THE VELVET UNDERGROUND & NICO Very Rare Orig UK MONO

	£		155
	$		205

ONEADAYRECORDS – Simply Delivering Quality Music to the World.

Postage: UK £4.25. Europe £11.75. Rest of World £15.75. ALL signed for. – NOTE: I now apply the Ebay ‘4-day’ rule for non-payment – returns within 14 days only. I try to keep my P&P as low as possible after the very significant Royal Mail price increases.

Artist or Band: THE VELVET UNDERGROUND

Album Title: The Velvet Underground & Nico.

Producer(s): Andy Warhol is credited as ‘Producer’ but apparently had minimal participation in any ‘production’ of this record. Members have since stated that this record was actually not ‘produced’ as such at all. The sound of this album was made by two engineers: Norman Dolph and John Licata assisted by the band. Tom Wilson is credited for producing ‘Sunday Morning’.

TRACK LIST:

Side 1: Sunday Morning; I’m Waiting For the Man; Femme Fatale; Venus in Furs; Run Run Run; All Tomorrow’s Parties.

Side 2: Heroin; There She Goes Again; I’ll Be Your Mirror; The Black Angel Death Song; European Son.

Label/Format: Verve – Ultimate first UK issue with MGM credits and the embossed ‘K T’ tax codes on side two. These fragile characters totally unworn, scuffed or flattened.

Label Conditions: Both are hugely impressive: very clean, fresh and attractive. Side one has three or four very fine and light spindle marks that hardly even show. Side two fewer still and even fainter. Finding a mono copy of the legendary record with better labels will truly prove near impossible.

Cat Number: VLP 9184.

Mode / Speed: Mono / 33.3 rpm.

Warps: Assume all records I offer have no warping of any significance and all tracking is easy and effortless and should play on all turntables and even ‘budget’ decks.

Weight of this Record: 136 grams. A very good solid weight.

Country of Manufacture: England.

Rarity & Introduction: Very rare, make no mistake and one of the rarest albums by a ‘major act’ in rock history. Although the world now recognises this album for what it is, an undisputed underground masterpiece, this went practically unnoticed and ignored within the UK when first issued. Along with the groundbreaking debut Mothers of Invention album, the equally groundbreaking ‘Freak Out’, also on Verve, this album was far too ahead of it’s time for the record-buying public. Few British record collectors were prepared to shell-out on an unknown ‘weird’ American bands at this time. Most had their heads immersed in ‘Sgt Pepper’ and psychedelic mania and this album was almost universally ignored. For the tiny few, braver and more adventurous music fans of the day who did buy this, few were hi-fi buffs and those that do surface are invariably trashed. This album was issued in both modes: the stereo version could be argued to be rarer still, but the monos are nigh-on impossible to find in anything like decent condition. Indeed, this is only the second mono UK copy I have ever seen before in anything like good enough condition to offer. It is a very fine copy indeed, but not perfect. There are three small marks on side two with a few brief clicks – it appears one (and only one) trauma from the distant past has left it’s mark. That apart, it’s a superb copy with any other marks fine and very faint and of no issue whatsoever. Two of the marks on ‘Heroin’, one on ‘I’ll Be Your Mirror’.

Now on my play-grade, it was quickly noticed the brief few clicks came from almost exclusively the left channel only. So, being a mono record, where the information is the same from both speakers, the solution to a nigh-on perfect audtion of this album was to listen to it as nature intended. In my case, I simply disconnected one left speaker terminal and listened like a mono record player it was intended for. A high percentage of amps have a balance control, so simply turn and cut off the left channel and the clicks disappear – or they did so on my equipment. For those simply wishing to listen as it is, the clicks are only few and some occur on the loud part of ‘Heroin’, so are less apparent anyway, but I do recommend any winning bidder to get the real mono experience and listen via one channel – it is then a near perfect record and sounds amazing.

