Description "YOU WEAR IT WLL" (Rod Stewart & Martin Quittenton, 1972) I had nothing to do on this hot afternoon, But to settle down and write you a line. I've been meaning to phone you, but from Minnesota, Hell, it's been a very long time. You wear it well, A little old fashioned, but that's all right, I suppose you're thinking, how Betty's thinking, Or she wouldn't get in touch with me. For I ain't begging or losing my head, I sure do want you to know.... That you wear it well, There ain't a lady in a land so fine, oh my, Remember their basement parties? Your brothers courted, All day rock and roll shows, The homesick blues and the radical views, Haven't left a mark on you.... You wear it well, A little loud at times, but I don't mind, But I ain't forgetting that you were once mine, But I blew it without even trying. Now I'm eating my heart out, Trying to get a letter through. Since you've been gone, it's hard to carry your weight, I want to write about the birthday gown, that I bought in town, That you sat down and cried on the stands. You knew it didn't cost me up, but for what it's worth, You made me feel like a millionaire.... And you wear it well, Madame Onasis got nothing on you, When my coffee's cold, And I'm being told, That I gotta go back to work. So when the sun goes low, And you're home alone, Try not to think of me and laugh.... And I wear it well, I don't mind if you call collect, But I ain't forgetting that you were once mine, But I blew it without even trying, Now I'm eating my heart out, Trying to get back to you. Since that's been said, what's left to address? ROD STEWART: "Never A Dull Moment" LP.  VERY FIRST UK FIRST PRESSING, 5th AUGUST, 1972.   ON THE MATT TEXTURED BLACK MERCURY LABEL: 6499 153 Only 1960's design black & silver label pressings are genuine first issues, the re-designed blue mercury labels immediately followed. MAITRIX: 6499 153 - 1Y ▽  1  420  1    6499 153 - 2 Y // 1   ▽ 420 1   The very first pressing made by Phillips, the digits spread out past the last '1' digit have no relevance, just a sound engineer unknown indexing method that never follows any logical progression.  I only include them when they are stamped very near to the  actual maitrix, that does consistently indicate the pressing sequence, this is the 'first of the first' records made.   Even the dividing symbols ' ▽ and // ' were consistent on the very first pressings of "Never A Dull Moment", Side 1 & Side 2 had them used in different positions and '//' was not on Side 1 at all. ORIGINAL 1972 PHILLIPS/POLYDOR/MERCURY INNER SLEEVE, UNSPLIT WITH ONLY MILD AGEING, USED ONCE, IN NEAR MINT CONDITION.   Some had a date code on the front bottom corner, this did not have one .   VERY FIRST ISSUE ONLY COVER, A MATT TEXTURED TOP SURFACE, ALL FOLLOWING COVERS HAD A SHINY FINISH.     UNIQUELY DESIGNED TRIPLE FOLD-OUT, TOP OPENING, GATEFOLD COVER, WITH THE THINNEST SPINE EVER   MADE WITH TITLES PRINTED ON.  LUCKILY FOR A TOP OPENING COVER, THE SPINE IS NOT ON THE STANDING    EDGE, ON THE LEFT SIDE OF THIS COMPLEX DESIGN, DID SPARE STORAGE RUBBING, BUT WITH THE AVERAGE      USE, THE SPINE POSITION BECAME WAS A HOLDING POSITION AND THE PRINTED TITLES STOOD NO CHANCE.      ONE PLAY OF THE RECORD AND STORAGE INSIDE A PLASTIC OUTER SLEEVE PREVENTED THAT AND ALSO THE    USUAL HEAVY WEAR AND EXCESSIVE AGEING / DISCOLOURATION.      With the greatest patience in the world, once again my digital camera macro setting found it impossible to take a picture of the   printing, it would take a mammoth feat to focus a camera on surely the smallest LP title of all time.  Rest assured this is an amazing   cover and the astonishing condition includes totally unworn printing even on the spine.  The cover is unfaded and unworn with the   top opening in perfect condition. THESE RARE FIRST ISSUE ONLY COVERS, HAVE MULTIPLE VULNERABLE WEAR POINTS PARTICULARLY TO THE OUTSIDE   BUT EVERYTHING IS OUTSTANDING,  A REALLY BEAUTIFUL "Never A Dull Moment" COVER!     THE 'Minus' SUFFIX TO MY GRADING ALLOWS FOR THE SLIGHTEST STANDING PRESSURE ON THE CORNERS, SO MINOR    FOR 1972, I QUESTION MY OWN UNREALISTIC ACCURACY, IN ABSOLUTELY STUNNING MINT- CONDITION.   THE RECORD WAS ONLY PLAYED ONCE IN 1972 AND LEFT UNTOUCHED EVER SINCE,  GLEAMING LIKE BRAND NEW, A REALLY BEAUTIFUL VERY FIRST PRESSING WITHOUT ANY MARKS, SCUFFS OR EVEN ANY HANDLING TRACES.   THE RECORD IN MINT CONDITION.   