Vinyl: TEN YEARS AFTER Cricklewood Green LP w/RARE POSTER VERY 1st UK PRESS 1970 MINT

"YEAR 3,000 BLUES" (Alvin Lee, 1969) They took me down the grading station, And they classified me 'Z', 'Cause of over population, They told me that I would soon be dead. But I slipped out of the force field And hid beneath the monorail, But the automatic blood hounds, Lord, they're soon hot along my trail. Now if I had been a scholar with computer, Working hard, Then my molecular structure, Would not be on the grader's card. So, I know that they will get me, Put my index in the brain, Then the atoms of my body will be disposed of, Lordy, down the drain. They took me down the grading station, And they classified me 'Z', 'Cause of over population, They told me that I would soon be dead.

It has always been an ambition of LEO and MYSELF to record at OLYMPIC STUDIO and I think I can speak for all of us when I say we are really glad we did. Together with ANDY JOHNS, engineer and together head, we have recorded this album in layers of sound, rather than absolute separations. Thus giving separation to the various frequencies, as opposed to individual instruments. We are very happy with the sound. As for the music, we are much too involved to judge clearly, having heard nothing else for the past month. . . . once again my friend, YOU are the judge. ALVIN LEE The late, great, Alvin Lee's sleeve notes taken directly from inside the gatefold cover, sadly Alvin died in March 2013.

TEN YEARS AFTER: "Cricklewood Green" LP. THE VERY FIRST UK PRESSING, 10th APRIL 1970, IN STEREO. WHITE AND RED DERAM LABEL: SML 1065. MAITRIX; XZAL- 9583 . P - 1W / XZAL- 9584 . P - 1W. The above shows this is the very first pressing made, Decca pressed Deram records and the above is 'the first of the first for all Decca records and their associated labels. ORIGINAL 1970 POLY-LINED DECCA INNER SLEEVE, THE VERY FIRST OF THIS TYPE DID NOT HAVE THE DATE This type was introduced in the first weeks of 1970, the front bottom rim a British and Foreign Patents Application number, plus the just granted UK Application number. The printer forgot to remove the UK Patents Application number and only the 'Foreign Patents Application' was yet to be granted. This was hardly even used, so unworn at the contact points with the record's thick edges, offering full protection to the cover and record. Still the original white & blue colours without any ageing to the white background colour. A reasonably light record impression with a related crease to the left bottom corner, the record and inner not removed from the cover for the last 43 years! THE INNER SLEEVE IS IN EXCELLENT+++ / NEAR MINT CONDITION. WITH THE VERY RARE LIMITED EDITION ALVIN LEE POSTER, ONLY SOME OF THE FIRST EDITIONS CAME WITH ONE. I have to constantly contradict so called 'authorative' text books and websites, who rely on vague information given by those who were not even born in 1970! The internet has established copying 'facts' and few are in a position to challenge them, the above is true, I bought "Cricklewood Green" on the day of issue in April 1970 and then in August, the "Love Like A Man"single. My original did not have the poster and that personal experience has been repeated over decades of buying and selling the LP. Admittedly I have not sold "Cricklewood Green" for six years on ebay, but only because this was the most heavily played TYA album and I patiently wait for a Mint copy. The poster has never left the cover, so still in day of issue, Mint condition, by that I am also including the textured reverse side still being the 1970 pure white and completely unaged. The rare poster is a superb item, portraying a very intensive guitar playing Alvin Lee on stage, in contrasting black and white colours, best seen in the pictures. Bottom left is the Deram logo with the 'SML 1065' catalogue number underneath in the same white printing as "Printed In England" text in the bottom right corner. Folded into quadrants and measuring approximately 22"x 17", this really is a beauty, unaged straight edged, untorn with only the original printer's folds. Opened out there's no wear or even any handling signs, in particular the folds are not worn, thanks to being carefully left in the unsealed front compartment of the cover, untouched in 43 years. Matt, unlaminated gatefold covers may not wear as well as single covers, but the extra compartment means a poster stored away from the record, will remain in perfectly flat, undamaged condition. Inner sleves develop creases on unplayed records, so there is no better place to preserve and store album posters or inserts, than between the two sides of a thick cardboard cover, with the LP in the