THE VELVET UNDERGROUND & NICO ORIG UK 67 LP

	£		103
	$		136

ONEADAYRECORDS – Delivering the Rarest Underground Rock Masterpieces to the World

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Artist or Band: THE VELVET UNDERGROUND

Album Title: The Velvet Underground & Nico.

Producer(s): Andy Warhol is credited as ‘Producer’ but apparantly had minimal participation in any ‘production’ of this record. Members have since stated that this record was actually not ‘produced’ as such at all. The sound of this album was made by two engineers: Norman Dolph and John Licata assisted by the band. Tom Wilson is credited for producing ‘Sunday Morning’.

TRACK LIST:

Side 1: Sunday Morning; I’m Waiting For the Man; Femme Fatale; Venus in Furs; Run Run Run; All Tomorrow’s Parties.

Side 2: Heroin; There She Goes Again; I’ll Be Your Mirror; The Black Angel Death Song; European Son.

Label/Format: Verve – Ultimate first UK issue with MGM credits and embossed ‘K T’ tax codes on side one. Both these fragile characters unworn, scuffed or flattened, so-much-so, they are not even easy to see (please see scan).

Label Conditions: Both very clean and attractive, spindle marks are light+ to the lower side of moderate on side two and no wear around the hole area.

Cat Number: SVLP 9184.

Mode / Speed: Stereo (yes true) / 33.3 rpm.

Warps: Assume all records I offer have no warping of any significance and all tracking is easy and effortless and should play on all turntables and even ‘budget’ decks.

Weight of this Record: 140 grams. [These days, many modern Audiophile reissues are pressed on super-heavyweight 180 gram vinyl. Only a small percentage of ‘vintage vinyl’ was ever pressed this heavy. Records pressed in the 1960s averaged around 135 to 145 grams. Records pressed in the 1970s were usually lighter and averaged more around 115 – 125 grams. Some records pressed around 1973 were very thin and light due an oil crisis and shortage around this time. Some records were even issued on recycled vinyl from this period and sounded poor with crackle and surface noise evident from the very first play. If any record I buy is deemed ‘recycled’, I will never offer it, I have a very simple test to detect these records if I suspect this to be the case other than audible imperfection. Some records from this period were even pressed on other materials the most notable was ‘Dynaflex’, used by RCA around this time. Although inferior to vinyl, this at least mostly sounded reasonably acceptable but pressings on this material were wafer thin and flimsy. Beyond the 70s, many records often became thinner and lighter still but most played fine but were never quite the quality as from the ‘Golden Era’]. (This was based on ‘average’ weights for 50 records from these eras.

Country of Manufacture: England.

Rarity & Introduction: Rare, make no mistake and one of the rarest albums by a ‘major act’ in rock history. Although the world now recognises this album for what it is, an undisputed underground masterpiece, this went practically unnoticed or ignored within the UK when first issued. Along with the groundbreaking debut Mothers of Invention album, the equally groundbreaking ‘Freak Out’, also on Verve, this album was far too ahead of its time for the record-buying public. Few British record buyers were prepared to shell-out on an unknown ‘weird’ American band at this time. Most had their heads immersed in ‘Sgt Pepper’ mania and this issued was almost universally ignored. For the tiny few, braver and more adventurous music fans of the day who did buy this one, most did so in the mono format. Original stereo pressings of this Reed masterwork were few and far-between, this cut on offer an absolute first with the prized 1 G / 1 G mothers and stampers. A copy first off the production line and within the first 300 ever cut, but that said, few stereo copies were issued in Britain on Verve. This was the age of the mono record and few still had stereo equipment bar the more serious audiophile listener who would have had little interest in this album. The UK version varied considerably compared to the US version. There it was a gatefold format with its infamous banana artwork - rarely seen these days undamaged. The back cover, used here on the front, was in most cases censored in the US, with huge paste-overs to hide what was deemed offensive artwork of Reed. Only later in the UK was the banana gatefold cover used for repressings on MGM, the single flipbacked and laminated covers remain unique to the absolute first issues. This has long been one of my favourite albums of all-time – still a toss-up between this and Zappa’s ‘We’re Only in it for the Money’ – another Verve masterpiece. Until this month, I had never had an original UK copy of this album. Now two have come my way, the other one is staying within my prized Mint Zappa collection, but I can offer this one, both are in very similar condition. The stereo version offers better sound (to my ears anyway) than the mono with a more open sound. It’s never been a hi-fi masterpiece anyway as most will already know, but this offers possibly the best sound of the two formats and is much, much rarer in stereo, do not under-estimate just how hard this album is to find as a genuine original in fine playing conditions with a superb cover. One of the most priceless albums I have ever offered on Ebay.

