Item Description
I get high when I see you go by, My, oh my, When you sigh, my inside just flies, Butterflies.
Why am I so shy, when I m beside you? It s only love and that is all, Why should I feel the way I do? It s only love, and that is all, But it s so hard loving you.
Is it right, that you and I should fight, Every night? Just the sight of you makes night time bright, Very bright.
Haven t I the right to make it up girl? It s only love and that is all, Why should I feel the way I do? It s only love, and that is all, But it s so hard loving you, Yes it s so hard loving you, Loving you.
THE BEATLES: Help LP.
UK VERY FIRST PRESSING IN MONO, RELEASED 6th AUGUST, 1965.
YELLOW BLACK TEXTURED PARLOPHONE LABEL: PMC 1255.
MAITRIIX: XEX 549 - 2 / XEX 550 - 2.
-2 / -2 maitrix ending digits were used for the mono first pressings, without 1 becoming involved, for anyone just getting accustomed to 1960 s UK Beatles albums, the XEX maitrix prefix represents mono and YEX signifies stereo records.
EMI STAMPING CODES: GOO 1 / GOR 1 1 0 Once again common sense has to prevail, as I regularly write, mothers did not exceed single figures for EMI or every UK record company, errors account for all three figure digits at 3 o clock in the run-out grooves.
Most recently I had the same scenario for a 1969 first pressing of Abbey Road and like this Help , the extra digits were stamped at a completely different angle and not even close to the first 1 digit.
This time I can see why a second attempt was made, the initial 1 was stamped at an angle and could have been interpreted as 7 , so another 1 was stamped further down....
with a zero Not that it matters when the other side has 1 clearly stamped upright, this is a very first pressing made before the August, 1965 release.
THE VERY DISTINCTIVE 1965 THICKLY TEXTURED, YELLOW BLACK PARLOPHONE LABELS, HAVE THESE FEATURES Sold In UK TEXT.
THE UK TAX CODE KT EMBOSSED ON THE CENTRE OF SIDE 1.
APPEARING FOR THE VERY FIRST TIME ON A NEW RELEASE BEATLES ALBUM, Gramophone Co.
Ltd ON THE RIMS.
Help WAS ALSO THE FIRST UK NEW BEATLES LP WITH THE PUBLISHING YEAR FORMAT: P 1965.
ORIGINAL1965 TRACING PAPER LINED, Use Emitex PARLOPHONE/EMI INNER SLEEVE.
BARELY USED, UNSPLIT WITH A RECORD IMPRESSION AND ASSOCIATED LIGHT CREASES EITHER SIDE OF THE RECORD AND LIGHT AGEING.
HOW COULD THAT NOT THE CASE AFTER NEARLY 60 YEARS OF HOLDING A HEAVYWEIGHT RECORD? SIDE 1 Help The Night Before You ve Got To Hide Your Love Away I Need You George Harrison Another Girl You re Going To Lose That Girl Ticket to Ride SIDE 2 Act Naturally Johnny Russell / Voni Morrison It s Only Love You Like Me Too Much George Harrison Tell Me What You See I ve Just Seen A Face Yesterday Dizzy Miss Lizzy Larry Williams JOHN LENNON: Lead, harmony backing vocals, rhythm electric and acoustic guitars, electric piano, Hammond organ, harmonica percussion.
PAUL McCARTNEY: Lead, harmony and backing vocals, bass, acoustic guitars, electric and acoustic piano.
GEORGE HARRISON: Lead vocals on I Need You You Like Me Too Much , backing vocals, lead, rhythm electric acoustic guitars percussion.
RINGO STARR: Lead vocals on Act Naturally , backing vocals, drums percussion.
George Martin - piano, record production co-string quartet arangement on Yesterday with Paul McCartney.
John Scott flutes on You ve Got To Hide Your Love Away All Songs Written By John Lennon Paul McCartney, Except Where Credited.
Recorded In Several Sessions At Abbey Road Studio: 15th - 19th February, 13th April, 10th May, 14th - 17th June 1965.
