Sold Date: August 23, 2016
Start Date: August 16, 2016
Final Price: £216.56 (GBP)
Bid Count: 28
Seller Feedback: 4245
Buyer Feedback: 52

"THE SUN IS BURNING" (Ian Cambell)

The sun is burning in the sky, BR>  Strands of clouds go slowly drifting by,
  In the park the lazy bees,
Are joining in the flowers, among the trees,
  And the sun burns in the sky.
 
Now the sun is in the west,BR>  Little kids go home to take their rest,
  And the couples in the park are holding hands,
And waiting for the dark,
  And the sun is in the west.
 
Now the sun is sinking low, BR>  Children playing know it's time to go.
  High above a spot appears,
A little blossom blooms and then draws near,
And the sun is sinking low.

Now the sun has come to Earth,
  Shrouded in a mushroom cloud of death,
Death comes in a blinding flash of hellish heat,
And leaves a smear of ash,
  And the sun has come to Earth.
 
Now the sun has disappeared,
All is darkness, anger, pain and fear,
  Twisted, sightless wrecks of men,
  Go groping on their knees and cry in pain,
  And the sun has disappeared.
  SIMON & GARFUNKEL:"Wednesday Morning, 3 A.M." LP, 1968 VERY FIRST UK PRESSING, 9th NOVEMBER,1968,
IN RARE STEREO.  THAT APPLIES ONLY TO THE GENUINE LATE 1960's PRESSING, VIRTUALLY ALL COPIES ON THE
ORANGE CBS LABEL, ARE FROM 1970 - 1975.  IN AMERICA ALONE, THE ALBUM WAS RELEASED IN THE YEAR OF
THE RECORDING, 1964.   ACCORDING TO MOST INTERNET SITES, THEY INCORRECTLY STATE THE FIRST UK
PRESSING WAS MADE IN 1966.....AND IT CHARTED!
THE FIRST UK PRESSING WAS NOT UNTIL 9th NOVEMBER, 1968, ISSUED IN IN MONO & STEREO, BUT SO FEW STEREO
COPIES EXIST IN PLAYABLE CONDITION, THEY ARE BEYOND EVEN 'RARE.'
Some of the most respected vinyl internet sites actually give the UK chart position,which is quite unbelievable.   Any UK Chart
Book will confirm that never happened in 1966 solid fact,  this is a subject worthy of reserving for the main description, ebay
  is littered with errors as a result and we are discussing the debut album of the world's greatest folk duo of all time! Even that
description fails to do justice to the most stunning male vocal harmonies ever heard, and the production of records that are still
beyond compare, then there 's a little matter of Paul Simon's genius for lyrics and songwriting. The above info is the solid truth
about the pressing sequence....to be continued!


ORANGE CBS LABEL: SBPG 63370
As a genuine 1968 CBS pressing, the outside perimeter of the labels have a raised outside rim with a protective sheen top surface,
inside that the paper is the 1960's only, roughly finished or textured.

MAITRIX: SBPG 63370 -  A1  / SBPG 63370 -  B1
A perfectly clear, bold stamping, the CBS stamping machine regularly created a streaky effect that made it difficult to read, but
not this time.  The very first Stereo pressing made, only the one was required due to poor sales, none of the following 1970's
re-issues had specific, exclusive first edition only features, detailed in this section for the record, cover and inner sleeve.


ORIGINAL1968 ORANGE CBS PROMOTIONAL LP COVERS INNER SLEEVE, PICTURING OTHER CBS CURRENT ALBUMS,
  WITH "The Sound Of Entertainment" LETTERING SET AROUND THE DIE-CUT CENTRES.
I realise many collector's missed the 1960's decade and the sellers who also did, regularly state mono was rare in 1968 -1969,
  that was not true in the UK.  In America Stereo was almost exclusively the format by 1968, but not until 1970 in Britain.  I often
  look to my personal experience to verify that, but this time the reverse side of this inner sleeve's bottom section  has a lengthy
  article to inform how CBS stereo records could now be played on mono record players.  Technical reasons are given and this was
  near the end of 1968, owning Stereo equipment was indeed a very rare format right up to the end of 1969 and way into the 1970's
decade.  The point is, worn out mono needles were damaging the music signals and it is utter nonsense to ever only give a visual
grading for any single, EP or LP from the 1960's and right up to the second half of the 1970's.  One play with a blunt 60's stylus
stripped the 'walls' and floors' of the grooves where the music signals are embedded, causing terrible damage.   Unaged with a
record impression and related light creases only.
THE INNER SLEEVE IS IN UNAGED, UNWORN & UNSPLIT, NEAR MINT CONDITION


