THE WHO LIVE AT LEEDS TRACK UK FIRST BLACK STAMP ALL 12 CORRECT INSERTS POSTER

	£		180
	$		239

PLEASE NOTE: IN SOME OF THE PHOTOGRAPHS IN MY LISTINGS YOU MAY SEE SLIGHT 'SHADOWING OR DARKER PATCHES' AND 'COLOUR INCONSISTENCIES'. THIS IS DUE TO EITHER AN ABERRATION OF MY CAMERA LENS OR CHANGING LIGHT CONDITIONS AND, UNLESS I MAKE A POINT OF STATING OTHERWISE, YOU CAN ASSUME THAT IN REALITY THESE DO NOT EXIST.

An Important Foreword Regarding Condition & Grading: Previous visitors to my listings will know that I offer albums which range from 'very good plus' to 'near mint' in terms of condition. I don’t restrict my offerings to just near mint, and I don’t just call everything great or excellent plus regardless of condition. Occasionally a rare album turns up which in some respects grades 'very good plus' but in other ways is outstanding so providing each of the features are individually and accurately graded - and I take great care with this - I am happy to offer it for sale. However, all vinyl albums I offer are at least highly presentable and deliver enjoyable audio, and most are much better than that. If you are intending to bid please read my comments, observations and individual gradings and check that you are satisfied before placing your bid.

Vinyl Cleaning: I use machine cleaning only when my ‘ear’ tells me that the audio performance has deteriorated by exposure over time and will obviously be returned closer to the original sound by using this method. If I think a vinyl will benefit from this I carry out the procedure with great care, but I do not clean vinyls for the sake of it - many I offer for sale have had little use and although there can be slight contamination in the grooves, even when new, that is the original authentic sound. My preferred method with little used vinyls is by soft ‘light touch’ hand brush with natural fine hair gently moved in the direction of the microgrooves. In all methods of cleaning I use a mild solution of isopropyl alcohol with a spot of gentle detergent to lubricate and clean the playing surfaces. I am aware that cleaning can be a controversial subject with vinyl collectors, audio purists and enthusiasts so I will state on each individual listing if, and how, the vinyl(s) have been cleaned just after the ‘Vinyl Visual Grade’.

Specific notes regarding grading and description: The first section of each listing summarises the album offered, contributors and format followed by the ‘provenance’ in terms of the matrix – mother – stamper trail which determines the ‘position’ of a record in the pressing process. The dedicated sections which follow explain why I consider the particular album to be rare and / or special, accompanied by my comments and observations, and then deals with the grading of each aspect of it accompanied by a brief description. My assessment of the appropriate grade for each component is based on Record Collector ‘Rare Record Price Guide 2018’. The essential ‘play grade’ and ‘audio performance’ report rounds up the description just prior to the ‘general notes’, which is the same on all of my listings. I hope that this layout, including the extensive photo gallery, will prevent bidders from overlooking key points in their evaluation. Please read the following description and take a careful look at the comprehensive photographs which show the actual item clearly and provide an informative and accurate representation.

When I mention age in my listings it is not an excuse for poor condition but as a matter of fact. I do not regard condition as age related, it is primarily dependant on care, and if you ever see something described as ‘good for its age’ I recommend you avoid it because more often than not it’s an excuse for something that has not been carefully used.

I do not use photographs to enhance albums; they are included as an aid to bidders and I always ‘frame’ the shots to highlight any flaws or blemishes – not to bleach out, obscure or avoid them. My photo galleries always feature photos taken from as many angles as reasonably possible, with ‘zoom’ and ‘enlarge’ facilities, because I want visitors to have the best opportunity to examine visual condition. I always request the maximum photo facility from the eBay system but I have noticed that on some occasions, presumably due to technical glitches, the ‘zoom’ and ‘enlarge’ does not work. If you ever have any difficulty obtaining satisfactory images from my listings please contact me via a message to the listing and I will send you more photographs as an attachment to my reply.

Album / Record Title: LIVE AT LEEDS

Artiste(s): THE WHO – Pete Townshend, Roger Daltrey, John Entwistle, Keith Moon

Track Listing: Please see label photographs for full details

Produced By: The Who with John Astley & Kit Lambert

Cover maker / designer / format / construction: MacNeill Press made and printed UK first issue cover, concept by Peter Blake, design by Graphreaks - a ‘butterfly’ style gatefold cover with inner pockets of lightweight natural raw card crude construction with a simple black title stamp to the front and credits on the inner fold of the left hand side pocket, non-laminated.

