Item Description
ECHOES Dave Gilmour / Nick Mason / Roger Waters / Richard Wright, 1971 Overhead, the albatross hangs motionless upon the air, And deep beneath the rolling waves, In labyrinths of coral caves, The echo of a distant tide, Comes willowing across the sand, And everything is green and submarine.
And no one showed us to the land, And no one knows the where or why s, But something stirs and something tries, And starts to climb towards the light.
Strangers passing in the street, By chance two separate glances meet, And I am you and what I see is me, And do I take you by the hand, And lead you through the land, And help me understand the best I can.
And no one calls us to move on, And no one forces down our eyes, And no one speaks and no one tries, And no one flies around the sun.
Cloudless everyday, you fall upon my waking eyes, Inviting and inciting me to rise, And through the window in the wall, Come streaming in on sunlight wings, A million bright ambassadors of morning.
And no one sings me lullabies, And no one makes me close my eyes, And so I throw the windows wide, And call to you across the sky.
PINK FLOYD: Meddle LP.
THIS WAS PRESSED IN LATE 1973 AND AT THE VERY LATEST, EARLY 1974, BUT I AM CERTAIN THIS IS A LATE 1973 PRESSING.
THE VERY FIRST UK PRESSING WAS ISSUED 13th NOVEMBER,1971, Pressings of all the Pink Floyd albums from 1967 -1972 were in full demand after the huge success of Dark Side Of The Moon in 1973.
After opening up their music to a new generation, EMI were pressing the records for those who had never even heard them, plus most original pressings were in a terrible state by 1973 Darkside Of The Moon set audio standards for what was possible from your Stereo equipment, in March, 1973, some older fans were just getting round to replacing mono record players for stereo, the superb music and stereo on Dark Side Of The Moon drew a whole new audience for the band.
They discovered every one of the previous Pink Floyd albums contained mind blowing stereo panning effects, Dark Side was actually slightly behind in the senses tingling stereo effects of the earlier albums, because the music was purely psychedelic from 1967 and remained so right up to the 1972 Obscured By Clouds.
EMI were fully aware of the demand created for those earlier albums and how important the sound was after the audio properties of Dark Side.
No problem there, the Master Tapes were faithfully pressed without re-mastering or any changes to the original Stereo mix, if only that was true today.
EMI had been doing just that for the Beatles in the early 70 s, and their sound engineers were among the world s finest, plus EMI s vinyl in the troubled 1970 s decade, never once slipped below the audio standards established in the 60 s decade.
If anything, the earlier Pink Floyd albums pressed during this period had such loving care lavished on them, the Master Tapes had never sounded so incredible.
I m not the average ebay seller discussing a time period that was never personally experienced, I m telling it exactly how it happened, I was...and still am fanatical about hearing the music I love.
I was lucky enough to follow Pink Floyd album by album, concert tour by concert tour, I was just totally blown away by this staggering sounding Meddle , an album I bought on the day of issue and it became the one I play the most for personal pleasure.
That pleasure had got nothing to do with the year it was pressed, the sound coming from my speakers is all that matters and this record is nothing less than sensational Both sides begin with near silent passages, the wind on Side 1 is always a potentially noisy beginning to Meddle , but from the outer groove, onto the wind gently blowing and the initial intro to One Of Those days , played without any surface sound and even static was too low level to take seriously.
For the first play in 43 or 42 years, that is indeed sensational.
Side 2 s run-in grooves were also silent, during the long, gradual build up on Echoes , there was only the faintest low level, natural static that was 100 pressing related of course, during the intended second play I expect to find even that less or gone.
I would love to take several plays and bring that to it s full potential but an unplayed record will never have more than two plays, the entire two sides played without any audible irritants, I am being ridiculously critical of virtual audio perfection.
Leaving aside my personal fanaticism and pursuit of ultimate visual condition and sound reproduction, the sheer power of the mastering and the stereo panning I have known and loved ever since 1971, left me incredulous.
