Item Description
Maybe I m amazed at the way you love me all the time, Maybe I m afraid of the way I love you, Maybe I m amazed at the way you pulled me out of time, And hung me on a line, Maybe I m amazed at the way I really need you.
Maybe I m a man and maybe I m a lonely man, Who s in the middle of something, That he doesn t really understand, Maybe I m a man and maybe you re the only woman, Who could ever help me, Baby, won t you help me understand? Maybe I m amazed at the way you re with me all the time, Maybe I m afraid of the way I leave you, Maybe I m amazed at the way you help me sing my song, You right me when I m wrong, Maybe I m amazed at the way I really need you.
Maybe I m a man and maybe I m a lonely man, Who s in the middle of something, That he doesn t really understand, Maybe I m a man and maybe you re the only woman, Who could ever help me, Baby, won t you help me understand? PAUL McCARTNEY: McCartney LP.
THE VERY FIRST UK PRESSING, ISSUED, 2nd MAY, 1970.
McCartney was released the 2nd May,1970 and peaked at No.2 in the UK charts, residing there for 32 weeks meant it was being pressed and selling in a continuous cycle until December, 1970.
There are very first pressings made at the beginning of a huge scale of pressings, the middle and the end, this record was made near the end but the fact this has a dark green Apple label on Side 1, places this as the the May, 1970 very first pressing.
A few digit rises were perfectly normal for any EMI record by 1970, by that I am referring to the static end digits for such a massive selling LP like the Please Please Me LP in 1963 and as recently in 1969, when the Abbey Road album first pressings started with 2 / 1 and that remained without a single increase for over two years So like the Let It Be LP issued in the same month as McCartney , a very large chain of manufacturing required for all big selling titles.
In mid-1969 EMI no longer printed the Sold In UK , around the same time they discontinued machine stamping the KT UK Tax Code on one side of records.
Abbey Road did not have KT embossed and a few rare very first pressings copies had that embossed, out of sheer habit from the whole 60 s decade.
McCartney was released very close to the 1960 s but by now nearly a year had passed and once again, a few of these very first pressings had the KT UK Tax Code mistakenly stamped.
This record has KT embossed on Side 2 s label, an amazing sight on a 1970 Apple label, best of all though, on a stunning unplayed Mint condition, 47 year old, major album, released a few weeks before the Beatles broke up.
FIRST ISSUE ONLY, DARK GREEN SIDE 1 APPLE LABEL: PCS 7102.
Please see my picture of Side 2 s rare KT embossed exactly as if it was still the 1960 s, on a true Mint label there is no wear to the paper on the letters.
I included a close picture of that error, as I constantly say how records in this era produced some wonderful variations....
the records during this period were and still are, totally individual.
AS A FIRST PRESSING THE LABELS HAVE PAUL S SONG PUBLISHING CREDITS STILL AS FOUND ON ALL THE BEATLES RECORDS Published By Northern Songs.
ALL FOLLOWING SOLO ALBUMS LIKE, Ram Wild Life RELEASED IN THE EARLY 970 s, CONTAINED UNIQUE TEXT CONTESTING Northern Songs PUBLISHING RIGHTS.
BUT THE McCartney LP WAS ISSUED BEFORE THE BEATLES HAD EVEN BROKEN UP AND LITIGATION BEGAN.
THEREFORE IN THAT MAY - DECEMBER,1970 PERIOD OF BEING A CURRENT CHARTING LP, THE LABELS ON THE ORIGINAL PRESSINGS ONLY, EXCLUSIVELY HAVE THIS SIMPLE PUBLISHING CREDIT Published By Northern Songs.
MAITRIX: YEX 775 - 2U / YEX 776 - 2U.
The very first pressing made because there was not a -1U / -1U maitrix ending, I will expand on that in the next section.
EMI STAMPING CODES OM G 1 / PD 4 2 Positively a pre-release very first pressing, one side has a G letter representing a first mother at 9 o clock in the run out grooves.
The sound engineer actually tried to stamp 1 almost on the bottom section of G .
the bottom of the 1 can be seen.
The maitrix indexing was made in a strict sequence, there are records with first pressing s starting point of -2U /-2U , that do not have 1 digit on either side, with individual stamping plates per side, it is common to find a higher mother number on the reverse side to the side with a 1 digit.