This record without doubt has hardly been played and has avoided any distortion or groove wear, and – the small marks apart – could be one of the best original UK monos you will ever find. I would be certain very few of these were even pressed in the UK, so although it has the earliest Mother and stamper codes, they are possibly not quite so relevant as some albums as I feel most examples will be similar. This WAS the age of the mono record and fewer people had stereo equipment bar the more serious audiophile listener who would have had little interest in this album. The UK release varied considerably to the US version. There it was a gatefold format with it’s infamous banana artwork - rarely seen these days undamaged. The back cover, used here on the front, was in most cases censored in the US, with huge paste-overs to hide what was deemed offensive artwork of Reed. Only later in the UK was the banana gatefold cover used for repressings on MGM, the single flipbacked and laminated covers remain unique to the absolute first UK issues. This has long been one of my favourite albums of all-time – still a toss-up between this and Zappa’s ‘We’re Only in it for the Money’ – another Verve masterpiece. Both albums broke all the rules and almost reinvented the genre of ‘rock’ music. This is a raw album, never a hi-fi piece as most will already know, but this offers a rare mono experience on vinyl with the sound of the decade of issue and many agree the mono mix is more open and ‘better’. Rarely seen or offered in this mode with such little use – I consider the brief blemishes on side two only relatively minor on such a record – so many written-off totally by excessive use, poor storage and poorly maintained equipment of the day. This is a superb record and one of those priceless albums that will forever live in rock music history.

Original Year of Release: 1967

Matrix Nos: V 5008 A - 2 / V 5008 B - 2

Mothers / Stampers: 1 G / 1 R

Musicians: Lou Reed – Lead guitar, Ostrich guitar, vocal; John Cale - Electric viola, piano, bass guitar; Sterling Morrison - rhythm guitar, bass guitar; Maureen Tucker - percussion; Nico - vocal. [NOTE: This is the only album this line-up ever recorded together. Nico wanted more vocal parts on future albums, but this was rejected and she left soon afterwards. Cale made one further album with the band before leaving himself whereupon the band’s music mellowed considerably].

“Not Since the Titanic ran into that iceberg has there been such a collision as when Andy Warhol’s Exploding Plastic Inevitable burst upon the audiences at The Trip” – LOS ANGELES TIMES.

Album and Band Info: This album for me, along with Zappa’s Freak Out is the most important album in ‘rock’ history, a true landmark recording that expanded the boundaries of the taboo into ‘popular’ music. Topics only hinted at previously were laid open and nothing was held back – a record that ventured deeply into unchartered territory and into the minds of those prepared to listen. While other bands of the era were singing songs of love and peace, The Velvets and Zappa offered a stark alternative. Revolutionary, chaotic, uncompromising, daring and totally unique – this album even today sounds radical and only it’s primitive sound gives away it’s great age. Nothing had been heard like it before, or since and it changed the face of ‘modern rock’ music for all time. Two American guys, a female percussionist, a classical Welsh viola and keyboard player and a German femme fatale vocalist – hardly conventional from the outset – and the material these five put to vinyl was little short of breathtaking.

“Warhol’s brutal assemblage – non-stop horror show. He has indeed put together a total environment, but it is an assemblage that actually vibrates with menace, cynicism and perversion. To experience it is to be brutalised, helpless” – CHICAGO DAILY NEWS.

