Item Description
I saw a film today, oh boy, The English army had just won the war, A crowd of people turned away, But I just had to look , Having read the book, I d love to turn you on.......
Woke up, fell out of bed, Dragged a comb across my head, Found my way downstairs and drank a cup, And looking up, I noticed I was late.
Found my coat and grabbed my hat, Made the bus in seconds flat, Found my way upstairs and had a smoke, Somebody spoke and I went into a dream.......
I read the news today, oh boy, 4B0082 Four thousand holes in Blackburn, Lancashire, And though the holes were rather small, They had to count them all, Now they know how many holes it takes to fill the Albert Hall.
I d love to turn you on.........
THE BEATLES: Sgt.
Pepper s Lonely Hearts Club Band LP, FIRST UK PRESSING, 1st JUNE, 1967, IN MONO An incredible unplayed, true Mint first UK pressing, in a beautiful 1967 gatefold cover that has never been fully opened, a Mint Sgt.
Pepper insert, and a Mint- unused first issue red, pink white inner sleeve without any tears or splits.
I am accustomed to ultimate condition records from the 1960 s and every decade, but to see the immaculate textured labels without any spindle alignment traces on both sides, is an extremely rare event.
I was extra careful handling the record while taking pictures, they certainly convey the truly beautiful, as new condition of the labels and vinyl, knowing I would have to accept not playing the record.
In all our decades of selling records, I have never sold an unplayed Mono first pressing, only the Stereo equivalent, the only other unplayed Mono UK Sgt.
Pepper I have ever seen since 1967, is in my own Beatles collection.
When I state, unplayed, I mean no spindle alignment traces on the thickly textured label centre s, which for a 1967 Mono record, could only because it had never been placed on a spindle / turntable or removed from one.
The UK recorded and mastered Sgt.
Pepper s Lonely Hearts Club Band had the world s finest Mono mix of all time, your senses were left reeling by the impact.
This was never about which format had the best sound and impact, but two completely different ways to hear the dazzling beauty of this psychedelic masterpiece of an album, for Sgt.
Pepper , the 1967 Mono Stereo mixes compliment each other.
Yes, the 50th Anniversary this month is a testament to the undisputed status as still being the greatest album ever released, spanning 1967 -2017.
I feel frustrated by not being able to play and describe the glorious Mono mix, but I will present the album itself, not only the Mono mix but discuss the Stereo version, there has been more than enough said and written over the last few weeks.
The BBC Sgt.
Pepper anniversary programme restricted the overview to one person, a musician who seemed to be using the documentary to promote himself.
Why didn t they ask Paul McCartney and Ringo to present the programme? Paul himself, should have played the piano and sang, while giving his personal memories and knowledge about the extraordinary, innovative recording techniques in Abbey Road Studio.
PARLOPHONE LABEL: PMC 7027 MATRIX NUMBERS: XEX 637 - 1 / XEX 638 - 1 THE YELLOW BLACK PARLOPHONE, LOGO LABELS HAVE: Sold In UK TEXT PRINTED ACROSS THE CENTRE.
Gramophone Co.
Ltd.
ON THE RIMS.
THE 1960 s TAX CODE KT EMBOSSED ON THE CENTRE OF SIDE 2.
EMI STAMPING CODES: AA 3 / AA 3 5 The Mono mothers were prepared before manufacturing began, the order they were used per individual side, varied vastly and this record s 3rd mothers on both sides, are indeed low compared to the overall amount made.
The paradox of defining first pressings, or the originals for an album manufactured in such vast numbers as Sgt.
Pepper, , is perfectly illustrated here.
Just having the text, Patent Pending printed on the back bottom right rim of the cover places this album as a very first pressing, I have taken a picture of that position and overlaid it with the equivalent text on the custom, 1967 only, Sgt.
Pepper, psychedelic inner sleeve designed by The Fool.
There simply had to be many, many individual pressing batches made to maintain perfect sound from every single record made.
When a sensational unplayed June,1967 pressing is being scrutinised for the finite details, I am thrilled to positively confirm this is a very first Mono pressing, with the record and all printed items, were made before 1st June,1967.
The double stamping of digits at the 9 o clock position was so common, I seem to be forever saying that EMI or any other record company, ever made mothers in double figures.
