Vinyl: PAUL McCARTNEY Ram LP, DARK GEEN APPLE -1 / -1 VERY 1st UK PRESS UNPLAYED MINT 1971 MINT- 1st FULLY LAMINATED G/F COVER & APPLE INNER

So I sat in the attic, a piano up my nose, And the wind played a dreadful cantata. Sore was I from a crack of an enemy's hose, And the horrible sound of tomato. Ketchup, soup and puree, Don't get left behind. Ketchup, soup and puree, Don't get left behind. When a rattle of rats had awoken, The sinews, the nerves and the veins. My piano was boldly outspoken, In attempts to repeat this refrain. So I stood with a knot in my stomach, And I gazed at that terrible sight, Of two youngsters concealed in a barrel, Sucking monkberry moon delight, Monkberry moon delight.

PAUL & LINDA McCARTNEY: "Ram" LP. AUTHENTIC UK VERY FIRST PRESSING, ISSUED 5th JUNE, 1971. With a much needed summer break from listing on ebay for us both, what better than offering "Ram" as the last LP until August. An astounding condition very first pressing record, an exclusive very first edition only, deluxe version gatefold "Ram" UK cover, laminated outside and inside, plus a mid-1971 Apple inner sleeve with printed copyrights, all items in unused ultimate condition. Just a quick word about an almost traditional feature of many EMI 1960's and early 1970's UK related covers, right at the initial start of manufacturing, some covers were made to outlandish, lavish quality, wider book shape spines and full lamination are the most obvious, but it also involved the same limited edition inserts or posters. For example, the best known is "Sgt.Pepper" when only some of the very first made gatefold covers had extra wide, square shaped spines, then economic factors changed the design for standard rounded, thinner spines. For "Ram" the very first spines were wider and square but certainly not to the extent of the very first made book size or extra wide, 1967 "Sgt.Pepper" gatefold covers for the Mono & Stereo deluxe versions. Full lamination was standard for all "Sgt.Pepper" gatefold covers, but just four years later for "Ram," only a really small minority had both of the inside panels laminated, or as known in records terminology, 'fully laminated.' By wrapping the lamination completely around the whole 24" x 12", it by-passed a problem of the first issue majority with matt inside panels. The laminate was folded over the bottom edge and stuck approximately one inch onto the inside bottom edge, the sticky area on the top of the inch high line, stuck to the matt printed paper, when first opened the paper tore or mottled along that line of finished lamination. Apart from that, the fully laminated inside looked so much better for having a glossy top surface, which was of course a barrier against handling and ageing. This stunning, fully laminated, very first edition deluxe version, had never been opened until I did when taking the pictures, the laminate is still stiff from the application in 1971, I could slowly ease it open in this current heatwave in July, but I always leave rare unused covers as I find them for my customers. The pictures of the opened cover were taken at the comfortable position I opened it to, more than enough to see and appreciate the incredible condition. ON THE VERY FIRST ISSUE ONLY, DARK GREEN SIDE 1 APPLE LABEL: PAS 1003. Two distinctively different colour tones were printed of Side 1's label for the first pressings, one had standard mid-1971 green. Like this record, the other colour tone turned the clock back to the original 1968 - May,1970, very dark green Apple colour, the vinyl was precisely the same and only the printing varied. In my experience, the majority had the much lighter green colour but that has no bearing at all on the order they were pressed in, the indexing was there in the machine stamped maitrix and the encoded letters and digits. I can only surmise a box of unused late 1969 to early 1970 labels was mixed in with currently made 1971 labels, if any Paul and Linda album was firmly planted in the 1960's, "Ram" looks superb with dark green labels to my eyes, because my original had them. "SUE ME, SUE YOU BLUES."

