Item Description
He s a real nowhere man, Sitting in his nowhere land, Making all his nowhere plans, for nobody.
Doesn t have a point of view, Knows not where he s going to, Isn t he a bit like you and me? Nowhere man, please listen, You don t know what you re missing, Nowhere man, the world is at your command.
He s as blind as he can be, Just sees what he wants to see, Nowhere man, can you see me at all? Nowhere man, don t worry, Take your time, don t hurry, Leave it all, till somebody else lends you a hand.
Doesn t have a point of view, Knows not where he s going to, Isn t he a bit like you and me? Nowhere man, please listen, You don t know what you re missing, Nowhere man, the world is at your command.
He s a real Nowhere man, Sitting in his nowhere land, Making all his nowhere plans, for nobody.
Making all his nowhere plans, for nobody.
Making all his nowhere plans, for nobody.
THE BEATLES: Rubber Soul LP.
UK ORIGINAL/FIRST PRESSING IN MONO, ISSUED 3rd DECEMBER, 1965.
YELLOW BLACK PARLOPHONE LABEL: PMC 1267 MAITRIX XEX 579 - 5 / XEX 580 - 5 Due to the negativity surrounding simple digit increases necessary to manufacture so many records, a myth has taken root that sells the very first made within the massive chain, in appalling, unlistenable condition.
Based on tiny molded plastic digits, outrageous claims are made that cannot be substantiated, especially when the same claims are being made by sellers who do not even own a turntable I will not taint this initial part of a description of a staggering condition mono Rubber Soul with the lies, but I will once again tell the truth about non existing loud cuts further into the description.
As far as the ridiculous assertions about first pressings, second pressings etc.
this record proves the records made before the scheduled release date were Not broken down into neat different pressings.
with a lapse of time between them.
Nor was there anything withdrawn either, if only sellers concentrated on the condition and sound reproduction instead of such utter nonsense.
My comments are not made selling worn out scratched original or first pressings, this is an extremely rare once played Mint mono Rubber Soul.
EMI STAMPING CODES: GL 1 / MD 1 Positively from the original pressings made prior to the 3rd December, 1965 release, including the maitrix and all the stamped information in the run-out grooves.
1 digits on both sides signifying the mothers, speak for themselves and anyone who seriously believes one pressing batch was enough for average selling LP titles, let alone the latest mid-60 s mono Beatles album, is living in a fantasy world.
Few - 1/- 1 first made records have first mother digits, the fact this record does, more than justifies making that statement.
Nothing wrong with fantasies, but there is no need to apply them to UK Beatles records when 100 accurate 1960 s chart books are readily available.
Rubber Soul was a No.1 album and resided in the UK charts for an astonishing 47 weeks, the most frantic sales happened in December,1965 in order to send it straight to No.1, reality has to come into the equation and it did not leave the British charts until October, 1966 By then Revolver had been released earlier in August, 1966, not even the equally massive sales of Revolver prevented Rubber Soul from a further three months in the charts, during the initial reign of Revolver.
For such an incredible volume of British mono pressings, 49 years later, only a handful are still in Mint condition, this once only played record is one the few in existence.
THE TEXTURED LABELS HAVE: Sold In UK.
PRINTED ACROSS THE CENTRES.
Gramophone Co.
Ltd.
ON THE LEFT SIDE RIMS.
Introduced four months earlier in August, 1965, to replace Parlophone Co.
Ltd.
Made in G.T.
Britain AT 6 O CLOCK.
KT was not embossed on the labels, No, that does not make this rare for the omition, I am only giving precise pressing details and it was common enough to not forget to include KT on 60 s EM1 singles, EP, and LP s.
I regularly sell top condition Beatles singles and EP s, I constantly write, KT was not embossed on the labels, only machine stamped in the run-out grooves.
LP s did not have KT or any earlier Tax Codes in the run-out grooves, the sheer scale of vinyl production just outlined and associated printed items, oversight s, mistakes and glaring errors were only human nature in the factory working condition s.
If the petty minded sellers want to announce, Major rarity Extra dot on a label take note of the condition of the record, I can guarantee it will be around V.G.
or worse, just pathetic sales tactics, literally millions were printed with a pin sized surplus dot, it was noticed in the 60 s but considered to be of absolutely no significance, nothing has changed about that today.
ORIGINAL 1965 Use Emitex INNER SLEEVE, UNSPLIT AND USED ONCE, UNSPLIT, UNCREASED AND HARDLY AGED, WITH ONLY A GENTLE RECORD IMPRESSION.
FIRST ISSUE Garrod Lofthouse PRINTED MONO COVER, A LAMINATED FRONT WITH THREE FLIPBACK EDGES.
