Sold Date: December 2, 2016
Start Date: November 25, 2016
Final Price: £193.77 (GBP)
Bid Count: 6
Seller Feedback: 4314
Buyer Feedback: 64

Guinevere had green eyes like yours,
  M'lady, like yours.
  When she'd walk down through the garden,
  In the morning after it rained,
  Peacocks wandered aimlessly,
  Underneath an orange tree.
  Why can't she see me?
 
  Guinevere drew pentagrams like yours,
  M'lady, like yours.
  Late at night when she thought that no one was watching at all.
  On the wall
  She shall be free.
 
  As she turns her gaze down the slope
  To the harbor where I lay, anchored for the day,
  Guinevere had golden hair like yours,
M'lady, like yours.
  Streaming out when we'd ride through the warm wind,
  Down by the bay yesterday.
  Seagulls circling endlessly, I sing in silent harmony,
  We shall be free.
"Crosby, Stills & Nash" LP. VERY FIRST UK PRESSING, 9th AUGUST, 1969, ISSUED IN STEREO ONLY.
 
  RED & MAROON ATLANTIC LABEL:  588 189
 
  MAITRIX:  588 189  A // 2    1  1  2  /   588 189  B // 2    1   1  1  1
  The above shows this is the first pressing, I will discuss this in full below.


  ORIGINAL 1969 ATLANTIC / POLYDOR LINED INNER SLEEVE IN UNUSED, UNAGED, UNSPLIT MINT- CONDITION.
 

  FIRST ISSUE TEXTURED PAPER FOLD-OUT LYRICS & PICTURES POSTER / INSERT,  A LARGE 24" x 11.5" OPENED.
The insert is like the music, a beautiful item, the full lyrics and album credits are set underneath superb drawings inspired by
  the track titles, I believe Joni Mitchell drew them.  The first printed with thicker, textured matt paper on both sides, was
  very absorbent to the atmosphere and handling stains normally, luckily the album was stored inside a plastic outer sleeve.
  There is literally no ageing, very rare for the 1970's re-issues but extremely rare for the editions, just a few minor ripples from
  being alongside the record in the inner sleeve, due to the front compartment edges being glued together.
IN UNUSED, UNCREASED, MINT- CONDITION.


VERY FIRST UK ISSUE ONLY,'E J Day' PRINTED, SOFT FELT GATEFOLD COVER WITH TEXTURED SURFACES ON
  BOTH THE OUTSIDE AND INSIDE.  THESE VERY MADE COVERS HAD A WIDE, SQUARE SHAPE SPINE.
  These first gatefold covers were really beautiful when first seen in 1969, even for this very rare unplayed record, it would
  foolish to expect no sign of being 47 years old, but this all round incredible condition comes as close as I know to be possible.
  They are usually extremely badly worn on both the inside and the outside's textured, embossed soft felt like surface. Most 1969
  covers have far more scuffed white paper showing through than the artwork's original colours left on the cover, with ring wear
  out of control!  This does not have the slightest suggestion of ring wear, even on the back's record storage compartment, inside or
  outside.  There are no handling scuffs on the actual outside and inside, only signs of storage, even brushing to the standing
  edges is too faint to  dwell over.  There had to be some some degree of factory assembling, packaging and distribution to records
   shops on the most vulnerable parts of all gatefold covers, that always involves the spine endings and edges and this cover had
  a very easily rubbed soft top surface.
 
  Three out of four right  side corners are perfect, only the back bottom left has very slight standing pressure, the front and back
  panels are totally unscuffed, unfaded and unworn, the colours are unfaded and the inside is immaculate. In fact, the few negative
  comments are not connected to use or wear, I am just being thorough, even with soft finish, the fact this still has the original
  starchy rigidity newness.  If that does not act as a guide to the exceptional condition, then the next paragraph most certainly
  will, please refer to my revealing pictures for verification.

