Sold Date: October 8, 2016
Start Date: October 1, 2016
Final Price: £720.00 (GBP)
Bid Count: 18
Seller Feedback: 4278
Buyer Feedback: 56

Don't take the wrong direction, passing through,
Instead of deep reflection, of what's true,
For it's a combination, of judgments made by you,
That cause a deep dejection all the way through.
 
No relaxation, no conversation, no variation,
In a very dark blue, blue condition.

Early rising every day.
You must be enterprising in your way,
  For you will hear no laughter, nor see the sun.
Life would be one disaster, all the way through.
 
No relaxation, no conversation, no variation,
  In a very dark blue, blue condition.
 
Don't take the wrong direction, passing through,
  Instead of deep reflection, of what's true,
  For it's a combination of judgments, made by you,
That cause a deep dejection, all the way through.

No relaxation, no conversation, no variation,
  In a very dark blue, blue condition.
  No relaxation, no conversation, no variation,
  In a very dark blue, blue condition.
CREAM: "Disraeli Gears" LP IN STEREO, EARLY 1968 UK PRESSING, ORIGINALLY RELEASED 2nd NOVEMBER,1967.
I can't believe I am grading this 'Unplayed / Mint', but even with the fullest examination of the textured Reaction labels there
  are no spindle alignments on either side.  The record itself also looks like brand new without any scratches, marks, scuffs or
handling traces, an astonishing "Disraeli Gears" that leaves me wondering whether or not to take one of my ultra careful and
  undetectable plays, or offer it unplayed.  This is Cream and one of the greatest albums of all time and revered by this record
seller who first heard it in November,1967 and it still blows me away 49 years later. So, yes, I will be having a great Saturday!
This is the continuation from the November,1967 first pressings pressing, the cover is laminated on the front only, so few stereo
copies were made and bought in late 1967, the majority of original UK stereo pressings originated in 1968.  By 'original,' I am
referring to the records pressed and covers printed, while "Disraeli Gears" was residing continuously in the British charts for an
unbroken consecutive 42 weeks, from November,1967 - late August,1968.  By then Cream's follow up album, "Wheels Of Fire",
and their back catalogue had moved onto the red & black Polydor label, the 'parent' record company of Reaction. In the past I have
described the pressings as 'early 1968' without concrete proof, based on logic as well as first hand experience of buying records
in this era. The last copy I sold on ebay two years ago was also a Mint record in a Mint- cover, for once the Polydor inner sleeve
provided positive proof, there was a coded date the  inner sleeve was made, January, 1968.  By virtue of having the Mint record
inside, it had to be then one it was first inserted into.  Not all Polydor inner sleeves had the actual date encoded on the front bottom
rim but no date this time.  This Polydor inner sleeve certainly looks like it originated in the late 60's by the ageing or patina!
This record is from exactly the same pressing batch and the indexing in the run-out grooves ranks among the most unusual and
unique to the early 1968 "Disraeli Gears" Stereo pressings.  Please see my compiled pictures as well as the text version I will type
after the catalogue number immediately below.   The cover's ultra slim spine was another feature and they did not get any thinner
than this cover, like several other examples from this same early 1968 Stereo pressing batch, so slim, the white background only
just accommodates the black printing.
 

BLUE & SILVER REACTION LABEL: 594 003.

MAITRIX:  594 003   A - 2   /  594 003  B // 3   ▽  420     1   2
Life would be simple if every maitrix was stamped as I just typed that, but records in the 1960's did not conform to following
neat and convenient patterns, every single record was unique and this fantastic condition "Disraeli Gears" LP most certainly is.
Side 1 is just packed with details in the run-out grooves, I have seen this before, there are separate close up pictures of the
actual maitrix, including a crossed out error which I will detail in text.  As usual, after both Side's maitrix there are several
digits that are too spread around the records's circumference for my camera, most are '1' but I do not believe they have real
significance because the main maitrix contains the only indexing required.  In the earlier part of the 60's Polydor singles and
often LP's had extra digits before the maitrix and even embossed on the labels, I'm sure the widely spread digits are from that
  era.   The original crossed out maitrix stamping was a very strange one, the catalogue number & maitrix prefix was unrelated to
"Disraeli Gears", reading from the left hand side and as pictured above;

SIDE 1:Initially '1 & 8' was stamped in oversized digits just about near enough to include in the picture, next the record was
  turned upside down and in Polydor's normal size stamped digits;

'184105  A' was hand crossed out and on the right of that, '594 003  A - 2' was hand scribed.