Like all the Beatles LP s, including the parallel release of Let It Be in the same May,1970, EMI indexed the batches made in anticipation for the massive selling albums, following a logical and natural rise of digits per side, which was exactly the same recognisable pattern for the Let It Be album.
Only this time, there was not a box set exclusively taking up those very first pressings, the -2U /-2U Let It Be maitrix endings records were a mirror image of these very first McCartney pressings.
So the McCartney maitrix pattern was the same as the standard single Let It Be LP s, after this record the sides rose like this -2U /-3U -3U /-3U , -3U /-4U etc.
etc.
1970 EMI INNER SLEEVE, PLAIN WHITE WITH A PATENT NUMBER AND Made In England ON THE FRONT BOTTOM RIM.
Like the Let It Be first pressings, McCartney did not come with an Apple inner, Ram was the first of Paul a solo albums in an Apple inner sleeve, not all first pressings had one.
Note the distinctive 1970 design of this EMI sleeve s corner ending s with points, the condition of the all 1970 items are unreal As usual this text is just part of my presentation, all items are on view in clearly laid out pictures.
As the laminate had yet to be eased fully open, I only opened the cover to the limitation of that to keep the 1970, as new feel, this is one amazing condition very first issue cover THE INNER SLEEVE WAS NOT USED ONCE, UNSPLIT WITHOUT ANY AGEING, A RECORD IMPRESSION ONLY, THE SLEEVE IS IN MINT- CONDTION.
FIRST ISSUE GATEFOLD COVER, LIKE Sgt.
Pepper AND SO MANY OTHER ALBUMS, TWO VARIATIONS ALSO EXIST FOR McCartney, THIS MUST SOUND CONFUSING FOR NEWCOMERS TO 60 s 70 s UK RECORDS AND COVERS, BUT IT WAS PERFECTLY NORMAL IN THIS ERA TO AVOID CONFUSION I WILL GIVE THIS COVER S UNIQUE FEATURES AND INCLUDE THE OTHER MINOR VARIATIONS WHERE THEY APPLY.
OTHER TO THAT, THEY BOTH HAD COMMON FEATURES AND FIRST ISSUE COVERS WERE UNIQUE WITH THIS COMBINATION OF EXCLUSIVE FEATURES: 1.
FULLY LAMINATED ON THE OUTSIDE AND BOTH OF THE PANELS INSIDE.
2.
ASSUMING COVERS ARE STILL NOT SQUASHED OUT OF SHAPE FROM HEAVY HANDLING AND POOR STORAGE, THE BACK FRONT HAVE A DISTINCTIVE SHAPE.
SLOPING FROM THE CENTRE TOWARDS THE THE FOUR CORNERS, EXACTLY AS FOUND ON GENUINE ORIGINAL COVERS OF THE JUST ISSUED Let It Be ALBUM.
2.
ONLY McCartney WAS PRINTED ON THE SPINE, ON THE TOP SECTION, AND THE REST WAS LEFT BLANK OR PLAIN WHITE,WITHOUT ANY CATALOGUE NUMBERS OR MENTION OF APPLE .
COMPLETELY DIFFERENT TO THE SPINES ON Abbey Road , Let It Be AND THE 1969 /1970 EXPORT EDITIONS OF THE Hey Jude LP , IN SPITE OF ALL THREE BEING APPLE LABEL WERE FROM THE SAME ERA OF McCartney.
3.
THE TRACK TITLES ON THE BACK ARE IN TWO DIFFERENT COLOURS ON FIRST ISSUE COVERS ONLY: SIDE 1 s TRACK LISTING IS PRINTED IN WHITE ON PAUL S LEATHER FLYING JACKET SIDE 2 s TRACK LISTING IS PRINTED IN PALE BLUE ON THE BLACK BORDER OF THE COLOUR PICTURE.
ALL LATER COVERS / RE-ISSUES HAVE BOTH SIDE S TRACKS PRINTED IN WHITE.
4.
THE CREDITS UNDER THE TRACKS ARE ALSO EXCLUSIVELY PRINTED IN COLOUR ON THE FLYING JACKET: Instruments and voices by Paul IS PRINTED IN YELLOW LETTERING.
