CAN Tago Mago - RARE UA ORIG UK 1971 PIONEERING KRAUTROCK MASTERPIECE.

	£		51
	$		68

ONEADAYRECORDS – Simply Delivering Quality Music to the World.

Postage: UK £4.75 (£1 per extra record). Europe (including Russia) £12.50 (£2 per extra record). Rest of World £16.50 (£3 per extra record). All boxes signed for in quality, safe packaging – I NEVER use mailing envelopes that offer virtually no protection at all. More details on this nearer the end of the listing.

Posting to Russia: Yes, I do post to Russia. But delivery can take up to 4 to 6 weeks from the UK. So please be patient. I will submit a tracking number to the winning bidder, and when the packet arrives there it can be followed online using the Russian post website.

ALSO: I now apply the Ebay ‘4-day’ rule for non-payment. I try to keep my P&P prices as low as possible even yet another Royal Mail price hike, I will never compromise on solid, safe packing that is invariably a little heavier.

Artist or Band: CAN

Album Title: Tago Mago

Producer(s): Can.

TRACK LIST:

Side 1: Paperhouse; Mushroom; Oh Yeah.

Side 2: Hallelujah.

Side 3: Aumgn.

Side 4: Peking O; Bring Me Coffee or Tea.

Label/Format: United Artists – original cream format with matt, smooth surfaces (Please see label scans).

Label Conditions: All four very clean, fresh and attractive, the odd gentle friction trace mark or two on side one but showing little. Any of the very few spindle marks on each are fine and light as seen under angled light. These two vintage Can records offer superb sound with very little unwanted, and no other format captures the drama and power of this most prized Krautrock classic.

Cat Number: UAD 60009/10.

Mode/Speed: Stereo / 33.3 rpm.

Warps: Assume all records I offer have no warping of any significance and all tracking is easy and effortless and should play on all turntables and even ‘budget’ decks.

Weight of These Records: 120 / 125 grams. Around average weights for these as issued around the time of the oil crisis. But pure vinyl used here as the sound is very clean and quite magnificent.

Country of Manufacture: England – however this includes the UK and German matrixes as seen further down.

So What is Krautrock and its Rarity?: ‘Krautrock’ was an affectionate term given to a new wave of young German bands in the late 60s and early 70s. Before the emergence of these pioneering experimental rock and electronic artists, the German music scene was a real mess of sugary pop music. Out of this fog of a musical mire, a very new sound emerged as radical and as daring as anything ever heard. Whereas in the UK, rock music was very much blues or psych-based, but these young long-haired, pioneering German musicians played music that was very different. They opened new musical horizons and boundaries into the use of sound as entertainment. Several were classically trained musicians (Can) – some could barely play an instrument as all (Kluster). Far too weird and experimental for most, many were into avant garde territory, but this German underground scene was admired by many and loved by a small number of record buyers of the time. The sounds they created were often challenging and difficult, but unique and were highly influential for the development of music. Some used conventional instruments, some delved into electronics and some used unconventional devices to form sound. A few became successful even outside Germany with the odd hit single or two (Kraftwerk and Can), but some did not compromise and never sort commercial success (Faust, Neu). Although there were others, the best-known of the early experimental Krautrock bands were: Kraftwerk, Can, Faust, Amon Duul II, Neu, Popul Vuh, Guru Guru, Kluster and Tangerine Dream. All are worth checking out – they made some of the most groundbreaking music in rock and their importance is beyond dispute. In terms of rarity, these early albums are never easy to find especially in top conditions, they sold in relatively small numbers and are seldom seen or offered.

Rarity: Quite rare with the ‘envelope’ cover. This was issued in a textured and smooth finished sleeve, this being the first textured version, which is made with softer card, hence very prone to all forms of wear. Later, this cover was totally changed and then included very different artwork. This one on offer has some cover wear, mostly to the top and bottom edges that few will avoid. However, both records are in super condition, very well pressed and offer fantastic clean sound. My play-grade was a real joy and if indeed I did not already own a very clean original myself, I would indeed have kept this one.

Original Year of Release: 1971.

Matrix Nos: UAD 60009 A-1 [C 29211 A-1] / UAD 60009 B-1 [C 29211 B-1] / UAD 60010 A-2U / UAD 60010 B-1 [C 29212 B-1]

Mother & Stamper Codes: 0 / O / P / P [no mother digits are seen]

Musicians: Michael Karoli (Guitars), Irmin Schmidt (keyboards), Jaki Leipzeit (Drums, percussion), Holgar Czukay (Bass) and the legendary vocalist, Kenji ‘Damo’ Suzuki.

