CREAM WHEELS OF FIRE ERIC CLAPTON RARE UK MONO ?1 FIRST

	£		171
	$		204

Thank you for visiting my listing. The section immediately below sets out information specific to the particular album / record offered in this listing. This is followed by my general comments about vinyl which you may want to browse through if you have time. Please feel free to email me with any related comments or observations; particularly if you have any reliable information which contradicts any of my descriptions as I am always interested in adding to my knowledge on this subject. When preparing my listings I use a combination of facts from reliable sources, more than forty years of personal experience and, occasionally, music industry anecdotes. Just a visual inspection of used vinyls is almost always misleading so I play grade every vinyl I offer, before listing, on a Project III deck fitted with an Ortofon OM 5E cartridge down-force set at 17.5 mN (1.75 g), fitted with a first grade stylus which I renew at intervals according to manufacturers specification, through a manufacturers pre-set Rega Brio amplifier with sound delivered by Focal Chorus 706 loudspeakers, which is unforgiving where there are surface imperfections. If I think a vinyl will benefit from professional cleaning I use my ‘Moth’ RCM2, but I do not clean vinyls for the sake of it - many I offer for sale have had little use and although there can be slight contamination in the grooves, even when new, that is the original authentic sound. I believe in cleaning only when my ‘ear’ tells me that the audio performance has deteriorated by exposure over time and will obviously be returned closer to the original sound by cleaning. Although it is extremely rare, there can be a difference between my descriptions, and opinions, and an individual buyer’s expectations so I have a clearly stated Returns Policy for added reassurance which is detailed at the bottom of all my listings. In the unlikely event that you want to use this facility please read the details carefully first, and then contact me to agree the procedure. There really will never be a reason to have any problem with an item you purchase from me. Before bidding please take a careful look through my terms and conditions to avoid any misunderstandings.<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

First Issues, First Pressings & Originals: Please note that when I refer to a First Issue I mean that the evidence suggests that the album offered is from the first batch that was issued for commercial release in the country of origin stated in the listing. Where I state First Press I mean that based on a reasonable interpretation of the matrices and stamper codes the vinyl comes from the first batch pressed using that particular ‘mother’; these statements alone do not always mean that the vinyl is from the very first ’stamper’ ever made. However, where I state First Issue and First Press it is likely that the album offered includes one (or more) of the early vinyl(s) produced in the country of origin from the first ‘mother(s)’ and ‘stamper(s)’. Original means that the record bears the first label design for that particular pressing and, in the case of the cover, it is from the first cover manufacturer for that pressing; it may have very slight changes, if they were made within the first production run or, if the album was issued with a choice of cover designs or colours on first release, but in these cases I will try and explain the differences. This is not an exact science and anomalies will occur where I may make a mistake but I believe this will not happen very often - if it does then all of my buyers have the unequivocal reassurance of my Comprehensive Returns Policy.

Condition & Grading: Regular visitors to my listings will know that I offer albums that range from very good to near mint in terms of condition. I don’t restrict my offerings to just near mint, and I don’t just call everything great or excellent plus regardless of condition. Occasionally a rare album turns up which in some respects grades very good plus but in other ways is  outstanding so providing each of the features are individually and accurately graded, and I take great care with this, I am happy to offer it for sale. However, all vinyl albums I offer are at least highly presentable and deliver enjoyable audio, and most are much better than that – if you are intending to bid please read the individual gradings and check that you are satisfied before placing your bid.

Album / Record Title: WHEELS OF FIRE

Rarity: VERY RARE IN THIS VARIANT AND CONDITION - As well as the superb musical complexity this is a fairly complicated album in terms of variants. Within a short time from first release it took the progressive rock world by storm, exciting the record buying public ‘en masse’ and selling millions worldwide. Immense popularity and consistent demand earned it the distinction of being the first album ever to go platinum. It peaked at #3 in the <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />UK album charts and #1 in the US but that only tells part of the story because in the 24 months following release it sold more copies than all vinyl sales in the preceding 24 years. Consequently there were, and are, a lot of them about in one form or another. The record company were expecting to have a success on their hands, but not on this scale, so there were various issues and pressings. I will explain my knowledge of the characteristics of the early UK double album variants and where, in my opinion, this particular example fits in to the sequence.