SIDE 1 "True Blue" (Rod Stewart / Ron Wood) "Lost Paraguayos" (Rod Stewart / Ron Wood) "Mama You Been On My Mind" (Bob Dylan) "Italian Girls" (Rod Stewart / Ron Wood) SIDE 2 "Angel" (Jimi Hendrix) "Interludings" (A. Wood) "You Wear It Well" ( Rod Stewart / Martin Quittenton) "I'd Rather Go Blind" (Billy Foster / Ellington Jordon) "Twisting The Night Away" (Sam Cooke) THE FACES* AND THE OTHER MUSICIANS: Rod Stewart* - vocals Ron Wood* - guitar, acoustic guitar & bass Ronnie Lane* - bass Kenney Jones* - drums Ian Maclagan* - organ Micky Waller - drums   Martin Quittenton - acoustic guitar   Ray Jackson - mandolin   Speedy (Neemoi Aquaye) - congas Pete Sears - piano Brian - chest piano Spike Heatley - upright bass   Dick (Tricky Dicky) Powell - violin   Gordon Huntley - steel guitar   Main Sound Engineer - Glyn Johns   Produced By Rod Stewart Between 1969 and 1972, Rod Stewart recorded a quartet of solo albums so sublime, they stand among the greatest of all time;   "An Old Raincoat Won't Ever Let You Down", "Gasoline Alley", "Every Picture Tells A Story", then this "Never A Dull Moment." I could continue into the next few solo albums but I feel there has to be an era that started in the late 1960's and into the early 70's, plus as an original Small Faces fan from 1965,  "Never A Dull Moment" became the last one Ronnie Lane appeared on.   This stunning condition is the standard I insist on, the odds of any of the four being Mint is remote to say the least, the above four albums took very heavy plays in the first year of purchase alone, damaging the covers and ruining the records.  I am very   biased towards all four albums but the musicianship, the songs, the production and of course the vocals, are second to none and   they all contain the Faces!  As I typed the track listing I was thinking how many songs on "Never A Dull Moment" became part of   the Faces live set at concerts, the whole of Side 2 alone was always performed live!  The staggering quality of the songs on this   incredible fourth LP did more than just make sure there never was a dull moment for the listeners, combined with the songs and   inspired performances, this was the masterpiece of an album that the previous three were always heading towards.  For ebay, I   have been constantly writing background's to Rod's early solo albums, but I cannot list this deeply loved record without setting   the scene.  Apologies for repetition's, but the same facts are relevant and not everyone will have read them, I will start in   1969, the early part of the 60's formed the foundation to the varied music on the albums, hard rock, authentic blues, r&b & folk.   After Rod Stewart left the Jeff Beck Group, in October 1969 he replaced Steve Marriott who had vacated the Small Faces to form   Humble Pie, the end of the 1960's decade was like the children's game of 'musical chairs.'  The music press dubbed the formations of established artists starting new bands together, as 'Supergroups', that happened here but in 1969 only a few people had heard    of Rod Stewart in Britain, he was better known in America where the Jeff Beck Group had successfully toured.  They dropped the   'Small' pre-fix and with Rod, Jeff Beck's bass guitarist Ron Wood joined as lead guitarist and 'The Faces' were born. Rod however   continued with his original plans to start a solo career, he  previously signed with Phonogram / Mercury as a solo artist anyway   so he was doubling up as a member of the Faces.  Although the Faces were now signed to Warner Brothers for their debut single and   album, "First Step", the solo and band arrangement was condusive to all concerned.  In October 1969, Rod Stewart was advanced a   budget of £1,000 to record his first solo album, Phonogram / Phillips had only just formed a progressive label, the resulting LP,   "An Old Raincoat Won't Ever Let You Down" was issued on Vertigo in November 1969.  A fantastic record that featured the Faces   and most of the musicians I just listed for this 1972 solo album, "Never A Dull Moment", a total failure to sell was understandable because only those such as myself who had grown to love Rod's unique voice from hearing the Jeff Beck Group's records, bought it. In March,1970, the Faces debut LP "First Step" was released without causing much of a stir, only making No.45 in  the UK & No.119 in the USA. It would take another year before the Faces would become established as top selling selling artists, in May 1971 their follow up "Long Player" album made No.29 in the USA where they were busy touring.   