THE VELVET UNDERGROUND & NICO Very Rare Orig UK MONO

	£		180
	$		239

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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 apparently 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 a rarer embossed ‘K J T’ tax code on side two. These fragile characters practically unworn, scuffed or flattened, so-much-so, they are not even easy to see but hopefully they can be viewed on my scan.

Label Conditions: Both are hugely impressive: very clean, fresh and attractive, spindle marks are light, fine and faint and all evidence suggests this monumental record has been played little.

Cat Number: VLP 9184.

Mode / Speed: Mono / 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: 135 grams. A very good solid weight.

Country of Manufacture: England.

Rarity & Introduction: Very 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 and 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 it’s time for the record-buying public. Few British record buyers were prepared to shell-out on an unknown ‘weird’ American bands at this time. Most had their heads immersed in ‘Sgt Pepper’ and psychedelic mania and this issue was almost universally ignored. For the tiny few, braver and more adventurous music fans of the day who did buy this, few were hi-fi buffs and those that do surface are invariably trashed. This album was issued in both modes: the stereo version could be argued to be rarer still, but the monos are nigh-on impossible to find in anything like decent condition. Indeed, this is the very first mono UK copy I have ever seen before in anything like good enough condition to offer. It is a very fine copy with just one small scratch on side one that emits around six or seven clicks at the very beginning of ‘All Tomorrow’s Parties’. A couple or three faint one heard on the previous song near the very end and on the joining groove. This apart, little else to fault, and the fact it has avoided any distortion or groove wear or damage by any piledriver mono stylus is great news. I would be certain very few of these were even pressed in the UK, so although it has the earliest Mother and stamper codes, they are possibly not quite so relevant as some albums as I feel most examples will be similar. 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 release varied considerably to the US version. There it was a gatefold format with it’s 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 UK 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. Both albums broke all the rules and almost reinvented the genre of ‘rock’ music. This is a raw album, never a hi-fi piece anyway, as most will already know, but this offers a rare mono experience on vinyl with the sound of the decade of issue. Rarely seen or offered in mono with such little use – the one small and brief blemish apart, this is a superb record and one of the most priceless albums I have ever offered on Ebay.

Original Year of Release: 1967

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

Mothers / Stampers: 1 G / 1 R

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. [NOTE: 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].

“Not Since the Titanic ran into that iceberg has there been such a collision as when Andy Warhol’s Exploding Plastic Inevitable burst upon the audiences at The Trip” – LOS ANGELES TIMES.

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 the taboo into ‘popular’ music. Topics only hinted at previously were laid open and nothing was held back – a record that ventured deeply into unchartered territory and into the minds of those prepared to listen. While other bands of the era were singing songs of love and peace, The Velvets and Zappa offered a stark alternative. Revolutionary, chaotic, uncompromising, daring and totally unique – this album even today sounds radical and only it’s 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 keyboard 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.

“Warhol’s brutal assemblage – non-stop horror show. He has indeed put together a total environment, but it is an assemblage that actually vibrates with menace, cynicism and perversion. To experience it is to be brutalised, helpless” – CHICAGO DAILY NEWS.

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, they never had any commercial success within their recording period at all. No air-play and almost universally ignored at the time, for the pop-loving public, most found it unlistenable and it sold very poorly, especially in the UK. Only the brave few would have parted with hard-earned cash for such a revolutionary band and new sound – few original 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 not a high fidelity recording. 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 mayhem. 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 mono mix offers subtle differences and portrays the music differently. 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). Hardly gifted technically, 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 Sterling Morrison. John 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.

“Nico astonishing – the macabre face – so beautifully resembling a momento mori, the marvellous deathlike voice coming from the lovely blonde head” – David Antrim, ART NEWS.

