Sold Date: October 31, 2016
Start Date: October 24, 2016
Final Price: £160.77 (GBP)
Bid Count: 6
Seller Feedback: 4296
Buyer Feedback: 60

You know you shook me, you shook me all night long, you sure did.
You know that you shook me, you shook me all night long,
  And the way that you love me, baby, you mess up my happy home.

Take this....
You know you love me, just like a hurricane,
You know you love me, just like a hurricane,
And the way that you love me, baby, you mess up my happy home.
"YOU SHOOK ME":
Probably the rudest sounds ever recorded, intended for listening to whilst angry or stoned.
Last note of song is my guitar being sick - well, so would you be if I smashed your guts for 2:28.
JEFF BECK.
(From Jeff Beck's back cover detailed info for every track.)
JEFF BECK: "Truth" ON THE BLACK & BLUE COLUMBIA LABEL, THE ALBUM FAILED TO SELL, THE NEXT YEAR
IN LATE 1969, THE SECOND PRESSING WAS ON THE SILVER & BLACK COLUMBIA LABEL WITH ONE BOXED EMI LOGO.
THIS IS THE  EARLY 1970 THIRD PRESSING, ISSUED TWO YEARS AFTER THE 1968 FIRST PRESSING.
ISSUED ON TWO BOXED EMI LOGO'S, SILVER & BLACK COLUMBIA LABEL, BUT STILL WITH "Gramophone Ltd. Co."
LABEL RIM TEXT.  WITH THAT TEXT, THE RECORD INDEXING, ORIGINAL EMI 1970 INNER SLEEVE AND AN UNSOLD
1968 FULL FLIPBACK EDGES, LAMINATED FRONT COVER, CONFIRM A 1970 PRESSING.
  The last copy I sold also had "Gramophone Ltd. Co." label rim text and two EMI boxed logo'sthe only way I could date the pressing
was by the cover, a deluxe laminated front but no flipback edges.  In theory only 1968 first pressings had two vertical and one
horizontal flipback edges because they were reduced to two and then just the one, during 1969.   None of them sold and EMI had  
surplus covers even though very small batches were made between 1968 - 1971, based entirely on a 1971 printed "Truth" cover, I
felt I had to name it a '1971 pressing,' but in reality it was made in early 1970 like this record.  The heavyweight vinyl and all
machine stamping's and label text are indeed precisely the same in every possibly way.   This time I can clearly state an early
1970 pressing because EMI used an earlier cover, amazingly a 1968 very first printed Stereo cover with three flipback edges and
  complete with a 1960's spine design, the ending's taper into points.  An unsold Stereo pressing makes perfect sense because it
was very much a Mono era in 1968, what a bonus a full flipback cover with a Mint 1970 record inside!
 

  SILVER & BLACK COLUMBIA LABEL, WITH TWO BOXED EMI LOGO LABELS: SCX 6293.

THE LABEL RIMS HAVE 'The Gramophone Co. Ltd.' AT 9 O'CLOCK, NOT 'EMI Records Ltd'.
 
  "Made In Gt. Britain" IS STILL AT 6 O'CLOCK.
 

   THE ONLY DIFFERENCE BETWEEN THIS 1970 AND THE 1969 LABEL PRESSING, WAS THE SECOND BOXED EMI LOGO
HAD BEEN INTRODUCED, THIS RECORD WAS PRESSED FROM THE SAME FIRST 1968 STEREO MOTHERS. IN FACT, THAT
APPLIED TO 1973 PRESSING I HAVE SOLD ON EBAY, EVEN IN 1973, ONE OF THE GREATEST ALBUMS OF ALL TIME WAS
COMPLETELY IGNORED, UNBELIEVABLE, BUT SADLY TRUE.


MAITRIX:  YAX 3706 - 1 / YAX 3707 - 1.

EMI STAMPING CODES: GA  1  /  P  1
The above details on the record and labels conclusively place this as the first pressing, so do the inner sleeve and cover details.
So few Stereo copies were made in 1968 & late 1969, the same maitrix and first mothers per side were still available, after all
two years was a reasonably short time for albums that failed to sell at all.  Or at least, sold so few copies there was no chart
entry, "Truth" was a cult album in 1968 and the historical timing, saw it perfectly bridge psychedelia, authentic blues and heavy
rock on one album.  The album contained mostly 1967 material, even including Jeff playing the English song folk "Greensleeves"
on an acoustic guitar, Rod Stewart liked the  that diversity, his early solo albums included Side's opening with a short acoustic
guitar folk song.  The term 'Supergroup' comes to mind here for all the musicians on "Truth," but including Rod and Jimmy Page,
most were unknown outside the music business, and a certain manic drummer had to be credited under a cryptic name!  There were
true great albums issued in the 1960's, "Truth" is up there with the greatest of them all, I know I'm biased but it's....the 'truth.'