back compartment. The square but thin spine tended to create buckling from the record and that could crease the poster but this cover has perfectly flat interior panels on both sides. THE POSTER IS IN MINT CONDITION. THESE FIRST ISSUE MATT GATEFOLD COVERS WORE BADLY, THIS IS IN A REMARKABLE NEAR MINT CONDITION. FIRST ISSUE 'Robert Stace' PRINTED GATEFOLD COVER, DECCA USED AT LEAST FOUR DIFFERENT PRINTERS FOR COVERS MADE IN THE 1960's & 1970's. NOW FOR MORE CONTROVERSY, TWO TYPES WERE MADE FOR THE FIRST PRESSINGS,SOME STILL HAD THE DELETED FORMAT HOLE ON THE BACK COVER, SOME WITHOUT THAT, COMMON TO BOTH,DIRECTLY UNDER THE DIE-CUT OR NON DIE-CUT FORMAT HOLE; 'Patent Application Number 413212/68.' In other words, the same boxed area the die-cut format hole was cut out from, was left in place with the long ago granted Patent, Decca never got round to adding the Patent because the format hole cover only lasted for eleven months! Yes, introduced in 1969, a record company as large as Decca did not foresee Mono becoming redundant by 1970, they spent a fortune on the design and the enforced colour coded inner sleeves, by early 1970 two types in under a year, with red for mono and blue for stereo. By the end of February/ early March 1970 they were discontinued for new titles and back catalogue re-issues, the best example is the Stones "Let It Bleed." Issued in December 1969, initial pressings had unboxed logo labels and into 1970 the introduction of unboxed labels complicated matters further, they all had the format holes up to late February though regardless of the label design, but the original 1969 covers can be differentiated. In my experience, the mono pressings of "Cricklewood Green" were all in the covers with format holes, being an album that bridged the change over as it finally dawned on Decca, mono was never going to continue! In the above quote from the Alvin Lee sleeve notes, is an interesting and important fact, Alvin said the band were too close to the album to give impartial judgement about the music, he was being modest! He mentioned spending the last month past month listening to nothing but the album. The recording was completed in late 1969, so somewhere between December and January would be the time he wrote the sleeve notes ,so the cover was being prepared before Decca discontinued the format hole on the back cover, as an early April release, the covers had to me made between the February and March, therefore into the covers without format holes, hence two designs existing. Only the one mono pressing was made, as you can tell by the rarity of the records today, by April 1970 few were even interested in buying mono records, Decca soon got the message! The gatefold cover was not laminated and the superb art work has a light creamy/green toned, colour background, it soon became really grubby, scuffed, faded and stained ,unless a plastic outer sleeve was used immediately to protect it from day one. In 1970 few people were into the habit of using plastic outer sleeves yet, but this was an exception, a first printed cover in absolutely superb all round condition. The outside colours are vivdly bright, totally unfaded and as deeply toned as the day this was printed back in March 1970, that had to be the month, I was only including February because it was an outside possibility. As I write on a daily basis, standing in storage had to have some impact over a period as long as 43 years, especially when you look at the horrendous state of covers with the average use. That only involves minor rubbing to the vulnerable spine endings or left side corners and very minor traits of standing, I really think my pictures are all that are needed, once I get into the trivial it suggests an abused heavily handled cover, nothing could be further than the reality of a lovingly stored cover like this. I will continue, both sides of the opening edges are perfectly sharp edged due to a lack of use the record had, the top and bottom edges only have have the lightest possible brushing this matt, vulnerable cover can possibly have. I mentioned Decca using at least four printers and for "Cricklewood Green", I have even seen a 'Garrod & Lofthouse" cover as a positive first edition, they usually worked for EMI, that was the one and only time I have ever seen a Decca related record in a 'Garrod', was it any wonder so many variations exist and I can guarantee there is still a surprise or two out there, back to the condition details. The wide and square shaped spine is still unsquashed with the continuation of the artwork from the front to the back, with only fractional signs of rubbing, so fractional I now regret carrying on. The only any wear is