Directly related to the Beatles disbanding during the previous year, the current 'Divorce Case' had not reached a settlement over copyrighted song publishing. Legally, the early 1970's were as if the Beatles were still a functioning band, with John and Paul still writing as the 'Lennon/McCartney' partnership, as individuals both were chained to a contract signed very naively in 1963. Paul's 1971 compositions were still contractually owned by 'Northern Songs,' like John, Paul was fighting to legally break free and establish ownership of his solo songs on "Ram." He was contesting the songs co-written with Linda, an asterisk on the labels per individual tracks, drew the line where the battle with 'Northern Songs" had begun in earnest. The majority of the track publishing rights were controlled by 'Northern Songs' who refused to release Paul or John from their no longer existing 'Lennon/McCartney' songwriting partnership. Like John, Paul was hotly disputing this when "Ram" was issued, just how determined he was to 'get back' the affected "Ram" tracks can actually be seen on these first issue labels. The 1971 original's labels only, specify individual tracks 'owned' by Northern Songs, Paul's determination to stop them is printed on the bottom rim of both labels, due to the darker green labels, from my label pictures, this text will be easier to read on Side 2's white label;

"Copyright Also Claimed By 'McCartney Music Inc.'

George Harrison Wrote "Sue Me, Sue You Blues" for his aptly titled "Living In The Material World" 1973 album, two years later the Beatles financial affairs were still not resolved. George's own songwriting publishing was unaffected by the Beatles breaking up because he established 'Harrisongs' as his own music publishing company in 1968 while within the Beatles. He was just as wounded by the scavengers eagerly picking the Beatles bones clean, George had enough on his plate being personally sued in a separate law suite for..... writing "My Sweet Lord."

MAITRIX: YEX 837 - 1 / YEX 838 - 1. EMI STAMPING CODES: OM 1 / RP 2 Including the '- 1' maitrix ending digit on both sides, the above stamped details in the run-out grooves, also show this is the very first pressing, made prior to 5th June, 1971 release. A '1' digit on one side signifies the first 'mother', with only the second 'mother' on the other side, places this record as one of the earliest made. Even more important, this is a Mint unplayed very first pressing in a Mint- very first printed gatefold cover. ORIGINAL 1971 'Apple' INNER SLEEVE WITH THEIR COPYRIGHT TEXT PRINTED ON THE BOTTOM RIMS. UNUSED AND UNSPLIT, WITH SOME REASONABLY MODERATE AGEING FOR THE 46 YEARS OF AGE. A RECORD IMPRESSION AND A FEW FAINT RELATED CREASES, IN A MINIMUM OF EXCELLENT+++ CONDITION. REGARDLESS OF BEING FULLY LAMINATED OR NOT, THE SAME PRINTED UK TEXT AND APPLE LOGO'S WERE PRINTED INSIDE, EXACTLY THE SAME AS THEY WERE BOTH MADE DURING THE CURRENT 1971 LEGAL PROBLEMS. ORIGINAL 1971 LAMINATED GATEFOLD COVER, TO QUALIFY AS THAT, THE DETAILS PRINTED ON THE INSIDE LEFT PANEL, ALONGSIDE THE GREEN APPLE LOGO ON THE BOTTOM RIM, ARE UNIQUE TO 1971 ONLY:

An Apple Record - An EMI Recording - Printed & Made In England - Copyright McCartney Productions Ltd. 1971.