Daring, unconventional and light years ahead of the time – the subjects covered in their songs was so head-on and controversial, it was little surprise no other labels wanted them, and even Verve were nervous. This too, a label that introduced the world to Zappa’s Mothers of Invention. Hard drugs, sex, pushers and sado-machochism are just some of the subjects featured within the songs and this groundbreaking album was reviled on issue. So-much-so, they never had any commercial success within their recording period at all. No air-play and almost universally ignored at the time, for the pop-loving public, most found it unlistenable and it sold very poorly, especially in the UK. Only the brave few would have parted with hard-earned cash for such a revolutionary band and new sound – few original UK Verve copies will ever be found and for those that do show, most will be unplayable and wrecked. Bought by certain types of the day, and few were hi-fi connoisseurs with better equipment. This legendary record is now regarded by most as a genuine classic – I consider it a masterpiece – and I openly state it’s possibly my favourite album of all time – certainly in my top five for sure along with The Doors, Zappa’s We’re Only it for the Money, Beefheart’s Trout Mask Replica and In the Court of the Crimson King – yes my preferences are still for the more challenging end of the music spectrum. The only negative (for some) was the low-fi sound quality, this is not a high fidelity recording. Quite basic sound and no digital ‘spiffing up’ will ever make this one sound better. I actually think this primitive sound enhances the music’s appeal which varies from delicate pop to ferocious feedback-driven mayhem. Played with sufficient volume, this record can really pack a fair punch and without doubt, the early vinyl still has hidden sounds that later formats seem to lack. The mono mix offers subtle differences and portrays the music differently. A backdrop of Reed’s piercing guitar – the ‘ostrich’ guitar is a big drone guitar as can be heard on the sublime Nico sung ‘All Tomorrow’s Parties’ [contender for my all-time favourite album song] blended with Cale’s eerie electric viola with Mo Tucker’s primitive drum-beat (she did not use cymbals on this record). Hardly gifted technically, her unique pounding of the skins gave The Velvet Underground an even more basic sound. She did not play on the final proper VU album Loaded due to pregnancy and their sound became far too polished for many fans liking, and band members – even ‘Mo’ herself have stated that was a mistake. The sound is held together by the under-rated rhythm guitar of Sterling Morrison. John Cale was at the forefront of the early Velvet Underground sound, an avant garde classically trained string player, his screeching viola cut right through the listener and is predominate in the almost unthinkable content of ‘Venus in Furs’. But even that controversial track is overshadowed by ‘Heroin’ which starts very gently before Reed ‘puts a spike into his vein, and things aren’t quite the same’ – the whole trip from beginning to end is a rollercoaster ride ending with a guitar frenzy ‘as the smack begins to flow’ – no wonder Verve were nervous, this was the ultimate trip into self-destruction.

“Nico astonishing – the macabre face – so beautifully resembling a momento mori, the marvellous deathlike voice coming from the lovely blonde head” – David Antrim, ART NEWS.

Not all is chaotic though, there are moments of real beauty on this set, provided by Nico’s (real name Christa Paffgen) haunting, dark Germanic vocal. ‘Femme Fatale’ is gorgeous and delicate as is ‘I’ll Be Your Mirror’ but best of all, for me anyway, is the truly stunning ‘All Tomorrow’s Parties’, a track I could listen to every day just for the sheer pleasure of it. A moderately slow, hypnotic driving rhythm with piano, drum beat and tambourine opening before the beautiful vocals start – I don’t have the words to describe the beauty of this track – I will simply state ‘It’s perfect’ and anyone who is not moved by this one simply does not like music – coincidentally – this was Warhol’s favourite song too – listen and enjoy. Of course, the vinyl includes the original definitive version, most CD versions of this song actually use a different cut of this track with Nico’s voice sung solo. On this original vinyl, her voice is double-tracked and for most is superior. The cover, the content, the band – all controversial and groundbreaking – clearly Warhol influenced – are magnificent, and just holding this famous old record gives pleasure. Not pristine, but does it really matter? – an album like this is better a little aged – here only mildly so. An issue of this magnitude really demands both the UK and US versions are obtained as the packing is so different.

“With the Velvets comes the blonde, bland, beautiful Nico, another cooler Dietrich for another cooler generation. Art has come to the discotheque and it will never be the same again” – John Wilcock, EAST VILLAGE OTHER.

The record here appears played very little, okay it has suffered a possible jolt in the past and has a small few clicks, on a mono record like this is, hardly catastrophic? And listening via one speaker, in mono, as explained above is an easy solution. This is a very ‘basic’ recording and unpolished, but it’s simplicity adds to the thrill of it’s rawness and I feel it works perfectly – this simply would not sound right any other way. Recorded in just eight hours with a shoe-string budget, any over-production on this one would have marred it’s impact and spoilt it’s directness and attitude. This record would have rarely been bought by hi-fi buffs or sound connoisseurs – only the brave and adventurous – I was only ten when this was issued and I did not discover the delights of the ‘Underground’ until around 1972. My first copy of this album was a UK MGM example (thinly pressed and crackly hasten to add). Influential beyond belief and admired by many later bands and now, most all critics – how times and attitudes change. With so few early Verve copies around and most that are found trashed, this unique album is a fine copy. The cover is strong with no damage and any ageing quite modest with a little discolouration and one small stain (as seen in close-up on the back). For collectors needing this remarkable record, it’s a copy worthy of high consideration (unless perfection is mandatory). A US near mint, unpeeled banana example will be like gold-dust to find and probably command a massive price – and I am pretty sure these are easier to locate than this. The UK originals are seriously rare – indeed much rarer than the Zappa Verves. The greatest rock album of all-time? – well possibly, this is an immensely rare opportunity to own it in mono.

