BEACH BOYS "SURFIN' SAFARI" FIRST PRESSING 1962 DEBUT CAPITOL T 1808 MONO NICE

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BEACH BOYS "SURFIN' SAFARI" FIRST PRESSING 1962 DEBUT CAPITOL T 1808 MONO
THE BEACH BOYS "SURFIN' SAFARI" LABEL: CAPITOL RECORDS T 1808 (MONO) RELEASED: OCTOBER 29, 1962 RARE FIRST U.S. PRESSING ~ MONO ~ MISTITLED SONG LABEL CATALOG NUMBERS: T-1808 (T1-1808) / T-1808 (T2-1808) RECORDED: OCTOBER 3, 1961 - SEPTEMBER 6, 1962 MASTERING/MANUFACTURING: CAPITOL RECORDS PRESSING: CAPITOL RECORDS PLANT ~ SCRANTON, PA ( "⌂" IN MATRIX) ARRANGEMENTS BY BRIAN WILSON MANAGER/MANAGEMENT: MURRAY WILSON PRODUCERS: NICK VENET & DAVID MARKS COVER PHOTO: KEN VEEDER AT CAPITOL PHOTO STUDIO MATRIX (SIDE A): (Stamped except #) T 1 - 1808 - N 2 #3 SCRANTON ⌂ MATRIX (SIDE B): (Stamped except #) T 2 - 1808 - D 6 #2 SCRANTON ⌂
CONDITION: VINYL: VG+  JACKET: VG++  ORIGINAL INNER SLEEVE
~~~~~~~~~~~~~~~~~~~~~~~~ The band on this Beach Boys debut album included:
BRIAN WILSON: VOCALS, BASS, & ARRANGEMENTS DENNIS WILSON: DRUMS & VOCALS CARL WILSON: LEAD GUITAR & VOCALS MICHAEL E. LOVE: VOCALS & GUITARS DAVID MARKS: RHYTHM GUITAR & VOCALS NICK VENET: VOCALS & ELECTRIC GUITAR AL JARDINE: ACOUSTIC BASS & VOCALS (ON 'SURFIN' ONLY)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I've been going thru my massive vinyl record collection these past few weeks and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for over 45 years and it's time to pass some of them on to the next generation of collectors.
This week on EBay I am offering up this rare 1962 First Pressing Mono copy of the great Beach Boys debut album "Surfin' Safari".
This is my original copy, purchased back in the mid 70's, that I've had in my collection and taken great care of for many years. See details on Condition below.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ This is a nice, early, original, mono American First Pressing of this great debut album by the Beach Boys.
This First Pressing can be identified by:
First catalog number (T 1808) on the cover, and both (T 1808) and (T1 1808) on the labels.
On the labels, there are no serifs on the side indicator numbers, which appeared on later pressings.
Song A5, 'Little Girl (You're My Miss America)' is incorrectly shown on the cover as "Little Miss America"
The title of A5 appears on the label as ''Little Girl (You're My Miss America)'', printed over 2 lines:
LITTLE GIRL (You're My Miss America) (2:05)
The Matrix is stamped with the early, Pre February 1963, Scranton record plant 'Anvil' symbol ("⌂"), used before it changed to the 'Union triangle' stamp in early 1963, clearly identifying this as a 1962 pressing.
This First Pressing album jacket even has a blurb on the back cover describing what Surfing is, for those who had no idea, or were never exposed to it.
It comes with it's original 1962 Capitol inner sleeve.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ This early 1962 pressing sounds great in glorious Mono, the way Brian and the band intended it to be. It's nice and punchy with great bass and great vocal separation.
The production and sound is very professional for the time, crisp and clear, but like other albums of the time, the vocals are out front and the instruments are set back in the mix a bit.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Understanding how important and groundbreaking this album was in 1962, one has to look at it in context.
One needs to remember that when the Beach Boys released this debut album in the fall of 1962, Full-length albums were still a strange and experimental thing in the Pop musical landscape.
Record albums weren't yet seen as the place for band's to show off their artistic statement, they were usually just "product", created and controlled by the Record Company, not the band. 
