Vinyl: CROSBY STILLS NASH & YOUNG Déja Vu LP, VERY 1st UK PRESSING 1970, 1 PLAY, MINT STUNNING VINYL & SOUND, SUPERB COVER, 1st Press A-1 / B-1

"HELPLESS" (Neil Young, 1969)

There is a town in North Ontario,
With dream comfort memory to spare,
And in my mind I still need a place to go,
All my changes were there.

Blue, blue windows behind the stars,
Yellow moon on the rise,
Big birds flying across the sky,
Throwing shadows on our eyes.
Leave us.....

Helpless, helpless, helpless
Baby can you hear me now?
The chains are locked and tied across the door,
Baby, sing with me somehow.

Blue, blue windows behind the stars,
Yellow moon on the rise,
Big birds flying across the sky,
Throwing shadows on our eyes.

CROSBY, STILLS, NASH & YOUNG: "Déja Vu" LP. THE VERY FIRST UK PRESSING, 22nd APRIL 1970.

RED & MAROON ATLANTIC LABEL: 2401001

MAITRIX: 2401001 (B crossed out) A ▽ 1 1 1 / 2401001 B ▽ 1 1 1
Like Test Pressings, the very first standard pressings maitrix often contain the same errors or corrections,Side 1 has a mistaken
'B' incorrectly stamped, signifying Side 2. Seen by the sound engineer who crossed out 'B' and 'A' was re-stamped on the right.
Availble to be seen in close up pictures that include both side's maitrix, this record is the very first pressing made, by virtue
of the end digits, regardless of following directly after the Test Pressings were made.

ORIGINAL 1970 ATLANTIC AND POLYDOR INNER SLEEVE, PRINTED ON THE BOTTOM RIGHT CORNER OF THE
FRONT, IS THE MANUFACTURING DATE; '0370.' SO THIS WAS MADE In MARCH, 1970, ONLY ONE MONTH BEFORE
THE ALBUM WAS RELEASED. WITHOUT ANY SPLITS JUST MILD AGEING AND A FEW RECORD IMPRESSION RELATED
VERY LIGHT RIPPLES, IN NEAR MINT CONDITION.

THE VERY FIRST UK PRESSING AND THE FIRST UK PRINTED GATEFOLD COVER, IN TRULY OUTSTANDING CONDITION.
POSITIVELY UK PRINTED BY 'E J Day, London,' WITH A PRONOUNCED TEXTURED, LEATHER LIKE TOP SURFACE
OUTSIDE, THICK GOLD FOR THE TITLES AND THE FRONTBAND PHOTO, WAS GLUED ON INDIVIDUALLY BY HAND.
(SOME OF THE FIRST UK ISSUES WERE IN IMPORTED USA PRINTED "Déja Vu" GATEFOLD COVERS.)
A really beautiful looking cover and an indication of how much care was taken to avoid the common excessive wear, can always be
found in the gold lettering on the top front, the spine and those orange titles printed on the outside of the back of the gatefold.
The spine's gold lettering, the front's titles and Atlantic logo are untarnished, ultra bright and shiny as in 1970, all totally
unscuffed and undulled, rarely found, due to the gold being printed on top of the textured, raised "leather" like surface.
This is a cover that has that superb lettering in, 'as new condition,' the standing and storage traits outlined earlier affected
even the most lovingly kept covers, I know from personal experience. Just mild brushing on the endings of the spine
and the edges, is very rare for a first issue 'E.J.Day' to still be in all it's original glory. As usual, folded at a slight angle, but enough
to place one of the shortest ever LP title almost on the back,with so many items to show, I compiled several pictures that belong
together, so the "Déja Vu" spine title is under the picture of the outside of the cover opened fully out.

The once very beautiful deluxe, embossed, textured first issue cover, is usually in a battered and terribly worn out state on the
outside's textured 'leather' finish, the condition of this cover is as remarkable as the record. This is a rarer UK made cover,
many of the very UK first pressings were issued here in imported gatefold covers from the USA because they were extremely
expensive covers for Atlantic to have made. Even the front's 19th century style band photo, was not printed onto the cover,
the picture had to be individually printed and stuck on separately by hand. That applied to so many other Atlantic related LP's
in the early 1970's, including CSN & Young's "Four Way Street" first pressings, both UK and USA covers wore badly, this is a
really exceptional, Near Mint 'E J Day' printed UK cover. The original USA catalogue number 'SD 7200' was added under the
'E J Day' credit with this text: "The Original catalogue number was SD 7200". I'm sure that was because an Amercian batch of
covers were sent over to supplement the UK printing and the two different catalogue numbers had to be identified. After the
record description I will add any fine tuning descriptive comments. As I often say, if you remove 'common sense' from cover
grading that were made from such easily worn outsides, at this grand age it makes nonsense of grading a fully laminated,
smooth surface cover without a thick photo stuck on the front!