Errors in factories were inevitable, I always take the first digit as intended and this side was also pressed from the third mother .....
Sgt.
Pepper or not, EMI never made 35 mothers FIRST ISSUE, 12 x 12 CUT-OUT Sgt.
Pepper INSERT, IN NEVER LEFT THE COVER, MINT CONDITION.
The Sgt.
Pepper cut-out insert has the darker green background colour only for 1967 printed originals,I have detailed how to identify these genuine first issues many times on ebay for Mono and Stereo first issues.
VERY FIRST ISSUE, Sgt.
Pepper RED, PINK AND WHITE INNER SLEEVE, THE FRONT BOTTOM RIGHT CORNER HAS Patent Applied For.
UNIQUE TO JUNE,1967 VERY FIRST ISSUES, PLEASE SEE THE MENTIONED CLOSE-UP PICTURE.
THERE ARE NO SEAM SPLITS, TEARS OR CREASES BEYOND A NATURAL RECORD IMPRESSION S GENTLE RIPPLES.
UNUSED, UNFADED WITH VIVIDLY BRIGHT COLOURS, BARELY ANY AGEING AND THAT IS ABSOLUTELY MINIMAL AND IN KEEPING WITH THE AUTHENTICITY OF ORIGINATING IN 1967.
ADOPTING THE STRICTEST GRADING, THIS IN UNUSED, MINT- CONDITION.
FIRST ISSUE 1967 Garrod MONO COVER, FULLY LAMINATED ON THE OUTSIDE AND INSIDE, WITH TWO INTERNAL FLIPBACK EDGES ON THE TOP EDGE ONLY.
ONCE AGAIN, UNWORN AND UNUSED, THE GATEFOLD HAS NEVER BEEN OPENED, THE PICTURE SHOWS THE LIMITED POSITION AND I MADE CERTAIN NOT TO OPEN IT FULLY, A REALLY BEAUTIFUL AND EXCEPTIONAL FIRST ISSUE MONO COVER.
A FEW RARE EARLIEST PRINTED MONO AND STEREO COVERS HAD WIDE SPINES, THIS FIRST ISSUE COVER HAS A STANDARD SPINE...
BUT THAT IS HARDLY THIN THE SPINE IS ALSO EXCEPTIONAL, SO ALL TO DETAIL ARE JUST NATURAL EVENTS OVER HALF OF A CENTURY, TRAITS OF STANDING IN STORAGE.
A light record impression and a few related laminate edge lines, as ever, mostly next to the spine but no standing pressure on the four corners, the spine endings of left corners only have the merest brushing, most 1980 s and 1990 s gatefold have more storage and handling traces than this Just a few light laminate ripples relating to the record s internal position, yet another standing unused trait that has nothing to do with use.
The spine has unsplit laminate and perfectly clear titles against the still white unaged spine, all the edges and opening sides are absolutely perfect, as shown in my pictures.
The artwork colours are totally unfaded and just as stunning as they were in 1967, as mentioned the gatefold cover has never been fully opened, I made sure not to ease it fully open when taking pictures, still how it was first seen in 1967.
The mid-summer sun made taking the pictures but I did my best, stored inside a plastic outer sleeve, this really is a time warp of an album I must insist on Near being sufficient as a prefix to incorporate no more natural standing traits.
A REALLY BEAUTIFUL, FULLY LAMINATED Sgt.
Pepper 1967 MONO COVER, IN NEAR MINT CONDITION.
WITHOUT ANY DOUBT AT ALL, A GENUINE UNPLAYED FIRST PRESSING, BOTH AS NEW LABELS CAN BE SEEN IN INDIVIDUAL PICTURES.
PLUS A CLOSE-UP PICTURE OF SIDE 2 BECAUSE THAT INCLUDES THE UNLIKELY SIGHT OF THE RAISED / EMBOSSED KT TAX CODE WITHOUT ANY FORM OF CONTACT.
NO SPINDLE ALIGNMENT TRACES HAS BEEN DETAILED, BUT I MUST STRESS THAT IS EXTREMELY FOR A FIRST MONO PRESSING OF Sgt.
Pepper.
BOTH SIDES OF THE RECORD ARE LITERALLY BRAND NEW AFTER 50 YEARS, WITHOUT HAVE ANY MARKS OR SCRATCHES, THE RECORD IS IN STAGGERING UNPLAYED, MINT CONDITION.
