LED ZEPPELIN Coda LP RARE AUTHENTIC & ULTIMATE 1st UK PRESS 1982 MINT UNPLAYED
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LED ZEPPELIN Coda LP RARE AUTHENTIC ULTIMATE 1st UK PRESS 1982 MINT UNPLAYED
Ebay Item #
Auction End date
11 May 2016
"POOR TOM" (Robert Plant / Jimmy Page, 1970) Here's a tale of Tom who worked the rivers run, His wife would cook his meat but he wouldn't care to eat. Poor Tom, Seventh Son, always knew what's goin on. Ain't a thing that you can hide from Tom, There ain't nothing that you can hide from Tom. Worked for thirty years, sharing hopes and fears, Dreaming of the day, he could turn and say; "Poor Tom, work's gone, lazing out in the noon-day sun." Ain't a thing that you can hide from Tom, Ain't nothing that you can hide from Tom. His wife was Ellie May, One of many games she played When Tom was out of town, She couldn't keep her dress down. Poor Tom, Seventh Son, always knew what's goin' on. Ain't a thing that you can hide from Tom, Ain't nothing that you can hide from Tom. And so it was one day, People got to Ellie May, Tom took a gun in his hand, And stopped all the running around. Poor Tom, Seventh Son, gotta die for what you've done, All those years of work are thrown away, To ease your mind is that all you can say? But what about that grandson on your knee? Them railroad songs, Tom would sing to me. Ain't a thing that you can hide from Tom, There ain't nothing that you can hide from Tom.
LED ZEPPELIN: "Coda" LP. RARE VERY FIRST AND ONLY UK PRESSING, DECEMBER, 1982. SWAN SONG LABEL: A0051 MAITRIX: A0051 A 2 / A0051 B ( no digit on Side 2 because only the one small batch of UK records were made.) The UK first pressings only run-out grooves, are congested with a catalogue of mistakes that were scribbled over, I can just about read them and here is my interpretation; SIDE 1: LZ 10A2 A0051 ('5' scribed back to front), then the above final, 'A0051 A 2' SIDE 2: LZ N2 B- W 54 790051 -1A, then the above final, 'A0051 B' Both logo's of the sound engineer who mastered the album: 'W - L' & 'W' There are more but I do not believe they are relevant, obviously this was arrived at on the Test Pressing and duplicated on these few UK pressings, where they are universal to every first issue. Only the one pressing was made before German imports were sold in British record shops. Being only one single pressing batch made, another common feature is the UK mastering, made by the sound engineer and first checked on a Test Pressing, can be seen on all the records from that one small batch. Unlike Polydor in the early 1980's, Warner's Test Pressings did not have a printed template label with either '1' & '2' or 'A' & 'B' as black printing on a plain white background, the sound engineer mixed up the otherwise blank labels and scribed the incorrect maitrix numbers.
'A0051 A 2' was on the second side and the same in reverse on the first side, the corrections were made by hand crossing out
the first notations, then a series of other errors eventually led to the correctly hand scribed maitrix in the run-out grooves,
well, nearly, because 'A0051 - B' ended up without an ending digit. Then the same etchings, including the heavy crossing out
of the mistakes, was left on the metal stamping discs, without a second batch being prepared and German pressed imports lined up
to supplement and replace the UK first pressings only. With restrictions of only 12 pictures, I had to sacrafice showing all the crossed out mistake sections but included both of side's amended maitrixes. The reason I feel multiple crossed out errors etc. are irrelevant, is partially the fact some are unreadadable, but mostly because collectively, they act to identify first UK pressings. FIRST ISSUE, SOFT TEXTURED GATEFOLD COVER WITH EMBOSSED FELT LETTERING, AN OUTSTANDING COVER
STILL ALMOST LIKE NEW WITH NO MORE THAN THE MEREST HINT OF STORAGE, IN MINT- CONDITION. This really is in exceptional condition, usually these very vulnerable to wear covers ended up in a terrible state, unused and perfectly stored in a plastic outer sleeve, a truly beautiful, age defying gatefold cover. 'Almost like new' is not a term I use to be vague, that is a statement of fact because just assembling, packaging and distributing the albums to record shops account for anything here, therefore even a Mint- grading is much, much too harsh. As a first issue, the gatefold cover has a soft texture to the outside, with the same finish to the rare very first inner sleeve, the record was UK pressed and all first issue covers were made in Germany. In case anyone needs to check if they have the first issue cover, if you feel and look inside both the backing of the storage side and the whole inside of the textured inner sleeve, you will find they are very smooth & shiny and a pure white colour. All the second pressings have plain and standard untreated cardboard inside there, but not all the inner sleeves have the same shiny white inside as the cover, this is one of those rarer inners that match the cover in every possible detail, no doubt that was requested by Jimmy Page. The most obvious detail is the front has distinctive, superbly embossed dark green lettering, because of the letters being embossed or more like a stuck on felt material, they are very easily scuffed and usually have worn away patches. Including having absolutely perfect lettering, the whole of the outside is incredible condition, please see my very revealing pictures, this is a real beauty, in remarkable as new condition! The very soft and absorbent textured paper was also very prone to staining and severe yellowing but this cover has none of those problems, even at 34 years old, there is not even the merest hint of ageing, including even the spine.