The colour of the labels on the earliest First Press, First Issue ‘sets’ were more orange than red and, in my experience, were usually deeply textured on the ‘Studio’ record and lightly textured (more of a dimpled or 'orange peel effect) on the ‘Live’ record, both having a ridge at 15mm diameter from the centre. Label texturing is not a precise technique, it was often dependant upon the type and age of the presses used, so there may have been slight variations within any given manufacturing sequence. There was a noticeable mismatch in weight, about 20-25 grammes difference, between the ‘Studio’ and ‘Live’ vinyl - being super heavyweight (typically c165 gms.) and ample heavyweight (typically c145 gms.) - and they had low numbered stamper codes. All of this is in addition to the other First Press, First Issue features I mention below. These were soon followed in the First Pressing production run by the variant I am offering in this listing, still the First Pressing, First Issue but with both labels orangey red with no ‘deep’ texturing but a vague ‘orange peel’ effect, the same ridge, and the vinyl weights nearer to matching in the range 140-150 grammes, with the first ‘mothers’ and slightly later stampers. The last and most numerous of the First Issue had red labels on both records, no texturing, and slightly lighter matched weight vinyls around 130-140 grammes - and even later stampers of course. It is worth mentioning at this point that the less stamper numbers and the lower they are, the earlier the pressing. These double albums were the first released, in mono and stereo format, and thought to be issued in about equal quantities, and there’s little doubt that these First Issue variants in either format and in excellent condition are extremely difficult to find today; the doubles were followed by two separate single albums again in mono and stereo - one was the Studio ‘half’ of the double and the other was the Live at the Fillmore ‘half’.

A huge commercial success with massive follow through demand it was re-issued several times throughout the seventies and eighties on the Polydor & RSO labels in the UK - these are noticeably lighter vinyls with different matrices and different cover makers. They are all great albums and can be seen going through the market from time to time - but this is a GENUINE VERY EARLY ORIGINAL DOUBLE VINYL MONO SET in EXCELLENT condition with IMPRESSIVE EARLY PRESS CREDENTIALS on two SUPERB HEAVY VINYLS and is a VERY RARE EARLY variant from the FIRST PRESSING.

Another characteristic of these First Issues is that they all had the original ‘foil coated’ Ernest J. Day gatefold cover, as I have already stated later ones were made by other cover manufacturers such as MacNeill and surface printed. The design and construction of the original E. J. Day gatefold causes it to have one of the highest potential to wear factors of any cover from the era, nearly every one you see has considerable ring-wear, rub-wear, edge and corner wear and spine wear – this one has not escaped the wear factor but as you can see from the photographs it remains in highly presentable and certainly well above average condition. It is difficult to photograph due to reflection from the predominantly shiny surface but the super sized images give a reasonably accurate idea of condition, maybe a little on negative side if anything.

The catalogue numbers are very important on this album and easy to mistake - the original rarer MONOs are 582031/2 whereas the STEREO counterpart is 583031/2 and the First Issue DOES NOT CARRY A SET NUMBER, which appeared on later issues. Furthermore, the early MONOs have an inverted triangle symbol separating the letters and numbers in the matrices, which I have indicated with a ‘?’, the later ones and the stereo pressings are more commonly seen with a ‘//’ separator. On this subject PLEASE NOTE THAT THE EARLIEST UK FIRST PRESSINGS OF THIS ALBUM IN MONO OR STEREO HAD THE FOLLOWING MATRIX DETAILS –

FIRST MONO MATRICES: SIDE ‘A’ - 582031 A?1  SIDE ‘B’ – 582031 B?1  SIDE ‘C’ 582032 A?1  SIDE ‘D’ 582032 B?1 each followed by the number 420 which is the UK country of manufacture code (ALL AS PER THIS EXAMPLE).

