THE WHO LIVE AT LEEDS UK FIRST +ALL 12 ORIGINAL INSERTS

	£		26
	$		34

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 ‘mother’; these statements alone do not always mean that the vinyl is from the very first ’stamper’ ever made. However, where I state First Issue and First Press it is likely that the album offered includes one (or more) of the early vinyl(s) produced in the country of origin from the first ‘mother(s)’ and ‘stamper(s)’. 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.

Condition & Grading: Regular visitors to my listings will know that I offer albums that range from very good to near mint in terms of condition. I don’t restrict my offerings to just near mint, and I don’t just call everything great or excellent plus regardless of condition. Occasionally a rare album turns up which in some respects grades very good plus but in other ways is  outstanding so providing each of the features are individually and accurately graded, and I take great care with this, I am happy to offer it for sale. However, all vinyl albums I offer are at least highly presentable and deliver enjoyable audio, and most are much better than that – if you are intending to bid please read the individual gradings and check that you are satisfied before placing your bid.

Album / Record Title: LIVE AT LEEDS

RARITY: VERY RARE AS A COMPLETE GENUINE UK FIRST ISSUE WITH TWELVE ORIGINAL INSERTS AND IN THIS CONDITION – Live At Leeds is indisputably one of the best, most interesting and highly collectible rock albums ever produced. It is the definitive collectors’ item enclosing a superb package of rock history and memorabilia with one of the greatest ‘live’ albums ever recorded. However, claims of rarity for this album are frequently exaggerated. It was a hugely popular and enormously successful album that has sold in vast quantities of many variants following first release in February 1970 and they are often seen for sale. So to describe one as VERY RARE requires explanation and I will explain why this example justifies that description. The inclusion of 12 inserts (13 if you include the rarely seen ‘greaseproof paper’ envelope which they were packed in - usually thrown away after opening, and not present with this one) means that it is complicated to recognise a completely authentic first issue. Invariably they have been lost and there’s a lot of mixing, matching, misinformation and no definitive point of reference so I will explain why I believe this is AN ALL ORIGINAL COMPLETE UK FIRST ISSUE (bar the envelope) based on my experience of seeing hundreds of examples over the years – and I have an extensive range of variants in my current collection for reference. Starting from the outer cover and working in: -

THE OUTER COVER: The buff card used for the ‘butterfly’ style opening cover with inner pockets was thicker and more fibrous on the first issues producing a slightly coarse finish which is difficult to keep clean - later ones were noticeably thinner and smoother – they often appear lighter and cleaner than the early originals. The inner pockets on the first ones were deeper. There are different opinions about the relevance of the colour of the block title stamp on the front; some reference books only mention red and blue but undoubtedly a few black stamps were among the earliest UK first issue. Having seen many, I am of the opinion that there were black, blue and red genuine first pressings all released in the first issue but probably less of the black; certainly on the basis of my sightings of market visibility black is the rarest, blue is relatively rare and red is most frequently seen. Also, the earliest first issue black, red and blue stamped covers are all printed in black text on the inner pocket with Track logo and credits, later examples are printed to match the outer title stamp colour.

THE INSERTS: Collectors appreciate the importance of detail so I am going to list the inserts numerically and explain their characteristics:-

1./ Marquee Poster – Printed on quite thick paper with light semi-gloss front and matt, almost lightly textured, plain white paper back. Later ones and copies are generally found with thinner paper and tend to be glossier. Also, I know it may seem as though I am stating the obvious but the text on the print of the originals reads ‘Tuesdays At The Marquee 90 Wardour St’ – the text on later re-issues states Track records, the catalogue number and name of the album.

2./ Group photograph – Printed on thicker photo card with a semi matt finish but it is important to note that the originals are fairly good quality prints which show clear facial detail. Later issues and copies lack detail especially around the eyes and are often on thinner poor quality paper.

3./ Isle of Wight photo print – This is a much misunderstood insert; the originals are on thinner paper than the group photo and folded centrally, again the ‘guitar overhead’ shot of Pete Townshend is pretty good quality with reasonable detail. The writing on the back is a facsimile of a dark blue biro and everything is clear, including the handwritten ‘grid’ pattern in the centre. Later issues and copies tend to be on thicker paper with either a brighter blue, or black, copy of biro on the back – these are usually less clear and the grid pattern is often incomplete. Many well informed sources believe that this was the earliest insert to be changed.

4./ Premier Talent Woodstock Booking – This contract insert varies widely in colour and paper type as the issues and copies progress. The earliest are printed on thin ‘old typewriter copy paper style’ pale yellow paper – mid term first issue they were printed on brighter yellow paper like this one - then later, and with re-issues, on thicker and white paper. Also, the two ‘stamps’ one at the top left and the other ‘Received’ stamp bottom right can be seen on the originals – later ones were either so faint as to be unreadable or just not there at all.

5./ The High Numbers payments slip – Similar paper type, colour and characteristics to No. 4./ Premier Talent Woodstock Booking. The typewriter copy text is precise and clear – later examples and copies are usually on different colour and type of paper and the text may be imprecise or unclear.