  ORIGINAL EARLY 197O EMI INNER SLEEVE WITH CURVED CORNER, A PATENT NUMBER & "Made In Great Britain."
EASILY IDENTIFIED BY THE 1970 UNIQUE DESIGN OF THE TOP & BOTTOM CURVED CORNERS FINISHING WITH
POINTS.  VIRTUALLY UNUSED, UNSPLIT AND HARDLY ANY AGEING TO MENTION,JUST A LIGHT RECORD IMPRESSION
FOR THIS NEAR MINT CONDITION INNER SLEEVE.


  RARE 1968 LAMINATED FRONT 'Garrod & Lofthouse' PRINTED STEREO COVER, WITH TWO HORIZONTAL AND ONE
VERTICAL FLPIBACK EDGES ON THE BACK.   VERY MUCH A CASE OF THE COVER BEING TWO YEARS OLDER THAN
THE RECORD, BECAUSE  THEY WERE STILL 1960's STANDARD RECORDS IN 1970, THE UNSOLD 1968 RECORD WAS
REPLACED WITH A 'LIKE FOR LIKE' DEEP GROOVED, HEAVYWEIGHT EARLY 1970 RECORD.

So two years of standing in EMI's Warehouse has to be added to the age of the cover, by that I am referring to how a cover moulds
around the round shape of the thick record and forms a positive impression, with related laminate edge lines.  Now add in the
ridged 1960's spine with pointed endings and most of the stress was placed onto the central position of the spine, the resting
position of the records's edge for a full 48 years unremoved.  One play is the surest sign of the original 1970 record shop playing
the record before it was sold as brand new and that does result in laminate edge lines forming alongside and over the spine.
One of those lines has run across the letter 'H' of the title's "Truth", but the pointed endings are only showing the lightest
possible rubbing, the right side corners are perfectly square and unworn.

The front cover has an ultra glossy laminated front but with the vast majority having a black background, it does show up the
heavy record's impression, plus the mentioned small related laminate lines.  The black colour acts like a lined reflective mirror
and every original 1960's and early 1970's laminated covers I have ever seen, including my own pair of mono and stereo albums,
have exactly the same as just described.  Mint records like this should never have their covers compared to well used
covers containing heavily played records.  That is by no means intended as an excuse, I refuse to ever do that for 60's & 70's
covers, they are what they are today and such rare albums particularly have to be taken on their  individual merits.   I often
criticise record companies in my descriptions for not laminating them in the late 1960's and 1970's, so I cannot, and will not
complain about a few tiny laminate wrinkles. Matt covers holding heavyweight records wore and creased badly, far better to see
a beautiful gleaming front like this.  A cover was designed to protect the record inside, this has most certainly done it's job
  and it still looks absolutely superb.  The minimalist approach to artwork reflects a gradual winding down from the psychedelic
covers by late 1968, "Ogdens" was the last and finest of it's kind, inset in the centre is a  hint of the dwindling psychedelia.
   A girl's face with colour 'splatters' like falling leaves, those colours are still as vividly bright as they were in 1971, the title's
are in turquoise lettering around the picture, they are also deeply toned and exceptionally bright.  There is no wear, all the
corners, opening sides, the spine ( if with edge laminate lines)  and edges are too close to naming 'perfect ' to downgrade
this superb very first issue 1968 "Truth" cover lower than this.
THE COVER IS IN EXCELLENT+++ / NEAR MINT CONDITION.


THE IMMACULATE LABELS ONLY HAVE THE ONE SPINDLE ALIGNMENT TRACES, THESE ARE TEXTURED LABELS AND
SHOW THE SLIGHTEST CONTACT, SO POSITIVELY JUST THE ONE.  
AS HARD AS IT IS, I WILL RESIST THE TEMPTATION TO HEAR THIS, ONE PLAY IS INDEED MINT  FOR THIS ERA
AND I COULD NOT FIND ANY FORM OF FACTORY HANDLING, IT HAD TO BE HANDLED BUT POSITIVELY INVISIBLE,
  A REALLY BEAUTIFUL, DEEPLY GLOSSY RECORD, IN MINT CONDITION.
SIDE 1:
"Shapes Of Things" (Jim McCarty / Keith Relf / Paul Samwell-Smith)
"Morning Dew" (Bonnie Dobson)
"You Shook Me" (Jeffrey (Beck) / Rod (Stewart) )
"Ol' Man River" (Jerome Kern / Oscar Hammerstein)