Original Year of Release: 1967

Matrix Nos: V6 5008 A-2 / V6 5008 B-2

Musicians: Lou Reed – Lead guitar, Ostrich guitar, vocal; John Cale - Electric viola, piano, bass guitar; Sterling Morrison - rhythm guitar, bass guitar; Maureen Tucker - percussion; Nico - vocal. This is the only album this line-up ever recorded together. Nico wanted more vocal parts on future albums but this was rejected and she left soon afterwards. Cale made one further album with the band before leaving himself whereupon the band’s music mellowed considerably.

Album and Band Info: This album for me, along with Zappa’s Freak Out is the most important album in ‘rock’ history, a true landmark recording that expanded the boundaries of taboo subjects into ‘popular’ music. Topics only hinted at previously were laid open and nothing was held back – a record that ventured deeply into unchartered territory. Revolutionary, chaotic, uncompromising, daring and totally unique – this album even today sounds radical and only its primitive sound gives away it’s great age. Nothing had been heard like it before or since and it changed the face of ‘modern rock’ music for all time. Two American guys, a female percussionist, a classical Welsh viola and keyboards player and a German femme fatale vocalist – hardly conventional from the outset – and the material these five put to vinyl was little short of breathtaking. Daring, unconventional and light years ahead of the time – the subjects covered in their songs was so head-on and controversial, it was little surprise no other labels wanted them and even Verve were nervous. This too, a label that introduced the world to Zappa’s Mothers of Invention. Hard, drugs, sex, pushers and sado-machochism are just some of the subjects featured within the songs and this groundbreaking album was reviled on issue, so-much-so, this band never had any commercial success within their ‘lifetime’ at all. No air-play and almost universally ignored at the time, for the pop-loving public, most found it unlistenable and it sold poorly. Only the brave few would have parted with hard-earned cash for such a revolutionary band and new sound – few US or UK Verve copies will ever be found and for those that do show, most will be unplayable and wrecked. Bought by certain types of the day, and few were hi-fi connoisseurs with better equipment. This legendary record is now regarded by most as a genuine classic – I consider it a masterpiece – and I openly state it’s possibly my favourite album of all time – certainly in my top five for sure along with The Doors, Zappa’s We’re Only it for the Money, Beefheart’s Trout Mask Replica and In the Court of the Crimson King – yes my preferences are still for the more challenging end of the music spectrum. The only negative (for some) was the low-fi sound quality, this is no high fidelity classic. Very sparse with basic sound and no digital ‘spiffing up’ will ever make this one sound better. I actually think this primitive sound enhances the music’s appeal which varies from delicate pop to ferocious feedback-driven noise. Played with sufficient volume, this record can still pack a fair punch and without doubt, the early vinyl still has hidden sounds that later formats seem to lack, the stereo mode is a little more ‘open’ and less ‘flat’. A backdrop of Reed’s piercing guitar – the ‘ostrich’ guitar is a big drone guitar as can be heard on the sublime Nico sung ‘All Tomorrow’s Parties’ [contender for my all-time favourite album song along with ‘The End’ by The Doors and Jefferson Airplane’s ‘White Rabbit’ (my favourite single ever)] – blended with Cale’s eerie electric viola with Mo Tucker’s primitive drum-beat (she did not use cymbals on this record) and although hardly technically gifted, her unique pounding of the skins gave The Velvet Underground an even more basic sound. She did not play on the final proper VU album Loaded due to pregnancy and their sound became far too polished for many fans liking, and band members – even ‘Mo’ herself have stated that was a mistake. The sound is held together by the under-rated rhythm guitar of Morrison. Cale was at the forefront of the early Velvet Underground sound, an avant garde classically trained string player, his screeching viola cut right through the listener and is predominate in the almost unthinkable content of ‘Venus in Furs’. But even that controversial track is overshadowed by ‘Heroin’ which starts very gently before Reed ‘puts a spike into his vein, and things aren’t quite the same’ – the whole trip from beginning to end is a rollercoaster ride ending with a guitar frenzy ‘as the smack begins to flow’ – no wonder Verve were nervous, this was the ultimate trip into self-destruction. Not all is chaotic though, there are moments of real beauty on this set, provided by Nico’s (real name Christa Paffgen) haunting Germanic vocal. ‘Femme Fatale’ is gorgeous and delicate as is ‘I’ll Be Your Mirror’ but best of all, for me anyway, is the truly stunning ‘All Tomorrow’s Parties’, a track I could listen to every day just for the sheer pleasure of it. A moderately slow, hypnotic driving rhythm with piano, drum beat and tambourine opening before the beautiful vocals starts – I don’t have the words to describe the beauty of this track – I will simply state ‘It’s perfect’ and anyone who is not moved by this one simly does not like music – coincidentally – this was Warhol’s favourite song too – listen and enjoy. Of course, the vinyl includes the original definitive version, most CD versions of this song actually use a different version of this tack with Nico’s voice sung solo. On this original vinyl, her voice is double-tracked and for most is superior. The cover, the content, the band – all controversial and groundbreaking – clearly Warhol influenced – are magnificent and just holding this famous old record gives pleasure. An album of this magnitude really demands both the UK and US versions are obtained as the packing is so different. The record here has clearly been played a few times but any surface marks are light and faint and are practically all ignored too. A little ultra gentle surface sound in places is hardly noticeable, this too on very revealing equipment. This is a very ‘basic’ recording, unpolished, even crude but it’s simplicity adds to the thrill of rawness of this album. Recorded in just eight hours with a shoe-string budget, any over-production on this one would have marred it’s impact and spoilt it’s directness and attitude. Any mild surface sounds or blemishes pretty much go unnoticed on this one and with such stunning content playing, why worry about blemishes? – anything almost blends in the uncompromising sound and recorded distortion. This record would have never been bought by hi-fi buffs or sound connoisseurs – only the brave and adventurous – I was only ten when this was issued and I did not discover the delights of the ‘Underground’ until around 1972. My first copy of this album was a UK MGM example (thinnly pressed and crackly hasten to add). Influential beyond belief and admired by many later bands and now, most all critics – how times and attitudes changed. With so few early Verve copies around and most that are found trashed, this unique album is a fine copy. The cover is superb with no damage and any ageing very modest indeed. For collectors needing this remarkable record, its a copy worthy of high consideration. A US near mint, unpeeled banana example will be like gold-dust to find and probably command a very high price tariff and few will even exist now. The UK originals are equally as rare and seldom seen like this. The greatest album of all-time? – well possibly, this is an immense opportunity to own it (and no, I am not selling my own copy to any runner-up).

