Jethro Tull Aqualung Lp Very 1st Uk Press 1971, Chrysalis island i Label Mint

Sitting on a park bench
Eyeing little girls with bad intent.
Snot running down his nose,
Greasy fingers smearing shabby clothes.
Drying in the cold sun,
Watching as the frilly panties run.
Feeling like a dead duck ,
Spitting out pieces of his broken luck.
Sun streaking cold,
An old man wandering lonely.
Taking time,
The only way he knows.
Leg hurting bad,
As he bends to pick a dog-end,
Goes down to the bog,
To warm his feet.
Feeling alone,
The army s up the road,
Salvation la mode,
And a cup of tea.
Aqualung my friend,
Don t start away uneasy,
You poor old sod, you see, it s only me.
Do you still remember
December s foggy freeze?
When the ice that
Clings on to your beard is
Screaming agony.
And you snatch your rattling last breaths,
With deep-sea-diver sounds,
And the flowers bloom like madness in the spring.

JETHRO TULL: Aqualung LP. RARE, GENUINE VERY FIRST UK PRESSING, 25th MARCH, 1971.
I have only just sold a rare pink rim Island label This Was and detailed the sequence between the January,1967 - November, 1970
trio of pink Island labels, and the rare first and only late 1970 pink rim Island label pressing of This Was. Including how EMI
took over the contractual pressing of all Island records at the introduction of the pink rim Island label in 1970, previously Pye
and Polydor pressed all the pink Island singles and LP s. I will pick up the story in full in the main description, briefly, in
the short period of approximately six months since the introduction of the pink rim Island, EMI were now pressing for the Chrysalis
label due to the Island Records connection. In May, 1970, Benefit became the first the first Jethro Tull album not released on the
current i logo pink Island label. Jethro Tull were now on the Chrysalis label, a joint credit to Island and Chrysalis was
on the cover, the labels and even the catalogue number had an Island prefix. Two record companies continued the same format in
March, 1971 for Aqualung. Even the individual London addresses of Island and Chrysalis in March, 1971 have great relevance to
the very first UK pressings of Aqualung, it was well known at the time and fully documented... then some ebay record sellers
decided to re-write the script to suit re-issues. You will see really absurd claims for pink rim Island label re-issues being,
rare UK first pressings, that is not true and only the green Chrysalis labels with an Island catalogue number and the specific
text I will type immediately below, were the first UK pressings. Unless all the details given below are present, they will be from
the multitude of re-issues, there are no exceptions, the crazy part of those ridiculous claims, unlike the only late 1970 pink rim
Island label pressing of This Was, EMI pressed the first pressings and the later pink rim re-issues of Benefit Aqualung.
TEXTURED GREEN CHRYSALIS LABELS, WITH THE MARCH, 1971 ISLAND WHITE i LOGO ON THE RIMS:

Manufactured and distributed by Island Records Ltd. Basing Street, London Stereo

The above is actually the one and only label rim text, printed in white and running clockwise between 10 o clock and 2 o clock.
In reality, EMI manufactured and distributed the records for the independent Chrysalis label, but Island had a stake in Jethro
Tull, the agreement was for Chrysalis to jointly release the early 70 s Jethro Tull albums, after the album left the chart island
were able to release them on the pink rim label. Ebay is full of false claims but the same agreement applied to Ten years After
and the same agreement with Deram alone, proves how it worked from the late 60 s to the early 1970 s.
THE LABELS,THE RECORD S MACHINE STAMPED MAITRIX COVER HAVE AN ISLAND CATALOGUE NUMBER: ILPS 9145.
CONTRACTUALLY PRESSED BY EMI,THE STAMPING CODES: MP 1 / o G 2
An undersized o and certainly not not a capital letter, the different angle suggest an error, Side 2 should really read as G 2
MAITRIX: ILPS 9145 A - 1U / ILPS 9145 B - 3U
-1U or - 2U were positively not stamped on Side 2 of any of the first pressings, including EMI s stamping codes, the indexing
on this record clearly place this as a very first pressing made. The other obvious identification is the massive thickness and
heavyweight vinyl was still 1960 s standard in the early 1970 s, unique to the genuine first pressings.
ALSO EXCLUSIVE TO VERY FIRST ISSUES , A SQUARE SHAPE Aqualung ILLUSTRATED LYRIC INNER SLEEVE,
WITH TWO VERTICAL FLIPBACK EDGES ON ONE SIDE, BOTH ENDS ARE FINISHED AT 45 DEGREES OR MITERED.
MADE FROM SOFT PAPER, THE FOLLOWING OR LATER LYRIC INNERS WERE MADE FROM CARDBOARD AND THEY
HAD CURVED CORNERS. THE SAME SHAPE AS FIRST ISSUE Led Zeppelin IIII/ Four Symbols LYRIC INNER
SLEEVES, WHICH WAS ISSUED IN THE SAME 1971, INCLUDING THE VERTICAL FLIPBACK EDGES ON ONE SIDE.
The original and exclusive 1971 inner sleeve is in outstanding condition, most were split on the sides and bottom centre by the
exceptionally thick edged records. This is unspolit with only a light standing impression on the bottom centre, the record impact
on the centre of the sides is virtually zero, so strong and sound, without any seam or edge splits, the front side has a shaped
record access, the top opening is crisp and clearly hardly used. The soft paper s consistency usually led to severe staining and
discolouration, absolute minimal ageing and in my experience, they all had some degree of ageing in the 1970 s, let alone 2016
The nature of the paper was the reason, I do not make excuses, if something 45 years old has ageing, I say so, no big deal for
any paper item from 1971 but I specialise in hardly played Mint records, which eliminates use and constant handling. I have been
discussing this as a record seller since the 1980 s,they all aged the same regardless, of use or storage. On that very subject,
I am also basing those comments on the fact none of the textured cover is aged, inside or outside the gatefold. To see a first
issue cover with a pure white spine is nothing less than miraculous because even the spine was textured / embossed, inviting
dirt and atmospheric forces to move in , but this was perfectly stored inside a plastic outer sleeve. A once played record was
how records were bought when brand new, the record shops played them and often at the request of the customers, if they were
bought brand new from a record shop and there are no marks on the vinyl from that, they simply have to be grades as....Mint
Please see my close up picture of the central position titles, the artist, album title catalogue number have as new,completely
, unworn black Gothic lettering.... on a pure white background . There is no wear on the cover beyond mere brushing and that
includes the textured bottom standing edges, even that is as minimal as it possibly can be for a heavily textured cover holding
a really heavy record. The illustrated sleeve has the full album lyrics with the front and the back cover s drawing of Aqualung
are in grey and not the green tinted colour re-issue sleeves. With the full lyrics printed, the inner sleeve is essential to the
fantastic album, I immediately placed the record into a new plain white inner sleeve.
IN UNSPLIT, POSSIBLY UNUSED USED, NEAR MINT CONDITION.
STRICTLY THE EARLIEST, VERY FIRST ISSUE ONLY, E J Day PRINTED GATEFOLD COVER, TEXTURED ON BOTH THE
OUTSIDE AND THE INSIDE LIKE A PAINTER S CANVAS. AS JUST MENTIONED, THE USUALLY FRAYING AND WORN
SPINE WITHOUT ANY TITLES LEFT, IS IN REMARKABLE CONDITION. NOT INGRAINED WITH DIRT AND A NASTY
BROWN COLOUR, DUE TO EVEN THE SPINE BEING TEXTURED, THIS SPINE IS STILL LIKE NEW, YOU CAN CLEARLY
SEE THE TEXTURING ON THIS AMAZINGLY PURE WHITE, UNAGED SPINE.
THE SPINE, AND THE BACK S TOP RIGHT HAND CORNER ARE PRINTED WITH THE ISLAND CATALOGUE NUMBER.
EXCLUSIVE TO FIRST ISSUES, THE FULL TEXT PRINTED IN A STRAIGHT LINE ON THE BACK S BOTTOM RIM:

A product of Chrysalis Records Ltd., 388 /396 Oxford Street London W.1.
Manufactured and distributed by Island Records Ltd., Basing Street, London, W.11.