Not all is chaotic though, there are moments of real beauty on this set, provided by Nico’s (real name Christa Paffgen) haunting, dark 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. As stated, there is a mark on very beginning with a few clicks on the quiet brief intro, but this being the only noteworthy blemish, I easily lived with 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 simply 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 cut of this track 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. Not pristine, but does it really matter? – an album like this is better a little aged – here only mildly so. An issue of this magnitude really demands both the UK and US versions are obtained as the packing is so different.

“With the Velvets comes the blonde, bland, beautiful Nico, another cooler Dietrich for another cooler generation. Art has come to the discotheque and it will never be the same again” – John Wilcock, EAST VILLAGE OTHER.

The record here appears played very little, okay it has suffered one (and only ONE) misdemeanor in the past, but half a dozen or so clicks on a mono record like this is hardly catastrophic is it? This is a very ‘basic’ recording and unpolished, but it’s simplicity adds to the thrill of it’s rawness and I feel it works perfectly – this simply would not sound right any other way. 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. This record would have rarely 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 (thinly pressed and crackly hasten to add). Influential beyond belief and admired by many later bands and now, most all critics – how times and attitudes change. With so few early Verve copies around and most that are found trashed, this unique album is a fine copy. The cover is strong with no damage and any ageing quite modest. For collectors needing this remarkable record, it’s a copy worthy of high consideration – the only real issue for the more discerning is the small aforementioned scratch that emits a half-a-dozen or so clicks. A US near mint, unpeeled banana example will be like gold-dust to find and probably command a massive price tariff – and I am pretty sure these are easier to locate than this. The UK originals are seriously rare – indeed much rarer than the Zappa Verves. The greatest rock album of all-time? – well possibly, this is an immense opportunity to own it in mono.

“The sound is a savage series of atonal thrusts and electronic feedback. The lyrics combine Sado-Masochistic frenzy with free-association imagery. The whole sound seems to be the product of a secret marriage between Bob Dylan and the Marquis de Sade” – Richard Goldstein, NEW YORK WORLD JOURNAL-TRIBUNE.

Cover Grade and Format: NEAR EXCELLENT: a single format with front laminate, this wraps around the closed edges on to three external rear flipbacks. This is the rarer and correct VLP mono original, it was printed and made in England by Garrod & Lofthouse and includes the ‘Patents pending’ text. 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. The laminate retains a very fine shine and clarity with minimal traces of any dulling. This is almost fully adhered with just a mild and faint lift on a crease near the bottom edge. There are some creases, mainly near the edges and non at all heavy and very few even close to moderate. A small few, mostly small and light half moons near the right entrance edge area also show little. The corners have rubbed and there is mild toning on the right edge where the laminate ends a little short of full width. Just enough overall to remind of this great age of this prized rare mono cover, but I can seen little to worry about unless perfection is mandatory.

Cover Back: Again, lightly aged with some mild discolour to the left edge area but not a great deal else. This panel has pretty much avoided any creasing or rubbing and has no writing or sticker marks. The flipbacks are solid but have a few hairline surface creases. Their ends neat and nigh-on burr-free with any toning traces tiny and reasonably faint. A rare mono underground cover that sets a very fine standard overall.

Top Edge: Little wear up to the corner areas that have rubbed.

Bottom Edge: Similar again with less corner area rubbing, just the odd tiny chip or two.

Right Edge(s), and Type: Clean, quite sharp with a fairly ‘rustic’ style trim in manufacture. This has no feathering or trimming and any burr traces very few and light.

Spine and Text: Solid, clean and clear, there is mild compression in places and the only rubbing is on the ends. All text is fully present and totally unworn (as seen on my close-up picture). The laminate covering all intact with no peeling, odd tiny chip and hairline crease only.

Corners: The top pair have moderate rubs or scuffs and a little creasing in their general area. The bottom pair only light rubbing. Fine shape is retained.

Cover Summary: 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. So some general mildish wear, surface creasing and ageing, but I feel this actually enhances this album. I feel sure this will please many collectors, but not quite those who want a pristine example of a 44-year-old cover. Those in mono will prove immensely difficult to find and the true use of word ‘Rare’ applies.