Disc Format & Playing Speed: 12” LP & 33 1/3 r.p.m.

Recording Format: STEREO

Record label: ORIGINAL TRACK WHITE LABELS with facsimile of Pete Townshend’s handwritten label text in blue – please see photographs for full details.

Catalogue Number(s): 2406 001

Country of origin and first published date: Gt. BRITAIN 1970 (May)

Vinyl ‘run off’ matrix side 1 (or A): 2406001 A//1

Vinyl ‘run off’ matrix side 2 (or B): 2406001 B//1

Vinyl ‘run off’ mother side 1 (or A): 1

Vinyl ‘run off’ mother side 2 (or B): 1

Vinyl ‘run off’ stamper code side 1 (or A): 2 6

Vinyl ‘run off’ stamper code side 2 (or B): 1 9

Vinyl ‘run off’ initials / cryptic / other identifiers side 1 (or A): none visible

Vinyl ‘run off’ initials / cryptic / other identifiers side 2 (or B): none visible

N.B. Please note that all matrices, mothers and stampers quoted in my listings are machine imprinted except where I state an alternative method next to them.

Rarity / Observations / Comments: THE WHO WERE ONE OF THE MOST POPULAR GROUPS IN THE WORLD WHEN THIS ALBUM WAS FIRST RELEASED IN 1970 AND TENS OF THOUSANDS OF UK COPIES WERE SOLD LIFTING IT TO A PEAK OF #3 IN THE UK ALBUM CHARTS – AND THERE ARE PLENTY STILL LEFT IN CIRCULATION TODAY, SO A CLAIM OF RARITY WITHOUT EXPLANATION WOULD BE NONSENSE. THE FACTORS THAT INFLUENCE THE RARITY OF VINYL ALBUMS IN GENERAL, AND THIS ALBUM IN PARTICULAR, ARE 'VARIANT', 'COMPLETENESS AND CONDITION. WITH A LIGHTWEIGHT COVER AND TWELVE INSERTS, SOME FLIMSY AND INCLUDING A POSTER AND PHOTOGRAPH WHICH WERE OFTEN PINNED TO A WALL AND LOST, THIS IS A HARD ALBUM TO FIND COMPLETE AND IN WELL PRESERVED CONDITION THESE DAYS – THE 'CORRECT ORIGINAL POSTER' IS NOW EXTREMELY SCARCE. THE ALBUM ON OFFER IN THIS LISTING IS A 'BLACK STAMP' UK FIRST PRESS, FIRST ISSUSE VARIANT, WHICH IS COMPLETE AND IN EXCELLENT CONDITION – SO TO CONCLUDE THAT IT IS 'EXTREMELY RARE' IS REASONABLE.

Live At Leeds is certainly one of the best, most interesting historically important rock albums ever produced. It is a significant collectors’ item enclosing a superb package of rock history and memorabilia with one of the greatest ‘live’ albums ever recorded. However, claims of rarity for this album are frequently exaggerated. As I stated in the leader paragraph above it was a hugely popular, and enormously successful, album that has sold in vast quantities in many variants following first release in May 1970, and they are often seen for sale, so to describe one as EXTREMELY RARE calls for an explanation.

The rarity credentials start with the cover which has the BLACK TITLE STAMP, some well known reference books and websites state that only the first 300 examples of this album were produced and compiled with the black stamp cover. Personally I think there may have been more than that but there is little doubt that only a relatively small number were made with the black stamp before the record company decided to discontinue it in favour of the blue and red stamp variants which were then produced in their tens of thousands. This means that not only does the black stamp variant have a numerical ‘limited edition’ claim to extreme rarity (even less will have survived the passage of time in worthwhile condition) but it also establishes them as being among the very first pressed and produced.

Moving to the contents, the earliest first issue inserts (of which there were 12 apart from the greaseproof envelope which is NOT included in this case) have very specific characteristics which make them identifiable from those which accompanied later pressings and reissues.

THE OUTER COVER: The buff card used for the ‘butterfly’ style opening cover with inner pockets was thicker and more fibrous on the first issues producing a slightly coarse finish which is difficult to keep clean - later ones were noticeably thinner and smoother – they often appear lighter and cleaner than the early originals. The inner pockets on the first ones were deeper. I have already explained the significance of the different coloured title stamps in the previous paragraphs.

