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or
INSTRUCTIONS
PLEASE
DO NOT BID !!
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  PLEASE READ COMPLETE ITEM DESCRIPTION BEFORE BIDDING


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ALL VINYL IS RATED VISUALLY
UNDER DIRECT SUNLIGHT & BRIGHT INCANDESCENT LIGHT

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SORRY - NO RETURNS

Review the photos carefully, use them to determine if the item meets your standards. Ratings vary greatly from person to person so PLEASE BE SURE you want this item

--- BEFORE BIDDING ---

all sales final --- All Sales Final --- ALL SALES FINAL

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PAYMENT MUST BE RECEIVED WITHIN: 5 DAYS AFTER AUCTION CLOSE!!

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SELLER RESERVES THE RIGHT TO CANCEL SALE AND RELIST  THE ITEM

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I TRY to ship within 48hrs. of payment!!! 

Shipping is GUARANTEED within 5 days of payment!!!
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SEE GOLDMINE RECORD GRADING INFORMATION at VERY BOTTOM

NOW THAT the SMALL PRINT is OUT of the WAY
 

UP FOR AUCTION IS:

STARLIGHT RECORDS
PRESSING
OF

THE ROLLING STONES
ROCK AND ROLL CIRCUS
The Original Soundtrack


A BEAUTIFUL COVER

STARLIGHT RECORDS
 MADE IN U.S.A.
SL87028
RELEASED IN 1989

--- MATRIX NUMBERS ---
SIDE ONE:  SL  87028 - A
SIDE TWO:  SL 87028 - B

THIS PRESSING PRE-DATES ALL OTHER VERSIONS OF THIS MUSIC/FILM

Vinyl: NM

PLAYED ONE TIME ONLY
PLEASE SEE PHOTOGRAPHS

Cover: VG++

BEAUTIFUL VIBRANT COLOURS

PLEASE SEE PHOTOGRAPHS

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Here is a chance to own a copy of one of the

MOST RARE

ROLLING STONES

albums of 

ALL TIME !! 

THIS PRESSING PRE-DATES ALL OTHER VERSIONS OF THIS MUSIC/FILM

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SOME HISTORY BEHIND THE FILM:

The Rolling Stones Rock and Roll Circus

The Rolling Stones Rock and Roll Circus
poster Directed by Michael Lindsay-Hogg Produced by Robin Klein, Mick Gochanour Cinematography Anthony B. Richmond Editing by Ruth Foster, Robin Klein Release date(s) 1996 Running time 66 min Language English

The Rolling Stones Rock and Roll Circus is a film released in 1996 of an 11 December 1968 event put together by The Rolling Stones. The event comprised two concerts on a circus stage and included such acts as The Who, Taj Mahal, Marianne Faithfull, and Jethro Tull. John Lennon and his fiancee Yoko Ono performed as part of a supergroup called The Dirty Mac, along with Eric Clapton, Mitch Mitchell, and Keith Richards. It was originally meant to be aired on the BBC, but the Rolling Stones withheld it because they were unhappy with their performance.

The Stones contended that they withheld the film's release due to their substandard performance, because they had taken the stage early in the morning and were clearly exhausted. Many others believe that the true reason for not releasing the video was that The Who, who were fresh off a concert tour, upstaged the Stones on their own production[1][2][3][4]. The Stones had not toured recently, and were not in top playing condition, as The Who were.

The project was originally conceived by Mick Jagger as a way of branching out from conventional records and concert performances. Jagger approached Michael Lindsay-Hogg, who had directed two promos for Stones songs, to make a full-length TV show for them. According to Lindsay-Hogg, the idea of combining rock music and a circus setting came to him when he was trying to come up with ideas; he drew a circle on a piece of paper and free-associated.

The Stones and their guests performed in a replica of a seedy big top on a British sound stage, in front of an invited audience. The performances began at around 2 p.m. on December 11, 1968, but setting up between acts took longer than planned and the cameras kept breaking down, which meant that the final performances took place at almost 5 o'clock the next morning.

