard's electric blues guitar explodes during the
intro to "Mr. Lacy,"  the other side to Fairport's intensive music, a superb Ashley / Tyger Hutchings composition steeped in
blues, the other side of the coin to folk music. A driving rhythm is created by the guitar,s bass and drums, the vocals are sung
  as harmonies with Sandy's voice soaring above all else, for a singer with such soft tones, she was just as  capable as delivering
incredible strength and great force.   The sound is staggering, sharp edged and totally undistorted, the riff is incessant and
Richard Thompson's blues solo is just outstanding. If my memory serves me correctly, he was still only 17 when this album was
recorded, genius is an abused term but for Richard that is the only possible way to describe his musical gifts.  Now we arrive at
the brilliance of "Book Song", the gap is smooth, trouble free and close enough to being silent, Ian Mathews is the joint lead
vocalist for a song he co-written with Richard Thompson.  Sandy Denny provides the exquisitely sung vocal harmonies as that
  second voice to Ian's, a beautiful melody played slowly with acoustic guitars as the main backing,  Richard also played the sitar
on this track.  To my ears, Ian and Sandy were one of the most perfect harmonising sounds any male / female duo could make, after
this album Ian would leave to begin a solo career. In saying that, he was on one track of their next album, "Unhalfbricking," the
great "Percy's Song." The wonderful backing has only one way to describe it with, Fairport Convention!   The sitar may not have
appeared on too many of their tracks, this was still the late 160's era of exotic sounds, there's so much more than just a sitar.
I am trying to write a little briefer, so I will conclude this is once again in stunning sound quality, the final sitar note fades
away naturally into a near enough silent gap, giving a perfectly clean intro of a slide blues guitar to an astonishing performance
of "The Lord Is In This Place, How Dreadful Is This Place." I wrote this is 'astonishing',  because there are no lyrics on a slow
  acoustic blues track,Sandy just hums a very moving  melody, I can best call it a blues refrain, requiring improvisational skills
from a vocalist who responds with the purest melody.  Ashley, Richard and Sandy are credited as the songwriters, but this short
track is far more of a glorious insight into the magical, musical chemistry instantly developing between them on the first album
  record with the new line-up.  A completely exposed song for surface or needle sound, but it plays with staggering, ultra clear
  and clean sound quality, surface sound is positively not an issue, any faint static...is faint, all credit to Pye's mastering and
pressing,   A near perfectly clean intro of two taps on the snares, then Richard's accordion rings out in fantastic sharp edged
sound, hand claps now punch out the highly infectious rhythm from the left channel, this can only be the magnificent Richard
Thompson composition, "No Man's Land." A song  performed with the joy and celebration of being alive and making glorious
  music, this sounds as good to hear now as the day this was recorded.  The definition here of the individual instruments is just
incredible, those handclaps are in a true life sound and Ian's lead vocals are superbly sung.  I love the stereo mix here, Martin
Lamble's drums are on the right and the strong handclaps from the left,  giving a tremendous punch to the rhythm.  These details
do tell me how faithfully this record was mastered, if only the same applied to the way music is now taken apart & re-assembled
in the wrong order or the channel's original stereo balance.  There is near silence in the last gap, so the lone acoustic guitar
  plays the long intro unhindered by any surface sound, the rest of the instruments join in and Sandy sings a really stunning vocal
on Dylan's, "I'll Keep it With Mine."  Fairport regularly covered Bob Dylan's songs,  this has to be the most moving interpretation
of them all, I'll extend that to any other artist.  For the sensitivity and delicacy of the backing, but also how Sandy pours such
intensity and genuine emotions into her vocals.  She powers out the lyrics in places that leave you stunned by the strength of
her voice, a very loudly mastered record!  Then there's the beautiful Ian Mathews harmonies on the chorus and other key lines of
the lyrics.  What a truly amazing pressing for the first ever play in nearly half a century!
 
Side 2 has some natural static that gradually disipates as the percussion begins, I urge patience with true Mint or hardly played
records from any era, but especially for 1960's vinyl of this extraordinary quality.  The intro to "Eastern Rain" is very, very
gradually faded-in, I instinctively expect to hear loud annoying crackles but this is indeed the static of a just played record.