Cover Grade and Format: A superb EX++. A single format with front laminate, this wraps around the closed edges on to three external rear flipbacks. This is the rarer and correct SVLP original, it was printed and made in England by Garrod & Lofthouse and has the prized ‘Patents pending’ text (as seen in close-up). This cover is very different to the US version – both are essential.

Cover Front: This includes the controversial ‘torso’ cover artwork that was in most cases covered over in the US with huge stickers. Artwork that caused mild outrage in their native America but it was let go here in the UK. This is in superb condition with very shiny, clear and fresh laminate that is fully adhered with no lifting or blisters. Devoid of friction rubs or dulling and any creasing so few and small to be worthy of special mention. Minor record impression near the top edge being critical and the lack of yellowing to the white is great news too. A front that easily does full justice to the sheer importance of this monumental, daring work.

Cover Back: The back is equally impressive, these early Verve covers had a tendency to speckle and brown, I know this to be true owning all the Zappa Verve albums myself. This has mere traces only and without any doubt, this will prove difficult to find better. A very faint and mild semi-crease is only just apparent near the top right corner area (but again, look very hard). The three flipbacks are also in superb condition with no damage or lifting. The ends clean with no grime-line formation or burring - how unusual is that? The imprint is immaculate under the clear, clean flipback laminate (please see my close-up of this area and note how clean the flipbacks are). Few will survive so clean and intact, this is real nice.

Top Edge: Unworn and straight, all laminate solidly present.

Bottom Edge: A very small surface movement, semi-crack near the centre, no penetration, that apart, as above.

Right Edge(s), and Type: Clean, sharp, but folded very slightly off-square in manufacture, a minor blemish indeed. This has no feathering or trimming and any burr traces tiny.