The Island address is also unique to the first editions, Robor Ltd. printed the re-issues and they only had the Chrysalis adress
in Oxford Street, London W.1. Which was in fact, the offices vacated by Island Records to move to Basing Street in 1969 and
in moved the co-producer of Aqualung , Terry Ellis, who s surname became the Alis of Chrysalis . A very rare Blind Faith
single Change Of Address , was recorded purely to publicise the June, 1969 move for Island Records.
This gatefold cover is in superb condition and so are all the edges, corners and the crisp unused opening sides, just the merest
hint of brushing to the spine s extreme tips, which amounts to next to nothing. The above can be seen in a compiled picture,
under the close up of the central spine printed with all three items, I took the cover width pair of record company addresses, in
two separate pictures to accommodate the extra length. The gatefold cover was assembled at a common slight angle, so the
E J Day Group, London printer credit is almost on the bottom edge, but easily read in the second half picture, to make it clear,
I included the Chrysalis butterfly logo in both pictures as a reference point.

The outside s beautiful painted art work is in just stunning for a first edition, with completely unfaded colours, in their
original 1971 very deep, rich tones and not a scuff to be found on the front or the the back. A cover so prone to ring wear
because of the first issue s textured, painter s canvas like surface, this doesn t have any of the problems associated with a
first issue Aqualung cover, there is barely even a record impression on the back of the gatefold, let alone any form of rubbing
or ring wear
All four right side corners are in the same remarkably unworn, perfect condition, nobody could have kept this in better condition
for 44 years without being sealed in shrink wrapping. That is the best way to describe this outstanding look and feel of just
being bought in March,1971, I am qualified to make that comment because I did There literally is no ageing on the cover
my comments about the paper inner sleeve are once again upheld...when it was inside

Inside the gatefold the amazing artwork is in pristine condition, with even the heavyweight record s impression not causing any
wear or rubbing to the textured, amazing for a first issue, because even the inside has the same embossed, canvas like texturing.
I INSIST ON GRADING THIS STUNNINGLY BEAUTIFUL CONDITION COVER AS MINT- CONDITION.
THE RECORD WAS ONLY PLAYED ONCE, A BEAUTIFUL DEEPLY GLOSSY HEAVYWEIGHT RECORD WITH SENSATIONAL
SOUND QUALITY. ANY MICROSCOPIC HANDLING IS INVISIBLE, THE RECORD IS IN MINT CONDITION.

SIDE 1
Aqualung Ian Anderson Jennie Anderson, Jennie wrote the lyrics
Cross-Eyed Mary
Cheap Day Return
Mother Goose
Wond ring Aloud
Up To Me
SIDE 2
My God
Hymn 43
Slipstream
Locomotive Breath
Wind Up

Ian Anderson - vocals, acoustic guitar flute
Martin Barre - electric guitar descant recorder
Clive Bunker - a thousand drums and percussion
John Evans - piano, organ mellotron
Jeffrey Hammond-Hammond - bass guitar, alto recorder and odd voices

All Songs Written By Ian Anderson.
Recorded At Island s Morgan Studios, London, Between December,1970 - February,1971 .
Produced By Ian Anderson Terry Ellis