They also toured the UK but moderate sales here only saw "Long Player" reaching No.31. I included that background, which for me was very briefly, because today it will seem   hard to believe Rod Stewart was not a known and respected name during this era, or how his record sales both with the Faces and solo, were actually quite poor during 1970.  Although Rod sung on a track in 1970, ironically it became a huge No.3 hit in 1972   for Python Lee Jackson, "In A Broken Dream."  He only sang what he believed would be a guide lead vocal for Python Lee Jackson, who were meant to replace it with their own voices, Rod had no idea they would release it with his vocal still left on, he didn't even get a credit for singing on the track.  His apparently throw-away vocal was so definitive the band could not replace it due   being so rivetting, the sole reason for the single becoming a Hit, the pittance he was paid for the session did no more than pay for some new seat covers for his battered old car!  Nobody should begrudge Rod Stewart's talent finally finding fame and fortune,   he went through the whole of the 1960's as only a cult figure and the early 1970's appeared to be repeating the same struggle for recognition. Later in the same year he recorded his second solo album for Vertigo, he was leased  out to them by Mercury, why the first issue gatefold covers have their logo inside with 'Mercury Records Production.'   A solo album but it included the Faces on   the album, plus there were two other musicians who also previously played on "An Old Raincoat," drummer Micky Waller, who was   also with Stewart and Wood in the Jeff Beck Group.   Martin Quittenton was an ever present as well, a trained classical music   acoustic guitarist.  Once more they all appeared on this, the fourth Rod Stewart solo album and Martin Quittenton co-wrote the   big Hit, "You Wear It Well" from "Never A Dull Moment" and the track I just gave the lyrics to. It was a family affair for Rod's   early 1970's solo albums, he was comfortable with familiar 'faces' around him at this stage.  "Gasoline Alley" was a fantastic LP   but once again it barely sold in October,1970 and climbed no higher than No.63 in the UK charts.   Now for more happy details, Rod's third solo LP was released in July 1971, "Every Picture Tells A Story" finally brought him the long overdue success, but that all really revolved around an overlooked B-side!  "Reason to Believe" was the A-side on the single issued 4th September,1971, extensive radio plays of the B-side,"Maggie May," by one American radio station's DJ, brought about a reversal of the tracks.   Within only eleven days and by the 18th of that same September, "Maggie May" was now the main track and the rest is history.  A wonderful story perhaps forgotten now, I followed Rod's records since first hearing him singing on Jeff Beck's own B-sides!  Now Rod Stewart had both the album and the single sitting at No.1 in America and the UK simultaneously, not   too bad for a former grave digger, after failing to make it as a professional football.  Like the "Maggie May" track, a memorable   mandolin on "You Wear It Well" was also played by Lindisfarne's Ray Jackson, another favourite band of mine. An equally beautiful   song from the 1971 "Every Picture" album, "Mandolin Wind," featured the mandolin skills of Ray Jackson, connections between all four of Rod's solo albums and the Faces, are inseparable, they all have absolutely stunning music in common.  The September date of the album hitting No.1 when the single had the a-side reversed becomes extra special for these very first pressings, they were obviously made  in advance of the 5th August release date.   At that stage Phillips were not expecting such massive sales, so the really serious  manufacturing began later and with a consecutive 36 week chart residency in the UK, it is hardly surprising that the later blue Mercury label second pressings are around in far larger amounts today.  Why I was protective towards this unaged   original inner sleeve and made sure to say it was the glue that caused yellowing at the top edge and corners, a very significant   reason.   