The inside of the gatefold is like brand new, without even a suggestion of being handled, stored or ageing.
IN REALLY OUTSTANDING UNWORN CONDITION, A BEAUTIFUL NEAR MINT 1970 FIRST ISSUE COVER.

THE PRISTINE LABELS STILL HAVE DELICATE FLAKES OF VINYL SHAVINGS IN THE SPINDLE HOLE, THERE IS
ONLY ONE FAINT SPINDLE TRACE, SHOWING A ONCE PLAYED RECORD. HOWEVER STUNNING ANY COLLECTION
WAS PERFECTLY STORED, THEY SHARE COMMON GROUND, RECORDS WERE HANDLED IN PRESSING PLANTS AND
ORIGINAL RECORD SHOPS, OBLIGING ME TO CONSTANTLY STATE THE OBVIOUS FOR GENUINE TOP QUALITY
RECORDS. I NEVER LIKE HAVING TO GIVE DISCLAIMERS BUT RECORD HANDLING HAS TO BE ACKNOWLEDGED,
ANY FEATHER LIGHT, NEAR INVISIBLE TRACES ON A 48 YEAR OLD RECORD. PLAYED ONCE, THE SOUND QUALITY
IS ABSOLUTELY STUNNING, WITHOUT VIRTUALLY ANY STATIC, INCLUDING THE MORE DELICATE, ACOUSTIC TRACKS.
THE RECORD IS IN ONCE ONLY PLAYED,MINT CONDITION.

SIDE 1
"Carry On" (Stephen Stills)
"Teach Your Children" (Graham Nash)
"Almost Cut My Hair" (David Crosby)
"Helpless" (Neil Young)
"Woodstock" (Joni Mitchell)

SIDE 2
"Déja Vu" (David Crosby)
"Our House" (Graham Nash)
"4 + 20" (Stephen Stills)
"Country Girl" (Neil Young)
1.) "Whiskey Boot Hill"
2.) "Down, Down, Down"
3.) "Country Girl (I Think You're Pretty)"
"Everybody I Love You" (Stephen Stills / Neil Young)

David Crosby - guitars, lead & backing & vocals.
Stephen Stills - guitars, bass guitar, keyboards, lead & backing & vocals.
Graham Nash - guitars, keyboards, lead & backing & vocals.
Neil Young - guitars, keyboards, harmonica, lead & backing & vocals.

Greg Reeves - bass guitar & percussion
Dallas Taylor - drums & percussion
Jerry Garcia - pedal steel guitar on "Teach Your Children"
John Sebastian - harmonica on "Déja Vu"

Recorded July - December,1969, At Wally Heider's Studios, San Francisco & Los Angeles
Produced By David Crosby, Stephen Stills, Graham Nash & Neil Young.

The late 1960's dream of peaceful loving gentleness was almost over by 1970,"The dream was over" and major student unrest
fuelled a growing movement towards violent revolution, filling the Underground press in Japan, Europe and the USA. Artists had
demands placed onto them to declare their allegiances and support the many activist groups, who believed the time was ripe for
violence to be used to overthrow world governments. It might sound far fetched today, it was brewing in 1968 & 1969 and that
was how extremist and ugly the mood had become at the turn of the decade. The bigger the artists, the more they were wanted
to front radical groups, Jimi Hendrix was a prime target and if you play "The Band Of Gypsies", you can hear his response in the
lyrics. The Rolling Stones recorded "Street Fighting Man" in 1968, an apparent incitement to violence rebounded in December,
1969 at Altamont, they witnessed a fan being murdered by Hells Angels, the Stones went into a reclusive inactivity until 1971.
John Lennon wrote "Revolution" in 1968, first issued on the B-side of "Hey Jude" as a very heavy blues song, the softer acoustic
appeared on the "White Album" but the sentiments were as heartfelt. Lennon was agreeing with the activists in principal only,
but he had a real problem dealing with 'destruction,' so after deliberation and talks with radical militant leaders, instead,John
threw his fullest weight behind the Peace movement in his music, interviews with the media and his deeds. By 1969 the one time
celebration of peaceful musical gathering,s at concerts and at festivals, had violent overtones and now even the the music itself
was becoming much more aggressive. There were still other artists whose principals and integrity were unaffected, like Lennon
and Hendrix, they were much better suited to expressing ideals and any condemnations through their music and lyrics. Four such
artists pooled their collective individual talents and formed the "Supergroup" of all time.

