Description "I WOULDN'T EVER CHANGE A THING" (Rod Stewart, 1969) Ah, listen, It's funny you know, when you sit down, And think about what you had, About the friends you used to know, What happened, where did they all go?   Can you remember happy hours, Spent drinking and thinking? We thought we could change the world, And we never, never, never, never, never, Never thought we could get much older then.   We were the ones, who loved to love the right to love, We'd bring it on home with the right song, Played at the right time. What happened to the girl, that you loved once and left?   Young man, did you break her heart? Did she live, and did she marry, Did she ever think on your face again? Ah, now hold on a minute. I wouldn't change a thing, if I could live it all again.   Ah, yeah, I think what you say is all so right, But I find it hard to jog my memories.   Don't worry Lou, you may never get another chance, yeah. Yes, I think what you say is all so right, But I find it hard to move my memories,   Say it again, with a lot more feeling. And I think what you say is all so right,   But I find it hard to find my memories, Don't sing so serious, you make me feel so sad.   But if I was true to myself, I would probably find it was a tear in my eye, That stopped me from believing you. Don't worry, don't worry, don't worry don't worry.   You know my tongue gets tired, When I think back on all of the things we do,   But I wonder if I'll remember these few precious things. As years pass me by, Ah, when young bodies that've grown older, And minds become dimmer,   I'll point the finger back in time. I said I wouldn't change a thing if I could,   If I could, if I could live it all again, yeah. ROD STEWART: "An Old Raincoat Won't Ever Let You Down" LP, UK RARE LARGE VERTIGO SWIRL LOGO LABEL, PRESSED MARCH,1970 PRESSING.  THE FIRST WITH 'Phillips' LETTERING WAS ISSUED ONLY 12 WEEKS EARLIER. The first pressing release date has to be established before I can even continue, once again website information is incorrect and   misleading, plus they have completely missed out this genuine transitional pressing. Is it correct to state 'second' pressing when   only 12 weeks have passed and the only difference is a small credit?   For the big selling records that sustained a long chart duration, 12 weeks is not remotely long enough to even consider this is a a second pressing or a re-issue. This has same quality   late 1960's vinyl, the same maitrix with only one digit rise on Side , the same 1969 Vertigo inner sleeve and the same rare 1969   first edition textured gatefold cover.  My personal first hand experience does not depend on someone else's guesswork, because   I bought the first pressing in November,1969 and still have the original 'Melody Maker' with a promo Vertigo advert, there was no other way of knowing Rod Stewart's first solo album was being released in 1969!  Well, John Peel was playing it on his late night radio show but "An Old Raincoat Won't Ever Let You Down" sold so poorly it never made a chart entry in the UK and to this   day, one of the greatest debut albums has never come close to charting in Britain.  Any Vertigo swirl pressing in top condition has to be regarded as rare because the enlightened who bought it, played it incessantly, the actual second pressing had all the items different to 1969 and readily identified as the first smaller Vertigo logo label pressing in June 1971.  Great records and all the common connecting thread was they all retained the status of being the fourth ever Vertigo swirl label album by having the 'VO4' catalogue number.   The word 'transitional' is a very abused term on ebay, in order to have a transition, there had to be a starting point, a middle and an end.  In other words, at least three designs and as ever, the second design was only in circulation in a very brief moment in time.  It cannot be applied to the mass manufacturing of a top selling chart album, but only when very few copies were made and printing designs were gradually changed, so the third and final designs do not have anything different ,which is true here. This transitional design record was certainly pressed in the same very small batch as the November,1969, very first pressings,   In March,1970, the "A PHILIPS RECORD PRODUCT" text at 6 0'clock was removed, nothing else was changed and the large size   swirl logo on Side 2's track and credits label, was left untouched, giving the month and year it was pressed.  To release records   in March, including packaging and distribution to record shop nationwide, the pressing would have been made in February 1970.   