Sold Date: September 19, 2016
Start Date: September 12, 2016
Final Price: £41.00 (GBP)
Bid Count: 3
Seller Feedback: 4261
Buyer Feedback: 2

Can't buy me love, oh,
Can't buy me love, oh.

I'll buy you a diamond ring my friend
If it makes you feel all right.
I'll get you anything my friend,
If it makes you feel all right.
I don't care too much for money,
Money can't buy me love.

I'll give you all I've got to give,
If you say you love me too.
I may not have a lot to give,
What I've got I'll give to you.
I don't care too much for money,
Money can't buy me love.

Can't buy me love, oh,
Everybody tells me so,
Can't buy me love, oh,
No, no, no...no.

Say you don't need no diamond ring,
And I'll be satisfied.
Tell me that you want the kind of things,
That money just can't buy.
I don't care too much for money,
Money can't buy me love.
 
Can't buy me love, oh,
Everybody tells me so,
Can't buy me love, oh,
No, no, no... no.

Say you don't need no diamond ring,
And I'll be satisfied.
Tell me that you want the kind of things,
That money just can't buy,
I don't care too much for money,
Money can't buy me love.

Can't buy me love, oh,
Can't buy me love, oh, oh.
THE BEATLES: "Can't Buy Me Love" / "You Can't Do That" 45 RPM, IN MONO, FIRST UK PRESSING, 28th MARCH,1964.

PARLOPHONE: R 5114.
 
MAITRIX: 7XCE 17657  - 1N / 7XCE 17658  - 1N

MAITRIX: GAR 1  (0*)  ROT 2  

*'0' was mistakeny stamped after '1 and so there was no need to cross it out, why I always take the first pressed digit as the
one intended, or it would have been corrected.

THE TEXTURED LABELS HAVE;
"Sold In UK" TEXT
"Recording First Published 1964"
  "KT" EMBOSSED ON SIDE 2
  "PARLOPHONE CO. LTD." ON THE RIMS.


THE FONT ON THE RIMS IS AS TYPED ABOVE, ALL FIRST ISSUES HAD 'PARLOPHONE' IN CAPITAL LETTERS.
THE RUN-OUT GROOVES STILL HAVE AN EARLIER 'KT' PLACEMENT, STAMPED IN THE 9 O'CLOCK POSITION AND
NOT AT 12 O'CLOCK.


ORIGINAL 1964 ONLY PARLOPHONE SLEEVE, NO SPLITS OR TEARS, ONLY SOME LIGHT AGEING AND THE HEAVY
RECORD'S IMPRESSION AND A FEW RELATED GENTLE CREASES.   IN OTHER WORDS, NOT COUNTERFEIT AND
THE VERY SLEEVE THIS RECORD WAS FIRST PLACED INSIDE AT EMI'S PRESSING PLANT 52 YEARS AGO.
Many believe this Parlophone sleeve was only made and used in 1963, a myth started by an incorrectly guide given in pictures and
text, in "Record Collector's Price Guide" book.   As I have proved wrong in the past on ebay and now once again, 60's record shops
hand wrote the title or catalogue number, if not both, on the front top right corner / back top left corner.  This has '5114' on
the front white rectangle provided for that purpose, the back top left corner has "CANT," the first word of the A-side title.
The stamping codes and maitrix firmly places this as pressed before the late March, 1964 release date and so does the presence
of the one & three dots underneath '1N' endings on either side. The dots were deliberately set on the same machine that stamped
  the letters & digits of the maitrix.  The Parlopone sleeve itself also has positive proof of being attached to this record since
March,1964, the original 60's record also indexed their records, by hand with blue ink.  Guess work will never produce accuracy
  and the errors in the so called 'Types' is really flawed, how can following 'types' be correct when 1964 was wrong?  Especially
  when the shape of the 1964 sleeves were still being used half way into the year, they were major enough to still in stock, with
some copies of the later 1964 "A Hard Day's Night" single.  A very important Parlophone sleeve, the design included a positive
  dipping almost oval top at the front, the back top has the opposite shape but raised at the central position, instead of dipping
  downwards.  Important, because this became the transition between  the 1962 & 1963 designs with a straight top opening and
  evolving into the wavy top design.  Another glaring second omission was a 'missing' Parlophone sleeve in "Record Collector's -
  - Price Guide" is even more important because it was the last Beatles single issued in a Parlophone sleeve, the "Lady Madonna"
  single's unique design differed from the previous 1967 designsleeves.
THE SLEEVE IS IN EXCELLENT+++ CONDITION.


THE TEXTURED LABELS ONLY HAVE SPINDLE ALIGNMENTS TRACES OF TWO / THREE PLAYS PER INDIVIDUAL SIDE
   REFLECTED IN  BEING A REALLY BEAUTIFUL RECORD WITHOUT ANY SCRATCHES ON EITHER SIDE, THE VINYL IS
  DEEPLY GLOSSY, EVEN ANY HANDLING IS NEAR INVISIBLE / INVISIBLE, IN MINT- CONDITION.