Spine and Text: Solid, clean and clear, I think this has been very slightly mis-folded but compression is possible. All text is fully present and totally unworn, but it’s very clear it’s centred high and above the manufactured foldline, hence the minor mis-align on the right opening edge. All nit-picking being honest, but that’s how I am – I simply state what I see. All the laminate is solid and intact.

Corners: All four in remarkably neat and little-worn conditions with super shape retained. One faint surface crease near the bottom front right - being critical again.

Cover Summary: A near connoisseur standard cover. Just holding one of these gives pleasure, an absolute first with a rarer stereo 1 G / 1 G inside. Just how underground rock would have developed without this Reed creation is anyone’s guess. A sheer piece of rock history, sadly so overlooked at the time, this almost single-handedly reinvented the face of alternative music. Verve, a label better known for jazz, took the challenge and gave the world two massively influential bands – Zappa’s Mothers of Invention and The Velvet Underground. I cannot express my gratitude enough.

Vinyl Condition/Visual Grading: Strictly graded EX(-), it has some fine surface marks, mostly fine hairlines, odd ultra mild paper scuff – these have no sound. Given to what most of these vintage underground albums are seen like, this is still a fine and attractive visual copy that is very clean with a fine shine, jet black and very solidly pressed. Clearly played a few times, and why not?, those that took the challenge wanted to hear what this revolutionary band had to say. Being a stereo copy, it’s likely to have avoided ruthlessly heavy and often worn out mono needles, hence this copy plays very well indeed. Overall an exceptional copy when considering the state most of these early ‘alternative’ albums appear in, e.g. Beefheart, Mothers, Fugs etc, etc.

Album Played For Grading: Yes. [I play ALL records I offer before submitting to Ebay, also the record is played in its entirety unless clearly stated otherwise. I do NOT play snippetts or joining grooves to check for sound quality and quietness – I play from the beginning to end via clinically revealing B&W speakers that include the legendary tweeter from their awesome Nautilus range that reveals every blemish or miniscule sound present on any record.]

Sound Quality and Audio Grading: This landmark record plays even above its visual grading with very little to fault. Effortless and perfect tracking – as stated, a very basic recording but the stereo mix is quite noticeable and quite effective. No hi-fi classic for sure, but the sound is just right for what it is and I for one would not want it any other way – the content is far more important than the actual sound. There is minimal surface sound, any present is very gentle and faint and with most of the content intense and raw with recorded distortion, its noticeability is minimal. Some collectors even enjoy traces of ‘imperfection’ to remind themselves what they are actually listening too – a record 43-years-old – not a clinically silent CD. I enjoyed every moment of this record and the sense of hearing the genuine article is highly rewarding – just think, this was actually in the shops when this band were still together and recording. For those seeking this one, its a copy worthy of high consideration, it’s not perfect, but for this one, is ‘perfect’ really necessary? A record laden with history and importance, arguably the most important album ever made – you decide.

End Piece: Dark, brooding and menacing – Lou Reed and John Cale are two of music’s most uncompromising characters – together they were unstoppable and although their early liason was only relatively brief, the two albums they made together with The Velvet Underground are unforgettable, timeless classics. No serious record collection can ever not include include The Velvet Underground & Nico. This vintage UK stereo copy is delightful and I still feel privileged to offer it – The Greatest Album ever? – well it’s close, but possibly yes. Pop music fans will clearly disagree, but I like music on the edge that has something to say. Truly disturbing and mind-shattering, totally unique but beautiful. ‘What Costume Shall the Poor Girl Wear’?… totally priceless.