thee mentioned spine tips or left side corners. I detail everything but I do insist on keeping it in proportion, because that is most certainly not visually obvious, the printing of the titles is completely unworn, unfaded and perfectly clear. As I said, I recommend seeing my pictures for the reason I feel a 'Near' prefix on the grading is thoroughly deserved, it does not get any better than this for this cover. A BEAUTIFUL COVER COVER IS IN OUTSTANDING, NEAR MINT CONDITION. THE LABEL BACKGROUND IS STILL THE ORIGINAL 1970 PURE WHITE, SHOWING ONLY TWO ULTRA FAINT TRACES OF SPINDLE ALIGNEMTS. WELL, ONE WAS AN ALIGNMENT AND THE OTHER A REMOVAL, JUST ONE PLAY BUT I WIIL TREAT THE TRACES AS PLAYS AND STATE, 'ONLY TWO PLAYS.' THE DEEPLY FGLOSSY VINYL LOOKS LIKE NEW, WITHOUT ANY SCRATCHES, MARKS OR SCUFFS.... THE SOUND IS JUST INCREDIBLE! EXACTLY AS RECORDED, MIXED AND MASTERED TO CREATE A RECORD THAT HAS DRAWN MORE ACCOLADES FOR 'SOUND' THAN ANY OTHER TYA ALBUM, WHICH IS THE BIGGEST COMPLIMENT YOU COULD GIVE TO "Cricklewood Green." THIS RECORD IS PERFECTLY REPRESENTITIVE OF ALL THE BAND, ALVIN LEE AND ANDY JOHNS ACHIEVED IN LATE 1969. THE RECORD IS IN TOTALLY UNMARKED, MINT CONDITION.

SIDE 1 "Sugar The Road" "Working On The Road" "50,000 Miles Beneath My Brain" "Year 3,000 Blues" SIDE 2 "Me and My Baby" "Love Like A Man" "Circles" "As The Sun Still Burns Away" Alvin Lee - guitars & vocals Leo Lyons - bass Ric Lee - drums Chick Churchill - organ & keyboards All songs written by Alvin Lee. Recorded late 1969, at Olympic Studios, London. Sound Engineer - Andy Johns Produced by Alvin Lee & TYA.

Ten Years After's hard rocking blues , had seen them emerging from the UK small blues clubs and the pubs circuit, onto storming their way through the late 60's decade, becoming established as one of the most talented and exciting bands in that 'Golden Era.' Next, a stunning, show stopping performance at the August, 1969 Woodstock festival, which also gave them huge success in the USA. This was the period the British music press named the 'Blues Boom,' there were plenty of aspiring bands in England and very much so in America, to make it big time there, you needed to be very special indeed. Ten Years After began as a blues band but their music was not restricted by traditional blues/jazz, they soon developed into psychedelia and a really heavy rock band....but with a difference. The rock songs were crafted compositions with complex arrangements, they were just as comfortable with psychedelia as they were folk/acoustic music, when performing a sensational song like "Love Like a Man", they were in a league all of their own and there was not another band to match them. I am talking about an ability to capture that raw, electrifying excitement in a recording studio and create some of the most stunning records ever made, but e, they stood out as having a major presence and unique talent on a stage, they were capable of living with the greatest of them all, anything less than that and they would simply blow them away. That was exactly what happened at that famous 1969, USA Woodstock Festival when still virtually unknown, they were now mixing with really exalted company of the likes of Jimi Hendrix and The Who, at the very peak of live performances. The band and in particular, Alvin Lee's blistering guitar display during the mind blowing eleven minute long "Goin' Home", was a highlight of both Woodstock during the festival itself, and the film that would later pack people into cinemas around the world. Personally I felt the split-screen editing was okay visually, but way over the to and actually distracted from TYA and the other artist's performances, but accept in 1969 it was innovative. Visually, Ten Years After were a film maker's dream and not just because of Alvin Lee's electrifying guitar playing, the rest of the band were just as equally gifted musicians. The massive impact directly resulted in embarking on an eight month tour of the USA, then the following October their brilliant "Ssssh" LP received the critical acclaim it deserved, clearly charting the musical progression made even since 1967. Still in the inspired year of 1969, the band took to the recording studio and late in the year they were riding on the crest of a wave, that wave would crash on the beach soon and once loyal fans would desert them, but for now they were on fire and in demand! They had some amazing new material to record and as usual Alvin Lee composed every song, I still think of "Cricklewood Green" as a 1960's album because it was written and recorded before the decade ended. They were now entering the 1970's decade armed with all tremdous experience, the next TYA album