I regularly write about this for the Rod Stewart pair of Vertigo albums, unlike a recently sold "Black Sabbath" Vertigo album, on   release and until 1971, neither "Gasoline Alley" or "An Old Raincoat Won't Ever Let You Down" hardly sold any copies, or in   fact did  most early Vertigo albums.  So few albums exist with the two large swirl logo labels,  I struggle to find them and I am   very strict about only offering the pair in Mint condition.   Which is not exactly easy for the more plentiful small logo label   records because all this happened over 40 years ago at a minimum age, 41 years to be precise for the last swirl label pressings.   If a label was re-designed in one straight move, you cannot have any kind of 'transition', the record I am offering is clearly an actual 'middle' transition that first had the Phillips lettering removed and the large swirl label would not be introduced until   the following year.  The rarity of this particular 'middle' stage is in direct proportion to the 1969 pressing, ebay is the world's   biggest market place for collectible vinyl and a search just revealed and confirmed that, not a solitary UK large logo label is on   sale currently.  By announcing early I will not play the record, it prevents me from weakening and giving in to the temptation,   this was no ordinary debut album, but a lovingly created masterpiece that perfectly blended rock, blues and folk.     Either variation of the original large swirl label pressings in unplayed Mint condition, is off the scale for rarity, for this   particular old Rod Stwart fan who did buy the album in 1969, the urge to play and hear it has to be controlled.   I must offer   this for the next owner to have the unbelievable experience of being the very first to hear the record in 44 years, I have played   several unplayed records over the last few months, including yesterday.  That was a No.2 huge selling album from the same year   of 1970 and released only two months later.   For a Beatle's first solo album of that vintage, a Mint unplayed "McCartney" is   extremely rare.... compared to the then unknown Rod Stewart's debut solo album and virtually zero sales and no chart position  , "An Old Raincoat Won't Ever Let You Down" in true Mint is indeed off the scale for rarity.   At least the first pressing of  the   "Gasoline Alley" album finally made the first chart entry for a solo Rod Stewart album, in October, 1971, if only at No.62 for   7 days!   VERTIGO SPIRAL LABEL:  VO4  ( 847 200 VTY) MAITRIX:  852684   1Y *  2  420  1 1 1 /  6360 500 - 2 Y  // 1  ▽ 420 1 1  1  (The first and only pressing made for March,1970.) I WILL NAME THIS  A NOVEMBER,1969  VERTIGO GATEFOLD COVER, BECAUSE THAT WAS WHEN IT WAS FIRST MADE, AND THE OUTSIDE HAS A TEXTURED FINISHED, NOT A PRONOUNCED AS  "Gasoline Alley" BUT POSITIVELY TEXTURED. TYPICAL OF 1960's PHILLIPS/FONTANA/VERTIGO COVERS, THERE WAS NOT A PRINTER CREDIT, A PERSONAL OPINION, "Howard Printers (Slough) Ltd." WAS THE  MOST LIKELY FROM THE DESIGN AND HEAVY DUTY CARDBOARD. The record was never played and ever since early 1970 has been perfectly stored inside a plastic outer, so no fading at all and I was plesantly surprised to find no ageing at all.   Unlaminated, so all the 1969 - early 1970's covers became badly worn and very battered with rampant ring wear, split seams and ruined spines, with the lengthy title's lettering either badly stained or just completely obliterated.  Why in thirteen  years on ebay I have only three copies of "An Old Raincoat Won't Ever Let You Down" and only one large logo pressing way back  in 2003, yet another reason why I feel obliged to respect the unplayed aspect of this album.  This is in really outstanding condition, with unfaded and deeply toned colours on the outside's superb artwork, today it would be considered to be in bad taste because children are happily in the company of an apparent stranger, society has taken a turn for the worse, well intended strangers are no longer tolerated around children.  In 1969 there was nothing wrong with the innocence of young children running and playing with a tramp wearing an old dirty.......raincoat.   Vertigo's album covers always seemed to have imaginative artwork, not relying on just pictures of the artists who were not necessarily in view on the front of gatefold covers, this was no exception. Mostly light green and the white colours, including the front titles and of much greater significance, on the spine, including the spine the lettering is a totally unaged or yellowed. My camera struggled to clearly show the part of the spine titles because it almost disappears against similar light colours of the artwork, I kept the close up picture in though because it can be seen and how completely unworn and unaged the entire spine is.  