Still on Side 1 in the run-out grooves;  '5    (P) 1967      K7        V'

First a stamped 1967 publishing date, a unique event on a Polydor related pressing, I have no idea what '5' , 'K7'  or ' V'
represent, apart from previously sold "Disraeli Gears," I have never seen any of them on a Polydor record in the 1960's or any
  other decade, there had to be other early 1968 pressings of "Disraeli Gears" with them.  I can only accurately document every
record I sell, in spite of having extensive experience with every possible Reaction 1960's pressing of "Disraeli Gears", there will
always be something out there to demonstrate once again, how individualistic UK pressings always were and how much care went
  indexing everyone.   A few months ago I sold the very first RSO label pressing of  "Disraeli Gears", still with the same above items
  but the additions of the RSO new catalogue and maitrix, establishing the connection running through all Reaction label records
  right up to the last one made to the first  RSO record.
   
SIDE 2 WAS CONVENTIONAL TO ALL POLYDOR MACHINE STAMPING WITH THEIR TWO DIVIDING SYMBOLS;

594 003  B // 3   ▽  420     1    2


ORIGINAL EARLY 1968 REACTION/POLYDOR INNER SLEEVE, NO NEED TO REPEAT DETAILS ABOUT THE UNDATED
BOTTOM FRONT COVER.  ALL INNER SLEEVES REACT DIFFERENTLY TO STANDING IN STORAGE FOE AS LONG AS
48 YEARS.  THIS ONCE ONLY USED SLEEVE IS ABOUT NATURAL EVENTS, UNSPLIT WITH LIGHT NATURAL AGEING,
A RECORD IMPRESSION WITH A FEW RELATED LIGHT CREASES, IN EXCELLENT +++ / NEAR MINT CONDITION.
 

REACTION LAMINATED 'EJDay' PRINTED FRONT COVER WITH "Stereo" AND THE CATALOGUE NUMBER PRINTED ON
THE BACK'S TOP RIGHT CORNER IN A 'STEREO' INFORMATION BOX.
A Reaction label unplayed 1960's "Disraeli Gears," is reason enough not to overfuss about typical standing in storage traits over
nearly half a century, especially when the front and back are simply staggering for the age, but I never neglect my cover duties.
Absolutely stunning condition, without actual wear to detail, standing pressure on the bottom right corner's laminate is all to
mention.  Definitely not a crease because the corresponding position on the back bottom left corner is 100% flat and not creased.
The thin spine has very moderate ageing and just a n exceptionally gentle record impression and a few related tiny laminate
  edge lines that form naturally and unconnected to use or handling. Any microscopic rubbing to the spine's extreme tips is trivial,
  edge lines are always there on covers made in the 2000's, edge lines form around the record inside and the most obvious position
  is always spines, late 1960's ultra thin spines with slightly raised ridges at the meeting points with the front and back edges,
  will always have a few of them.  Unconnected to wear or storage, when the lamination was wrapped over the ridged spines, it was
  difficult to smooth the laminate into the recess, not the misquoted 'laminate lift,' but a factory finish and how they were first
  bought.  This spine only has a tiny area adjacent to the front edge and like edge lines, certainly not to be considered to consider
  for grading as wear, nobody is fussier than me about any Cream album cover and 48 years old or not, this cover really is in truly
  outstanding condition.  The dazzling fluorescent colours of the front & back artwork are completely unfaded and so vivdly bright,
  they are nothing less than spectacular, I recommend seeing my pictures for how like new this cover actually is.  The laminate is
  undulled and and still as deeply glossy as the record's mirror like top surface.  The matt back does not have a single scuff and
  positively no rubbing at all, let alone the common ring wear, the psychedelic picture collage colours are as unfaded and unaged
  as the laminated front's even more overtly psychedelic artwork.  A very slim spine that easily wore, but not here, this is superb
  with all the jet black lettering unworn and perfect, against a still unaged white background, all under the deluxe thick laminate
protection, just as well with the 60's ultra thin spines.  Such a slim compact, tight fitting cover to the record's circumference
  had to create an impression, but so gentle it rates with the finest "Disraeli Gears" 60's cover I have been privileged to buy
and offer for sale.   A few related tiny laminate edge lines and the merest suggestion of being that old, is too trivial to take
  seriously, I state the same for brand new, just released covers made recently, my pictures confirm such fantastic condition only
possible with a Mint record inside.