Following their previously released single, "I Want To Hold Your Hand," the Beatles had been phenomenally successful in 1963,
  they could have carried on in the same fashion for their fifth single in the Spring of 1964.  They were not accepting recording
in the same style, the 60's musical revolution had begun!  They broke the mold and recorded with acoustic guitars for the first
  time on the A-side of a single, they were now moving towards more folk /blues and a melodic approach to writing and recording.
   That was not exactly new for them, they had been grounded in Liverpool's traditional folk songs and records sailors brought over
  from the USA, they  first learnt to play skiffle and early rock and roll on acoustic guitars.  For example, near the end in 1969,
  during the "Get Back" or "Let It Be" month long filming sessions, they returned to performing several of the earliest Liverpool
  songs on acoustic guitars,"Maggie Mae" was one that made it onto the album, if not seen performed during the film.  An unlimited
  ability to compose fantastic melodies, using the combination of both acoustic and electric guitars, is there hear in full on the
  "A Hard Day's Night" album, it was during those sessions that "Can't Buy Me Love" was recorded.   It could be argued the Beatles
  popularity had reached such a peak, anything they wrote, recorded and released as a single during 1964, the year of Beatlemania,
  would have become a massive success.  I disagree entirely, to sell that many records was way beyond sales just being generated by
  young screaming girl fans, the music had to appeal to a much broader, older age group in the 1960's.  Competition in the singles
  charts was intensive and unlike in later decades, the 45 format ruled supreme, the Beatles themselves were stricken lovers of the
  single format, including  in their younger teenage years when 78 RPM's were the order of the day.   The great records in the late
  1950's were a real inspiration, they set out from day one to make the greatest records of all time, to get beyond  Elvis Presley
  was their burning desire, they embraced making albums with the same devotion, but their next single always had to be something
  really special. It was not until 1969 when Led Zeppelin began an unheard of trend, not releasing any singles and concentrating on
  albums only, that applied to the UK where control over what was released stayed with them. In a way the early Beatles LP's were a
  collection of unrelated tracks, that were in fact more like singles, play any of their EP's with album tracks to confirm how those
  tracks were custom made for a 45 RPM mix.  Taken as twelve to fourteen collective tracks, that was the sole reason the 'whole'
  created the most fantastic LP's ever made, even when still at this embryonic stage, they were not ready for a "Sgt. Pepper" yet.
  You could take any track from albums recorded in their pre-psychedelic period and they all would make brilliant singles, that did
  happen often enough outside the UK to show the extent of their talent.   For example, any other artist would have been delighted
  to release "Eight Days A Week" or "Yesterday" but the Beatles instinct for what constituted a great single, was one of their main
  driving forces to keep the music in a constant state of surpassing all that had gone before. Not forgetting how in this era, many
  Lennon/McCartney compositions were being given to other artists who had No.1 hits with songs  the Beatles considered surplus to
  requirements.  Naturally enough "Can't Buy Me Love" shot straight to Number 1 and the average conditions cannot be considered
  rare but if still genuinely in top condition, that alone certainly makes them rare, this amazing Mint record is!  An achievement
  the Beatles remain uncredited for, concerns the highly competitive music business, record companies were looking on in envy at
  Parlophone's unbelievable sales, but the Beatles revitalised all music and record production in general, for the first time British
  pressing plants were working together.... to presss the Beatles latest singles and LP's.  Contract pressings were the normal now,
but this record is positively from EMI's legendary pressing plant in Middlesex.
 
The labels have the roughly textured paper of 1964 and in remarkably totally unblemished condition, with untarnished, bright
  and unscuffed silver printing.  This year the UK release of "Can't Buy Me Love" reached the 52nd  Anniversary and I still find it
amazing to be moving past the second half of a century since the release.  Taking the age into account it makes this record's
  survival in such incredible condition, even more rare, please see close up pictures for that.  1964 records involved 1950's/early
  60's mono stylus and they were rarely changed, the likelihood of damage to the music signals is extremely high, knowing that I am
always amazed at the few that avoided the sort of wear to vinyl that caused horrific damage to once perfect sound quality.   I love
to hear them but I instinctively know when to resist that and offer them exactly as I am describing here, there is no need to check
any of the UK major's first pressings from the 60's when in this amazing condition. Although I do not need to sound grade records
I know this will have absolutely perfect Master Tape sound, it will only be played once for a brief description.
 

  Just as expected near silent run-in grooves with only very faint static, with a Mint grading it should and does mean the intro to
"Can't Buy Me Love" does not suffer from crackles or clicks.  Paul comes straight in singing the chorus, it's always rare to find
these first pressings clear of any kind of loud and annoying surface sound.  A single that for once was was also available on a
current album, "A Hard Day's Night," this is always a great track to hear, especially in such superb sound quality.  Their vocal
  harmonies are razor sharp, records like this were of course played on 1960's mono systems and so any comments about minor
surface sound/static in the run-out grooves were only relevant to me reviewing this on a modern stereo system.  The bass just
booms out at an an extraordinary level with everything else having the same sonic impact, all in perfect audio clarity, so I will
leave it here.


The B-side's run-in grooves are exceptional and near silent with only very minor static, then "You Can't Do That" blasts out of
my speakers with colossal volume!  This was also on the"A Hard Day's Night"LP and would have made a fantastic A-side, spoilt
for choice with so many great songs, the Beatles released this as the B-side.  In 1964  I wore my original single's B-side down
to nothing, it was played into total submission, this is the Beatles as a rock band playing pure r&b. A superb backing track with
their electric guitars used to such great effect, featuring John Lennon's driving rhythm guitar taking this to it's very limits and
Ringo's great drumming sounds just as sharp edged.  What a Lennon lead vocal, this has the very sound of "The Cavern" in their
   pre-fame days.  As well as enjoying this much loved track, I am paying attention to the quality of the sound, just stunning mono!
An outstanding bass sound, which compliments Ringo's very solid  drumming, the cowbell he used on the the off-beat has a real to
life tone, George Harrison was in sparkling form on the lead guitar, even with such massive volume this is still crystal clear.
  {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.
 

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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.
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QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS
TREATED EXACTLY THE SAME.

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ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES
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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;

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AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT
DUTIES, WE WILL NOT LIE.


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