MERRY CHRISTMAS AND A PEACEFUL NEW YEAR
Have you ever been.... have you ever been to Electric Ladyland?
The magic carpet waits for you,
So don't you be late!
Oh, I wanna show you, the different emotions.
I wanna run to the sounds and motions,
Electric woman waits for you and me,
So it's time we take a ride,
We can cast all of your hang-up's over the seaside.
While we fly right over the love filled sea,
Look up ahead, I see the loveland, soon you'll understand.
Make love....make love.....make love..... make love.
I wanna show you....
The angels will spread their wings, spread their wings,
I wanna show you....
Good and evil lay side by side, while electric love penetrates the sky.
I wanna show you....
Lord, Lord I wanna show you....
I wanna show you....
I wanna show you....
Show you....I wanna show you....
JIMI HENDRIX: "Electric Ladyland" UK DOUBLE LP SET, JANUARY, 1970 PRESSING ON THE Track Records LABEL,
FIRST PRESSINGS WERE RELEASED 9th NOVEMBER,1968, FIRST ISSUE GATEFOLD COVERS HAD A DIFFERENT FORMAT
INSIDE. ALL UK Track LABEL PRESSINGS, NOVEMBER, 1968 - JULY, 1971, HAD THE NAKED LADIES ARTWORK ON
OUTSIDE PANELS, WITH DELUXE LAMINATION OUTSIDE AND INSIDE THE COVERS. AS SOON AS THE 1968 MADE
INITIAL COVERS WERE USED UP, LIKE THIS COVER, ALL IMMEDIATELY FOLLOWING GATEFOLD COVERS ON THE
Track LABEL, (1969 -1971) NO LONGER HAD THE TRACK LISTING AND CREDITS PRINTED IN BLUE. THE PICTURES
OF MITCH & NOEL WERE REDUCED IN SIZE AS WELL, DESIGN CHANGES DURING PRODUCTION WAS A COMMON EVENT
FOR THIS ERA.
Merry Christmas, a very exciting one for me with this stunning condition "Electric Ladyland" album, a fairly straight forward
release for the records, labels and the sensational sound quality found on the Track labels, which simply have to be considered
'originals.' By mid-1971, Polydor took over the entire UK Jimi Hendrix back catalogue and the newly titled albums that followed,
Track Records continued, but "Electric Ladyland" and all previous Jimi Hendrix and posthumous releases were on Polydor's label.
When I joined ebay nobody was aware about what constituted a genuine 1968, first pressing of "Electric Ladyland," including
'Record Collector', like myself, only those around in November, 1968 who bought the album on release, truly knew exactly what
the inside of the cover looked like. Back in 2001, when I first listed a genuine 1968, very first UK pressing, it caused a stir,
many collector's realised they had the second pressing. No big deal really, but 'the right to know' applies in specialist fields
and records of this importance should never be shrouded in uncertainties or doubt. Indignant emails demanded to know how I was so
certain about the pressing sequence, easily answered with, my first "Electric Ladyland" was bought on the day it was distributed
to my local record shop. The November, 1968 Track first pressing was unique for the cover and labels, first issue UK gatefold
covers exclusively had the inside's printing in a vivid blue colour, all following Track covers in early 1969 had them in a white,
remaining in the same colour when the July, 1971 first and every subsequent UK Polydor label pressings. The 1968 cover only,
also had the two pictures of Mitch and Noel as large sized photo's, all later covers had the photo's reduced to a smaller size,
the format used for all following Polydor label issues. Not long after that, I also forced 'Record Collector' to revise equally
mistaken details of the UK 1967 first pressings of "Are You Experienced" & "Axis Bold As Love." The editor at the time phoned
me and asked for any other major errors on other artist's sections, it was a long conservation! For the third time I declined the
invitation to 'come aboard,' because the essential maitrix, logo scribing and stamping codes would never be printed, by then I
had the internet / ebay to introduce and establish them by example. I was right to take that route because over the last 16 years,
original / first analogue vinyl pressings have become vital. The British record companies producing vinyl collapsed and no longer
exists, the death throw was in 1999, vinyl is no longer being made here. We are now being flooded with records made in unknown
countries and nobody really knows the source of the material, digital re-mastering? Audiophile? No, made for digital downloading
and stored as digital files that end up in a cloud. The true source of a first generation from Master Tapes of analogue music,
is found on original analogue records. This is staggering sounding all four sides, even after near half a century of playing and
adoring the album, I was absolutely astounded by the sheer impact of Jimi's masterpiece. In only six months it will become the
"50th Anniversary" of "Electric Ladyland," whether pressed 49 years ago or 47 years ago, this pair of Track records were pressed
from the first and second mothers, created in 1968 with Jimi Hendrix 100% involved in the resulting awesome sound and mix.
