JOHN MAYALL BLUES BREAKERS ERIC CLAPTON RARE MONO VINYL

	£		51
	$		68

Thank you for visiting my listing. The section immediately below sets out information specific to the particular album / record offered in this listing. This is followed by 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 Project III deck fitted with an Ortofon OM 5E cartridge down-force set at 17.5 mN (1.75 g), fitted with a first grade stylus which I renew at intervals according to manufacturers specification, through a manufacturers pre-set Rega Brio amplifier with sound delivered by Focal Chorus 706 loudspeakers, which is unforgiving where there are surface imperfections. If I think a vinyl will benefit from professional cleaning I use my ‘Moth’ RCM2, 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. I believe in 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 cleaning. 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 take a careful look through my terms and conditions to avoid 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 and stamper codes the vinyl comes from the first batch pressed using that particular master disc; these statements alone do not always mean that the vinyl is from the very first master ever made. However, where I state First Issue and First Press it is likely that the album offered is one of the earliest produced in the country of origin from the first master or masters. 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; it may have very slight changes, if they were made within the first production run or, if the album was issued with a 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.

Album / Record Title: JOHN MAYALL BLUES BREAKERS WITH ERIC CLAPTON

RARITY: This album is a good example of just how difficult it can be to recognise an ORIGINAL FIRST PRESSING. On the face of it, it may seem easy but there have been so many re-pressings, re-issues and variants since 1966 that it is a minefield for buyers. You can see them offered for sale on a regular basis but the 1966 FIRST PRESS is an EXTREMELY RARE album. From the outside they all look quite similar - the now iconic cover with Eric Clapton looking at the Beano has become one of the most instantly recognisable of the era - it covers all the Decca releases, mono and stereo, unboxed and boxed Decca name logos, the later darker blue label Decca and the silver/red/blue border as well as the Deram re-issue; and that’s only some of the UK variants. If all that is not confusing enough then to make matters even more complicated it seems that the Decca executives seriously underestimated the potential popularity of the album from the first release date and there were a number of re-issues as sales gained momentum very quickly. These initial batches seem to have all been pressed from the original masters intermittently during 1966 & 1969 when the ‘boxed’ DECCA re-issue was released so in many ways it constituted an extended first press run - but there are features which identify and separate the very first batch from the ‘follow ons’ - I must emphasise that they were all excellent quality pressings but in my opinion the FIRST were the BEST. I have personal memories of how few of these were distributed initially because it was the first Blues LP I bought and, when it arrived in my local record shop in July 1966, it was the only one they had delivered from the distributors. In 2003 it was ranked at 195 in Rolling Stone Magazines top 500 albums of all time, but in 1966 it was difficult to find one. In these circumstances a GENUINE FIRST PRESSING qualifies as EXTREMELY RARE, but this is one and I will explain why this example justifies that description. I have seven variants in my current collection and based on my experience and reliable sources I have assembled relevant information. Starting from the outer cover and working in: -

THE OUTER COVER: The general design of the cover is one of the best known in the music industry but the earliest first pressings were only released in mono in 1966 and all UK covers had a small white/black block ‘mono’ alongside the catalogue number, top left front of the cover (please see photograph). They also had the black blocked DECCA name logo to the right of JOHN MAYALL in title. In my experience another key indicator is the background colour to BLUES BREAKERS and WITH ERIC CLAPTON in the title. The very first were a distinctly lighter blue tinted grey whereas the later variants were darker, almost a slate blue/grey. To show this clearly I have included a photograph which shows the earliest cover of the 1966 first pressing, offered in this listing, on top of a later issue first pressing which I estimate is from 1967. There is also a discussion about ‘flip back’ flap or ‘fold in’ flap covers with some claiming that the flip backs were slightly earlier but my experience and research suggests that the design was changed during the first production run and the earliest first pressings were issued in both designs with neither one pre-dating the other in content terms. The one I am offering here is the fold in style - I do have a flip back version but the condition is not quite as good.

THE INNER SLEEVE: Perhaps surprisingly the inner sleeve is an important indicator of the earliest first pressings with this album - that is, of course, providing you can be sure that it is the one which was originally issued with the vinyl because it’s easy to change or swap. I can assure you that in this case the whole package is genuine and original. In 1966 Decca vinyls of this genre had white paper inner sleeves printed with blue advisory notes in four oblong sections headed ‘IMPORTANT’ & ‘THE RECORD’ & ‘THE EQUIPMENT’ & ‘PLAYING SPEED’; these sections were all outlined with BLUE DOTTED BORDERS, they were also marked ‘Made in England’ to the bottom left corner & Patent Application No. to the bottom right corner. Later version had continuous blue line borders and some even had the later Decca red bordered inner I have shown in the photograph alongside the original which accompanies this album - the red framed inners are more commonly seen with the Decca ‘punched hole’ back covers for mono / stereo identification.