As just detailed about the labels, the Beatles court case even found Paul copyrighting his "Ram" cover artwork design to the just founded company, 'McCartney Productions Ltd. 1971.' Once again there is a close up picture of the text unique to the June, 1971 very first editions 'Printed & Made In England' is in really tiny print central to a quartet of credits, nearly off the rim. AS THE VERY FIRST MADE RARER TYPE, THIS HAS A UNIQUE SLOPING SHAPE, SOME OF THE FIRST ISSUES WERE LAMINATED INSIDE OR MATT, THIS COVER WAS LAMINATED INSIDE. NEITHER TYPE WAS EARLIER AND BOTH HAD THE ABOVE CREDITS AND FIRST PRESSING RECORDS INSIDE, IN THE SAME FASHION NOT ALL FIRST ISSUES HAD AN APPLE INNER SLEEVE, SOME HAD AN EMI INNER SLEEVE. WITH MANUFACTURING ON THIS MASSIVE SCALE, VARIATIONS DURING THIS ERA SIMPLY HAD TO HAPPEN, THE SAME APPLIES TO HOW SOME LABELS WERE THE LIGHTER GREEN OF 1971 AND OTHERS DARK GREEN OF NOVEMBER,1968 - MAY 1970. IT MIGHT APPEAR THAT THE SPECIFIC PRINTER OF THESE VERY FIRST ISSUE "Ram" COVERS WAS NOT CREDITED, BUT THEY CERTAINLY WERE! I would not advise this unless your cover is in a really battered and worn out condition and has no damage, there is a hidden "Garrod & Lofthouse" credit inside the sealed front compartment. Printed on the top internal joining cardboard strip in black print of this positively very, distinctively finished very first "Ram" cover, I can and will 100% guarantee there will be this;

Garrod & Lofthouse Ltd Patent No.*******

I might know my around the undocumented details of records, labels, covers and inner sleeves, well, coded and hidden info, but I do not know the actual Patent number! I will not be levering open this Mint- cover to prove the point, the factory glue was exceptionally thick and would most likely tear on attempting to open the front compartment due to all three outside edges being glued, then the fourth side is the wide spine. Please do not damage your cover just to find out if it was one of the very first made and with the "Garrod & Lofthouse Ltd Patent No." on the top left seaming fold / or internal front flipback edge. Now to explain why it was hidden in the first place and why genuine first editions have a unique shape, a square/wide spine and such incredible deluxe quality printing and glass like glossy lamination. Nothing new there, for example, check out the few very first mono & stereo "Sgt. Pepper" gatefold covers four years earlier, the pattern for the very first made is identical.....except EMI only contracted "Garrod & Lofthouse" printer in 1967. Only the second time I am including that info, several years ago I was fed up with sellers taking my knowledge to sell worn out junk, but I always pointed out how these early Beatles solo UK albums did not have the printer specifically named and credited, that only happened when EMI contracted several different printers for anticipated big selling albums. That accounts for just having, "Printed & Made In England" inside the gatefold and why only some were laminated on the inside as well. For example, there are printing variations to "McCartney" & "Imagine", first pressed "Ram" records were placed at random in either of the two variations. There is nothing here unconnected to standing in storage, a plastic outer sleeve preserved the dazzlingly bright and rich colours which are completely unfaded. The lamination is still as deeply glossy as the day it was applied, the wider spine is immaculate and any fractional brushing to the standing bottom end of the spine, is too microscopic to take seriously. AN ABSOLUTELY STUNNING, COMPLETELY UNWORN, AS NEW COVER, IN MINT- CONDITION. THE PRISTINE LABELS AND THE RECORD ARE ALSO JUST AS STUNNING, THE TEXTURED LABELS DO NOT HAVE ANY SPINDLE ALIGNMENT TRACES. A TRULY BEAUTIFUL AND VERY RARE FIRST PRESSING RECORD, UNPLAYED AND PERFECTLY STORED FOR THE LAST 45 YEARS IN A PLASTIC SLEEVE, I COULD OFFER THIS WITHOUT HEARING IT, BUT AS "Ram" IS MY FAVOURITE SOLO McCARTNEY ALBUM, ONE OF MY UNDETECTABLE PLAYS AND A SLIGHTLY RESTRICTED DESCRIPTION OF THE TRACKS, WILL FOLLOW THE BACKGROUND TO THE ALBUM. Mid- 2016, there is no question EMI / Apple Mint first pressings of the magnificent "Ram" albums are now really rare, as ever I will be very careful when taking one play. Do I really have to repeat how records were handled at the pressing plant and record shops before being sold as new? Well I have and any trace of handling is near invisible to invisible, no way could the dark green textured labels be played without leaving positive traces around the spindle hole, there are none at all on either side. THE RECORD IS IN UNPLAYED MINT CONDITION.

