Sold Date: August 27, 2016
Start Date: August 20, 2016
Final Price: £570.00 (GBP)
Bid Count: 9
Seller Feedback: 4249
Buyer Feedback: 216

Here I stand, head in hand,
Turn my face to the wall,
If she's gone I can't go on,
Feeling two foot small.

Everywhere, people stare,
Each and every day.
I can see them laugh at me,
And I hear them say,
Hey! You've got to hide your love away,
Hey! You've got to hide your love away.

How can I, even try?
  I can never win,
Hearing them, seeing them,
In the state I'm in.
How could she say to me?
"Love will find a way."
Gather round all you clowns,
Let me hear you say,
Hey! You've got to hide your love away,
Hey! You've got to hide your love away.
THE BEATLES: "Help!" LP.  UK VERY FIRST PRESSING IN MONO, RELEASED 6th AUGUST, 1965.


YELLOW & BLACK TEXTURED PARLOPHONE LABEL: PMC 1255.

MAITRIIX:  XEX  549 - 2 / XEX 550 - 2.
' -2  / -2 ' maitrix ending digits were used for the mono first pressings, without '1' becoming involved, for anyone just getting
accustomed to 1960's UK Beatles albums, the 'XEX' maitrix prefix represents mono and 'YEX' signifies stereo records.

EMI STAMPING CODES:  ROP  2  /  ROP  4  G*  
*Another case of sound engineer stamping machine errors, an unusual one but one I have seen before from the same batch of the
2nd & 4th mothers. The letter 'G' was often used to represent '1' at both 3 & 9 o'clock in the run-out grooves, 'unusual' because
it is rarely seen appearing as the second digit /l etter.   As I regularly write, mothers did not exceed single figures for EMI
any other UK record  company, errors account for anything stamped with two and even three figure digits at 3 o'clock.  
Unless crossed out or over stamped, the first digit / letter on that side was always the mother digit intended, as it happens
with '2' on one side, 'G' or '1' would  have been in keeping, but so is '4' for masss vinyl production on the scale of a Beatles
new album in 1965 .
 
The label font, text and format of the 'XEX  549' & 'XEX  550' with the publishing year directly underneath without  a large gap
before '(P) 1965', alone is confirmation this a very first pressing, made before the August,1965 release.

THE VERY DISTINCTIVE 1965 THICKLY TEXTURED, YELLOW & BLACK PARLOPHONE LABELS, HAVE THE ABOVE ITEM
AND THESE FEATURES;

VERY FIRST PRESSING LABELS WERE PRINTED IN SANS-SERIF FONT, NOT TIMES ROMAN.

THE ASTERISK LEADING TO GEORGE HARRISON'S COMPOSING CREDIT FOR "I Need You," HAS AN EXTRA SPACE ON THE
RIGHT HAND SIDE OF THE SONG TITLE.
Yes, very trivial but I am just being thorough, barely played, Near Mint Beatles albums, singles and EP's are becoming rarer with
every passing year and I am really getting into detailing this superb "Help!" album.  Missed by most websites, there was the same
extra space for George's songwriting credit that the asterisk was linked to.  Located under the track listing and n the right side
of the  (Lennon-McCartney) credit,  this time the asterisk and extra space are in front ; (* Harrison).    That was on Side 1,
which only had one non Lennon / McCartney song to credit, hence  an asterisk in the first place, the extra spaces were removed
along with moving '(P)1965' on the very next labels printed, still in Sans-Serif font so it becomes relevant to first pressings.
Out of interest, Side 2 had three songs not credited to Lennon / McCartney, so no asterisk for George's "You Like Me Too Much."

"Sold In UK" TEXT.

THE UK TAX CODE 'KT' EMBOSSED ON THE CENTRE OF SIDE 2.

APPEARING FOR THE VERY FIRST TIME ON A NEW RELEASE BEATLES ALBUM, "Gramophone Co. Ltd" ON THE RIMS.

"Help!" WAS ALSO THE FIRST UK NEW BEATLES LP WITH THE PUBLISHING YEAR FORMAT: '(P) 1965'
The most likely reason why the immediately following labels were printed with a large gap between 'XEX  549' & 'XEX  550' and
  only the very first pressings had them printed on adjoining lines.