Whenever possible I offer Pink Floyd first pressings, but only when in Near Mint / Mint, so only occasionally, also when possible, these fantastic 1970 s pressings and this time, an unplayed, true Mint Meddle.
1970 s GREEN HARVEST LABEL: SHVL 795 MAITRIX: SHVL 777 A - 4 / SHVL 777 B - 3 I have sold this very maitrix configuration before and found the same sensational mastering and pressing I was just referring to.
1973 was not that far past June,1970 and EMI s maitrix rise to - 3 - 4 reflect that.
Later 1970 s pressing reverted to lower digit maitrix endings, this was a direct continuation and re-setting the digits had yet to happen.
In 1975, Wish You Were Here also had the same indexing for every individual batch rise, that went as high as entering double figures as high as - 13.
EMI STAMPING CODES: LP 2 / TL 2 3 6 No, this small batch of records dd not have 236 mothers made, just two errors, first stamping 3 , then aiming at 2 just above, 6 was selected.
The third and final attempt was stamped on the vacant space above the two errors, no need to cross out the errors, by then 36 was utter nonsense.
2 was placed even higher and now out of line with the T L letters at 3 o clock, the third attempt was succesful, a typical day for a sound engineer in EMI s pressing plant THE LABEL RIMS HAVE EMI AND NOT THE Gramophone Co.Ltd.
TEXT FOUND ON COPIES PRESSED BETWEEN.
NOVEMBER,1971 AND MARCH,1973.
THE BOXED EMI LOGO LOCATED AT 9 O CLOCK, WAS INTRODUCED WHEN THE FIRST PRESSINGS WERE MADE FOR THE NOVEMBER,1971 FIRST PRESSINGS.
A VARIATION EXISTS IN SUCH LOW NUMBERS, IT CANNOT BE INCLUDED AND IS ALSO IRRELEVANT TO THIS PRESSING.
SO THE BOXED EMI LOGO DOES NOT ENTER THE EQUATION FOR LABEL DIFFERENCES, BETWEEN LATE 1971 AND LATE 1973 - EARLY 1974.
ORIGINAL 1973 EMI INNER SLEEVE, THE SAME DESIGN THAT ORIGINATED IN 1966, STILL IN USE IN THIS PERIOD THAT IMMEDIATELY FOLLOWED THE 1960 s DECADE.
PLAIN WHITE WITHOUT A DIE-CUT CENTRE, ALL FOUR CORNERS ARE CURVED AND A RECORD ACCESS SHAPE TOP OPENING ON THE FRONT.
THE FRONT BOTTOM RIM HAS THE PATENT NUMBER AND Made In England.
THIS IS LIKE DEJU VU FOR ME, BECAUSE LAST WEEK I LISTED A 1973 PRESSING OF Deep Purple In Rock , BOUGHT FROM THE SAME ONE OWNER THIS Meddle CAME FROM.
HENCE THE CONFIDENCE ABOUT THE DATE THIS Meddle WAS PRESSED.
In Rock WAS ALSO ON THE Harvest LABEL AND IT HAD THE SAME DESIGN, BEING FROM APRIL, 1973, IT HAD Made In Great Britain, BUT BY LATE 1973 INDIVIDUAL PRINTERS CHOSE Great Britain OR England.
Unused, unsplit and unworn with a record impression and a few related light creases, plus some natural ageing for the age.
THE INNER SLEEVE IS IN UNUSED, NEAR MINT CONDITION.
Garrod Lofthouse PRINTED LATE 1973 - EARLY 1974 GATEFOLD COVER, STILL MADE FROM SOFT CARDBOARD, IF NOT THE ALMOST EMBOSSED TEXTURING OF 1971.
IF ANYTHING, THE INSIDE OF THE GATEFOLD RETAINS.
A DEGREE OF THAT TEXTURING.
