Description We Wish You A Merry Christmas, And A Happy New Year! It is time for you to stop all of your sobbing,   Yes it's time for you to stop all of your sobbing.   There's one thing that you gotta do,   To make me still want you....   Gotta stop sobbing now,   Yeah, stop it, stop it,   Gotta stop sobbing now.     It is time for you to laugh instead of crying,   Yes it's time for you to laugh so keep on trying,   There's one thing that you gotta do,   To make me still want you....     Gotta stop sobbing now,   Yeah, stop it, stop it,   Gotta stop sobbing now.     Each little tear that falls from your eye,   Makes... makes me want to take you in my arms,   And tell you to stop all your sobbing.     Yes, it's time for you to stop all of your sobbing,   Yes, it's time for you to stop all of your sobbing,   There's one thing that you gotta do,   To make me still want you....     Gotta stop sobbing now,   Yeah, stop it, stop it,   Gotta stop sobbing now,   Stop it, stop it,   Gotta stop sobbing now,   Sobbing, sobbin, sobbing...... THE KINKS: "The Kinks" DEBUT LP, UK VERY FIRST PRESSING, ISSUED 2nd OCTOBER, 1964, IN MONO ONLY. There never was a Stereo mix made and the misleadingly named 'Stereo' UK Export album, was electronically faked Mono.   TEXTURED PINK PYE LABEL: NPL 18096   AS THE FIRST PRESSING, THE LABELS HAVE THE YEAR OF PUBLICATION AS; "Recording First Published 1964." MAITRIX:  NN 1096 - A - 1 T */  NN 1096 - B - 4 S. *The above is how all the first pressings  I have seen were indexed, including my own original, please see my close up picture of Side 1 for confirmation.   If you look closely at the '1' digit between 'A' & 'T', you will see '1' was over stamped on a '2' digit, that error was corrected on the metal stamping disc first used for the Test Pressings.  'Test Pressings' are made before manufacturing begins and usually before the labels are printed in case alterations to the tracks or credits are required.  Once seen, heard and approved, the same metal stampers (the correct name for them, not indexing digits or letters) create the very first pressings, so any corrections are not included on the second stampers, therefore identifying the genuine very first pressings. ORIGINAL 1964 PYE LP INNER SLEEVE, POLY-LINED WITH PROMO PICTURES OF CURRENT PYE LP TITLES. Barely used, unworn, unaged and positively no splits, the main colour is blue and this was so early for Pye, the only other 'pop' group featured is the Searchers, two albums from 1963 and their latest, "It's The Searchers" LP, was released in May, 1964, so this is positively the current 1964 Pye inner sleeve "The Kinks" was issued in 2nd October, 1964.   Unlike the 1967 Who album I'm listing for the Christmas week, these large 'Garrod & Lofthouse' were large with plenty of room for the massively heavyweight records.  Exactly the same design of the Beatles single or non gatefold covers from 1964, the thicker cardboard and flipb back edges account for how even the inner sleeves on hardly played records, survived much better and with minimal creases , in this case, hardly any. IN BARELY USED, UNWORN, UNAGED & UNFADED, MINT - CONDITION   1964 ISSUE LAMINATED FLIPBACK COVER, PRINTED BY 'Garrod & Lofthouse' WITH THE TEXT, "Patents Pending."   This cover is synonymous with horrific wear from uncaring heavy handed use and poor storage, another early 60's  once beautiful   cover rarely seen in it's original glory.  I cannot produce a "Kinks" cover that has not been standing in storage for a full 50 years, but I can produce a remarkable condition with absolutely minimal standing traits...and not forgetting a barely played unmarked record in a superb original Pye inner sleeve. For a first issue 1964 cover, this is a real beauty, unworn with only the smallest possible storage traits of an ever growing age   and now past half a century.  An LP expected to have a badly worn out and battered cover but there are exceptions to every rule.   The front still has the original deeply glossy, highly reflective laminate, undulled in any way by time or handling, the colours   on the very moody, non smiling, almost aggressively glaring Kinks photo and the red graphics, are as deeply toned and richly vivid    as first seen in 1964.  The record is as massively heavyweight as early 1960's vinyl got, I call Pye's vinyl 'dinner plate thick', it     feels like it could be used for foundations to build a house on!  There simply has to be a naturally formed impression from such   an extremely heavy record's circular shape. A subject avoided by most sellers but I believe in including the reality of vinyl, as   an important part of any cover's description, for the Kinks debut album, in precise detail!  