Now fantastix audio clarity without any form of static as the track begins, Joni Mitchell's song was beautifully sung as a duet
between Sandy and Ian, Sandy was slightly ahead of Ian, the two voices are just too much!  The sympathetic backing has a
'pitter patter' like rain rhythm, they play it very gently until an instrumental bridge, then we are treated to Richard's superb
electric guitar. The percussion's definition is astounding, from the right speaker a dramatic gong like sound resonates in a real
   to life tone.  Sandy sings this like an angel, the dramatic tensions in the song made this such a great   way to start the second
side.  The first gap is once again near silent, vitally so here, Richard's incredible acoustic guitar intro to "Nottamun Town" is
entirely panned left, leaving the right speaker dormant, yet there is no surface sound at all, amazing!  Then the second guitar
plays from the right with the drums and the bass guitar playing from the left.  Also on the left are the the bongos, the vocals
begin with at least four voices singing it flat out in the most fantastic harmonies.  The sheer power of Sandy's voice pushes her
to the fore, this is Fairport Convention at their most potent!  Richard's extraordinary acoustic guitar solo has to be heard to be
believed in this unplayed Mint record's awesome sound reproduction, as for the stereo mix, it becomes totally mesmerising as
  Richard goes into overdrive with fantastic movement of individual notes.  I  often wonder if anyone reading this knows the songs
I am trying my hardest to describe intimately, if so you will know the exceptional power produced from just acoustic instruments
and voices joined in an uplifting harmony.  I am too biased to this much loved LP to remain objective about the incredible music
but nobody is as fussy as me about the audio on"What We Did On Our Holidays,"and  this is really mind blowing sound quality!
   Linking as smooth as silk and silently from a traditional song, into Richard Thompson's equally stunning "Tale In Hard Time,"now
  Ian takes the lead vocal and what a vocal this is!  Martin's drums hit the steady rhythm and the guitars play the melody superbly,
Richard's guitar solo is an absolute classic, even though Swarbs was yet to add his fiddle to a Fairport song, Richard's guitar
hints very strongly at that sound that would grace so many LP's over the coming years.  The sound is simply staggering, my words
are useless for conveying a record of this magnitude, for a staggering vocal performance, Sandy Denny is inspired out of her skin
  as she sings in outstanding voice, an emotionally charged "She Moves Through The Fair." This is a traditional Irish folk song and
Van Morrison's very moving version is one of the few that comes even remotely close to Sandy's overpowering vocals.  I realise
this is very repetitive stuff but I must keep giving sound reports, especially for the fragility of "She Moves Through The Fair", this is
in sound that leaves me almost lost for words because of how low the backing instruments are.  There is no surface sound and just
  to hear this fantastic stereo mix without any noise breaking the magical spell, is unbelievable. I must say just being a Pye 1969
pressing is not enough, you will need a record in this awesome condition, with the average plays, even an 'Excellent' grading
will produce the excessive noise not there in 1969.  I usually get  fed up by now with describing non-musical parts of an album,
but never for this LP, from a totally silent gap before the beautiful intro.  An acoustic guitar from the right, then an electric
guitar from the left channel, heard without any irritations and then Sandy's deeply intensive vocals begin.  She is just stunning
as her voice starts so gently, rising with passion until she reaches the fullest extent of a remarkable vocal range.  Singing and
holding extremely high notes with ease, the backing of acoustic and an electric guitar are the very wonderful blend, Fairport
were the finest ever exponents in folk music of.   Words do fail me, how can I possibly do justice to such musical perfection?
  This is a track to sit back and to listen in wonder, not write about, the sound quality is just sensational, no surface sound on
the really delicate, quiet sections and for the most powerful notes, there is no distortion at all.  Ending as this began, another
perfectly clean intro for an acoustic guitar that signals the greatest duet of all time, the dazzling brilliant "Meet On The Ledge."
   I find it impossible to hear this without a lump in my throat, Ian Mathews and Sandy shares alternate lines then combine with
stunning harmonies on the chorus, a really devastating effect.  For me, this is still one of the most moving songs ever written,
Richard Thompson never gets the credit due for genius as both a musician  and his born with songwriting talent.  A song that
manages to merge a sadness with a positive message of  lasting friendship for the lonely, the backing rises with their voices,
a form of musical perfection on an LP with every second hitting the same extraordinary level of musicianship & staggering vocals.
  The final gap is vital to be as smooth running as this record has it, Richard's acoustic guitar is the only instrument, a truly
beautiful melody for the short "End Of A Holiday," the track the LP's title was derived from. No more than vague static here but
  only a natural record playing sound, very rarely found on this totally exposed piece of lovely music. This record is beyond any
  question an ultimate pressing record of one of the late 1960's greatest albums ever recorded.
  {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!