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.
UK ORIGINAL / FIRST PRESSING, 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 alongside the May,1970 original / first pressings.
A few digit rises were perfectly normal for all EMI records by 1970, which obviously includes the Let It Be album issued in the same month, very much part of a large chain of manufacturing required for all big selling titles.
Original / first pressing is a correct term, I m placing it into the correct perspective of a stunning unplayed, Mint condition 45 year old major album released a few weeks before the Beatles broke up.
As this was on sale in a record shop on the day of release, I should just state a first pressing but I decided to give a double billing as original / first pressing, if anyone disagrees, that is their prerogative.
However, they would be completely wrong, as usual, EMI s machine stamped coded indexing was not confined just to the maitrix, because the mothers all first pressings were derived from, were liberally used out of sequence to the maitrix I do not have the time or inclination to enter debates in long email exchanges, I end up discussing events I personally experienced when buying these records on their release, with people who were not even born yet or living in a totally different country to the UK, if not both The last McCartney I sold was also in true Mint condition, with virtually the same maitrix and stamped indexing configuration as this current record, it also matched all the printed items as first editions.
Years ago to avoid any fuss I just stated original, but I have had enough of that and now to tell it exactly how it happened and combine original with first pressing / first edition, because they are all one and the same Just in case someone is still poised ready to send an email insisting this is not a first pressing, just glance down to the EMI Stamping Codes section, you will see that not only is this 3U / 4U a first pressing, this record is a very first pressing, if not please try and find a lower maitrix configuration lower with G 1 on one side An unplayed true Mint McCartney album that was bought on the 2nd May,1970, is major enough without having to state the obvious, why I said to cynics, please read and digest the stamping codes at 9 o clock on both sides, where I will also give the actual numerical sequence per individual side, the codes signify.
Everything itemised now is unique to first editions, originals / first pressings.
FIRST ISSUE ONLY, DARK GREEN SIDE 1 APPLE LABEL: PCS 7102.
AS AN ORIGINAL / FIRST PRESSING THE LABELS HAVE PAUL S PUBLISHING CREDITS STILL AS FOUND ON ALL 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.
THE McCartney ALBUM 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 LABEL S ON THE ORIGINAL PRESSINGS ONLY, EXCLUSIVELY HAVE THIS SIMPLE PUBLISHING CREDIT Published By Northern Songs.
MAITRIX: YEX 775 - 3U / YEX 776 - 4U.
EMI STAMPING CODES G 1 / M O 2 Side 1 Uncoded: G 1 is, No.
1 record side, pressed from the 1st mother.
Side 2 Uncoded: M O 2 is, No.
45 record side, pressed from the 2nd mother.
Records have to be pressed from two metal different stamping discs per side, why you generally see different mother mother digits on different sides.
For example you can have 1 4 or 3 6 , the combinations are endless because the indexed mothers were not used strictly numerically.....especially when manufacturing them on the colossal scale for a current member of the Beatles first solo album.
Experienced vinyl buyers do not need it explained, but they are in a small minority and I do not have the time or inclination to constantly re-state the same conclusions I arrive at in my long and fully detailed descriptions....
in emails.
No mysteries, guess work or inventions, a dark green label on a massively thick heavyweight record containing stamping codes that low, simply has to be a first pressing.
It had to be pressed before the scheduled released date in readiness for distributing to British record shops, regardless of being from the beginning, middle or end of the the pre-release manufacturing.
If you walked into any UK record shop during the week beginning, 2nd May, 1970, it was sold to you as a first edition....which it was Nobody said, Let me examine the maitrix and stamping codes before I buy it, i n 1970 or any other year in later decades up to 2016.
Positively an original / first pressing with the sides 1 / 2 digits signifying the mothers, which is directly in line with EMI indexing of all the Beatles LP s, including that parallel release of Let It Be in the same May, 1970.
The maitrix end digits also follow the same precise pattern as Let It Be, personally I believe it was because the 1969 Abbey Road album did not have any rises to the ending digits of -2 / -1 and by May,1970, millions of records were made without any movement on the ending digits.
That was left unchanged to the end of 1970 to early 1971 and why lighter green Apple labels on Side 1 still had the same maitrix, in spite of visually clearly not originating in 1969, or even contemporary to May,1970 releases of McCartney Let It Be .
You will see endless lighter green Apple label Abbey Road LP s being falsely sold on ebay as first pressings 1969 , when in reality, the covers and records were made one year after the October,1969 initial release When I listed and sold a -2 / -1 Abbey Road on ebay, with a slightly lighter Side 1 green label Apple, I correctly stated it was pressed in late 1970, this time I cannot, because the tone of the green Apple label on Side 1 exclusively issued May,1970.
I know this was pressed before the May release date, that belief is backed up by the above solid facts and genuine experience as a Beatles collector since January, 1963 and over decades of professionally selling records.
This time EMI indexed the ending digits per batch for McCartney Let It Be and this record has the logical natural rise of only 1 2 digits per Side, which was following exactly the same recognisable pattern as the Let It Be album.
There was not a Box Set taking the -2U /-2U first batch, then the standard Let It Be LP s -2U /-3U , -3U /-3U - 3U /-4U etc.
ORIGINAL 1970 EMI INNER SLEEVE, IN UNUSED, UNSPLIT UNAGED NEAR MINT CONDITION.
Like the Let It Be first pressings, McCartney did not come with an Apple inner, Ram was the first of Paul s solo albums with an Apple inner sleeve, but not all the first pressings had had one.
Curved corners on the top bottom with a Patent number and Made In Great Britain , once again as found on the first pressings of the May, 1970 Let It Be records and that includes the very first made for the Box Set.