Only the extreme tips of the spine or   corners have the slightest rubbing, I have seen worse on unsealed brand new gatefold covers made in 2014.  Considering the heavyweight record this has been holding for a minimum of 44 years.but in reality 45 years, it's remarkable to see without the usual heavy scuffing or severe ring wear on the outside, especially for the back record storage compartment, which does not have a hint of ring wear ,one of the first I've ever found completely unaffected on the back.  The unused opening edges are in absolutely perfect condition with only the most minor standing traits possible on the outside. The back has the mentioned definitive identification of the first issue cover with Vertigo's catalogue number,'V04 (847200 VTY)'.   The inside is in superb as new condition, without any scuffing to the pictures or text.  I have shown the gatefold cover opened out on both sides in my pictures, pleases see them for all details given here. A REALLY BEAUTIFUL COVER, STILL WITH THE ORIGINAL 1971 STARCHY RIGIDITY, WITHOUT EVEN A RECORD   IMPRESSION, SO THE GRADING HAS TO BE NEAR MINT CONDITION. ORIGINAL 1969 - 197O BLACK & WHITE VERTIGO SPIRAL, POLY-LINED INNER SLEEVE, LIKE OTHERS FROM THIS PERIOD,   THE ACTUAL DATE OF MANUFACTURING WAS NOT PRINTED ON ONE OF THE CORNERS, WELL POSSIBLY!  THIS DOES HAVE   A NUMBER THAT POSSIBLY FITS BUT NOT CONCLUSIVELY;       '320' is printed on the left side of "Made In England", the '3' digit fits 'March' and if '2' was intended to be  '7' , that   would  have read 'March, 1970.'  Maybe just a coincidence but the actual design is that of the very first Vertigo swirl inner   sleeves and I had to include the possibility of have a manufacturing date.   The original 1969 "swirl" inner sleeve was never used condition, with any the most minimal ageing to the white colour and that once again mostly concerns on the gluing positions for the seams and fixing the poly-lining to the highly absorbent matt paper. Even the die-cut centre is unworn and the heavyweight record has not caused any splits, the poly-lining is in perfect condition, all to add is a record impression and a few related gentle creases/paper ripples. So many are lost now, it's a relief  to find an original in the cover of any Vertigo album, the famous spiraling pattern on the label doesn't look anywhere as  effective in any other replacement sleeves.  Counterfeit sleeves exist, I urge buyers and sellers alike to boycott any seller using or even worse,   selling counterfeit items, buyers can and must stop this disgraceful violation of our musical heritage, leave the conmen/women   stuck with unsold fakes, that will end the infestation once and for all.  I have of course placed the record into a plain white new sleeve for both shipping and to maintain such a superb unused, unsplit early 1970 Vertigo swirl sleeve. . THE INNER SLEEVE IS IN EXCELLENT+++ / NEAR MINT CONDITION. MY LABEL PICTURES  LABELS SHOW THEIR 'JUST PRINTED' AND 'JUST PRESSED' APPEARANCE, WITH THE TOTAL LACK OF ANY SPINDLE ALIGNMENT TRACES AND HOW AMAZINGLY PURE WHITE THEY ARE. A REALLY RARE UNPLAYED RECORD WITHOUT ANY MARKS OR SCUFFS ON ULTRA GLOSSY VINYL, THE RECORD IS IN UNPLAYED, MINT CONDITION. SIDE 1 "Street Fighting Man" (Mick Jagger / Keith Richards)   "Man Of Constant Sorrow" (Traditional, Arranged by Rod Stewart)   "Blind Prayer" (Rod Stewart)   "Handbags And Gladrags" (Mike D'Abo)     SIDE 2   "An Old Raincoat Won't Ever Let You Down" (Rod Stewart)   "I Wouldn't Ever Change A Thing" (Rod Stewart)   "Cindy's Lament" (Rod Stewart)   "Dirty Old Town" (Ewan MacColl)     Rod Stewart - vocals, acoustic guitar on "Man Of Constant Sorrow" Ronnie Wood - guitar, bottleneck guitar & bass (Or As Rod named him in his sleeve notes; 'Ronald (Good Looking) Wood') Martin Pugh - guitar Martin Quittenton -acoustic guitar Ian "Mac" McLagan - piano & organ Mick Waller - drums Keith Emerson - organ on "I Wouldn't Ever Change A Thing" Mike D'Abo - piano on "Handbags and Gladrags"   Recorded In 1969 At Lansdowne & Olympic Studios, London. Arranged By Rod Stewart. Produced By Lou Reizner. Having just written a description for Rod's second Vertigo album, I had to consider whether to include a background, I would be   uncomfortable not providing essential info for such a long loved album.  