I had better return to the ever necessary need to challenge and disprove the ignorance and arrogance surrounding the current
almighty error riddled mess, made by the most prominent vinyl website in the world, the actual facts about "Electric Ladyland"
will deal with that.
2001 was a long time ago now, is this all correctly set out on the main vinyl website, 'Discogs'? Afriad not, yet another self
appointed Jimi Hendrix 'expert' has made an unbelievable mess of the release of such an era defining album. According to the
'Discogs' website, there was no less than six 1968 different pressings! Yet, the album was released November, 1968, allowing for
the Christmas closure, wait for this, then according to the person who wrote this utter nonsense, there was no further pressings
made, in the whole of 1969, which is beyond belief! "Electric Ladyland" made the UK charts on the 9th November, 1968, peaking
at No.6 and remained in the charts for 12 weeks, brings it up to February, 1969.... but no further pressing were required that year!
Even worse, the author states there were no further UK pressings in 1970, 1971 or 1972! That is plain crazy, the Track pressings
were mostly made just after Jimi's death in September, 1970 and the renewed demand for all of his albums meant really heavy
pressings of all Jimi Hendrix records. The time period left to press the Track records was fast running out and by July, 1971,
they were no longer available on the Track label. Even the claim / wild guess, that the first Polydor pressings was in 1973, is
just as flawed as the ridiculous statement about six pressings in the last few weeks of 1968, then none at all made until 1973!
There are so many sellers on ebay and collector's who rely on and believe such a huge website as 'Discogs' is factual, especially
for a staggering masterwork from a musical genius. As a major Jimi Hendrix collector, I took in the whole picture of the actual
pressing sequence and there was indeed a logical progression between the late 1960's and early 1970's decade for most artists.
My concentration always falls onto the actual album i have in front of me, after all, individual records are.....100% individual,
Applying that genuine knowledge, I have examined this pressing of "Electric Ladyland" in great detail to arrive at an accurate
month and year of pressing. That involves the combination of the record's maitrix sequence of all four sides, the label texturing
and the printed text, the "E.J Day" printed gatefold cover and a perfectly matched pair of original Track / Polydor inner sleeves.
I will give all the details below, but first I have to say, I have been on my Christmas break and yesterday I settled down to play
and hear the entire double album..... I was as blown away by the astonishing Stereo mix, the sensational, powerful sound and
Jimi Hendrix at the very peak of his studio recording.
THESE ARE INDEED THE 1967 - 1971 Track LABELS, MATT AND HEAVILY TEXTURED, THE OUTSIDE EDGES DO NOT
HAVE RAISED RIDGES, BUT FINISH ALMOST FLAT BEFORE THE RUN-OUT GROOVES.
TEXTURED TRACK LABEL LABEL: SET NUMBER: 2657 001 (The labels have, '2657 - 001' and the cover without a hyphen)
INDIVIDUAL RECORD INDEXING / MAITRIX SUFFIX.
RECORD 1: 613OO8
RECORD 2: 613OO9
Identification of early 1970 labels are simple enough, after late 1969 the inverted maitrix at 9 o'clock, was no longer printed
in brackets. Under the Side letters, the 1970 labels had "Two Record Set", below that, '(Set No. 2657 - 001)', along with the
maitrix which I will next give, that places the pressing at the beginning of 1970, as the first labels without an inverted maitrix
and that has to be January, 1970. The labels were always printed in advance, so there is always the possibility of this pressing
being made in the last week of December, 1969, but January, 1970 is more than adequate.