ORIGINAL 1965 'TRACING PAPER' LINED, "Use Emitex" PARLOPHONE / EMI  INNER SLEEVE. BARELY USED, UNSPLIT
WITH A  RECORD IMPRESSION AND ASSOCIATED LIGHT CREASES EITHER SIDE OF THE RECORD AND LIGHT AGEING.
  HOW COULD THAT NOT THE CASE AFTER NEARLY 60 YEARS OF HOLDING A HEAVYWEIGHT RECORD?


VERY FIRST ISSUE  'Mono' COVER, LIKE THE 'Stereo' COVERS, THEY WERE ALL EXCLUSIVELY PRINTED BY
'Garrod & Lofthouse', 'E J Day' COVERS WERE DEFINITELY NOT MADE FOR "Help!"  THE UNIQUELY SHAPED
SPINE IS FLAT AND SQUARE FOR THE MAIN PART, WITH TAPERED ENDING'S.   LIKE THE  PREVIOUS COVER
IN DECEMBER, 1964, "Beatles For Sale," THE 'Mono' &'Stereo' LETTERING ON THE FRONT TOP RIGHT CORNER
WAS ALSO OUTLINED AND NOT IN BLOCK LETTERING.  SO WERE THE 1970's & BEYOND, SILVER & BLACK LABEL
COVERS, THIS IN NOT THE CONSTANTLY MISQUOTED IDENTIFYING FEATURE, JUST BEING THOROUGH AGAIN.


THE BACK HAS TWO HORIZONTAL AND ONE VERTICAL FLIPBACK EDGE, WHERE THE 'Garrod & Lofthouse' CREDIT
IS PRINTED.  "Patents Pending" IS ALSO PRINTED ON THE BOTTOM FLIPBACK EDGE AND VERIFIES THE COVER
WAS MADE BEFORE THE AUGUST, 1965 RELEASE DATE.   SO DOES AN ENCODED DATE PRINTED ON THE BOTTOM
HORIZONTAL FLIPBACK EDGE, '6509' =  SEPTEMBER, 1965.
  A September date was intended for the 'Stereo' covers only, because they were released a few weeks later, but a mistake
  led to all the UK mono first covers having the later date printed.  As far as I know, nobody else has noticed or commented
about this apparent contradiction.  Having met a former 1960's 'Garrod & Lofthouse' employee, I discussed that incorrect
  date on the mono only cover and he was also able to answer another question about "Help!", why was there not an 'EJDay'
  cover for the first time since 1963?   The same reason affected the mistaken '6509' on first issue mono covers, 'EJDay' as
  a company were in the process of being taken over by 'Garrod & Lofthouse', manufacturing had been suspended during the
  process that coincided with the pre-release of "Help!"  Trading at record fairs led to many meetings with people who were
  employed in music business connected  jobs, without that, vital first hand knowledge would have been lost.  "Help!" sold so
many copies in the first week of release, it entered several UK music press singles charts at No.19!  I have a 'Record Mirror'
showing the single "Help" at No.1 in the same singles charts, with the album residing at No.19, meanwhile the front page has
an EMI promo advert for the album!   Advance orders alone accounted for that, which should illustrate how many LP covers,
labels & inner sleeves 'Garrod & Lofthouse' had to print and assemble without any assistance from 'EJDay,' their factories
  were running on day and night shifts, so that former employee remembered the summer of 1965 very well!  Being so busy
it was an understandable and minor mistake at the time, nobody would have given the encoded date a second glance in 1965
  and the same is true today, but like most misprinted factual items on labels and covers, they contain historic interest and also
hold clues to events surrounding first issues.
 