SIDE 1 "Too Many People" (Paul & Linda McCartney) "3 Legs" (Paul McCartney) "Ram On" (Paul McCartney) "Dear Boy" (Paul McCartney) "Uncle Albert / Admiral Halsey" (Paul & Linda McCartney) "Smile Away" (Paul & Linda McCartney) SIDE 2 "Heart Of The Country" (Paul & Linda McCartney) "Monkberry Moon Delight" (Paul & Linda McCartney) "Eat At Home"(Paul & Linda McCartney) "Long Haired Lady" (Paul & Linda McCartney) "Ram On" (Reprise) (Paul McCartney) "The Back Seat Of My Car" (Paul McCartney) Recorded January - March, 1971, At Columbia & A&R Studios, New York, and Sound Recorders Studios, LA. Produced By Paul & Linda McCartney (I will give a full account of the recording and personnel details below.)

Having just placed the record, cover, labels and inner sleeve very firmly as original to June,1971, I would like to concentrate on this fascinating and much more interesting events around Paul's first solo album after leaving the Beatles. I just touched on the publishing side of the "Ram" tracks, no, I have not forgotten about the 1970 "McCartney" LP, that was recorded and mixed before the Beatles had broken up and it was indeed the album that centred around Paul being the first to announce he had left the band. '1' & '2' digits at 9 o'clock in the run-out grooves, show both sides were pressed from the 1st & 2nd mothers created, with the dark green Apple colour, this was among the very first records pressed within that massive volume required and made, for an album that sold in the vast quantities that accompany making it to No.1. For 1971, the very earliest records made have the unusually dark green half of the Apple for Side 1's label, as all the pressings progressed, the standard lighter green of 1971 the actual manufacturing order of individual copies. If on a much lighter green label, then maitrix digits have risen, the order is from slightly later in the pressing sequence. I am extremely fussy about only ever listening to this loved album with perfect sound quality, in all our decades of selling records that has remained resolutely unchanged. Not easily done, I can identify any original pressing, to make certain I offer the ultimate sound there is just one way, I only ever sell "Ram" in Nr. Mint to Mint. Side 1's darker green colour tone label is for identification purposes and a worn out damaged record cannot be 'saved' by being among the earliest of the first pressings. Every single record out of that astronomical volume made at the beginning, the middle and the end of the 1971 pressings, all had Abbey Road's finest mastering and also EMI's Hayes, Middlesex pressing plant's most stringent quality control. The details on the labels can be read in the close up pictures, that text is the same on both labels but I suggest Side 2's white half of an Apple will be easier on the eyes, there you will see the asterisk related to the tracks written without Linda and therefore claimed by 'Northern Songs', didn't they make enough millions without such a distasteful display of greed? The important thing that can also be seen in a selection of pictures found above, the staggering condition of all original items, including the stunning condition cover. The printers and therefore the cover's finish and the label printing process produced differences, like I constantly say about this period, variations were created by the era itself and we should venerate the individualistic nature of records and all associated printed items,not claim anything that is in reality trivial, is a 'major rarity' and 'withdrawn' etc. The manufacturing process had to have a beginning, a middle and an end, the condition of the items 42 years later, supersede a scratched and unlistenable record from the beginning stage, who wants to see a once beautiful "Ram" cover in a dreadful battered state? I believe in describing variations but I do not want my presentation of this really beautiful earliest possible pressing, to become used by unscrupulous sellers on ebay to sell worn out junk. I'm delighted to be able to offer a fantastic original/first pressing like this from the beginning of the pressings, as much as I would be for an equally sublime copy from the middle or conclusion of the prerelease manufacturing....only if in the same Mint condition. Now for the much more interesting stuff, Paul went right back to the basics for that solo "McCartney" album, he played all the instruments and apart from Linda harmonising on a few vocals and cracking a few sticks in the studio to simulate a fire, it had a minimalist production. From late 1969, Paul was holding back from telling the other three he was even making that album and he recorded nearly all the tracks at his home, Abbey Road studio was mostly used for overdubbing some parts and mixing. This was still before he formed Wings, possibly