MAITRIX FOR ALL FOUR SIDES OF BOTH RECORDS:
Please bear in mind this Track Records double LP set, was sequenced differently to the standard format;
Record 1 Contains; Side 1 (A) & Side 4 (D)
Record 2 Contains; Side 2 (B) & Side 3 (C)
Configured to enable stacking for 'Auto Play,' when turning over both records at the the same time, the"Electric Ladyland" track
sequence remained the same. For anyone who missed this era, 1960's and early 1970's record players always had stacking / auto
play functions for singles and LP's.
SIDE A: 613OO*(#) (#) 8 A // 1 1 1
SIDE D: 613OO8 B ? 2 420 1 1
* A correctly stamped '8' digit was crossed out, realising the mistake, a further error had to be crossed out (9), then '8' was
handwritten, for Polydor, a handwritten revision was rare, but the confusion over the non conventional Side allocations on the
records, was not rare! Hardly any of the 1968 - 1971 Track records escaped similar mistakes, great concentration was required
by Polydor's sound engineer's, bescause the Test Pressing stage did not include printed labels. I chose this side for a picture
for obvious reasons and the second record's 'C Side,' in order to show an 'A & B' maitrix per record.
SIDE B: 613009 A ? 2 420 1 1
SIDE C: 613009 B // 2 420 1 1
197O POLYDOR POLY-LINED INNER SLEEVES,THEY ARE VERY IMPORTANT BECAUSE ONLY MINT VINYL POSITIVELY
HAS THE ORIGINAL'S APPLIED AT THE PRESSING PLANT. SO MUCH, NOT HAVING CODED DATES DOES NOT MATTER.
You cannot get a better matched pair here, both have the same main numbers; '4913 000 5801,' only the following digits indexed
the volume, if not a date. I was so impressed to find a Nr. Mint precisely matched, 47 year old pair of inner sleeves, I included
a picture of the bottom corners overlapped.
UNSPLIT & HARDLY USED, JUST MINIMAL NATURAL AGEING AND RECORD IMPRESSION RELATED LIGHT CREASES.
THE INNER SLEEVES ARE IN NEAR MINT CONDITION.
ORIGINAL LATE 1969 - EARLY 1970 1969, "Electric Ladyland" GATEFOLD COVER, ALL THE 1968 - JULY, 1971
COVERS WERE PRINTED BY:
'E J Day Group, London & Bedford.'
THIS IS THE DEEPLY GLOSSY 1960's STANDARD, DELUXE LAMINATION ON THE OUTSIDE AND THE INSIDE.
WITH THE SHEER QUALITY OF THE ORIGINAL ARTWORK AND THE THICKNESS OF THE LAMINATE, THE ONLY WAY
TO TELL THE OUTSIDE IS NOT A VERY FIRST EDITION 1968, COVER, IS ON THE INSIDE. FOR 1968, THE 'EJDay'
COVER HAD BLUE PRINTING INSIDE AND LARGER PICTURES OF NOEL & MITCH ON THE SECOND PANEL.
THIS COVER HAS THE SMALLER PICTURES AND WHITE TEXT PRINTING OF THE 1969 TO MID-1971 TRACK COVERS.
By 'original artwork', I was referring to the UK gatefold cover's controversial double spread of naked ladies, so controversial,
Jimi himself knew nothing about that being used for the UK covers. He was furious to discover his masterpiece was given such
unnecessarily cheap publicity, it was amazing the more fiery and aggressive Who stood for Lambert and Stamp's disregard and
lack of respect, until 1975! All the same...it was the original artwork and the UK Polydor 1970's pressings stood firm and stayed
true to the November, 1968, first issue artwork, had the very first cover attempted to avoid controversy, following covers would
never have happened. So controversial, after 49 years and well into the 21st century, ebay will not allow the outside cover to
be displayed, often sellers get away with openly showing the outside.