The back is in the same superb condition, most of the first made covers have severe scuffing and indentations to the top edge, in particular the standing bottom edges, this has just the merest of standing/storage brushing. In fact, the only sign of storage only concerns very gentle signs of standing on the bottom edges for 34 years, but even that is too minute to take seriously. The spine is yet another very vulnerable position but this is in superb condition with unworn perfectly clear titles, the tips or the left side corners are too close to being perfect to need mentioning, but for accuracy, just the merest brushing. The four right side corners are square shaped and again as near to perfect as it gets, the lightest possible brushing or standing but once again, that is too minuscule to take seriously.
Inside has a fantastic collage of Led Zeppelin photo's throughout their careers, a wonderful history in pictures, naturally in pristine condition.
I have added a 'minus' to a Mint grading to account for the slightest storage signs, quite honestly the initial 1982 packaging and distribution to record shops in 1982, were more likely places for anything detailed above as 'storage', the storage since purchasing could not have been any better than this. RARE VERY FIRST ISSUE ONLY,THICK CARD TEXTURED INNER SLEEVE, THE 'Coda' LOGO IS ON ONE SIDE AND THE OTHER SIDE HAS THE FULL ALBUM CREDITS AND TRACK LISTING. The textured inner sleeve is again in perfect condition without any of the splits so common to first issues from the contact points with the very heavy record's edges. With that extra thick shiny white inside, it helped prevent the usual pronounced
impression from the record, this is like brand new, no ring wear, scuffs, splits or even any ageing, a gentle record impression
is all to detail. I place all my records into new inner sleeves to make such a beautiful condition sleeve reaches the next owner as unworn as you can see in my pictures. The picture of the spine's titles acts as the grading and to demonstrate how these rare rare textured inner sleeves matched the gatefold cover. The back cover includes the exclusive UK only 'A0051' catalogue number that cause so much trouble for the sound engineer in the CBS pressing plant! The green and red colours on these textured inner sleeves are identical to the covers, but the smooth thinner inner sleeves have lighter colour tones. THE INNER SLEEVE IS IN MINT CONDITION. THE RECORD IS IN UNPLAYED, MINT CONDITION. Please see my pictures of the spindle holes, I had to delete a close up picture but the delicate vinyl shavings are clearly visible in the label pictures. So delicately posed and partially blocking the way for a spindle, the large flake might push to the side, but I cannot risk dislodging that amazing, 'as new, just pressed' record shop appearance.... just like the inner sleeve and the gatefold cover.
The full track listing with the year of the recording in brackets, an exciting one, because none of the eight tracks from
1969 - 1978, had previously been released. SIDE 1 "We're Gonna Groove" (1969, Ben E. King / James A. Bethea) "Poor Tom" (1970, Robert Plant / Jimmy Page) "I Can't Quit You Baby" (1970, Willie Dixon) "Walter's Walk" (1972, Robert Plant / Jimmy Page) SIDE 2 "Ozone Baby" (1978, Robert Plant / Jimmy Page) "Darlene" (1978, Robert Plant / Jimmy Page /John Bonham & John Paul Jones) "Bonzo's Montreaux" (1976, John Bonham) "Wearing And Tearing" (1978, Robert Plant / Jimmy Page) Robert Plant - vocals & harmonica
Jimmy Page - acoustic and electric guitars & electronic sound effects
John Paul Jones - bass, piano & keyboards
John Bonham - drums & vocals
Produced By Jimmy Page, Please See The Main Description For The Recording Details.
When we first joined ebay my descriptions only had very basic info as I learnt to type, I was surprised by the number of emails
expressing interest in the maitrix and where applicable, the stamped encoded letters and digits with strange names and messages in the part of a record few gave a second glance to. Long before ebay I had fathomed out just about every British record company
and it was simple to pick up any 45 RPM or LP from any decade and tell precisely who pressed it, with a wealth of other details.