stung by the heavy criticism "McCartney" received from the media, for his next album, Paul swung into action to create a fully blown produced album. He got down to some serious songwriting and produced an amazing thirty new songs, which included polishing up many written during the January,1969 "Let It Be" rehearsals and the month long filming. Choosing the finest eleven to record for "Ram," in November,1970, Paul and Linda travelled to New York to audition musicians to play on the sessions. This is a quite a famous story but not everyone will know it, he set up in a New York cellar club and under the guise of a "Jingle Session," nine drummers were brought in for the auditions. They had no idea who was holding them and just arrived to find Paul McCartney conducting the event! I must stress how revered the Beatles were and this was only months after they had caused a tidal wave of sadness when they broke up, Paul chose Danny Seiwell, who would go on to become part of Wings during the following year. For a lead guitarist, this time he used a loft room on 45th Street, New York as a venue, David Sinozza was chosen, because the booking of the rehearsals became erratic and he was only hired for four weeks, Sinozza only played on a few of the LP tracks, plus the two songs released as the single, "Another Day" and "Oh Woman, Oh Why." So a session guitarist, Hugh McCracken, was enrolled for the rest of the recording sessions, they stayed in New York and used two studios, 'Columbia' and 'A&R', then it was off to L.A.'s 'Sound Recorders' studios. Many tracks contained 'messages' to John in the lyrics and "Ram" began one of the most protracted, volatile and emotional exchanges in songs and pictures, ever experienced in rock music, before or since. The cover artwork was made up with Linda's photos and Paul drew and designed all the rest, the most direct reference to the Beatles splitting up and now facing each other in a courtroom, was found on the cover, it depicted two beetles engaged in mating. John Lennon reacted very strongly and angrily to Paul's lyrics, but just as much to seeing that on the cover, as he put it, "Two Beatles screwing each other." Later on in 1971, his "Imagine" album contained the ultimate put down track of all time in "How Do You Sleep," which included George playing lead guitar, a postcard insert pictured a grinning Lennon holding a pig's ears. He was mimicking the "Ram" front cover picture of Paul holding a ram's horns on his Scottish farm, that carried on with the pair sending letters into the UK's music press to continue their heated exchanges, then Paul took the initiative on his next LP, now as Wings, he wrote and sung the most beautiful melody and song for "Wildlife," the deeply moving "Dear Friend." I realise Beatles collector's often shun the solo albums but surely "Dear Friend" was very much a part of the Beatles and if nothing else, it ranks alongside anything Paul wrote and performed between 1962 & 1969. There were none of "Ram's" veiled and cryptic references that time, it was written in the form of an open letter, the lyrics and genuine sincerity of one of Paul's most heartfelt vocals, finally ended their dispute, if not the still open wounds, caused by the never ending legal wrangling over the Beatles finances. I have found genuine Mint McCartney / Wings albums drying up so far this year, that had to happen, the claims of 'Mint' and now 'Unplayed' occupy the headings, but once you click onto the item page, surprise, surprise, the grading's have been changed. I am thrilled to have located a Mint condition original "Ram", the only condition I will consider, sure, a huge selling album but that doesn't mean there are now records available in the only standard I sell Paul's records in, or any of the other solo records come to that. 1971 was a really long, long time ago, in the early 1970's Paul and the other ex- Beatles were still contractually tied to EMI/Apple, it's impossible to have this or any other of Paul's UK records on a Capitol label until he actually signed to them! For the "Ram" re-issues the printers had to remove the 1971 only, printed text from inside the gatefold cover, very clumsily done as well. With all details given in my headings I do not need to repeat them here, not quite all, because the part that matters the most is found in the massive power mastered and the stunning sound quality of all the 1971 first issues. Both labels are in as new condition, without a single trace of spindle use, the record is gleaming with the special sheen of mint vinyl without marks, any handling comes under 'near invisible / invisible'. A really beautiful looking record I am really looking forward to hearing the precise stunning sound quality I insist on, I will take just one play for a slightly shortened