ON THE BLACK BORDER AGAIN, PRINTED DIRECTLY AFTER THAT IN WHITE: Photos and harmonies by Linda RE-ISSUES ARE AGAIN IN UNIFORM WHITE FOR ALL THE ALBUM TITLES AND CREDITS.
VARIATION 1 THIS COVER Side 1 s Tracks and Instruments and voices by Paul were printed in pink, but Side 2 s tracks were also in pale blue.
5.
UNDERNEATH THE TRACK TITLES AND CREDITS IS: THIS COVER EMI Records The Gramophone Co.
Ltd.
Hayes, Middlesex, England Printed and Made in England VARIATION 2 Apple Records An EMI Recording Printed and Made in England The clue to those minor variations is found above in the one item common to both, Printed and Made in England , as I regularly write when EMI first issue covers did not have any specific printer credits, e.g.
Ram , Imagine Wild Life , that meant EMI had contracted two, or maybe three different printers to make the covers.
Without Apple printed on the spine, obviously it was a mistake not to print that on the bottom of the back cover, the different colours on Side 1 s tracks once again tells of two different printers at work.
Variations are not inexplicable mysteries, just simple errors because it was not a computer controlled world back then, but the stunning quality of the McCartney gatefold cover was consistent to both variations.
My pictures include a close up of the track listing and credits, now for the toughest question, which varition is the earliest? I suspect it had had to be covers without Apple Records , but I cannot prove that and the two colours for the track listing etc.
are positively the main item unique to first editions.
This cover has that and the record company text omitting Apple Records the full section can be viewed in a close up picture, so can the stunning condition A TRULY SUPERB VERY FIRST ISSUE COVER, ONCE USED, UNWORN PERFECTLY STORED, SO THERE IS ONLY NATURAL MINOR STANDING IN STORAGE TRAITS TO DETAIL.
A gentle record impression with a few related tiny laminate edge lines and very light standing pressure on the bottom left corner.
The cover has not even been fully opened put yet, as you see it in my pictures, I have left it as I bought it and did not gently ease and stretch the lamination on the outside and inside of the spine.
A feeling of newness is very rare for McCartney and so is a barely played mint- first pressing record, neither has any blemishes and the cover s few small storage/standing traits pale into insignificance when the deluxe quality still reflects how it was first seen in May 1970.
Ultra glossy laminate enhances vividly bright colours and the grading has to reflect such outstanding condition.
The white background of the spine is completely unaged and the lettering of McCartney was just about possible to take a close up picture.
The views given in the above selection clearly show the fantastic condition of the spine and the title s lettering, if partially obscured.
THE COVER IS IN NEAR MINT / MINT- CONDITION.
THE RECORD IS IN UNPLAYED, MINT CONDTION.
Please see my close- up picture of Side 1 s green Apple label centre for the immaculate, unused labels, clearly no spindle alignment traces and the vinyl does not have any form of use traces.
No marks, scuffs or even any factory handling comes under near invisible to invisible , a pristine record in every aspect, so I decided to offer this as still unplayed by myself.
SIDE 1 The Lovely Linda That Would Be Something Valentine Day Every Night Hot as Sun/Glasses Junk Man We Was Lonely SIDE 2 Oo You Momma Miss America Teddy Boy Singalong Junk Maybe I m Amazed Kreen-Akrore All Songs Written By Paul McCartney.
All Instruments Played By Paul McCartney.
Bass, acoustic guitar, lead guitar, drums, piano, Mellotron, organ, toy xylophone a bow and arrow.
All Vocals By Paul McCartney, With Linda Contributing Some Backing Harmonies.
When Neil Young was inducted into America s Rock and Roll Hall of Fame in 1995 by Pearl Jam lead vocalist, Eddie Vedder, Neil s acceptance speech contained a surprising revelation.
Of course like every rock musician, Neil was influenced by the Beatles and after forming and leaving Buffalo Springfield, his solo career began with two albums that contained lush orchestral production s alongside his better known 1969 music.
Neil s speech revealed the album that really influenced his 1970 s career, believe it or not, it was this McCartney album that changed his direction on albums like After The Goldrush Harvest.
Paul s simple approach to the production, combined with his genius to write songs of greatness, had Neil Young playing McCartney over and over again, one musical genius had a massive influence over another and the shape of the 1970 s decade was also affected by Paul performing the entire album himself, Linda contributed some vocal harmonies, but this was a solo album in every meaning of the word.