Due to the 1971 textured canvas like covers they wore poorly and nothing changed for many, many years, in the late 70 s and 1980 s a sheen was added for protection and then a positive glossy top surface.
In this early part of the 1970 s all the Meddle covers suffered from severe rubbing if not real damage to all the edges, corners and especially the spine, with ring wear to spoil the outside artwork.
There are exceptions to every rule and this 43 year old cover was never used and even standing in storage for that long, was inside a plastic inner sleeve which prevented the usual excessive wear.
As soon as I saw the cover I knew the record would be Mint, unplayed was a bonus, I was delighted No way would this leave this leave me without hearing it, full sound info will be given, back to the cover, 43 - 42 years is a very long time in storage but there is no wear at all on the whole outside and inside.
A really beautiful Meddle cover, the pure white lettering of the spine lettering tells it s own story, so does no rubbing to the spine or any of the positions mentioned above.
In theory there should be some ageing, if not some positive wear, but this is without any form of ageing or fading to the pastel colours outside, and the white inside of the gatefold with the first and last picture of the band until 1987, does not have a hint of of being 43 years old.
A really gentle record impression and a few related tiny edge lines have run over the spine, but I write that for covers made in the 2000 s Normally ring wear is so excessive, the artwork loses all it s original glory, but the storage was made keeping this perfectly upright and not pressured, accounting for the total lack of any ring wear The lightly textured inside has a black and white picture of Pink Floyd looking very intensive, out of interest alone or even trivia, Meddle was also the last ever Pink Floyd cover to picture the band with Roger and he remained for another 12 years AN OUTSTANDING BEAUTIFUL COVER WITH ONLY THE MOST MINIMAL POSSIBLE STORAGE OR STANDING TRAITS POSSIBLE.
EVEN ALLOWING FOR MINIMAL STORAGE TRAITS, THIS COVER IS IN MINT- CONDITION.
THE IMMACULATE, AS NEW LABELS DO NOT HAVE ANY SPINDLE ALIGNMENTS, THE RECORD IS LITERALLY LIKE BRAND NEW.
WITH THAT JUST PRESSED BEAUTIFUL GLOSSY SHINE AND WITHOUT ANY SCRATCHES OR MARKS, I COULD NOT FIND A SINGLE HANDLING TRACE ON A PRISTINE SURFACE.
I WILL TAKE ONE MORE UNDETECTABLE PLAY TO PASS ON SOUND DETAILS, I LEFT IT ON MY TURNTABLE READY, I CAN T WAIT TO HEAR IT AGAIN THE RECORD IS IN UNPLAYED, MINT CONDITION.
.
SIDE 1: One Of These Days Dave Gilmour / Nick Mason / Roger Waters / Richard Wright A Pillow Of Winds Dave Gilmour/ Roger Waters Fearless including You ll Never Walk Alone Dave Gilmour / Roger Waters San Tropez Roger Waters Seamus Dave Gilmour / Nick Mason / Roger Waters / Richard Wright SIDE 2: Echoes Dave Gilmour / Nick Mason / Roger Waters / Richard Wright ROGER WATERS: Bass guitar, lead vocals and guitars on San Tropez and rhythm guitar on Fearless DAVE GILMOUR: Lead guitar, bass on One Of These Days , lead vocals on A Pillow Of Winds , Fearless , Seamus and Echoes.
Harmonica on Seamus RICHARD WRIGHT: Piano, Hammond organ, Farfisa organ, vocals on Echoes NICK MASON: Drums, percussion spoken line on One Of These Days Seamus - A dog backing vocals on Seamus Produced By Pink Floyd Recording And Studio Details Are Given Directly Below.
As usual after fully describing pressing details and establishing the date of the pressing, I prefer to concentrate on the album in question, to me there is little or no difference between being 42 years old or as this record is, 43 years old, give or take a few months.
Huge selling albums like this were pressed in astronomical amounts, Meddle reached No.3 in the UK charts, where it resided for an astonishing 82 consecutive weeks.