description, but after fourteen years of typing ebay descriptions, I can still pack plenty of info into that. Side 1 has near silent run-in grooves, for a first play in 45 years I cannot waste time over static still in the grooves from the pressing process, unplayed vinyl needs playing in and this is strictly only a careful one play through. In staggering power, and absolutely perfect audio clarity, the superb acoustic guitar intro to "Too Many People". The sound quality is nothing less than sensational, "Ram" had fantastic mastering to vinyl and as I said, EMI's pressings were beyond compare for every single one made, which is why my expectations for the audio are therefore sky high, this record not only meets them, it surpasses them. As the album opener "Too Many People" was a direct message to John Lennon, in many interviews John reacted very angrily to the lyrics because they were aimed at him personally, as his ever honest self, John Lennon highly praised "Ram's" musical contents. A delightful melody, now given all Paul's expertise at creating an incredible production, this has a crafted stereo mix as well. Growing 'wings,' for his next album "Wild Life", he reverted to a simplistic production,"Ram" really was Paul's solo masterpiece of a record, before forming a permanent band for touring and recording. Paul's acoustic guitar remains on the whole of the track and ironically, sounding rather like John Lennon when he plays it as a rhythm guitar, no coincidence there! The vocals are just superb, a song that begins with and continues to have many similarities to the track that opened the"Let It Be" LP, "Two Of Us." Soon building into a very solid rock track, an album as loved as this will conjour up many of snippets of related info, in order to keep this down to just one play to finish this description, that will have to be curbed somewhat. The sound is stunning, that of a Mint 1971 pressing, the true stereo mix is awesome, this is 'The Sound' of "Ram"! I would love to go into these lyrics in depth but not today. The acoustic guitar's improvisations fade into silent linking grooves, just how clean & clear is the sound? Before the next track begins, Paul whispers instructions and by now most originals are drowning that out in a sea of crackles, few people will have even heard that almost silent whisper. The intro to "Three Legs" is again Paul singing along to his acoustic guitar, an acoustic blues song, accompanying Paul's acoustic guitar, so one of the few tracks David Sinozza did play an electric blues guitar on, he was much too busy to wait around to play on one the greatest ever ex-Beatles solo albums! This is exactly the kind of song Paul could effortlessly write, as if clutched from from mid-air, just to think he selected the songs from thirty new compositions to create a kind of "Sgt.Pepper" LP effect, with every track running straight in to another of equal greatness. A fantastic vocal from Paul here, from a near silent gap, next, you hear the recording tape being re-wound and a piano warms up, a from the sound engineer, is answered,"Okay," from Paul, who then plays the banjo as the intro to "Ram On". Basically an acoustic track with magnificent vocals, Linda sings lovely harmonies, a song to listen to very closely because as simple as this appears to be, there are so many vocal additions for such a short track. The sound quality is loud, powerful and crystal clear, time to drop mentioning gaps! One thing is certain about this record, the pressing is as immaculate as I have ever heard, "Dear Boy" is one from the genius of songwriting, Paul uses Beach Boys style harmonies to such an incredible effect, the production could easily be a Brian Wilson one. Paul's initial vocals have the megaphone effect he used on the "White Album" in 1968, then they become staggering, as multiple layered voices appear in the speakers faster than your ears can follow. No way will I attempt to describe the astonishing stereo panning effects, besides, I have no wish to analyse such fantastic sounds just to establish the very first UK stereo mix. Everything the Beatles learnt about making senses tingling records is encapsulated here on "Ram," I can't believe how people so into the Beatles can ignore their solo records made so soon after they broke up, each to his own, but at least check out "Ram" and you will be blown away by McCartney in this truly inspired rich vein! I certainly am yet again, this side is unbelievable for how the songs segment into each other, now for the magnificent "Uncle Albert," starting from another totally silent gap. If ever any solo track contained a 'Beatles production,' this is it, I rate it as one of Paul's greatest ever compositions. The intro is as immaculately clear of any surface pressing sounds, amazing because the first lyrics