The Beatles astonishing musical progress through the 1960 s decade, sprinkled magic into the grooves of every record made, so you can pick up any of them and discover a fascinating point to stop and hear where they had progressed to.
Even up to this 1965 period, when they met EMI schedules to release two new albums in the same year, that progress was audible on the second 1963 LP, the music created at any stage can be enjoyed on it s own merits.
If viewed in the context of the whole output, there is always a connecting thread between the raw r b 1962 Love Me Do and the heart of 1967 psychedelia, A Day In The Life.
A penultimate final to Sgt.
Pepper may have had an overpowering staggering production, but that track began with just John Lennon simply playing an acoustic guitar and singing the melody very softly.
That was relevant to only two years previously in 1965, the year became such a major turning point, Help represented a huge step towards striving for new sounds with an even fuller emphasis placed on melody combing with sound textures.
The Beatles earliest influence was from the music coming across to Liverpool from the USA, rock roll, r b, early Motown, soul and blues, now during the mid-1960 s the arrival of Bob Dylan here had a profound effect on them all, lyrics acoustic folk music was a really powerful force.
For songwriters with an emerging genius, Bob Dylan was a revelation, now the 1960 s decade had both direction and momentum.
John, Paul and George were composing songs with an acoustic backing, begun on their two 1964 albums.
Later in the winter of 65 the next stage on their magical journey produced Rubber Soul, then it was onto the albums that changed not only the course of popular music, the Beatles would soon be having a drastic effect on long established cultures and in turn, change society itself on a global scale.
If the Beatles massive influence had been confined only to England, it still would have been a remarkable achievement, but to have deeply affected America and Japan or that worldwide scale, it was phenomenal.
The second Beatles film needed songs written for the soundtrack, the music on Help went way beyond being incidental and only to supply the soundtrack for the film.
Due to the nature of those many acoustic tracks, including Yesterday, the sound quality of an original 1965 album becomes vital.
It has been many years since I have been able to locate a mono first pressing that reached the magnificent sound quality I know so well, I will never compromise over the audio standards I insist on.
I m especially strict about sound grading original EMI pressings from any decade, let alone a first issue mono or stereo record from the era they were written, recorded and released.
All the EMI Abbey Road recorded mixed, pressed 60 s UK Beatles records, in my opinion have the most perfect mastering of all time.
Did we really need the whole catalogue to be re-adressed in 2009? No, not when records as stunning as this still exist Those who grade Beatles records by looking at them are making a big mistake, that will not tell you condition s of the needles used to play 60 s and 70 s records with, one play with a blunt stub of a mono needle caused irreparable and horrific damage to the music signals.
Unless unplayed or sealed, grading is 100 dependent on sound reproduction, you need ears not eyes to inform buyers about the condition of records for any decade s vinyl, there is a mistaken belief mono records came with excessive noise....
No, they most certainly did not As I illustrated in my heading s, the sales of UK Beatles albums were in such colossal numbers, but as they are now 44 - 61 years of age, becoming increasingly difficult to find unworn original vinyl, visually I do prefer unmarked records but that is only the initial stage.
This just bought mono Help has The Sound, perfectly representing the amazing 1965 George Martin mono mix, in stunning sound quality.
I have regularly insisted in Beatles descriptions, there s no need to play original UK records and suffer appalling, crackly, distorted sound.
That was not the how they sounded when I bought and heard them in the 60 s, the pressings were immaculate, unless a Beatles record has sound that blows you away, you are hearing a worn out, worthless item.
I never attempt to disguise a total bias towards UK pressings, not just because I grew up with them and they were all mono only, I have heard just about every pressing made, including the bass light, non 60 s sounding Half Speed Master s.
In my humble opinion, to hear the true sound of the staggering music recorded in Studio 2, Abbey Road, you need look no further than 60 s records made in EMI s pressing plant.
The Beatles demanded the highest possible quality for their records and covers, fortunately they had a record producer and sound engineers with the same audio perfectionist ideals.