This is one superb condition very first issue "Help" cover, a record impression of course, but the front is still a dazzling pure
white, completely unyellowed, there is literally no ageing.  Any colour on the front is very small in scale compared to the vast
expanse of the white background, it was intended to create the snow from the film and this cover is indeed, still 'snow white.'
Well, to be accurate, ivory white, because like the "White Album," ten years later the white tone was lightened to a pure white.
The red "Help!" title lettering and the navy snow capes etc. worn by the four Beatles, are also unfaded and as equally vividly
bright.   The heavyweight record impression is exceptionally mild except in the usual position, the bottom right of the record's
internal position, I can and do locate outstanding records and covers, but I cannot prevent the effect of gravity! The resting
  position always affects the right side because the solid double folded spine is by far stronger than the opening edges and the
stress of the heavyweight falls on the position.  I am not making excuses, just repeating the same I always state for covers from
  every decade..... but for the mid-1960's it is absurd to expect 51 years of standing not to have that with a few accompanying
  ripples!  Beyond that described position, related to holding the record for all those years, a few naturally formed, tiny laminate
  edge lines, mostly next to the ridged spine's meeting point with the far edge. The spine's title and artist are printed in black
and totally unworn looking superb against an unaged ivory white spine, only the extreme tips of the pointed ending's or left side
side corners have the unavoidable brushing and light rubbing.   I am being ridiculously critical of a hardly used and perfectly
stored cover that has been untouched since a few plays in August,1965, in theory a first issue Mono "Help!" cover should be vary
shades of brown with extensive wear if not damage.   The laminate itself, is as deeply glossy as in 1965, looking like brand new,
  a really stunning looking front cover.  The right side corners are unworn and top is perfect, the bottom has  fractional standing
standing pressure The bottom standing edge has the usual light pressure and ripples, the top edge and opening sides are unworn
and apart from any other tiny trivialities associated with originating back in 1965, this cover is in  remarkable condition.

To put this into perspective, please see my pictures of various angles and views, and compare this to the average condition of
"Help!"covers from decades later, currently available on ebay, let alone the 1965 covers!
 
The matt, unsealed back panel is exceptionally clean, still virtually a near original white colour with very sharp images of the
Beatles' individual portraits, with no scuffing to the text either.  The flipback edges are also in undamaged condition,  only the
usual laminate lines that once again relate to the heavyweight record's internal position, obviously the bottom flipback age is
the standing edge and a few ruffles belong there. Any minor ageing on the main panel is as minimal as it possibly gets.

FOR  A 1965 MONO COVER THIS IS TRULY BEAUTIFUL AND OUTSTANDING, HARDLY USED, BUT I  WILL APPLY AN OVER
HARSH GRADING OF EXCELLENT+++ / NEAR MINT CONDITION....BUT EMPHASISE 'NEAR MINT' IS BY FAR MORE THE
REALISTIC ACTUAL CONDITION.


THE LABELS ARE IMMACULATE WITH AMAZINGLY LOW SPINDLE ALIGNMENT TRACES, SHOWING ONLY THREE PLAYS ON
  ONE SIDE AND JUST TWO ON THE REVERSE SIDE.  A BEAUTIFUL COVER LIKE THIS COULD ONLY STILL BE THE 1965
ORIGINAL WHITE, IF THE RECORD HAD SUCH LOW PLAYS, NATURALLY ENOUGH,  AN EQUALLY  BEAUTIFUL RECORD
WITH THE DEEPLY GLOSSY SHEEN OF MINT VINYL, THE SOUND IS ABSOLUTELY PERFECT ON EVERY SINGLE TRACK.  
INCLUDING "Yesterday" NOT HAVING ANY OF THE CUSTOMARY IRRITATING SURFACE SOUND, CRACKLES OR CLICKS.
 
This does drive me crazy for the sheer quality of the records I buy and sell, I always check for traces of handling, before they
  were even bought and brand new, at the pressing plant and original record shops.  For barely played vinyl, handling enters into
the same scenario, I could not find any handling traces, but know it had to be handled but the care taken was beyond belief from
all concerned, that includes myself today!
THE RECORD IS IN  MINT- CONDITION. SIDE 1
"Help!"
"The Night Before"
"You've Got To Hide Your Love Away"
"I Need You" (George Harrison)
"Another Girl"
"You're Going To Lose That Girl"
  "Ticket to Ride"

SIDE 2
"Act Naturally" (Johnny Russell / Voni Morrison)
"It's Only Love"
"You Like Me Too Much" (George Harrison)
"Tell Me What You See"
"I've Just Seen A Face"
"Yesterday"
"Dizzy Miss Lizzy" (Larry Williams)


JOHN LENNON:  
Lead, harmony & backing vocals, rhythm electric and acoustic guitars, electric piano, Hammond organ, harmonica & percussion.
   