There is no ageing, scuffs or scrapes, the record was only played once and has been standing in storage ever since 1968, adding
a minus to the grading incorporates holding the record for all those decades.
  A REALLY STUNNING AND BEAUTIFUL COVER, IN MINT- CONDITION.
   
THE RECORD HAS NEVER BEEN PLAYED, UNPLAYED IS OFF THE SCALE FOR RARITY BUT THIS IS LITERALLY
STILL LIKE BRAND NEW!
 I am 100% convinced due to the heavily textured 'Reaction' labels, well, all of the 1960's labels generally were and these are
exceptionally textured and I am more than enough accustomed to offering unplayed records. The pictures of both side's label show
the thick textured paper perfectly, all you see there is indeed a typical late 60's Polydor label texturing only.   No different
to any Polydor pressed 1968 'Track' record's labels, the most obvious for comparison would be the very first pressings of Jimi
Hendrix's "Electric Ladyland", although that was issued later in November,1968 and this "Disraeli Gear" pressing was from near
the beginning of the year. The vinyl lis unplayed on both sides, the centre holes have substantial shavings from the pressing
process, after a close examination I could slide the centre holes onto my spindle without disturbing that, a very carefully play
will reveal stunning sound quality for the original UK psychedelic 60's, true stereo mix.   I can comfortably slide the record
carefully onto my stylus without disturbing that, with long term careful alignment, there is no reason why that cannot stay in
place for the next near 50 years and way beyond even that.
THERE ARE NO MARKS &  SCUFFS OR EVEN ANY HANDLING TRACES I COULD FIND, A DEEPLY GLOSSY TOP SURFACE
GIVE THE APPEARANCE OF A BRAND NEW RECORD, EVEN IF IT WAS PRESSED IN THE NEW YEAR OF 1968.
THE RECORD IS IN MINT CONDITION.
SIDE 1
"Strange Brew" (Eric Clapton, Felix Pappalardi & Gail Collins Pappalardi)
"Sunshine Of Your Love" (Eric Clapton, Jack Bruce & Pete Brown)
"World Of Pain" (Felix Pappalardi & Gail Collins Pappalardi)
"Dance The Night Away" (Jack Bruce & Pete Brown)
"Blue Condition" (Ginger Baker)
 
SIDE 2
"Tales Of Brave Ulysses" (Eric Clapton & Martin Sharp)
"SWLABR" (Jack Bruce & Pete Brown)
"We're Going Wrong" (Jack Bruce)
"Outside Woman Blues" (Blind Joe Reynolds, Arr. Eric Clapton)
"Take It Back" (Jack Bruce & Pete Brown)
"Mother's Lament" (Traditional, Arr. Eric Clapton, Jack Bruce & Ginger Baker)

Eric Clapton - guitar & vocals
Jack Bruce - bass, harmonica & vocals  
Ginger Baker - drums, percussion & vocals