Brief Artist & Album Info: It’s always a pleasure just to offer any early Can album. Arguably the definitive and most important of the German progressive bands of the early 1970s. Known affectionally as ‘Krautrock’ these types broke new barriers in rock music. Can took this art to new levels of creativity and excellence, spawning a host of immitators - only a handful came close. This album features their classic line-up as listed above. The four instrumentalists were all unique and having a style all of their own. Schmidt, a classically trained keyboard player, had a karate chopping style, Czukay’s basslines had a distinctive throbbing sound, and the strings really twang, Leipzeit’s percussion was almost metronomic and is without doubt one of the finest and most influential drummers ever. And the late, great Michael Karoli’s guitar had a splintering sound that complemented the Can style perfectly. That leaves Damo: not so much a singer but a vocalist who at times just breathes down the mike - inventive, abstract and sometimes scary - at times he just goes completely off the rails bursting into free-form improvisation. The same can be said of Can in general really. Live they were never the same and their early 70s gigs are legendary, often lasting through to the early hours of the morning. Karoli and Damo, a mass of long hair and faces almost invisible, Czukay stark features with that customary drooping moustache, a bundle of manic intensity, Schmidt sometimes climbing atop his keyboards keeping control, almost as a conductor with nods and gestures. Jaki pounding the skins like a man possessed - what an awesome band Can were. This seminal record, their third proper, including the Soundtracks album is truly amazing. This is my personal favourite Can album - it’s stunning sound visions and breathtaking, innovative creativity is beyond my words. Can were simply one of the most influential and original bands of all time - daring, inventive and highly entertaining - premiership Krautrock and should be included any serious record collection. A definitive album, a work of genius spread over four sides. Sides two and three are full length pieces that occupy the entire sides. ‘Hallelujah’ is sublime – it’s the Can track that even non-fans like, the first of the long pieces. It has beautiful rhythm and pace and slowly builds up to a keyboard and drumming frenzy which is totally out there with the very best – this has to be Leipzeit’s finest moment. ‘Aumgn’, side three’s 17.22 minute gem is one of the eeriest tracks I have ever heard. Damo’s vocals on this are unearthly. Play this one in a darkened room alone and the shivers are guaranteed aplenty, this is the ‘difficult’ side for sound, as it is at times quite quiet, but here plays superbly. Then on side four, ‘Peking O’ seems quite a melodic and easy going track at first, but don’t be fooled... Damo’s burst of freeform improvisation blended with Schmidt’s manic keyboard pyrotechnics will blow you away. This is experimental rock at its most sublime - every track is stunning - Can hit the real heights of their creative peak on this amazing album. As stated, this copy has cover wear and few avoid it, but the records are terrific. For fans of this innovative and mighty German band whose main priority is sound, this one delivers.

Cover’s Potential for Wear: Very High++. Most are seen badly rubbed and even with tearing and major damage including torn off lugs and split recesses. This one is fully intact but has edge rubbing, all considered, still very respectable.

Cover Grade and Format: VERY GOOD: an unlaminated matt cover with outer surfaces textured – slightly later versions were smooth. Known as the envelope cover with the original artwork (or course), this opens up fully via lugs and recesses as can be seen on my picture fully opened. The top flap is secured by a single lug and recess. The lower half is retained by two shaped lugs and two recesses. This was printed and made in England by the E. J. Day Group and includes the ‘Patent applied for’ text, as seen in my close-up picture. The previous owner put both records inside new lined inners and these are the only ones available with this set.

Cover Front: Most rubbing is seen on the edges and corners, areas that rarely escape on this fragile and unforgiving cover. Let’s be honest, not all owners and collectors from day one stored their albums in protective sleeves – if that were the case, most around would all look like new. Alas, that is far from the case, and sometimes some cover wear is inevitable, especially on ones like this. A few light marks but very few creases. Some further, mainly gentle rubbing around record’s rim shape, but in context, this is very light. With TWO records inside a single soft card cover, many will show considerable more than this. No sticker issues or tears with deep colour retained, this front is very respectable overall.