The influx of singer /songwriter albums started in May, 1970, Paul s acoustic songs stood out on The White Album and I remembered to include that last year, previously I had been meaning to tell that story this for years, but while dealing with the ever expanding extensive pressing details, more interesting things are forgotten.
That demonstrates the influence of McCartney and how it is still is underrated as a masterpiece of songwriting performing, the rest will be detailed as I get into the rest of the description.
Well, does it get any better than this? An absolutely stunning unplayed UK original 1970 McCartney , without one single trace of being on a spindle on either side s label.
The heavyweight record is still like brand new, gleaming away with that very special glossy top surface of a just pressed record, no marks or scratches of any kind and I consider that amazing for this 1970 record I always feel obliged to mention all records had to be handled before being bought at pressing plants and record shops, but not played before being sold this time.
The very rare embossed K T rarity swayed me against playing the record, besides, I m 100 the sound quality of this incredible very first pressed record, will be sheer perfection, an unplayed, as new, EMI / Apple 1970 record like this, places you only one step away from Abbey Road s Master Tapes.
I have never once in all my genuine long years of experience, ever found any decade s EMI / Parlophone / Apple unplayed record that was not of true Master Tape quality.
I also consider McCartney should really be be thought of and treated like a folk music, acoustic album, because the majority of the tracks do feature acoustic melodic music, the low profile production created the wonderful magical feel that was so endearing.
A whole decade passed and after all the massive success of Wings and full scale world tours etc.
Paul once again returned to the simplicity in 1979 - 1980 for the McCartney II album.
Any artist with Paul s genius to write such incredible melodies, would always excell with acoustic recordings and my audio standards for this album are unflinching, only perfection will do.
Confidence established way back in the 60 s and 70 s, when I became compulsive about recording records onto first reel to reel tapes and then cassette tapes, EMI were that perfect with their pressings.
Some sellers and collector s fail to understand the benefits of EMI indexing their pressings, that was essential to quality control and should never be demeaned today.
I just went into great detail about the gatefold cover, even including the minor variations, little has been documented about such an important album, I might not be playing the record, but I will give a full background to the circumstance surrounding the end of the greatest band of all time and how Paul McCartney recorded his first solo LP, with only Linda sparsely helping.
I will never forget the torrent of abuse and spiteful criticism directed at Paul s first solo album by the world s music press on 2nd May,1970.
Yet only 6 days later the same journalists were falling over themselves to heap praise onto the McCartney genius for contributing Let It Be and The Long Winding Road etc.
to the Beatles final album.
Ignoring how every song on McCartney was composed while Paul was still a member of the greatest band on this planet, not only had the Beatles performed recorded versions of so many of the tracks, had they stayed together in that May, there was no question they would have appeared on the following Beatles album later in 1970.
Time has a way of getting to the truth, a No.
2 album and that 32 weeks charts residency in the UK, told it s own story in 1970.
Fourty seven years later the musical contents those who were so dismissively vivaciously put down, but never wrote a song or made a record themselves, have been proven completely wrong.
For such a huge selling LP, you would expect even musically average albums to be readily available in top condition, but today the terrible state of the vast majority of genuine original pressing, clearly show how loved and extremely heavily played the records actually were in 1970 and for all the decades that followed.
Perhaps none of that is still remembered but it wounded Paul deeply, to hear how much it hurt him, you only have to listen to his next album, Ram, after all,the fragmentation of the Beatles was emotionally draining enough, here s a brief sketch of the events surrounding and inspiring McCartney.
The January, 1969 Get Back / Let It Be tapes were left untouched and the Beatles moved onto recording Abbey Road, as soon as it was released in October, 1969, the silly rumours about Paul being dead were instigated by him crossing the road in bare feet on the famous cover.
Paul had indeed disappeared from the eyes of the media and public around that same time, adding fuel to all the nonsense being reported that there was a cover up about his death.
Convinced a double for Paul had been used on the Abbey Road crossing photo taken outside the studio, the album s cover was being scrutinised for other hidden messages, it became that crazy Even the parked car s number plate that ended with 28 IF was pounced on and interpenetrated as a clue that Paul would have been 28 years old if he had not just died.