THE INSERTS: Collectors appreciate the importance of detail so I am listing the inserts numerically and explain their characteristics:-

1./ Marquee Poster – Printed on quite thick paper with light semi-gloss front and matt, almost lightly textured, plain white paper back. Later ones and copies are generally found with thinner paper and tend to be glossier. Also, the text on the print of the originals reads ‘Tuesdays At The Marquee 90 Wardour St’ – the text on later re-issues states Track records, the catalogue number and name of the album.

2./ Group photograph – Printed on thicker photo card with a semi matt finish but it is important to note that the originals are fairly good quality prints which show clear facial detail. Later issues and copies lack detail especially around the eyes and are often on thinner poor quality paper.

3./ Isle of Wight photo print – This is a much misunderstood insert; the originals are on thinner paper than the group photo and folded centrally, again the ‘guitar overhead’ shot of Pete Townshend is pretty good quality with reasonable detail. The writing on the back is a facsimile of a dark blue biro and everything is clear, including the handwritten ‘grid’ pattern in the centre. Later issues and copies tend to be on thicker paper with either a brighter blue, or black, copy of biro on the back – these are usually less clear and the grid pattern is often incomplete. Many well informed sources believe that this was the earliest insert to be changed.

4./ Premier Talent Woodstock Booking – This contract insert varies widely in colour and paper type as the issues and copies progress. The originals, of which this is one, are printed on thin ‘old typewriter copy paper style’ yellow paper – later ones were printed on thicker paper and white paper. Also, the two ‘stamps’ one at the top left and the other ‘Received’ stamp bottom right can be seen on the originals – later ones were either so faint as to be unreadable or just not there at all.

5./ The High Numbers payments slip – Similar paper type, colour and characteristics to No. 4./ Premier Talent Woodstock Booking. The typewriter copy text is precise and clear – later examples and copies are usually on different colour and type of paper and the text may be imprecise or unclear.

6./ Marquee Club Box Office summary – Printed on quite thin off white paper, the typing is legible, the handwritten details are precise, clear and dark blue in colour. Later examples are fuzzy and / or black and often on thicker paper.

7./ King’s Agency Locarno ballroom Swindon cancellation letter – Again on a lighter to mid-weight paper, the typeface is clear as is Barry Perkins signature which is also in dark blue biro – not black, as is the case with later examples. There are claims that the first were hole punched to the left of the page but I am of the opinion that the earliest were not hole punched – as with this one. In any event it is quite likely that due to the inexact nature of production of records / albums during this era there would have been anomalies within any batch or manufacturing process – so it is possible that some were produced without and others with the punched holes; I do not believe it is possible to be definite on such a tiny technicality as holes in a piece of paper – which anyway could be put there anytime – but on the balance of the evidence it seems that those without the holes pre-dated all others.

8./ EMI Records Ltd indecision letter – On a standard mid-weight white typing paper with correct EMI red letterhead and logo and a clear facsimile of John Burgess’s signature.

9./ My Generation typed lyrics – Again on typewriter style paper with clear text and the handwritten pencil notes look like pencil. The originals have three handwritten asterisks, two on the right and one on the left – later examples often only have two, one or none.

10./ New Action bookings form - Again a mid-weight white paper centre folded with the light grey logo, the correct shade of blue and very clear handwritten text in red felt tip pen which looks original – later examples are obviously reprinted and generally on thicker paper.

11./ Notice Before Proceedings – Originals like this are on thinner than standard paper, the handwriting is very sharp and clear – it looks almost original. The stamp is a little uneven but readable.

12./ Brocks Delivery Note – Printed on the mid-weight or thinner style of typewriter paper looking close to how it would have done on an older style typewriter.

I must emphasize that all information published in this listing is based primarily on my personal research and experience, but I do believe it is accurate.

THE VINYL: The PRIMARY indicator of A FIRST PRESSING. The cover can be swapped, the inserts can be lifted, mixed and matched, copied or changed but the VINYL is UNIQUE. There were four main issues of this album UK TRACK, US DECCA, GERMAN TRACK & POLYDOR. The UK TRACK and US DECCA first issues were released almost simultaneously on 16 May 1970; other variants have later release dates. Almost all UK FIRST PRESSINGS have the catalogue number 2406 001 followed by A//1 & B//1 MATRICES on the respective sides (I say 'almost' because there was also a short pressing run about the same time at an EMI plant from a -2 matrix set which is equally rare). The vinyl weight of UK TRACK first pressings were around 135-150 grammes, re-issues and later pressings were generally lighter.