Cover Back: The back is far more complex: the top flap opens from a top fold-hinge, this surface has only the odd gentle rub or two with just one corner crease. The single thickness ends are neat and sharp with minimal wear or thickening. The fragile lug (see in close-up) is solid with barely any weakening and no tears (or repairs). Minimal ink-loss which is remarkable for a ‘working’ part. Often this can sheer off or become very damaged and tatty. The lower bottom half is clean with only very gentle rub hints and any creasing light and mostly fine. The two retaining side flaps also show little wear and all the lugs and recesses are neat, also with no tears or splits. The underside of the printed cover e.g. the inside storage area, shows only gentle traces of black set-off from the dark printed areas that tough, again near unavoidable. Most of any wear is seen on the top edge and the bottom corners, so the main back itself is actually quite impressive overall.

Top Edge: This edge is the hinge for the top flap and did include the text, but as this has moderate and consistent rubbing, most-all of it has now gone. Being a dark cover edge, the rubbing is seen as white exposed card. So often this cover is seen heavily painted-in with black pen to hide such wear – usually very badly, obvious and making things actually look worse. This one appears to me totally natural, so yes, there is edge rubbing, but this hinge edge is still solid and unsplit or torn.

Bottom Edge: Fairly light to moderate patchy rubbing on this traditional storage edge, less than the top edge but still a fair amount of wear.

Right & Left Edges: These are less prone to friction rubs and both show little with most of any rubbing on the on the bottom corner ends. These are both closed at the records enter on the top under the top flap.

Corners: All four have moderate rubbing with fair to fine shape retained.

Cover Summary: A beautifully designed cover in all aspects but highly fragile and vulnerable to all forms of wear and damage. Few of the earliest and more delicate fully textured ones survive to excellent standards, making a very good example as per this, more the normal these days. With the immensely fragile ‘working’ parts, e.g. lugs, recesses and hinge intact and still strong with no tears or repairs, that is a considerable plus. With most wear on the top and bottom edges and corners, this is still a very respectable and quite attractive example, as I hope my pictures confirm. Not for the cover purist or connoisseur, but as stated above, sometimes compromise has to be made on the really fragile and rarer ones. Both records and their impressive audio quality for me anyway, more than compensate. NOTE: just plain white lined replacement inners are available with this one.

Vinyl Condition/Visual Grading: NEAR EXCELLENT: possibly being a little harsh? Both record are very clean, shiny, intense black and solidly pressed. Rarely purchased by hi-fi connoisseurs, initially anyway, hence most are seen in less than pleasing conditions. Under bright angled light, very fine and faint surface marks are seen. Mostly very whispy types and most even finer than hairlines with just a few a little thicker and more easily seen. The important factor are the lack of penetrating scratches and I am sure both records have received only very modest plays, this reitterated by very clean and highly impressive sound. This pair should many, if not most collectors.

Album Played For Grading: Yes. [I play ALL records I offer before submitting to Ebay, also the record is played in its entirety unless clearly stated otherwise. I do NOT play snippets or joining grooves to check for sound quality and quietness – I play from the beginning to end via clinically revealing B&W speakers that include the legendary tweeter from their awesome Nautilus range that reveals every blemish or miniscule sound present on any record.]

Sound Quality and Audio Grading: Both records play even above their visual grading to the highest levels with very little to fault. Strong and powerful, distortion-free sound, all frequencies are sharp and clear - sound quality is at times astonishing with a wide dynamic range and very detailed sound. The drumming on this album is little short of breathtaking and must rank as some of the finest ever put to record within the rock field. Even non-Can fans have asked me about this album, side two at their very best and for me is one of their most brilliant ‘progressive’ tracks ever. Any surface sounds registered little and this is a very clean pressing for (at times) a fairly difficult album. This sometimes can be less than quiet with some very quiet passages especially on side three. Even this difficult side plays impressively and nothing spoiled my pleasure in hearing this landmark recording from vinyl again. The in-built power and dynamics of this analogue recording still leaves all CD versions as second-best. The sheer pleasure in hearing real thing will not be beaten and this will captivate all vinyl fans. This is a gateway into the wonderful world of Can and their Inner Space recording studio. The details embedded in these grooves cannot be beaten, listening to this on very revealing equipment bought out details the digital versions seem to lack. Incredibly complex and intricate music that simply flows from the speakers – side threes bass depths were almost subsonic. Even with light surface marks, few copies will better this very early pressing significantly I feel sure. These two clean and dynamic records merit strong recommendation.

