THE BEATLES Please Please Me VERY RARE UK 1963 BLACK & GOLD MONO Nr EX LP, NICE

	£		1,018
	$		1,349

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Postage: UK £4.75 (£1 per extra record). Europe (including Russia) £12.50 (£2 per extra record). Rest of World (including ALL parts of the USA) £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, and records WILL arrive damaged in them at some time as most record buyers will already know. Here, you get what you pay for – SAFE PACKING in BOXES using 7mm DOUBLE-WALL STIFFENERS including full side protection and bubble wrap, the records removed from the covers of course. All this very safe packing means I lose money on every box I post, but safe delivery is, and will always be paramount. You WILL see the difference when my packet arrives. Also, I will pay for insurance on any record that sells for over £100 at NO extra cost – that is UK and abroad. Also I aim to post the very same day after payment is received if possible. PLEASE NOTE: I will NOT send any item, no matter what its value without a Royal Mail or courier tracking number. ALL my items must be signed and trackable to comply with Ebay delivery rules. Please do NOT ask me to make any exceptions to this rule as no country offers 100% reliable service without it.

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ANY ITEM or ITEMS TO BE PAID WITHIN A MAXIMUM OF 6 DAYS or they will be cancelled – NO EXCEPTIONS.

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Artist or Band: THE BEATLES

Album Title: Please Please Me

Producer(s): George Martin

TRACK LIST:

Side 1: I Saw Her Standing There; Misery; Anna (Go to Him); Chains; Boys; Ask Me Why; Please Please Me.

Side 2: Love Me Do; P.S. I Love You; Baby It’s You; Do You Want to Know a Secret; A Taste of Honey; There’s a Place; Twist and Shout.

Label/Format: Parlophone, this the ultimate first 1963 pressing on the iconic black and gold format. These have gently shiny surfaces with light texturing. Side one has the embossed ‘M T’ tax codes. These letter details are little short of immaculate with no flattening or wear as I hope my picture shows. These labels include the first Dick James Music credits, again clearly seen on the pictures.

Label Conditions: Both in jaw-drop condition – very clean, fresh and highly attractive with any hint of spindle marks bordering on minuscule.

Label Conditions & Overview: All evidence suggests this legendary album has been played very little, and possibly hardly at all. As most fans and collectors know, when an available copy of this album surfaces, it’s invariably in wretched conditions simply by being played so many times, loaned out and generally mistreated. Back in 1963, virtually all record buyers used very heavy tracking mono record players. Many tracking at least 10 grams (the recommended minimum weight) or anything above, even double that. Even old steel needles were still used by some to play records. It’s no wonder so few copies of this and others from this era survive in playable condition. Even with single figure plays on such record players, the sound immediately would have been impaired as the delicate groove walls became eroded, or even shredded with a blunt, chipped mono stylus. One the grooves began to quickly wear, the sound quality degraded, and then distortion and clarity loss set in. Just one arm drop or jolt would cause a deep penetrating scratch causing sticks, jumps or multiple loud repetitive clicks. Combined with surface noise and crackle, dull, greyed playing surfaces covered with grubby finger marks – yes we have all seen early Beatles (and others) in this condition on a regular basis. There is no disputing the age of this album at all – the first pressings on this iconic label with the Dick James credits were only pressed in 1963, and only for the briefest time before the yellow and black formats replaced it. An album that took the younger generation by storm, and few even considered preserving these first issues for future generations to enjoy. All these known facts put a genuine first pressed copy of ‘Please Please Me’ into real perspective when found in a lightly played condition, and still playing with high quality clean sound. Although this copy’s cover has some storage wear (top edge, bottom right corner tip and bottom flipback ends), there is little else and remains attractive – this one being the second printing by Ernest J. Day with the Angus McBean photo credit more to the left. The record however is the cleanest and most attractive available copy I have seen in many years. It really does look very little played with any surface marks few, mostly fine and light. The only fine penetrating scratch is very small and emits a mere three or four very gentle ticks on a joining groove between one song. I heard no other clicks at all and the songs mostly play superbly with little unwanted at all. The one exception is a milli-second groove crackle purely within the pressing towards the very end of ‘Misery’. Finding a 1963 Black and Gold in this condition is a considerable rarity these days. Only a tiny percentage of those that survive in playable condition – e.g. no sticks, jumps, multiple repeating loud clicks or horrible distortion/surface noise – will be offered for sale now. I have no qualms at all in grading this beautiful piece of pop history as very close to Excellent, and arguably better still. This has minimal traces of stylus marks, a few ultra fine and faint surface scuff traces only. Both surfaces looks incredible given all the above facts and the sound quality easy matches, and being honest exceeds the its splendid looks. I know many simply want to just own a ‘black and gold’ regardless of sound just for the pleasure of having it, but this is a copy that can be played and enjoyed to something close to maximum. The one fraction of a groove sound apart, it really has little else to fault and tracking is effortless. Any sound degrading is minimal indeed, even being played on a highly revealing Linn Sondek LP12 with a stereo cartridge – a turntable not really designed for playing vintage mono records – this sound very impressive indeed. It was a delight to play-grade, the lack of faults, and with the first pressed dynamics and detail, this has more than just ‘survived’, it was a thrill to hear like this from a first issue. Not quite ‘perfect’, but let’s get real – how many ever will be these days. Sure, genuine near mint copies exist, but rarely come on to the open market for sale. And when they do, they command massive prices, and justifiably so because probably less than one in a thousand will ever grade as such. Being honest, I doubt if one in hundred (or two, or three) will even survive in this lovely condition. The owner told me he hardly played it, and all evidence suggests that is the truth. As stated, the cover has a few issues, but nothing too serious, that will be described as usual further down. A copy many fans and collector will enjoy owning – but not for purists or connoisseurs who only want absolute ‘perfection’ at any cost. Still a rare opportunity, this the best copy I have had to offer, these are fast becoming rare with an very close to Excellent record (that plays even better).