THE LABEL: White TRACK with blue facsimile handwriting, said to be Pete Townshend’s, with the notorious additional note ‘CRACKLING NOISES O.K. DO NOT CORRECT!’ – this should not be used as an excuse for a poor quality vinyl, it is in fact remarkably ‘clean’ as far as ‘Live Recordings’ go. Pete Townshend apparently added the note because John Entwistle’s bass cable was playing up during the live performances, most evident on ‘Shakin’ All Over’, so there’s some electric crackle which he did not want edited out because that would interfere with the original audio - he certainly wasn’t referring to scratches or vinyl damage. This album was originally planned to be the better of two ‘Live’ performances at Hull and Leeds, but John Entwistle’s bass didn’t record at all at Hull so they could only use the Leeds recordings.

The album offered in this listing fulfils all the above criteria and is a really nice example of a genuine UK first press, first issue of 'Live At Leeds'.

MY GRADING OF THIS ALBUM based on Record Collector ‘Rare Record Price Guide 2018’ (**n.b. please note that I grade accurately backed up by a description). I neither over-exaggerate nor under-exaggerate. I see no point in grading an item with multiple ++++ marks, or under-grading it and then stating that it should be graded better - I consider these methods to be confusing. I use the Record Collector system with either TOWARDS PLUS or a FULL PLUS to indicate variations above a grade. I have dropped the ‘minus’ indicator in favour of the next full grade down because I find that many sellers use the ‘minus’ as a method of implying a higher grade than is strictly deserved and I do not want to want to be associated with that practise. I always include a full set of super-sized photographs to provide bidders with the best possible opportunity to make their own visual assessment of each album in conjunction with my detailed descriptions.

Cover – front surface: EXCELLENT ~ light signs of wear and discolouration, mainly at the edges with slight 'feathering', no tears or damage - nothing significant.

Cover – back surface: EXCELLENT ~ similar to the front with a small line / mark towards the bottom edge.

Cover – corners: VERY GOOD PLUS ~ just minor bumps, light fraying and a little rub wear – nothing extensive.

Cover – top seam(s): VERY GOOD PLUS ~ probably deserves a higher grade but it's hard to assess the edge of a lightly worn piece of thin card, nothing wrong with it really – please take a look at the photographs.

Cover – bottom seam(s): VERY GOOD PLUS ~ same comments apply as for the top seam.

Cover – leading / entry edge(s): VERY GOOD PLUS ~ no significant faults – just a few mini indents, a little 'feathering' and light discolouration.

Cover - centre spread: n/a

Cover – spine: VERY GOOD PLUS ~ no significant faults – just a few mini indents, a little 'feathering' and light discolouration.

Cover – overall grade: NEAR EXCELLENT ~ a very impressive grade for this original cover. Due to the colour, lightweight card and general construction it's not surprising that many covers (and inserts) that have survived the 47 years since first issue are badly stained, damaged and look the worse for wear – so one as well preserved as this is, in relative terms, outstanding.

Vinyl Visual side 1 (or A): EXCELLENT ~ some superficial surface scratches, scuffs and light marks probably caused by bag movement and slight stylus contact, but nothing tangible to my light fingertip touch and nothing that interferes with play – please read the play grade below for full details.

Vinyl Visual side 2 (or B): EXCELLENT ~ some superficial surface scratches, scuffs and light marks probably caused by bag movement and slight stylus contact, but nothing tangible to my light fingertip touch and nothing that interferes with play – please read the play grade below for full details.

Vinyl Warp: nothing significant when eye tested on a moving turntable.

Vinyl Weight: 150 grammes (a TRACK heavyweight at the top of the weight range which, for this album, is indicative of an early first pressing)

Vinyl Cleaning: By hand only, light touch soft brush, very little required.

Label Visual side 1 (or A): EXCELLENT ~ light spindle trace lines, a few faint handling marks, a hint of discolouration which is hard to completely avoid on these white labels – but it's barely noticeable – please see photographs.

Label Visual side 2 (or B): EXCELLENT ~ light spindle trace lines, a few faint handling marks, a hint of discolouration which is hard to completely avoid on these white labels – but it's barely noticeable – please see photographs.