FIRST STEREO MATRICES: SIDE ‘A’ – 583031 A//2 SIDE ‘B’ 583031 B//1  SIDE ‘C’ 583032 C//1  SIDE ‘D’ 583032 D//1 again followed by the number 420 which is the UK country of manufacture code (FOR INFORMATION ONLY, NOT IN THIS LISTING).

THE ABOVE ARE THE ONLY AUTHENTIC MATRICES FOR THE ORIGINAL UK FIRST PRESSINGS – ALL OTHERS ARE EITHER LATER EXAMPLES FROM THE FIRST EXTENDED PRODUCTION RUN, LATER PRESSINGS OR REISSUES. 

A POINT TO NOTE ON THE FIRST STEREO MATRIX: the original ‘1’ master for the ‘A’ side of the stereo studio record is said to have had a technical fault (not corroborated but anecdotal), therefore a second master was made and numbered ‘2’. For this reason the FIRST ISSUE STEREO matrices run A//2, B//1, C//1, D//1 as opposed to the first mono variant which runs with all 1’s in the sequence. There may be some ‘rogue’ A//1’s about that slipped through and will be of great interests to dedicated variant collectors, but I have never seen one.

An important contributory factor to RARITY with Wheels of Fire apart from variant and issue is CONDITION, and the OUTSTANDING FEATURE OF THIS ALBUM IS THE SUPERB VINYLS WHICH LOOK ALMOST NEW AND DELIVER SOME OF THE BEST AUDIO YOU ARE EVER LIKELY TO HEAR FROM ANY EXAMPLE OF THIS CLASSIC ALBUM.

• COMPLETE ORIGINAL UK ALBUM, FIRST PRESS, FIRST ISSUE

• FIRST MATRICES, FIRST MOTHERS AND EARLY STAMPERS

• SUPERB HEAVYWEIGHT VINYLS EXCELLENT PLUS CONDITION

• MONO RECORDING FORMAT DELIVERING SENSATIONAL AUDIO

• FIRST POLYDOR ORANGE LABELS EXCELLENT PLUS CONDITION

• ORIGINAL MARTIN SHARP /  E.J.DAY GATEFOLD VERY GOOD PLUS

• INCREASINGLY HARD TO FIND ONE IN THIS VARIANT & CONDITION

Artiste(s): CREAM who were - Eric Clapton, Jack Bruce, Ginger Baker

Disc Format & Playing Speed: 2 X 12” LP’s & 33 1/3 r.p.m.

Recording Format: MONO

Record label: ORIGINAL POLYDOR ORANGEY RED, lightly dimpled / orange peel finish with

Catalogue Number: 582031 & 582032 (early first pressings only displayed these two numbers - the set number was only printed on later issues)

Country of manufacture and first published date: ENGLAND 1968

Vinyl ‘run off’ matrices side A:     582031   A?1   420 (Record 1)

Vinyl ‘run off’ matrices side B:     582031   B?1   420 (Record 1)

Vinyl ‘run off’ matrices side C:     582032   A?1   420 (Record 2)

Vinyl ‘run off’ matrices side D:     582032   B?1   420 (Record 2)

Vinyl ‘run off’ stampers side A:    1   3   1

Vinyl ‘run off’ stampers side B:    1   3   3

Vinyl ‘run off’ stampers side C:    1   2   1

Vinyl ‘run off’ stampers side D:    1   6

Vinyl ‘run off’ initials / cryptic side A: none visible

Vinyl ‘run off’ initials / cryptic side B: none visible

Vinyl ‘run off’ initials / cryptic side C: none visible

Vinyl ‘run off’ initials / cryptic side D: none visible

N.B. Please note that all matrices, mothers and stampers quoted in my listings are machine imprinted except where I state an alternative method next to them.