As it has been several years since last listing the nude cover, last week I checked and found many, many displayed in all their
glory, openly showing the outside. Without wanting to draw attention to fellow sellers, I phoned ebay to ask if their policy had
been softened towards a near half a century record cover. I explained I had paid a very high price for the exceptional condition
and was very keen to show the fantastic condition of the outside, including an absolutely perfect spine...allowing for fractional
tip rubbing. A lovely lady checked and was surprised to see so many currently, but very firmly told me I could not show a
picture of the outside, the rule was in place and the powers that be, would be monitoring listing "Electric Ladyland." I don't
give up easily and asked if there was any item allowed of vintage age, she told me only nudity in art was permitted. At that
I jumped in to say a record cover was indeed 'artwork' and surely this cover had to be 'art' like any painting or photograph.
"No" came back even more emphatically and I got the message loud and clear. I have my own views and made them known
about censorship of 'art' but readily accept ebay's rules are based on morals, I fully understand and comply with. Personally
I find blatant conterfeit, fakes, bootlegs, pirate records flooding ebay currently and the connected associated authentic items,
far more obscene and cannot understand why those responsible have not taken positive action to protect buyers.
Please be assured the outside is just as stunning as the inside I am allowed to show in pictures, allowing for standing in storage
unused for the last 47 years. I asked if I could show the spine, but the mere glimpse of even an elbow or wrist is not permitted,
I do not make or like these restrictive rules, but after several conversations on the matter in the past as well, accept having to
work within them. In fact, the gatefold has never been full opened, the 'creaking' of unstretched lamination on the inside of the
interior hinging spine, is common to fully laminated gatefold covers. The pictures were taken with the cover opened at the point
it would not naturally drop down. would not have taken a picture with the outside laying flat after all, but I would have given
other views, never mind.
The pictures I was allowed to show, demonstrate the incredible condition, especially when the plays equate to the original 1970
record shop sample plays. Both records were hardly played, three times at most on one side, then one or two plays at most,
there are no scratches or marks on any of the sides. The cover has been stored perfectly in a plastic outer sleeve for the last
47 years, this was bought in the same collection that included the Small Faces "Ogden's Gone Flake." A round cover with five
hinged together, five connected circles, better still, I had another still listed, Hawkwind's 1971 die-cut, multiple opening
cover for "In Search Of Space," it becomes the finest possible reference. So just the inevitable record impressions from the
the pair of heavyweight records, with a few related tiny laminate edge lines, but no wear to detail on the spine, the edges,
corners or opening sides. The slightest storage traits for a lovingly treasured cover of this deluxe quality, deserves be given
a Near Mint grading, why I'm unhappy about not clearly showing the outside in pictures.
A TRULY BEAUTIFUL COVER IN AN ABSOLUTE MINIMUM OF NEAR MINT CONDITION.
THE IMMACULATE LABELS ONLY HAVE SPINDLE TRACES THAT SHOW JUST ONE TO THREE PLAYS PER INDIVIDUAL
SIDE. THE RECORDS HAD TO BE REMOVED AND BY-PASS A 1960's SPRING SPRUNG, AUTO PLAY SPINDLE, SO THE
ACTUAL PLAYS ARE LESS THAN THE TRACES. THERE ARE NO MARKS OR SCRATCHES AND THE VINYL LOOKS LIKE
IT WAS JUST PRESSED, AS NOTED, I PLAYED ALL FOUR SIDES AND THE SOUND QUALITY WAS JUST STAGGERING!
POLYDOR'S MASTERING AND PRESSING IS LEGENDARY ENOUGH FOR THE LATE 1960's AND VERY EARLY 1970's,
WITHOUT NAMING HOW MANY OF THE GREATEST ARTISTS IN THE WORLD BENEFITED FROM. I'M ONLY ADDING A
MINUS TO THE ULTIMATE GRADING, TO SIGNIFY THE RECORDS WERE PLAYED, IF AS LOW AS IT GETS FOR 47 YEAR
OLD RECORDS. THE RECORDS ARE IN MINT- CONDITION.