promised to be an amazing one, they had after all set sky high standards on "Ssssh" and were more than able to follow even that. The band were not at all happy with "Ssssh" and wanted to create sounds that would make record buyers incredulous, I have covered that in my headings and enough side really. I was only illustrating how inspired success in 1969 made them, no easing back, they now wanted to layer the instruments and create something of a masterpiece. Exactly what happened in Olympic Studio, with Andy Johns' expertise and as Alvin expressed it, a sound engineer with his 'head together.' In April 1970, "Cricklewood Green" surpassed all expectations with an astonishing set of eight new Lee compositions, everything that had been promised was delivered, but with so much more! Many name this as the ultimate Ten Years After album and I whole heartedly agree because if your collection only has one TYA album, you could not have a finer example of their music and inspired ability to craft records than the magnificent "Cricklewood Green," although as an original 60's fan I love 'em all! Just writing another song as great as "Goin' Home" was and also produce another studio performance of that immensity, was really asking too much for such a short 'space of time.' They were indeed like a band on fire in this era when they could do no wrong, they even went much further than "Goin' Home" with the song I firmly believe figures up there with the very greatest rock/blues tracks of all time,"Love Like A Man." I have listed several copies on ebay of the edited version on original singles of "Love Like A Man", even a demo, I know how this track has become overlooked by all but their original fans. A crying shame, hopefully writing these descriptions means they are being read by those yet to experience a track of such greatness. I sincerely hope so, the inclusion of the full length, 7:37 minute "Love Like A Man," elevated "Cricklewood Green" up to the greatest heights, even so, there was far, far more to the album than that staggering track! I will cover the amazing music in full shortly, "Cricklewood Green" hit the No.4 position in the UK charts, so there were many pressing batches necessary and continued throughout the the whole of the 1970's decade, including a Chrysalis label issue in a single cover. First pressings can be traced back to the very first records made, if unworn, these are always very special, if only the historic significance of containing 'sound' being taken into another dimension and no interventions by other sound engineers in a later period. Before I start praising every track, and they are all absolutely stunning, I will conclude this and move onto playing and describing the record, I will have to exercise control over the volume of text I could potentially write! I just remembered to add one final item about the recording at Olympic Sudios, favoured by so many of the UK's biggest names including the Rolling Stones, Andy Johns who engineered all the tracks except "Me And My Baby", which George Chicantz handled. As the whole album plays without virtually any static/surface sound, this is the perfect way to fully enjoy, "Cricklewood Green." Side 1 starts from near silent run-in grooves, Decca pressings were magnificent and why waiting all those years for a Mint first pressing, the first sounds are purely psychedelic studio effects before Ric Lee's percussion intro to "Sugar On The Road" powers. in with a dramatic impact. Those sound effects have a fantastic stereo mix and the panning is wonderfully crafted throughout the entire album. Alvin's songwriting was vital to the band because he provided all the material, la he did with the brilliant opener, every track on the album was self composed. Here is the tightness and the musical chemistry they forged both on stage and in the recording studios during those last three years, but events in 1969 saw the band lifted to global recognition and how they responded! No superstar egos, just a steely determination to make a record to blow your socks off! The title of this superb song owes a great deal to the experiences of touring America, apart from his searing blues solo, Alvin sings the vocals with a biting commitment for a song dedicated to 'having a good time.' The stereo mix has the total channel separation as perfected during the 60's decade they recorded the whole album in, mono left a legacy affecting true stereo's role, to continue creating fantastic records. Without that, the bland and unimaginative centralised panning lost the edge as the 1970's moved further away from the 'Golden Age' of records. I had better concentrate on the record, this was such an inspired