In 1962, most Rock and Pop records were typically quickly cobbled-together compilations, built around the hit single(s), which led off each side, and then filled out with various cover songs and other substandard 'filler' material.
They were usually 'thin' on original material and often were just another vehicle for selling the singles. Even Elvis Presley, the King, was releasing albums of 1 or 2 'hits' filled with a lot of junk around this time.
In 1962, the concept of good, solid, "Pop" albums wasn't really a thing, but 'Surfin’ Safari' was 'different' and changed that trend by being composed of at least 75% original material. It also had a consistent overall 'sound' that created an artistic statement, an overall 'feel', rather than a thrown together cash-grab 'product'
The Beach Boys, almost single-handedly, changed the concept of what albums were, what they could be, and caused ripples thru the whole record industry.
The Beach Boys created a whole new sound, the 'California Sound', An idyllic picture of endless summers, hot rod cars, girls, partying, romantic relationships, and fun Americana, all based around the overall theme of Surfing, that really took America by storm in the early, pre-Beatles 60's.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Impressively, Brian Wilson contributes 9 self-penned originals out of the 12 tracks on this album. Although some are better than others, that's an amazing amount of original compositions.
That was extremely rare and unheard of for a debut album in the early sixties. There are only 3 covers on this album. The Beatles had 6 covers on their debut album and the Rolling Stones debut contained only one original.
Remarkably, Brian was only 20 years old when he wrote all this material and put most of this album together. It's also impressive when you realize that this record was basically made by a group of incredibly young teenagers. Dennis Wilson was 17, Carl was 15, and David Marks was only 14.
At times, they sound like they've been playing together for only a couple of weeks, but they were still learning and discovering their instruments on this debut album. Carl Wilson's guitar skills sound much better, and more developed, than the other band members.
It’s an impressive and ambitious piece of work. It's fascinating to hear that the band were able to find their voice and sound so early, and have everything in place for what set them apart from their peers. You can hear the group's potential already beginning to bloom, and this album, actually, contains some great tunes for a bunch of young, amateurish teenagers.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ It's hard to realize today, just how different and revolutionary this record was back in 1962.
The Beach Boys had a fresh, energetic sound that really altered the music scene and kicked off a new direction in early 60's rock. Nothing was ever the same after 'Surfin Safari' was released.
Before the Beatles and the British Invasion changed the world of music, before Bob Dylan became the voice of a generation, the Beach Boys had already opened up a whole new exciting musical world and sold many records.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ When this album was released, most teens felt that the late 50's 'golden era' of rock and Roll was over and that rock was dead.
By 1962, Chuck Berry was serving time in prison. Little Richard had found religion. Jerry Lee Lewis married his cousin, killing his career. Elvis was more concerned with making crappy films, and Buddy Holly had died in an Iowa cornfield. 
There was a serious lack of good, rocking, upbeat music for young people, written and created by young people. 
This debut album by the Beach Boys filled that void.
~~~~~~~~~~~~~~~~~~~~~~~~~~ This album offers a rare glimpse of how the Beach Boys sounded when they were a true band in the studio, and playing their own instruments, before most of their music was performed by hired session musicians.
The band are playing their own tunes, on their own instruments, with enthusiasm and attitude that gives the performances a rawness and a Garage Grunge feel. It's solid, up-tempo, rock & roll based surf music. 
Speaking of Grunge, the Beach Boys were aware of how important their 'look' was to their success, and they were doing the hipster Plaid Flannel Shirt thing decades before any of the Seattle grunge bands made it a fashionable rock statement.
The Beach Boys really stood out from other rock and roll bands at the time. 
The songs have a fresh, authentic, grittier-than-usual surf rock sound, almost garage-like, and it sounds like a group of kids jamming in their family garage, which basically, it was.
This album is, in many ways, the 1962 equivalent of an Indy Band or Garage Rock album of today. 
It's energized and ragged, but due to Brian's arrangements and direction, it all holds together quite well.  This record proved that the band had a lot to offer and that this album was just the beginning of a much longer career. 