Track Listing as per cover: RECORD 1 - SIDE A: WHITE ROOM / SITTING ON TOP OF THE WORLD / PASSING THE TIME / AS YOU SAID / SIDE B: PRESSED RAT AND WARTHOG / POLITICIAN / THOSE WERE THE DAYS / BORN UNDER A BAD SIGN / DESERTED CITIES OF THE HEART / RECORD 2 - SIDE C: CROSSROADS / SPOONFUL / SIDE D: TRAINTIME /  TOAD

My opinion and summary of condition: When this album was released it was a revelation, and to this day it remains one of the best blues based progressive rock albums ever produced. It was an audacious and ground-breaking album which pioneered free form virtuoso instrumental improvisation in the genre and consolidated their leading power trio status in no uncertain terms. There will be the detractor’s but it is hard to deny the monumental importance and influence of this work from three of the most talented rock musicians the world has ever seen. This is a musical ‘tour de force’ combining creative studio recording, such as on the superb version of POLITICIAN, and culminating with the incredible live version of SPOONFUL which really was at the pinnacle of progressive rock in this era. In this particular case the powerful MONO recording on these BEAUTIFUL FIRST PRESS VINYLS delivers the very best audio you are likely to hear from this album - unreservedly SENSATIONAL.  In my opinion double vinyl albums don’t come any better than this.

MY GRADING OF THIS ALBUM based on Record Collector ‘Rare Record Price Guide 2008’ (**n.b. please note that I grade accurately backed up by a description. I neither over-exaggerate nor under-exaggerate. I see no point in grading an item with multiple ++++ marks, or under-grading it and then stating that it should be graded better - I consider these methods to be confusing. I use the Record Collector system with either a PLUS or a MINUS to indicate slight variations either side of a grade). I always include a full set of super-sized photographs to provide bidders with the best possible opportunity to make their own visual assessment of each album in conjunction with my detailed descriptions.

Vinyl Visual Record 1 side A: EXCELLENT PLUS, some superficial surface movement lines, no tangible depth, no significant audio consequence.

Vinyl Visual Record 1 side B: EXCELLENT PLUS, some superficial surface movement lines, no tangible depth, no significant audio consequence.

Vinyl Visual Record 2 side C: EXCELLENT PLUS, some superficial surface movement lines, no tangible depth, no significant audio consequence.

Vinyl Visual Record 2 side D: EXCELLENT PLUS, some superficial surface movement lines, no tangible depth, no significant audio consequence.

Label Visual Record 1 side A: EXCELLENT PLUS, some light spindle lines and slight evidence of age / handling, but no marks, no scuffs, no tears, no visible spindle hole wear.

Label Visual Record 1 side B: EXCELLENT PLUS, some light spindle lines and slight evidence of age / handling, but no marks, no scuffs, no tears, no visible spindle hole wear.

Label Visual Record 2 side C: EXCELLENT PLUS, some light spindle lines and slight evidence of age / handling, but no marks, no scuffs, no tears, no visible spindle hole wear.

Label Visual Record 2 side D: EXCELLENT PLUS, some light spindle lines and slight evidence of age / handling, but no marks, no scuffs, no tears, no visible spindle hole wear.

N.B. Please note that I make no adjustment or allowance in grading for minor marks or slight shrinkage marks / lines on labels caused in original pressing; they are quite normal and in my opinion are individual characteristics – not defects.

Outer Cover: VERY GOOD PLUS, iconic classic gatefold of mid weight card construction Printed by Ernest J. Day & Co. Ltd., London W.11. which won Martin Sharp the artist a New York art award for best album cover. This displays some of the characteristic weaknesses of the original ‘foil laminate’ (as opposed to ‘laminated’) cover. There is light surface rub wear front and back which mimics the outer edge of the vinyls – more on the back for a short distance top centre, please see photographs - corner and edge rub wear, with a few small indents, light bruises and superficial surface creases. There are some mini-dents at the entry edges and minor chafing. In my opinion this is better than most, with just a few genuine flaws caused by wear with careful handling over time; but please take a look at the super sized photographs and make your own assessment as well.

Spine: VERY GOOD PLUS, slight edge and ends rub-wear and the line down the centre caused by careful opening and closing over time. There is also rub wear around the centre which partly obscures the title – but not badly as you can see. I have included ‘close up’ sectional photographs in the listing, so please take a look and make your own assessment.