A July or August '72 printed original inner sleeve perfectly document the series of events that made Rod, and at first the "Maggie May" A-side single, then the "Every Picture Tells A Story" LP, into become a huge success each side of the Atlantic. With that firmly established,  I better go directly to describing the very first pressing of "Never A Dull Moment." As a matter of personal opinion, the staggering material on "Never A Dull Moment" made it the finest of all Rod's solo albums from   the earliest part of the 1970's.  To the point, The Faces albums were becoming secondary to Rod Stewart's and if he was now using   the best material on his solo albums or not, is history now, you only need to gather the solo LP's together with The Faces albums   and collectively they form the most endearing and enjoyable music you could wish to hear. I can't help having and giving opinion about artists & albums I have loved ever since their first releases, I certainly disagree with that theory anyway, musically this   happened to be a particularly inspired period and besides that, the Faces never once recorded one substandard or ordinary track. Prolific artists were able to consistently produce really superb records, listening to the Faces and Rod's solo albums, is to hear   the early 1970's decade's greatest music, a personal opinion is subjective, certainly the greatest and the most enduring music of   of Rod Stewart's long and fruitful career. I had a listen earlier and found an absolutely stunning sounding record with razor sharp edged sound now, that is even rarer than a perfect cover!  Those who also love "Never A Dull Moment" as much as me will know how poor the sound quality normally is, due to two main reasons, 1972 was really close to the mono only decade, many were still using 1960's mono record players with blunt needles, the second reason is this album was played endlessly!  I avoid the pitfalls and disappointments by aiming at the hardest   condition for records from most decades, as close to Mint as possible, quite a task for the 1960's and early 70's but a challenge   born of refusing to hear or offer substandard audio.  Some albums as first pressings did have in-built sound flaws, we accepted it and fell in love with the music all the same, today I know the albums audio perfection is possible for, as rare as them surviving as first pressed, I wait patiently until I can find a copy I would accept for myself.  All the grading terminologies in the world cannot substitute the true meaning of grading records, without that intimate first hand experience and love of the music how can   anyone sound grade a record?   Damaged first or second pressings defeat the whole point of original vinyl, which is to hear any record exactly how the artists intended it to sound, in this case Rod Stewart produced "Never A Dull Moment", plus it contains many tracks essentially only heard in the absolutely perfect audio clarity it was first pressed with.  Along with many more folk music or acoustic instruments orientated songs, "Never A Dull Moment" happens to have the finest ever Rod Stewart vocal on a slow burning, pure blues track, I am including the superb 1968 Jeff Beck Group "Truth" album with Rod and Ron in that, which   is the highest praise I can think of.  The track is of course "I'd Rather Go Blind", the restrained and softly played instrumental   backing leaves the 'smokey late night blues' wide open to horrific noise.  Most originals have crackles, clicks and pops so loud   and annoying, there is no way you can possibly enjoy the intensity of raw emotional performances from Rod and the musicians.    Anyone who doubts Rod Stewart's credentials as one of the world's greatest ever blues vocalists, should listen to his incredible   interpretation of Billy Foster & Ellington Jordon's heart wrenching composition.  Chicken Shack with Christine Perfect (McVie) on lead vocals recorded a very special version, but Rod Stewart was inspired out of his skin, so were those musicians backing him!    This was an absolutely staggering performance, the preceding gap remains near silent and that superb slowly beginning intro has no more than the faintest of faint, natural static, I cannot expect to hear anything less than I did when first encountering a   first pressing in 1972.  This was performed more like a Stax/Atlantic backing, all credit to Rod for that arrangement as it was   as close to an Otis Redding recording, this side of Memphis!  