Brian Wilson was already showing his genius, and although his songwriting, arranging, and production skills pale in comparison to what would soon follow, there are many intriguing early glimpses of his skills on this album.
"Surfin' Safari" serves as a great starting point to many bigger and better things.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The overall sound on this album was revolutionary and truly remarkable for 1962. The Beach Boys 'sound' makes much more sense when you look at their early influences.
From '50s Rock and Roll, they borrowed from Eddie Cochran's intense guitar attack and the sly licks of Chuck Berry. They combined the vocal influences of Four Freshmen-like harmonies with the sharp harmonies of the Everly Brothers.
They took their smooth vocal flow from 50s doo-wop and Black R&B, and acquired their surf sound fom earlier instrumental surf music, and the early surf rock of Dick Dale, Duane Eddy, Jan & Dean, and the Ventures.
This record reflects all of those influences, but more importantly shows that they were able to take the pristine vocals of 50's pop and Doo-Wop groups, with the drum beats and guitar lines of late 50's Rock'n'Roll, intertwine them in a way that had never been attempted, modernized it, and fuse those styles together to come up with their own unique signature sound and style.
Pretty amazing for 1962. This was an era when Bobby Vinton, Ray Charles, and the Four Seasons were on the top of the charts.
~~~~~~~~~~~~~~~~~~~~~ It seems quaint and innocent today, 60 years later, but "Surfin' Safari" is just as deep, meaningful and groundbreaking as anything released during the first half of the Sixties.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The technology involved in the creation of 'Surfin’ Safari' was cutting edge in 1962, but pales by today's standards.
This album was recorded on, then modern, 2-track and 3-track tape decks at Western Studios and mastered for Mono. Stereo was an afterthought and not what Brian intended. Early Mono pressings, like this one, are the only way to experience this album.
This album was spearheaded by the single 'Surfin' Safari' /'409'
Although Producing credit is given to Nick Venet, both Brian Wilson, and his demanding & controlling father Murry, had much to do with the overall 'sound' and 'feel' of this album. Venet was head of A&R at Capitol Records and signed the band to Capitol, so he took full credit for this album, but it was actually heavily "produced" and created by Brian.
Brian Wilson would go on to become a Master of the studio in just a few short years, but his early genius can still be heard in places on this Beach Boys debut.
It contains sparks of songwriting and compositional excellence. The group's trademark vocal layers and harmonies can already be heard on songs like "Ten Little Indians" and "409." 
Brian Wilson had a way to go before honing his compositional genius, but this album does have early hints of the classic Beach Boys sound and set the stage for the rest of the Beach Boys' career. 
Despite being their debut album, this album serves as an excellent reference point of how far and how fast the Beach Boys would advanced in writing, production and performance techniques in a few short years.  The band would take their music to new heights quickly, releasing iconic songs like "In My Room" and "Surfer Girl" just a year later.
'Surfin Safari' is an interesting beginning to a brilliant career.
This album is historically important to the history of Rock and Roll. It was a groundbreaking, amazing album, and deserves to be in any classic rock vinyl collection.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The 12 songs on this 1962 Beach Boys debut 'Surfin Safari' include:
Surfin' Safari / County Fair / Ten Little Indians / Chug-A-Lug Little Miss America / 409 / Surfin'/ Heads You Win - Tails I Lose Summertime Blues /Cuckoo Clock / Moon Dawg /The Shift
~~~~~~~~~~~~~~~~~ If you're gonna start off your debut album as a 'new' surf band with just one classic song, it's gotta be 'Surfin' Safari'. 
"Surfin' Safari" is the clear hit and standout track on this album. It's a powerful tune, has an invigorating garage band zeal, and reflects an honest love of Surfing. It's a really fun surf rock song. 
You can tell that the band had a lot to say, both musically and lyrically.
The opening vocal line is iconic, and instantly recognizable: “Let’s go surfin’ now, everybody’s learnin’ how, Come on and safari with me.” 