Crosby, Stills & Nash released their debut album in 1969, but the addition of Neil Young gave them an extra magical ingredient,
that included re-uniting the Stephen Stills and Neil Young, Buffalo Springfield connection. David Crosby brought along with him
the sound and commitment of the Byrds, the UK was represented by the ex- Hollies vocalist and songwriter, Graham Nash. Such a
mighty fusion of four major artists did not always produce great albums though, egos played no part in 1970, there was a real joy
to them performing together. All four had been involved with innovating psychedelic music with their former bands, 1969 was right
on the border of psychedelia evolving into mostly heavy, progressive rock, elements of that were still in the music but something
magical happened when Neil Young joined the band. The resulting "Déja Vu" is without doubt one of the most outstanding albums
ever recorded, songs of immense significance inspired during the volatile 1969 period, would have formed the basis for their solo
projects, but all four gifted composers placed their finest songs to date, side by side with each other's. By doing so,"Déja Vu"
had an unbelievably high standard of material, and no greater example was the Neil Young song that still ranks among his greatest
ever, the stunningly beautiful, "Helpless." With the Buffalo Springfied combination of the Stills and Young's twin lead guitars
re-united, the musicianship was purely inspirational, there was a edge to the album you simply cannot artificially create, it was
a natural by-product of the intensive musical chemistry. Four fiery individuals who's songwriting reflected that sheer intensity
on virtually all the album's songs, even fourty five years later, time has not diluted the profound effect of hearing "Déja Vu".

Being this early in 1970 "Déja Vu" has always presented a real challenge to find first pressings in top condition, the cover adds
to the equation. This is not just about original pressing's age, truly great albums like this were played endlessly with a mono
stylus, in early 1970 most were still using 60's mono equipment and the needles had not been changed in that decade. Causing
the worst possible damage to the vinyl, rendering the most delicate songs into a completely unlistenable, crackling, distorting
mess, now know on ebay as 'Excellent' or 'Nice.' These first pressings were mastered with staggering audio perfection and the
fantastic first stereo mix was the culmination of every lesson learnt in the late 1960's decade, how to make the most incredible
records of all time. Yes, vinyl can only ever be vinyl and occasional natural static should never be held up as a negative, it
was there when pressed, this era vinyl will see off any other medium of listening to music, I acknowledge minimal, trivial static
but I refuse to apologise for it. I hunt for for the few copies that were hardly played and knowing precisely just how high that
audio standard actually was on these first UK pressings issues, meant in all the long years selling records I only ever have in
the past, and still only ever will sell "Déja Vu" in Near Mint / Mint condition.

Having just listened to it, the record is in stunning visual condition with absolutely perfect sound quality on the whole album,
static will always be an issue with vinyl, but any faint static is most certainly beyond how this album was first heard back in
Aperil, 1970. How many ebay regular vinyl sellers can honestly say they personally bought first pressings when they were first
issued? Even the usually troublesome acoustic guitar and vocal only, "4 + 20", barely has the merest suggestion of the lowest
level of nearly inaudible static, every original came with when first pressed. In other words.... next to nothing for such an
exposed track, this record stands as becon to all records and is simply immaculate during the entire length of "4 + 20."
The UK album's release fell inside the Atlantic label still having the 1960's red and maroon colours, today most still playable
records are on the green and orange Atlantic label, they appeared in late 1971 and ran through the rest of the 1970's decade
and beyond. My earlier listen before found even the very quietest song's audio clarity was staggering, the sound was sheer
perfection and the unique first pressing's stereo mix, sounded incredible! An amazing use of stereo panning was not repeated
on any later re-issues, a purely late 1960's sensory true stereo mix.