PAUL McCARTNEY:
  Lead, harmony and backing vocals, bass, acoustic guitars, electric and acoustic piano.
 
GEORGE HARRISON:
Lead vocals on "I Need You" & "You Like Me Too Much",  backing vocals, lead, rhythm electric & acoustic guitars & percussion.

RINGO STARR:
  Lead vocals on "Act Naturally", backing vocals, drums & percussion.

George Martin - piano, record production &  co-string quartet arrangement on "Yesterday" with Paul McCartney.
  John Scott – flutes on "You've Got To Hide Your Love Away"
 

All Songs Written By John Lennon & Paul McCartney, Except Where Credited.
  Recorded In Several Sessions At Abbey Road Studio: 15th - 19th February, 13th April, 10th May, 14th - 17th June 1965.
 
The Beatles astonishing musical progress through the 1960's decade, sprinkled magic into the grooves of every record made, so
you can pick up any of them and discover a fascinating point to stop and hear where they had progressed to.  Even up to this 1965
  period, when they met EMI schedules to release two new albums in the same year, that progress was audible on the second 1963 LP,
the music created at any stage can be enjoyed on it's own merits.  If viewed in the context of the whole output, there is always a
connecting thread between the raw r&b 1962 "Love Me Do" and the heart of 1967 psychedelia,"A Day In The Life."  A penultimate
  finalé to "Sgt. Pepper" may have had an overpowering staggering production, but that track began with just John Lennon simply
playing an acoustic guitar and singing the melody very softly.  That was relevant to only two years previously in 1965, the year
  became such a major turning point,"Help!" represented a huge step towards striving for new sounds with an even fuller emphasis
placed on melody combing with sound textures.  The Beatles earliest influence was from the music coming across to Liverpool from
the USA, rock & roll, r&b, early Motown, soul and blues, now during the mid-1960's the arrival of Bob Dylan here had a profound
effect on them all, lyrics & acoustic folk music was a really powerful force.  For songwriters with an emerging genius, Bob Dylan
was a revelation, now the 1960's decade had both direction and momentum.  John, Paul and George were composing songs with
an acoustic backing, begun on their two 1964 albums.  Later in the winter of '65 the next stage on their magical journey produced
"Rubber Soul," then it  was onto the albums that changed not only the course of popular music, the Beatles would soon be having a
drastic effect on long established cultures and in turn, change society itself on a global scale. If the Beatles massive influence had
  been confined only to England, it still would have been a remarkable achievement, but to have deeply affected America and Japan
  or that worldwide scale, it was phenomenal.  The second Beatles film needed songs written for the soundtrack, the music on "Help!"
went way beyond being incidental and only to supply the soundtrack for the film. Due to the nature of those many acoustic tracks,
including "Yesterday," the sound quality of an original 1965 album  becomes vital.  It has been many years since I have been able
  to locate a mono first pressing that reached the magnificent sound quality I know so well, I will never compromise over the audio
  standards I insist on.  I'm especially strict about sound grading original EMI pressings from any decade, let alone a first issue
mono or stereo record from the era they were written, recorded and released.   All the EMI Abbey Road recorded & mixed, pressed
60's UK  Beatles records, in my opinion have the most perfect mastering of all time.  Did we really need the whole catalogue to be
're-adressed' in 2009?  No, not when records as stunning as this still exist!  Those who grade Beatles records by looking at them
are making a big mistake, that will not tell you condition's of the needles used to play 60's and 70's records with, one play with
a blunt stub of a mono needle caused irrepairable and horrific damage to the music signals.  Unless unplayed or sealed, grading
  is 100% dependent on sound reproduction, you need ears not eyes to inform buyers about the condition of records for any decade's
 vinyl, there is a mistaken belief mono records came with excessive noise.... No, they most certainly did not!
 