Recorded May,1967 At Atlantic Studios, New York.
Originally Released In The UK, 2nd November, 1967.
This is how "Disraeli Gears" should be seen and heard, a superb record and cover, if it was possible I would love to list a Cream
  first pressing album and single every day, shame they never lasted more than two years but what sensational years they were.
There is no finer example than "Disraeli Gears" of late 60's psychedelia, musicianship beyond compare with imaginations let loose
on the material, senses affecting sounds were accompanied by absolutely stunning artwork.  Both sides of the cover have every
possible part of space available on both 12" panels, covered with the most fantastic, intricate psychedelic artwork, courtesy of
Martin Sharp.  This is a truly stunning condition cover, you really appreciate the front's dazzlingly bright fluorescent colours,
unworn, unfaded and as astounding as the surreal collage on the back panel.  Never before or since, has such fantastic artwork
and colours ever been on the same level of artistic expression, than Cream's extraordinary recordings on only their second album.
  Other artists presented their inspired music with imaginative surreal images on the artwork in 1967, but far too many covers from
  this era had no more than just window dressing though, an artist's ability to create wonderful images did not mean the musicians
  recorded anything particularly innovative, this is where breathtaking music and genuine psychedelic lyrics on "Disraeli Gears"
came into their own.  Jack Bruce and  Pete Brown are often thought of as being the sole writers of the album lyrics,I made sure
all the songwriters were credited with the track titles listed above. All three Cream members contributed songs, the lyrics given
above are my choice as the finest, if I remember correctly it was directly after introducing lyrics to John Lennon's "Imagine" LP
and they were the first lyrics I ever began a description with. "Tales Of Brave Ulysses" was written by Eric Clapton along with
artist Martin Sharp, a product of the time, Cream first lit the touch paper of inspired psychedelic music with staggering talent
and a magical musical chemistry, sparks really flew and ignited!   Collective individualism was first heard on their 1966 debut,
"Fresh Cream," one the 1960's greatest debut albums, blues was always their main love but something very special had started
to happen on their first album, a catalyst really, "Disraeli Gears" fulfilled all the potential opened up by "Fresh Cream," that
was even before Jimi Hendrix arrived in England.  In spite of listing every possible variation of the mono & stereo UK original
albums, words always fail me to place this magnificent album into some sort of perspective, it was so immersed in the era itself,
hearing original vinyl generates the same aura today, as when I first heard it in December,1967.  The other reason I'm struggling
to find some way of expressing this in text, partly because I have just been been blown away by an absolutely awesome sounding
record. Thinking back to my own first bought cover & record, the remorseless and relentless wear that was inflicted was a common
occurrence, it makes this age defying "Disraeli Gears" a very precious item indeed.  As I only sell all Cream's singles and albums
  in Near Mint /Mint, no wonder I am so affected by hearing the staggering sound when totally unworn, the only way to hear their
astonishing music.

  "Disraeli Gears" was released late in 1967, the 2nd November to be precise, this is positively an early 1968 pressing and printed
  cover.  I really need to get this into sensible proportions, only weeks separated the very first pressings from this record, certainly
  not a re-issue though, because "Disraeli Gears" spent 42 weeks consecutively in the UK charts, an unbroken, continuous pressing
sequence for "Disraeli Gears" lasted until the Autumn of 1968.  This is not just a personal opinion, all chart books state exactly
the same, the only correct time to state 're-issue' is when records drop out of charts after the initial release dates, then make
  a later re-entry.  That includes if only seven days have passed, so the accuracy in gathering together chart figures makes them
  the one and only source you can 100% rely on, certain text books & websites can claim all the expertise they like, but every week
  I am constantly having to prove they are wrong. Chart figures are my greatest source for challenging authoritative books, even if
  titles failed to chart I can extract label text /design, maitrix & cover details from contemporary charting records that did have
  precise dates available.  If you look in any chart reference book containing the weeks any record spent in the charts, subsequent
  re-entries are listed as 're-issues.' During the lengthy period of 42 weeks, as always happens, the cover underwent a few small
  changes but nothing to affect the actual artwork or the cover design, only to the catalogue number's position, text lay-out and
  a few minor changes to the Reaction logo's colour tint etc.  So minor, until I undertook a massive examination of all the changes,
  however tiny, for descriptions of both mono and stereo first pressings, nobody else even noticed them before, summing up just
  how minor most were.  With the sheer volume of detailed text that would involve, required here is no point giving such a lengthy
  detailed account here, so this is a briefer version of how the covers had subtle changes made between late 1967 and early 1968.