“The sound is a savage series of atonal thrusts and electronic feedback. The lyrics combine Sado-Masochistic frenzy with free-association imagery. The whole sound seems to be the product of a secret marriage between Bob Dylan and the Marquis de Sade” – Richard Goldstein, NEW YORK WORLD JOURNAL-TRIBUNE.

Cover Grade and Format: NEAR EXCELLENT: a single format with front laminate, this wraps around the closed edges on to three external rear flipbacks. This is the rarer and correct VLP mono original, it was printed and made in England by Garrod & Lofthouse and includes the ‘Patents pending’ text. This cover is very different to the US version – both essential.

Cover Front: No banana on the UK version, this was more like the back of the American-made one. The laminate retains a very fine shine and clarity with any traces of any dulling light and faint as seen under angled light. This is fully adhered with no lifts or peeling. Incredibly, this has just one small half moon surface crease but little else other than tiny edge hairlines that few covers ever escape totally. A little age toning or darkening near the edges – just enough overall to remind of the great age of this prized rare mono cover, but I can seen little to worry about unless perfection is mandatory.

Cover Back: A fairly small and quite light stain towards the top right corner (area shown in close-up) and some toning on and around the flipback ends and edges – this hardly unusual. One small laminate pull on the right flipback end shows little. Any general grubbiness on the unprotected back panel is mild and light and hardly a crease to be seen. The delicate flipbacks are all solid and with no real damage, the ends are devoid of grime, only the discolour where the ends were likely once sticky. So a very fine back to complete and attractive front, again just modest reminds of it’s substantial vintage.

Top Edge: A couple of tiny surface chips, little else.

Bottom Edge: Similar again.

Right Edge(s), and Type: Clean, quite sharp with a fairly ‘rustic’ style trim in manufacture. This has no feathering or trimming and any burr traces or thickening tiny and light.

Spine and Text: Solid, clean and quite straight with minimal compression. The ends are nipped in manufacture. All text is perfect and unworn and this retains full laminate cover that is smooth and unscuffed.

Corners: Small tip rubs with little visual impact being white. All retain fine to very fine shape.

Cover Summary: A classic piece of rock history, sadly so overlooked at the time, this almost single-handedly reinvented the face of alternative music. Verve, a label better known for jazz, took the challenge and gave the world two massively influential bands – Zappa’s Mothers of Invention and The Velvet Underground. I cannot express my gratitude enough. This only mildly aged cover does it near maximum justice and will please many, if not most collectors. Those in mono will prove immensely difficult to find and the true use of word ‘Rare’ applies.

The Inner Sleeve: EXCELLENT: a plain white solid unlined inner. Still quite white with a little toning around the sides. Minimal creasing and no edge splits or repairs. The type of inner that reinforces the fact this record has been played little.

Vinyl Condition/Visual Grading: EXCELLENT++ / NEAR EXCELLENT: Side one is superb with any surface traces tiny, few and faint. Side two has three small marks as mentioned already and a few brief clicks are heard. Also a few very fine hairline surface marks are seen more under light that have no sound at all. A possible jolt has left three small marks, but those apart, a superb vintage mono record. Given to what most of these old underground albums are seen like, this is still a very attractive visual copy that is very clean with a fine shine, jet black and very solidly pressed. All the evidence of those superb clean labels and playing surfaces, as well as the mostly exceptionally clean sound convinces me this one has been played very little. Okay, one mishap – hardly a catastrophe – this tracks effortlessly and still offers almost the best sound you will hear from an original mono copy bar the aforementioned mark. Those that took the challenge and wanted to hear what this revolutionary band had to say, more often played these almost ‘lost’ originals to destruction on goodness knows what. Rarely light tracking record players that is for certain. With that in mind, this copy has survived the era well – VERY well in fact and still looks a very impressive copy.