By that time the audience and most of the Stones were exhausted; Jagger's sheer stamina managed to keep them going until the end. Jagger was reportedly so disappointed with his and the band's performance that he cancelled the airing of the film, and kept it from public view. This was the last public performance of Brian Jones with The Rolling Stones, and for much of the Stones performance he is inaudible, although his slide guitar on "No Expectations" remains clear.

Some of the footage of the concert was thought to be lost until 1989 when it was found in a trash can in a cellar. A significant segment of footage of The Who from the production was actually shown theatrically in the documentary The Kids Are Alright (1979), the only public viewing of the film until its eventual release. The Stones' film was restored and finally released on CD and video in 1996. Included on the recordings are the introductions for each act, including some entertaining banter between Jagger and Lennon, expressing mutual friendship and admiration.

This concert is the only footage of Black Sabbath guitarist Tony Iommi performing as a member of Jethro Tull; he was a member for this show only as a favor to Anderson while they looked for a replacement for Mick Abrahams. The band mimed to the album version of "A Song for Jeffrey" and 'Fat Man' as the Stones told them to cut their time down and it would save time on rehearsing," Fat Man' never made the final release . This footage also included some of Ian Anderson's first attempts of his now famous flute-playing position, with one leg in the air.

In 2004, a remastered DVD was released, with audio remixed into Dolby Surround. The DVD includes footage of the show, along with extra features which include previously "lost" performances, an interview with Pete Townshend, and three audio commentaries. Of particular interest in the Townshend interview is his description of the genesis of the Circus project, which he claims was initially meant to involve the performers travelling across the United States via train. (A concert concept used for a short concert series in Canada that was later documented in the feature film Festival Express). The remastered DVD also includes a special four-camera view of Dirty Mac's performance of The Beatles' "Yer Blues" (showing Ono kneeling on the floor in front of the musicians, completely covered in a black sheet).

According to Bill Wyman's book, the Stones also performed "Confessing the Blues", "Route 66" and an alternate take of "Sympathy for the Devil" with Brian Jones on guitar.

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The GOLDMINE STANDARD
for
RECORD GRADING

 
THE TRUTH BEHIND THE GRADES
 
Most of the time, LPs are sold with two grades — one for the record and one for the cover. We list only one grade, however, because with some exceptions, albums without covers are worthless, and covers without the accompanying record are worthless. If an album is graded VG for the cover and VG+ for the record, add the two values together and divide by 2 to get a rough estimate of the value of a “mixed-grade” LP.

Most records are graded visually. This is because most record dealers have lot of records — hundreds of thousands in some cases — and they don’t have the time to play their entire stock. That said, some defects are easy to see, such as scratches and warps. Others are subtle, such as groove wear from using a cheap or poorly aligned tone arm. It has been our experience that older LPs (1950s to about 1971) tend to play better than they look, and newer LPs (at least until 1989) tend to play worse than they look.
When grading your records, do so under a strong light. Look at everything carefully, and then assign a grade based on your overall observations.
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Here are the standard grades for record albums, from best to worst.

SEALED ALBUMS  
Still-sealed albums can — and do — bring even higher prices than those in our listings. However, you must be careful when paying a premium for sealed LPs of any kind for several reasons:

1.  They may have been re-sealed.
2.  The records may not be in Near Mint condition.
3.  The record inside may not be the original or most-desirable pressing.
4.  Most bizarre of all, the wrong record my be inside. (I’ve had this happen to me; I opened a sealed album by on MCA artist only to find a record by a different MCA artist inside! Fortunately, I didn’t pay a lot of or that sealed LP. I would have been quite upset if I had!)

MINT (M)
These are absolutely perfect in every way. Often rumored but rarely seen, Mint should never be used as a grade unless more than one person agrees that the record or sleeve truly is in this condition.

There is no set percentage of the Near Mint value these can bring; it is best negotiated between buyer and seller.

NEAR MINT (NM OR M-)
A good description of a NM record is “it looks like it just came from a retail store and it was opened for the first time.” In other words, it’s nearly perfect.

Many dealers won’t use a grade higher than this, implying (perhaps correctly) that no record or sleeve is ever truly perfect.