VERY RARE 'E J Day' LAMINATED STEREO COVER, BASICALLY, THIS IS A MONO COVER OR SHELL WITH A CBS
  WHITE & BLACK MATT STEREO STICKER ON THE BACK.  THAT COLOUR IS UNIQUE TO 1968 -1969, PLUS THIS HAS
THE "Patents Pending" TEXT OF A VERY FIRST UK ISSUE.
A genuine first issue stereo cover withe sticker is an extremely rare and nearly extinct beast, the 'tell tale' "Patents Pending"
is printed next to the 'E J Day' printer credit on the back's very bottom edge.  The extra thick lamination of very first printed
cover still has the original 1968 highly glossy surface, enhancing the superb unfaded rich colours of  the front artwork, the
date of which goes back as far as 1964.  The cover might  not quite as old as that, but the heavyweight record has been inside
untouched for all those years since 1968.  The LP's impression is inevitable for these tight, compact CBS covers made to the
same small specifications by 'EJDay' for CBS and other labels like Polydor & Atlantic.  As a genuine first edition, the laminate
was finished just before the spine, a real shame, because these ultra slim matt spines were left unprotected and once again there
is some rubbing to the central black titles.  Please see my revealing close-up picture,  I write exactly the same for just about
  every 60's cover made with this design, from Jimi Hendrix's "Are You Experienced" to all Otis Redding's covers.  Returning to the
front, the record impression is more than reasonably light and so there are only a few of the usual tiny laminate edge line but
I must stress there is still the rare appearance and feel of an unused Mint cover.  Those related tiny laminate edge lines form
naturally form, the laminate itself is undulled and totally unscuffed.  I am never keen to describe how a square cover moulds
around a heavy circular LP, it implies heavy use, wear and abuse, but that was not the case here for a once only played record!

All the edges are superb, the opening sides are perfect from non use, the top and bottom edges are near perfect, just the very
slightest storage/ storage traits.  If only the spine was covered by the laminate, stopping on the front's far left was a poor
design for such a narrow spine, cigarette paper thin. This cover was usually totally worn out, but there is no ageing to the pure
white lettering on the front, even the matt back panel only has the lightest possible hint of ageing.  So just that rubbing to the
  central printing on the  spine , all re-issue stereo covers with gold or silver stickers, are strictly from very late 1969 - 1970, not 1968.
  The two right side corners are square shaped and in perfect condition, so is the top left or spine tip, the bottom left has the
  slightest standing rubbing to the extreme tip only.  The opening sides are sharp edged, the other edges are also in outstanding
  condition without laminate wear even on the bottom standing edge.  
 
  The album title was not printed on the spine of the first editions, just simply, "Simon & Garfunkel", also very first UK printed
  covers the backtop right corner, have a CBS logo with the '63370' Mono catalogue number directly ' underneath.  There was
  not 'Mono' lettering there or on any other place on the cover,  plus"GB" is printed at a vertical angle, in line with the spine.
   ALLOWING FOR THE SPINE DESIGN, THE COVER IS IN REMARKABLE NEAR MINT CONDITION.