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: I WILL TYPE THIS COVER FOR THE FEATURES TO MAKE CERTAIN ALL IS CLEARLY STATED AND UNDERSTOOD.
1.
FULLY LAMINATED ON THE OUTSIDE AND BOTH PANELS INSIDE.
THIS COVER 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 1970 EXPORT EDITIONS OF THE Hey Jude LP.
MOST SPINES HAD IT PRINTED EXACTLY WHERE THE DOUBLE FOLD OF THE SPINE HINGED, SO ONCE THE GATEFOLD WAS OPENED, McCartney HAS ALMOST DISAPPEARED.
THIS COVER...AND IT S SPINE HAS McCartney PARTIALLY OBSCURED WHEN SHUT BUT VISIBLE ENOUGH TO INCLUDE A CLOSE UP PICTURE.
3.
THE TRACK TITLES ON THE BACK ARE IN TWO DIFFERENT COLOURS ON FIRST ISSUE COVERS ONLY: THIS COVER SIDE 1 TRACK LISTING: PRINTED IN WHITE ON PAUL S LEATHER FLYING JACKET THIS COVER SIDE 2 TRACK LISTING: PRINTED IN PALE BLUE ON THE BLACK BORDER OF THE COLOUR PICTURE.
THIS COVER ALL LATER COVERS / RE-ISSUES HAVE BOTH SIDE S TRACKS PRINTED IN UNIFORM WHITE.
VARIATION 1 THIS COVER Side 1 s Tracks and Instruments and voices by Paul were printed in yellow, Side 2 s tracks were also in pale blue.
4.
UNDERNEATH THE TRACK TITLES AND CREDITS, PRINTED IN BLUE: NOT THIS COVER VARIATION 1 THIS COVER EMI Records The Gramophone Co.
Ltd.
Hayes, Middlesex, England Printed and Made in England VARIATION 2 THIS COVER Apple Records An EMI Recording Printed and Made in England Interestingly both cover variations, different text colours and EMI and Apple s credits etc.
can be found in either combination.
The clue to those minor variations is found above in the one common to both, Printed and Made in England , as I regularly write when EMI first issue covers did not have 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.
A third variation exists but it is very rare, best detailed when and if I locate a Mint first pressing in such a Near Mint cover.
THE ULTRA GLOSSY FULLY LAMINATED COVER HAS UNFADED, ULTRA BRIGHT COLOURS OUTSIDE AND INSIDE.
Unused to the extent the laminate is still not fully stretched out, I did not force that flat though to take pictures of the fully opened back, just how it was comfortable, or pictured with the record on the opened outside.
The spine is very tightly gripped by the lamination, obviously because the gatefold has never been fully opened and that affects fully laminated gatefold covers far more than when only laminated on the outside.
The spine has an inside or internal rib and so that also has to give and loosen with use, on the other hand, it probably included the lamination being tightly wrapped back in 1970, which is there to visually see, the top of the spine is not as expanded as the middle and bottom sections, which means the only title, McCartney at the very top is inside the tight spine, but this time visible.
The same affected Sgt Pepper covers but the title was in the standard central position...
if printed upside down In place of a spine album title picture, I took one of the whole length of the spine with the cover standing upright and opened to the comfortable position, I never ease open laminated gatefold covers, that feel and appearance of being brand new is extremely rare and it would be like opening or removing shrink wrapping.
Please see my picture of the front for how like brand new this cover looks, there is no wear to detail.
Anything here was naturally formed from standing in storage for all those decades, an inevitable but reasonable record impression with a few tiny related laminate edge lines found on all covers.
Laminated inside and out, creates a really beautiful gatefold cover and the natural formation of a few laminate edge lines is a small price to pay for such stunning deluxe quality.
The back is superb and the minor points raised here must not detract from an unused, unaged cover holding a true Mint, unplayed record.
A Near prefix is ridiculous under the circumstances but all that is required for such a stunning and beautiful cover that was never used to remove and replace the record after it was initially inserted at EMI s pressing plant in April,1970 THE COVER IS IN A MINIMUM OF NEAR MINT CONDITION.
THE RECORD IS IN UNPLAYED/MINT CONDITION.
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.
.
A record shop appearance is extremely rare for 1970, an EMI pressing plant appearance for McCartney has to be respected and placed before my enjoyment of hearing and describing a true Mint, first / original 1970 pressing.
With G 1 on one side, original is actually absurd 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 in April of this 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 this very special is still is underrated as a masterpiece of songwriting and performing by Paul when still a member of the Beatles, before they broke up.
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.
Usually the rarity of unplayed true Mint originals force me to consider if it is appropriate to play that record myself.
With delicate slithers of vinyl shavings at risk of being dislodged, I do not have a choice to make, I will have to wait for an opportunity to describe the tracks and include the precise details of the recordings.
I m 100 certain the sound quality of this incredible very first pressed record from first mothers, will be sheer perfection, an 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 excel 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, the information should be useful.
This is one of my most loved solo albums from Paul s long career, hard to believe he s 68 now, so 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 five years later the musical contents those who were so dismissively viciously 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 46 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 four top condition copies on ebay in 14 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, I can finally get to hear the record and describe the tracks.
McCartney was first pressed on 60 s standard and quality vinyl and that drastically affected the sonic properties of the music, this record will have all of the incredible audio sharpness and definition of individual sounds I demand from any Apple or EMI first pressings.
As so many of the tracks are acoustic and recorded without a full production, discussing natural static for a Mint 1970 record is absurd, when an unplayed allows someone to literally travel back in time and hear exactly how McCartney sounded when you bought a first issue in May, 1970.
Shame I cannot describe the tracks with dated details about how this masterpiece was made...
amazingly without John, George or Ringo being aware a whole album was being made and prepared for release 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 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.
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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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