Side 1 has near silent run-in grooves, then a total silence that defies the age of the record and why my grading is restrained
even at 'Mint. ' That extraordinary audio standard continues before and during the very first notes of the beautiful acoustic
guitar intro. As the whole LP has the same smooth running linking grooves, there is no point repeatedly writing that for every
track but I might well find it irresistible. The acoustic guitar intro for "Carry On," is entirely panned from the right channel,
meanwhile a dormant left speaker remains in complete silence waiting for the first music signal, any crackles or clicks on a
record are immediately revealed in that speaker, and from the one with only an acoustic guitar. Without any pressing surface
sound from the left channel either, even during those exposed first seconds, this record contains the very reason I explained
why I set such near impossible audio standards for a 48 year old record. Then the left speaker sparks into life with absolutely
stunning vocal harmonies, the sensory stereo mix and audio clarity on this record, create a listening experience second to none.
I do not ever want to be considered as a salesman, but whoever becomes the next owner of this 'album of albums', will hear one of
the most sensational sounding records of all time! I am not prone to exaggeration, grading records has nothing what so ever to
to do with the crazy practice of putting very easily warped precious original vinyl, underneath red hot, high wattage light bulbs.
All described above of course comes from knowing this album from the day it was released back in 1970, then a deep love of the
music sets those almost daunting audio standards. Grading records had become a second nature, long, long before I even heard
of ebay, as there always was in all those decades, there still is only one way to grade a record, on a record deck with critical
ears! Straight away you are hearing the very intensity I spoke about before, the acoustic guitar with Neil Young now installed
takes on the edge of total commitment, you can almost picture him crouched over his guitar, head down and completely wrapped
up in every note and chord. Stephen Stills played the incredible electric blues guitar, a combination of Stills & Young instantly
heightened the initial CS&N sound from earlier in 1969. Not just their vocals, they were magnificent enough before Neil joined
them, now the instrumental backing had the same sparks heard flying between between Neil and Stephen's guitars when they
were in Buffalo Springfield. Be it from an acoustic or an electric guitar combination, the really explosive electric guitar duels
had begun back in the psychedelic 1960's. At this stage in 1969 when "Déja Vu" was recorded, only one year had passed since
they last parted company, I had better move on, the sound here is sheer perfection and even a superb acapella harmonised vocal
section,"Carry on, love is coming to us all," is in the purest and the cleanest sound without even a hint of a record playing on
my turntable. The very powerful mastering of a first pressings does cause awful distortion from worn grooves, this is crystal
clear however loudly you like to hear your music, personally I enjoy full volume which is rather useful when sound grading, this
record is naturally loud! Such tightly together close vocal harmonies with the likes of David Crosby are essentially heard only
in audio as ultra sharp as this record has them. I've written so many times about other records, there were staggering pressings
made nearly 50 years years ago, they are of course difficult to find still unworn, but then all's revealed, vinyl that just blows
away those digital re-disasters! A silent gap has to be included here, because of such a wonderfully clean, clear intro for the
beautiful,"Teach Your Children," great to hear, I love mint vinyl for it's beautiful appearance but this is a very special record
as a first pressing, the music has such incredible impact even on the very gentlest tracks. The lyrics are a direct inheritance
from late 1960's Hippy ideals, too many present kids are growing up without being taught about morals or given a direction,
Graham's lyrics are just as true today as in 1970. This song's relevance can offer inspiration to every successive generation
when bringing up children, "feed them on your dreams" is sheer poetry, as well as great advice! Graham Nash's superbly sung
lead vocals are so closely entwined with David Crosby's voice, the two just melt together into one beautiful sound. The sublime
instrumental backing has pin-point audio definition, an absolutely stunning first pressing. The backing includes Grateful Dead's
Jerry Garcia playing the lovely harmonic steel guitar, up next is that biting intensity of David Crosby's fantastic composition,
"Almost Cut My Hair," a song with the dual sound of Neil Young and Stephen Still's scorching lead blues guitars. This amazing
first stereo mix separates them into the opposite speakers, the panning effect heard when sitting dead centrally between them is
staggering! David Crosby sings this in a very forceful and deeply emotional voice, adding the feeling of genuine desperation to
an extremely tense, really dramatic performance. For anyone who missed the late 1960's and early 70's will have no doubt have
seen the film,"Easy Ryder," Dennis Hopper based his character's appearance on David Crosby's, it also captured the reasons why
having long hair attracted attention from hate filled people, especially the police! An ethos also reflected in Jimi Hendrix's
"If 6 Was 9," from his 1967, "Axis Bold As Love" album, Jimi expressed it like this;

"White collar conservative flashing down the street, pointing their plastic finger at me, the're hoping my kind will drop and
die, but I'm gonna wave my freak flag high, wave on, wave on...."