They had no control at all over any of the many overseas pressing s, their covers or even the LP track configurations, UK records were the only true Beatles and George Martin approved finished articles.
When they toured, especially in America, you can hear in the song announcement s, the total confusion about the LP s titles and the track listing, yet they were current albums in the country they were performing in.
In fact, Help was issued in the USA with a different cover tracks, using orchestrated film soundtrack music in place of some of the album s greatest songs.
The UK Help front cover had an off white background, so I only ever want to see it as close as possible to the dazzling white of an original 1965.
Most originals are filthy dirty, stained battered, I cannot hold back time but this cover is in really exceptional condition, reminding me to say that like the White Album genuine 1968 printed covers, the genuine 1965 Help covers were more of a creamy or off-white colour.
Without wishing to sound like a paint brochure, there no such thing as one white colour , the later the pressings, the whiter the White Album Help became, by the 1970 s they were actual white and remained like that indefinitely.
Time to for some music Three plays for a 1965 record is not even played in yet, just light static before ultra clean sound explodes with an impact I have never taken for granted.
By that I mean I cannot tolerate hearing noise on the introof the title track, I will re-start the LP Side 1 has near silent run-in grooves, a Nr.Mint Beatles first pressing without any crackles on the intro is very rare, and that faint natural static that was there in 1965 An immaculate looking and sounding record with that low number of plays, grading it Near Mint had to include playing precisely like a Mint record, which is a subject I am professionally qualified for.
I have been accurately and genuinely sound grading records for so long now, it s as natural as breathing, simply because my personal criteria is I want to be blown away by the sound I am assessing, this is such a record Enough said, the intro to Help explodes from the speakers with all the staggering colossal power of the first generation mastered George Martin mono mix.
The audio clarity is just stunning, with ultra sharp definition on every part of this track, exactly how George Martin s mix was intended to create a massive impact, the song title sung as an intro.
Help is very engaging, forceful and a dramatic intro was ideal for the film s opening credits section with the darts hitting the screen, the impact in cinemas was enormous.
I probably told the story before but with a perfect sounding mono Help to offer, that does allow for memories of the film, album and single, how many ebay sellers saw the Help film in a British cinema in 1965? I remember how my group of friends hid in the toilet after seeing the afternoon screening, we waited trying not to laugh until it was time to sneak out to watch the film for the second time, when the next screening began.
In 1965 Surround Sound in Dolby Digital Stereo was a long way off, but a mono soundtrack was mighty effective Help was not an ordinary third person subject of a conventional mid-1960 s song, Lennon wrote the song and lyrics in the middle of the Beatles unbelievable success, amid screaming crowds, constant camera s flashing and those endless press interviews.
The lyrics were a genuine plea, John was indeed feeling insecure, down and depressed, he was now writing songs to express feelings and emotions.
Bob Dylan s influence and their new new found friendship was an inspiration to Lennon who was very keen to explore songwriting as he was feeling it emotionally.
Bob Dylan had another influence that had another drastic effect on the Beatles musical direction, while in Americas he turned them on to smoking joints A lovely story is how Dylan congratulated them for getting away with singing this I get high, I get high, I get high, during their 1963 single I Want to Hold Your Hand.
The Beatles found the thought of it hilarious and explained to Dylan they were singing, I can t hide, I can t hide, I can t hide.
Talking about 1963, She Loves You might have only been only under two years ago, but their music was hurtling along at an astonishing rate now.
John s acoustic rhythm guitar forms the track s basis and the sheer clarity here of his Rickenbeker is just stunning, this IS the sound of a mono first pressing The vocals are in as mega sharp sound, this mono mix has a different vocal to the one found on the original stereo mix, the non vocal take has a slower, more deliberate pronunciation.
I had best cut out endless pieces of related track info memories, I could write that amount for every track but as this is still Track 1 , I will exercise some control.