As illustrated in my headings, the sales of UK Beatles albums were in such colossal numbers, but as they are now 46 - 53 years of
age, it is becoming increasingly difficult to find unworn original vinyl, visually I prefer unmarked records but that is only the
initial stage. This just bought mono "Help!" has 'The Sound,' perfectly representing the amazing 1965 George Martin mono mix, in
stunning sound quality. I have regularly insisted in Beatles descriptions, there's no need to play original UK records and suffer
appalling, crackly, distorted sound.  That was not the how they sounded when I bought and heard them in the 60's, the pressings
  were immaculate, unless a Beatles record has sound that blows you away, you are hearing a worn out, worthless item.  I never
  attempt to disguise a total bias towards UK pressings, not just because I grew up with them and they were all mono only, I have
heard just about every pressing made, including the bass light, non 60's sounding Half Speed Master's.  In my humble opinion, to
hear the true sound of the staggering music recorded in Studio 2, Abbey Road, you need look no further than 60's records made
in EMI's pressing plant.  The Beatles demanded the highest possible quality for their records and covers, fortunately they had a
  record producer and sound engineers with the same audio perfectionist ideals.  They had no control at all over any of the many
overseas pressing's, their covers or even the LP track configurations, UK records were the only true Beatles and George Martin
approved finished articles. When they toured, especially in America, you can hear in the song announcement's, the total confusion
about the LP's titles and the track listing, yet they were current albums in the country they were performing in.  In fact, "Help!"
was issued in the USA with a different cover & tracks, using orchestrated film soundtrack music in place of some of the album's
   greatest songs.  The UK "Help" front cover has an ivory white background, I only ever want to see it as close as possible to the
dazzling white of an original 1965.   Most originals are filthy dirty, stained & battered, I cannot hold back time but this cover is
in really exceptional condition, reminding me to say that like the "White Album" genuine 1968 printed covers, the genuine 1965
"Help!" covers were more of a creamy or off-white colour.  Without wishing to sound like a paint brochure, there no such thing as
one 'white colour', the later the pressings, the 'whiter' the "White Album" & "Help" became, by the 1970's they were actual white
and remained like that indefinitely.  Time to for some music!