THE VINYL: Always the DEFINITIVE 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. The matrices stamped in the run-off area of the vinyl of the first pressings are Side 1 ARL.7297-1A and Side 2 ARL.7298-1A, both sides have 1 stamper codes at 9 o’ clock and both sides have the KT tax code at 12 o’clock. The vinyl weight of UK DECCA first pressings was around 155 grammes, re-issues and later pressings were generally lighter.

THE LABEL: Significant in this case as the earliest first pressings had a ridge about half an inch in from the outer edge of the label, later variants were flat - again I have shown the difference between this one on top and another early pressings in one of the photographs. Apart from this three dimensional difference first pressings had just (p) 1966 bottom centre of the label and they were red with silver print and the ‘unboxed’ DECCA name as you can see along with the rest of the features in the photographs.

THIS PARTICULAR EXAMPLE: HAS A FEW MINOR FLAWS CONCERNING THE COVER, WHICH I HAVE DETAILED BELOW, BUT IT IS A LOVELY ORIGINAL WHICH DELIVERS SUPERB AUDIO - UP WITH THE BEST I HAVE EVER HEARD FROM THIS ALBUM.

Artiste(s): BLUES BREAKERS who were - John Mayall, Eric Clapton, John McVie, Hughie Flint

Disc Format: 12” LP

Recording Format: MONO

Record label: ORIGINAL DECCA RED WITH SILVER PRINT & UNBOXED DECCA NAME

Catalogue Number: LK 4804

Country of manufacture and first published date: Made in ENGLAND 1966

Vinyl ‘run off’ matrices side A:     ARL.7297-1A

Vinyl ‘run off’ matrices side B:     ARL-7298-1A

Vinyl ‘run off’ stampers side A:    1   2   S1.1    KT    DC

Vinyl ‘run off’ stampers side B:    1    KT    DB

Track Listing as per label: SIDE A: ALL YOUR LOVE / HIDEAWAY / LITTLE GIRL / ANOTHER MAN / DOUBLE CROSSIN’ MAN / WHAT’D I SAY / SIDE B: KEY TO LOVE / PARCHMAN FARM / HAVE YOU HEARD / RAMBLIN’ ON MY MIND / STEPPIN’ OUT / IT AIN’T RIGHT

Opinion: Regarded by many as the most important album of the genre ever recorded and certainly one of the finest examples of ‘white’ western blues ever produced by four of the most talented musicians ever to play together. John Mayall never had a poor line-up but this was a magic combination and exceptional even in Blues Breakers terms. This is a ‘real’ honest top quality blues record on the best recording format possible and it is hard to even imagine that it could be bettered. An OUTSTANDING FIRST PRESSING on HEAVY VINYL with FIRST MATRICES & STAMPERS and although it has been played and shows light signs of wear this is a great example of one of the finest albums ever made; superb, brilliant to listen to and a rare and wonderful addition to any collection.

MY GRADING OF THIS ALBUM (based on Record Collector ‘Rare Record Price Guide 2008’)

Vinyl Visual side 1: EXCELLENT minus, some superficial surface movement lines and a few which are more noticeable, none of which have any tangible depth or significant audio consequence.

Vinyl Visual side 2: EXCELLENT minus, some superficial surface movement lines and a few which are more noticeable, none of which have any tangible depth or significant audio consequence.

Label Visual side 1: EXCELLENT minus, some light spindle lines around the spindle hole but no marks, no scuffs, no tears, no apparent spindle hole wear

Label Visual side 2: EXCELLENT minus, some light spindle lines around the spindle hole but no marks, no scuffs, no tears, no apparent spindle hole wear

Outer Cover: VERY GOOD+, and this is a careful grading. I have down graded it from EXCELLENT only because of a light tape residue mark along the bottom front seam (see photographs) which may clean off, and a neat strip of white reinforcing tape which I put along the bottom seam at the back to cover some unnecessary tape residue - see photographs (it does not cover or obscure any of the original). The now iconic ‘Beano’ classic front laminated single slip cover Printed by MacNeill Press Ltd., London S.E.1 also has some slight surface creases near to the vinyl entry edge over Hughie Flint - see photographs - and some very light handling marks, tiny dents, light surface rubbing which is hard to see, and the minimal wear you would expect from a carefully handled 41 year old record cover. The non laminated back cover is remarkable, most examples are discoloured and stained, this is one of the cleanest I have seen. The super-sized photos are very accurate so please make your own judgement. In my opinion this is overall a superb and desirable example of a historic and legendary cover.