Album Played For Grading: Yes. [I play ALL records I offer before submitting to Ebay, also the record is played in its entirety unless clearly stated otherwise. I do NOT play snippets or joining grooves to check for sound quality and quietness – I play from the beginning to end via clinically revealing B&W speakers that include the legendary tweeter from their awesome Nautilus range that reveals every blemish or minuscule sound present on any record.]

Sound Quality and Audio Grading: This landmark record plays (for practically all) even above it’s impressive visual grading with very little to fault bar the brief clicks. I state again: this record plays almost perfectly if the left hand channel is cut, the clicks disappear leaving the ultimate mono experience. This how this single channel mode album was designed to be heard and when so, it sounds fantastic. Minus these small marks, I would happily state, this is a superb mono record that would prove incredibly hard to find better – and almost still applies anyway. Effortless and perfect tracking – as stated, a very basic recording but the mono mix does present the music differently, and as far as I know, this is the only UK version available on vinyl in that mode. No hi-fi classic for sure, but the sound is just right for what it is and I for one would not want it any other way – the content is far more important than the actual sound. There is minimal surface sound and is very well pressed and all the music and vocals are as sharp as when made – there is NO sound degrading at all in terms of fidelity loss, and this has NOT been subjected any any worn stylus. With most of the content intense and raw with recorded distortion, any minor blemishes are washed over. Sie one plays beautifully and most of the other the same. Some collectors even enjoy traces of ‘imperfection’ to remind themselves what they are actually listening too – a record into it’s forty-fifth year – not a clinically silent CD. I enjoyed every moment of this record and the sense of hearing the genuine article is massively rewarding – just think, this was actually in the shops when this band were still together and recording. Any winning bidder, try the single channel experience by cutting the left speaker and turning up the volume – it is truly mindblowing. A landmark recording in the history of underground rock. For those seeking this one, it’s a copy worthy of high consideration, it’s not perfect, but for this one, is ‘perfect’ really necessary? A record laden with history and importance, arguably the most important album ever made – you decide.

End Piece: Dark and brooding – Lou Reed and John Cale (here with Nico) are three of music’s most uncompromising characters – together they were unstoppable and although their early liaison was only relatively brief, the albums they made together with The Velvet Underground are unforgettable, timeless classics. No serious record collection can ever not include include The Velvet Underground & Nico. I found this vintage UK mono copy a delight and I still feel privileged to offer it – The Greatest Album ever? – well it’s close, but possibly yes. Pop music fans will clearly disagree, but I like music on the edge that has something to say. Truly disturbing and mind-shattering, totally unique, but beautiful. ‘What Costume Shall the Poor Girl Wear’?… totally priceless.

Now one of the most established sellers on Ebay and still offering the finest and most accurately described and graded records I can find. I pride myself on offering a variety of genres to keep my site as interesting as possible. I will rarely offer any record that falls below a true Excellent grading, unless its of a certain rarity which will justify offering a lesser grade. I try, to the best of my ability to describe as accurately and as honesty as I can all items I offer for sale with all the relevant information I can think of to help any potential bidder and collector. You may notice I only submit records sparingly on Ebay - on average ONEADAY, a couple more at weekends if time permits, hence the name - time rarely allows for more as I Play-Grade virtually every record I offer in their entirety, not just bits to guess a grade - visuals alone do not always tell a true or full story. I will mention any defects or flaws no matter how small that I notice to be fair as possible to any interested collector – I am very fussy and my buyers have the right to be too. Every record I offer, whether it be a common or rare item deserves the same respect as far as I am concerned and will be treated the same - just because an item is rare does not always mean its good. I get just as much pleasure offering a relatively common record in stunning near mint condition as the real rare items. All the pictures I use for your guidance are taken with a digital camera or scanned - they are NOT improved, cleaned-up or made better looking than they are with camera trickery or enhancing with digital programmes. What you see is what you get and scanned labels will give a more accurate representation of the genuine colour than flash photography where light is variable. I cannot guarantee total accuracy for colours however but most will be very close. If any picture I take looks more flattering than the actual item for any reason, I will clearly state the fact in the advert and vice-versa. I hope the item below is to your liking - any questions can be emailed and I will do my very best to answer you. I am enthusiastic, and have a fair degree of knowledge about many genres and I promise quality items - bid with confidence - excellence comes as standard and so does Near Mint regularly. Please assume all records I offer have NO jumps, sticks, warps or writing on covers or labels unless clearly stated to the contrary. Thanks for your interest and Good luck – MIKE.