"Surfin' Safari" is a great composition. The lyrics are well written, catchy, and memorable. The guitar solo is amazing, the harmonies are fantastic, and Brian will use this song as a model, and a jumping off point, for much of his future studio work. 
~~~~~~~~~~~~~~ While “Surfin’ Safari”, their first smash hit single, is catchy and driving, it was the single's Flip-side, "409", that first demonstrated Brian Wilson's layered vocal harmonies & arrangements, which would quickly become part of the 'classic' Beach Boys sound.
"409" was a solid hit on it's own, but, more importantly, it was one of the very first 'Hot Rod' songs, which the Beach Boys would become known for.
Brian's vocal harmonies are already well formed, the production and arrangements are amazing for 1962, and the song is still considered "classic" Beach Boys today.
The song was inspired by Gary Usher's obsession with hot rods, and '409' refers to Chevrolet's big 409 cubic inch displacement V8 engine, popular with Hot Rodders at the time.
The song features great vocals by Mike Love, a catchy sound, and even has a powerful engine 'roar' in the background that gives the song authenticity and some kick. 
"409" is credited with helping start the Hot Rod music craze of the early 60's, and is clearly a strong jumping off point for future Beach Boys songs.
~~~~~~~~~~~~~~~~ "Surfin'," their debut single and moderate National hit, was part 'Surf' and part 'Garage', and was one of the tunes that helped establish the 'California Sound.' 
"Surfin" was composed by Brian after his brother Dennis told him all about the Surfing craze. As we all know, Dennis was the only Beach Boy who actually surfed.
"Surfin" was originally released on the small local Colpix label, but the band re-recorded it in a slightly slowed down, reworked version, for inclusion on this album. It's the only song on this album that Al Jardine plays on. 
The song blends a doo wop inspired chorus, with surfing images, and a rough garage-like sound.
If it wasn't for the drive of their father/manager Murray Wilson, combined with Brian's fantastic songwriting, and Capitol records taking a chance and believing in them, they could easily have just been a one hit wonder band.
"Surfin" compared to the rest of the songs on this album, shows how far Brian Wilson had progressed musically in just a few months, and how far ahead of their time the Beach Boys were.
But the overall feel and sound of the Beach Boys from “Surfin’” to “Surfin’ Safari” are miles apart, and shows you how far they've come in such a short period of time.
~~~~~~~~~~~~~~~~~~~~~ Occasionally the band stumbles upon a genuinely good piece of songwriting on this debut album and 'Cuckoo Clock' is a fine example. It's another endearingly bizarre, strange, clever song.
The song is about a sweet young man experiencing the joy of a simple, wholesome hook-up with a nice young girl, only to have it interrupted by an annoying Cuckoo Clock. The narrator ends up destroying the clock because of how it disrupts the encounter.
'Cuckoo Clock', perhaps more than any other track on the album, represents Brian Wilson's early genius, and his amazing ear for melody.
The vocal melody is gorgeous, Brian's single-tracked, heartfelt, lead vocal makes him sound both sweet, and sad and melancholy at the same time.
It's the only song on the album where Brian Wilson sings lead vocals and an early example of his emerging melodic genius.
The song has complex vocals, an awkward rhythm, a nice organ solo, and strange background silly “cuckoo” sounds. The constant "tick tock" backing vocals really help propel the song. It's one of the more energetic tracks on this album.
'Cuckoo clock' gives us an early example of the intertwining vocals and instrumentals that would come to define Brian Wilson's music going forward.
~~~~~~~~~~~~~~~~~~~~~~~ As a Surf themed album, the Beach Boys pay tribute to the great instrumental surf bands of the era by performing a great cover of The Gamblers' obscure classic "Moon Dawg."
It's a fun instrumental, with wordless vocal harmonies, a few solos, and shows off Carl Wilson's early guitar talents.
Despite being an instrumental, I think it's the best song on the album, one of the best early Beach Boys instrumentals, and lends this album some true surf credibility.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Just like "Moon Dawg" is the band's nod to earlier Surf bands, "Summertime Blues" is their nod to the early Rock'n'Rollers who influenced their sound.