N.B. Please note that I make no adjustment or allowance in grading for minor marks, slight shrinkage marks, stretch marks / lines on labels, misalignment or marginal print bleed caused in original pressing; these features are quite normal and in my opinion are individual characteristics – not defects.

Insert: VERY GOOD PLUS TO EXCELLENT PLUS ~ all 12 originals are present and correct, including the important and elusive 'TUESDAYS AT THE MARQUEE' poster. I'm not going to grade these individually, there's nothing wrong with any of them, and they are mainly excellent to plus, but I have applied the wider grade range to account for slight creasing on the edges of some of them and the odd spot here and there – overall, a better set would be hard to find.

Inner Sleeve: VERY GOOD PLUS ~ The original Polydor / TRACK standard inner sleeve, poly-lined and correct for this album, date coded 0670 (June 1970) - within two weeks of the first release date indicating how early this was in the great scheme of things - clean, tidy and fully intact with just some light surface creases (n.b. all records I sell are shipped in a separate new plain white inner with removable anti-static liner – the 'empty' original inner sleeve is always included).

Play Grade: I consider all aspects of an albums condition and grading to be highly important and none more so than the quality of the audio delivery; superior audio performance is, above all, the main reasons for listening to vinyl. For this reason I have decided to extend my play grade to rate separately how ‘clearly’ and ‘cleanly’ the sound is received. With vinyl the listener can experience almost perfect ‘clarity’ and reality without the sound being perfectly ‘clean’ due to the fact that this is a medium where physical contact is unavoidable and the ‘finish’ in the original pressing process could vary during the course of a production run. Other factors can make very small differences: for example - lack of use, environment or type of equipment can cause variations in cleanliness. Therefore, where my cleanliness grade is lower, based on the conditions prevailing at the time I carried out my audio test, with careful use this is likely to improve.

A NOTE ON AUDIO GRADING: I REGARD PLAY GRADING RECORDS AS A PLEASURE RATHER THAN A TASK, BUT EVEN WITH MY EXPERIENCE IT IS SOMETIMES DIFFICULT TO TREAD THE FINE LINE THAT WEAVES ITS WAY BETWEEN THE VARIATIONS IN DIFFERENT LISTENERS EXPECTATIONS AND / OR THE EQUIPMENT AND CONDITIONS WHICH PREVAIL IN DIFFERENT ENVIRONMENTS. I SET OUT IN THE ‘GENERAL NOTES’ SECTION BELOW THE TYPE OF EQUIPMENT I USE AND, AS I MENTIONED IN THE PREVIOUS PARAGRAPH, I DO FIND THAT LIGHTLY USED UNDAMAGED VINYLS OFTEN IMPROVE SIGNIFICANTLY WITH PLAY. HOWEVER, UNLESS I GRADE A RECORD AS A NEAR MINT ‘DOUBLE’ FOR CLARITY AND CLEANLINESS THERE IS ALWAYS THE CHANCE OF A RANDOM ‘POP’, ‘TICK’ OR LOW LEVEL SURFACE SOUND (EVEN WITH NEAR MINT AND NEW RECORDS THERE IS THE POSSIBILITY OF LIGHT TRANSITIONAL SURFACE SOUND). SO, PLEASE ALWAYS ASSUME THAT THERE WILL BE SOME EVIDENCE OF THIS BEING A MEDIUM WHICH RELIES ON PHYSICAL CONTACT AND THEREFORE BY DEFINITION CANNOT BE ABSOLUTELY FLAWLESS. CLARITY AND REALITY OF SOUND IS THE REASON THAT MOST PEOPLE CHOOSE TO LISTEN TO ANALOGUE RECORDINGS FROM VINYL AND THAT IS WHAT I STRIVE TO PROVIDE. EQUALLY, I UNDERSTAND THAT NOBODY ENJOYS NASTY SURPRISES SO YOU CAN BE SURE THAT I WILL ALWAYS AIM TO HIGHLIGHT ANY MINOR DEFECTS AND EXPLAIN THEIR AFFECT ON THE AUDIO REPRODUCTION.