Deck: Linn LP12/Hercules/Cirkus with Ittok Mk II arm and Ortofon Rondo Red moving coil cartridge (tracks at 2 grams). Amps: Naim Nait 5i with Project USB phono stage and Chord interconnects. Speakers: B&W 704 Floorstanding 3-way Monitors (bi-wired with Terrarium Black terminated cable). All records I offer on Ebay are cleaned on a professional VPI-17 vacuum machine before play-grading for the cleanest and best possible sound and will include a brand new lined inner and protective cover too. Pictures taken with a Nikon D5000 SLR Digital Camera.

PACKING - THIS IS WHAT YOU GET.

What You Get: To confirm to the strict Ebay rules on shipping, I must now send ALL my packets ‘Signed-For’ with NO exceptions. Both buyers and sellers want their packets to have a safer journey and this is not a bad thing.

I now offer the fastest possible posting, often the very next day after payment is received or within two to three days maximum (unless on holiday). I only use FIRST-CLASS Mail. The record’s cover will be placed within a BRAND NEW soft protective sleeve and the actual record will be professionally cleaned on my new VPI-17 Pro vacuum system to give ultimate clean grooves and playing surfaces and the best possible looks and ultimate sound quality. You will NOT get tired, dull looking, dust infested records inside worn and foggy covers with tatty inners from this seller and that’s a promise and guarantee. All records are posted in professional boxes (NOT Mailers, these do not offer any real protection). The record(s) are REMOVED from their main cover to avoid edge splits and placed within a brand new polylined inner. The record’s original inner will be included if available. The boxes are then reinforced with at least TWO, ULTRA THICK stiffeners for maximum extra protection – these are FOUR TIMES thicker than commercial stiffeners and are custom-made for oneadayrecords. Really rare and expensive albums will even be Double Boxed if deemed necessary and possible. When larger boxes are used, the thick record and stiffener ‘sandwich’ is then thickly embedded into bubble-wrap to bulk out the record inside the box to centre the item inside to reduce the risk of damage still further. Printed address labels are used for clarity as well as a sender label. Customers requests or special needs for P&P will be respected if at all possible but ‘Signed-For’ posting is NOT an option anymore. I do not profit on posting and the cost of this lavish packing is NOT even charged for, I offer probably the best-value and safest shipping possible for ultimate confidence. The boxes and ultra thick double-wall stiffeners and bubble wrap make a near impregnable fortress for safe shipping and this is used inland and overseas for ALL my records, not just the rare and expensive. I will invoice any winning bidder as soon as possible after the auction ends. My ‘loss’ or ‘damage rate’ is less than one in two thousand+ based on over 8,000+ items sold in over 10 years of Ebay trading and I consider that pretty exceptional. The only damage rate acceptable for this seller is ZERO and I think my packets will offer just that. It would take a vicious postman or postal service to damage these for sure. Even one of these stiffeners cannot be bent by hand, so what chance 2 inside a box? Oneadayrecords is a MAILER-FREE ZONE. I discount of course for multiple purchases with a maximum of FIVE records per box (one double can sometimes be included subject to total weight). All postage costs are below and at the top of the listing.

NOTE: First Time Bidders: Please as me first.