  The spine is in remarkable condition without any wear or scuffing at all to the perfectly clear titles, located at the bottom of
the spine, 'remarkable' was a carefully chosen and accurate descriptive term.   The lightest of light brushing to the spine in
  general, means the continuation of the artwork from the front, across the spine and onto the back is not broken by the usual
severe wear to the most textured spine I can think of.   The  square shape of the spine created edges that were wide open to wear
  but this spine only has minute signs of that, I would never claim the impossible for this gatefold cover in general, but I will
  stress how tiny anything like that actually is.  The only signs of this being nearly 50 years old, is as minimal as it get, thanks
  to the lack of constant record removal and replacement sparing the excessive handling wear the vast majority have today.
  I was amazed the back of the cover or the storage side, this has no ring wear or circular rubbing from the record, that rarely
happened to UK 'EJDay' made first edition covers, so is the lack of even a record impression from storage, where it was not
  removed from the cover since leaving the pressing plant in 1969.  That 'as close to new in 1969 as it gets,' grading covers of
  this age, with such vulnerable top surfaces on the outside and inside, cannot be assessed in the same manner as standard gatefold
  cover.  For a late 1960's cover that would usually mean a laminated cover, then there is the fact the 24" x 12" textured lyric
  insert is 100% unaged and still the original pure white, it has never been handled or seen the light of day for all those decades.
  No way can I bring 'Excellent' into the grading, not just because the record is in unplayed Mint condition either, there has to be
common sense used for individual covers, especialy those with softly textured matt top surfaces, I regard this as being close to
  how it first appeared in a record shop in 1969, there can only be one possible grading;
THE COVER IS IN REMARKABLE AND TRULY BEAUTIFUL NEAR MINT CONDITION.


  THE PRISTINE LABELS DO NOT HAVE ANY SPINDLE ALIGNMENT TRACES, THE WHITE ATLANTIC BANDS RUNNING
ACROSS THE CENTRE HOLES, ARE PURE WHITE AND LIKE BRAND NEW.   THE RECORD ALSO DOES NOT HAVE ANY
PLAYING SIGNS, MARKS OR SCRATCHES, JUST A DEEPLY GLOSSY SHEEN UNIQUE TO MINT VINYL.  WITH THE VERY
  SENSITIVE NATURE OF THE MORE DELICATE, ACOUSTIC TRACKS, I WILL TAKE ONE UNDECTABLE PLAY WITH MY
USUAL GREATEST CARE.   THE RECORD IS IN UNPLAYED, MINT CONDITION. SIDE 1
  "Suite: Judy Blue Eyes" (Stephen Stills)
  "Marrakesh Express" (Graham Nash)
  "Guinnevere" (David Crosby)
"You Don't Have To Cry" (Stephen Stills)
  "Pre-Road Downs" (Graham Nash)
 
SIDE 2
"Wooden Ships" (David Crosby / StephenStills)
"Lady Of The Island" Graham Nash)
  "Helplessly Hoping" (Stephen Stills)
  "Long Time Gone" ((David Crosby)
  "49 Bye-Byes" (Stephen Stills)
 

  CROSBY STILLS & NASH
  David Crosby - guitars, lead & backing vocals.
   Stephen Stills - guitars, bass guitar, keyboards, lead & backing vocals.
   Graham Nash - guitars, percussion, lead & backing vocals.
 
Greg Reeves - bass guitar & percussion
    
  Recorded June, 1968 & April,1969, At Wally Heider's Studio, Los Angeles.
   Produced By Bill Halverson, David Crosby, Stephen Stills & Graham Nash.
The end of the 60's decade saw many established artists leaving successful bands and forming new ones with others who had musical
empathy.  1969 in England, bands like Blind Faith brought together musicians formerly in Cream, Traffic and Family, in that same
year on the Immediate label, Humble Pie combined talents of musicians from the Small Faces, Spooky Tooth, Apostolic Intervention
& the Herd. There are many other examples of once successful bands splintering, I personally think it was brought about by a need
to find new direction after the psychedelic era. 1969 was when the albums and singles were first released, Crosby Stills and Nash
  took that one step further by forming an Anglo American alliance, musically it was so successful, they are still working together
44 years later. Just surviving the 60's was a feat in itself, after a decade of inspiration when a renaissance created masterpieces
of albums and singles, something capable of sustaining that burst of musical genius has carried us to the current day. Neil Young
  would soon be joining this incredible trio and although he, David Crosby , Stephen Stills and Graham Nash were also solo artists,
  when they performed together in the studio and in concert, something very special and magical happened.   So many of the other
  collaborations fell at the first hurdle, their debut album, they just drifted apart and were quickly forgotten, but the 1969 debut
  Crosby, Stills & Nash album was so stunning, it instantly became a late 1960's masterpiece and today ranks alongside the world's
  most influential albums of all time.