End Piece: This, and other German bands dispensed with blues-based rock music. They included more jazzy and classical elements to a new form of progressive rock. This magnificent release must rank as one of the most important albums ever and I simply cannot recommend it highly enough, it’s influence can still be felt even today. I conclude this advert quoting the text on the cover’s back written by Duncan Fallowell reproduced courtesy of Melody Maker.

“I discovered The Can about 18 months ago through their first album Monster Movie. In every way it is an astonishing record, and therefore found its way into a few people only (John Peel among them), presumably those excellent ones who keep far out bands afloat until a large supporting audience arrives two or three years later. I am not going to say any more about the record except listen to it immediately, as loudly as you can manage, if possible on one of those stereo sets which eat into the floor-boards like woodworm: Fireball’ can wait a moment. Anyway, the outcome of this enthusiasm led to my visiting the group in Cologne at the beginning of the year.I didn’t know what to expect. The press handouts had been brief and enigmatic, with tantalising references to some castle which the band occupied and where they had their workshop. By the time I arrived the castle had turned into an old cinema, elaborately fitted out with what is reputed to be the finest electronic rock equipment in Germany. Also, the black American singer from the first album, Malcolm Mooney, had disappeared to New York to be replaced by Damo who doesn’t so much sing as breathe words heavily into the microphone in a particularly doom-laden fashion. He is Japanese and 21; the others are German and older. Irmin is the organist and articulate spokesman. Unbelievably, he used to conduct symphony orchestras and his English inclines to phrases like ‘parameters of consciousness’.

With him there is none of Keith Emerson’s front parlour arpeggios, or Richard Wright’s Vaughan Williams chord changes, or Brian Auger’s Sandy McPherson touch. Irmin studied under Stockhausen and Berio, and it shows.

As for his playing, well, I don’t know how he does it but it sounds like anything but an organ. Often it is almost indistinguishable from the guitar, but more disembodied, or the engine of a flying saucer (if you know how that sounds).

Then there is Holger. His bass catches you like a clam - he is ex-Stockhausen, too - and recently he built a ferocious machine to generate maximum concussion. Michael plays guitar in a weird spidery chip-chop sort of way, quite unlike anyone else. And Jacki, the drummer, holds the axis while at the same time exploring endless possibilities within a given rhythmic pattern. Yet separating out the ingredients in this way can convey very little because The Can’s music is intensely interwoven. Its surface is deceptively regular and beneath is an elaborate matrix of constantly shifting emphasis and cross-feeding, bulging in hypnotic spasms. Its effect is ectoplasmic and powerfully sexual.

They have been compared to the Velvet Underground and there is some sense in that, although it could be misleading. If the Velvets play in a junkyard, The Can are unmistakably Germanic. The kind of structured, planned pieces which many English groups go in for are rejected by them as ‘bourgeois’, an attempt to beat the Romantic composers at their own game.

Whatever truth there is in this, it means that this band are very single-minded and as far as possible create their music spontaneously. Having the luxury of their own studio, most of the material is worked out there on the floor. They just go in, start playing and let take over. In fact it couldn’t happen any other way because the music’s textures are too subtle to be contrived beforehand.

Originally they spent so much time in the workshop exploring their particular universe that they were sometimes thought of as a studio group. This is not so. The physical urgency of the music, its edgy excitement, is in no sense an insular affair and they have spent the last year doing many concerts in order to develop their confidence as public performers.

They are a big group in the German underground where a few years ago, before its Liberty release, people were paying £6 or more for private pressings of Monster Movie. The only outfit in England with anything in common with them if Hawkwind but again that is inapposite. Hawkind’s sound is cleaner and more straightforward, even if it operates on similar principles. Like any important bands, The Can sound like no other. They are hoping to visit England some time and if they do you should try to hear them”. – (If only it could happen again).