RECORD 1, SIDE A (OR SIDE 1)
"....And The Gods Made Love" (Jimi Hendrix)
"Have You Ever Been (To Electric Ladyland)" (Jimi Hendrix)
"Crosstown Traffic" (Jimi Hendrix)
"Voodoo Chile" (Jimi Hendrix)
RECORD 1,SIDE D (OR SIDE 2)
"Little Miss Strange" (Noel Redding)
"Long Hot Summer Night" (Jimi Hendrix)
"Come On (Let The Good Times Roll)" (Earl King)
"Gypsy Eyes" (Jimi Hendrix)
"Burning Of The Midnight Lamp"(Jimi Hendrix)
RECORD 2,SIDE B (OR SIDE 3)
"Rainy Day, Dream Away" (Jimi Hendrix )
"1983... (A Merman I Should Turn To Be)" (Jimi Hendrix)
"Moon, Turn The Tides...Gently, Gently Away" (Jimi Hendrix)
RECORD 2,SIDE C (OR SIDE 4)
"Still Raining, Still Dreaming" (Jimi Hendrix)
"House Burning Down"(Jimi Hendrix)
"All Along The Watchtower" (Bob Dylan)
"Voodoo Child (Slight Return)" (Jimi Hendrix)
Jimi Hendrix - lead & backing vocals, electric & acoustic guitars, bass, electric harpsichord & gazoo
Noel Redding - bass, background vocals, acoustic guitar & lead vocals with Mitch on "Little Miss Strange"
Mitch Mitchell - drums, percussion, background vocals & lead vocals with Noel on "Little Miss Strange"
Steve Winwood - organ
Chris Wood - flute
Dave Mason - acoustic 12-string guitar
Al Kooper - piano
Mike Finnigan - organ
Jack Casady - bass
Freddie Smith - tenor saxophone
Buddy Miles - drums
Larry Faucette – congas
Brian Jones - percussion
The Sweet Inspirations - background vocals
Produced By Jimi Hendrix & Chas Chandler
Arranged by Jimi Hendrix
Engineered By Eddie Kramer & Gary Kellgren
Mixed By Jimi Hendrix, Eddie Kramer & Gary Kellgren
Recorded July, 1967, December, 1967, January, 1968 & April To August ,1968 At;
Olympic Studios, London & Record Plant Studios, New York.
Without doubt, "Electric Ladyland"not only represents Jimi Hendrix's creative peak in a much too short lifetime, but this also
ranks among the greatest albums ever recorded. Jimi's incredible diversity as both a visionary songwriter and the most gifted
rock musician of all time, was given unlimited space on a double album, although it was more than even that. Jimi Hendrix used
the four sides like a blank canvas to 'paint' the amazing sounds he had in his head and to make two records of such genius, even
the term 'masterpiece' is inadequate. Jimi took the Stereo format to it's very limits and beyond, to create the most astonishing
audio experience ever heard, not in his own era, to this day there has never been anything approaching that level 49 years later.
I could write endlessly about the recording sessions, that has been something of a healthy obsession since November, 1968 and I
had better keep myself focused on this particular and wonderful pressing, a direct & faithful Master Tape pressing when analogue
sound was not considered 'inferior and in urgent need of re-mastering.' With the rarity of any Track pressing in top condition,
and the spiralling values of the most desirable Track label pressings, even the 1980's Polydor records are now just as essential
and affordable! Going back to the 1980's decade when we started trading at record fairs, even then, the most desirable album
was "Electric Ladyland," as soon as I located a Mint UK pressing, it was snapped up faster than I could keep with. An album
that instantly crossed the generations and regardless of age, the music and genius of Jimi Hendrix leaped across the decades and
connected immediately. After playing all four sides, there is literally nothing to listen to next, without feeling a drastic drop
in intensity and the presence of true greatness. So you turn back to Record 1, Side A and start the most staggering listening
experience all over again..... why the original records look and sound so atrocious today. I hope I made it clear how 'original'
really means, when the pressings on the Track label during that slim time period of November, 1969 to July, 1971, are so precious.
The sound has a thickness and a shimmering quality I find difficult to articulate, a kind of heavy rock / blues that melts into
pure psychedelia. Yes, there are mind blowing soundscapes within soundscapes, the sounds are so sensational, a recording
studio today would struggle to reproduce it, but you also have the most intensive blues and the artistic coupling of Jimi Hendrix
and Steve Winwood hitting height of musical inspiration, live in the studio, no backward sound required, Jimi's guitar & Steve's
Hammond. "Voodoo Chile" paired Traffic and the Jimi Hendrix Experience and the result was dynamite, on the Traffic subject,
Dave Mason's acoustic guitar on "All Along The Watchtower" also produced astonishing music and as for the Stereo panning, I am
still in awe of that track! I'm reacting to hearing to the double album as a whole entity and discussing individual tracks tends
to dilute the same overwhelming experience, that has never become over familiar. I was once again so mesmerised by that Steve
Winwood / Jimi Hendrix collaboration, I can't stop discussing how that long track still remains the greatest ever free form blues
rock spectacular, recorded 'live in the studio,' by two of the world's most talented musicians during their most creative period.