Inner Sleeves: VERY GOOD, often overlooked as a feature which is found with only the early first pressings is the ‘square cut’ entry edge Polydor standard original white paper with patent, Made in England and advisory notes in blue print, fitted with antistatic poly-liner (later variants had a more pronounced curve or ‘rounded’ entry edge) – these are both in good physical shape but creased and discoloured with age.

Vinyl Warp: none visible when eye tested on a moving turntable.

Vinyl Weight: 145 & 150 grammes (two powerful POLYDOR heavyweights)

Play Grade: I consider all aspects of an albums condition and grading to be highly important and I place particular emphasis on the quality of the audio delivery; superior audio performance is, above all, the main reasons for listening to vinyl. For this reason I have decided to extend my play grade to rate separately how ‘clearly’ and ‘cleanly’ the sound is received. It is quite possible with vinyl to experience great ‘clarity’ and reality without the sound being exceptionally ‘clean’ - that’s ok with me, but it may not satisfy the audiophile. So, a NEAR MINT & NEAR MINT will be the best grade with VERY GOOD PLUS & VERY GOOD PLUS or better being highly satisfactory.

For CLARITY the audio from this vinyl grades: EXCELLENT PLUS

For CLEANLINESS the audio from this vinyl grades: NEAR EXCELLENT

Audio Performance: THESE ARE POWERFUL AND IMPRESSIVE POLYDOR MONO VINYLS DELIVERING SENSATIONAL SOUND. THE DEEP MONO GROOVES IGNORE THE FEW LIGHT SURFACE LINES DRIVING OUT THE SOUND AT MASSIVE VOLUME - I COULD NOT DETECT ANY SIGNIFICANT INTERFERENCE ACROSS ALL FOUR PLAYING SURFACES AND WAS UNRESERVEDLY DELIGHTED WITH THE OUTPUT. THESE VINYLS HAVE NOT HAD MANY VISITS TO THE TURNTABLE SINCE NEW AND THAT RESULTS IN AN AUDIO PERFORMANCE OF GREAT CLARITY AND QUALITY. THERE IS SOME OCCASIONAL LIGHT CRACKLE WHICH DID NOT CONCERN ME AT ALL AND HAS PROBABLY EXISTED FROM NEW – MOST VINYLS FROM THE ERA CARRY SOME MINOR SURFACE SOUND FROM ORIGINAL MANUFACTURE. I ALWAYS SAY PLEASE BEAR IN MIND THAT THIS SECTION AND THE GRADING IS BASED ENTIRELY ON MY PERSONAL OPINION AND AUDIO PERCEPTION BELONGS TO THE INDIVIDUAL. WITH VINYL CLARITY THERE IS ALWAYS LIGHT TRANSITIONAL SURFACE SOUND WHICH IS INEVITABLE FROM THIS MEDIUM, EVEN WHEN NEW, AND OCCASIONALLY A LITTLE LIGHT CRACKLE WHICH IS OFTEN STATIC, OR EVEN A RANDOM SOFT TICK - BUT THIS WAS COMPLETELY ENJOYABLE AS FAR AS I AM CONCERNED - ABSOLUTELY DYNAMIC, FULL BODIED AND COMPELLING – YOU WOULD BE VERY HARD PRESSED TO FIND ANYTHING BETTER THAN THIS

Other: A great and important album which is becoming increasingly hard to find with these credentials, and a real collector’s and player’s ‘gem’ to have and enjoy.

PLEASE TAKE A LOOK AT MY OTHER LISTINGS BY CLICKING ON THE ‘VIEW SELLERS OTHER ITEMS’ IN THE TOP RIGHT HAND CORNER BOX OF THIS LISTING - THANK YOU.

My definition of a rare vinyl: Generally there is agreement that to qualify for the description rare there should not be too many of the type offered, available on the market at the time. With my listings that will be the main criterion however I will also occasionally claim rarity based on excellence of condition, or some other key feature, or an accompanying item such as an insert, which is not often found with similar vinyls.