The impression is actually more than   reasonably mild with just a few tiny laminate wrinkles / laminate edge lines, formed naturally over the decades but they are   indeed tiny and none are showing any wear.  Front bottom right diagonally above but not the corner is a small crease/ laminate   wrinkle, purely from standing and associated with holding a heavy record as well.   I have seen far, far worse on 2,000 covers   and I cannot stress how comparatively the very minor and small those negative comments actually are for such a beautiful front,   spine and even the back matt panel of the cover,  a shame to magnify very small details.     The spine has the typical  'Garrod & Lofthouse' 60's deluxe finish as well, tapered and pointed ends, at full strength with a   perfectly clear title under the very thick lamination.  Amazingly unyellowed and so close to the original ivory white colour, I'm hesitating to use the word 'ageing'.  Considering the same sentiments apply to the ultra clean matt back panel, this has to be   quite a special "The Kinks" cover... and it is!  The spine's extreme tips or the left side corners have such minor light laminate    brushing, this enters into a trivial area.   The edges and the opening sides are near enough perfect, all four corners are square shaped, the two on the right side are once   again near perfect, the mentioned diagonal small crease/ laminate wrinkle is above the actual corner.     A superbly clean back panel is extremely rare for this cover, without any scuffs or scrapes, still a near pure white background   to the text set in a huge "K" in black print, only some expected ripples that settle around the records internal position, 'ageing' is   not an issue and anything that fractional for a 1964 matt panel is too absurd to include.    Directly underneath that "K" is the   first issue's definitive text, "Patents Pending."     All three flipback edges are perfectly strong and sound with still neatly stuck down ending's and edges.   To sum up, overall a truly superb first issue cover hardly showing any of it's 50 years of age, barely, used perfectly stored and     so well cared for, I have to give a well earned grading.  Please see my pictures to understand  the final comment about the cover  after the grading. THE STUNNING COVER IS IN EXCELLENT+++ / NEAR MINT CONDITION, WITH THE FULL EMPHASIS ON NEAR MINT! IMMACULATE LABELS ARE AS RARE AS THE COVER AND A TOTALLY UNMARKED RECORD, ONLY THREE ULTRA CAREFUL PLAYS SAYS IT ALL FOR 1964 MONO VINYL OF THIS DENSITY, QUALITY AND MASSIVE WEIGHT. THE RECORD IS IN MINT- CONDITION. SIDE 1 "Beautiful Delilah" (Chuck Berry "So Mystifying" (Ray Davies ) "Just Can't Go To Sleep" (Ray Davies) "Long Tall Shorty" (Herb Abramson / Don Covay) "I Took My Baby Home" (Ray Davies) "I'm a Lover Not A Fighter" (J. D. Miller) "You Really Got Me" (Ray Davies) SIDE 2 "Cadillac"  (Bo Diddley) "Bald Headed Woman" (Shel Talmy) "Revenge" (Ray Davies / Larry Page) "Too Much Monkey Business" (Chuck Berry) "I've Been Driving On Bald Mountain" (Shel Talmy) "Stop Your Sobbing"  (Ray Davies) "Got Love If You Want It" (James Moore ) THE KINKS Ray Davies - rhythm guitar, harmonica, keyboards & lead & backing vocals Dave Davies - lead guitar, lead and backing vocals Pete Quaife - bass & backing vocals Mick Avory - tambourine & drums Recorded August,1964, At Pye Studios, London, except: "I Took My Baby Home" - January,1964, At Pye Studios. "You Really Got Me" - July, 1964 At IBC Studios, London. Produced By Shel Talmy. In 1962 Ray Davies was thirteen when he was given a guitar for his birthday, he and his younger brother Dave were weaned on   Muddy Waters and Chuck Berry records.  Blues and r&b were their inspiration and when Ray and Dave turned their thoughts to   becoming  professional musicians, like so many others in the early 1960's, the next move was to form a group. The Kinks began in   1963, originally named 'The Ravens,' they were soon recommended to impresario, Larry Page, who would figure strongly on their   road to success. In January '64 The Kinks signed with Pye but their first two singles completely failed to sell or establish them   and the future was looking gloomy, Pye made it clear they would have one last chance with the third attempt. Then Ray wrote the   very aggressive, and explosively exciting,"You Really Got Me," the dominant power-house guitar riff was previously unheard, it   even pre-dated The Who making a record for Brunswick yet.   Nothing before had even came close to the astonishing sound the   Kinks made, it was produced by Shel Talmy, who would also work with The Who next.  When "You Really Got Me" was released in   August,1964, it sold and sold.....hitting the No.1 spot in the UK and from total obscurity across the Atlantic, it amazingly made   a very respectable No.7 in the USA.  