THE TEXTURED LABELS ONLY HAVE ONE SPINDLE ALIGNMENT TRACE, NO MORE THAN A 1968 RECORD WAS
  PLAYED IN THE ORIGINAL 60's RECORD SHOP.  
  A STUNNING, ULTRA GLOSSY VERY FIRST PRESSING,  IN MINT CONDITION.
SIDE 1
"You Can Tell The World" (Bob Gibson / Bob Camp)
"Last Night I Had The Strangest Dream"  (Ed McCurdy)
"Bleeker Street " (Paul Simon)
"Sparrow" (Paul Simon)
"Benedictus"
"The Sounds Of Silence " (Paul Simon)

SIDE 2
"He Was My Brother" (Paul Kane aka Paul Simon)
  "Peggy-O " (Traditional)
  "Go Tell It On The Mountain" (Traditional)
"The Sun Is Burning" (Ian Cambell)
"The Times They Are A-Changin' " (Bob Dylan)
"Wednesday Morning, 3 a.m." (Paul Simon)


Paul Simon - acoustic guitar & vocals
Art Garfunkel - vocals

Barry Kornfeld - acoustic guitar
Bill Lee - acoustic bass


Recorded March, 1964
Sound engineer - Roy Halee
Produced By Tom Wilson
  November, 1968 in Britain, mono's domination and stronghold was still reigning supreme, so the vast majority of the albums sold
  were mono pressings.  Only a comparative few  in 1968 were stereo  records, of course by very late 1969 and on into the 1970's
  decade there were multiple re-issues of  "Wednesday Morning, 3 A.M." and of course in stereo, I am only discussing the genuine
  1968 first issues.  You can see how young Paul and Art were back in 1964 on the front cover, a photo taken at the Fifth Avenue,
  53rd Street subway station in New York City.   A story often told at  their 1960's concerts, usually it was Art explained how photo's
  numbering into hundreds were unusable, as Art diplomatically phrased it, because of the "old familiar suggestion" sprayed or
  written on the wall in the background.  Becoming the inspiration for Paul Simon to write "A Poem on the Underground Wall", issued
  on the December, 1966 "Parsley, Sage, Rosemary &Thyme" album.  When first released in America in 1964, this debut album failed to
  sell, the Beatles and following UK British 'invasion' was at it's peak in 1964, the duo found it difficult to become established.
Paul Simon is better known for his highly successful partnership with Art Garfunkel but their earliest days were far from instant
  success.  The civil rights conscious folk musicians in America during the early 60's, were fiercely committed to causes they were
  dedicating their songwriting and performances to, the same movement that had swept Bob Dylan into following his heroes into an
  unknown destiny.  Dropping out of law school in 1964, Paul Simon travelled to England with his guitar, later to be joined by Art
  Garfunkel during his vacations.  Paul played in our flourishing London folk clubs, folk started the 1960's social revolution, not
  rock, that was an expression of teenage frustration and aggression. Paul was befriended by London social worker Judith Piepe,
  who he soon moved in with.  Paul recorded a solo single for the independent  'Oriole Records' under the name of Jerry Landis,
  that was the very first recorded version of the emotional "He Was My Brother," written about Paul Simon's close friend who was
  shot by right wing fanatics, for protesting during civil rights disturbances in America.   The release of "Wednesday Morning 3 A.M."
  and the total failure to sell i the USA, was quite a blow, Paul returned to England to re-played the UK folk club circuit and although he
  was only signed to the American 'Columbia Broadcasting System' label, somehow he managed to convince the British CBS Record
  Company to let him to record this "Song Book" album in May, 1965.   A second release of  "Wednesday Morning 3 a.m." in the USA
in January, 1966, was prompted by the success of a single that made No.30. Now titled,"The Sound Of Silence" and not 'Sounds...'
had been remixed with electric instruments and percussion, why the websites have mistakenly assumed 1966 had been ripe for the
British release of "Wednesday Morning 3 a.m."  Returning to the "Parsley, Sage, Rosemary &Thyme" album, I deliberately included
it was released in the last month of 1966, in the UK, that album was the first Simon & Garfunkel album released and it failed to sell!
It took until 1967 and the "The Sound Of Silence" album to finally chart here, then in 1968, it was considered 'safe' to release
theire debut album, the "Graduate" film's soundtrack was also instrumental in breaking through Paul and Art's albums in Britain.