The other clues gleaned from the labels, covers, inserts and inner sleeves acted as confirmation, how things have changed in 15
years! Now I automatically include all the crossed out mistakes and their relevance to establishing precisely where and when the
records being listed on ebay originated from, the love of vinyl has increased to the point, I no longer only discuss it with like minded long term vinyl fanatics. Detailing the direct relationship of records with Test Pressings, made before standard records
went into production, is essential info for collector's being ripped off with re-issues of lower quality, status and ultimately, value. A Mint re-issue is a fantastic record I must add, but the problem revolves around damaged and worn out records being sold as 'first pressings', the above was not written because it happens to be a part of my obsession with matters related to the music I love, but to prevent buyers being conned. Right, I better get straight into to detailing Led Zeppelin's last album, my problem is coming to terms with buying the band's debut album in 1969 and still thinking of 1982 being fairly recent, when in reality it is over three decades ago when "Coda" was compiled by Jimmy Page, it all started in the summer of 1980. Anyone fortunate enough to attend Led Zeppelin's concert in West Berlin, 7th July,1980, would have seen the very last live performance of one of, if not the greatest rock/blues bands of all time. I dislike categories, Led Zeppelin recorded multiple acoustic folk songs, psychedelic
and just about every musical style you can mention, heavy rock was their specialty. During the following Sepember of 1980, the band met at Jimmy Page's house to discuss an up-coming American tour, but previously made plans would no longer be considered, immediately after that on the 25th September, John Bonham was found dead. After his funeral in the following October, there was an announcement made in the December: "The group would no longer continue after the loss of our dear friend".
A bitter blow and a really sad ending, it would have been impossible to replace John Bonham and the other three had no intention of even trying to, they had lost their identity as a band and the will to carry on. Led Zeppelin always were and indeed still are today, one of the most bootlegged bands for both the legendary live concerts, including any rehearsals and sound checks, as well
as their studio out-takes. Only truly great bands inspire such massive dedicated collecting of official & unofficial recordings, a whole industry sprung up around those staggering live concerts alone. It's not exactly a secret that Jimmy Page is no different to the fans and is himself an avid collector from those twelve glorious years of unofficial studio and live recordings. With only eight studio Led Zeppelin albums made, any of their unreleased studio recordings have huge demands placed on them, many of the unofficial out-takes and concerts are in really superb sound quality, but the majority are barely listenable. The internet has several trading websites and forums among fans, offering excellent advice on the bootlegs to avoid and those that are essential, my involvement is strictly for my personal collecting addiction, shame, because I do know a great bootleg when I hear one!
After 1980, there was still one more final official Led Zeppelin album, containing studio recordings to come, with every single track offering exciting, new previously unheard material. After that momentous 1980 final press announcement about the end of Led Zeppelin, Jimmy Page next turned his fullest attention to the wealth of Led Zeppelin Master Tapes containing studio out-takes and unreleased recordings, he became the custodian of. Jimmy Page himself compiled this amazing LP, he aptly titled it "Coda," becoming the very last Led Zeppelin album when it was issued in December,1982. A 'coda' is a musical term for additional ending pieces following the main body, as vocals or instrumental, not to leave "In Through the Out Door" as the final album, instead to find something very special to listen to and sign out with, plus it was a very special tribute to John. Jimmy Page was not only making his personal selection of the material but completely overseeing every single aspect of the packaging, also as usual in
the previous years, he was the producer of "Coda". I think for those reasons "Coda" is just as important an album as their 1969
debut "Led Zeppelin" was, as hard as I find it to be possible, "Coda" has now reached 32 years of age, very first UK pressings
came in a beautiful cover with a matching inner sleeve. Although the vast majority of UK original issues sold while it was still
in the charts, had the vinyl pressed in Germany, imported to stock record shops as soon as the relatively few British pressings
had been sold. Personally I doubt there was enough copies to last before the Christmas shut down and imports were brought in
immediately, in readiness for the nationwide distribution. The covers were all printed in Germany with a custom UK catalogue
number, so these first issue covers were specifically printed for the UK pressed records, as seen on the top of the spine where printed in black above the LP title is the British catalogue number; "UK: a 0051", also printed on the back top right corner, the
mistakes in the record's run-out grooves continued onto the cover! In the traditional way there were multiple errors on the
early Atlantic label albums, right to the end, the final Led Zeppelin had a missing capital 'A' as the suffix to the UK catalogue
number. No, not a rarity, all the UK covers have the same 'a 0051' error because only the one printing batch was made, at least
that w as correct on the maitrix on both sides of the records and why I wanted clear images.