After those first two initial Kinks singles failed it took a very special third attempt to make an impact so massive as that,"You Really Got Me" went beyond being just very special, for the first time it was introducing new harder edged r&b guitar sounds, the term 'heavy' was unknown in 1964 and it was the first ground breaking heavy metal record, rock music took a giant stride the day this track was recorded and released.  Dave's lead guitar was so loud, it entered the point of creating deliberate distortion and a howling feedback,"You Really Got Me" was not just about their sensational guitar sounds. The Kinks performed with  incredible, aggressive pent up energy and Ray Davies sung "You Really Got Me" lyrics in a sneering voice, this debut album contains the hard rocking "You Really Got Me" and many other heavy r&b, blues songs, but you also had the beautiful melody of "Stop Your Sobbing."   Both side's end with those hard and heavy blues, "Got Love If You Want It" was the final track on the album and like so many early 60's debut albums, you are hearing mostly their live set,the Kinks were the first to establish aggressive guitar riffs doubled up by two guitarist's was capable of topping the UK charts and a foothold in the USA. Over the last five decades now, music owes so much to that ground breaking single, be it rock, progressive, heavy metal or punk, they all owe a massive debt to the Kinks single and this album.   That 'fuzzed' guitar sound on this album was created by Dave sticking his mum's knitting needle into their tiny green amp and causing distortion, a sound that would become distinctively that   of the rest of the 60's.  Rumours still persist that Jimmy Page played lead guitar on "You Really Got Me," he definitely did not, but he did recognise Dave's amazing new method of creating a heavier guitar sound in 1964. Jimmy had an amp custom made to sound 'fuzzy' or distorted after hearing Dave's and that sound was used on all of the many sessions he was involved with before the Yardbirds beckoned him in 1966.  Interestingly Jimmy Page was brought into this debut album's sessions by Shel Talmy, but Ray and Dave glared at him, almost challenging him to dare to play a note, I often read Jimmy played an acoustic rhythm guitar on the album, but I personally do not believe he did.   Ray Davies had a very vague memory of Jimmy Page playing a tambourine   on one track  but Jimmy Page is  adamant he never touched a tambourine during the sessions. The same applies to several Rolling Stones records concerning was it Keith Richards or Brian Jones on guitar, we are 50 years down the road and the artists have a great deal of trouble remembering it all, websites jump on the most convenient half memory, the artists were just kids and over the decades indulgences like drugs and alcohol have clouded their memories.  Who played the piano on the album?  Was it Ray or Jon Lord, on the other hand was it Nicky Hopkins?  Was it an unknown session musician?  We just don't know for sure so I am not   playing the guessing game, Ray and Dave did not need Jimmy Page's guitar skills, Ray was a really talented rhythm guitarist and Dave played a mean blues solo...a tambourine?  What I do know, Deep Purple, Black Sabbath, Led Zeppelin and just about any heavy rock band all originated from Dave's and Ray's little green amp, punctured by by their mum's vibrating knitting needle! Few debut albums fully capture relatively new band's true potential, the first Kinks album has every single ingredient of their extraordinary talent.  From hard edged stinging r&b/blues, through to gentle love songs, this LP has it all masterfully captured by an outstanding Shel Talmy production, by that I mean their very presence on stage and in a recording studio. Ray Davies was a developing genius of a songwriter, composing six of the LP's fourteen tracks was exceptional for the era and of course he was also writing songs for the all important singles.  Among my collecting fanaticism of every Kinks record ever made and issued on vinyl, I have a DVD of the complete 1964 & 1965 American "Shindig" TV programmes, unofficial of course but clearly demonstrates the fantastic impact the Kinks made in 1964 and 1965 on the American audiences. Playing live and not lip synching to pre-recorded recordings or records, in 1964 they performed a wild, raw and and exciting version of "You Really Got Me, with Dave firing out a brilliantly improvised guitar solo.  The whole band were in the mood to play and it reminds me of the fiery performances on this debut album, because they also performed many of the tracks live  on TV. You could see a parallel to the Beatles appearing on the Ed Sullivan Show for the first time in the same 1964, only the Beatles played restrained and they smiled nicely for the cameras.   