So we are talking about it remaining in the British charts for approximately one year and six months or eighteen months, which places the pressing cycle slowing right down, but not ending in May,1972.
We are very close to late 1973 and of course Dark Side was also a rather big selling album To write this description I will only think in terms of 1971 events, the various, bountiful UK pressings made in those 18 months are best taken as understood.
I normally include the location of the recording studios among the credits, they were too involved to give the specific details, because for once Abbey Road was not quite up to providing all the current facilities needed to create Pink Floyd s most inspired album of them all.
As usual the band set up in residency in the same place they first recorded their debut single in, home to the Beatles, EMI s legendary Abbey Road Studios , where until now every Pink Floyd single album had been recorded, mixed and mastered.
The previous Atom Hear Mother, had overall been far more of a contrived LP that was embellished with sound effects, than having a main musical inspiration, a highly successful and much loved album I hasten to add, but there was a limit to how many times you could re-hear Alan s Psychedelic Breakfast.
These are personal opinions in among the facts, but they are arrived at after buying every single and LP as they were released in the 60 s and being a regular at their concerts since Syd Barrett s era of astonishing light shows.
This time they avoided the trap of splintering to record their own compositions and in effect, not being fully involved on each other s latest songs and acting more as session musicians.
If the 1969 Umma Gumma studio tracks had any lack of cohesion, the same scenario detracted from that essential element, a musical chemistry that acts as a spark of inspiration and the creation of something that magically appears from nowhere.
Pink Floyd wrote and recorded it as tightly as a band, as they performed live on stage during the recording of Meddle and the studio effects just happened in a spontaneous burst of creativity.
I believe they reverted to the Syd Barret era and the three Columbia album s inspirations and never looked back again after Meddle, you could even argue this was their finest hour but I better not get into that and get on with the recording details.
Dropping their most recent methods of recording where the sessions became more like solo efforts, they collectively set about working together to find a musical theme, exciting times because Pink Floyd were experimenting and that was after all where their 1960 s momentum originated from.
That led to Richard Wright s lone piano notes creating an eerie atmosphere, just like in the 60 s, they now recorded the piano Sgt.Pepper style, through a Leslie speaker and once returned to and fully expanded on with lyrics, the stunning long piece of the most fantastic music occupied the entire second side, Echoes.
Pink Floyd no longer required the services of a record producer, they were masters of a recording studio and the complexities of Meddle as it grew into a work of genius, found Abbey Road limiting.
That was by at least half of the tape tracks they required for layering the amazing sounds as the masterpiece took on a life of it s very own.
During 1969, Abbey Road had been upgraded from having 4-Track Multitrack recording available, to 8-Track, for example, Piper had been recorded on 4-Track in 1967 and in 1969 that was doubled, but by 1971,16-Track was available and Pink Floyd needed to double that up once again.
George Martin s production skills are as as legendary as Abbey Road studios, he had become independent of EMI and just set up his own studio near by in London, AIR Studios was equipped with a then state of the art, 16-Track Multitrack recording facilities.
Pink Floyd were now working with the Abbey Road recorded tapes and the freshly made ones at AIR, they were also using Morgan Studio in north London s Hampstead.
The 1970 s decade saw so many of the 1960 s bands starting to flounder as heavy rock began to take over, Pink Floyd had just set new standards with an astounding audio experience on their October, 1970, Atom Heart Mother.
Their concerts grew ever more ground breaking, they were the only non-classical artists with their now legendary and much bootlegged performance at the music festival in Montreux, Switzerland.
They played Atom Heart Mother to a stunned audience vested in classical music, in September 1971, then in the following October, came the most renowned film of Pink Floyd performing live, a still watched and talked about phenomenal set at the Roman Amphitheater in Pompei, Italy.
If anyone has not seen the film, you should, it s readily available and the fantastic atmosphere of the ancient building and artistic camera work offers an essential insight into how inspired they were in 1971.