Now a little info about the first ever UK pressing of "Wednesday Morning 3 a.m."in 1968, well, more the reason this a Mono cover.
Every time I explain as carefully as possible, why 1960's stereo records were often in mono covers with stickers, I realise that
must cause confusion to new vinyl collector's, if only because those same record companies would occasionally also have specific
  stereo covers printed.  CBS/Columbia did that throughout the decade, logic does not enter the equation because this concerns the
scarcity of 1960's stereo records, British record companies like Pye & CBS never had made stereo covers right up to the beginning
  of the 1970's and continued into the decade, they stubbornly held onto the belief mono could not possibly be made redundant.
  CBS & Pye covers had the mono catalogue numbers printed and due to so few stereo records being pressed and bought, it was more
  economical to print 'Stereo' stickers, CBS usually just left the original mono catalogue numbers on the spines & top corners, at
the time nobody took any notice.  A few rare stereo covers had 'Stereo' printed on the front of the mono covers, mostly when CBS
were confident of sales, the best example is Bob Dylan's 1966 first pressings of "Blonde On Blonde." Pye sometimes had the Stereo
prefix of the catalogue numbers added to the 'Stereo' stickers because it was simple enough with the same ending digits used for
mono and stereo.  It would have been even more simple for CBS, they only needed to add an 'S' onto the sticker placed in front of
the mono 'BPG' prefix, but they chose not to.  On the stickers subject, CBS used two further sticker colours, silver & gold, they
assist dating the year an album was pressed. Such readily interchangeable items were alien to the record companies like EMI and
  Decca, although there was an irony attached to Decca finally solving the problem by introducing format holes on universal covers,
  Allowing seeing  a colour coded inner sleeve, red for mono and blue for stereo. The only problem was by now it was 1969 and by
  by the end off that year, stereo finally hammered the final nail into the mono coffin in 1970, never mind, it was a great idea.
 
As their popularity took hold, especially after the exposure "The Graduate" film soundtrack gave to their music, November, 1968
indeed was the first time the UK pressing of "Wednesday Morning, 3 A.M." was released.  It would have been too much to expect
major sales with their currently recorded albums, singles and EP's for sale, and that was how it worked out.   No.24  position was
  quite respectable but not prolific enough to leave us a ready supply of perfect playing first pressings 48 years later. The music
on "Wednesday Morning, 3 a.m." is of course purely acoustic, with the most intricate vocal harmonies ever found on a folk album
recorded that early in the 60's decade.  The track list is above and there is no need to expound on the delicacy of the material,
I am certain anyone reading this description is well aware of the staggering vocals on "Benedticus" and how essential the sound
reproduction is to the deeply beautiful music.  As someone who has loved Simon and Garfunkel's music since the 1960's, I set the
most stringent audio standards for any of the records I consider offering for sale. For ebay, this is only the second time I have
been able to find a genuine UK first pressing of "Wednesday Morning, 3 a.m." this  took a once only played record to guarantee
the sound would be as perfect as this wonderful album necessitates.
.

Both labels are in outstanding, unblemished condition, an unfaded deep orange colour, one play in 1968 represents next to nothing
for such a deep grooved, heavyweight record, I'm delighted to say it was.  When I first played the record earlier, the sound was
as sharp as the day it left CBS pressing plant in late 1968, delicate music can be listened to without  all the normal excessive
noise associated with a 60's mono folk album.  One play means any pressing related static will improve with every successive play
through, not that there is anything of any substance right now!  A very first pressing record with an absolute minimum of static
is my kind of "Wednesday Morning, 3 a.m." and  I will keep the description fairly brief.