PLEASE NOTE: I now exercise my right to open a dispute after the Ebay rule of FOUR days if no payment is received. I will then cancel the dispute to end the, again after the mandatory FOUR days and then offer the item to the runner-up or relist. The non-payer will also be blocked from my Ebay site and they take the Ebay consequences (a strike or removal from the system). Small businesses need prompt payment to trade and these strict rules WILL be applied.

SHIPPING COSTS & CONDITIONS – THESE comply with EBAY’S RULES - PLEASE READ CAREFULLY:

Posting & Packing: UK & CHANNEL ISLANDS all now sent via Recorded Delivery:

1 LP (FIRST-CLASS Recorded Delivery with Standard Royal Mail Insurance) [Signed For] = £4.25

1 LP (Special Delivery with Standard £500 Maximum Insurance) [Signed For, Next Day] = £8. (this includes insurance of £500). Add £2 per extra LP.

Posting & Packing: EUROPE & SCANDINAVIA. (Airmail Only):

1 LP (Small Packet ‘Signed For’ with Standard Royal Mail Insurance [£50 maximum]) = £11.75 (Royal Mail insurance is an optional extra £3). Add £3 per extra LP.

Posting & Packing: ALL OVERSEAS (non-European) e.g. USA (ANY PART OF); South America; New Zealand; Australia; Canada; Japan and other Far East; (Airmail Only: I NEVER use Surface Mail):

1 LP (Small Packet ‘Signed For’ with Standard Royal Mail Insurance [£46 maximum]) = £15.75 Add £3 per extra LP. (Royal Mail insurance is an optional extra £3)

Payment Conditions:

I prefer PayPal or cheque from UK winning bidders. I can accept PayPal from overseas bidders or direct payment into my bank account.

Potential Bidders: I will cancel any bids I feel are time-wasters. A maximum 3 days for communication and 7 days for payment to arrive - if not I will relist the item or offer to the runner-up. Fast deals get great feedback from me. Any questions - please ask and thanks for looking.

My Guarantee: If any winning bidder is not satisfied with their purchase I will offer a complete refund. I will not refund if any defect detail is clearly stated on the advert and missed by the buyer, so read the item description carefully. If any overseas collector does not understand anything in my listing, please email and ask me to help. Thank You.

SOME GENERAL GUIDES TO WEAR AND CONDITIONS TO HELP YOU DECIDE

My Use of Description Terminology: Surface Marks = Superficial, usually light marks, hairlines or light scuffs that rarely sound. Scratch = a needle mark that goes below the record’s surface, some will sound, some will not, my play-grade will inform. Original = a record that has been pressed with the first label design which does NOT necessarily mean a very first pressed record. First Pressing = A record that I believe or know to be a genuine very first pressed record. I do not claim to always know for sure, and that’s why I state the stamper and matrix numbers if at all possible, for those who claim to know what they all mean, the information is there for the collector to decide. I prefer to use terms like ‘Early Copy’ rather than ‘First Pressing’ if I am not totally sure. Surface Sound = Mild, light sound, usually light crackle or similar. Distortion = Break up of the actual sound caused by groove wear or damage from a chipped stylus – the most undesirable form of unwanted sound, vintage mono records were the most prone to this happening but not exclusively so. The symptoms of distortion are high frequency clipping, moderate constant crackle or an echo type sound quality. Violin, piano and vocals are most prone to groove-wear distortion. Feathering = Fraying or softening of the entry edge of a cover. Covers with feathered entrance edges are more likely to have had the actual record inserted and removed more than a non-feathered, sharp-edged cover which are always far more attractive. Set Off, actually a printer’s term for dark ink leaving mild residue on pale or white ink when rested upon. e.g. when a gatefold cover has black ink closed against white, this can leave some black residue on the pale area – this is mostly unavoidable or course.

The Argument for Vinyl Original sound and mix (mono mixes are rarely available on CD), high quality sound on clean copies (played on a hi-end dedicated analogue system – breathtaking sound!), beautiful, large format covers, artwork, inserts and even full size posters etc; huge investment potential, and the pleasure of owning ‘the real thing’.

NOTE: to be clear – the UK front cover does NOT include the original US 'Torso' artwork. It has the standard revised graphic instead – Mike.