SIDE 2:
"Greensleeves" (Traditional - arranged by Jeff Beck)
"Rock My Plimsoul" (Jeffrey (Beck) / Rod (Stewart) )
"Beck's Bollero"  (Jimmy Page)
"Blues De Luxe" (Jeffrey (Beck) / Rod (Stewart) )
"I Ain't Superstitious" (Willie Dixon)

Unnamed As 'The Jeff Beck Group' Yet, The Musicians Playing On "Truth":
Rod Stewart - lead vocals
Jeff Beck - guitars
Jimmy Page - guitars
John Paul Jones - bass & keyboards
Ronnie Wood - bass
Mickie Waller - drums
Keith Moon - drums & timpani
Nicky Hopkins - piano
Madeline Bell - backing vocals on "I've Been Drinking"


Recorded May, June & December,1967 & May,1968, In London At;
Abbey Road Studios, Olympic Sound Studios & De Lane Lea Recording Studios.
Arranged by Jeff Beck.
Produced By Mickie Most.
Some albums are so immense and have meant so much to me since the first day of release, I don't really know where or how to begin
a description.   Reason enough to pass on describing the actual tracks, I bought "Truth" in 1968 and had it off my turntable over
and over again, if ever an LP was too personal to attempt a track by track description, this is it! I will discuss the incredible
contents though, records simply do not get any greater than an EMI Mint pressing of the glorious "Truth", as the musicians listed
above demonstrate, you can find direct connections to the Yardbirds, the Who, Led Zeppelin, the Faces and the Rolling Stones.
The least known name will be the drummer Micky Waller, but his own musical pedigree is just as impressive, previously Micky had
been with; Joe Brown's Bruvvers, Cyril Davies R&B All Stars, Marty Wilde And The Wildcats, Georgie Fame And The Blue Flames,
Brian Auger Trinity, Steampacket (where he first played with Rod Stewart and Brian Auger), Brian Auger / Julie Driscoll Trinity,
John Mayall's Bluesbreakers (naturally!) and later on in Cat Stevens' backing band. Not forgetting an ever present drummer on
Rod's 1969 and early 1970's solo albums, the pedigree of them are reflection of the immense talent of Jeff Beck. Great musicians
tend to gather together and especially when the guitarist was without question uniquely gifted of all time.  I dislike discussing
  merits of gifted guitarists, because these were my heroes as a young kid, and still are today! Jeff Beck's guitar techniques are
at least the equal of any of the other genius', I do not even feel the need to name, just deal with facts.  In the UK it would be
fair to say, before Jimi Hendrix's era began in late 1966, the very music being created in the UK  had paved the way for Jimi to
come over from the USA, that happened between early 1965 and into 1966.  During that all important period when blues stepped
onto the threshold of psychedelia, Jeff Beck just towered above every other UK guitarist, from Townshend to Clapton. He dispensed
with a plectrum and used his lightening speed of hands and an innovative use of feedback and distortion, creating melodic sounds
unheard previously from anyone else. Let's never forget Jeff Beck pre-dated Jimi Hendrix and Jimi told Jeff how much he loved and
was influenced by his stunning psychedelic guitar on the Yardbirds' still underrated 1966 single,"Happenings Ten Years Time Ago."
  Which is very relevant to "Truth" because that was a time in rock history when one of the mightiest musical alliances ever known,
did in fact take place. For the very briefest period, you actually had Jimmy Page and Jeff Beck in the same band, the Yardbirds
had two lead guitarists of astounding ability.  They never made an album together, all we have is the "Blow Up" film soundtrack
with one Yardbirds track and a couple of 45's, on "Truth" you get to hear where it led to after Jeff left the Yardbirds and went
it alone.  That was directly after the commercial failure of one of the most innovative and greatest ever psychedelic singles
made, "Happenings Ten Years Time Ago."
 
Jeff Beck grew up hearing music constantly, either his mother was playing their piano and like in most household's in England
during the 1950's, their radio was on the whole time.  That exposure to all types of music, gave the young Beck his inspiration.
  Art college's were where aspiring musicians always gravitated towards, (Lennon, Clapton & Mayall) he learnt to play a guitar and
attended Wimbledon Art College.  Jeff soon left to play his way around the growing early 1960's London scene and worked as an in
demand session guitarist with our rather eccentric, Screaming Lord Sutch and then in the Tridents.  The same route Jimmy Page took
before joining the Yardbirds, Eric Clapton leaving them would begin a movement of astonishing repercussions,from that one fateful
decision would be born Cream, Peter Green's Fleetwood Mac and Led Zeppelin.  In 1965, Jeff Beck continued that astounding series
of events by joining the Yardbirds as their new lead guitarist.  One of my most prized possessions in that 1965, was the Yardbirds
first ever EP, I listened open mouthed to the first Jeff Beck recordings with the band, as young as I was, this was something new
and very special happening.
 