SIDE 1 Sgt.
Pepper s Lonely Hearts Club Band With A Little Help from My Friends Lucy In The Sky with Diamonds Getting Better Fixing A Hole She s Leaving Home Being For The Benefit of Mr.
Kite SIDE 2 Within You Without You George Harrison When I m Sixty-Four Lovely Rita Good Morning, Good Morning Sgt.
Pepper s Lonely Hearts Club Band Reprise A Day In The Life JOHN LENNON lead, harmony backing vocals lead, rhythm, elerctric acoustic guitars Hammond organ piano bass guitar harmonica kazoo tambourine maracas tape loops sound effects handclaps PAUL McCARTNEY lead, harmony backing vocals bass guitar As it did around the globe, the British Sgt.
Pepper sold in phenomenal numbers but the vast majority of those huge sales were made up almost entirely by mono records and covers, the stereo format did not take over here until very late on in 1969 to early 1970.
If you wondered why genuine first pressings of the 1969 1970 Beatles LP s, Abbey Road and Let It Be are in such atrocious condition today, if not just visually but even more so for sound reproduction, they were Stereo only albums, but they were played on mostly mono systems.
Ask anyone who had a mono stylus in the 60 s and remembers ever changing it, until it literally disintegrated, you will receive a negative answer because it rarely happened.
That was also the same in later decades and right up to this very day, human nature never will change, even as I write this, perfect records are being ruined by neglected needles that are way past their allotted lifetime.
Record sellers/DJ s are normally the biggest culprits and collectors also tend to forget how long it has been since they last replaced a stylus, if I nudge a few people into not waiting until damage is done, precious vinyl will keep the music signals at their keenest.
The unchanged, blunt mono needles scenario took immediate effect on even vinyl with low plays and a blunt 60 s mono needle with the very heavy tone arms, were a lethal mixture.
Not everyone bought a new stereo system just because mono was discontinued,so those worn out stubs were wrecking records well into the next decade, that continued for at least the first half of the 70 s of not further, grading records always was and always will be a specialist field.
Selling this ultimate condition Mint Sgt.
Pepper does brings with it concerns about preserving a record that miraculously made it out of the late 60 s psychedelic era unscathed, looking and sounding like brand new.
So this piece is down to urging everyone to adopt a habit that I cannot recommend enough, change that needle when it is still perfect with plenty of life in it, not when it s too late I can illustrate the 1960 s mono/stereo experience by shifting back almost exactly three years before that original 1970 Let It Be, hardly anyone bought a stereo record by mistake because they had to be ordered in 1967.
In my impatience to get my hands on an album I personally did unwittingly buy a very rare stereo copy in error, I went to London to find the earliest delivery of the 1967 Small Faces LP or as it is affectionately known, First Immediate Album , London was the only place in South England a few of the big record stores stocked stereo LP s.
I was too excited to even check or care if I bought a stereo album, by picking up the very first pressing s arrival, I ended up with an ultra rare laminated front cover, with Stereo printed in silver on the front top right corner.
This will be of interest to Beatles collector s, because EMI who pressed for Immediate, had a few stereo Rubber Soul covers made with the same silver printing format, today incorrectly believed to originate in 1965, but as that Small Faces cover proves, it was in 1967.
Both LP s top right corner s artwork was too dark for the normal black printed stereo/mono lettering to show up against, the reason mono and stereo were not on the Rubber Soul front covers in 1965.
Original 1967 UK Mono pressings of even Sgt.
Pepper without major damage are rare, especially in this stunning unplayed condition.
Just before I get into the pressing details, I would like emphasise this is indeed a genuine Mint Sgt.
Pepper, I am aware how much Mint is being abused on ebay and this record was never played in June, 67 or ever since and I will respect such a major rarity.
The collection this came from was from the original owner, who was keen to keep the record in perfect condition, that applied to the cover, the insert and if you just read in my headings, the unique Sgt.
Pepper inner sleeve.
Often ripped, split and in a poor state, this inner sleeve is superb, the vinyl itself is gleaming as brand new and there are positively no marks on the entire record.
Without all the usual excessive handling this has a beautiful cover, insert and that exclusive Sgt.Pepper psychedelic inner sleeve.