UK first and early pressings: This has become something of a ‘fashion accessory’ for many of the albums listed on eBay and, as with fashion, there are many imitators. Of course with the more popular huge selling albums, where the record companies were fairly sure of major sales from the outset, there were many first pressings but otherwise this was not usually the case. Generally the lower the numbers in the matrices and stamper codes on the vinyl ‘run off’ areas, on both sides of a record, the earlier the pressing therefore ‘A1’ & ‘B1’ are most often first or early pressings, but there are variants and exceptions to the rule. The most notable ones, for example where the ‘1’ matrix was only used for test pressings so the commercial releases started at ‘2’, are well documented now but there are a few more observations which are worth noting. There are low numbered matrices which belong to second and even third pressings (in these cases the record companies gave similar numbers to the first press of a re-issue) you can normally identify these by, examining the labels which are often different in texture and/or design, and by checking the weight of the record as the earlier pressings were normally heavier. This weight difference can also be indicative where different symbols were used in the matrices. For example some record companies first denoted early pressings with A61 & B61 and then soon after changed to A // 1 & B // 1, in these cases weight of the vinyl is often very helpful with identification. Occasionally there are high numbers on first pressings, but this is unusual. Other points to note are the manufacturer of the ‘cover’ or ‘outer sleeve’ and various characteristics or design variants. The ‘inner sleeve’ or ‘bag’ can also be an indicator. However it is not wise to rely on details beyond the matrices and labels as the covers and sleeves can easily be interchanged. ‘Made Up’, Swapped’ or ‘Doctored’ sets are not uncommon, particularly with high value albums which have inserts and special text, so the best advice is to try and make sure that everything matches the criteria thus eliminating most of the risk (a good look at the photographs on the listing, if they are of the actual item offered as they are on all of my listings, is always advisable). As a general rule I suggest that you don’t pay hundred’s or thousands of pounds unless you are buying from a reliable source who provide you with comprehensive information and have a clearly stated ‘Returns Policy’ - or unless you’ve got money to throw away (and in that case there are any number of far more deserving charities)

Audio reproduction on vinyl: In my experience there is always an element of surface or background sound with audio reproduction on vinyl, even when new - very hard to imagine how there could not be when two solid surfaces come into contact with each other and are then amplified! In my opinion anybody who claims there is no surface sound, or ‘silence’, is hard of hearing, has not turned the amplifier on, or is using very poor quality audio equipment. Almost all used vinyl has at least light surface scratches which are always visible when viewed under a bright halogen light - which is what I use for inspection. So if you are uncomfortable with a bit of light crackling it’s probably best not to buy vinyl. In my opinion the light surface sound is more than compensated for by the clarity and ‘reality’ of the overall sound reproduction. I listen carefully to every album I list, before listing it for sale.

Finally: All of this comment contained in this listing is subjective, it is based only on my opinion and your expectations may not necessarily correspond with my standards. If you receive an album from me and you have some differences please remember to use reasonable communication as a first option. I have a comprehensive non confrontational ‘Returns Policy’ which is clearly set out below and providing there is no abuse, or use the negative feedback system, I will always reimburse you in full for your direct costs if you return the album correctly.

TERMS AND CONDITIONS OF SALE

DESCRIPTIONS: Are given in good faith, but they are based on my opinion and standards.  Bidders should note that they offer at their own risk and must satisfy themselves that they have sufficient information about the item before they enter the bidding process.  Please ask questions before you become involved with the auction, NOT afterwards! Where I list sizes/dimensions they are either as stated on the item/label by the supplier/manufacturer or reasonably accurately hand tape measured; however, they are not necessarily precise, should be taken as approximate and not relied upon where absolute precision is required. This clause does not in any way affect your rights under the terms of my ‘Returns Policy’, it is stated to prevent unnecessary inconvenience to both parties.

INFORMATION: Whilst I take care to try and provide accurate information on the original listing it is possible that new information may become available to me afterwards. I therefore strongly recommend that all bidders read any revisions and the ongoing questions / answers section of the listing before bidding as they may contain updated information which could affect your valuation of the item(s). In the event that new information is published, after the time you have become the high bidder, which adversely affects your valuation of the item(s) and you wish to withdraw from the bidding process please email your request and I will use the cancel bid option with no ongoing liability to any of the parties involved in the auction.