After leaving the Byrds in 1967, David Crosby teamed up with ex-Buffalo Springfield Stephen Stills and ex-Hollies Graham Nash.
  Crosby knew Stills from when he sang as a guest vocalist on stage with Buffalo Springfield, while he was still a member of the
  Byrds, a band he was a co-founder of.  Artistic freedom was restricted by record companies who drew up binding legal contracts
  to prevent individuals from performing on records outside of their confinement, this time it was not CBS or Columbia objecting
and it was only one gig.   David Crosby was experiencing an on-going personality clash with Roger McGuinn, the pair were fiery
characters over musical matters, 'passionate' is a better word.  When Roger McGuinn found out David Crosby sang on stage with
  Buffalo Springfield he was furious and it led directly to Crosby leaving the Byrds, a loss that reduced them to trio because you
could not replace Crosby!   David Crosby  brought along with him the sound and that fierce commitment of the Byrds, the UK was
represented by the ex- Hollies vocalist and songwriter, Graham Nash, he left because a psychedelic album was abandoned and
the Hollies were planning an album of Bob Dylan songs.  Stephen Stills had an even more volatile relationship with Neil Young
in Buffalo Springfield, they were all gentle souls but as I said, when music was being made they all cared passionately, there is
a wonderful example of that during the up coming Neil Young era, an argument in a studio broke out while recording and it ended
with them storming out and temporarily breaking up, the cause of the argument was all over one note!  Just like refusing to make
that "Hollies Sing Dylan" album was hardly a reason for Graham to to leave, but there was a restlessness in the air and a move to
America was like a re-birth for Nash, such a mighty fusion of three major artists does not always produce a great album though,
ego's played no part though, there was a real joy to them performing together.  The 60's was also when outlandish band names
  like 'Incredible String Band' and the just mentioned Jerry Shirley band, 'Apostolic Intervention' were part of psychedelia and as
a reaction against that, another change happened in 1969.  When so many established bands had come to the end of their road,
the like minded musicians who  got together to form new bands, 1969 became the year when the music press coined the phrase,
"Supergroup."  'Humble Pie' was named to play down any superstar status and and in place of exotic names, the new trend began in
a similar vein, keeping it as simple by naming themselves 'Crosby, Stills & Nash.'  When the Nice disbanded they followed the new
idea and 'Emerson, Lake and Palmer' arose from the ashes, but they were also a "Supergroup."   If ever another trio of incredible
  talent had justified the title, it was Crosby, Stills & Nash and the slightly later addition of Neil Young was yet another mighty
talent to lengthen their name with, that was not until after this debut album was recorded.
    
This self titled debut album benefitted from not only having three truly outstanding vocalists, capable of creating awesome vocal
harmonies, they also had three highly gifted songwriters. They produced this self titled album themselves and with Stills ability
to play multiple instruments,from bass to lead guitar as well as keyboards, they only needed to recruit Dallas Taylor to play the
   drums, the result was one of the late 1960's very greatest albums.   There is a misconception these British first issues sold in
vast numbers, the majority of the pressings came in the 1970's decade after Neil Young joined the trio's line-up, when CSN & Y
released "Déja Vu" in 1970.   Massive sales from that album created a renewed interest in their debut album and most pressings
were made after the Atlantic label changed their label colour from the 60's red and maroon, to orange and green in late 1971 when
'Kinney Records' took over Atlantic and the back catalogue.  "Crosby, Stills & Nash" only made it to No. 25 in the UK charts and
only spent five weeks steadily dropping down and out.  Not a disaster by any means, but that was 45 years ago and for an album so
imperative and reliant on only be heard in perfect sound quality, genuine top condition records on the red and maroon label have
always been extremely difficult to find.  The music is mostly gentle and delicate with a full emphasis on beautiful melodies, I will
only sell ever this magnificent album with perfect sound quality, which means as close to mint as physically possible, which is a
tall order for a 1969 first pressing. I had better deal with pressing info before moving onto the music and record, an unplayed
first pressing is an exciting prospect to hear.