The opening track "And The Gods Made Love" is always very prone to excessive needle noise, butt his superb unworn pressing
has near silent run-in grooves and those sizzling psychedelic sounds... really do sizzle! That intro is more than staggering,
those way out psychedelic effects assail your senses, sounds race between the speakers in a mind boggling collage of unearthly
sounds. Then that amazing moment when Jimi sings in a dreamy, floating voice, "Have you ever been, to Electric Ladyland?"
An invititation into the most amazing music ever recorded and the sound quality was nothing less than stunning! Late 1960's
'true Stereo' at it's most potent and heard in absolute channel separation, in wide dynamic sound with all the the unbelievable
panning effects in all their finery. The music Jim Hendrix created on the double album will never be surpassed let alone equaled
and although I am finding impossible to find the words to describe sounds, I simply do not want to! The album is too personal,
I just want to get lost in the all embracing music and sounds and forget about reality. The sheer power of this pair of records
is perfectly balanced out with crystal clear audio, I was also listening out for any sound irritants as usual but any ultra faint natural
static, hardly registered. "Electric Ladyland" has the most wonderful shades that contrast the more gentle tracks with the overtly
raw aggression on the awesome "Crosstown Traffic." That literally explodes with astonishing power, the feel of movement created
by the sound textures suspended in mid-air, or an unfixed position, what an incredible Stereo mix! Jimi's voice hovers via the
magically innovative panning in both speakers, an effect made by varying the individual channel's strengths, his voice appears
to be in a central position, then drifting right and left without vacating either channel, I'm not even attempting to discuss how the
amazing movements that affect his guitar! Analogue recordings like this are breathtaking to hear, no crackles to distract, just
powerful but crystal clear sound. I am not writing in any kind of order, but a really intensive experience is found starting from
essential silent opening grooves on the fourth side, into that glorious floaty, jazzy feel of another remarkable Jimi Hendrix
composition, "Rainy Day Dream Away." How great can one album get? You hear Freddie Smith playing the sax with Buddy Miles on
the drums and Mike Finnigan playing the organ. The sound quality here was so perfect, I cannot think of a suitable superlative,
that incredible section where Jimi made his guitar 'talk' with the notes alternating between the speakers, heard exactly how
Jimi Hendrix intended it to be. Before you can catch your breath, the stylus runs straight into the mind blowing beauty of,
"1983" / "Moon Turn The Tides", I was delighted by the quiet intro playing without a hint of vinyl being involved, incredible
clear sound, as an astonishing piece of music draws you into another dimension or universe. A fantastic song began life as
an acoustic home recorded demo with just Jimi solo, strumming an acoustic guitar and gently singing, somehow he took a lovely
but basic melodic song to a production of epic proportions, giving you a real insight into the man's burning genius.
When I played the records yesterday, I knew I couldn't give a track by track description and I just typed the above by running on
memory, but a memory burned inside when I was 15 in 1968, I still feel like the same! While I was listening a friend phoned when
the non live version of "Voodoo Chile" was blasting out the speakers, I just held the phone toward the speakers for a few minutes
and he just said, "Wow, I must get my copy out." He's much younger than me and I told him how in November, 1968 my group
of friends sat up all night playing "Electric Ladyland" and that continued throughout the whole weekend. The best way to end
this rambling approach to an ebay description, is to say the sensational sound quality I heard, was precisely how the greatest
album ever recorded should, and most certainly did sound. If you want to hear the album at it's most breathtaking potent effect,
this pair of records will blow you clean away.
Merry Christmas and a Peaceful New Year to all who read this heartfelt presentation of the most inspired album ever made.
Roy & Marina
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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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
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