Right from their 1968 debut album, every successive Jethro Tull LP just improved and improved, until you felt they could not
possibly keep that extraordinary musical and lyrical standard up. Including the cover s design and artwork, Aqualung set a
new precedent by including a pictures and lyrics inner sleeve, perhaps as a reaction to the 1970 Benefit s lack of a gatefold
cover and it has to be said, not quite meeting their previous two album s cover quality. They had just moved over to Chrysalis
and while keeping one foot planted in Island Records, from a record company perspective Benefit was after all a transitional
period of making Terry Ellis Chrysalis label their permanent home. I quickly add the music and lyrics on Benefit were simply
stunning and I am only keeping to my policy of honesty when discussing any artist s covers, inserts or even record s pressings,
I will detail that Island Chrysalis situation in full shortly. Blessed with the songwriting genius of Ian Anderson, who seemed
to flourish and grow with every new project he started, by late 1970 to early 1971 Jethro Tull had reached their fourth album,
the magnificent Aqualung . The previous 1970 Benefit was indeed a really outstanding LP, hinting at greater things still to
come, Ian Anderson was now ready for an album written around one single theme or concept that would incorporate the cover
and inner sleeve, all part of telling an absorbing story about a character that lurks in all of us. With really perceptive lyrics
and the most incredible music, a masterpiece unfolded, not only that character, on Side 2 Ian Anderson now examined the role
of religion in society, a controversial and highly critical examination and criticism for the era, in the most sensational fashion,
pulling no punches, Ian went further than anyone had previously dared without being burnt at the stake Just like on Benefit ,
Jethro Tull were just about outside Island in the folds of the Chrysalis label, but certainly not quite fully severing their close
ties to Chris Blackwell s famous Island Records, Aqualung as a genuine UK first pressing was still very much an Island record
in every sense of the word. You will read sellers on ebay making outrageous and unfounded claims that the pink rim re-issues
on Island pre-dated this first Chrysalis release, made in either ignorance or an attempt to sell a record for prices that should be
reserved for first pressings. Well, as a fan since seeing a then unknown Jethro Tull playing live at a Pink Floyd free concert in
London s Hyde Park in the summer of 1968, I bought every album on the day or week of the first releases, those making false
claims clearly did not. The truth will be told here and I will also identify exclusive details and designs belonging uniquely to
the Terry Ellis first issue of Aqualung, not the Chris Blackwell involved pink rim Island re-issue, at the end of 1971. Island
did indeed release Aqualung, invoking their rights to do so under a leasing agreement with Chrysalis that had begun back in
1968 with This Was. As ever in this 1971 period, EMI pressed Island s first issues not Polydor, so the identification of the
pressing sequence becomes simple and also conclusive for the vinyl. The printing details for these very first issues are also as
conclusive, I will cover them in a moment, this has to be finest ever example of a genuine first UK pressing. A Mint record in a
Mint -first issue only Aqualung inner sleeve, add in a stunning Nr. Mint first printed gatefold cover, anything written here
can be held up as the prime example of a genuine UK, very first pressing,

Aqualung was recorded in Island s London Morgan Studios, located in Basing Street, by now all Island s first issue records
were pressed exclusively by EMI, so I can 100 accurately place this record by using the EMI stamping codes and maitrix.
This immaculate record has EMI s or Island s correct maitrix endings for a 1971 first pressing, -A - 1U / -B - 3U. Then there
are the 3 9 o clock stamping s found in the run-out grooves, MP 1 / G 2 has one side sourced from the first mother and the
other side from the second mother indicated by the 1 2 digits. In other words the first generation from the master tapes
and also amazingly low in the actual pressing sequence of those very first made records. It was Island who paid EMI to press
and distribute Aqualung and not Chrysalis, only the first issues have Island s ILPS 9145 catalogue number on the back top
right corner of the cover and on the spine.The E J Day printing credit on the bottom of the back cover confirms the very first
made because Robor made all re-issues. The Island white i logo on the top rim also has a variation when some later records
only had that text on one side, but the initial first pressings had the Island logo and text on both side s labels. The very nature
of such large volumes of printing made for an album like Aqualung residing in the UK charts for 21 weeks, pressings continued
for a further five months before pink rim Island re-issues appeared, becoming part of the many variations.
The first EMI pressed Aqualung records were mastered with immaculate sound quality, so there is never the need to become
irritated by worn out, scratched, crackling and deteriorated sound. As usual, as well as the highly gifted Ian Anderson writing all
the songs, he produced the album with Terry Ellis, they may have been in the process of returning to Chrysalis who leased them
to Island in 1968, but Aqualung was recorded at Island s Morgan Studios in London. Confusion surrounds the pressing of this
era of all UK Jethro Tull records, is it any wonder with both Chrysalis and Island owning a share in the band That continued on
into the early 1970 s for their further albums, the Island release came in late 1971, at least over five months after this, the genuine
very first UK pressing here had been a gentleman s agreement, if not a contract signed between the two respective label owners,
Chris Blackwell Island Terry Ellis who Chrysalis were partially named after to wait until Aqualung was no longer a current
selling / charting LP in 1971. It was not new for independent small companies like Island Chrysalis,without finances available,
Chrysalis had made the same leasing arrangements with Deram for Ten Years After, financing unproven, unknown new artists for
a small independent label was a problem. Once money was generated they could afford to take over, it made perfect sense then
and it should not become subject to manipulation by anyone today.