  Jimmy Page made a positive move into the Yardbirds in 1966 after Paul Samwell-Smith left to become a record producer, Jimmy Page
had agreed to initially take over Samwell-Smith's bass guitar role while rhythm guitarist Chris Dreja became fluent enough on a
bass guitar to relieve him. Then for a brief time there was the most astounding pairing, now Jimmy Page and Jeff  Beck gave the
Yardbirds sensational two pronged lead guitarist's.  Live they were awesome, in 1966 the Yardbirds with Beck and Page played as
the opening band for the Rolling Stones, the music press described the concerts as being like "World War Three."  After Jeff Beck
  left the Yardbirds, he started a solo career with producer Mickie Most,now coming into the equation a bass guitarist and keyboard
specialist, future Led Zeppelin musician, John Paul Jones, played on Jeff Beck's sessions with Jimmy Page. "Hi Ho Silver Lining"
was Jeff's first solo single released in 1967 and on the B-side of that massive hit, as well as on the "Truth" album was a really
essential track to hear.  What a line-up on the amazing recording;  John Paul Jones, bass guitarist,  Keith Moon, drummer, Nicky
Hopkins, keyboards and there was Beck and Page blazing away!  "Beck's Bolero" was based on the classic music Ravel composition,
 but Jimmy Page deserved the writing credit, or I suppose to be accurate for the visionary arrangement.  So far I have to enthuse
  about Ronnie Wood and Rod Stewart and where they originated from!  One final story before I get onto the album's details, I was
privileged to meet and spent many long hours talking with the Yardbirds' and the Jeff Beck Group's road manager, what a great man
he was.  Of course he was there with them in the studios when the Yardbirds recorded their one and only UK studio album in 1966,
then in 1967 when "Beck's Bolero" was cut, and again in 1968 when the rest of the "Truth" album was being recorded. I was so lucky
and grateful to Bill, thank you so much for sharing such wonderfully detailed memories, I am sure you would not mind me saying
that during those 1968 sessions, just like for the "Roger The Engineer"1966 sessions, Jimmy Page was there fully throughout both
of the albums being made, Jimmy's involvement with Mickie Most in the 60's was not exactly a secret, but I will leave it there.

Jeff Beck's 1967 singles had Mickie Most insisting Jeff sung the lead vocals, which considering the brilliance and uniqueness of
  Rod Stewart's vocals, was a surprising move.  Mickie Most was no fool and of course"Hi Ho Silver Lining" made No.14, the song was
  originally recorded by the Attack in 1966 and failed to sell, to this day Jeff's very average vocals are as loved and maybe even
  better known than in 1967!  For the second 1967 single, the outstanding "Tally Man" only made No.30, with Rod Stewart on the
  B-side with his own composition,"Rock My Plimsoul", would have been a much wiser choice and helped "Truth" to sell when it was
  released the following year.  Without that exposure, as an unknown in the UK, I believe while Mickie Most knew his 45's he had
  made the wrong choice for "Tallyman." It was far, far superior to "Hi Ho Silver Lining", with Rod Stewart's vocals, it would have
  been a major boost to such a strong track as well as given Rod public recognition.  Instead, in spite of "Truth" being a staggering
  album, amazingly it sold so poorly it didn't even gain the lowest possible chart entry.  In the UK it became a cult classic and
  from a historical perspective, in 1968 "Truth" acted as a bridge between Cream's "Wheels OF Fire" and Led Zeppelin's first album.
   It is by no means stretching things by saying, in 1969, "Led Zeppelin 1" was based very strongly on the "Truth" LP, I am aware
  others will react against such a statement, as someone who bough both albums which were released only months apart, I have every
  right to form and to give that opinion. The influence "Truth" had was far more than on Led Zeppelin's debut album, it extended to
  States, where the Jeff Beck Group were far better received and appreciated.  They toured there and when the album was released
  on the US Epic label, it sold exceptionally well, making it to Number No.14.

  An extremely rare record as a UK first pressing, it was released in mono and stereo, being 1968 that was a mono stronghold but the
  majority of surviving mono copies were played again and again until the sound became dreadful. We are talking about an album with
  a beautiful acoustic guitar rendition of an English traditional folk song,"Greensleeves," as well as the massively loud rock/blues
  tracks, there is also the gentility of "Ol' Man River, so sound reproduction is vital on every second of the album. A once played
  Mint 1970 pressing will have incredible sound.   I cannot possibly offer better than precisely how it left EMI's pressing plant after
  being mastered in Abbey Road Studio from the Master Tapes.
  {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.
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  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)
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FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION.


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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
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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.
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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


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