PPRINTED ON THE BOTTOM RIGHT EDGE NEXT TO Garrod CREDIT IS: Patents Pending AND 12 LL 12 December, I have never Understood How LL designated the 1965 year of issue.
A REALLY BEAUTIFUL COVER WITH A TOTALLY UNAGED PURE WHITE BACK PANEL, THE FRONT IS DEEPLY GLOSSY AND GLEAMING LIKE NEW.
Just for confirmation this is indeed a genuine late 1965 first printed cover, if you look at John Lennon s suede jacket, the top shoulder has a protruding, almost triangular shaped suede pointing towards the middle of George s neck.
That is tiny but the later covers had that air brushed out, but not all.
Usually named as a loose thread but threads are not solid and that thick Oh dear, stand by for rare cover with a loose thread on John Lennon s jacket No, they are not rare when a million was made.
These first issue 1965 Garrod Lofthouse mono covers are really distinctive for the sheer quality of both the printing and that ultra glossy, extra thick laminated coating on the front.
This is still in truly superb condition, few mono covers survived with the deluxe finish unworn and not damaged.
The great artwork is totally unfaded and still with the original 1965 vividly rich, darkest toned colours, you can very clearly see how much darker the first printing actually was.
There is nothing here to associate with Excellent and this has to qualify as Near Mint, there are no creases and all the corners, edges and the spine are near perfect, so the Near fits.
The back panel is so close to how this looked in 1965, no scuffs or even a record impression, the black printing is still jet black, in fact, all to tell was naturally formed, a few laminate edge lines next to the front meeting point with the spine began the day the heavyweight record was first inserted, an astounding 49 years ago.
The front s record impression is there but gentle enough not to create pronounced laminate wrinkles in the contours, so literally just standing in storage and that would be acceptable for a 1995 stereo cover.
For 1965, this a really stunning and beautiful mono Rubber Soul cover, you can actually see and also feel how different this was in 1965 to those immediately following.
That ultra thick and glossy laminate is undulled by time, handling or poor storage that so often ruins great covers.
The best way I can describe the fantastic condition laminate is it still has a slippery feel , normally after all the decades it became worn down to an almost matt surface in comparison to this.
There is the usual standing pressure on the bottom flipback edge near the left corner, with the slightest rubbing but even that is so slight.
I could have included that with near perfect , as I am into trivialities, as ever, a few laminate lines developed on the top and bottom flipback edges.
The storage was lovingly made, the spine is still the original white, unaged and only the pointed endings look like they originated in 1965 The central titles are absolutely perfect and included in a close up picture, I love taking pictures of 60 s Beatles covers that still look like they were freshly bought.
The back panels were the first place to show discolouration even in the 60 s, but this back panel is completely unaged and pure white.
Just extremely light handling and standing for nearly half a century with a heavyweight record inside, completes an absolutely stunning looking front and back.
THE COVER IS IN NEAR MINT CONDITION.
THE RECORD HAS ONLY BEEN PLAYED ONCE PER SIDE, EVEN THAT TRACE IS SO FAINT IT COULD BE MISSED, ONE PLAY IS BEYOND BELIEF FOR A MONO Rubber Soul AND EVEN THAT WAS MADE WITH LOVING CARE.
AS EVER, I WILL STATE THAT ANY FEATHER LIGHT HANDLING FROM THE PRESSING PLANT, RECORD SHOP OR DURING THAT OE PLAY, IS NEAR INVISIBLE TO INVISIBLE.
The fantastic Beatles condition record even has me wondering if that one play was indeed made by the original 1965 record shop, Both labels are in pristine unblemished condition with untarnished ultra bright silver printing on the titles credits, unscuffed lettering for Parlophone and the logo, they are an unfaded deep yellow colour.
The The Gramophone Co.
Ltd.
rim text was introduced to replace Parlophone Co.
Ltd.
just a few months previously on the Help album.
Only one spindle use traces is sensationally low, particularly being a mono record from the mid-1960 s.
Especially low for the latest Beatles album, I can t wait to say how stunning the sound quality is I will quickly slip in how perfect Girl , Nowhere Man and even Michelle are and how the entire record plays without virtually any static/ surface sound.
So it should with one play in 49 years, of course the record was handled at several stages before being bought.
A once played record exactly how it left the pressing plant, can only be named as Mint , that is whole point of descriptions with every possible scrutiny made in person, then explained in extensive honest text, and also illustrated with revealing digital photo s.
A really beautiful looking record that still has the shimmering pattern of just pressed vinyl, with such incredible sound it thoroughly deserves a Mint grading.
Few, if any ebay sellers discuss the impact of a metal stamping disc on molten plastic but the signs are there on Mint records, especially in the 60 s when the tone arms swept through microscopic pressing pips etc.
with a dismissive ease.