   Side 1 begins with virtually silence from the run-in grooves, 60's records never ceases to amaze me for, immaculately pressed
   with all the power of analogue sound.  An superbly clean and clear intro for "You Can Tell The World" is a major rarity, but this
   this pristine record has that.  The intro features Paul Simon's acoustic guitar producing flurries of fast tempo chords, then in
   perfect synchronisation, Art and Paul sing the gospel / blues song with their voices  closely woven together, a simply glorious,
   true Stereo mix.  What a joy for me to describe this debut Simon & Garfunkel album in Stereo, I must remember to keep this to
   a minimal and only the one more play through.  The first gap is smooth and trouble free, the next sound is Paul Simon's banjo,
   picking out the beautiful melody to, "Last Night I Had The Strangest Dream".   Accompanied by his overdubbed acoustic guitar,
   they sing with heartfelt inspiration, Art Garfunkel's voice fitted like a hand in a glove with Paul's. Even as early as this they
   performed this lovely melody with the kind of musical perfection we take for granted today.  In the 1960's and in 2016, no two
   voices were so harmonically matched as this, wondrously pitched to compliment each other.   The Columbia Master's sent over
   from America to the UK were very, very special, the sound quality achieved  here is nothing less than breathtaking to listen to.
    Once again, a smooth passage into the next helping of melodic ecstacy, means Paul Simon's acoustic guitar intro to the sublime
    "Bleeker Street," is unhindered by any sound irritants.  Fantastic images are conjured up by the poetic lyrics, a city envelopes
   and suffocates it's occupants and leaves sadness and confusion.  As early as 1963, Paul Simon's writing was as sensitive as it
   was perceptive, nothing better describes this emotionally intensive song than this verse, or even just the first line;
Voices leaking from a sad cafe,
  Smiling faces try to understand,
  I saw a shadow touch a shadow's hand,
  On Bleeker Street.
  The lyrics are sung with such compassionate sadness in very quietly toned close knit vocal harmonies, "Bleeker Street" has to be
   one of the most moving S&G performances ever recorded.  They went on to  make such fantastic records but this was a really special
   Paul Simon composition, you actually hear emotionally affected they were when singing it.  The sound is breathtakingly perfect and
   the true Stereo converges their two voices even closer if that could be possible. The stereo mix placed Art and Paul's voices into
   completely separated channels, one voice from the left and the other from the right speaker, the intimacy grips you like a vice,
   I will not have time to describe that in detail. Near silence follows a naturally faded-out last note, allowing a supremely clean
   entrance for Paul's single acoustic guitar, the genius of a Paul Simon composition is here in a beautiful melody and inspired
   lyrics.  An absorbing story about an unloved, tired and starving sparrow, rejected by the oak tree, a swan and even the golden
   wheat that refused to feed the bird.  Death followed, "Sparrow" carries deeply rooted messages of selfishness, greed and vanity
   that are in truth human characteristics, Paul Simon in late 1963 was a massive talent just waiting to be discovered.  he sound is
   crystal clear and there are no more a few seconds of gentle static, more a reminder vinyl is producing stunning audio definition.
   The gap is again near enough silent, accompanied by a gently played acoustic guitar and a cello, first Paul Simon sings the first
  verse of "Benedictus".   A traditional religious song interpreted with a stunning Simon &Garfunkel arrangement,  the dazzling
   beauty of two voices singing slightly different parts, is just devastating in 60's true stereo.   The most wonderful way to hear
   Art and Paul's voices weaving incredible patterns around each other, with Art's higher pitched voice soaring skywards.  Intricate
   vocals may sound incredible, in fact, even more amazing, they often performed "Benedictus" live on stage and the immense talent
   never missed a note.  The sound quality is as sharp as a knife, the final gap on this first side is near silent and then the very
   familiar guitar notes play the intro to "The Sounds of Silence.  A Paul Simon song of such magnitude, it belongs up there with
   the 20th centuries very greatest, written as early as in February,1964, but it would not be appreciated until 1967 on the album
   with the same title. By that, I am referring to the original acoustic track before it was over dubbed, also recorded solo on the
   "Paul Simon Songbook" in 1965, this version with Art is their original,without the CBS enforced addition of drums etc. but worse
    of all, an annoyingly over loud tambourine.  To Paul's great disappointment, the single surprisingly failed to sell or chart in
   England which felt like his home.  Here you can enjoy it as they intended it be heard, just Paul's gentle acoustic guitar and
   two voices singing like angels.  The intensity has a biting feel that did not need any addition's, such power was generated into
   the lyrics that 52 years later, there simply is no other song or a performance to come close to reaching such lofty heights of
   inspiration. The sound quality is sensational,the sheer clarity of the vocals has to be heard to be believed, Paul's guitar was
   so low at the beginning , the opening is almost sung acapella.  As the intensity mounts, their voices rise, so does the strength
   of the guitar,  telling of our inability to communicate is as timeless as the oldest songs ever written.  It would be an injustice to
   criticise such fantastic sound reproduction, but there is nothing to criticise....just thoroughly enjoy.
  