The Kinks sneered at the cameras and gave a wild but exciting performance over the two years on "Shindig," those my age in the   USA and UK will understand how rare that was to see this early in the 60's on TV.  I saw the Kinks on UK TV in the same era and    that began  a lifetime collecting every Kinks record made, I should really declare my slight bias, but without that bias, I have never listed a Kinks record in less than Near Mint condition. For this album, the rarity is off the scale and I last listed this album in 2005!  Eight long years have passed and like a 1967 Who album also being listed as this year's 'Christmas Specials', I'm delighted to offer such stunning condition's for both albums.   This first Kinks LP was issued  after the "You Really Got Me" single broke and made No.1 in August, 1964, in October their debut LP made No.3 In the UK.  Today few exist without  the worst possible wear and damage, only three plays is an amazingly low for such a normally heavily played and completely wrecked 1964, very first pressing. The deeply glossy shine on the record is that of mint vinyl, there are no needle scratches or marks on the entire record.  After hearing an exceptionally beautiful looking record sounding so perfect,  Near Mint or Mint- became a pointless choice and I felt Mint-  was thoroughly deserved.   Every track  has outstanding sound and stunning audio clarity on Shel Talmy's brilliant production.  I got carried away describing the Who album   but fourteen tracks will set how long I will be able to write about them ...it would end up being listed in next year's Christmas. Side 1 has purely silent run-in grooves, the unlikeliness of that for this album is reason enough to emphasise there are crackles or clicks and it means a supremely clean & clear intro for the first ever Kinks LP track.   Mint- was not awarded without being earnt visually and for such staggering sound quality has to be correctly presented, or I might as well give up setting such high standards.  The extremely powerful mono sound of "Beautiful Delilah" erupts with astounding volume,  I thought the Who album   was loud but this has every possible decibel embedded in the deep grooves.  So clear, I am back in 1964, that itself is a correct   method for sound grading, Chuck Berry's classic r&b composition was  given a rousing and highly energetic performance with the   tempo taken at a fast and furious rate.  The Kinks had an awesome, water tight rhythm section from day one,  immediately heard on   the opening track, Dave sings the lead vocals as the two guitarist brothers add that distinctive Kinks sound.  Every note played   and word sung, is heard in the most stunning audio clarity. I'm the biggest critic of any Kinks record falling below the standard   I set for myself, I would not hesitate to say if I was hearing anything that slipped below my own expectations for the pressing,   audio perfection of this totality only needs the fullest possible praise. "The Kinks" is one tough album to find without horrific   damage and severe wear, but these are totally unworn grooves and this is up there with the best I have ever  heard, bearing in   mind I am one of the few ebay sellers who can take that over used comment all the way back to October, 1964.  Anyone familiar   with The Who's Brunswick "My Generation" LP will know how Shel Talmy knew exactly how to harness loud r&b / blues rock and   capturing all the power, while still producing perfectly defined sound.  Intended for 1964, but sounding absolutely stunning 50   years later in the final days of 2014, the bass booms out without any distortion...unless intended by Dave's little green amp!   This album pre-dated the Who's first album by a whole year and there many similarities between the two debut LP's...talent is the    biggest common denominator between two of my most loved groups.  The linking grooves are near silent and as smooth as silk,   no more than natural to vinyl,  the merest hint of low level, almost inaudible static and of course, that was there back in 1964.   Into the first Ray Davies composition "So Mystifying," a truly great song, side by side with  Chuck Berry's composition, we are   treated to a song is of such top credentials, it slots in with Chuck Berry's perfectly.  Ray takes this lead vocal backed with   excellent harmonised vocal support, enjoyed in crystal clear, perfectly defined sound from full strength, unworn music signals.   I do love powerful mono records that you can play as loudly as you like, without having to suffer the irritation of the distortion   caused by wear, unfortunately very common to this album.  Lacking any needle noise such as crackles or clicks really does make   this an exceptional playing record.  