Now one of the most established sellers on Ebay and still offering the finest and most accurately described and graded records I can find. I pride myself on offering a variety of genres to keep my site as interesting as possible. I will rarely offer any record that falls below a true Excellent grading, unless its of a certain rarity which will justify offering a lesser grade. I try, to the best of my ability to describe as accurately and as honesty as I can all items I offer for sale with all the relevant information I can think of to help any potential bidder and collector. You may notice I only submit records sparingly on Ebay - on average ONEADAY, a couple more at weekends if time permits, hence the name - time rarely allows for more as I Play-Grade virtually every record I offer in their entirety, not just bits to guess a grade - visuals alone do not always tell a true or full story. I will mention any defects or flaws no matter how small that I notice to be fair as possible to any interested collector – I am very fussy and my buyers have the right to be too. Every record I offer, whether it be a common or rare item deserves the same respect as far as I am concerned and will be treated the same - just because an item is rare does not always mean its good. I get just as much pleasure offering a relatively common record in stunning near mint condition as the real rare items. All the pictures I use for your guidance are taken with a digital camera or scanned - they are NOT improved, cleaned-up or made better looking than they are with camera trickery or enhancing with digital programmes. What you see is what you get and scanned labels will give a more accurate representation of the genuine colour than flash photography where light is variable. I cannot guarantee total accuracy for colours however but most will be very close. If any picture I take looks more flattering than the actual item for any reason, I will clearly state the fact in the advert and vice-versa. I hope the item below is to your liking - any questions can be emailed and I will do my very best to answer you. I am enthusiastic, and have a fair degree of knowledge about many genres and I promise quality items - bid with confidence - excellence comes as standard and so does Near Mint regularly. Please assume all records I offer have NO jumps, sticks, warps or writing on covers or labels unless clearly stated to the contrary. Thanks for your interest and Good luck – MIKE.

Deck: Linn LP12/Hercules/Cirkus with Ittok Mk II arm and Ortofon Rondo Red moving coil cartridge (tracks at 2 grams). Amps: Naim Nait 5i with Project USB phono stage and Chord interconnects. Speakers: B&W 704 Floorstanding 3-way Monitors (bi-wired with QED Silver terminated cable). All records I offer on Ebay are cleaned on a professional Moth vacuum machine before play-grading for the cleanest and best possible sound and will include a brand new lined inner and protective cover too.

First-time, zero-rated bidders, who do not ask permission to bid, will be cancelled immediately and blocked – NO exceptions. For winning bidders who I consider excessively slow to make contact or submit payment, I will use my right to block future bids. If any bidder who wins in the final seconds is present to do so, surely they can at least email me to inform of intention and payment method? If swift or promp payment is a problem, please do not bid.

PACKING - THIS IS WHAT YOU GET - PLEASE SEE MY TYPICAL PACKING BOX PICTURE.

What You Get: To confirm to the strict Ebay rules on shipping, I must now send ALL my packets ‘Signed-For’ with NO exceptions. Both buyers and sellers want their packets to have a safer journey and this is not a bad thing.

I now offer the fastest possible posting, often the very next day after payment is received or within two to three days maximum (unless on holiday). I only use FIRST-CLASS Mail. The record’s cover will be placed within a BRAND NEW soft protective sleeve and the actual record will be professionally cleaned on my Moth Pro vacuum system to give ultimate clean grooves and playing surfaces and the best possible looks and ultimate sound quality. You will NOT get tired, dull looking, dust infested records inside worn and foggy covers with tatty inners from this seller and that’s a promise and guarantee. All records are posted in professional thick boxes (NOT Mailers or Cruciforms, these do not offer maximum protection). The record(s) REMOVED from their main cover to avoid edge splits and placed within a brand new polylined inner. The record’s original inner will be included if available. The boxes are then reinforced with THREE or EVEN FOUR ULTRA THICK stiffeners for maximum extra protection – these are FOUR TIMES thicker than commercial stiffeners and are custom-made for oneadayrecords. Really rare and expensive albums will even be Double Boxed if deemed necessary and possible. The thick record and stiffener ‘sandwich’ is then thickly embedded into bubble-wrap to bulk out the record inside the box to centre the item inside to reduce the risk of damage still further. Printed address labels are used for clarity as well as a sender label. Customers requests or special needs for P&P will be respected if at all possible but ‘Signed-For’ posting is NOT an option anymore. Please see my picture of a typical finished box packet that will now be used on ALL transactions as from now. I do not profit on posting and the cost of this lavish packing is NOT even charged for, I offer probably the best-value and safest shipping possible for ultimate confidence. These boxes and ultra thick double-wall stiffners and bubble wrap make a near impregnable fortress for safe shipping and this is used inland and overseas for ALL my records, not just the rare and expensive. I will invoice any winning bidder as soon as possible after the auction ends. My ‘loss’ or ‘damage rate’ is less than one in two thousand based on over 6,000+ items sold in over 8 years of Ebay trading and I consider that pretty exceptional. The only damage rate acceptable for this seller is ZERO and I think my packets will offer just that. It would take a vicious postman or postal service to damage these for sure. Even one of these stiffners cannot be bent by hand, so what chance 3 or 4 inside a box? Oneadayrecords is a MAILER-FREE ZONE. I discount of course for multiple purchases with a maximum of FOUR records per box (one double can sometimes be included subject to total weight). I will not respond to questions on shipping costs as all the details are included here and on ALL of my adverts. Details below:

NOTE: First Time Bidders: I will cancel ALL first-time bidders with no feedbacks or excessive negatives who do not ask me if its OK to bid first – NO EXCEPTIONS.