Catalogue Number: PMC 1202

Mode / Speed: Mono / 33.3 rpm.

Warps: None, this record still very flat with minuscule arm movement on rotation.

Weight of this Record: 165 grams.

Country of Manufacture: England

Rarity: Very scarce as a black and gold first ‘Dick James’ credit issue. With the record in this very clean and attractive condition, clearly only lightly played, and mostly with due care, it’s a rare find. The Stereo version is much rarer in terms of units sold, but those do invariably show up in better conditions, avoiding the perils of heavy tracking and thick blunted mono stylus. The mono format was the mode of the era, and for most until towards the end of the 1960s, and this was available a little longer in that format as well. But these were often subjected to the roughest and heaviest treatment making lighter played copies much, much rarer.

Original Year of Release: March 1963 only in mono. A stereo version was released in April.

Matrix Nos: XEX 421-1N / XEX 422-1N

Mothers / Stampers: 1 L / 1 GG

The Beatles: John Lennon – lead vocals, backing vocals, rhythm guitar, acoustic guitar, harmonica, hand claps; Paul McCartney – lead vocals, backing vocals, bass guitar, hand claps; George Harrison – backing vocals, lead vocals on ‘Chains’ and ‘Do You Want to Know a Secret’, lead guitar, acoustic guitar, hand claps; Ringo Starr – drums, tambourine, maracas, hand claps, lead vocals on ‘Boys’.

Brief Info: Possibly the most iconic album, label and band in the history of popular music – and this very impressive first issue mono copy does all strong justice. An album that took the nation, and quickly the record-buying world by storm. It topped the UK album charts for 30 weeks and was only displaced by ‘With The Beatles’, their second album. The initial black and gold labels included ‘Dick James’ music credits, these were quickly changed for the second pressing to ‘Northern Songs’. Then quickly again, the entire label designed changed to the more familiar black and yellow format. Most will know the album and songs well – eight of the 14 tracks were Lennon-McCartney originals – and they simply went from strength-to-strength thereafter and largely dominated the rest of the 1960s. The rest as the saying goes – is history – and the ‘Fab Four’ remain as popular today as ever.

Cover Grade and Format: VERY GOOD(+): this a second printing with the Angus McBean photo credit more to the left. A single format with front laminate, this covers all the folds and end on three very wide rear flipbacks. Printed and made in England by Ernest J. Day & Co Ltd in London. The ‘EJD’ flipbacks were distinctively different from Garrod & Lofthouse versions. Being wider but much shallower, with almost flat thin card, also the ends near the spine were angle cut, not square. The main back panel is matt and quite smooth. This includes the polylined heavier weight inner sleeve.