Now one of the most established sellers on Ebay and still offering the finest and most accurately described and graded records I can find. I pride myself on offering a variety of genres to keep my site as interesting as possible. I will rarely offer any record that falls below a true Excellent grading, unless its of a certain rarity which will justify offering a lesser grade. I try, to the best of my ability to describe as accurately and as honesty as I can all items I offer for sale with all the relevant information I can think of to help any potential bidder and collector. You may notice I only submit records sparingly on Ebay - on average ONEADAY, a couple more at weekends if time permits, hence the name - time rarely allows for more as I Play-Grade virtually every record I offer in their entirety, not just bits to guess a grade - visuals alone do not always tell a true or full story. I will mention any defects or flaws no matter how small that I notice to be fair as possible to any interested collector – I am very fussy and my buyers have the right to be too. Every record I offer, whether it be a common or rare item deserves the same respect as far as I am concerned and will be treated the same - just because an item is rare does not always mean its good. I get just as much pleasure offering a relatively common record in stunning near mint condition as the real rare items. All the pictures I use for your guidance are taken with a digital camera or scanned - they are NOT improved, cleaned-up or made better looking than they are with camera trickery or enhancing with digital programmes. What you see is what you get and scanned labels will give a more accurate representation of the genuine colour than flash photography where light is variable. I cannot guarantee total accuracy for colours however but most will be very close. If any picture I take looks more flattering than the actual item for any reason, I will clearly state the fact in the advert and vice-versa. I hope the item below is to your liking - any questions can be emailed and I will do my very best to answer you. I am enthusiastic, and have a fair degree of knowledge about many genres and I promise quality items - bid with confidence - excellence comes as standard and so does Near Mint regularly. Please assume all records I offer have NO jumps, sticks, warps or writing on covers or labels unless clearly stated to the contrary. Thanks for your interest and Good luck – MIKE.

Deck: Linn LP12/Hercules/Cirkus with Ittok Mk II arm and Ortofon Rondo Red moving coil cartridge (tracks at 2 grams). Amps: Naim Nait 5i with Project USB phono stage and Chord interconnects. Speakers: B&W 704 Floorstanding 3-way Monitors (bi-wired with Terrarium Black terminated cable). All records I offer on Ebay are cleaned on a professional VPI-17 vacuum machine before play-grading for the cleanest and best possible sound and will include a brand new lined inner and protective cover too. Pictures taken with a Nikon D5000 SLR Digital Camera.

PACKING - THIS IS WHAT YOU GET.

What You Get: To confirm to the strict Ebay rules on shipping, I must now send ALL my packets ‘Signed-For’ with NO exceptions. Both buyers and sellers want their packets to have a safer journey and this is not a bad thing.

I now offer the fastest possible posting, often the very next day after payment is received or within two to three days maximum (unless on holiday). I only use FIRST-CLASS Mail. The record’s cover will be placed within a BRAND NEW soft protective sleeve and the actual record will be professionally cleaned on my new VPI-17 Pro vacuum system to give ultimate clean grooves and playing surfaces and the best possible looks and ultimate sound quality. You will NOT get tired, dull looking, dust infested records inside worn and foggy covers with tatty inners from this seller and that’s a promise and guarantee. All records are posted in professional boxes (NOT Mailers, these do not offer any real protection). The record(s) are REMOVED from their main cover to avoid edge splits and placed within a brand new polylined inner. The record’s original inner will be included if available. The boxes are then reinforced with at least TWO, ULTRA THICK stiffeners for maximum extra protection – these are FOUR TIMES thicker than commercial stiffeners and are custom-made for oneadayrecords. Really rare and expensive albums will even be Double Boxed if deemed necessary and possible. When larger boxes are used, the thick record and stiffener ‘sandwich’ is then thickly embedded into bubble-wrap to bulk out the record inside the box to centre the item inside to reduce the risk of damage still further. Printed address labels are used for clarity as well as a sender label. Customers requests or special needs for P&P will be respected if at all possible but ‘Signed-For’ posting is NOT an option anymore. I do not profit on posting and the cost of this lavish packing is NOT even charged for, I offer probably the best-value and safest shipping possible for ultimate confidence. The boxes and ultra thick double-wall stiffeners and bubble wrap make a near impregnable fortress for safe shipping and this is used inland and overseas for ALL my records, not just the rare and expensive. I will invoice any winning bidder as soon as possible after the auction ends. My ‘loss’ or ‘damage rate’ is less than one in two thousand+ based on over 10,000+ items sold in over 12 years of Ebay trading and I consider that pretty exceptional. The only damage rate acceptable for this seller is ZERO and I think my packets will offer just that. It would take a vicious postman or postal service to damage these for sure. Even one of these stiffeners cannot be bent by hand, so what chance 2 inside a box? Oneadayrecords is a MAILER-FREE ZONE. I discount of course for multiple purchases with a maximum of FIVE records per box (one double can sometimes be included subject to total weight). All postage costs are below and at the top of the listing.