band performance and so good to hear in suchstunning sound quality. The faded-out ending is into problem free, ultra smooth running gap, I am delighted to be able to write that because it was the clumsy use of needles that caused all the crackles and clicks. A superbly clean intro that is exposed to horrific needle noise, the single guitar is panned entirely in the left speaker and in perfectly clean and noisless sound, great to hear as well because "Working On The Road" is a deeply moody, intensive song, gradually increasing in tempo until the dramatic rhythm takes a really strong grip. By then, Alvin Lee's incredible blues guitar riff is in full flow, and what a fantastic riff! Most guitarists re-used either their own or someone else's riffs but Alvin never went down that road and when a new riff was required, he just produced one! I must not over concentrate on one person, even if he wrote the songs, sung the vocals & played all the guitar parts, lead rhythm! No doubt now jamming in heaven with other departed musicians from his era, I must concentrate on finishing this description,in truth I don't want this record to ever finish! Alvin lee's stunning lead guitar is offset by an incredible Leon Lyons bass guitar line with excellent Rick Lee drumming, the whole band really drive this track along at a fair old old tempo, by the time they reach the second verse they are flying. Chick Churchill's organ delivers a complimentary segment to the guitar's, add in the great Lee vocals and you have another helping of Ten Years After's pure magic. The icing on the cake is an astounding add-libbed last few minutes, Alvin breaks into "coming home" vocal improvisations,although this is not that earlier 1969 song! The sound quality is amazingly powerful yet maintaining absolutely perfect audio clarity, no time to get your breath back, immediately following is the staggering, "50,000 Miles Beneath My Brain", which is among the greatest studio recording found on any TYA album. Running close to eight minutes long and not one second was wasted! A silent gap, the quiet intro plays without any surface sound because of linking as smooth as silk into a softly played guitar, behind a delicately sung first verse, the deeply beautiful melody is now picked out on the harpsichord by Chick, with just a touch of psychedelia. Then everything erupts with fury, Leon Lyons very loud bass guitar pumps out the infectious rhythm, meanwhile all the other instruments join Chickt. Things start to really intensify, the volume gradually increases but this has still not yet arrived at full-out power. Alvin Lee begins playing scintillating blues guitar and at the same time his vocals become more and more intensive, until arriving at that really full volume and overwhelming power, as the band now perform out of their skins! Every second of that was in just stunning sound quality, I have heard far too many originals breaking up here into horrible distortion when the crescendo erupts, not from this superb Mint record, crystal clear audio definition all the way. "50,000 Miles Beneath My Brain" fades-out just for a minute, then the faders were slowly returned to give a glimpse of the band still playing at full tilt as a reprise or coda! In that reprise and the silent minute or so that preceded it, all remains amazingly without any surface sound or staic. Then the actual gap for real is as near to silent as vinyl possibly gets, the sheer variety of the music found on "Cricklewood Green" contributes to the true greatness of the album and now for the magnificence of "Year 3,000 Blues." This is a fantastic acoustic blues/r&b track with an authentic late 1950's rockabilly shuffling rhythm, you almost expect to hear Elvis singing the vocals but this is Alvin making a fine enough job of that! Such authenticity to the sound few bands could create without the music sounding like a cliché, Ten Years After played everything for real, exactly in the same fashion Led Zeppelin regularly dipped into their earlier influences, but without ever sounding lightweight, a short track that works superbly. The amazing lyrics however do not relate rock's infancy, they are set in the future and so brilliantly written, they were the obvious choice to introduce the LP with, if you have yet to sample "Year 3,000 Blues," please see the top of the page for the lyrics. The sound quality here and from the first second of Track 1 has been sheer perfection from a perfect first pressing without any wear at all, if anyone thinks grading a once/ twice played record Mint is incorrect, then you should hear this staggering sounding record! Side 2 also begins from completely silent run-in grooves, my volume is