Spine: EXCELLENT, well shaped shoulders and pinched ends as they should be from new on first issues, a few tiny nicks and two minor dimples but clean, clear and fully readable - not far from new condition.

Inner Sleeve: VERY GOOD+ at least, original standard white paper printed with blue ‘dot border’ advisory notes and full antistatic poly-liner, a little creased and lightly discoloured - physically excellent (please see my paragraph on the inner sleeve’ above for more details).

Vinyl Warp: none visible when eye tested on a moving turntable, a superb vinyl which is exceptional in every way.

Vinyl Weight: 154 grammes (A DELIGHTFUL DECCA MONO HEAVYWEIGHT)

Play Grade: EXCELLENT+

Audio Performance: THIS DELIVERS TERRIFIC SOUND, FOR ME IT JUST DOESN’T COME ANY BETTER THAN THIS, ABSOLUTELY EXCEPTIONAL. THESE DECCA MONO FORMAT RECORDINGS ARE RIGHT UP THERE WITH THE VERY BEST EVER PRODUCED AND LIVE PERFORMANCES APART I CANNOT IMAGINE THAT AUDIO WILL EVER BE BETTER THAN THIS. THIS VINYL HAS BEEN PLAYED CAREFULLY THROUGHOUT ITS 41 YEARS AND THAT IS REFLECTED IN THE BRILLIANT, SMOOTH AND CLEAR AUDIO PERFORMANCE. THERE IS SOME OCCASIONAL LIGHT SURFACE SOUND WHICH DID NOT CONCERN ME AT ALL. I ALWAYS SAY 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 WAS UNSURPASSED AUDIO PLEASURE AS FAR AS I AM CONCERNED - ABSOLUTELY REAL, CLEAN AND BRIGHT SOUND. AS I MENTIONED PREVIOUSLY I HAVE SEVEN VARIANTS OF THIS ALBUM AND I CAN ASSURE YOU THAT IN PURE AUDIO REPRODUCTION TERMS THIS MAY BE THE BEST YOU WILL EVER HEAR THIS ALBUM.

Other: If you miss this one you may be trying for a very long time and still not find one as good as this - an exceptional example.

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.

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: This has become something of a ‘fashion accessory’ for many of the albums listed on eBay and, as with fashion, there are many imitators. 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 but otherwise this was not usually the case. 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 pressings so the commercial releases started at ‘2’, are well documented now but 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. This weight difference can also be indicative where different symbols were used in the matrices. For example some record companies first denoted early pressings with A61 & B61 and then soon after changed to A // 1 & B // 1, in these cases weight of the vinyl is often very helpful with identification. 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). 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.

Finally: All of this 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 the ‘high risk of damage game’ when having it shipped around the world – I hope you feel the same. Unless the prospective bidder / buyer states a preference I always quote Airmail as Surface Mail does not usually cost much less and takes a long time (again more risk of damage or loss I think). Also please note that for British Pounds £3.30 extra you can have an International Signed for service which includes insurance up to £32. Insurance quotations to a value you specify in advance of shipping are available on request.

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 ‘Premium Quality 600 Micron Card Mailers’ with ‘Ultra Safe’ double 3.5 cm. wide latex strips across the whole of the mailer which provides excellent adhesion and protection. 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 always try to be fair with buyers on p&p costs but if you do not want to pay the prices on the listings or quotations please do not bid.  I am not interested in hearing from successful bidders afterwards questioning and complaining about cost of packing and postage! I always keep proof of posting but unless you pay for Recorded Delivery, International Signed For, Special Delivery or Full Insurance I may not be able to assist you with recovery of the item or any of the costs.

Where postal insurance is included it is subject to Royal Mail Standard Terms & Conditions. Quotations for other insurance or premiums to cover increased values 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 below to provide prospective bidders with the best opportunity to make their valuation before entering the bidding process, please just click on the ‘Larger Picture’ 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.