Ray also  wrote the superb "Just Can't Go To Sleep", the genius who would go on to compose,   "Waterloo Sunset", "Days", "The Way Love Used To Be" and Celluloid Heroes" etc. etc. began right here with this superb melody.   The gap is again near silent / silent, so the guitar intro is perfectly clean and this quieter song has every instrument and vocal   has razor sharp edged sound.  Pete Quaif's bass remains extremely loud as the Kinks ever reliable rhythm section demonstrates    they were second to none in the UK or the USA, including the founder member of Led Zeppelin who must be sick and tired of being   asked if he played on the Kinks recording sessions in 1964!    Mick Avory was an accomplished drummer, add the Davies brother's   guitar playing to n inspired Ray Davies song and you have the full magic of the young Kinks.  Then moving ultra smoothly into the   single guitar intro to a great blues based "Long Tall Shorty".  Dave Davies was the lead singer again with Ray playing superb blues harmonica, his love of the American blues great's as a very young teenager reveals how those influences are clearly shown on this   superb performance.  The harmonica notes ring out in perfect pitch, as loudly as this record was mastered by Pye's expert sound engineer,  there is no distortion at all, my volume is at a needlessly high setting to ensure that common problem does not affect this immaculate first pressing.  One play with a blunt worn down stylus ruined vinyl in the 60's and that applies just as much in 2014, now it will become understandable why I felt it crazy not to grade such a stunning sounding and unmarked record as Mint-. Talking about being a Kinks fanatic, I must remember to condense the rest of this description from here on, fourteen tracks is a   large amount to cover. A silent gap allows a silent entrance to the harmonica, bass, drums & guitars intro to a sublime version of an outstanding Ray Davies composition, "I Took My Baby Home."  This is the Kinks back in the blues vein, featuring jointly sung lead vocals between Ray and Dave, sounding just stunning. The lyrics are not quite those found on Ray's later songs with a poetic flourish, but "She had a hug like a vice and she kissed me once or twice," were effective enough within the pure blues setting.    Ray's superb blues harmonica really makes this track very special,  once again the delightful melody is behind another inspired performance.  A great paced album with the tracks flowing into each other, the sound quality continues to be perfect, the sheer clarity of the mono sound is consistent on every track. Near silent/silent linking grooves give a fantastic acoustic blues guitar intro to the fast tempo of "I'm A Lover Not A Fighter," a supremely clean and clear entrance and playing throughout in pristine audio.  Taken at that very fast tempo, the clarity of the smallest parts have full prominence, for example the handclaps forming a major part of the percussion, leap out of the speakers at you, with a sharpness this album should only ever be heard with.   This side's seventh and last track is not just a true Kinks classic, in my opinion it's one of the greatest ever 1960's recording,    "You Really Got Me". This is rather loud!  From another problem free, clean gap this is exactly what mono sound was made for!    A full bloodied assault with guitar riffs,  the sound is once again just stunning!  With my own volume set loudly, Pete Quaife's   bass is massive but there's still not a hint of distortion, this loud, but still no background surface sound. I could spend hours   over this era defining track, but All i need say is I am enjoying a fantastic playing "You Really Got Me", it just hammers you   into the ground, what a guitar sound! The sheer impact of this track is amazing, the combination of mono's power and perfect   audio clarity,  makes it a pleasure to hear. Side 2 has remarkably near silent run-in grooves, once more just the faintest static found on every record ever pressed,let alone alone a 50 year old one .  The intro is only a single guitar, a great stuttering blues phrase from Dave and as the second side opener,"Cadillac" gets off to a tremendous start. Ray's playing outstanding blues harmonica against a pulsating driving rhythm so   typical of a Bo Diddley composition, a rhythm that never relents for the whole track. The brilliant bass from Peter knits solidly   together with the two guitarists and Mick's excellent drums, heard again  in simply incredible audio.  For this sound to be this   precisely sharp, the pressing itself had to be absolutely perfect and those very careful three plays in the early 60's have left   totally unworn, as new grooves.  