The sound is just unbelievable and sheer perfection, as it is on the   entire album, there is virtually no surface sound and certainly no irritants,"I'd Rather Go Blind" can be heard in all it's 1972   glorious original mix & sound quality.  Then you also have Rod's definitive version of Jimi Hendrix's "Angel," another track with   the atmospheric's so thick, you could cut them with a knife. I sat listening in a state of pure wonder, because even the delicate   intro to "Angel" did not suffer from the usual intrusive and mood destroying needle noise, considering how expose the second side   is, containing both "I'd Rather Go Blind" &"Angel,", the audio standard of these very first pressings was once again examined as   if from a just bought/pressed record in August,1972.  An experience I know very well, not just because that was when I bought my   original, but because all the previous first pressings I have ever sold had to reach the same incredible standard of mastering and   pressing I have never compromised over.  It is rare but I have once again produced an ultimate sounding first pressing, then they   made that superbly and audio perfection was just heard on every second, not forgetting of course how all the gaps were just as smooth and problem free.  Even the gaps before and after "Interludings" were ultra clean and the very short acoustic guitar only instrumental played as perfectly as I demand, no crackles/irritants on this entire record.  With so many great songs on a single   album, I don't know where to turn to praise next, I must include Bob Dylan's "Mama You Been On My Mind," Rod Stewart always gave fantastic interpretations of Bob Dylan's compositions, in 1972, he was in really inspired form, a beautiful acoustic intro was a real joy to hear perfectly clean & clear, Rod's vocals are simply mouth watering stuff, the melody itself is so beautiful, to hear it as cleanly as a CD, really made my day.  In fact the whole album taken as whole was like hearing "Never A Dull Moment"  or the very first time, which for an old original Rod / Faces fan like myself, simply should not have happened after 40 years.    That takes a really outstanding record to have that kind of overwhelming impact, the further I went into this record, the more I   knew I couldn't possibly be let loose writing one of my usual track by track descriptions. A fantastic moment is just after the last   note of "I'd Rather Go Blind" gradually fades out, then Ron Wood's lead guitar intro to "Twisting The Night Away" slowly fades in. Naturally enough that gradual fade-up can be enjoyed without any surface sound at all, I would not say that unless it was true. The breaking of such dramatic tension from the biting intensity of "I'd Rather Go Blind", was timing of sheer genius, Rod Stewart comes in roaring out Sam Cooke's up tempo composition, stirring some very happy memories of seeing the Faces performing this   live.  Which they were doing in the studio, this great track is like virtually the whole of "Never A Dull Moment," performed in live takes.  After hearing a stunning sounding  "I'd Rather Go Blind" I decided the sound quality was so perfect it would be indulgence   on my behalf if I wrote a normal track by track description, my pleasure was hearing those wonderful songs sounding so perfect.   Any natural static is of the ultra faint variety, unworthy of discussion and I will firmly emphasise again how this record is in   truly beautiful gleaming condition and there are no handling/playing signs, let alone marks, looking and sounding like brand new.   At fourty two years of age, if it was only the record in totally unmarked condition, I would be amazed, but so is this far rarer   matt, triple gatefold very first issue cover. In theory it should have positive storage and handling wear, if not fading & ageing and some degree of ring wear.  There is literally not a solitary thing to detail as wear on any part of the cover, or any ageing,   virtually not  a blemish to describe, even all the edges of the single thickness card sections of the unique design have crisp,   sharp and perfect edges, the 'virtually' and the 'Minus' part of my grading allows for it standing for all those decades unused.   The corners have the merest signs of that, not all of them and I am over fussing as usual, something I feel essential to offering   records for sale, I care passionately about how my own records look and sound, but even more so when it is on behalf of other's.   