The first gap on this side finds my stylus gliding through in complete silence, an ultra clean intro for The Night Before, Paul sings the lead vocals with John playing an electric piano, what a record The sheer clarity cleanness of the music is amazing for a 49 year old record, EMI s 1960 s pressing s were mastered in absolutely perfect sound, any 1965 record has to to be unworn to reproduce such immaculate sound.
The definition of the instruments and vocals are heard in that extraordinary sound quality, this fantastic audio perfection is the only way to hear a mono Help.
The melody is sublime, it was ideal for the film and to also fully enjoy as an essential part of this wonderful album.
Ending to a silent gap, then a perfectly clear intro to the hauntingly beautiful folk Lennon masterpiece, You ve Got To Hide Your Love Away .
The acoustic guitars are in fantastic crispness, the 1965 mono mix was simply glorious and heard here at it s most potent with consicely sharp edged sound, even the tambourine s bells are ringing out in true to life sound, true analogue sound, not the 2009 version A really full bass or booming bottom end was a feature in 65 never to be repeated again, John s vocals could not sound any better than this, for such an exposed recording to needle sound etc....there isn t any My first plays of a newly bought LP are spent checking for any of those irritating sound problems with real tension in the air because I will not tolerate substandard sound,especially for such a loved acoustic track like You ve Got To Hide Your Love Away .
Now I can completely relax and enjoy stunning sound from the music, this track has always been an album favourite, I m delighted to say the sound quality is sheer perfection The gap has a crackle free zone so another perfectly clean intro to I Need You , with that great mixture of George s electric guitar and John s rhythm acoustic guitar, they are superbly balanced on one of Abbey Road s finest mono mixes.
A very powerful sound, with the percussion and the bass sparklingly clear and bright, my way of saying no distortion on very loud mastering.
George s lead vocal on one of two compositions, being fully supported by unique and distinctive voices, a sublime harmony between John and Paul, over a very effective backing.
I can do no more than very highly praise a magnificently pressed record, once again not a crackle or a click in the gap, smoothly into Another Girl, a wonderful mid-60 s Beatles song with a great bouncy sound.
Paul s bass is superb, his lead vocal was double tracked with John harmonising on the chorus.
George gave this track a cutting edge with his great blues guitar fills between the lyrics, the acute sharpness of this audio becomes highly revealing about the musicianship of the Beatles, they were gifted as individuals but collectively they created an exclusive sound, instantly recognisable worldwide by 1965.
This sound reproduction is just outstanding George s final guitar note fades away naturally, this is once again into pure silence, allowing a perfectly clean intro for You re Going To Lose That Girl.
It s repetitive, but I am sound grading this 49 year old record, one of the key tracks from the film has incredible sound quality, George s guitar solo is short but superb.
Ringo s great drumming included tom-toms, the mono mix projects that with a really strong powerful thrust for the percussion, the subtlety he used and needed on tracks like this, highlight how he was just as flexible to handle the more acoustic shift in their writing, creating great effects with the percussion.
John s outstanding vocal was well supported by typically delightful Beatles harmonies, being thoroughly enjoyed without even a hint of any surface sound and then a smooth as silk gap before the George Harrison electric guitar intro to the heavier sounds of Ticket To Ride.
Very powerful sound for George and John s twin guitar parts, as much as the acoustic guitars were changing the Beatles style, when John and George plugged them in, they were a formidable duo with the doubled up electric guitars.
Then there s Paul s brilliant bass guitar and now Ringo playing the drums more conventionally, the rock tracks on Help were ever moving towards another musical style, psychedelia.
Rock or acoustic folk music, the same Lennon McCartney vocal combination worked magically and gave Ticket To Ride a fantastic sound, so many inspired songs so far, and this is only the first side.
Reminding me to move along, a mono first pressing and I am making the most of it I m the first to relay how many copies were made and sold, but also to accurately state only a handful of them still have this incredible, first generation, Abbey Road Studio Master Tape sound quality.