For CLARITY the audio from this vinyl grades: EXCELLENT PLUS

For CLEANLINESS the audio from this vinyl grades: EXCELLENT

Audio Performance: FOR ME THIS RECORD IS A PARAGON OF AUDIO IN ITS PUREST FORM, THE PINNACLE OF 'LIVE' ROCK CAPTURED ON VINYL TO BE RELIVED AT THE LISTENERS WHIM. EVERY TIME I HEAR IT I AM UPLIFTED BY THE VIGOUR, ENERGY AND DYNAMICS OF THE SENSATIONAL PERFORMANCE. THIS PARTICULAR RECORD IS A FINE EXAMPLE IN EVERY WAY, IT HAS BEEN PLAYED AND THERE ARE SIGNS OF USE BUT NOTHING THAT IMPEDES A SUPERB AUDIO DELIVERY. THE CLEANLIESS IS EXCELLENT WITH JUST SOME RANDOM LIGHT LOW LEVEL TICKS ONLY NOTICEABLE DURING THE NON RECORDED SECTIONS AND QUIETER PASSAGES OF PLAY (A FEW ARE REPETITIVE FOR A SHORT TIME DURING THE QUIET SECTION ON 'MY GENERATION' WHICH SOON PASS) AND THE CLARITY OF SOUND THROUGHOUT IS ABSOLUTELY FIRST RATE. PLEASE BEAR IN MIND THAT THIS SECTION AND THE GRADING IS BASED ENTIRELY ON MY PERSONAL OPINION AND AUDIO PERCEPTION BELONGS TO THE INDIVIDUAL. WITH VINYL CLARITY THERE IS ALWAYS LIGHT TRANSITIONAL SURFACE SOUND WHICH IS INEVITABLE FROM THIS MEDIUM, EVEN WHEN NEW, AND OCCASIONALLY A LITTLE LIGHT CRACKLE WHICH IS OFTEN STATIC; OR EVEN A RANDOM SOFT TICK – BUT THIS RECORD SETS A REMARKABLY HIGH STANDARD FOR AUDIO DELIVERY WHICH READILY FULFILS MY GRADES.

PLEASE TAKE A LOOK AT MY OTHER LISTINGS BY CLICKING ON THE ‘VIEW SELLERS OTHER ITEMS’ IN THE TOP RIGHT HAND CORNER BOX OF THIS LISTING - THANK YOU.

GENERAL NOTES

Thank you for visiting my listing. The section immediately above sets out information specific to the particular album / record offered in this listing. Below are some of my general comments about vinyl which you may want to browse through if you have time. Please feel free to email me with any related comments or observations; particularly if you have any reliable information which contradicts any of my descriptions as I am always interested in adding to my knowledge on this subject. When preparing my listings I use a combination of facts from reliable sources, more than forty years of personal experience and, occasionally, music industry anecdotes.

Just a visual inspection of used vinyls is almost always misleading so I play grade every vinyl I offer, before listing, on a LINN SONDEK LP12 deck fitted with a LINN KARMA cartridge down-force set at 17.5 mN (1.75 g) and a top quality stylus which I renew at intervals according to manufacturers specification, through a PRO-JECT Phono Box DS Preamplifier and manufacturers pre-set REGA BRIO amplifier with sound delivered through FOCAL CHORUS 706 loudspeakers - this is a brilliant and revealing combination enabling me to be informative with play grading.

Although it is extremely rare, there can be a difference between my descriptions, and opinions, and an individual buyer’s expectations so I have a clearly stated Returns Policy for added reassurance which is detailed at the bottom of all my listings. In the unlikely event that you want to use this facility please read the details carefully first, and then contact me to agree the procedure. There really will never be a reason to have any problem with an item you purchase from me. Before bidding please read my terms and conditions of sale below which are there to inform bidders and prevent any misunderstandings.

First Issues, First Pressings & Originals: Please note that when I refer to a First Issue I mean that the evidence suggests that the album offered is from the first batch that was issued for commercial release in the country of origin stated in the listing. Where I state First Press I mean that based on a reasonable interpretation of the matrices, mothers and stamper codes the vinyl comes from the first, or extended first, production run; these statements alone do not always mean that the vinyl is from the very first ’stamper’ ever made. However, where I state First Issue and First Press it is likely that the album offered includes one (or more) of the early vinyl(s) produced in the country of origin from the first matrix sets, first or early ‘mother(s)’ and first or early ‘stamper(s)’. Original means that the record bears the first label design for that particular pressing and, in the case of the cover, it is from the first cover manufacturer for that pressing; the label and / or cover may have very slight changes, if they were made within the first production run or, if the album was issued with an ‘in run’ label change or choice of cover designs or colours on first release, but in these cases I will try and explain the differences. This is not an exact science and anomalies will occur where I may make a mistake but I believe this will not happen very often - if it does then all of my buyers have the unequivocal reassurance of my Comprehensive Returns Policy.