Just having Girl , Norwegian Wood , Nowhere Man Michelle playing so perfectly and cleanly from a mono 1965 record is a a major rarity.
You only have to see the fantastic condition of the cover and inner sleeve in my selection in the 12 pictures, the back panel really is unbelievable and looking exactly like it did in late 1965, that alone tells of the loving care taken since it was first bought and as importantly, the long term storage over all those intervening decades.
A REALLY BEAUTIFUL RECORD IN MINT CONDITION.
SIDE 1 Drive My Car Norwegian Wood This Bird Has Flown You Won t See Me Nowhere Man Think For Yourself The Word Michelle SIDE 2 What Goes On Girl I m Looking Through You In My Life Wait If I Needed Someone Run For Your Life John Lennon - vocals, acoustic electric rhythm guitars electric piano on Think for Yourself Paul McCartney - vocals, bass, piano guitars George Harrison - vocals, lead guitar sitar on Norwegian Wood Ringo Starr - drums lead vocals on What Goes On Mal Evans Hammond organ George Martin piano on In My Life and harmonium on The Word Rubber Soul was a milestone in the development of both the Beatles musical creativity and for entering into the second half of of the 1960 s, even more so, as a catalyst for what was to follow in that decade of wonders.
Such fantastic sound textures with deeply beautiful melodies enhanced by acoustic instruments, would become the basis of all psychedelic music, the first changes that began the most major change in direction for popular music ever known, affecting both the UK and the USA.
The touch paper had been lit, Brian Wilson was so strongly influenced in late 1965 /early 1966, he still regularly tells in interviews how he was inspired by hearing Rubber Soul, it spurred him on to producing his 1966 masterwork, Pet Sounds.
The Beatles had not made an overnight progression, right from 1962 every Beatles LP, EP and single traces their astoundingly rapid progression from their earliest influences, rb/blues rock roll.
Bob Dylan had encouraged folk music and more meaningful lyrics, ironically in 1965 Dylan was getting into more electric rb music I just outlined, a cultural exchange between England America was happening on a scale nobody could have predicted, that just evolved with the leading artists running on pure inspiration and following their own instincts.
So rapid, only 1963 stayed relatively stable, during 1964 and positively by late 1965, the Beatles songwriting centred around an acoustic instrumental style, that in itself accounted for why they were now placing the fullest emphasis onto melodies and beautiful sound textures.
Even though two out of their last three albums were dominated by writing film soundtrack music, newly written original songs on all three albums were favouring acoustic instruments backing intricate vocal harmonies, without ever sacrificing their love of a shot of rhythm and blues.
Guided by George Martin s production skills, unreserved encouragement and sympathetic ears, they were now gradually starting to take command of the Abbey Road recording studio.
Without such a gifted ability to create new songs, they could not have made the album with such unique material.
The recording sessions for Rubber Soul began in October,1965, their contracted two albums a year schedule meant after Help this was getting very late in the year to start a new album from scratch without any new material written yet.
They had to come up with the entire album s songs without a single one left over from previous sessions, managing to not only produce fourteen self written tracks and avoided performing any cover versions, they composed two further new songs for the next scheduled 1965 single, Day Tripper / We Can Work It Out.
Not forgetting they had to fit in recording material for their UK Fan Club annual Christmas record.
I have regularly fully detailed that for ebay and with the staggering condition Beatles records I have been selling on ebay recently, I will be listing a true Mint, 1965 Fan Club Christmas unplayed record, cover and a totally umblemished gatefold insert, pure white is unreal for the cover and the inset.
Why I am listing a 1965 mono Rubber Soul in such astonishing condition, back to Christmas, 1965 If you examine the Beatles tour schedule in the late 1965 alone, from October and leading up to and including Christmas, add in TV, radio media work, it was a monumental feat still unacknowledged today.
By that I mean the astonishing quality of the sixteen songs, plus it was certainly not a hurried or functionally produced body of work, the greatest care possible went into the finished album, the Beatles had always been perfectionist s when making records, they were also backed up by EMI s sound engineers, who made certain the resulting stunning sound of the master tapes was perfectly transferred onto vinyl.
Rubber Soul is the most unique Beatles album, bridging two distinctive era s, from Help to Revolver , now standing on the very threshold to psychedelia, not with the studio effects quite yet, just beautiful melodies and softer textures that were always leading into new concepts in the mid-60 s.
Until then, albums were just a loose collection of usually dis-jointed and unconnected songs, Rubber Soul went beyond that, unintentionally or not, it was an album with songs that flowed so sweetly into each other, it became the creation of a single entity.