Side 2 keeps up the very highest vinyl standards with near silent run-in grooves, near allows for natural low level static, for a 1965 record that should never be taken as something not present when first pressed, I include everything.
In fact, I insist on rephrasing that as silent , no record ever pressed could possibly start any smoother than this.
Permitting another ultra clear intro for Ringo s lead vocal track Act Naturally, after the 1963 Boys they had become a tradition on every album ever since, well, Ringo was singing during the film but Let It Be became the only Beatles LP without him singing lead vocals on one track.
Act Naturally was much more subtle, an acoustic based folk/country song with Lennon s rhythm acoustic guitar working so well with George s electric guitar.
I have an interview with John Lennon from 1972, he s discussing how folk/skiffle was an influence on the young aspiring Beatles, this song is the perfect example of how skiffle had affected the sound that soon became known as Merseybeat.
Skiffle may not mean anything today, it was folk/blues/r b music played on home made instruments, so a packing case for the percussion and a broom handle with cord for a bass.
I guess a more recent equivalent would be Punk, for not needing sophisticated musical tuition to perform it.
Act Naturally has absolutely perfect audio, ending into complete silence before the cleanest of clean intro to the brilliant It s Only Love , John s lead vocals were single tracked on the verses and double tracked for the chorus.
He sings this solo, supplying his own vocal harmonies for the chorus of a lovely gentle song, he composed this on an acoustic guitar, bringing that same sound into the recording sessions.
The sounds you hear on this track are exactly what I meant in my introduction about being one step from Rubber Soul , George plays an electric guitar but John s acoustic guitar is really the dominant sound on the instrumental backing, for such a beautiful melody it simply did not need any further production.
The mono sound quality is stunning, I have to keep repeating how superbly this record plays, I have the benefit of hearing the sound pouring out of my speakers A mono Help LP with such ultimate sound is a rarity, it certainly is to me because I can t stand hearing any of the wonderful tracks with decade s of excessive playing and wear, leaving very annoying degraded sound and the music struggling to get through the noise.
Although original stereo LP s are rarer, it was always the mono LP s that took the heaviest wear in the 1960 s, I am as excited about a superb playing mono record as an original stereo album.
The next gap and the piano intro to George Harrison s You Like Me Too Much, are again perfectly clear, without the crackles and clicks the majority of mono albums have ruining the music.
The whole track plays with awesome sound quality, George wrote this song, a lovely melody featuring quite a variety of keyboards.
John played an electric piano, with Paul and George Martin playing the Steinway piano, to give this a sophisticated backing to George s excellent lead vocal, I will keep going with unneeded sound reports, sheer perfection, with all that was mentioned in just superb definition.
Linking as smooth as silk into maximum clarity for the intro to Tell Me What You See , a fantastic intro of percussion guitars, the track is usually dulled with the very edge missing on worn out damaged vinyl, this is just sensational audio The brilliant percussion is amazingly clear and harmonised vocals have outstandingly sharp sound, Paul plays an electric piano and the notes sound wonderful, when John Lennon hums the last bars, the sound reproduction is staggering.
Mono sound that allows such individual parts of a song to be heard is pin point definition, make Beatles records such a pleasure to hear.
This was so close to the sound that made the next LP Rubber Soul such a major album.
Now the improbability of complete silence in the next gap before the two acoustic guitars only, introducing the sublime melody of I ve Just Seen A Face.
One of Paul s finest songs from the mid-1960 s era, the chords are unusual and yet another song they performed entirely with acoustic guitars, the flowing, fast rhythm those acoustic guitars create, almost make Ringo s drums unnecessary, not forgetting Paul s magnificent bass guitar Ending into as close to a silence gap as vinyl is capable of, now this is extremely rare, perfectly clean and clear sound during that singular acoustic guitar intro to Yesterday.
The toughest Beatles track of all time to find without crackles and clicks, let alone excessive background noise, but this record has it in staggering sound quality The clarity here is purely Master Tape for both the sharpness of the music and total lack of any irritations.