"Disraeli Gears" was issued in the UK in both mono and true stereo, first pressings were in fully laminated covers but there were
  also definitely covers with just the front laminated made at that same time with the first catalogue number placement and design.
  Mono records in 1967 and 1968 were at their peak with stereo being pressed in tiny numbers for a very small minority, in late '67
  stereo LP's had only the one pressing made for the 2nd November,1967 release date.  This stereo record was pressed very early in
  1968, as I just mentioned only weeks separated them because of how proportionally smaller batches were being made in comparison
  to mono albums.  You regularly see ebay sellers claiming 'rare mono', that is absurd before late 1969!  The vinyl hardly started
  changing in a few weeks, this record is 60's weight and the matt finished paper labels are as identical for texturing and silver
  printing.  The stunning 60's true stereo mix is indistinguishable from November '67 records as well, I can easily date the record
  from the maitrix ending digits rising only 1 digit on Side 1 and two digits on Side 2, looking like this:
 
  1967:  'A - 1  / B - 1'
  1968:  'A - 2 /  B - 3'

   Basically, the 60's decade  of mono domination is why only a comparative handful were made in November,1967, no way could just
nine weeks later be considered a 're-issue,' in 1967, plus other key UK  psychedelic album covers underwent very similar changes.
The 1968 first pressing had the 'Stereo' lettering and the catalogue number now printed on the back top right corner in a white
  box with stereo record playing info, when compared to most near year long charting album's covers, that was relatively minor.
  I detailed this records's unique stamping and crossing out of the bizarre catalogue number unrelated to Reaction or Polydor, the
point I made about every copy being an individual, emphasises how all the 'mothers' were created at the same time, pre-release.
The 1967 mono & stereo covers had that in black lettering on the back's top left hand corner, a brief use of full lamination was
  exclusive to the very first issues only. You only need to look at other 1967 examples to find how common that was to huge sellers
  like "Sgt. Pepper" which had a wide spine on the earliest covers.  A different record company, for one also printed by 'EJ Day' &
  Polydor pressed albums, "Are You Experienced" also had a fully laminated cover, Jimi Hendrix's debut LP is really rare with that.
The printing and inside the gatefold's picture size of his "Electric Ladyland," underwent far more changes than "Disraeli Gears"
  did in exactly the same length of time.  It would be pointless including the other minutest changes I have previously detailed,
  but the sound and staggering 60's true stereo mix was exactly the same, having followed Eric Clapton ever since the Yardbirds
  debut 45, I have been a fanatical Cream fan since 1966. Not only the original vinyl, I have every unofficial scrap of music they
  recorded live and the main point here, Cream's studio recordings from the demo stages and out-takes, onto even different acetate
  versions.  After 48 years of listening to Eric Clapton's records, I do not need reference books or the internet to tell me what I
  am hearing. The record is in beautiful visual and playing condition, positively an early 1968 stereo pressing, all stereo records
  were made in such small quantities then, it was the lateness of the 1967 release alone that prevented it being current to 1967,
  the year of issue.
 
The blue Reaction labels have matt, textured paper, I was amazed to see no spindle alignment traces on either side's label, which
is extremely rare for 1968,  like the vinyl they are in immaculate condition with untarnished gleaming bright silver titles. There
  are no marks of any kind, I am getting fed up saying 'any handling is near invisible' for the carefully selected records I offer,
a really beautiful looking record stunning will have absolutely perfect sound and virtually no surface sound.  Even mentioning
vinyl's natural sound seems out of place for a Mint 1968 major psychedelic masterpiece like this, a look round ebay will soon
reveal how average condition's are in a terrible state today.  I will play this right through noting how superbly it performs on
  every track, detailing some of the fantastic stereo panning effects found on the UK sensory oriented, late 1960' stereo mix.
A Mint record from any decade needs several plays to arrive at it's optimum sound clarity, 60's records in particular, no, not that
  misleading, "Will improve with a professional clean."   Never let any record near a cleaning machine, just play it and let the
  stylus clear a path through the grooves, clean the stylus but never the vinyl!  Chemicals must never go anywhere near vinyl, I
  have original records I bought in the 60's and have never been in a 'cleaning machine', they have fantastic sound and do NOT
  need cleaning.  A damaged record cannot be improved by 'washing' it, the very thought of that is alien, I know many examples of
  once perfect sound records being ruined by cleaning machines and the 'harmless fluids', the long term damage is horrific.
  Just keep your stylus regularly maintained and replaced and your records will last for ever, I have 50+year old records bought
  personally as new and they are still as stunning to listen to as back in the 60's.
 