They then immediately set off on an American tour, the constant live performances are relevant to Meddle , a band like Pink Floyd couldn t have possibly produced such a succession of staggering albums without playing on stage, and so developed the ability to create such extraordinary music.
For Pink Floyd LP description s I try very hard to include how it felt to move from first experiencing hearing Piper At The Gates Of Dawn in 1967, then onto their next recordings, album by album.
It would not be a true picture, if between the annual release of a new LP I ignored how going to their concerts was nothing short of sensational.
Then, you did not just casually pick up a latest album, you spent a year waiting to read news of one in the music press or during concerts, for a comment like, This song will be on our next album......
After Atom Heart it did not seem possible they could record anything to come remotely close to such a magnificent album as Atom Heart Mother , but Meddle went way, way beyond anyone s wildest imaginations.
This is a such a Floyd masterpiece, I am never even sure if I can write a normal description, mind you I felt exactly the same on other occaisons I listed Meddle.
I am extremely fussy about how I hear this loved album and during 15 years on ebay, this is only the 6th time I ve located an early 70 s pressing with the extraordinary level of audio perfection I know possible.
Mint is a dream scenario for Meddle, but dreams can and do come true, I refuse to even consider anything that fails to measure up, with such care and attention lavished onto the recording of the sound in 1971, then EMI s immaculate mastering and pressing standards, my demands are not unreasonable, just extremely difficult to meet Why should Meddle always be such a tough album for not being undamaged as a genuine first pressing? That it is very hard to answer, the album made No.3 in the UK and although not the No.1 it deserved to be, Meddle then spent a staggering 83 weeks in the UK charts.
Over a year and a half of constantly being pressed, is positively connected to why I have so much trouble with condition s, by that I particularly want a listing on ebay to be a Mint record, partly because of the challenge it always presented me when we were trading at record fairs.
How can Echoes not be drastically affected by excessively heavy plays and the resulting marks and groove wear? Side 1 s intro alone is one of of the most exposed to noise even known, as I said, in 1971 most copies were still being played on mono record players with blunt stubs of needles, unchanged since the 1960 s.
Virtually every attempt at buying Meddle has been so frustrating, visually great vinyl, in reality had worn out, poor sound quality, nothing new there, when trading at record fairs the same was true and even in the late 1980 s, Meddle was a major problem to offer from any year of the 1970 s decade, to still have the original stunning sound quality, this is now well into 2016 The first side s run-in grooves are completely silent, during the lengthy non musical build up there no crackles or clicks before and when the wind really gently blows, even at my colossal volume setting there is not any static.
Meanwhile, emering from the right channel, that amazing riff to One Of These Days , from the left speaker, Roger s bass in the most incredible volume, this was an amazing way to open an album Also coming from the left is a sound I struggle to decribe, a whoosh begins to move into the right channel but stops dramatically.
That was in fact a backward s recording and an effect created for One Of These Days , one of the most stunning Pink Floyd intro s of all time.
If there is static it s not audible on the second play static, I cannot continue hunting for vinyl s natural playing sound, my ears are tuned in to the music signals, there is none, just ultra sharp edged instruments and fantastic sound effects.
This is a truly mind blowing record, why I have dug in and waited until I could present Meddle in all it s original glory.
Anything I attempt to write here cannot convey the astounding sounds flying between my speakers in movements so fluid, you have to just marvel at the very concept of stereo panning of such senses tingling effects.
I had every reason to state all the Pink Floyd albums before Dark Side had even more senses affecting stereo panning effects.
No just effects, One Of These Days is simply stunning, suddenly the track explodes into full force after the very bizarre voice gurgling out a strange message, somehow that was Nick Mason s voice.
Dave Gilmour s guitar really opens out and just soars over the incessant bass keyboard riff, with Pink Floyd now in full flight, the sheer power from Mint, unplayed vinyl never ceases to amaze me.