Like all true great albums, Aqualung as a first issue was very heavily played and handled, the majority of those records are
now very badly scratched and worn out, with the once perfect sound quality terribly deteriorated. I did precisely that myself in
1971, buying the album on the day of issue does makes giving the details straight forward, these first made gatefold covers
with a textured matt finish are usually just as battered and severely worn as well. I am rather proud to be able to present
such incredible condition, a stunning Mint condition record in a fantastic Mint cover and complete with this amazing genuine
first issue inner, for once unsplit and undamaged by the mega heavyweight record s rims, in true Mint condition.
A Mint- grading is precisely what t such exceptional condition vinyl deserves, most importantly of all, my earlier play revealed
the sound quality throughout was truly outstanding. With an absolute minimum of natural static etc. during the tracks or the
gaps, of course it s still vinyl and there are some very delicate acoustic guitar moments, for example the beginning of Side 2.
Records can only play today as they were pressed in their own era, for the first pressings of Aqualung, that was sensationally
What I demanded from this immaculate record.... and that was exactly what I heard Now poised to listen and describe, all of the
most vulnerable and exposed to noise segments of the album and the loudest rock tracks, will now get my fullest attention with
all relevant sound info given as honestly and accurately as humanly possible.
Side 1 has near silent, well really more like silent run-in grooves, the emphatic intro erupts to the title track Aqualung ,with
all the massive volume and power pressed into the deep, spacious grooves of the very first pressings. The dramatic intro has
to be one of the cleanest possible beginnings to the astounding first track, the audio clarity here is nothing less than stunning
and precisely why I refuse to sell this album unless that audio perfection is as just described. Initial opening seconds of any
record are the best indication of the pressing and if any wear has been inflicted, this is the true sound of just bought in 1971,
so I am being blown away all over again The stereo mix on first pressings is unique, in late 60 s style completely separated
channels of true stereo, as Martin Barre s single guitar plays the Aqualung theme s main riff entirely from the right speaker.
Then from the left channel, Clive Bunker s drums explode, Ian Anderson sings these extraordinary opening lyrics

Sitting on a park bench, eyeing little girls with bad intent.
Snot running down his nose, greasy fingers smearing shabby clothes.
Drying in the cold sun, watching as the frilly panties run, hey Aqualung.