Only the very first issues were rare British pressings, they are clearly totally different and came on top grade, exceptionally
heavyweight vinyl for 1982, they positively have the ultimate and most stunning sound quality I have heard for "Coda".
Before I move on, it was with a mixture of amusement and annoyance to see bootleg singles doing the rounds on ebay, not that
I have objections to authentic bootlegs with exclusive material. I have collected them since they first appeared in1970 but this Led Zeppelin single is being sold on the basis of containing two unreleased tracks. I read a question in the "Record Collector"
magazine monthly mag, asking about the merits and valuation of the single, I decided I needed to include that in a description a
couple of years ago, as it took me that long to locate another copy I will do so again. I only sell this album in as close to Mint as
the passage of time permits, not so easily done anymore but I am very persistent and finally have this to offer. A friend kindly
gave me a copy of the single, I know exactly what this is about, I doubt Record Collector even listened to both tracks and was
answering on a purely technical level. The bootlegger's did a great job with the labels and the sleeve, but obviously they did not
bother to research the tracks properly or have enough knowledge about Led Zeppelin's albums, it appears neither do many of the fans either who bought a copy at an expensive auction price. The two tracks concerned originated from 1978 and were indeed
unreleased, but had been easily available officially, "Wearing And Tearing" & "Darlene" were mastered and mixed by Jimmy Page
and released on "Coda" in 1982! This album was the actual source for the bootleg single that so many believed held two unique
tracks, I checked out both sides of the bootleg single, they are indeed bootlegs but in case they were alternative versions, edits
or mixes, no, they are both identical to those found on "Coda", except......they do not have the fantastic original Master Tape's
sound quality as Jimmy Page intended them to be heard in. They sound like the tinny, thin CD, where they were extracted from of
course, there is no need to pick up the single, in order to hear the undoubted brilliance of both tracks, "Wearing And Tearing"
and "Darlene," all you require is a top condition UK vinyl pressing of the magnificent "Coda." Both labels are in 'as new condition,' not even even showing the faintest trace of a single spindle alignment, unplayed, gleaming like a freshly pressed record, even if that took place thirty four years ago now! Unfortunately unplayed true Mint records do not always have unblemished and unworn covers, I am delighted to offer all the items in absolutely stunning condition. Importantly, the gatefold cover was also perfectly stored as it possibly could be, in a plastic outer sleeve from day one, vital to preserve and protect a very easily scuffed and stained beautiful cover, plus the matching inner sleeve is in Mint condition. There were two types made, all immediately following German imports, positively have the thinner smooth finished type, so do most of the first UK pressings, only some records came in inner sleeves exactly like the outside cover, distinctively softly textured. As a Led Zeppelin collector, on ebay it is impossible to tell which country pressed the record unless sellers display pictures of the labels, the difference in the records is massive and so is the sound quality! The German re-issues do not contain the staggering sound Jimmy Page embedded into the 1960's standard & quality vinyl used for the strictly limited numbers of British pressings. This record has that really heavyweight, deep grooved UK vinyl and the record has that very special sheen of Mint vinyl, without a single mark or any playing /handling sign on either side. I decided it was time to accept unplayed first UK pressings are now very rare I must respect that, I love describing the tracks on "Coda" but I must let the next owner to be the first to hear this immaculate record for the first time in 32 years, but I can at least provide some recording and track info. To identify UK pre-December,1982 first editions requires those all important label pictures, especially every claim for a 1982 first pressing of "Coda", the same information given here applies to every single one of Led Zeppelin's 'Swan Song' albums since 1975 with one exception, the 1976 live double LP, "The Song Remains The Same." Those first issue UK labels differed slightly by having fractionally smaller printing, but by "In Through The Out Door" & "Coda," there were no differences to the labels found on "Phsyical Graffiti", allowing for a circled Warner logo not being on genuine first pressings. The label printing is unique to only the UK first pressings, the black text is in a much thicker and bolder type face than on any of the immediately following or the later re-issues, they all have really thin vinyl and were imported, re-issue's labels have, "Made In Germany" on the labels. This is an area where all record sellers are under obligation to inform buyers about, not just hide them within pictures ot just not bother at all. Some record details are a specialist field, but a child could read "Made In Germany" and understand the need to inform, or as ebay print on every item page, the seller is responsible for the listing, the onus is NOT on buyers to ask for a
basic detail... or a picture! The bolder printing is very easily seen on the lettering of the "Coda" title and ''Led Zeppelin", the 'Stereo' lettering, 'Side One' & 'Side Two' and the catalogue numbers etc. The colours for the 'Swan Song' artwork and