Although the song doesn't have the intensity and energy of Eddie Cochrane's original, the young teen duo of Carl Wilson and David Marks pull off a competent cover.
The song is raw, rootsy, and has a real 'Garage-y' feel to it. It's essentially just guitars, drums and vocals. "Summertime Blues" helps break up the album's flow of similar sounding material.
David Marks plays a great guitar solo, his only lead solo in the Beach Boys cannon. 15 year old Carl also plays competent guitar, and sings decent vocals.
Marks filled in for founding member Al Jardine, who had temporarily left the band to attend Dental school, but Marks would leave the Beach Boys by 1964, and Al would return.
~~~~~~~~~~~~~~~~~~~~~~~~~~ “Little Girl (You’re My Miss America)” provides a nice change of pace, slowing the fast tempo down a bit. It's the album's only 'ballad' type song and helps to diversify an album of similar sounding tracks. 
The song is a cover; a cutesy little love song, in that 60's teen-idol style, written by Herb Alpert for the band.
It's Dennis's first lead vocal on a Beach Boys album, showcasing his vocal talents early on, and he does a great job. His voice sounds so young & carefree, sweet & adorable. 
His voice is already beautiful and soulful and he would quickly become the heartthrob of the band. 
It's unfortunate that Dennis Wilson would always remain an under appreciated and under utilized vocalist throughout the Beach Boys career.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'County Fair' really succeeds in capturing the innocent Sothern California youth culture of the era, which the Beach Boys somewhat 'invented' and tried to promote in their music. 
"County Fair" is a particularly charming little, semi-spoken, comedic, song about lost love at the fair.
The song tells the tale of trying to win your beautiful date a prize at the fair, but getting overshadowed by the “big strong guy” who shows up out of nowhere and gets the job done, winning the prize, and trying to win the girl as well.
The song has some spoken word mockery from a teen girl declaring that she “don’t need you any more…muscles” to the intruder. The voice is actually 17 year old Andrea Carlo, who was guitarist David Marks' Mom's youngest sister, strangely his 17 year old Aunt.
County Fair is endearingly bizarre, with it's semi-spoken lyrics, sound-effects, snippets of a carnival barker, and the narrator's date adding her comments. 
The song is thick and layered, with different sounds and voicings. The carnival atmosphere created in 'County Fair' is something amazing for 1962 production techniques. It shows Brian's amazing skill at writing complex, deeply layered songs, even at this early stage.
It was an amazingly ambitious song for the 20-year-old Brian. The song's great melody, decent lyrics, and interesting aspects would be recycled by Brian a year later, to create the excellent song "I Do"
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Flip The Coin' is a simple, catchy, yet memorable tune, with excellent interplay between the lead and background vocals, and a nice dramatic hook. 
The song, written by Brian, is about how he and Gary Usher would often resort to flipping coins to decide conflicts, with Gary often winning; Heads You Win, Tails I Lose.
The song has a dramatic, stop and start section in the middle, much like 'Surfin' Safari', and they sing "So flip (bum bum bum) the coooooooooooin..." A hip song for 1962.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Ten Little Indians' is a very strange song, a remake of the traditional children's tune, and the one song that really doesn’t fit on 'Surfin’ Safari'. 
It's cute and inoffensive, by 1962 standards, but there's really nothing to it. It's the shortest song on the album, only one and a half minutes, which raises questions of why it was included.
The first single from this album was the great 'Double A' 45 of 'Surfin’ Safari/409', which was critical to spreading the Beach Boys sound, but Capitol strangely chose 'Ten Little Indians' as the follow-up single.
The release of the single caused the first, of many, arguments between Brian Wilson and Capitol. Brian wanted “Chug-A Lug” as the A side, but was over-ruled by his manager father, Murray Wilson and Capitol records representatives. 
Brian was right, as the single bombed and did not sell well. Appropriately, the original Picture Sleeve for 'Ten Little Indians' is one of the rarest Beach Boys 45 sleeves to find for collectors.
This led to Murray being fired, and Brian Wilson eventually gaining complete control in the studio and over the release of his music.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ In retrospect, 'Chug-a-Lug' would have made a much better follow-up single. It's a fun catchy song, sung by Mike, about his love for root beer.