Lamination & Front: The Very Good(++) grading is an average of all surfaces, some, if not most are way better. The front is very impressive indeed – I would grade this Excellent(+) – the only small issue is a chip to the bottom right corner tip and little else. The laminate retains excellent shine, freshness and clarity with no lifting and minimal traces of dulling (even under light) or creasing. Any creasing very little. fine and light. The famous graphic looks fantastic as-seen with deep vibrant colour and barely aged at all. Only a hint of wear encroaches from the top edge which is a slightly ragged, but this front on its own is close to exceptional given the states most are seen in these days.

Cover Back: The main back panel is also very impressive with any hint of discolouration or grubbiness gentle and light giving scant clues to age. As seen, the main issue is the bottom flipback left of centre. The ends have burred and creased, but there is barely any card lost which is good news. This a common trait, and so often these are shredded with huge chunks torn off and very crudely repaired with cellotape. I decided to very carefully reapply these creased ends and neatly (as possible) seal again with a mere smear of PVA wood glue, the best adhesive I know for card as its invisible when dry (and tough). So the lower flipback end is a little untidy, but now back, and as naturally as possible, intact. All other flipback areas are impressive, solid and crisp as-seen. This flipback issue is the main reason for a relatively cautious overall grading, and with the majority of 1963 covers near total right-offs, it puts one like this in real perspective. The lack of writing, sticker issues and massive damage are all major pluses.

Top Edge: Solid and straight, but the second wear issue is a chip of around an inch to the centre that goes to the bare card, but this still intact. Any other chipping or rubbing to this edge is small and light with minimal other bare card exposed. Again, many edges on this cover are totally threadbare and severely worn, this is only a small area and given the facts, had not fared too badly overall.

Bottom Edge: In contrast, the bottom storage edge has survived very impressively with little to fault at all bar the rub to the right tip which is moderate. The left tip has only a small rub.

Right Edge(s), and Type: This perilous entrance edge has also fared well and remains quite sharp with any thickening gentle and light as seen viewed end-on. This cover is made with quite thick card and has more weight than the G&L versions. These edges are guaranteed untrimmed or enhanced and have no tears or even thumb creasing.

Spine and Text: Another remarkably well preserved surface, that again highly against the odds. Solid, robust and straight with minimal compression. The surface still fully intact with any chipping tiny and light, just one near the bottom corner – the corner tips have only quite lightly rubbed . All text is perfect and unworn under the solid and uncracked laminate with no fading or chipping to the letters at all.

Corners: Three corner tips have only relatively light rubbing or rounding, this being small with no knocks. The bottom right has a moderate and larger rub, this leading corner for storage rarely escapes wear on any cover and the front surface of it has chipped as can be seen on the picture.

Cover Summary: A cover now 56 years-of-age – how many would have thought it possible such an item could survive this long in all honesty? One of the world’s most popular albums, these often handled on a daily basis back in in 63 and years beyond. Given what most are seen like now, this has more than survived, okay, some wear, but in contest, relatively little and mild, this has far more plus-points than minuses. The front is superb, the main back panel impressive, the spine very impressive and even the lower and opening edges neat and little worn as well. This iconic cover should please many collectors, but clearly not for perfectionists. I know for a fact, many collectors have no qualms in being reminded of age to some degree, so this could the perfect example for them.

The Inner Sleeve: MINT(–): a fantastic example of this vintage heavy-duty polylined inner sleeve. It includes the ‘PATENTS APPLIED FOR’ text and was made in England. This stunning hardly worn or aged inner gives great clues to the record not being removed or used too many times. It has two crisp, practically as-issued window circles, and the polylining is immaculate with its semi-transparent finish. Barely a crease to be seen and the paper with minimal hint of darkening. All edges solidly and naturally intact with no repairs. The top lightly waved recessed opening neat and crisp also with no tearing, and barely even thickened.