Even Crosby's very quietly spoken studio dialogue is unhindered by any form of needle sound or static, a silent gap naturally
preceded that and now another track with staggering sound quality. I had better tighten up on the text but what an album this
is, after David Crosby's impassioned song and performance, next you have Neil Young's most intensive song from any decade of
extensive career, the outstanding "Helpless." I can't resist commenting on how the gap immediately before and during the intro
are totally silent. Neil's vocals will never be bettered and the lyrics are among the finest he ever wrote and the sheer beauty
of the melody is there in a superb instrumental backing, as well as in Neil's lead vocal, when three other harmonised voices join
his plaintive lead, a form of musical perfection is realised. Neil's voice was a perfect and natural blend with the C,S & Nash
sound and for this monumental "Helpless", their harmonies alone on this magical track are worth hearing the album for. Music
this profound is a rare event on any record, a magnificent song in the ultimate sound, some things really are worth waiting for.
The first stereo mix is a contributory factor to the listening experience, especially during the soaring harmonies on the chorus,
Neil's acoustic guitar has an astounding 'real life' sound, his piano panned to the right adds to the atmosphere created, as much
as I love the backing, it's Neil Young's voice that overpowers and draws you into his emotionally charged lyrics. To think this
would have been on "After the Goldrush," was a testimony to his composing genius in 1969, that album was recorded just a few
months later, was filled with equally inspired tracks. I've no chance of avoiding total bias to this much loved album, but I will
keep a neutral stance on the sound quality, that is the easiest part! Side 1 ends with an incredible version of Joni Mitchell's
"Woodstock," a silent gap cannot be ignored as once again those vocal harmonies hit even more peaks of musical perfection,
this is a recording with a real edge behind it. Stephen Stills' remarkable guitar is a major part of this track and his lead vocal
is outstanding, this was also released as a single. The very peaceful Woodstock festival made this a perfect song for a decade
starting with violence at concerts, they sing it with harmonies that emphasise Joni's wonderful lyrics. Underlying that, Stills
near psychedelic lead guitar acts to create a contrast and an emphasis to the lyrics, how can just one side of an album possibly
be as overpowering and absorbing as this?