angel logo are much more vivid with a really deep richer tone to them. As mentioned before, this vinyl is exceptionally thick but the most telling difference on these 1982 UK first pressings, is the incredible sound quality, plus all that massive power transferred from the very precious original Master Tapes, dating from 1969 - 1978. The simplest way to tell first pressings, is to look for, 'Manufactured In The UK', located above the '33 RPM,' which is also in broader, bolder black print. After a very limited number of initial UK pressings, all the rest sold in England in 1982 and beyond were positively German made imports. As I detailed before, you can always tell when records were pressed in very low numbers if there were alterations made to the maitrixes, then only the initial batches made will have the mistakes left in the run-out grooves. All the UK records have several mistaken etchings crossed out, had there been a second or any subsequent British pressing, the corrections would not have been left in the run-out grooves, they are not exactly pleasing on the eye, plus the ending digits of the corrected maitrix never rose above 'A2' , the second side never did have the forgotten digit added on to just the 'B.' Jimmy Page made a superb job of choosing the material and by doing that he created a fantastic Led Zeppelin album, for this first track, "We're Gonna Groove" was written by Ben E King and Bethea. Led Zeppelin recorded this at Morgan Studios, London, on the
25th June 1969, much favoured by Island records artists before they had theirr own studio built. An extremely powerfully heavy
version, and by the sound from an incredible production and the astounding true stereo mix, completed and ready for consideration of inclusion on their "Led Zeppelin 2". John Bonham was very much in mind when "Coda" was put together and John's thunderous and exciting drums pound out the intro to the great "Poor Tom,"please see the top of the page for the full lyrics to an absolutely stunning acoustic blues track, Jimmy Page and Robert Plant's composition was recorded in London, 5th June 1970 featuring some superbly blown harmonica from Robert. Next up, is my personal favourite rarity on "Coda," the amazing version of "I Can't Quit You Baby," Led Zeppelin recorded this during a sound check or a rehearsal at the Royal Albert Hall in London, on the 9th January 1970. Those who have attended that luxurious venue, know how superb the acoustics are and the round building is perfectly conducive to the heaviest rock or gentlest acoustic folk music. No audience present for a private performance,"I Can't Quit You Baby" is a live version of one of their 1969 debut album's very finest tracks. Right from the opening seconds, a flat out, intensive version with Robert Plant really extending himself on the very demanding vocals, the rest of the band were just as inspired and Jimmy Page produce some really staggering blues guitar. Led Zeppelin's sound checks are legendary among bootleg collectors, you simply cannot get any better than the opportunity to hear one of Jimmy's own master tapes! An entire album of lost treasures like this in the ultimate sound is too much to hope for normally, the side ends on yet another unreleased real gem of a song, now for one of Page and Plant's finest ever compositions,"Walter's Walk", recorded on the Rolling Stones Mobile at Stargroves, the 15th May, 1972. This track sounds similar to those amazing recordings heard on "Houses Of The Holy," with really strong John Paul Jones bass, powerful John Bonham drumming and an electrified Jimmy Page coaxing astounding sounds from a guitar.
Side 2 contains four tracks and they were all recorded at Polar Music Studios, in Stockholm, Sweden, November, 1978, also from the same studio as the 1979 "In Through The Out Door" album was recorded. "Ozone Baby" is the first of the Stockholm studio songs and dates from the 14th November, written by Page and Plant, it made such a brilliant track for a side opener, because it has one of those tremendous Jimmy Page guitar riffs the band work off. Do not believe all the nonsense about owing a contracted album to 'Swan Song, nobody dictated to Jimmy Page about his music, just check how quickly Jimmy removed Peter Grant's credit as a producer on early albums for confirmation. "Darlene" was recorded during the same 14th November,1978 sessions, but left as unreleased, featuring some superb John Paul Jones' piano, with all the band credited for the songwriting. Jimmy Page seemed to really enjoy having the piano as a foil to an inspired electric lead guitar. "Bonzo's Montreaux" is the only track on the second side not from Stockholm 1978, recorded of course at Montreaux, 12th September,1976, containing a real feast of amazing percussion
from John Bohnham, meanwhile you have Jimmy Page supplying electronic sounds for some truly staggering performances from the band. "Wearing & Tearing" was the A-side from the single I was just warning about, returning to Stockholm recording sessions in 1978, a much faster tempo Page and Plant composition has Robert in amazing voice, sounding like he was ad libbing the lyrics in some places. The band played this really tightly for a heavy rock performance, featuring all their instruments that seem to form
the one overall block of incredible sounds. Not quite the same as playing and describing the record but an ultimate condition UK first pressing of the glorious "Coda," is far more important and the basics of the tracks were included.
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. Nearly thirty years ago 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.
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