Atlantic / Polydor very first issues did not always have maitrix endings of, 'A //1 / B // 1', very often that was given to their
Test Pressings, all record plants made before continuing with the main production.  I am experienced with selling Test Pressings
as well as owning several in my collection, I know exactly how Polydor indexed them.  No set patterns though and you have to
know or learn individual titles to establish which ones did not have the ' A //1 / B // 1' endings, expected by so many sellers
and buyers, but that was not how it always happened.  Especially for other Atlantic / Polydor artists like Led Zeppelin, hardly
  any of their first pressings conveniently began at the beginning alphabetically or digitally like the above example. That is true
for Led Zeppelin first pressings from this same year of 1969 and up to 1971, they both did not have the above maitrix endings.
I have yet to find an 'A //1 / B // 1', for "Crosby, Stills & Nash" and the earliest maitrix have always been exactly  like this
record, ''A //2 / B // 2'.   I do tend to keep an open mind about Atlantic / Polydor maitrix configurations, and would never say
'never', but 'highly unlikely.'  With this very first made gatefold cover, once again the record becomes definitive as positively
being pressed before the August 1969 release date, an amazing condition cover as well.  The cover itself does not have the track
listing or LP credits, the large insert is essential to the album as a beautiful item and a practical one.  Right, the first play
in 47 years, I will be forced to write minimally so I will say here and now, true Mint vinyl often has static from the pressing
process, after several plays any microscopic vinyl 'pips' are played through to leave ultra clean sound.  On the other hand, the
record might have 'instant' clean sound, I do love finding out and playing Mint records of this magnificence!