NOTE: First Time Bidders: Please ask me first.

PLEASE NOTE: I now exercise my right to open a dispute after the Ebay rule of FOUR days if no payment is received. I will then cancel the dispute to end the, again after the mandatory FOUR days and then offer the item to the runner-up or relist. The non-payer will also be blocked from my Ebay site and they take the Ebay consequences (a strike or removal from the system). Small businesses need prompt payment to trade and these strict rules WILL be applied.

SHIPPING COSTS & CONDITIONS – THESE comply with EBAY’S RULES - PLEASE READ CAREFULLY:

Posting & Packing: UK & CHANNEL ISLANDS all now sent via Recorded Delivery:

1 LP (FIRST-CLASS Recorded Delivery with Standard Royal Mail Insurance) [Signed For] = £4.75

1 LP (Special Delivery with Standard £500 Maximum Insurance) [Signed For, Next Day] = £8. (this includes insurance of £500). Add £2 per extra LP.

Posting & Packing: EUROPE & SCANDINAVIA. (Airmail Only):

1 LP (Small Packet ‘Signed For’ with Standard Royal Mail Insurance [£50 maximum]) = £12.50 (enhanced Royal Mail insurance is an optional extra £3). Add £3 per extra LP.

Posting & Packing: ALL OVERSEAS (non-European) e.g. USA (ANY PART OF); South America; New Zealand; Australia; Canada; Japan and other Far East; (Airmail Only: I NEVER use Surface Mail):

1 LP (Small Packet ‘Signed For’ with Standard Royal Mail Insurance [£50 maximum]) = £16.50 (£17.50 for double sets). Add £3 per extra LP. (enhanced Royal Mail insurance is an optional extra £3)

Payment Conditions:

I prefer PayPal or cheque from UK winning bidders. I can accept PayPal from overseas bidders or direct payment into my bank account.

Potential Bidders: I will cancel any bids I feel are time-wasters. A maximum 3 days for communication and 7 days for payment to arrive - if not I will relist the item or offer to the runner-up. Fast deals get great feedback from me. Any questions - please ask and thanks for looking.

My Guarantee: If any winning bidder is not satisfied with their purchase I will offer a complete refund. I will not refund if any defect detail is clearly stated on the advert and missed by the buyer, so read the item description carefully. If any overseas collector does not understand anything in my listing, please email and ask me to help. Thank You.

SOME GENERAL GUIDES TO WEAR AND CONDITIONS TO HELP YOU DECIDE

My Use of Description Terminology: Surface Marks = Superficial, usually light marks, hairlines or light scuffs that rarely sound. Scratch = a needle mark that goes below the record’s surface, some will sound, some will not, my play-grade will inform. Original = a record that has been pressed with the first label design which does NOT necessarily mean a very first pressed record. First Pressing = A record that I believe or know to be a genuine very first pressed record. I do not claim to always know for sure, and that’s why I state the stamper and matrix numbers if at all possible, for those who claim to know what they all mean, the information is there for the collector to decide. I prefer to use terms like ‘Early Copy’ rather than ‘First Pressing’ if I am not totally sure. Surface Sound = Mild, light sound, usually light crackle or similar. Distortion = Break up of the actual sound caused by groove wear or damage from a chipped stylus – the most undesirable form of unwanted sound, vintage mono records were the most prone to this happening but not exclusively so. The symptoms of distortion are high frequency clipping, moderate constant crackle or an echo type sound quality. Violin, piano and vocals are most prone to groove-wear distortion. Feathering = Fraying or softening of the entry edge of a cover. Covers with feathered entrance edges are more likely to have had the actual record inserted and removed more than a non-feathered, sharp-edged cover which are always far more attractive. Set Off, actually a printer’s term for dark ink leaving mild residue on pale or white ink when rested upon. e.g. when a gatefold cover has black ink closed against white, this can leave some black residue on the pale area – this is mostly unavoidable or course.

The Argument for Vinyl Original sound and mix (mono mixes are rarely available on CD), high quality sound on clean copies (played on a hi-end dedicated analogue system – breathtaking sound!), beautiful, large format covers, artwork, inserts and even full size posters etc; huge investment potential, and the pleasure of owning ‘the real thing’.