It was the first time such an item was ever custom made for just one album, originally the Beatles considered the sleeve s design for the cover s artwork, but other ingenious ideas from Paul planted the seeds for the greatest artwork of all time for an album.
It was also the first time a UK gatefold cover was laminated on the inside as well, the first time an LP s full lyrics were printed on the cover and the first time an insert was included inside I could carry this on because it was also the first time an album did not have standard track banding s, the first time the secret backward tape loop played on the run-out grooves, plus...
the first album with a track banned from radio plays due to the most overt drugs references of the entire psychedelic era.
The Beatles peaked musically and from here on, the artwork, the concept and packaging of an album would never be the same again.
Of all the 60 s albums, the mono stereo format of a UK Sgt.Pepper have been discussed at great lengths, there is no question the mono Sgt.
Pepper is one of, if not the the greatest mono records ever recorded,mixed, mastered and pressed.
However when discussing an album of such towering stature and historical significance as 1967 first pressings, both British mono and stereo records, are first generation mixes from Abbey Road s Multi-Track, Master Tapes.
George Martin created them both at the same time, speaking from a personal point of view, a mono or a stereo format choice happened back in time, 50 years ago this month.
Now we should never be discussing either version of such a magnificent album as superior or inferior, I am delighted to be able to hear and enjoy two original but different 1967 mixes of Sgt.Pepper.
The mono stereo versions are vital to me, it just involves having an original stereo and mono LP which I have for all the Beatles albums up to and including Yellow Submarine, although it was slightly more complicated than I made it sound.
I bought Sgt.
Pepper in mono on very the day it was issued, I literally wore that out and my first ever replacement was a 1970 silver black label stereo LP, a great record but the psychedelic era had long ago passed and I felt more comfortable with my original mono record.
So my next target was a top condition mono first pressing, only now I had been more than intrigued enough to locate a matching 1967 first Stereo pressing.
It is difficult to explain how we were all re-collecting our most loved albums as early as 1970, due to the recent demise of mono, but even back then it was really hard to find anything any better than your own battered original, second hand record shops were now full of the rejected and useless variety.
Just look at the average condition original Beatles singles LP s on ebay to get an accurate idea of what it was like then, nothing has changed, except the original stereo LP s are usually as played to death as their mono counterparts today, or as most ebay sellers prefer to grade them, Ex .
I am aware how many sincerely believe the mono album was how the artists themselves conceived of Sgt.
Pepper , so once again I will take the time to clear up that nonsense about the Beatles non-involvement with this 1967 true stereo mix.
It has incorrectly become accepted through the myths spread through ignorance, the biggest one of all is a false assertion, six weeks were spent on the mono mix by George Martin, for the stereo mix only a few hours by a lowly sound engineer.
Completely untrue, it was not the way the Beatles or George Martin worked on any of the Beatles records from as far back as 1963 Opinions are acceptable when verified by solid facts, so here are some that beyond any doubts will settle this issue.
Firstly,every second of Sgt.
Pepper was recorded in stereo on the very limiting 4-Track Tape that was only available in 1967, so the extra tracks stereo offered gave the space needed for the multiple overdubbing or layering necessary for such complex recordings.
After any individual song had been recorded and all overdubbing completed, both a Stereo and a Mono mix were made, there and then, by George Martin, during the recording sessions slow progress and most certainly not at the end of them, as those myths tell it.
The mono mix was in fact a mix-down/reduction from the original stereo multi-track Nothing new, just a standard procedure in Abbey Road, if a recording was only made in mono you could not mix it into true stereo, only the reverse was and still is true.
Exactly that same procedure George Martin used in 1967, was no different to how he worked as early as in 1963, do I really have to mention the black gold stereo album? Just to finally end that myth so many actually believe in, I have quoted this before but because it concerns this album s most complicated track, it is ideal.
Allowing for Strawberry Fields Forever being released as single instead of a track for Sgt.
Pepper , this becomes the definitive method to illustrate precisely how Sgt.
Pepper was recorded , then subsequently mixed, per individual song.
This is a quote found in Mark Lewisohn s excellently researched and ultimate Beatles book, a book I thoroughly recommend reading to establish the facts, myths are not backed up by precise investigative research, but they do spread on the internet overnight.