The silent first gap on this side glides smoothly into the lead guitar and an almost acapella   vocal intro to "A Bald Headed Woman," this really is an impressive record to have such an exposed section like this sounding so   stunning without any form of surface sound or even static.  A blues song building up very slowly and gradually as the individual   instruments such as the piano, are added so subtly, you really can make the connection  between the Who's "My Generation" LP   and and this Kinks LP. A truly brilliant Shel Talmy production and he also wrote "Bald Headed Woman," later in 1965 Shel Talmy   recorded a version by the Who, it was used as the B-side for their debut Brunswick single "I Can't Explain".  Ending abruptly and   into completely silent t grooves, then another  great blues song Ray Davies co-wrote with their manager, Larry Page,"Revenge".    Mick Avory's superb percussion is watertight, with the stinging guitars and the harmonica also creating the fantastic, pulsating   rhythm.  Almost an instrumental, the Kinks tear into it with a relish, the only vocals are best described as being a blues chant,   sung / vocalised as "Yi - yi yippeee."  I'm fast running out of sound superlatives with this record, the audio is just stunning and   from a near silent gap, Ray Davis sings the lyrics at a break neck speed to Chuck Berry's timeless "Too Much Monkey Business".   A song covered by a who's who of 1960's greats, the Rolling Stones, the Yardbirds, the Beatles, the Hollies etc. either recorded   it or played it live.  One thing for sure, right from this their debut album the Kinks had such a distinctive sound of their own,   you could never mistake this for anyone's else's version.  I have always had a soft spot for this incredibly high energy Kinks   recording, they inject a wild, manic quality into Dave's guitar solo. Ray's voice was double tracked, and the way the mono sound    projects his voice is a form of audio perfection and also one of how mono creates an impact.  Exceptionally clean sound on the   lone acoustic guitar playing the intro to another impressive Shel Talmy blues composition,  "I've Been Driving On Bald Mountain". Dave's lead vocal is ideal for for this acoustic blues style track, I can hear the foundation for so many of those amazing later 1960's Kinks records when they performed with acoustic guitars.  The sound quality is that of a Mint record, which applies to the whole album.  Ending in total silence, so my personal favourite album track, the magnificent "Stop Your Sobbing" has the cleanest beginning you could hope to hear from any decade's pressing , amazing for 1964!  This is one of Ray's most outstanding melodies, covered by The Pretenders in 1980, when Chrissie Hynd's vocal was almost as good as Ray's on this album!  Ray's phrasing on his   the "Stop Your Sobbing" chorus is sublime, with the backing played quietly, it allowed the exquisite melody and Ray's magnificent vocal the fullest prominence.  I can't disguise my love of The Kinks, even 50 years of playing this album has not diminished or in any way detracted by familiarity, hearing the wonderful track. The sound quality is just awesome, without even a fleeting glimpse of surface sound even during  the very quietest sections.   As this began, it ends in total silence so the next  audible sound is a glorious blues harmonica, then Mick's drums and Pete's bass intro to the pure blues of "Got love If You Want It". This really was   a sensational way to end the album, no different to ending a live set with the strongest number and a full tilt performance to leave an unforgettable memory of the event.  Starting almost at a whisper during the first verse, then onto full volume for the   instrumental section of incredible pure blues improvisations.  Then all drops down to quietness once again for the next verse and   then an explosion of manic proportions, as The Kinks tore into their instruments with a real frenzy.   I am a major Yardbirds fan   and their version of this is much loved, but I am always the first to say this Kinks version eclipses even that. When the volume hits the peak levels on overplayed vinyl the sound just breaks up into terribly distorted, deteriorated sound. This plays perfectly, maintaining perfect audio in those moments when the full mono power is unleashed.  The quietly sung and played verses have no surface sound, so I have to again align this to the sound unique to Mint vinyl.  I had a great day playing two of my most loved records, Christmas came one day early for me, then the real joy of Christmas will spending it with my close family tomorrow. Merry Christmas to everyone! {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. 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  £5.00 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!