I said a uniquely designed cover, this is in fact exactly the same design as the Faces "Ooh La- La" album, released eight months   later in April 1973, minus the 'moving face' on the front.   By then Warner Brothers decided it was more economical to import all   the covers from America, although the printer was uncredited once again by Phillips/Mercury/ Fontana and Vertigo, they were   all made in Britain, or they would also have, "Made In The USA" printed on them.  My pictures are the only description needed,   they include views with the cover shown with all three of the sections opened out.  That way you can actually see the unusual   and ingenious design, should this be unknown as a first issue .  Stored inside a plastic outer sleeve right from August,1972, it   has to have a minimum grading of Near Mint, the once played record without any kind of handling let alone marks has to be given   a full Mint grading. {Roy}   R & M RECORDS. My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade   in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl   into becoming a professional record seller.  Over twenty years ago now we entered into the wonderful atmosphere of record fairs with the highest possible standards set. When the Internet became the world's new market place for   vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be, the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly and very efficient service we are proud to provide; EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE.   I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY   FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK. THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE OF GENUINELY UNPLAYED VINYL.  EVEN THEN WE STILL TAKE FULL RESPONSIBITY FOR A RECORD WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.   MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION. ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.   WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT RECORDS AND COVERS ETC.  WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD. ALL RECORDS ARE REMOVED FROM THEIR SLEEVES AND PLACED INTO NEW PROTECTIVE CARD SLEEVES AND THEN PLACED INTO NEW, HEAVYWEIGHT PLASTIC OUTER SLEEVES. 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We have kept all our charges at the same level for years now, but due to the Post Office's new price increases, regretfully we will have to increase the cost of LP's, however, singles will remain unchanged.  Ebay were aware of that happening and have   increased their minimum postal cost for LP's to £7.00, that figure has been enforced by the UK Post Office and it will become our UK First Class, Recorded Delivery cost for albums up to the value of £46.   For LP's valued above £46, the cost will be £9, we are unhappy about either increase but our high standard of packaging has meant in 12 years of ebay trading, there has not been one record damaged, we are determined to maintain that in the present and future. IN THE UK RECORDS UP TO THE VALUE OF £46 WILL BE SENT RECORDED DELIVERY, OVER £46 WILL BE SENT SPECIAL DELIVERY.   FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA 'INTERNATIONAL SIGNED FOR.' POSTAGE  COST FOR LP's UK: UP TO VALUE OF £46, FIRST CLASS RECORDED DELIVERY  £7.00 UK: OVER VALUE OF £46, FULLY INSURED SPECIAL DELIVERY £9.00 EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR  £15.00 USA,JAPAN & REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR £20.00 POSTAGE COST FOR EP's & 7" UK: UP TO THE VALUE OF £46 FIRST CLASS RECORDED DELIVERY £3.00 UK: OVER THE VALUE OF £46 FULLY INSURED SPECIAL DELIVERY £6.00 EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR £10.00 USA, JAPAN ETC. AIRMAIL VIA INTERNATIONAL SIGNED FOR £12.00 PAYMENT DETAILS. WE WILL SEND ALL WINNING BIDDERS AN INVOICE WITH THE FULL PAYMENT AND POSTAL DETAILS, AS NEAR TO THE AUCTION ENDING AS POSSIBLE. OUR AIM IS TO MAKE YOUR PURCHASE SMOOTH AND TROUBLE FREE. FOR UK BUYERS; WE ACCEPT:  PAYPAL, CHEQUES, POSTAL ORDERS & BANK WIRES. FOR OVERSEAS BUYERS; WE ACCEPT:  PAYPAL, INTERNATIONAL MONEY ORDERS IN POUNDS STERLING ONLY. OR BANK TO BANK WIRE TRANSFERS. WE WILL NOT MAKE FALSE STATEMENTS ON CUSTOMS DECLARATION FORMS AND WILL ALWAYS CONDUCT ALL OF OUR BUSINESS WITH TOTAL HONESTY. AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT DUTIES, WE WILL NOT LIE.   Pay me with PayPal. I don't charge my buyers extra!