Vinyl Condition/Visual Grading: NEAR EXCELLENT: arguably better. Such a grading again has to be put in true perspective given all the facts outlined further up. To fine a copy with hardly a penetrating stylus scratch is an achievement. To find one that tracks perfectly with no sticks or jumps almost a bonus. But one with hardly any clicks at all is little short of remarkable. Just a couple of three ultra gentle ticks were heard on one joining groove from the only mark that penetrates for a couple of seconds without the music being affected. For a record now 56-years-old, this is a very impressive visual copy that is very clean with equally fine shine and heavily pressed on deep groove thick vinyl. A copy with very modest usage on all the evidence with any surface marks few, mostly very fine, wispy light and faint as seen critically under bright light. Any surface scuffs ultra fine and faint, viewed in average room light, hardly anything even registers. A survivor where the owner has given it due respect and care, avoiding any mishaps of stylus drops or jolts – such traumas wrote off so many of these early mono albums – we have all seen and esperienced such copies. I would never offer them. Visually a super example of arguably the world’s most famous album, it should please many 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 equipment, all listed further down.]

Sound Quality and Audio Grading: This legendary black and gold label first press album plays even above it’s high visual grading with very little to fault. The tiny few joining groove light ticks and the milli-second crackle pressing sound towards the very end of ‘Misery’ (with no visual evidence of why its even there). But hardly uncommon proving even Parlophone pressings were not always pristine even from new. The 14 songs play with clean, clear and impressive sound – this a very loudly recorded album with full-on dynamics, detail, warmth and intensity – it’s a wonder how any played copy survived the ‘mono’ era at all being honest. Any surface sounds are minimal with no tracking issues* or other inherent pressing noises by the one mentioned. The lack of clicks on this popular album is a significant rarity to fine, this being played on a revealing system. Few available genuine first issue black and gold copies will outperform this significantly I feel sure. Both channels are clean and sharp when played on a standard stereo system. I am certain this record has been played only modestly (and very lightly compared to most) and has been reasonably well stored (flipbacks do catch when stored and hardly uncommon), and carefully handled within a non-smoking environment. Little of any real note spoilt my pleasure when play-grading this wonderful album. It will prove very difficult to find significantly better and can be strongly recommended – but again, not for perfectionists who only want near mint at any cost. This is not near mint, but it really is a superb excellent sounding copy, and I feels sure many would grade it higher still.

* As played-graded on a high-end Linn LP12 Sondek turntable with Ittok Mk II arm and Ortofon Quintet Black moving coil cartridge tracking at 2 grams. Records are a ‘contact’ format, and few will avoid the odd minor sound blemish.

I am one of the most established sellers on Ebay, trading since 2001 and offering the finest 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 all elements of the items I offer for sale. You may notice I only submit records quite sparingly on Ebay as I Play-Grade every record I offer in their entirety – also on higher-end equipment – not just bits to guess a grade – visuals alone do not always tell a true story. I will try to 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 it’s good. I get just as much pleasure offering a relatively common record in near mint condition as the real rare items. All the pictures I use for your guidance are the item being offered with no digital enhancements. Room light factors can make things vary sometimes, that is hard to control, especially in winter. I hope the item below is to your liking – any questions can be emailed and I will do my best to answer you. I am enthusiastic, and have a fair degree of knowledge about many genres and I promise quality items. Please assume all records I offer have NO jumps, sticks, major 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 Quintet Black moving coil cartridge (tracks at 2 grams). Amps: Naim Supernait 2 with Project USB phono stage and Tellerium Black interconnects. Speakers: B&W 805 Nautilus (bi-wired with Tellurium Black terminated cable) with REL subwoofer. All records I offer on Ebay are cleaned on a professional Nessie 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 D7500 DSLR 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.

PLEASE NOTE: I now exercise my right to open a dispute after the Ebay rule of TWO days if no payment is received. I will then cancel the dispute to end the bid, 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 as will any suspicious bids or bid bid retractions. 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] = £7.50. (this includes insurance of £500). Add £1 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 £2 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 only 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 2 days for communication and 7 days for payment to arrive – if not I will relist the item or offer to the runner-up.

My Guarantee: If any winning bidder is not satisfied with their purchase I will offer a complete refund if the item is returned in the same condition is was sent e.g. as per the listing pictures.

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, 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.