unnecessarily loud, but any static is so low level, only 'silent' does such superb pressing justice, 43 years old? This sounds like I bought this morning after taking a journey in a time machine back to April, 1970 vinyl,running smoothly into yet another Ten Years After specialty, "Me And My Baby" is a pure blues song it could very easily have been on their 1967 debut self titled LP. Best described as, 'late night smokey blues' and similar in style to the era's Peter Green's Fleetwood Mac, mind you in 1970, Peter Green was only just about hanging onto his sanity by the slenderest of threads. Chick Churchill's keyboards are superbly played, he was prompted into action by Leo Lyons outstanding bass guitar. This track's other main feature is Rick Lee's brilliant drumming , plus really wonderful Alvin Lee vocals, the band are so tight during "Me And My Baby", you couldn't get a cigarette rolling paper between. True stereo channel separation plays a leading role, the whole track is heard in the most stunning perfect sound quality, this is some record! Without hardly a break, but in that short gap there is total silence which is great news for silently moving into one of the all time greatest ever rock intro's, the quietly building organ means this this is the awesome,"Love Like A Man". If anyone out there has yet to experience TYA but loves blues based rock and prefers hearing genuinely inspired musicianship, give this track a listen and I guarantee you will be hooked for life! I'm not saying that to sell this record, I bought the album, single and probably the tee-shirt in 1970, I sincerely believe there are many people who have not heard Ten Years After, you could pick any track from this album to get a taste,but "Love Like A Man" is one of the most amazing tracks ever to grace any record. A fantastic and ultimate Ten Years After performance, no question this was their most compelling recording, it worked perfectly to create a definitive single, but here in the complete format, a magnificent track with all the power of a first pressing and in absolutely stunning sound quality. Alvin's guitar hits another one of his exclusive and incredible riffs, the bass and the organ now hit the same smouldering, creeping riff, then Lee's remarkable vocals begin with dramatic tension, as taut as a stretched wire. The track builds slowly up to full volume before the explosive instrumental section with fantastic Churchill organ wizardry. Then back for a really moody, slower riff and the next verse, such a massive impact created by an incredible total stereo separation of the described individual parts of the track, Alvin's sleeve notes come into the equation and yes, the music WAS as incredible as the layering of the instruments and vocals. Even playing it with my amp turned way up, this is crystal clear and as a very first Decca pressing that escaped being ruined by the usual excessive plays, there is none of the wear inflicted distortion when the full volume is reached. When I said 'full volume,' "Love Like A Man" does hit unbelievable power levels! Then finishing by fading-out into a purely silent gap, which allows the beautiful acoustic guitar intro to "Circles" to start with ultra clean audio clarity. Finding that from the average 43 year old first pressing, is extremely difficult, but well worth the effort for a stunning song with such a beautiful melody, sung by Alvin Lee with all the gentleness of a folk song, which in fact this is. A placement here just after hearing the mind blowing blues/rock of "Love Like A Man" was a real stroke of genius because the contrast is felt even more strongly. Way back in the description I called "Cricklewood Green" T.Y. After's ultimate album, the extensive variety of material being one of the main reasons, this wonderful folk music interlude alone, is more then reason enough, I know it's very repetitive for myself and anyone reading this,once more this very gentle song is in absolutely stunning audio clarity without any form of surface sound or static. Acoustic tracks are always the most revealing and severely testing for for vinyl of any age, this track has certainly confirmed this record was mastered with an expertise befitting the inspired songs and their performances, a 'sound' is as much generated by the feel and "Circles" is such a beautiful track. I know the words is abused out of sight but I cannot think of another way of expressing how pleasing this track is, 'awesome sound reproduction,' it is! On the subject of pressing surface sound/static, like Side 1, this whole second side is as clean & clear as you could wish to hear. Ten Years After could have easily ended the album here and now album after