My definition of a rare vinyl: Generally there is agreement that to qualify for the description rare there should not be too many of the type offered, available on the market at the time. With my listings that will be the main criterion however I will also occasionally claim rarity based on excellence of condition, or some other key feature, or an accompanying item such as an insert, which is not often found with similar vinyls.

UK first and early pressings: In many cases inexperienced sellers claim first pressing status without knowledge or evidence in the hope of achieving high prices – experienced buyers will know better and avoid those offers. Of course with the more popular huge selling albums, where the record companies were fairly sure of major sales from the outset, there were many first pressings. Also, in cases where demand was sustained or emerging the first press run was maintained over an extended release period; in other cases the first press run was specific. Generally the lower the numbers in the matrices and stamper codes on the vinyl ‘run off’ areas, on both sides of a record, the earlier the pressing therefore ‘A1’ & ‘B1’ are most often first or early pressings, but there are variants and exceptions to the rule. The most notable ones, for example where the ‘1’ matrix was only used for test, promo or industry pressings so the commercial releases started at ‘2’ or even higher, and there are a few more observations which are worth noting. There are low numbered matrices which belong to second and even third pressings (in these cases the record companies gave similar numbers to the first press of a re-issue) you can normally identify these by, examining the labels which are often different in texture and/or design, and by checking the weight of the record as the earlier pressings were normally heavier. Sometimes different symbols were used in the matrices; these may indicate an earlier pressing, a contract pressing or just simply a change of format. For example some records have A?1 & B?1 others A // 1 & B // 1 others A-1 & B-1 and so on. In these cases the mother and stamper references can help with establishing the proximity of an individual record to the original recording – each different record company had their own coding system, some using letters from words to indicate numbers, others just using numbers. Better known examples include GRAMOPHLTD & BUCKINGHAM – used by EMI and DECCA respectively. Occasionally there are high numbers on first pressings, but this is unusual. Other points to note are the manufacturer of the ‘cover’ or ‘outer sleeve’ and various characteristics or design variants. The ‘inner sleeve’ or ‘bag’ can also be an indicator. However it is not wise to rely on details beyond the matrices and labels as the covers and sleeves can easily be interchanged. ‘Made Up’, Swapped’ or ‘Doctored’ sets are not uncommon, particularly with high value albums which have inserts and special text, so the best advice is to try and make sure that everything matches the criteria thus eliminating most of the risk (a good look at the photographs on the listing, if they are of the actual item offered as they are on all of my listings, is always advisable – hopefully the sellers will also include the ‘zoom’ and ‘enlarge’ photograph facility which only costs pennies to include and it remains a mystery to me as to why many avoid this service?). As a general rule I suggest that you don’t pay hundred’s or thousands of pounds unless you are buying from a reliable source who provide you with comprehensive information and have a clearly stated ‘Returns Policy’ - or unless you’ve got money to throw away (and in that case there are any number of far more deserving charities).

Audio reproduction on vinyl: In my experience there is always an element of surface or background sound with audio reproduction on vinyl, even when new - very hard to imagine how there could not be when two solid surfaces come into contact with each other and are then amplified! In my opinion anybody who claims there is no surface sound, or ‘silence’, is hard of hearing, has not turned the amplifier on, or is using very poor quality audio equipment. Almost all used vinyl has at least light surface scratches which are always visible when viewed under a bright halogen light - which is what I use for inspection. So if you are uncomfortable with a bit of light crackling it’s probably best not to buy vinyl. In my opinion the light surface sound is more than compensated for by the clarity and ‘reality’ of the overall sound reproduction. I listen carefully to every album I list, before listing it for sale.

Please Note: All of the comment contained in this listing is subjective, it is based only on my opinion and your expectations may not necessarily correspond with my standards. If you receive an album from me and you have some differences please remember to use reasonable communication as a first option. I have a comprehensive non confrontational ‘Returns Policy’ which is clearly set out below and providing there is no abuse, or use the negative feedback system, I will always reimburse you in full for your direct costs if you return the album correctly.