The Inner Sleeve: VERY GOOD: marked down for edge splits and general ageing. A plain white unlined inner that includes the text ‘PATENTS APPLIED FOR’. A moderate toning stain on each side but barely any creasing. Both left and right edges have split, the bottom is intact. I prefer not to swap inners is at all possible, this is the real thing and the fact it has aged is because it IS old.

Vinyl Condition/Visual Grading: EXCELLENT: with one small scratch that emits around 10 clicks on the sound areas as mentioned above. Minus this mark, I would have graded still higher because this is still an exceptional mono record. Under light, a few very light and faint surface marks are seen, 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. All the evidence of those superb clean labels and playing surfaces, as well as the mostly clean sound convinces me this one has been played very little. Okay, one mishap – hardly a catastrophe – this tracks effortlessly and still overs almost the best sound you will hear from an original mono copy bar the aforementioned mark. Those that took the challenge and wanted to hear what this revolutionary band had to say, more often played these almost ‘lost’ originals to destruction on goodness knows what. Rarely light tracking record players that is for certain. With that in mind, this copy has survived the era well – VERY well in fact and still looks a very impressive copy.

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 snippets 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 minuscule sound present on any record.]

Sound Quality and Audio Grading: This landmark record plays (for practically all) even above it’s impressive visual grading with very little to fault bar the brief clicks, mostly heard on the very beginning of ‘All Tomorrow’s Parties’. There is a smallish visible mark at the very end of ‘Run Run Run’ and the into the next. Minus this blemish, I would happily state, this is a superb mono record that would prove incredibly hard to find better – and maybe this still applies anyway. Effortless and perfect tracking – as stated, a very basic recording but the mono mix does present the music differently, and as far as I know, this is the only UK version available on vinyl in that mode. 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 and is very well pressed and all the music and vocals are as sharp as when made – there is NO sound degrading at all in terms of fidelity loss, and this has NOT been subjected any any worn stylus. With most of the content intense and raw with recorded distortion, any minor blemishes are washed over. However, the quiet intro to ‘Parties’ means the half-a-dozen or so clicks can be heard. Some collectors even enjoy traces of ‘imperfection’ to remind themselves what they are actually listening too – a record 44-years-old – not a clinically silent CD. I enjoyed every moment of this record and the sense of hearing the genuine article is massively rewarding – just think, this was actually in the shops when this band were still together and recording. A landmark recording in the history of underground rock. For those seeking this one, it’s 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 (here with Nico) are three of music’s most uncompromising characters – together they were unstoppable and although their early liaison was only relatively brief, the 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. I found this vintage UK mono copy a delight 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 VPI-17 vacuum machine before play-grading for the cleanest and best possible sound and will include a brand new lined inner and protective cover too. Pictures taken with a Nikon D5000 SLR Digital Camera.

PACKING - THIS IS WHAT YOU GET.

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 new VPI-17 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 boxes (NOT Mailers, these do not offer any real protection). The record(s) are 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 at least TWO, 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. When larger boxes are used, 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. 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. The boxes and ultra thick double-wall stiffeners 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 7,000+ items sold in nearly 10 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 stiffeners 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 FIVE 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: Please as me first.

PLEASE NOTE: I now exercise my right to open a dispute after the Ebay rule of FOUR days if no payment is received. I will then cancel the dispute to end the, again after the mandatory FOUR days and then offer the item to the runner-up or relist. The non-payer will also be blocked from my Ebay site and they take the Ebay consequences (a strike or removal from the system). Small businesses need prompt payment to trade and these strict rules WILL be applied.

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 [£46 maximum]) = £10. (Royal Mail insurance is an optional extra £3). Add £3 per extra LP.

Posting & Packing: ALL OVERSEAS (non-European) e.g. USA (ANY PART OF); South America; New Zealand; 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 [£46 maximum]) = £14. Add £4 per extra LP. (Royal Mail insurance is an 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: I will cancel any bids I feel are time-wasters. 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 necessarily 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’.