For his 1971 Imagine album, John Lennon even wrote lyric s about the subject of his death for How Do You Sleep, it was in context of the song being a bitter put down and was referring to Paul s music Those freaks were right when they said you were dead.
Paul had simply taken time out to reconsider his career with the Beatles and to begin working on his first solo album, George and John had made two solo albums each, well, four for John if you count John and Yoko s Wedding Album and the Plastic Ono Band s Live Peace In Toronto.
They were all made openly without stating it was the start of solo careers, this time it was becoming a serious matter because Paul was keeping his plans and activities a secret from the rest.
He was recording songs at his home in St.Johns Wood, London, beginning the sessions in December, 1969, they were a mixture of new material and songs written over the last two years.
Several songs were written while staying in India in 1968, intended for inclusion on the White Album and in that January, 69, the Beatles had played and recorded Paul s latest songs, left unused during a year long delayed release of the Let It Be album and film.
One song, Hot As Sun had an even longer wait because that went all the way back to their schoolboys teenage era in The Quarrymen, the only recording made was onto a domestic reel to reel tape recorder, available on the bootlegs.
Junk , Teddy Boy , Every Night Hot As Sun / Suicide were originally intended to be songs for the Beatles to release.
In his home, Paul had just installed a Studer Four-Track Tape machine, the same as the Beatles used for recording in Abbey Road, with his mikes plugged directly in, he set about working on his own, without even telling the other three Beatles.
He had ordered a mixing console but it never turned up in time, the home recordings were added to by some freshly written songs he recorded at both Abbey Road and Morgan Studios in the New Year of 1970.
Within a few months the whole album was complete, assembled and released.
Paul then announced to the media he was leaving the Beatles to start a solo career, it caused quite a storm and he used the ensuing publicity to allow the spotlight fall on his McCartney album.
In effect it was the official end of the Beatles, John Lennon greeted the release of McCartney and Paul s announcement, he had now left the Beatles, with his usual warm good humour, saying he wished he had thought of using the Beatles break up to promote his first solo LP He and the others were far from pleased with Paul for deliberately releasing McCartney in the same month of May as the long delayed Let It Be release.
Paul himself was still angry about how his Long And Winding Road and the album s title track being overdubbed by Phil Spector without his consent.
All this happened a long, long time ago but for all original Beatles fans they were really monumental events that were very dramatic to watch unfolding piece by piece.
It was strange to have a Beatles solo LP and what was obviously the last ever Beatles album to buy together in the same week, a mixture of great sadness and excitement at having two new records.
Paul s solo LP met with the hostile reaction from the press, the Beatles were such an institution in England, any split loyalties fans felt soon evaporated after hearing his brilliant first solo work, it was much easier to blame Yoko Composing all the songs on McCartney was to be expected from a musical genius, he played every instrument, including the drums and produced the LP.
With Linda on hand to take the pictures for the gatefold cover s artwork, again, a solo LP in every sense of the word, a staggering achievement considering the tension and accusation s flying around during the Beatles final hour.
A No.2 UK chart position was thoroughly deserved but I m sure Paul would have been disappointed to not make the Top Spot.
Now at 47 years of age, the sales mean nothing in terms of how tough it is to find genuine first pressings/first issues/originals without severe wear to both the cover and the record.
It rarely turns up in anything better than V.G.
condition, for an album with so many minimalist productions and acoustic tracks, that is just not good enough for such a major album.
I love this record s music too much to even think about a VG record as an alternative, I have only sold six top condition copies on ebay in 16 years trading on here.
Patience is a virtue and I am delighted to now have this stunning Mint, unplayed original pressing.
I see copies being offered as first pressings that certainly are not, it s so easy to spot them that should never happen.
Please see my main headings for comprehensive pressing details, McCartney was first pressed on 1960 s standard, top quality vinyl and that drastically affected the sonic properties of the music, this will have all the incredible audio sharpness and definition of individual sounds I demand from any Apple or EMI first pressings.
As many of the tracks are acoustic and recorded without a full production, discussing any natural static a Mint 1970 record is absurd, best described as low level natural static.
I never want to imply or suggest a record will not sound like a record, in this case, an ultimate condition very first pressing.
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.
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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.
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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.
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OUR AIM IS TO MAKE YOUR PURCHASE SMOOTH AND TROUBLE FREE.
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