Side 1's run-in grooves are near silent /silent, so I'm certain the whole record will also have smooth running linking grooves,
  it would be pointless constantly writing that for every track.  The beautiful acoustic guitar intro to "Suite: Judy Blue Eyes" is
  entirely panned from the right channel, the left speaker comes to life with just stunning vocal harmonies.  This has a superb
first stereo mix and the audio itself is ultra sharp edged, Stephen Stills composed this over seven minutes long, epic song, the
  wonderful melody features the combined vocals of Crosby and Nash taking the higher notes.  With Stills singing the lower end,
  "Suite: Judy Blue Eyes" is a form of vocal perfection. During Stills' lead vocals, his guitar is heard from the right speaker and
  from the left  channel, a very gently played, subtle electric guitar. The percussion is mostly generated from bongos, a folk song
and the lack of any surface sound here is unbelievable but very welcome on a delightful opening track.  "Suite: Judy Blue Eyes"
was regularly performed live, including when Neil Young was part of the band, the original studio version is reason enough to hear
the album for alone, but the rest of the songs were equally inspired.  I always set high audio standards for this album and the
crystal clear definition here has the precise reason I will not compromise and sell a lower grading, some albums just have to be
as close to Mint as possible.  In fact, unless I sell molten vinyl from 1969, you cannot anything better than an unplayed record
from August, 1969.  The delightful massed vocals ending generates a real joy to the music and now a really  happy uplifting song
follows, Graham Nash wrote the Hippy anthem that was also released as a single,"Marrakesh Express." I will quickly include the
first gap is completely silent, the intro is clean and clear, the single was issued in the same August as the LP, making No.17 in
the UK, that should have boosted the album's sales, but I suppose making a Top 30 position for a debut album was acceptable.
Having Stephen in a band meant you inherited a multi-talented musician and he makes this superb song with that atmospheric
organ playing ability.  The highly infectious melody was ideal for a single and the fast flowing rhythm backing Graham Nash's
brilliant lead vocals, sounded so good on the radio in 1969.   The next track is a simply awesome, a David Crosby composition,
"Guinivere" has a really beautiful melody embellished with poetic lyrics, Crosby's lead vocals are simply stunning, sung with a
fragile delicacy that evokes the most wonderful images.  There was no hesitation when it was time to choose a track's lyrics to
represent the LP, you can read them at the top of page, just filled with mystical wonder.  The quietly played acoustic guitars on
the backing gave the vocals a perfect platform, personally I love to hear acoustic guitars creating such a superb timeless feel.
The vocal harmony from Graham Nash is as stunning as Crosby's sublime lead vocals, the Byrds loss was CS&N's gain, nobody
sang as beautifully or so angelically as David Crosby, the deep intensity to the song contains the very essence of traditional
folk songs.  I wrote before how this special trio of songwriters were an added advantage to their outstanding vocal abilities,
"Guinivere" was the composition of a master of songwriting.  The sound quality on this fragile song is just stunning, I was too
  entranced to think or care about which speakers those very moving sounds came from, although my attention remained fully on
  the audio, it was stunning!  From David Crosby's exquisite composition, now one of equal intensity from the pen of Stephen Stills
  and what a song "You Don't Have To Cry" is!  Another wonderful melody of great gentleness and beauty, the instrumental backing is
once more purely from acoustic guitars and light percussion, then more of those staggering vocal harmonies from three vocalists
born to sing together. Not forgetting Neil Young was soon to join them!  The intro features notes from a single acoustic guitar,
beginning from a gap with light surface sound entirely from the original pressing related.  A reminder this is vinyl being played
  for the very first time in 47 years and this is vinyl, I include a;l I hear but this is a 60's record in need of several plays to
achieve the maximum sound quality. So just the lightest surface sound starts to disperse during the sparse intro, then into
 the whole song with incredible audio clarity and even for such a delicate recording, tremendous power.  Experiencing joys of
a first pressing vested in the actual sound of the era itself, will only lose all the enjoyment or purpose if such gently played
music needs a little patience.  Anyway, once into the track, this lovely soothing track plays without anything able to break the
magical spell cast by the emotionally saturated "You Don't Have To Cry".  Next, Graham Nash's equally superb composition
ends this side with "Pre-Road Downs", another song that became a regular at their concerts.  Stephen Stills was kept rather busy
  here, as well as singing he plays the superb organ and his incredible electric guitar comes straight from Buffalo Springfield days.
  It was only a year since they broke up and there is a dreamy, floating psychedelic sound to that guitar, panned from the left for
the verses, then Stills' gripping solo occupies both the channels. A song about a band about to go on tour and the travelling and
hotel life, here the album lyrics more that depict this era's life on the road for late 60's musicians of this persuasion!
The time approaches, hotels and midnight coaches,
  Be sure to hide the roaches.
  After carefully turning the record over, as the first ever lay ever I can conclude this is an 'instantly clean' first pressing,
Side 2 has silent run-in grooves to a few spaced guitar chords.  This is one of the few first pressings I have heard without the
usual terrible crackles and noise. This side opener particularly suffered from constantly dropped needles and excessive playing,
anything less than perfect sound quality will not do. There is no surface sound or any audible static either, as different plates