I always genuinely enjoy writing about the details that   led up to 1969 and the sowing of seeds that would eventually germinate, blossom and bloom into one of the world's greatest lead   vocalist and songwriter.   Yes, Rod Stewart was and still is a very talented songwriter, check out the four compositions on this   debut album, particularly the very personal and revealing "I Wouldn't Ever Change A Thing."   He also happened to be one of the world's finest blues vocalists capable of the most gentle folk music, then roaring out heavy rock in a style much copied down the   decades, you get all that on "An Old Raincoat Won't Ever Let You Down."   He was also the most talented vocalist interpreting songs from any era and if he was going to navigate the dreaded late 1970's - 1980's , he could also pose and pout better than any of them and at least on the same level of Mick Jagger and David Bowie.  Not exactly my favourite Rod Stewart era, but surviving the 60's alone was a feat so many failed to do, after years of struggling for recognition who could deny him all that indulgence? I'm a great believer in staying aboard for the journey, yes, it went too far over the top for me but then in the 90's Rod Stewart got back to the kind of music and fantastic records we came to expect in the heady days of those Vertigo and black Mercury label albums, and of course the glorious inspired Faces period.  Is there a young vocalist today who will have such a staggering career as Rod for five plus decades?  I hope so, but doubt it!   When Rod Stewart left the Jeff Beck Group he replaced Steve Marriott in the Small Faces in 1969, for a short time the band were    touring and recording with Art Wood under the name of 'Art Wood's Quiet Melon.'  Leaving with Rod was Jeff Beck's bass guitarist,   Ron Wood, also a superb lead guitarist, but obviously Jeff Beck filled that role in the two years they were together,1967 / 1969.    Ron Wood was Art's brother and they recorded three tracks before they moved on to become 'The Faces' later in 1969, a few years   ago I listed a very rare 1995 record on the 'Lost Moment' label containing all three tracks recorded with Rod, Ron and the former   Small Faces, it was officially released and I must find another copy, what a complex period this was! In October '69 they dropped   the 'Small' prefix and the future Rolling Stone, with the other Ronnie an accomplished bass guitarist, Ron Wood became their lead   guitarist and 'The Faces' were born.   Over the next five years the music business would be rejuvenated, but The Faces and Rod's   recognition had to be earned the hard way, this was certainly not an overnight success story.  Even though with Steve Marriott,   Ronnie Lane had co-written and co-produced a string of hit singles and albums from 1965 -1969, but like Ian McLagen and Kenney   Jones, they were starting all over again, they signed with Warner Brothers and cream always rises to the top.     Rod however continued with his original plans to start a solo career after leaving Jeff Beck, he signed to Phonogram/Mercury as a solo artist only, so Rod doubled up as lead vocalist for the Faces.   The Faces recorded their debut LP and single for Warners, a rather awkward arrangement, but for now it was conducive to all concerned and this very happy band got on with drinking their way around the gigs and making stunning music, I consider myself fortunate to have been at and thoroughly enjoyed those early gigs in late 1969.  In October 1969, Rod Stewart was advanced £1,000 to record his first solo album and as Phonogram/Phillips   had only just formed a progressive label, the resulting LP, "An Old Raincoat Won't Ever Let You Down" was released in the UK on   Vertigo in November 1969, but on Mercury in America where he was much better known from the Jeff Beck Group.  The too 'British'   album title was unsuitable and the very tame "The Rod Stewart Album" replaced  the original and once again the artwork  was too   sureallistic for a debut album.   The music just blew you clean away regardless of the title!   Opening with a stunning reading of the   Rolling Stones "Street Fighting Man"certainly gave first impressions a mighty impact, ironically a certain 'Ronald Wood' was fated   to join the Rolling Stones in only five years time.  Not that Ron Wood only played an electric guitar on Rod's version, heavy rock   was initially performed entirely on acoustic guitars before they launched an all out assault, if you have yet to hear this version   of "Street Fighting Man," be prepared for something very, very special indeed!  