It tells about a day at the beach during which the various members of the band hang out, chatting up girls, drooling over hot rod cars, and dancing to the radio, while Mike is pre-occupied with guzzling root beer.
It fits right in among all the other tales of beaches, girls and cars on this album.
It namechecks each member of the band, introducing fans to the band and their individual personalities. It certainly would have helped the band get better established outside of the Surf scene.
The song has impressive bass vocals from Mike Love, a decent guitar solo, and interesting instrumentation.
Comparing "Chug-A-Lug", "Ten Little Indians", and "County Fair" to "Wouldn't It Be Nice" and "God Only Knows" shows just how far Brian Wilson's songwriting would develop in just a few years.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The Beach Boys were very aware of fashion, with their matching Pendelton shirts and Sothern California style, so it's not unusual they would include a song about fashion on this album.
"The Shift" is about a dress that turned Brian on and had an undeniable effect on him.
"...wearin' a shift and it looks real fine, fits like a glove and drives you outta your mind! .... with the slit up the side, you can't resist that touch”
It's an overtly sexual song for 1962. It's actually a decent song, musically sophisticated, and solidly performed.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CONDITION: I tried to show good hi-resolution photos of the cover, labels and vinyl in my pictures.
I purchased this copy back in the mid 70's, 50 years ago, and have taken great care of it since.
VINYL: The vinyl looks quite nice. Clean and bright. A few minor 'dings' and maybe a few tiny hairlines, but No serious scuffs, palpable scratches, or obvious issues. It looks quite nice and I'm sure you'll be very happy with it.
The Deadwax has the early pre-1963 Scranton 'anvil' mark and the first pressing indicators. See the full Matrix numbers above.
I tried to show some close-up pictures of the vinyl to show how good it still looks. I'm sure you'll be happy with it.
I haven't messed with it or cleaned it, other than my trusty 'DiscWasher' brush, in 50 years, since Nixon was in office. It could use a good deep cleaning to make it even better looking and better sounding. 
LABELS: This is pressed with the 'classic' sixties 'Rainbow' Capitol labels. The labels are clean and bright. No marks or damage. The spindle holes are still sharp and clean, suggesting minimal playing and my careful handling over the years.
JACKET: As you can see from my pictures, this still looks very nice for a 50 year old OG copy.  This thick, all white jacket is notorious for showing ringwear, dirt, scuffs and damage, but this copy is still quite nice. Some mild ringwear on the far left of the front, but overall quite nice.
The biggest 'fault' is a seam split on one edge. When sleeved, it's not really an issue and barely noticeable. I showed an image in my pictures.
There's some very minor shelf wear but the artwork is bold and bright, the corners are sharp, and the spine is straight. A nice survivor.
Overall, I'll call the whole record VG++
This record has been sleeved and stored properly for years, and is still quite nice for an original pressing. You can see from my pictures it's still quite nice and acceptable. This copy is all original, and a real gem. I'm sure you'll love it.
~~~~~~~~~~~~ ** NOTE: I'm selling this rare 'Collector' record "AS IS" and "NO RETURN". It's rare and as described and I'm sure you'll be very happy with it.
~~~~~~~~~~~~~~~ I’m recently retired and downsizing and letting go some gems and rarities from nearly 45 years of vinyl record collecting. Check out the many other fantastic 45s and 33s coming soon to my page!
All records have been carefully evaluated and graded by me. I visually inspect all records under bright light, personally gently clean them with a soft cloth and then, if unsure, play them on a modern high-end turntable to get a true picture of condition. Please look at all the high-resolution pictures I added. They are all my own and are of the actual record being sold. The pictures are part of the description and can show small details, label variations, and condition better than I can put into words. 
My grading is fair and honest. I have had over 3,500 happy and satisfied EBay customers over the years, with 100% positive feedback, and I have been buying/selling on EBay for well over 25 years, so please bid with confidence!
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THANK YOU for looking and reading if you got this far.  -- JOHN