Yes, of course the merest suggestion of natural static has to be part of such an exposed track, but no way will I say this has an absolute minimum of surface sound , I am fed up with defending the natural sound of a record playing, why should I have to, when this is as perfect as it gets? A comment I do not make lightly, some fanatics may wish to take me to task but I refuse to criticise perfection for such an awesome playing Yesterday .
This is after all 49 year old vinyl handling the most most delicate track you could think of, I m listening to the combination of the music s sound with the record playing on my turntable, to my ears, incredible sound If anyone worries about surface sound on here, I may as well give up, it simply does not get any better than this magnificent playing track.
I will never use the actual age of a Parlophone LP as an excuse for poor sound, on the contrary, I can only admire how superbly this was pressed in 1965.
I call this fantastic audio, with the very tone of Paul s vocal in the natural warmth of a human voice, not the cold, compressed sound of a CD.
Showing needed restraint on a visual grading of a beautiful cover is one thing, but not when it it comes to a record s sound My love of the Beatles music has meant I have rejected far more UK original records than I actually sell, only because this is the amazing audio standard possible for Help The album does not end with a slow melody but goes out with all guns blazing, a full tilt, adrenalin charged energy rock song, subtlety is thrown out the window, a no holds barred, rock roll performance The acoustic guitars and the strings are forgotten for about three minutes as the Beatles just rip into the pulsating Dizzy Miss Lizzy with a frenzy.
Not forgetting to say the final gap is totally silent, then the stinging guitar riff from George errupts in massive volume and fantastic clarity.
A whoo from John and the leather throated Lennon vocal has the very sound from The Cavern and also from their live concerts in 1965.
The mono sound is just stunning and the superb definition and detail on the instruments and an awesome vocal adds a a liveness to the performance.
A truly electrifying track and in the grand tradition started on the 1963 Please Please Me LP with Twist And Shout , the Beatles rock the album out with a killer version of Dizzy Miss Lizzy.
Demonstrating the Beatles tightness as a rhythm section and because they were still performing this on stage, no rehearsals were required to play this in Abbey Road.
George s lead guitar is immense and Paul s bass really takes off, with Ringo pounding those drums really hard and with John pumping out the rhythm, throw in a rock and roll piano and you have a fantastic Beatles performance An absolutely perfect sounding, UK Mono first pressing of Help and with an equally stunning unaged cover, one I am very proud to offer and highly recommend.
As an objectively critical professional record seller....but always a smitten Beatles collector since January, 1963.
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.
Over twenty years ago now 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.
MY DESCRIPTIONS WILL ALWAYS BE 100 HONEST AND TOTALLY ACCURATE ON ALL GRADINGS FROM V.G.
VERY GOOD , TO THE ULTIMATE MINT CONDITION.
ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.
WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT RECORDS AND COVERS ETC.
WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD.
ALL RECORDS ARE REMOVED FROM THEIR SLEEVES AND PLACED INTO NEW PROTECTIVE CARD SLEEVES AND THEN PLACED INTO NEW, HEAVYWEIGHT PLASTIC OUTER SLEEVES.
THE GREATEST ATTENTION IS PAID TO MAKING THE PACKAGING EXTREMELY STRONG SECURE.
EVERY POSSIBLE EFFORT IS MADE TO ENSURE A SAFE DELIVERY AND WE ONLY USE THE VERY BEST QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS TREATED EXACTLY THE SAME.
WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES WEIGH A LITTLE EXTRA.
UNDER PAYPAL EBAY S GUIDELINES, ALL RECORDS WILL BE SENT VIA A FULLY INSURED TRACKABLE SERVICE.
We have kept all our charges at the same level for years now, but due to the Post Office s new price increases, regretfully we will have to increase the cost of LP s, however, singles will remain unchanged.
Ebay were aware of that happening and have increased their minimum postal cost for LP s to 7.00, that figure has been enforced by the UK Post Office and it will become our UK First Class, Recorded Delivery cost for albums up to the value of 46.
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 12 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 7.00 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.
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