  Side 2 has near silent run-in grooves, asuperb acoustic guitar intro to the mentioned,"He Was My Brother" has the same perfectly
   clean and crystal clear sound as described on Side 1.  Another extremely emotional song was written in 1963, Paul recorded it on
   the rare UK Oriole label single, as well as his 1965 "Songbook" LP.  He was moved to compose this song  after the death of his
   close friend aged only 23, killed during the civil rights disturbances of that troubled period.  Paul and Art combined in 1964 to
   sing in graphic detail, how Paul's friend or brother was shot dead.  Naturally a really emotionally charged performance because it
   was so close to the event  back in 1964.   Art sings out just  as powerfully and their fantastic harmonies add a telling emphasis
   to the personal lyrics. The audio is ultra sharp edged without any surface sound, the first gap on Side 2 runs near silently into
a delightful traditional folk song, "Peggy-O", their entwined voices are in stunning sound, a Stereo mix of the very finest, the
   simplicity of this track has an endearing charm, as their incredible vocal harmonies are heard to their most potent, the very
   substance of the world's greatest male vocal duo of all time.  I apologise for repetition, but I have to stress how perfect the
   sound reproduction is, especially for an album essentially only heard without any wear induced irritants, pure folk music in
   the purest sound, is a genuine pleasure to write about.  The next gap runs as smooth as silk,another traditional folk song is in
the most stunning Stereo sound as well, "Go Tell It On The Mountain" is maybe closer to gospel music and this talented duo sing
   it with genuine joy in their voices.  Accompanied only by Paul's acoustic guitar, the strength of two  singing in total harmony is
   a very mighty force indeed.  There ahas been no need for any  negative comments for such audio perfection, the next gap remains
   near silent, which allows the most wonderfully clean and clear intro here, for one of my all time favourite Simon and Garfunkel
   performances,"The Sun Is Burning".  A fantastic song that is deceptive on the first hearing, you are lulled into thinking this is
   about a lovely summer scene in a park, but as the verses unfold it soon becomes a very chilling tale of an atomic bomb;
Now the sun has come to Earth, shrouded in a mushroom cloud of death,
Death comes in a blinding flash of hellish heat, and leaves a smear of ash.
  The folk movement in this period included Bob Dylan's voice raised in anger about the threats hanging over our planet, softened
by their beautiful vocal harmonies, the message gets driven home even more effectively.   This has to be heard to be appreciated,
hat an awesome performance for a debut album.  The sound quality is as staggering as the track itself, talking about Dylan, he is
represented in that role as the champion of civil rights issues on perhaps, his greatest composition from his most intensive folk
era, "The Times They Are-A-Changin'. "   Sung with the deepest passion, Art and Paul's harmonies find the most melodic part of
the melody, the actual lyrics are very emphatically sung with real power and force.  They would not perform many cover versions
over the years to come with such a prolific songwriter in Paul Simon,  this album contains some unique recording's.  The sound is
once more stunning perfection and to end this album, it  had to be a Paul Simon composition, this is the song the record was named
after, "Wednesday Morning, 3 a.m." The final gap is near silent before a really fragile and beautiful acoustic guitar intro, then
the story of a man lying awake in the early hours of the morning watching his young loved one sleeping.  Written in early 1964,  
it pictures a man who had just robbed a hard liqour store and he knew that he had to face his destiny with fate at dawn.  Paul's
lyrics get right inside the man's troubled soul and they share the same emotionally disbelief of having committed such a crime.
A very moving song, Art is more the leading voice, Paul sings the lower end vey quietly, something that would soon become known
around the world. The sound has been absolutely stunning, a fantastic playing first pressing of a truly magical 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!