This stunningly perfect pressing has that incredible sound achieved, although for the actual order or sequence, not the very first made, like every latest Beatles LP and single, EP s were losing their appeal by now they were made in astronomical numbers to meet the colossal demand on the issue date and the initial first few weeks of sales leading up to Christmas.
It was not by any means a coincidence EMI aimed their second album of the year s release, to fall during November to December for very obvious economic reasons.
Now I enter an era that sadly Rubber Soul should never be dragged into, lies and deceit when there should only be a celebration of the beautiful music in both original mono and stereo, in fact even digital sound has an honesty that has not been affected by financial gain.
This record was positively pressed prior to the 3rd December,1965 release, normally that detail would suffice, first here are the reasons that conclusively place this in a British record shop on the above date.
The labels are printed with all the lettering in the same 1965 type face as found on the August 1965 Help LP, the cover and the inner sleeve are directly tied into 1965, not 1966.
I have to once again firmly dismiss a completely mistaken tag placed onto the first pressing with maitrix digit ending, -1 /-1 .
This has incorrectly and outrageously inherited the ridiculous loud cut title, thanks to an unbelievable term in the UK main Price Guide.
Record Collector .
Over the last thirteen years I have sold several top condition very first pressing, -1 /-1 on ebay, but even for on my own sales I have always given my strongest possible disclaimer to that utter nonsense.
I was not prepared to use a descriptive term that is totally untrue about a much loved, really major Beatles record just to attract higher bids.
Unfortunately few who sell Beatles records regularly, even care about the music, they blindly, well more deafly, announce a record has a loud cut without even bothering to find out, or personally verify if it s true.
Now become accepted in the same way as the children s fable, The Emperor s Invisible Clothes , I find it crazy people actually believe they are hearing something that did not exist in 1965 and was invented in the the 1990 s by one man, I happen to know him, another Beatles expert, but this one was unable to tell mono from stereo I can name names but what is the point after twenty eight years of lies? As well as being a Beatles collector since 1963, in my genuine long experience of selling their records, I have listened to uncountable original 1965 UK mono pressings of every variation possible of Rubber Soul .
Not just functionally playing them, I listened to them intently I find it ridiculous using a crude loud cut , to describe an album with tracks of the delicate beauty of Girl , and Nowhere Man etc.
Every Beatles first pressing are very special indeed but the -1 / -1 pressing and any one of the other originals have exactly the same precise George Martin mono mix, as intended to give maximum power to balancing out the vocals and the instruments.
The volume levels are exactly the same Not only for every UK Mono Rubber Soul , but for all the 1960 s stereo records, how convenient nobody claimed that, then the maitrix digits did not need to have batch rises due to so few made.
Play any Beatles record against a 66 original then you will hear a loud cut I can only continue being the only record seller who refuses to tell lies, if people choose to believe in myths than fair enough but if you just want to hear Rubber Soul in all it s original 1965 mono glory, the condition of the record is absolutely vital, not machine stamped digits.
Even if those lies were factually based, a worn scratched record will always have needle noise louder than the music, of all the Beatles albums, that applies to Rubber Soul more than any other Beatles single album.
I know I am wasting my time, but I have been waiting for over 13 years for anyone claiming a loud cut for Rubber Soul , to answer my challenge to prove it is any louder than any 60 s mono or stereo pressing.
Loud? The setting on your amp controls the volume How can you know how loudly set the amp of so many individual sellers and in turn, buyers actually are? It really is that crazy, as I said, self appointed Beatles experts on ebay are declaring a mispressing or massive rarity without playing the records Love Me Do has been dragged into this now and 3 singles were sold for ridiculous prices based on...
sound and a slightly different version, but the records have not been played.
Even if they were, were those making obscene profits qualified or able to tell one version from the other? Such concern if a dot is missing on a label or even worse, an extra dot was printed from a template that produced uncountable replicas, but records are about music not petty printing errors made by tired overworked printers.
If unworn and undamaged, Beatles records mastered in Abbey Road and pressed in EMI s pressing plant, which the 50th Anniversary Love Me Do most certainly was not, are potentially the greatest sounding records ever pressed in any decade, including the 21st century This record does indeed hold that staggering sound, just as loud as they all are, a fantastic -5/-5 pressing, bringing me full circle to where I first came in, the music on Rubber Soul .
Who gave sellers the right to sell the following increased maitrix end digit records like this, by claiming they had been corrected? Corrected by who? The Mono mothers were prepared at the same time, so were the Stereo mothers, are the sellers suggesting EMI destroyed them and made another set? If so, that had to logged in Abbey Road s meticulously kept records, even the Beatles had to sign the book to take an acetate or rough mix home, 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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