EMI always kept very accurately indexed records of every single recording session the Beatles ever made and Lewisohn was given full access to EMI s tape vaults and documentation.
Incidentally I used the correct meaning of a vault, I wish people would stop making ludicrous comparisons to how master tapes are stored, not the vinyl pressed from them The Complete Beatles Chronicle was the most important book ever written about the Beatles and this quote is found on Page 247, for 22nd February, 1967.
Referring to the recording mixing of the long fade-out section for A Day In The Life , it was February even hough it was the last track on the album, the actual end of the Sgt.Pepper recording sessions was not until the final track was mixed on the 21st April.
Which was in fact the shortest piece on the whole album John Lennon s spur of the moment idea for an addition, was that backwards loop right at the end of the mono and stereo first pressings, which in fact, also defines a genuine 1967 stereo LP.
Back in the February, Lennon s genius was intently focused onto the amazing track that would precede a looped final groove In the first part of this 7:00 pm - 3:45 am session, John, Paul, Ringo and Mal Evans sharing three pianos, recorded the sound of the simultaneous striking of one note E major .
This alone took nine takes to perfect because the four players were rarely able to hit the keys at precisely the same moment.
The ninth take was considered best, so this was overdubbed three more times with George Martin compounding the sound further on a harmonium until all four tracks of a tape were full.
A resultant wall of sound which lasted for 53 seconds, it was faded a little early on the record was the perfect ending not only to A Day In The Life but to Sgt.
Pepper as a whole.
The Beatles were especially keen to sit in on the various mono and stereo mixes and the edits of this song which followed and even found the energy to record another of their experimental numbers before the session ended.
Not only so much time and effort spent over just 53 seconds, to record one note to finish the track with, the perfect example of how a completed song was recorded onto 4-Track tape, then it was immediately mixed into both formats with all the Beatles fully involved in the stereo and the mono mixes.
George Martin s own involvement included him playing on the track, so he was hardly likely to go out for a beer, leaving the Beatles watching and hearing the mixing of the most ambitious recordings ever attempted in the history of rock music Every track on this amazing LP was given exactly the same attention to the very smallest detail and I respectably suggest those filling websites with incorrect details and consider themselves to be experts on the Beatles...
from hearing CD s.
Why not take time to read both volumes of Mark Lewisohn s books, or maybe even listen to the original UK vinyl in mono and in stereo before making absurd comments? After their debut single in 1962, the Beatles never again recorded in mono, not even in 1963 They were very keen to be involved in the final mixing, once the hectic touring schedules finished, by 1967 they scrutinised every song and rejected many final mixes and decided to completely re-record tracks purely on the playback of a supposed final stereo or mono mix.
I think enough said because I find not playing the record a form of punishment, but a true Mint Sgt.
Pepper could be kept in the ultimate condition by the next owner, I personally did exactly myself with my unplayed Mono first pressing.
A wise move, because I play a lightly used record and it preserved a pristine first pressing of the world s greatest album, now for the first time I can offer this incredible UK Mono Sgt.
Pepper on ebay.
A Day In The Life was the very essence of Sgt.
Pepper , John Lennon finishes this album of albums singing the final lyrics, I d love to turn you on .
The Beatles not only succeeded in doing that back in 1967, they also altered our musical perceptions forever, you do not just listen to this album, you go on a magical journey and experience it.
Roy R M RECORDS.
My lifetime s love of music and records began at a very young age, the arrival of the Beatles and the 1960 s decade in general had a very profound effect.
It was only natural to bring all my first hand experience of collecting vinyl into becoming a professional record seller.
Nearly thirty years ago we entered into the wonderful atmosphere of record fairs with the highest possible standards set.
When the Internet became the world s new market place for vinyl, in 2001 it was time to join ebay.
Those standards were rigidly adhered to as they will always continue to be, the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly and very efficient service we are proud to provide EVERY RECORD IS FULLY PLAYED AND COMES WITH A NO ARGUMENT MONEY BACK GUARANTEE.
I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY FROM THE U.K.
RECORD COLLECTOR PRICE GUIDE BOOK.
THERE IT CLEARLY STATES Sound Quality AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS.
i.e.
COMBINING A STRICT VISUAL INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE OF GENUINELY UNPLAYED VINYL.
EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
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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.
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