Did Nick Mason s drumming or Roger Waters bass ever lay down a heavier rhythm than this? Heavy isn t quite how to describe One Of These Days though, this is as psychedelic as any track found on Piper, if anything the opening piece is as menacing as Careful With That Axe Eugene.
I better move on and try not to get too tied into the sensational tracks, this has re-awakened the very reason I followed their every move from the tender age of fourteen in 1967.
The first gap runs as smooth as silk and that silent band gives an immaculately clean link between the howling wind that was skilfully overlapped by Dave s superb acoustic gentle electric guitar intro to the beautiful melody of Pillow Of Wind .
Just typing the song title has given a feel good factor, to hear this wonderful dreamy song in awesome sound quality, is breathtaking.
The two guitars play from the opposite speakers, the floaty vocals are also in sound so perfect I can t believe my ears, well, after suffering worn copies, not so much disbelief but a relief My very careful initial play payed great attention to Side 1 and 2 s opening few minutes, as expected both sides were ultra clean and clear, the check made by a Pink Floyd fanatic like myself is very demanding indeed, the sheer clarity here was exactly what I know to be possible for Meddle.
Another totally silent gap before the magnificent Fearless is a major rarity, so is a perfectly clean intro, we all wore the track into submission in 1971,not quite all, the one original owner I bought this from, had treasured and preserved many, many albums and never played a selected few, by buying more than one copy.
Fearless has such a beautiful melody as well, but when that stunning riff between the verses takes it over, there s a real bite to Fearless , then a football crowd from the Liverpool Club reflects Pink Floyd s love of the sport, even if that still sounds bizarre here.
Then fading into pure silence, giving the laid back San Tropez a perfectly clean, clear entrance, this was the only song credited to just one of the band, a Roger Waters composition in a very laid back style he did return to on future albums.
This always reminds me of a Ray Davies/Kinks song performance, Hawaiian guitars also have a Brian Wilson touch to them,the sheer variety of music on this first side leaves you feeling like you have heard the complete LP, but then Echoes has exactly the same effect A jazzy piano changes the mood slightly and once more I can only continue to give the highest possible praise for such perfect sound quality.
When was the last time you heard Seamus without any of the common irritating crackles and really severe needle noise? An acoustic blues track without any drums, just an acoustic slide guitar, a piano, a quietly sung blues vocal and the howling dog, Seamus, supplies all the harmonies A great track, but wide open to horrific noise but not here, this plays like a just bought mint record on every second.
I must admit during my first full play through, I thought, so far brilliant, but surely Seamus just has to have a little noise in the background.
I was wrong, this is so amazingly clear, there s virtually no static, unbelievable To sum up the first side, no static or surface sound beyond vinyl s natural and so low level, I had no need to include that, only stunningly clear sound for the gentlest acoustic tracks to loudest and heaviest.
The second side s run-in grooves are completely silent, once again any static is so faint it is absurd to even mention, but I do insist on a balanced and accurate description, plus I am still in awe of Echoes after all those years.
Now that spine chilling piano notes ting with a sharpness, that Echoes should only ever be heard in.
They are spaced apart for minutes and there is still no surface sound, this has to be the most staggeringly clean beginning for Side 2 I can remember hearing.
As mentioned earlier, the second play has indeed really improved and why I wanted to take one more listen, brand new 43 year old vinyl can only be....vinyl.
My genuine lifetime s experience with true Mint record of this vintage, is almost a daily event An intro so exposed, should in theory be competing with all vinyl can throw at it but this is just immaculate sound.
Dave Gilmour very gently plays the main theme on his guitar, a melt in the mouth guitar tone that I have no other way of articulating.
It reaches inside and with all the other exotic sounds, I can only describe this as Pink Floyd at the very peak of their musical chemistry and what ever they did after Echoes , could not possibly re-scale the heights reached here.