are sung by Paul acapella, then all the instruments gradually join in with his voice, there is no surface sound or static on this pristine record. Just after Paul sings,"I believe I'm going to rain," the sound effects of the storm have the thunder and rain mixed to superbly realistic stereo movements between the speakers. The melody is just glorious and this is just stacked with fantastic vocals, the strings are in the "Sgt.Pepper" mold, even when Paul imitates the phone ringing, that was entirely panned from the left channel, then his dialogue with 'Uncle Albert' also stays there, meanwhile, the staggering vocal harmonies are from the right channel. The "Yeh, yeh, yeh." part does bring Paul's former band very much to mind, I am sure that was his intention, to re-establish himself after the critics mercilessly tore into the "McCartney" LP with unjustified venom. Mr. Lennon also noted Paul's incredible production on an inspired track! A stereo mix that's a treat for your ears, the sound? Awesome! Then straight into the other half of,"Admiral Halsey," as a highly infectious melody has it,"Hands across the the water, hands across the sky." A fantastic piece of music with a wonderful production with brass and just about everything you can think of! A Beach Boys like vocal suddenly changes the melody and the electric guitar begins a grande finalé for the last verse. It gathers speed and starts to fade before a guitar goes through it's paces, the "1, 2, 3, 4" count-in from Paul immediately has me thinking of the opening to Side 1 of the "Please Please Me" album! The superb richly melodic song "Smile Away" now kicks into action with a hard driving rhythm that rocks the side out rather nicely. Paul is ad-libbing most of the time, switching from speaking the lyrics, to singing them in the blink of an eye, the looseness Paul generated from the session musicians was all about an ability to inspire all who played with him. The sound quality has been staggeringly perfect, now for the second of an amazing playing record, for anyone new to records, turning over an unplayed record is quite normal for me and you will never know it has been on a turntable. Side 2 has the same near silent run-in grooves, it seemed absurd saying that for an unplayed, Mint record, I would say the same for just one ultra careful play, after all, the early 1970's was when record shops still played records before they were sold as new. Another immaculately clean acoustic guitar and vocals intro to "Heart Of The Country." A very happy song inspired by a farm the McCartney family were living on in the isolation of rural Scotland. An acoustic blues song very similar in format and feel to the songs Paul wrote for the "White Album," here he even scat sings. (A blues / jazz term for vocally improvising.) Being the second Side's opener with a delicate minimalist production, the beginning if not the whole track is usually totally ruined by crackles and worse, a record to give any CD a run for it's money for lacking vinyl's possible irritations, without virtually any audible static. The standard of the mastering and pressing was unreal, over these last 14 years on ebay, static & vinyl belong together and the actual 'sound' matters, this is THE very sound I knew I was out there and as much as I could have sold it without sound grading it, I feel I have earned the right to fully enjoy the sound of a Mint "Ram." Having my own copy doesn't mean I'm not still just as hungry to sample another just bought one! The term 'genius' is liberally used, applied correctly to my personal track of this album, one of Paul's greatest ever compositions and performances from any of the many decades of writing and recording such magnificent songs, "Monkberry Moon Delight". What a song and what a stunning arrangement this is, the linking grooves have minimal natural static from the 1971 pressing, then the keyboards really pound out and Paul sings this in his strongest voice, when he is singing like this he's up there with the world's finest. The vocal harmonies are glorious and the much maligned Linda creates such beautiful harmonies to Paul's lead vocal. The lyrics upset John Lennon though, he felt he and Yoko were being told; "I don't get the gist of your letter, catch up, cats and kittens, don't get left behind." It seems really petty now but not at the time, I love this line,"My piano was boldly outspoken," one of so many on this song that justified me naming McCartney as a genius for both music and lyrics. Paul's improvised vocals on the really lengthy ending are moving into the same exalted realms as the extended ending section of "Hey Jude". All heard in the sound quality I dream about finding, this is an awesome pressing, a dark green label or not, I always insist you cannot get music from tiny