TERMS AND CONDITIONS OF SALE

DESCRIPTIONS: Are given in good faith, but they are based on my opinion and standards. Bidders should note that they offer at their own risk and must satisfy themselves that they have sufficient information about the item before they enter the bidding process. Please ask questions before you become involved with the auction, NOT afterwards! Where I list sizes/dimensions they are either as stated on the item/label by the supplier/manufacturer or reasonably accurately hand tape measured; however, they are not necessarily precise, should be taken as approximate and not relied upon where absolute precision is required. This clause does not in any way affect your rights under the terms of my ‘Returns Policy’, it is stated to prevent unnecessary inconvenience to both parties.

INFORMATION: Whilst I take care to try and provide accurate information on the original listing it is possible that new information may become available to me afterwards. I therefore strongly recommend that all bidders read any revisions and the ongoing questions / answers section of the listing before bidding as they may contain updated information which could affect your valuation of the item(s). In the event that new information is published, after the time you have become the high bidder, which adversely affects your valuation of the item(s) and you wish to withdraw from the bidding process please email your request and I will use the cancel bid option with no ongoing liability to any of the parties involved in the auction.

PHOTOGRAPHS: All photographs contained within this listing show the actual item (s) offered – they are not catalogue, archive or library photographs. Furthermore they are direct images and not re-touched or modified in any way. I try to make good and comprehensive use of images on the listing in order to give the prospective bidder the best opportunity to evaluate the item(s); however it is possible that in some circumstances the photographs can enhance the appearance of the item(s) due to compression so please take this into account before bidding and do not hesitate to ask for more images or information which I am happy to send by attachment to email. This is particularly recommended with overseas buyers where returns are often not a viable option.

OVERSEAS BUYERS WELCOME: I am pleased to deal with buyers from anywhere in the world. My method of LP packaging reduces the risk to your valuable vinyls & covers in transit. Makes no sense to me to buy something important and then play a ‘high risk of damage game’ when having it shipped around the world – I hope you feel the same. I will only dispatch using a fully insured and Signed-for delivery service.

PACKING & POSTAGE: Vinyl’s are removed from covers and placed in separate transit sleeves. All components are then placed side by side in a polythene inner for extra safety and water resistance and then secured between two corrugated card stiffeners. I use Heavy Duty Mailers Specifically Designed for Vinyl Albums, which provide excellent security and protection, in conjunction with my own Ultra Safe reinforced sealing and packaging method. Internally I use 2 of the highest grade ‘B’ flute corrugated card stiffeners to prevent bending, deformation or edge/corner creasing. Packing & postage prices are NOT negotiable on items dispatched individually or separately. However, if you are a similar time multiple buyer where all items purchased are being sent to the same address and they can be combined safely, you can ask for a discounted quotation before bidding. I will only dispatch using a fully insured and Signed-for delivery service.

Postal insurance is subject to Royal Mail Standard Terms & Conditions. Quotations for other insurance such as premiums to cover non-standard risks or consequential losses are available on request.

PAYMENT: For Buyers WITHIN the UK: PayPal, or Pound sterling cheques / money orders, with minimum 7 days to clear before despatch.

PAYMENT: For Buyers OUTSIDE of the UK: Payments by PayPal only please.

CANCELLATION: The Seller reserves the right to cancel any bid, entirely at his discretion and without giving prior notice, in the following circumstances:

They have reason to believe that the bidder has not complied with the terms of their offer as set out on the listing.

The bidder’s feedback is of such limited quantity that it cannot be regarded as reliable.

The bidder’s feedback is of dubious quality and/or gives the seller any indication or reason to doubt the credibility of the bid.

MY FEEDBACK POLICY: I leave feedback for buyers after they inform me that they have received the item(s) and have left me their feedback. As I have a clearly stated Returns Policy, which does not expose the buyer to any direct loss whatsoever, I see no reason for either side to indulge in negative feedback. Providing the buyer does not engage in threats, abuse or use of negative feedback I will resolve any problem in a fair and reasonable way. If you have a problem or complaint about any transaction you have made with me contact me on somemightsell_e@btinternet.com and we will find a solution that is acceptable to you.

SUPERSIZED PHOTOGRAPHS: I have super-sized the photographs above to provide prospective bidders with the best opportunity to make their valuation before entering the bidding process, please just click on the ‘Zoom or Enlarge’ and arrows to use this facility. Sometimes due to reflection these images can appear slightly distorted, ‘graining’ can appear and dust particles can be exaggerated by the light - in reality there are no defects of this kind.