Now the dramatic tension kicks in mean and hard, Nick s organ enters into the equation, Roger s bass takes off while Nick s drums power out with the sonic properties unique to the UK pressings, Echoes now reaches the tremendous and mind blowing full power embedded into these unworn virgin grooves.
Warm memories of seeing this performed live come flooding back, but nothing touches this awesome studio recording.
Pink Floyd take flight and enter into musical realms no other band ever has, or ever will reach, this was indeed their finest hour and their greatest album.
The band as individual s have constantly named Meddle as their greatest album in interviews and you could hear the pride in their voices for what was achieved in 1971.
That incredible rhythm takes over with Rick Wright s organ now hiting pure inspiration, this is as tight as you will hear Pink Floyd as a rhythm section, they locked into each other s instruments and rocked the hell out of that riff Rick s organ creates fantastic sounds, panned entirely in the left channel with part of Nick s brilliant percussion.
From the right, Roger s massive bass guitar, the main drums and a Gilmour guitar to die for That doesn t hold for long though, the organ and the guitar drift across to change places.
Now we re back in 1967 for an amazing psychedelic section, with the whale like cries heard in fantastic powerful,yet crystal clear sound quality.
Those studio effects here are in such complex stereo panning, I am leaving trying to follow their paths and just soaking up the incredible effect they have on your senses.
This is such an astounding recording I am surprised I am still here trying to describe it all Concentrating on typing is extremely hard, then out of that chaos, the beautiful melody gets another grip and the intro is back in with one of the longest held down organ notes ever committed to a record.
This is the Sci Fi began on Piper At The Gates Of Dawn in 1967 and the mood intensive sounds allow your imagination to roam free, at least it is for anyone not trying to type and try to describe a track that has no equal.
What a record, I m listening for something to be critical about but sound of this magnitude does not need such pointless criticism, only the most sincere praise for such audio perfection.
New rhythms creep in inperceptively, until you find you have become totally submerged and engulfed by this overpowering and overwhelming music.
Pink Floyd at this stage were the greatest band on the planet, whatever followed with Dark Side means nothing at all, in 1971 they were all inspired out of their skins and Meddle was where they were always heading towards, right from Arnold Layne .
Shame Syd never made it with them into 1971, but they did his vision s proud, psychedelia was very much alive and kicking on Echoes , it has to be the greatest single side of any album ever made, with Side 1 not far behind Then Rick takes to a piano as this suite moves towards the most staggering musical climax since A Day In The Life, just heavenly sounds and the most beautiful melodies cross over with something like a space craft accelerating at a high velocity.
Words cannot be of any further use and I will not even try to describe the astonishing manner this album of album s finishes with, just to say on that strange, puzzling final sound, my stylus now glides silent into the final run-out grooves, leaving a feeling of awe only a true great masterpiece of a record generates.
Well, I managed to describe some of Meddle s magnificent music but I could never express the listening experience with text.
I will conclude a really enjoyable day spent with this true Mint r Meddle record, by saying how perfect the sound has been on every second of every track.
Roy R M RECORDS.
My lifetime s love of music and records began at a very young age, the arrival of the Beatles and the 1960 s decade in general had a very profound effect.
It was only natural to bring all my first hand experience of collecting vinyl into becoming a professional record seller.
Nearly thirty years ago we entered into the wonderful atmosphere of record fairs with the highest possible standards set.
When the Internet became the world s new market place for vinyl, in 2001 it was time to join ebay.
Those standards were rigidly adhered to as they will always continue to be, the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly and very efficient service we are proud to provide EVERY RECORD IS FULLY PLAYED AND COMES WITH A NO ARGUMENT MONEY BACK GUARANTEE.
I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY FROM THE U.K.
RECORD COLLECTOR PRICE GUIDE BOOK.
THERE IT CLEARLY STATES Sound Quality AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS.
i.e.
COMBINING A STRICT VISUAL INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE OF GENUINELY UNPLAYED VINYL.
EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
We take 100 responsibility after an item has been posted and offer our fullest support in the event of any problems.
There Are No Problems, Only Solutions John Lennon MY DESCRIPTIONS WILL ALWAYS BE 100 HONEST AND TOTALLY ACCURATE ON ALL GRADINGS FROM V.G.
VERY GOOD , TO THE ULTIMATE MINT CONDITION.
ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.
WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT RECORDS AND COVERS ETC.
WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD.
ALL RECORDS ARE REMOVED FROM THEIR SLEEVES AND PLACED INTO NEW PROTECTIVE CARD SLEEVES AND THEN PLACED INTO NEW, HEAVYWEIGHT PLASTIC OUTER SLEEVES.
THE GREATEST ATTENTION IS PAID TO MAKING THE PACKAGING EXTREMELY STRONG SECURE.
EVERY POSSIBLE EFFORT IS MADE TO ENSURE A SAFE DELIVERY AND WE ONLY USE THE VERY BEST QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS TREATED EXACTLY THE SAME.
WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES WEIGH A LITTLE EXTRA.
UNDER PAYPAL EBAY S GUIDELINES, ALL RECORDS WILL BE SENT VIA A FULLY INSURED TRACKABLE SERVICE.
We have kept all our charges at the same level for years now, but due to the Post Office s new price increases, regretfully we will have to increase the cost of LP s, however, singles will remain unchanged.
Ebay were aware of that happening and have increased their minimum postal cost for LP s to 7.00, that figure has been enforced by the UK Post Office and it will become our UK First Class, Recorded Delivery cost for albums up to the value of 46.
A temporary reduction this week means we can now post LP s for 5, but who knows how long before the Post Office return to 7? For LP s valued above 46, the cost will be 9, we are unhappy about either increase but our high standard of packaging has meant in 13 years of ebay trading, there has not been one record damaged, we are determined to maintain that in the present and future.
IN THE UK RECORDS UP TO THE VALUE OF 46 WILL BE SENT RECORDED DELIVERY, OVER 46 WILL BE SENT SPECIAL DELIVERY.
FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA INTERNATIONAL SIGNED FOR.
POSTAGE COST FOR LP s UK: UP TO VALUE OF 46, FIRST CLASS RECORDED DELIVERY 5.00 UK: OVER VALUE OF 46, FULLY INSURED SPECIAL DELIVERY 9.00 EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR 15.00 USA,JAPAN REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR 20.00 POSTAGE COST FOR EP s 7 UK: UP TO THE VALUE OF 46 FIRST CLASS RECORDED DELIVERY 3.00 UK: OVER THE VALUE OF 46 FULLY INSURED SPECIAL DELIVERY 6.00 EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR 10.00 USA, JAPAN ETC.
AIRMAIL VIA INTERNATIONAL SIGNED FOR 12.00 PAYMENT DETAILS.
WE WILL SEND ALL WINNING BIDDERS AN INVOICE WITH THE FULL PAYMENT AND POSTAL DETAILS, AS NEAR TO THE AUCTION ENDING AS POSSIBLE.
OUR AIM IS TO MAKE YOUR PURCHASE SMOOTH AND TROUBLE FREE.
FOR UK BUYERS WE ACCEPT: PAYPAL, CHEQUES, POSTAL ORDERS BANK WIRES.
FOR OVERSEAS BUYERS WE ACCEPT: PAYPAL, INTERNATIONAL MONEY ORDERS IN POUNDS STERLING ONLY.
OR BANK TO BANK WIRE TRANSFERS.
WE WILL NOT MAKE FALSE STATEMENTS ON CUSTOMS DECLARATION FORMS AND WILL ALWAYS CONDUCT ALL OF OUR BUSINESS WITH TOTAL HONESTY.
AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT DUTIES, WE WILL NOT LIE.
Pay me with PayPal.
I don t charge my buyers extra