I have given this opening track s lyrics in full above, should this be an unknown album, I do recommend reading them because
even though this been such a loved and revered album since 1971, nothing I could possibly write can describe the incredible
imagery Ian Anderson graphically portrays, as this astounding record unfolds. The theme is centred around Aqualung, a tramp
like figure, behind Ian s brilliantly written lyrics is a truly wonderful melody. The music is performed with an incredible feel,
the verse about him picking up cigarette ends and Aqualung getting his needed cup of tea from the Salvation Army, then there
is a musical interlude of dazzling brilliance. Only an acoustic guitar, a piano and bass play as Ian s voice moves across to the
right channel and sings the next piece with a studio enhanced megaphone effect, the sound quality on here is just staggering
With the colossal power mastered into these deep grooves, the sound is razor sharp, that of Mint vinyl and this is an awesome
EMI very first pressing. When the verses are re-sung without vocal effects, the band return with their fullest power, this has
to be one of the greatest opening tracks on an album of all time. I will have to be much briefer for the rest of the tracks or I
will never get this description finished, it s so good describing such a loved LP playing so stunningly. I have declared my bias
to Jethro Tull but that also means I wouldn t dream about ever selling this in anything other than this staggering sound quality.
It s the only way I listen to the album for my own personal pleasure, for sound grading I become even more concerned that I
am only hearing the perfection of audio Aqualung was pressed with. Acoustic music is very much a part of Jethro Tull and it
becomes as essential to have such pristine sound for Cross Eyed Mary, beginning with a very gentle melody, Ian Anderson s
flute plays the lead then the song changes into much more of a rock track. Aqualung is intently watching a girl from outside a
school playground s railings while she plays, she ignores the boys who are her own age because she becomes distracted by
Aqualung. Ian Anderson was walking a tightrope with this very touchy subject s lyrics, but he certainly handled them with all
the considerable genius at his disposal. The audio is in the most incredible definition with ultra sharp sound on the instruments
and vocals. Cheap Day Return is a short track with a memorable melody, with a beautifully played acoustic guitar behind an
outstanding vocal, this is a purely folk music track. I m really pleased to be able to say there s not the usual very annoying
loud clicks and crackles to drown out and spoil this song. Any almost non existent static is background only and too minimal to
do anymore than acknowledge, I am after all reviewing a record and not a CD. An acoustic guitar and a flute play the intro for
the stunning melody of Mother Goose . With a surreal quality to the lyrics, they describe human misfits and the very strange
characters from literature. For the gentle nature of the music and the mostly quietly sung lyrics, the sound is just immaculate,
without any kind of surface sound, just fantastic audio totally unspoilt by the usual wear of these past four decades. I have
to mention complete silence from the next gap, Wand ring Aloud only has a singular acoustic guitar intro and even here, it s
heard without any kind of surface sound, continuing for the rest of Ian Anderson s solo performance on this lovely short track.
The lyrics are outstanding, this was such an inspired album, few can match this for absorbing, and at times such an overpowering
musical presence. Like all so far, a silent gap before Up To Me , Side 1 s final track, another brilliantly performed song with
a full production, the band are playing superbly. Ian s flute picks up on the wonderful melody, emphasising my point containing
completely absorbing songs with lyrics that set you thinking about their meaning. Even 44 years later, I still find the simple
but beautiful lyrics, Buy a silver cloud to ride a joy to hear, they conjure up lovely images, a contrast the appearance of the
tramp, Aqualung. Ian sings it with such inspired phrasing and conviction, I m really enjoying this inspired and inspiring music,
especially from the pristine audio, the rarity of Mint records from this magical era is such a shame and I am making the most of
this opportunity... I don t want the album or the description to end
Side 2 has the same near silent /silent run-in grooves, minor static for a Mint 1971 record should not be mentioned, especially
a very exposed start with a lone Spanish acoustic guitar playing a really beautiful piece of music, before Ian s intensive vocals
begin. In fact, this second play is even more notable for no audible background static so far, anyone familiar with the opening
section of Side 2 will know how noisy it usually it is...not here this is one amazing sounding Aqualung to perform so perfectly
on such an exposed piece. The 1971 mastering was magnificent,the rest was the pristine audio standard of EMI s vinyl pressing,
with pauses between notes lasting for seconds, for this to play here with such fantastic clarity, is so good to hear and enjoy.
Of course this is still vinyl during almost silent sections, some form of low level static is just about audible, but so minimal it