Three plays for a 1965 record is not even played in yet, just light static before ultra clean sound explodes with an impact I have
never taken for granted.  Side 1 has problem free run-in grooves, acompletely unmarked, Mint- Beatles first pressing, without any
crackles during the intro of "Help", right at the beginning of the LP is very rare. Light natural static that was there in 1965!
An immaculate looking and sounding record with that low number of plays, grading it as highly as Mint- simply has to involve the
sound.  Mint- had to include playing precisely like a Mint record, which is a subject I am professionally qualified for.  I have been
accurately and genuinely sound grading records for so long now, it's as natural as breathing, simply because my personal ctiteria
is I want to be blown away by the sound I am assessing, this is such a record!  Enough said, the intro to "Help!" explodes from
the speakers with all the staggering colossal power of the first generation mastered George Martin mono mix. The audio clarity is
just stunning, with ultra sharp definition on every part of this track, exactly how George Martin's mix was intended to create a
massive impact, the song title sung as an intro. "Help!" is very engaging, forceful and a dramatic intro was ideal for the film's
opening credits section with the darts hitting the 'screen,' the impact in cinemas was enormous. I probably told the story before
but with a perfect sounding mono "Help!" to offer, that does allow for memories of the film, album and single, how many ebay
sellers saw the "Help!" film in a British cinema in 1965?  I remember how my group of friends hid in the toilet after seeing the
  afternoon screening, we waited trying not to laugh until it was time to sneak out to watch the film for the second time, when the
next screening began.  In 1965 "Surround Sound" in 'Dolby Digital Stereo' was a long way off, but a mono soundtrack was mighty
effective!  "Help!" was not an ordinary third person subject of a conventional mid-1960's song, Lennon wrote the song and lyrics
in the  middle of the Beatles unbelievable success, amid screaming crowds, constant camera's flashing and those endless press
interviews.  The lyrics were a genuine plea, John was indeed feeling insecure, down and depressed, he was now writing songs to
express feelings and emotions. Bob Dylan's influence and their new new found friendship was an inspiration to Lennon who was very
keen to explore songwriting as he was feeling it emotionally.  Bob Dylan had another influence that had another drastic effect on
  the Beatles musical direction, while in Americas he turned them on to smoking joints!   A lovely story is how Dylan congratulated
them for getting away with singing, "I get high, I get high, I get high," during their 1963 single "I Want to Hold Your Hand."
The Beatles found the thought of it hilarious and explained to Dylan they were singing,"I can't hide, I can't hide, I can't hide."
  Talking about 1963, "She Loves You" might have only been only under two years ago, but their music was hurtling along at an
  astonishing rate now. John's acoustic rhythm guitar forms the track's basis and the sheer clarity here of his Rickenbeker is just
  stunning, this IS the sound of a mono first pressing!  The vocals are in as mega sharp sound, this mono mix has a different vocal
  to the one found on the original stereo mix, the non vocal take has a slower, more deliberate  pronunciation. I had best cut out
  endless pieces of related track info & memories, I could write that amount for every track but as this is still 'Track 1', I will
  exercise some control.  The first gap on this side finds my stylus gliding through in complete silence,  an ultra clean intro for
  "The Night Before," Paul sings the lead vocals with John playing an electric piano, what a record!  The sheer clarity & cleanses
  of the music is amazing for a 49 year old record, EMI's 1960's pressing's were mastered in absolutely perfect sound, any 1965
  record has to to be unworn to reproduce such immaculate sound.  The definition of the instruments and vocals are heard in that
  extraordinary sound quality, this fantastic audio perfection is the only way to hear a mono "Help." The melody is sublime, it was