Manfred Mann's ex- vocalist wrote and played the piano on  "Handbags & Gladrags," Rod's vocals have to be heard to be believed and he literally made that wonderful song 'his' and any other version has to be measured against the one on "An Old Raincoat Won't Ever Let You Down."  I am much too close to the album to give an unbiased verdict, in a way it's a relief not describing the album on a track by track basis.  A fantastic album, but total failure to sell here was understandable, because only those who had grown to love his unique voice via those Jeff Beck Group recordings actually bought it.  In April 1970, the Faces debut LP "First Step" was released without causing much of a stir, only making No. 45 in the UK and No.119 in the USA.  It would take another year yet before the Faces would become major selling artists, in May 1971 their "Long Player" LP hit No.29 in the USA where they were kept busy touring. They also toured the UK, but   moderate sales in Britain only saw "Long Player" making it to No.31.  I included all that background because today it will appear   impossible to believe Rod Stewart was not a big name in this early period, he was all but unknown while with the Jeff Beck Group during the last three years of the 60's decade.  His records, both with the Faces & solo, were selling poorly in 1970, ironically a very poor, struggling Rod Stewart had sung on a track in 1970 that would become a huge No.3 hit two years later in 1972 for Python Lee Jackson,"In A Broken Dream."  He sang what he believed was meant to be a guide lead vocal for Python Lee Jackson, who were supposed to replace that with their own voices after learning his natural blues phrasing, Rod had no idea they would release the single with his guide vocals left on.  He was uncredited for being on the track and never received further royalties and the pittance he was paid for the session, did no more than pay for new seat covers for his battered old car!   In the same year he recorded his second solo album for Vertigo, "Gasoline Alley," Rod had been leased to Vertigo by Mercury, so the original UK first gatefold covers have their logo inside with "A Mercury Records Production."  I said a 'solo album, but the   Faces played on the album, with two other musicians who had also appeared on "An Old Raincoat", drummer Micky Waller, who   had been in the Jeff Beck Group with Rod Stewart and Ron Wood, not forgetting the ever present classic music trained acoustic   guitarist, Martin Quittenton.  His second solo venture "Gasoline Alley" was also a great album, but once again it barely sold in   October 1970 and it climbed no higher than No.62 in the British charts.  Not only such a low chart entry on the 3rd October, it   was only in the charts for seven days, late 1970, Rod Stewart this was indeed a gifted artist who was struggling to sell records   as both a solo artist and as the lead singer of The Faces.  The  commercial failure of "Gasoline Alley" was also the end of Rod Stewart recording for Vertigo, next stop was UK's Mercury, his third solo album, "Every Picture Tells A Story," fate was now waiting in the wings to change everything after Rod's struggles for recognition from as long ago as 1963. I would have preferred to play and describe the incredible tracks "An Old Raincoat" but for an unplayed early 1970 pressing, I accept not personally hearing the record.   2014 has been a fantastic year for  sublime records,I am very proud and thrilled to offer "An Old Raincoat Won't Ever Let You Down" in the ultimate condition. {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 RESPONSIBILITY 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. THE GREATEST ATTENTION IS PAID TO MAKING THE PACKAGING EXTREMELY STRONG & SECURE. EVERY POSSIBLE EFFORT IS MADE TO ENSURE A SAFE DELIVERY AND WE ONLY USE THE VERY BEST QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS TREATED EXACTLY THE SAME. WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES WEIGH A LITTLE EXTRA. UNDER PAYPAL & EBAY'S GUIDELINES, ALL RECORDS WILL BE SENT VIA A FULLY INSURED TRACKABLE SERVICE. 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.  A temporary reduction this week means we can now post LP's for £5, but who knows how long before the Post Office return to £7? 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 13 years of ebay trading, there has not been one record damaged, we are determined to maintain that in the present and future. 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