does not refister with me and I am very fussy about albums as loved as this...well, all the Jethro Tull albums Next, the intro to
God is one of the most exposed moments I can think of on any album, there has to be some form of a record playing sound but
there s nothing here not on my own treasured Mint first pressing, how many regular ebay record sellers can honestly state that?
After the acoustic guitar intro, Ian Anderson sings his finest ever vocal, the lyrics are so highly controversial, I would not
include them, they do not bother me in the slightest but because they would certainly be very offensive to many people. Ian was
taking a long hard look at imposing religious belief s onto an individual, his writing was indeed inspirational, not forcing an
opinion onto others, just telling a really profound story by using graphically vivd imagery, also a great deal of observational
truth. His vocal carries a passionate, emotional quality that add a realism to deeply cutting words that sting with the truth.
The backing stays really subdued, mostly a piano and an acoustic guitar but no percussion, bringing the vocals and those
astonishing lyrics into the fullest focus. Suddenly, in startling power, Barre s electric guitar explodes from the left speaker
just as Ian sings out in passion, Don t call upon him to save , then the full might of the whole band is thrown behind Ian s
incredible vocals, as they really intensify. A superb loosely improvised instrumental segment follows, leading into the vocal
Medieval monk like chant, that gets faster and faster, along with Ian s flute. Very heavy stuff, with a chilling undertone in
the context of the song s lyrics. Then a more peaceful monks chant and really beautiful flute music, now the last verse is sung
even more passionately. Michael Barre s lead guitar now plays a stunning blues solo with glorious stereo panning, the notes
alternating between the channels non-stop. All in stunning sound quality, what an amazing track, heard in simply awesome
audio sharpness. When I began I had no intention of writing this much about one track I couldn t not include this astonishing
song and performance in full detail, plus a Mint record is like hearing it for the first time. I should add for that staggering
audio I have described, this is after all vinyl and as much as I find it distasteful on such an ultimate record, I am obliged to
say there is the most trivial suggestion of a record playing. I did not write that for those who do understand and love original
vinyl, but expectations of the impossible in a digital era, have to be addressed on analogue recordings in descriptions. I won t
avoid a subject that has to be publicly discussed, but as I grew up in a mono analog era, my own opinion of a record s sound will
not be the same as someone moving from CD s into vinyl for the first time. So I am constantly finding myself having to defend a
truly stunning playing record s pressing that took place 44 years ago now, on a daily basis. Right, now I ll have to be briefer
Hymn 43 carries on a confrontational stance against religion, the lyrics and vocals are just as highly charged, still bitingly
emotional. I an hits out at his old school headmaster, but no gentle, melodic acoustic guitars being played here, a blues / rock
track with a real sting in it s tail. A tremendous Barre guitar solo fires up the band even more, a full out assault to finish
with some amazing performances. Than folk for Slipstream , an acoustic guitar only accompanies the vocal, soon being joined
by some lovely strings. The strings become psychedelic sounds at the end of a very short track with a really delightful melody.
I cannot stress enough how clean clear every second is, an astonishing record and this second play is absolute perfection.
This is harder being brief than writing without restraint, I will have a problem doing that with my long term favourite LP track,
Locomotive Breath . This magnificent song has it all, a rippling piano jazz intro, the electric guitar hits loose flowing blues,
the piano moves into an r b rhythm with the guitar now changing the tempo. Then a feedback note is held down as the band
come in locked solidly into a blues riff. A fantastic Anderson vocal once again, and they perform this with such superb flair,
a throwback to the 1968 This was , their musicianship is unbelievably tight, but there s the same feel of the looseness from
Stand Up . Wind Up is the album s final , bringing the album full circle, from the tramp struggling to survive, now to him
questioning accepted religious beliefs and the attempted crushing of a man s spirit. A stunning performance from the whole
band, but it s the incredible lyrics and their writer s delivery of them, that leaves such a long lasting impression. To sum up,
this record s true potential has yet to be arrived at, but I have never heard a very first pressing of Aqualung sound so perfect
as early as this, once again, I am in awe of the audio standards of analogue records of this vintage.
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.

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FROM V.G. VERY GOOD , TO THE ULTIMATE MINT CONDITION.
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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.