such remarkable music, but there's still one more real gem of a track still to go and it ranks up there with the greatest of all time! That is not an exaggeration, if ever one recording is considered to be 'worth the entrance fee alone', "As The Sun Still Burns Away" does indeed burn slowly with such a tense and strung out, dark mood intensive build up, it always promises to ignite and catch fire. Without even the slightest surface sound or static in the last gap and during a very quiet intro, the sound is just staggering, the volume rises as the song gathers up momentum.m Chick's organ and Alvin's guitar now lock in together for the relentless riff, played on the bass guitar as well. Cinematographic, stunning studio sound effects flow between the speakers, as those tensions grow...... and grow, what amazing atmospherics when the storm errupts with the realistic sounding thunder and rain, now the track really catches fire and becomes even heavier, if that was even possible but it certainly does! Alvin Lee's vocals are pure inspiration, perfectly capturing this fantastic atmosphere, his guitar relies on feel alone and is just staggering to hear in this all encompassing audio perfection! Wow, that was very special indeed, so amazing I don't know how I kept typing during a senses assault on "As The Sun Still Burns Away" , in fact, the description seems to have written itself! I have just re-started this amazing track because of such awesome audio and sensational stereo panning effects, I have been hearing "As The Sun Still Burns Away" since 1970, it still leaves you with an intensive but chilling effect. I have probably made dozens of spelling mistakes, I really don't care, this is not school, just an old TYA fan experiencing a Mint first pressing of a much loved album. An amazing record to play, at last the immaculate audio matches the album's contents, I have rejected several originals that were so awfully distorting during the exceptionally powerful rock songs, as well as crystal clear sound on the acoustic, beautiful melody of "Circles". To hear every second right from the opening grooves on Side 1 with such perfect sound and impact, has been a genuine pleasure. {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. Over twenty years ago now we entered into the wonderful atmosphere of record fairs with the highest possible standards set. When the Internet became the world's new market place for vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be, the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly and very efficient service we are proud to provide; EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE. I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK. THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE OF GENUINELY UNPLAYED VINYL. EVEN THEN WE STILL TAKE FULL RESPONSIBITY FOR A RECORD WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD. MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION. ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO. WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT RECORDS AND COVERS ETC. WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD. ALL RECORDS ARE REMOVED FROM THEIR SLEEVES AND PLACED INTO NEW PROTECTIVE CARD SLEEVES AND THEN PLACED INTO NEW, HEAVYWEIGHT PLASTIC OUTER SLEEVES. THE GREATEST ATTENTION IS PAID TO MAKING THE PACKAGING EXTREMELY STRONG & SECURE. EVERY POSSIBLE EFFORT IS MADE TO ENSURE A SAFE DELIVERY AND WE ONLY USE THE VERY BEST QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS TREATED EXACTLY THE SAME. WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES WEIGH A LITTLE EXTRA. UNDER PAYPAL & EBAY'S GUIDELINES, ALL RECORDS WILL BE SENT VIA A FULLY INSURED TRACKABLE SERVICE. We have kept all our charges at the same level for years now, but due to the Post Office's new price increases, regretfully we will have to increase the cost of LP's, however, singles will remain unchanged. Ebay were aware of that happening and have increased their minimum postal cost for LP's to & £7.00, that figure has been enforced by the UK Post Office and it will become our UK First Class, Recorded Delivery cost for albums up to the value of £46. For LP's valued above £46, the cost will be £9, we are unhappy about either increase but our high standard of packaging has meant in 12 years of ebay trading, there has not been one item damaged, we are determined to maintain that in the present and future. IN THE UK RECORDS UP TO THE VALUE OF £46 WILL BE SENT RECORDED DELIVERY, OVER £46 WILL BE SENT SPECIAL DELIVERY. FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA 'INTERNATIONAL SIGNED FOR.'

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