6./ Marquee Club Box Office summary – Printed on quite thin off white paper, the visible typing is sharp and clear, the handwritten details are precise, clear and dark blue in colour – invariably this is hole punched but the same caveat applies as for section 7 ‘Kings Agency..’ below. Later examples are fuzzy and / or black and often on thicker paper.

7./ King’s Agency Locarno ballroom Swindon cancellation letter – Again on a lighter to mid-weight paper, the typeface is clear as is Barry Perkins signature which is also in dark blue biro – not black, as is the case with later examples. More often they were hole punched to the left of the page like this one but this is not a definitive characteristic – I have seen two early originals through the years that were not hole punched. I am of the opinion that due to the inexact nature of production of records / albums during this era there would have been anomalies within any batch or manufacturing process. Taking that and the human element into account it is more than likely that some were produced with and others without the punched holes, and I do not believe it is credible to claim certainty about such a tiny technicality as holes in a piece of paper.

8./ EMI Records Ltd indecision letter – On a standard mid-weight white typing paper with correct EMI red letterhead and logo and a clear facsimile of John Burgess’s signature.

9./ My Generation typed lyrics – Again on thinner typewriter style paper with clear text and the handwritten pencil notes look like pencil. The originals have three handwritten asterisks, two on the right and one on the left – later examples often only have two, one or none.

10./ New Action bookings form -  Again a mid-weight white paper centre folded with the light grey logo, the correct shade of blue and very clear handwritten text in red felt tip pen which looks original – later examples are obviously reprinted and generally on thicker paper.

11./ Notice Before Proceedings – Originals like this are on thinner than standard paper, the type is in a mid-blue and the handwriting is very sharp and clear – it looks almost original. The stamp is a little uneven but  just about readable.

12./ Brocks Delivery Note –  Printed on the mid-weight or thinner style of typewriter paper looking close to how it would have done on an older style typewriter.

I must emphasize that all information published in this listing is based primarily on my personal research and experience, but I do believe it is accurate.

THE VINYL: 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. There were four main issues of this album UK TRACK, US DECCA, GERMAN TRACK & POLYDOR. The UK TRACK and US DECCA first issues were released almost simultaneously on 16 May 1970; other variants have later release dates. All UK FIRST PRESSINGS have the catalogue number 2406 001 followed by A//1 & B//1 MATRICES on the respective sides. The vinyl weight of UK TRACK first pressings were around 130-140 grammes, re-issues and later pressings were generally lighter.

THE LABEL: White TRACK with blue facsimile handwriting, said to be Pete Townshend’s, with the notorious additional note ‘CRACKLING NOISES O.K. DO NOT CORRECT!’ – this should not be used as an excuse for a poor quality vinyl, it is in fact remarkably ‘clean’ as far as ‘Live Recordings’ go. Pete Townshend apparently added the note because John Entwistles bass cable was playing up during the live performances, most evident on ‘Shakin’ All Over’, so there’s some electric crackle which he did not want edited out because that would interfere with the original audio - he certainly wasn’t referring to tangible scratches or scuffs.

Artiste(s): THE WHO - Pete Townshend, Roger Daltrey, John Entwistle, Keith Moon

Disc Format & Playing Speed: 12” LP & 33 1/3 r.p.m.

Recording Format: STEREO

Record label: ORIGINAL TRACK WHITE LABEL WITH BLUE FACSIMILE OF HANDWRITTEN TEXT.

Catalogue Number: 2406 001 SUPER

Country of manufacture and first published date: Made in Gt. BRITAIN 1970

Vinyl ‘run off’ matrices side A:     2406001 A//1

Vinyl ‘run off’ matrices side B:     2406001 B//1

Vinyl ‘run off’ stampers side A:    1   1  1  9

Vinyl ‘run off’ stampers side B:    1   1  1  9

Vinyl ‘run off’ initials / cryptic side 1: none visible

Vinyl ‘run off’ initials / cryptic side 2: none visible

N.B. Please note that all matrices, mothers and stampers quoted in my listings are machine imprinted except where I state an alternative method next to them.

Track Listing as per label: SIDE A: YOUNG MAN / SUBSTITUTE / SUMMERTIME BLUES / SHAKIN’ ALL OVER / SIDE B: MY GENERATION / MAGIC BUS

My opinion and summary of condition: Often referred to as the best ‘LIVE’ rock album ever recorded, and it would be hard to disagree with that claim. For me it has a ‘timeless’ quality which resonates and repeats through every new young generation and probably explains why many of the songs have been covered in the years since first release by high profile recording artistes. The performance of each musician throughout the whole of the album is outstanding and remarkable – which reminds me of a recent remark made by Noel Gallagher who said of John Entwistle’s bass playing on My Generation “if you could express it in words you would have it engraved on your tombstone”, and how right he is! THIS IS A REALLY NICE ORIGINAL AND COMPLETE FIRST ISSUE EXAMPLE OF A GREAT ALBUM. 