Side 2 opens to the album title track,"Déja Vu", for yet another David Crosby masterpiece, beginning with David's improvisations
and the band settling in, setting the atmospherics, then stopping for a second take with Crosby's '1 - 4' count-in to a fantastic
wave of acoustic guitars. Right from lowering my stylus into silent run-in grooves, however quiet it was, every second is heard in
stunningly clean sound without any surface or needle sound. I'm sure the false start on the intro was only meant as a studio warm
up before "Déja Vu" began in earnest, because it worked so well to create a loose but intensive feel, instead of being edited out
when compiling the master Tape, all that happened before David Crosby's '1 - 4' count-in was left on the record. A song filled
with so many tempo changes, mood shifts and counter melodies, almost two songs rolled into one. John Sebastian, formerly of the
Lovin' Spoonful, played the harmonica or mouth harp and an even more incredible feel develops. The intensity of this album was
softened by such beautiful harmonics of the soothing sounds from the acoustic instruments, but above all else, it was their vocal
arrangements that were simply staggering. A superbly haunting, "We have all been here before" repeated vocal piece is a really
magical section of vocal harmonies, all credit to Graham Nash for the superb top end voice. His voice is the lead vocal for the
exquisite "Our House", this great melody is sung to a minimalist backing, so full focus falls on to the delightful vocals, I should
include a near silent gap as the first on this side, a truly amazing record! From original 1970 vinyl, "Our House" is usually
so noisy and crackly from heavy re-plays, it becomes uncomfortably too painful to listen to, this has incredible, crystal clear
sound quality. From these unworn very deep grooves like these, this is the only way to fully appreciate how carefully crafted the
deceptively simple "Our House" actually was. Plus how perfectly it was segued after "Déja Vu" and before the next helping of an
an album without one weak track, in fact the next track is a real jewel of an acoustic recording. The lack of any form of surface
or needle sound on the piano & vocals only intro, is possible only from Mint vinyl. I'm certainly not saying this is not a record,
but I am saying this is breathtaking record to hear, emphasising how there is not one second of any annoying, intrusive wear
inflicted noise. I can only listen in wonder to the completely silent gap before "4 + 20" begins, this deeply beautiful Stephen
Stills acoustic composition is performed solo. A vocal and a superbly played singular acoustic guitar is normally the recipe for
very loud crackles and clicks, but as I keep insisting this is no ordinary "Déja Vu." There is virtually no surface sound and any
natural low level static is too minuscule to mention, the sound it is miraculous and such fantastic audio clarity and razor sharp
sound is there to enjoy and once again marvel at. Stephen Stills is the consummate folk musician here, magnificent playing an
electric or an acoustic guitar because he had started as an out-and-out folk artist before the formation of Buffalo Springfield
in 1966. It was both his and Neil's ambition to move into psychedelic electric music in 1966 and they were both prolific with
either style. Stills' guitar notes ring out with perfectly defined sound, a quietly sung vocal unaffected by wear of those last
decades and this really is a joy to hear such a beautiful track in immaculate sound quality. Ending into the silence that began
the track, allowing another perfectly clean and clear entrance for Neil Young's "Country Girl" is real epic of a song, written in
the form of a suite of several different songs. Neil had put together three truly beautiful individual songs "Whiskey Boot Hill,"
"Down, Down, Down" and "Country Girl" (I Think I Love You)". They all flow together seamlessly with such a brilliant fashion,
Neil's vocals are stunning throughout the entire suite and so is the production that fills my speakers with staggering sounds as
the crafted true stereo panning, affects the senses. Three different moods created here have wonderful instrumental backing,
Stills' equally inspired organ follows initial acoustic guitars, as the intensity stakes now start rising on "Whiskey Boot Hill,"
their combined backing vocal harmonies are superbly sung and then Neil's piano joins in, until you enter into a Phil Spector like
'wall of sound' by the time you reach the closing segment. The harmonies on "Down , Down , Down" now also start to to intensify
with all four singing their hearts out, what a fantastic sound that is. Then they well and truly take off onto the brilliant finalé,
"Country Girl" (I Think I Love You)," with that magical wailing blues harmonica on this part adding an incredible atmosphere of
the final part of a mini album, within an album. If Side 1 didn't blow you clean away, every part of Side 2 continues to climb to
musical peaks and sounds to leave you and your hi- fi system drooling. The audio is once more absolute perfection for every one
of the the many moods intensive suites this epic mixture of songs created. Neil and Stephen revisited Buffalo Springfield days to
co-write the last track, the title alone contains the late 60's ethos before negativity creep in, as I said before, CSN&Y were not
bowing to demands for violence,"Everybody I Love You" brings a really rousing and dramatic finish to the album. Soaring vocal
harmonies from all four of their combined voices on this full out sung track. Outstanding guitars and keyboards enforces a very
strongly delivered a message of universal love, sung with a gospel, r&b spiritual feel, Stills took over the role of singing the
answering, improvised voice for the emotional chorus. When all four voices sang in close harmony like this, it was so moving
to hear, enough to melt a heart of stone, but in a few months time, when the young armed troops shot and killed students in Ohio
University, Neil Young immediately wrote "Ohio" in shocked anger. The next day C.S.N.&Young were in the studio singing just as
passionately in protest against,"Tin soldiers and Nixon's coming.... how many dead?" Where were the activists when they made
and released the"Ohio" single as a protest against such horrors? A few months earlier, these lyrics were not casually written,
all the band whole heartedly believed in the sentiments being expressed, such tightness, vocally, musically and ethically was
why the LP itself is always a wonderful warm experience to hear, "Déja Vu" always was, and always will be an amazing record,
without anything to compare it to.
{Roy}

R & M RECORDS.
My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade
in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl
into becoming a professional record seller. Nearly thirty years ago we entered into the wonderful atmosphere
of record fairs with the highest possible standards set. When the Internet became the world's new market place for
vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be,
the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly
and very efficient service we are proud to provide;

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AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL
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WE ACCEPT: PAYPAL, CHEQUES, POSTAL ORDERS & BANK WIRES.

FOR OVERSEAS BUYERS;
WE ACCEPT PAYPAL, INTERNATIONAL MONEY ORDERS IN POUNDS STERLING ONLY.
OR BANK TO BANK WIRE TRANSFERS.

WE WILL NOT MAKE FALSE STATEMENTS ON CUSTOMS DECLARATION FORMS AND WILL ALWAYS
CONDUCT ALL OF OUR BUSINESS WITH TOTAL HONESTY.
AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT
DUTIES, WE WILL NOT LIE.