press the sides, I can tell within seconds of hearing this Side, it will be perfect.  What an incredible song "Wooden Ships" is,
a David Crosby and Stephen Stills co-composed masterpiece, the magnificent, a fantastic song wit folk and psychedelic sounds.
  The first 60's purely sensory stereo mix is staggering, an intro of very dramatic guitar notes, a stunning production of electric
instruments begins in earnest.   Stephen Stills plays very moodily and intensively on an organ, setting it up for David Crosby to
come in singing when the music drops to a softer feel.  Stills' vocals are among his very finest, his voice is panned left for the
verse he sings, then Crosby's beautiful voice for the next verse is heard entirely from the right speaker. Stills continues still
panned to the left, closely followed by Crosby's verse once again from the right speaker. That intensity mounts and mounts, then,
  Stills' sensational electric guitar signals a volume and yet another intensity rise and they sing together from opposite speakers.
  At the end of this verse, glorious vocal harmonies are sung by all three and next Stills' guitar really takes off with psychedelic
overtones, his organ picks up on the theme and now really dramatic music all the way to the end of this absorbing "Wooden Ships."
A fantastic blend of gentle and very deeply passionate music, the sensory stereo mix is in stunning sound quality and the sheer
power of this record is let loose here, the  effect from Mint vinyl is simply immense.  Is it possible to describe "Wooden Ships"
in text?  I doubt it, even knowing this track hinged on the special and unique musical chemistry of the band, recorded together
  for the first time, I had to give it my best shot.  From dramatic tension and searing intensity, another truly delightful track, a
Graham Nash  composition he sings nearly solo, "My Lady Of The Island" is a very delicate folk song with a beautiful melody.
  Sung to just a quietly strummed acoustic guitar, this record's sound is once again unbelievable! The gap is nearly silent, by
  'unbelievable' that is partially for the first play in 47 years, that was not just for the sheer beauty or the haunting melody or
the most wonderful sharp sound quality, there is only fractional natural static, but that was how you first bought this album in.
  1969.   Only that is low level, I can happily predict after several plays even that will  be gone, I refuse to make excuses for a.
  true Mint record that has yet reached it's true potent sound quality.  Mint records are priceless and extremely rare from 1969,
  Downloading music cannot get close to the 'hands on' personal input made by the listeners, the reason vinyl outlived even CD's.
  Although Graham sings this as a solo track, David Crosby does in fact come in with some absolutely stunning vocal harmonies, not
  just the lyrics, they both vocalise an improvisation of haunting beauty.  Great albums are dependent on great songs, so far it's
  been every single track, I could almost end it here, but there's even better to come!  How can I find suitable words to describe
  the fantastic "Helplessly Hoping," without repeating all of the superlatives used so far?  For an unforgettable melody and their
  staggering vocal harmonies,"Helplessly Hoping," is yet another song to leave a lasting impression, long after the track finishes.
  playing. A Stephen Stills composition rooted in folk music, C.S. & Nash developed a sound that even today is still totally unique
That is best summed by only an artist of Neil Young's integrity and own special uniqueness, was the only possible choice to  
  create a quartet.  Meanwhile this trio had such a perfect blend and that  musical chemistry was electrifying on even the quietest
  songs, such a ratified feel hangs over this amazing performance, it could never be artificially created by adding studio effects.
  At over five and a half minutes long "Helplessly Hoping", continues keeping you wrapped up and thoroughly engrossed by the
  way every single song is followed by something of either equal of even more greatness.  The 60's were fast running out of time,
  but by creating such peaceful sounds from only vocal harmonies and acoustic instruments, CS&Nash were the epitome of the latter
  part of that decade's ethos.  The sound here is just awesome, razor sharp sound for the vocals and the singular acoustic guitar,
  plus there's not even very slightest surface sound.  How to follow that track on album would have presented a problem for most
  artists, then David Crosby was unlike most other artists. His last composition on the album, "Long Time Gone," has an intensity
  so thick, you can cut it with a knife. This track was really a foretaste of the incredible 1970 "Déja Vu" album, now a wonderful
  instrumental build up creates re-creates the dramatic tension of previous performances, Stills is playing out of his skin on the
  organ and the vocal harmonies here are just breathtaking.  Stills' superb electric guitar enters the equation, a song all about  
  the glorious melody and the simply staggering vocals.  The stereo mix plays a major role as their perfectly balanced voices hit
  you from both directions and the part David Crosby sings in a passion filled  voice, is a reallly spine tingling moment;
"Speak out, you've got to speak out against the madness, you've got to speak your mind....if you dare."
  All heard in absolute audio perfection, now another inspired Stephen Stills composition to end the album, one of the finest debut
LP's in the history of rock music, the sublime,"49 Goodbyes."  I have reached the point where I can only repeat how a melody, a
simplistic backing and stunning vocal harmonies are such a lethal mixture.  This moves so close to the Buffalo Springfield sound,
  only here you have the Crosby and Nash vocal harmonies to Stills' outstanding lead vocals. I now feel I have exhausted any more
descriptive terms, as the last track it's good timing because normally I would just settle back in a chair and turn up the volume
to soak up the wonderful sounds on this album, not try finding suitable words to describe an exquisite listening experience.
  {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!