The Animals Animal Tracks Mono Album MGM E 4305 Vinyl LP "VG+"

$

27

NOTE: All LP’s have been played on a Technics turntable and hand cleaned with commercial vinyl record solution ( MOFI One) prior to listing.

All records are shipped in LP record boxes with the record and inner sleeve outside of the Jacket and all items placed in plastic outer sleeve. When the original inner sleeve is unavailable all records will be in a new anti static sleeve.

NOTE ON RETURNS, PLEASE  READ: we do not consider the odd pop, tick, light background here and there, a tiny skip on a track as flaws on 40+ yr old used vinyl, unless rated NM, they're the norm & most collectors/buyers are well aware of this, we don't expect returns on this kind of thing, however we will take returns in the same packaging for a refund if you're not happy with the minor aging, the buyer pays return shipping in accordance with ebay policy. If however we inadvertently mis-describe the record origin (pressing, label, originality etc) or our visual grading misses a major playing flaw that makes the record virtually unlistenable such as repeated skipping or groove sticking, ongoing loud worn background or loud regular pops/noises then we will pay for return shipping as long as this checks out on our player when we receive the item back. 

Buy with confidence!

Animal Tracks is The Animals' third album in the United States. Musically, it was a hodge-podge of the group's recent hit singles mixed in with tracks of assorted vintage that had not been included on either of The Animals' first two U.S. albums. As such it bore little resemblance in content or purpose to the band's British release also named Animal Tracks from four months earlier.

Track listing

1. "We Gotta Get out of This Place" (Barry Mann, Cynthia Weil) [US single version] – 3:17
2. "Take It Easy Baby" (Alan Price, Eric Burdon) – 2:51
3. "Bring It On Home To Me" (Sam Cooke) – 2:40
4. "The Story of Bo Diddley" (Bo Diddley) – 5:42
5. "Don't Let Me Be Misunderstood" (Bennie Benjamin, Sol Marcus, Gloria Caldwell) – 2:25
6. "I Can't Believe It" (Eric Burdon) – 3:35
7. "Club A-Go-Go" (Eric Burdon, Alan Price) – 2:19
8. "Roberta" (Al Smith, John Vincent) – 2:04
9. "Bury My Body" (Arrangement: Alan Price) – 2:52
10. "For Miss Caulker" (Eric Burdon) – 3:55

Personnel

• Eric Burdon – vocals
• Alan Price – keyboards except as indicated below
• Dave Rowberry – keyboards on "We Gotta Get Out Of This Place" and "I Can't Believe It"
• Hilton Valentine – guitar
• Chas Chandler – bass
• John Steel – drums

Production

• Mickie Most – producer, liner notes
• Val Valentin – engineer

NOTE TO POTENTIAL BUYERS!

I am NOT a professional record grader, but I do my best to adhere to the Goldmine Standard, of which I keep a copy beside me while listing my albums.  I do NOT make up my own grading. My albums are my collection and they are all hand cleaned, play tested, and graded. 

 here are the standard grades for record albums, from best to worst.

MINT (M)
These are absolutely perfect in every way. Often rumored but rarely seen, Mint should never be used as a grade unless more than one person agrees that the record or sleeve truly is in this condition. There is no set percentage of the Near Mint value these can bring; it is best negotiated between buyer and seller.

NEAR MINT (NM OR M-)
A good description of a NM record is “it looks like it just came from a retail store and it was opened for the first time.” In other words, it’s nearly perfect. Many dealers won’t use a grade higher than this, implying (perhaps correctly) that no record or sleeve is ever truly perfect.

NM records are shiny, with no visible defects. Writing, stickers or other markings cannot appear on the label, nor can any “spindle marks” from someone trying to blindly put the record on the turntable. Major factory defects also must be absent; a record and label obviously pressed off center is not Near Mint. If played, it will do so with no surface noise. (NM records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.)

NM covers are free of creases, ring wear and seam splits of any kind.

NOTE: These are high standards, and they are not on a sliding scale. A record or sleeve from the 1950s must meet the same standards as one from the 1990s or 2000s to be Near Mint! It’s estimated that no more than 2 to 4 percent of all records remaining from the 1950s and 1960s are truly Near Mint. This is why they fetch such high prices, even for more common items.

Don’t assume your records are Near Mint. They must meet these standards to qualify!

VERY GOOD PLUS (VG+)
or EXCELLENT (E)
A good description of a VG+ record is “except for a couple minor things, this would be Near Mint.” Most collectors, especially those who want to play their records, will be happy with a VG+ record, especially if it is toward the high end of the grade (sometimes called VG++ or E+).

VG+ records may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, but repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable.

VG+ covers should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable location. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint.