  ideal for the film and to also fully enjoy as an essential part of this wonderful album. Ending to a silent gap, then a perfectly
  clear intro to the hauntingly beautiful folk Lennon masterpiece, "You've Got To Hide Your Love Away".  The acoustic guitars have
  fantastic crispness, the 1965 mono mix was simply glorious and heard here at it's most potent with concisely sharp edged sound,
  even the tambourine's bells are ringing out in true to life sound, true analogue sound, not the 2009 version!  A really full bass
  or booming bottom end was a feature in '65 never to be repeated again, John's vocals could not sound any better than this, for
  such an exposed recording to needle sound etc....there isn't any!  My first plays of a newly bought LP are spent checking for any
  of those irritating sound problems with real tension in the air because I will not tolerate substandard sound,especially for such
  a loved acoustic track like "You've Got To Hide Your Love Away".  Now I can completely relax and enjoy stunning sound from the
  music, this track has always been an album favourite, I'm delighted to say the sound quality is sheer perfection!  The gap has a
  crackle free zone so another perfectly clean intro to "I Need You", with that great mixture of George's electric guitar and John's
  rhythm acoustic guitar, they are superbly balanced on one of Abbey Road's finest mono mixes.  A very powerful sound, with the
  percussion and the bass sparklingly clear and bright, my way of saying no distortion on very loud mastering. George's lead vocal
  on one of two compositions, being fully supported by unique and distinctive voices, a sublime harmony between John and Paul,
  over a very effective backing.  I can do no more than very highly praise a magnificently pressed record, once again not a crackle
  or a click in the gap, smoothly into "Another Girl," a wonderful mid-60's Beatles song with a great ' bouncy' sound.  Paul's bass
  is superb, his lead vocal was double tracked with John harmonising on the chorus. George gave this track a cutting edge with his
  great blues guitar fills between the lyrics, the acute sharpness of this audio becomes highly revealing about the musicianship of
  the Beatles, they were gifted as individuals but collectively they created an exclusive sound, instantly recognisable worldwide
  by 1965.  This sound reproduction is just outstanding!   George's final guitar note fades away naturally, this is once again into
  pure silence, allowing a perfectly clean intro for "You're Going To Lose That Girl."  It's repetitive, but I am sound grading this
49 year old record, one of the key tracks from the film has incredible sound quality, George's guitar solo is short but superb.
  Ringo's great drumming included tom-toms, the mono mix projects that with a really strong powerful thrust for the percussion,
  the subtlety he used and needed on tracks like this, highlight how he was just as flexible to handle the more acoustic shift in
  their writing, creating great effects with the percussion.  John's outstanding vocal was well supported by typically delightful
  Beatles harmonies, being thoroughly enjoyed without even a hint of any surface sound and then a smooth as silk gap before the
  George Harrison electric guitar intro to the heavier sounds of "Ticket To Ride."   Very powerful sound for George and John's twin
  guitar parts, as much as the acoustic guitars were changing the Beatles style, when John and George plugged them in, they were
  a formidable duo with the doubled up electric guitars.  Then there's Paul's brilliant bass guitar and now Ringo playing the drums
  more conventionally, the rock tracks on "Help" were ever moving towards another musical style, psychedelia.  Rock or acoustic
  folk music, the same  Lennon & McCartney vocal combination worked magically and gave "Ticket To Ride" a fantastic sound, so
  many inspired songs so far, and this is only the first side.  Reminding me to move along, a mono first pressing and I am making
  the most of it!   I'm the first to relay how many copies were made and sold, but also to accurately state only a handful of them
  still have this incredible, first generation, Abbey Road Studio Master Tape sound quality.