Near mint records are shiny and free of visible defects. No writing, stickers, other markings or spindle marks appear on the label. No major factory defects are present; a record and label obviously pressed off center is not Near Mint.

If played, an NM record will do so without surface noise. Near Mint records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.

NM covers have no creases, ring wear or seam splits of any kind.

These are high standards, and they are not on a sliding scale. A record or sleeve from the 1950s must meet the same standards as one from the 1990s or 2000s to be Near Mint!

It is estimated that no more than 2 to 4 percent of all records remaining from the 1950s and 1960s are truly Near Mint. This is why they fetch such high prices, even for more common items. They must meet these standards to qualify.
 
VERY GOOD PLUS (VG+) OR EXCELLENT (E)
A good description of a VG+ Record is “except for a couple of minor things, this would be Near Mint.”

Most collectors, especially those who want to play their records, will be happy with a VG+ record, especially if it is toward the high end of the grade, (sometimes called VG++ or E+).

VG+ records may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that don’t affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, so long as repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable.

VG+ Covers should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable locataion. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint.

VERY GOOD (VG)

Many of the imperfections found on a VG+ Record are more obvious on a VG record. That said, VG records — which usually sell for no more than 25 percent of a an NM record — are among the biggest bargains in record collecting, because moost of the “big money” goes for more perfect copies. For many listeners, a VG record or sleeve will be worth the money.

VG records have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail.

When played, a VG record has surface noise, and some scratches may be audible, especially in soft passages and during a song’s intro and ending. But the noise won’t overpower the music otherwise. Minor writing, tape or a sticker can detract from the label. Many collectors who have jukeboxes will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape.

VG covers will have many signs on human handling. Ring wear in the middle or along the edges of the cover, where the edge of a record would reside, is obvious; it may appear on all three sides, thought it won’t be obvious upon looking. Someone might have written on it or stamped a price tag on it, too.

GOOD (G), GOOD PLUS (G+) OR VERY GOOD MINUS (VG-)

Lower-grade records go for 10 to 15 percent of the Near Mint value, if you are lucky.

Good does not mean bad! The record still plays through without skipping, so it can serve as filler until something better comes along. But it has significant surface noicse and groove wear. The label is worn and exhibits significant ring wear, heavy writing or obvious damage caused by tring to remove tape or stickers and failing miserably.

A Good to VG- cover has ring wear to the point of distraction, has seam splits obvious on sight and may have even heavier writing, such as huge radio station letters written across the front to deter theft.

If the item is common, it’s probably better to pass it up. But if you’ve been seeking it for a long time, get it cheap and look to upgrade.

POOR (P) AND FAIR (F)

Poor and Fair records go for 0 to 5 percent of the Near Mint value, if they go at all.

More likely, they end up going in the trash. Records are cracked, impossibly warped or skip and/or repeat when an attempt is made to play them. Covers are so heavily damaged that you almost want to cry.

Only the most outrageously rare items ever sell for more than a few cents in this condition — again, if they sell at all
7" - standard 45 RPM co - cut-out pc - picture sleeve sl - slight UK- United Kingdom (British Pressing) 10" - 10-inch vinyl LP dj - Disc Jockey (promo) pi - picture Insert (CD Single) sm spl - Seam Split US - United States (domestic pressing) 12" - 12-inch single ep - Extended Play promo - promotional copy soc - sticker on cover va - various artists bb - bb hole in cover imp - import ps - picture sleeve (45) sol - slicker on label wlp - white label promo boot - bootleg lp - 12" vinyl album quad - quadraphonic ss - still sealed woc - writing on cover cc - cut corner m - mono Lp re - reissue s/t - self titled wol - writing on label cd - compact disc nap - not affecting play ri - reissue tc - title cover (12" and CD's) xol - "x" on label cd3 - 3" compact disc single non-lp- not on full-length LP or CD rpm - revolutions per minute ti - title insert (CD single) * check the context, as "m" can also mean "mint" cd5 - 5" compact disc single oc - original cast recording rw - ring wear toc - tape on cover   coh - cut-out-hole ost - original soundtrack s - stereo Lp tol - tape on label