Very Good (VG)
Many of the imperfections found on a VG+ record are more obvious on a VG record. That said, VG records — which usually sell for no more than 25 percent of a NM record — are among the biggest bargains in record collecting, because most of the “big money” goes for more perfect copies. For many listeners, a VG record or sleeve will be worth the money.

VG records have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail. When played, a VG record has surface noise, and some scratches may be audible, especially in soft passages and during a song’s intro and ending. But the noise will not overpower the music otherwise.

Minor writing, tape or a sticker can detract from the label. Many collectors who have jukeboxes will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape.

VG covers will have many signs of human handling. Ring wear in the middle or along the edges of the cover where the edge of a record would reside, is obvious, though not overwhelming. Some more creases might be visible. Seam splitting will be more obvious; it may appear on all three sides, though it won’t be obvious upon looking. Someone might have written or it or stamped a price tag on it, too.

Good (G),
Good Plus (G+)
or Very Good Minus (VG–)
These records go for 10 to 15 percent of the Near Mint value, if you are lucky.

Good does not mean bad! The record still plays through without skipping, so it can serve as filler until something better comes along. But it has significant surface noise and groove wear, and the label is worn, with significant ring wear, heavy writing, or obvious damage caused by someone trying to remove tape or stickers and failing miserably. A Good to VG– cover has ring wear to the point of distraction, has seam splits obvious on sight and may have even heavier writing, such as, for example, huge radio station letters written across the front to deter theft.

If the item is common, it’s probably better to pass it up. But if you’ve been seeking it for a long time, get it cheap and look to upgrade.

POOR (P)
and Fair (F)
Poor (P) and Fair (F) records go for 0 to 5 percent of the Near Mint value, if they go at all. More likely, they end up going in the trash. Records are cracked, impossibly warped, or skip and/or repeat when an attempt is made to play them. Covers are so heavily damaged that you almost want to cry.

Only the most outrageously rare items ever sell for more than a few cents in this condition — again, if they sell at all.

Sealed Albums
Still-sealed albums can — and do — bring even higher prices than listed.

However, one must be careful when paying a premium for sealed LPs of any kind for several reasons:

·         1. They may have been re-sealed;

·         2. The records might not be in Near Mint condition;

·         3. The record inside might not be the original pressing or the most desirable pressing;

·         4. Most bizarre of all, the wrong record might be inside.

·         Imports
The Goldmine® Record Album Price Guide lists only those vinyl LPs manufactured in the United States or, in a few instances, manufactured in other countries, but specifically for release in the United States. Any record that fits the following criteria is an import, and you won’t find it in the price guide:

·         • LPs on the Parlophone label by any artist, at least before 2000. Parlophone, best known as the Beatles’ British label, was not used as a label in the United States until very recently.

·         • LPs that have the letters “BIEM,” “GEMA” or “MAPL” on them.

·         • LPs that say anywhere on the label or cover, “Made in Canada,” “Made in the UK,” “Made in Germany,” etc.

Unfortunately, there are few general rules about the value of an import as compared to an American edition.

Some import albums, especially well-made Japanese imports that still have their “obi strip,” can go for more than the U.S. counterpart. Others seem to attract little interest in the States.

One rule is just as true of imports as it is with U.S. records: Those discs that are originals in the best condition will sell for more than reissues and those in less than top-notch shape.

Promotional Copies
Basically, a promotional record is any copy of a record not meant for retail sale. Different labels identify these in different ways: The most common method on LPs is to use a white label instead of the regular-color label and/or to add words such as the following:

·         “Demonstration — Not for Sale”

·         “Audition Record”

·         “For Radio-TV Use Only”

·         “Promotional Copy”

Some labels, of course, used colors other than white; still others used the same labels as their stock copies, but added a promotional disclaimer to the label.

Most promotional albums have the same catalog number as the regular release, except for those differences.

Sometimes, regular stock copies have a “Demonstration — Not for Sale” or “Promo” rubber stamped on the cover; these are known as “designate promos” and are not of the same cachet as true promotional records. Treat these as stock copies that have been defaced. Exceptions are noted in the listings.

Most promotional LPs sell for approximately the same as a stock copy of the same catalog number.

However, there are certain exceptions. Those are the kinds of promos that you’ll find documented in our price guide, and which we plan to continue to document. These include:

·         Colored vinyl promos.

·         Promos in special numbering series, such as Columbia albums with an “AS” or “CAS” prefix; Warner Bros, albums with a “PRO” or “PRO-A-” prefix; Capitol albums with a “PRO” or “SPRO” prefix; Mercury albums with an “MK” prefix; and other similar series on other labels.

·         Promos that are somehow different than the released versions, either because of changes in the cover or changes in the music between the promo LP and the regular-stock LP.

·         Promos pressed on special high-quality vinyl; these were popular in the 1980s and can bring a premium above stock copies of the same titles.