  Side 2 keeps up the  highest vinyl standards with near silent run-in grooves, 'near' allows for natural low level static, for a
1965 record that should never be considered something not present when first pressed, I include everything.   I insist on saying
  'near silent', no 51 year old record ever pressed, could possibly start any smoother than this.  Permitting another ultra clear
  intro for Ringo's lead vocal track "Act Naturally," after the 1963 "Boys" they had become a tradition on every album ever since,
well, Ringo was singing during the film but "Let It Be" became the only Beatles LP without him singing lead vocals on one track.
  "Act Naturally" was much more subtle, an acoustic based folk/country song with Lennon's rhythm acoustic guitar working so well
with George's electric guitar.  I have an interview with John Lennon from 1972, he's discussing how folk/skiffle was an influence
on the young aspiring Beatles, this song is the perfect example of how skiffle had affected the 'sound' that soon became known as
'Merseybeat.'  "Skiffle" may not mean anything today, it was folk/blues/r&b music played on home made instruments, so a packing
case for the percussion and a broom handle with cord for a bass.  I guess a more recent equivilent would be Punk, for not needing
  sophisticated musical tuition to perform it. "Act Naturally" has absolutely perfect audio, ending into complete silence before the
  cleanest of clean intro to the brilliant "It's Only Love", John's lead vocals were single tracked on the verses and double tracked
  for the chorus.  He sings this solo, supplying his own vocal harmonies for the chorus of a lovely gentle song, he composed this
  on an acoustic guitar, bringing that same sound into the recording sessions. The sounds you hear on this track are exactly what
  I meant in my introduction about being one step from "Rubber Soul", George plays an electric guitar but John's acoustic guitar is
  really the dominant sound on the instrumental backing, for such a beautiful melody it simply did not need any further production.
  The mono sound quality is stunning, I have to keep repeating how superbly this record plays, I have the benefit of hearing the
sound pouring out of my speakers!   A mono "Help!" LP with such ultimate sound is a rarity, it certainly is to me because I can't
  stand hearing any of the wonderful tracks with decade's of excessive playing and wear, leaving very annoying degraded sound
  and the music struggling to get through the noise. Although original stereo LP's are rarer, it was always the mono LP's that took
  the heaviest wear in the 1960's, I am as excited about a superb playing mono record as an original stereo album. The next gap
  and the piano intro to George Harrison's "You Like Me Too Much," are again perfectly clear, without the crackles and clicks the
  majority of mono albums have ruining the music.   The whole track plays with awesome sound quality, George wrote this song,
  a lovely melody featuring quite a variety of keybords.  John played an electric piano, with Paul and George Martin playing the
  Steinway piano, to give this a sophisticated backing to George's excellent lead vocal, I will keep going with unneeded sound
reports, sheer perfection, with all that was mentioned in just superb definition.  Linking as smooth as silk into maximum clarity
  for the intro to "Tell Me What You See", a fantastic intro of percussion & guitars, the track is usually dulled with the very edge
  missing on worn out damaged vinyl, this is just sensational audio!   The brilliant percussion is amazingly clear and harmonised
   vocals have outstandingly sharp sound, Paul plays an electric piano and the notes sound wonderful, when John Lennon hums the
  last bars, the sound reproduction is staggering.  Mono sound that allows such individual parts of a song to be heard is pin point
  definition, make Beatles records such a pleasure to hear. This was so close to the sound  that made the next LP "Rubber Soul"
  such a major album.  Now the improbability of complete silence in the next gap before the two acoustic guitars only, introducing
  the sublime melody of  "I've Just Seen A Face."  One of Paul's finest songs from the mid-1960's era, the chords are unusual and
  yet another song they performed entirely with acoustic guitars, the flowing, fast rhythm those acoustic guitars create, almost
  make Ringo's drums unnecessary, not forgetting Paul's magnificent bass guitar!  Ending into as close to a silence gap as vinyl is
  capable of, now this is extremely rare, perfectly clean and clear sound during that singular acoustic guitar intro to "Yesterday."
   The toughest Beatles track of all time to find without crackles and clicks, let alone excessive background noise, but this record
  has it in staggering sound quality!  The clarity here is purely Master Tape for both the sharpness of the music and total lack of
  any irritations.  Yes, of course the merest suggestion of natural static has to be part of such an exposed track, but no way will
  I say this has "an absolute minimum of surface sound",  I am fed up with 'defending' the natural sound of a record playing, why
  should I have to, when this is as perfect as it gets?  A comment I do not make lightly, some fanatics may wish to take me to task
  but I refuse to criticise 'perfection' for such an awesome playing "Yesterday".  This is after all 49 year old vinyl handling the
  most most delicate track you could think of, I'm listening to the combination of the music's sound with the record playing on my
  turntable, to my ears, incredible sound!   If anyone worries about surface sound on here, I may as well give up, it simply does
  not get any better than this magnificent playing track.  I will never use the actual age of a Parlophone LP as an excuse for poor
  sound, on the contrary, I can only admire how superbly this was pressed in 1965.  I call this fantastic audio, with the very tone
  of Paul's vocal in the natural warmth of a human voice, not the cold, compressed sound of a CD.  Showing needed restraint on a
  visual grading of a beautiful cover is one thing, but not when it  it comes to a record's sound!   My love of the Beatles music has
  meant I have rejected far more UK original records than I actually sell, only because this is the amazing audio standard possible
  for "Help!"  The album does not end with a slow melody but goes out with all guns blazing, a full tilt, adrenaline charged energy
  rock song, subtlety is thrown out the window, a no holds barred, rock & roll performance!  The acoustic guitars and the strings
  are forgotten for about three minutes as the Beatles just rip into the pulsating "Dizzy Miss Lizzy" with a frenzy. Not forgetting
  to say the final gap is totally silent, then the stinging guitar riff from George errupts in massive volume and fantastic clarity.
  A "whoo" from John and the leather throated Lennon vocal has the very sound from The Cavern and also from their live concerts
   in 1965.   The mono sound is just stunning and the superb definition and detail on the instruments and an awesome vocal adds a
   a 'liveness' to the performance.  A truly electrifying track and in the grand tradition started on the 1963 "Please Please Me" LP
    with "Twist And Shout", the Beatles rock the album out with a killer version of "Dizzy Miss Lizzy."   Demonstrating the Beatles
   tightness as a rhythm section and because they were still performing this on stage, no rehearsals were required to play this in
    Abbey Road.  George's lead guitar is immense and Paul's bass really takes off, with Ringo pounding those drums really hard and
   with John pumping out the rhythm, throw in a rock and roll piano and you have a fantastic Beatles performance!

An absolutely perfect sounding, UK Mono first pressing of "Help!" and with an equally stunning unaged cover, one I am very proud
  to offer and highly recommend.   As an objectively critical professional record seller....but always a smitten Beatles collector
  since January, 1963.
{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!