  Side 1 only has faint natural static in the initial run-in grooves, then silence before the first track gives a perfectly clean
  intro for the sensational opening track.  "Strange Brew" sets a surreal atmosphere, kicking in with a massive impact and power
  from this 'trio of trio's,' Eric Clapton's guitar tone contains both beauty and the deepest intensity, beginning the album with
  the perfect sounds of a year still smitten by flower power and 'the summer of love.' Not just fantastic clarity during the intro,
  the whole of "Strange Brew" has that staggering clarity allied to an overwhelming power I enjoyed so much on my earlier play
  through.  The sheer impact here has never lessened since 1967 and this is precisely the same massive volume levels as found on
  the the mono album, it's a total fallacy that 1960's mono records were mastered any louder than stereo records.  Both were played
  with tube generated amplification, the fantastic stereo panning here is purely sensory orientated as arrived at in the late 60's.
   Part of Ginger's drums and Jack's bass guitar are panned to the left, with Eric's guitar also starting from the same left channel.
  Superbly delivered vocals are equally split between both the speakers, not that they are rigidly fixed positions, stereo panning
  became an art form in an innovative period of exciting new sounds, stereo was being used to create sensory effects by the use of
  constant movements.  The very sound of the tone from Clapton's guitar is so pure and true, amazing to hear from the pristine vinyl,
  yes, I know this has been played but when a record still looks and sounds like brand new, one or two spindle traces was how many,
  many records were bought in the 60's and 70's.  Record shops played records on request and for their own enjoyment, I had better
  not wander far from the tracks,"Disraeli Gears" from Mint vinyl is an awesome experience!  From an LP that has been a constant
  companion since it was issued, after 49 years I should really be immune from listening to an unworn 1960's stereo copy, but this
  record is literally staggering!  The lead vocals on "Strange Brew" were sung by Eric who was blossoming as a vocalist, sung in a
  voice steeped in this era's slightly slowed, floaty style, adding the dream like spaced out quality to the track's really special
  feel. "Strange Brew" is still close to the sound on the 1966 debut, "Fresh Cream," only it was now being taken into another sound
  dimension.  One of my regular check points when sound grading on this track, comes just after after Eric sings the last line from
  the final verse,"Killing what's inside of you", the music stops for a second before Ginger Baker's drums come thundering back in.
   In that revealing moment, absolute silence, the problem free sound from a Mint record, which also applies to the first gap.  Now
  the intensity levels becomes even more pronounced when one of the greatest guitar riffs of all time introduces the brilliance of
  "Sunshine Of Your Love" without any of those commonly found crackles, clicks or even any background surface sound. The vocals
  are shared between Jack Bruce and Eric Clapton, the original stereo mix here is just magnificent!  Ginger's drums are positioned
  on the right with Jack Bruce's amazing bass guitar, the instrumental section has just Eric Clapton's lead guitar impacting from
  the left channel. In such stunning audio perfection, this is a real pleasure to describe and simply awesome to hear & experience!
  I would never exaggerate how a record sounds, in particular not one of Cream's most loved albums, the record is up there with the
very finest 60's pressings of "Disraeli Gears" I have been privileged to hear and I have heard countless 60's records. Listening
to the simultaneous effect created by both channels powering towards me, the overall sound is not isolated at all within totally