Please Note: I will now offer any item to the runner-up after the mandatory Ebay 3 days if no contact is made by the winning bidder unless prior notice of any delay is given beforehand. The same applies if no payment is received within the mandatory 7 days so any bidder who has just lost out can still email me to reserve the item as priority second chance – it’s always worth asking.

SHIPPING COSTS & CONDITIONS – THESE comply with EBAY’S RULES - PLEASE READ CAREFULLY:

Posting & Packing: UK & CHANNEL ISLANDS all now sent via Recorded Delivery:

1 LP (FIRST-CLASS Recorded Delivery with Standard Royal Mail Insurance) [Signed For] = £4.

1 LP (Special Delivery with Standard £500 Maximum Insurance) [Signed For, Next Day] = £7.50. (this includes insurance of £500). Add £2 per extra LP.

Posting & Packing: EUROPE & SCANDINAVIA. (Airmail Only):

1 LP (Small Packet ‘Signed For’ with Standard Royal Mail Insurance [£40 maximum]) = £9. (insurance optional extra £3). Add £2.50 per extra LP.

Posting & Packing: ALL OVERSEAS (non-European) e.g. USA (ANY PART OF); Australia; Canada; Japan and other Far East; (Airmail Only: I NEVER use Surface Mail):

1 LP (Small Packet ‘Signed For’ with Standard Royal Mail Insurance [£39 maximum]) = £13. Add £4 per extra LP. (insurance optional extra £3)

Payment Conditions:

I prefer PayPal or cheque from UK winning bidders. I can accept PayPal from overseas bidders or direct payment into my bank account.

Potential Bidders: Please do not bid if you have negative feedback unless checking first, I will cancel any bids I feel are timewasters. A maximum 3 days for communication and 7 days for payment to arrive - if not I will relist the item or offer to the runner-up. Fast deals get great feedback from me. Any questions - please ask and thanks for looking.

My Guarantee: If any winning bidder is not satisfied with their purchase I will offer a complete refund. I will not refund if any defect detail is clearly stated on the advert and missed by the buyer, so read the item description carefully. If any overseas collector does not understand anything in my listing, please email and ask me to help. Thank You.

SOME GENERAL GUIDES TO WEAR AND CONDITIONS TO HELP YOU DECIDE

My Use of Description Terminology: Surface Marks = Superficial, usually light marks, hairlines or light scuffs that rarely sound. Scratch = a needle mark that goes below the record’s surface, some will sound, some will not, my play-grade will inform. Original = a record that has been pressed with the first label design which does NOT neccessarily mean a very first pressed record. First Pressing = A record that I believe or know to be a genuine very first pressed record. I do not claim to always know for sure, and that’s why I state the stamper and matrix numbers if at all possible, for those who claim to know what they all mean, the information is there for the collector to decide. I prefer to use terms like ‘Early Copy’ rather than ‘First Pressing’ if I am not totally sure. Surface Sound = Mild, light sound, usually light crackle or similar. Distortion = Break up of the actual sound caused by groove wear or damage from a chipped stylus – the most undesirable form of unwanted sound, vintage mono records were the most prone to this happening but not exclusively so. The symptoms of distortion are high frequency clipping, moderate constant crackle or an echo type sound quality. Violin, piano and vocals are most prone to groove-wear distortion. Feathering = Fraying or softening of the entry edge of a cover. Covers with feathered entrance edges are more likely to have had the actual record inserted and removed more than a non-feathered, sharp-edged cover which are always far more attractive. Set Off, actually a printer’s term for dark ink leaving mild residue on pale or white ink when rested upon. e.g. when a gatefold cover has black ink closed against white, this can leave some black residue on the pale area – this is mostly unavoidable or course.

The Argument for Vinyl Original sound and mix (mono mixes are rarely available on CD), high quality sound on clean copies (played on a hi-end dedicated analogue system – breathtaking sound!), beautiful, large format covers, artwork, inserts and even full size posters etc; huge investment potential, and the pleasure of owning ‘the real thing’.