PHOTOGRAPHS: All photographs contained within this listing show the actual item (s) offered – they are not catalogue, archive or library photographs.  Furthermore they are direct images and not re-touched or modified in any way. I try to make good and comprehensive use of images on the listing in order to give the prospective bidder the best opportunity to evaluate the item(s); however it is possible that in some circumstances the photographs can enhance the appearance of the item(s) due to compression so please take this into account before bidding and do not hesitate to ask for more images or information which I am happy to send by attachment to email. This is particularly recommended with overseas buyers where returns are often not a viable option.  

OVERSEAS BUYERS WELCOME: I am pleased to deal with buyers from anywhere in the world. My method of LP packaging reduces the risk to your valuable vinyls & covers in transit. Makes no sense to me to buy something important and then play the ‘high risk of damage game’ when having it shipped around the world – I hope you feel the same. Unless the prospective bidder / buyer states a preference I always quote Airmail as Surface Mail does not usually cost much less and takes a long time (again more risk of damage or loss I think). Also please note that for British Pounds £3.30 extra you can have an International Signed for service which includes insurance up to £32. Insurance quotations to a value you specify in advance of shipping are available on request.

PACKING & POSTAGE:  Vinyl’s are removed from covers and placed in separate transit sleeves. All components are then placed side by side in a polythene inner for extra safety and water resistance and then secured between two corrugated card stiffeners. I use Heavy Duty Mailers Specifically Designed for Vinyl Albums, which provide excellent security and protection, in conjunction with my own Ultra Safe reinforced sealing and packaging method. Internally I use 2 of the highest grade ‘B’ flute corrugated card stiffeners to prevent bending, deformation or edge/corner creasing. Packing & postage prices are NOT negotiable on items dispatched individually or separately. However, if you are a similar time multiple buyer where all items purchased are being sent to the same address and they can be combined safely, you can ask for a discounted quotation before bidding. I will always try to be fair with buyers on p&p costs but if you do not want to pay the prices on the listings or quotations please do not bid.  I am not interested in hearing from successful bidders afterwards questioning and complaining about cost of packing and postage! I always keep proof of posting but unless you pay for Recorded Delivery, International Signed For, Special Delivery or Full Insurance I may not be able to assist you with recovery of the item or any of the costs.

Where postal insurance is included it is subject to Royal Mail Standard Terms & Conditions. Quotations for other insurance or premiums to cover increased values are available on request.

PAYMENT: For Buyers WITHIN the UK: PayPal, or Pound sterling cheques / money orders, with minimum 7 days to clear before despatch.

PAYMENT: For Buyers OUTSIDE of the UK: Payments by PayPal only please.

CANCELLATION: The Seller reserves the right to cancel any bid, entirely at his discretion and without giving prior notice, in the following circumstances:

They have reason to believe that the bidder has not complied with the terms of their offer as set out on the listing.

The bidder’s feedback is of such limited quantity that it cannot be regarded as reliable.

The bidder’s feedback is of dubious quality and/or gives the seller any indication or reason to doubt the credibility of the bid.

MY FEEDBACK POLICY: I leave feedback for buyers after they inform me that they have received the item(s) and have left me their feedback. As I have a clearly stated Returns Policy, which does not expose the buyer to any direct loss whatsoever, I see no reason for either side to indulge in negative feedback. Providing the buyer does not engage in threats, abuse or use of negative feedback I will resolve any problem in a fair and reasonable way. If you have a problem or complaint about any transaction you have made with me contact me on somemightsell_e@btinternet.com and we will find a solution that is acceptable to you.

SUPERSIZED PHOTOGRAPHS: I have super-sized the photographs below to provide prospective bidders with the best opportunity to make their valuation before entering the bidding process, please just click on the ‘Larger Picture’ and arrows to use this facility. Sometimes due to reflection these images can appear slightly distorted, ‘graining’ can appear and dust particles can be exaggerated by the light - in reality there are no defects of this kind.