separated but true stereo tracks.  The described individual instruments become magnified as they blend together and create superb
  an incredible impact, both ears absorb the fantastic sounds, today 'stereo' is far closer to 60's mono than this senses tingling
sound movements.  Cream's psychedelic music from a pristine condition record like this, is very special because melodic qualities
  never give way to just meaningless sounds.  Every note played flows perfectly into the next, following is an ultra clean entrance
for a delightful intro to "World Of Pain", talking about melody, this is a glorious one with a spaced out feel still has a dreamy
  sense of losing touch with reality.  Highly recommended after a long day at work!  I almost feel guilty, I am actually working and
being blown away by Cream at the same time.  Superbly sung vocal harmonies between Bruce and Clapton are in pristine sound
quality and the stereo here is just amazing, Eric's double tracked guitar parts are so close, but they were different recordings
  and  you can hear both separately recorded parts coming from the opposite speakers, here I am sandwiched between the sweetest
  notes Eric ever played.  I love the mono mix just as much, both formats have their own unique merits, however, this first stereo
  mix created an added extra sensory liveness to the music's effectiveness, especially in this stunning standard of audio. Crystal
  clear sound for the vocals and instruments is really exceptional, without even the vaguest hint of any background surface sound
  audible, my respect for 60's vinyl has gone up yet another notch!   A problem free, silent gap means another immaculately clean
  intro to the outstanding "Dance The Night Away", what a record this is!  Eric Clapton and Jack Bruce's vocal harmonies are in the
  stunning audio sharpness I will only ever accept personally and therefore will ever offer for sale, all Cream records contained
  wonderful subtleties that do not rely on extravagant productions. The quieter songs like this were kept simple, considering such
  talent at their disposal as three individualist musicians, a beautiful gentle song was not used as a vehicle to perform indulgent
  solo's. On stage that was another story, but consistent to Cream performing live or in a studio, even with the sheer volume here
  of Jack Bruce's bass guitar mastering, that does not cause any distortion, the real beauty of these totally unworn grooves, even
  at my amps very loud volume setting.   Another completely silent  gap runs into a Ginger Baker composition ending the first side,
  the superb "Blue Condition".  Ginger Baker also sings the lead vocal in that nicely slowed down  psychedelic fashion, he makes a
  fine job of it.  The other two play their instruments around his quietly delivered vocals, Jack's bass guitar is at full volume and
  meanwhile Eric takes up a mostly rhythm guitarist role, but letting loose occasionally with a few of those tasteful Claptonesque
  blues licks.  Also with a piano in there with the guitars and drums, Eric does extend the blues fills between the verses, Ginger
  produces some superlative drumming on this track, as much a feature of Ginger as his vocals are. There's no rushing them here,
  the laid back lyrics about relaxation, set a laid back tempo they never move off, as one of the quieter performances this usually
  has some very audible surface sound if not excessive noise, ruining any chance of listener's staying as relaxed as the music is.
  Not on this record though, it was both side's ending tracks that amazed me before, even "Mother's Lament" is as perfectly clean
  as "Blue Condition" is, with pin point audio definition on the instruments & vocals.  I managed to keep the text to a minimum out
  of respect for such a remarkable condition record, now to try and do the same for the glorious second side!
 