MY GRADING OF THIS ALBUM based on Record Collector ‘Rare Record Price Guide 2008’ (**n.b. please note that I grade accurately backed up by a description. I neither over-exaggerate nor under-exaggerate. I see no point in grading an item with multiple ++++ marks, or under-grading it and then stating that it should be graded better - I consider these methods to be confusing. I use the Record Collector system with either a PLUS or a MINUS to indicate slight variations either side of a grade). I always include a full set of super-sized photographs to provide bidders with the best possible opportunity to make their own visual assessment of each album in conjunction with my detailed descriptions.

Vinyl Visual side A: NEAR EXCELLENT, a fair amount of fine surface movement lines, just superficial, no tangible depth, no significant audio consequence.

Vinyl Visual side B: NEAR EXCELLENT, a fair amount of fine surface movement lines, just superficial, no tangible depth, no significant audio consequence.

Label Visual side A: EXCELLENT TO PLUS, just a few light spindle lines and slight evidence of handling, but otherwise no marks, no scuffs, no tears, no apparent spindle hole wear.

Label Visual side B: EXCELLENT, just a few light spindle lines and slight evidence of handling (small smudge about 4 o’ clock towards the outer edge), but otherwise no marks, no scuffs, no tears, no apparent spindle hole wear.

N.B. Please note that I make no adjustment or allowance in grading for minor marks or slight shrinkage marks / lines on labels caused in original pressing; they are quite normal and in my opinion are individual characteristics – not defects.

Outer Cover: VERY GOOD PLUS, and this is a very cautious grading because it looks better in reality than it does in the photographs – they really do not do it justice and it’s hard to imagine how this design and construction of cover could be very much better after 37 years. The now iconic, minimalist, buff thick paper cover folded and stapled together with RED title stamp is in physically excellent condition and the staples have NOT rusted. There are some light surfaces creases and some signs of handling but short of keeping it polythene wrapped and unopened, or using surgical gloves every time you hold it this is almost unavoidable. There are a few light stains in the form of spots on the front and back which can be seen in the photographs, and slight discolouration towards the edges. This is an extraordinary cover and the whole concept seems, in hindsight, inspired. Superb ‘Live’ rock and roll basically packaged - all very ‘real’ - just as it should be in this case. The cover was a Peter Blake concept, Designed by GRAPHREAKS, and Printed and made by MacNeill Press Ltd., London S.E.1. Please take a look at the super-sized photographs and make your assessment as well, but I can assure you that it is a fine example

Spine: NEAR EXCELLENT, slightly discoloured and lightly ‘fluffed-up’, but generally in excellent physical condition.

Inner Sleeve: VERY GOOD PLUS, original standard white paper printed with blue cautionary notes with an antistatic poly-liner, a little creased and lightly discoloured - physically excellent.

Inserts: NEAR EXCELLENT, full set, all 12 inserts as described above - a few small creases, the stage photo print neatly centre folded, age related wear to the folds, a little discolouration here and there, crease across the left corner of the group photo which crosses Keith Moon but nothing which constitutes more than reasonable and careful handling wear.

Vinyl Warp: slight deflection visible when eye tested on a moving turntable but has absolutely no affect on play or audio delivery.

Vinyl Weight: 130 grammes (a terrific TRACK heavyweight )

Play Grade: I consider all aspects of an albums condition and grading to be highly important and I place particular emphasis on the quality of the audio delivery; superior audio performance is, above all, the main reasons for listening to vinyl. For this reason I have decided to extend my play grade to rate separately how ‘clearly’ and ‘cleanly’ the sound is received. It is quite possible with vinyl to experience great ‘clarity’ and reality without the sound being exceptionally ‘clean’ - that’s ok with me, but it may not satisfy the audiophile. So, a NEAR MINT & NEAR MINT will be the best grade with VERY GOOD PLUS & VERY GOOD PLUS or better being highly satisfactory.

For CLARITY the audio from this vinyl grades: EXCELLENT

For CLEANLINESS the audio from this vinyl grades: VERY GOOD PLUS

Audio Performance: THIS WAS A HIGHLY ENJOYABLE AUDIO DELIVERY FROM AN EXCELLENT VINYL WITHOUT ANY SIGNIFICANT FLAWS OR BLEMISHES. THERE IS A LITTLE LIGHT CRACKLE ON THE NON-RECORDED SECTIONS AND AN OCCASIONAL LIGHT TICK BUT NOTHING TO SPOIL A SUPERB ALBUM. THERE IS GREAT CLARITY OF SOUND AND AS A PLAYING PROPOSITION THIS VINYL I CONSIDER THIS TO BE BETTER THAN EXCELLENT. 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 IS A DYNAMIC AND VIGOROUS AUDIO DELIVERY FROM A POWERFUL AND HIGHLY IMPRESSIVE VINYL.

Other: Highly collectible and a great pleasure to listen – one of the essentials, even in a vinyl minimalist collection.

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.