As expected, after that second play my stylus has picked up more 'fluff' and a careful wipe with my soft brush removed the dust
  ball in one second, the vinyl itself should never be scrubbed by man or machine, with chemicals, vacuums......or a dish washer!
  Side 2 replicates Side 1's run-in grooves, ultra faint natural static as found on most Mint records, just keep playing them and
  nearly all surface sound/static from the initial pressing will be gone. On cue, silence before & during the first note of music,
  wonderful to have such a crystal clear intro to the album's most incredible psychedelic track ,"Tales Of Brave Ulysses", what
  an intro this track has!   From the shimmering note and bass guitar lines with Ginger's snares, Eric's sparse guitar notes alert
  you to him using the wah-wah pedal, but with a real purpose.  A mood intensive, brooding song with very dramatic Ginger Baker
  drumming, inspiring one of the greatest ever Cream studio performances.  The stereo is simple awesome, the perfection of this
  audio is as stunning as heard on Side 1, I mentioned working earlier on, but the truth is this description is a real privilege to
  write and I openly admit to loving hearing such perfect sound quality.   The instruments drop back for part of Jack's lead vocal
  to leave just Ginger's dramatic drums, all heard without the needle noise common to this usually played to death album.  By that,
  I mean not a single crackle or click, as Eric Clapton's guitar powers out from the right speaker, playing really aggressive power
  chords to introduce the magnificent "Swlabr," from a very near to silent gap. A fantastic track with a stunning psychedelic true
  stereo mix, Eric Clapton's guitar is heard in ultra clear sound quality, with just amazing power from Jack Bruce's bass guitar as
  mastered onto original late 60's pressings.  Songs are important to an album and "Disraeli Gears" is just packed with outstanding
  songs directly following each other, creating the magical ingredient that keeps you absorbed through the entire album. Listening
  to "Swlabr" is another reminder of just how unique Eric's guitar actually was, and it still is to this day, by Cream having only
  one guitarist placed heavy demands on his gifts, stretching that genius to the very limits. Clapton responded with a magnificent
  display on "Swlabr" switching between rhythm and stunning blues lead as well.  Some of my fondest memories of Clapton are also
  from the 1990's decade when attending his annual concerts at London's Royal Albert Hall, I am sure many others enjoyed his sets
  performed like a master, inside that same luxurious venue where Cream played their final gig in November,1968.  With Jack Bruce
  singing lyrics like,"So many fantastic colours, but the rainbow has a beard," Eric now delivers the psychedelic sounds needed for
  "Swlabr" as well.  The next gap is once again silent immediately before my personal favourite track of the album, the staggering,
  "We're Going Wrong".  A song vitally heard without the common excessive noise, so the very gentle nature is unspoilt and there is
  not even the slightest suggestion of any record playing sounds on the entire duration.  I am being obsessively fussy by just writing
  that sentence but such is this record's perfect audio standards I can be that fussy!  An immense song and enjoyed in razor sharp
  edged sound quality, I think this has Jack Bruce's finest vocals for a superb melody, demanding almost falsetto or extremely high
  notes sung, Jack's vocal range here is astonishing, singing the lyrics with heartfelt emotions. Eric's guitar genius is more than
  capable of also expressing emotions, which is the very essence of blues guitar. With Ginger's drums creating  fantastic patterns
  of rhythms, all three musicians hit peaks of inspiration together. Another silent gap runs into "Outside Woman Blues," the purest
  blues could have easily appeared on the previous year's "Fresh Cream" album.  An Eric Clapton lead vocal and he sings and plays
  blues as only he could, he would take on full time vocals during his solo years, for now he rarely sang more than one or two songs
  per album. The sound quality is stunning yet again, the stereo panning of Eric's guitar from the left channel works superbly, Eric
  playing straight blues is a joy to hear, for his sublime solo both channels are employed to great effect. The final sound is just
  him humming after the last,"Buddy, what are you trying to do?, the sound is sensational, you clearly hear a natural resonance in
  his throat.  Another silent link into the blues guitar intro to, "Take it Back", Cream stay in the same mode, treating us to more
  incredible pure blues, Jack Bruce supplies the superb harmonica, naturally in stunning true stereo panning.  An all round band
  performance of greatness and they are also having a ball playing this, their background yells and shouts demonstrate looseness,
  a 'live' sound to the track, not possible of course because Jack Bruce's harmonica is being played during his vocals but the feel
  is that of a late at night, small blues club. The way the album unwinds from the overtly psychedelic tracks and nearly ends with
   pure blues is reason for saying  "Disraeli Gears" has true greatness.  The last gap is nearly silent, just the faintest of faint
natural static, in fact, just a split second that will be long gone after several plays,I speak with a genuine lifetime's love of
  records and music in general.  Even when I know there is next to nothing, especially for Mint / just about played and unplayed
  records, I still insist on accuracy for insignificant static etc.  Ginger Baker's spoken,"Are we rollin' "and 'spoken duet' for a
   '1 - 4' count-in, are without the expected crackles or even surface sound, I am not mentioning faint static again but the entire
   track is amazingly clean and clear!  Like "Blue Condition," this last track normally is being drowned out by horrific noise, but
   playing in fantastic crystal clear sound, without virtually any surface sound/static, I had to repeat that in order to add, at least
   nothing beyond natural to vinyl.  Should this be unknown to anyone ,"Mother's Lament" is early 20th century style, barber-shop
  or Vaudeville vocal harmony song. So with only a tinkling piano behind their three part harmonies, this is completely exposed to
    all this age vinyl when worn, can generate as terrible noise, rendering it to unlistenable. "Mother's Lament" tells a story about
  a drastically underweight, very skinny baby who falls down the bath's plug hole, maybe not intellectually challenging but it acts
  perfectly to play out "Disraeli Gears" without any powerfully amplified electric instruments.  Listening to this without any form
  of needle sound is rarely found, of course there has to be vinyl's natural sound, but I have to stress how inconsequential that is.
  Right at the end of the song Ginger Baker asks the other two,"Do you wanna do it again?" and even the actual fade-out barely has
a hint of a record playing.  An absolutely stunning looking and sounding 1968 stereo "Disraeli Gears."
{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!