plastic stamping's, labels or maitrix. Records contain music and that was why we bought them in their own time period and I refuse to lose sight of that. Now another slice of Paul's genius for creating fantastic melodies and the highest praise goes to the late Linda for her massive contributions to the glorious vocals on "Eat At Home". This song has more than a touch of Buddy Holly and his influence on the Beatles and so many others was immeasurable. I half expect Paul to start singing with 'hic-ups' like his hero Buddy would have done. A fast flowing rock track with the perfect mixture of a brilliant vocals and a wonderful instrumental backing track. You can hear from all of these songs the domestic bliss the McCartney's were enjoying, as long as Paul and Linda could manage to avoid getting arrested for possessing some of natures's natural relaxants! Immaculate sound continues, with "Well, well, well," just like John had on his first solo album, only with unreserved aggression, Paul sings that with real gentleness on the sublime "Long Haired Lady." If you stop to count the many different melodies running through this incredible track, you can get to about three or maybe even four, my favourite is the "Love is long" section, calling Paul a musical genius is all you can do when hearing the album I consider to be his ultimate as a solo artist, Linda accepted of course. As loudly as the record projects the quietest or softest sounds, the volume is massive when the brass comes during the last verse, there isn't even a hint of distortion on one second. A brief reprise of "Ram On" prefaces the astounding last track, there has been such fantastic music so far and now for a deeply beautiful song that was first written while recording the "Let It Be" album and film rehearsals. The crafted production is awesome, strings, brass, guitars, bass, drums & handclaps are just some of the sounds behind staggering vocal performances. The time it must have taken putting all the vocals together alone, portraying an artist at his most inspired, Paul's final vocals are astounding, the guitars ending this are almost like a different song was just waiting to be recorded! Yet another song Paul deliberately wrote with lyrics answering John Lennon's stinging criticism, I still have the "Melody Maker" when he made them. The offending line here was; "We believe we can't be wrong." John's reaction was; "Oh yeah, is that so? Well, I believe you Can be, and you Are wrong!" It's hard to play the album without great memories of that pair slogging it out together, more like brothers because underneath it all was an affection and respect from one genius to another, who happened to be in your old band. The sound quality has been so stunning, I have to name this as one of the finest "Ram" first pressings I have ever heard and after several plays, even that will improve. A shortish tracks description, so here are some specific details about this incredible condition very first "Ram" gatefold cover. The outside of the gatefold cover is simply stunning, without even a suggestion of any ageing from the undulled and deeply glossy lamination, over unfaded, vividly rich, ultra bright, deep toned colours. This was bought from a one owner from new, who placed all covers into plastic outer sleeves from brand new. "Ram" was given superb protection in 1971 from the deluxe lamination, but the vast majority of these 1971 first issue covers are in a dreadful state today, the sheer passage of time and overplayed records constant handling, saw to that. Of all Paul's albums,"Ram" was the most loved and enjoyed, such excessive playing should also be understood in the context of why a No.1 album is usually tougher to find undamaged than the more obscure, non charting albums. Containing, I shall politely say this, music that did not withstand more than 1 / 2 plays, or only had a couple of decent tracks. Even the impression from the heavyweight record is so gentle there are no laminate wrinkles on the front or back, just two tiny laminate edge lines next to the spine of course, there in 1971 and there is not even a hint of wear, a really beautiful cover! The corners are all square shaped and as near to perfect as a 45 year old cover possibly can be, the 'minus' added to the Mint grading allows the merest standing pressure. All the edges are unworn, including the opening edges, the spine has unworn and unsplit laminate over an exceptionally clear central title against an unfaded yellow background. Still perfectly protected by the deluxe thick laminate, the unopened inside has been described, the same immaculate finish to the artwork, album tracks and credits. I'm aware one day a true Mint first pressing of "Ram" will no longer be possible, after hearing such perfect sound, if this is the last of an extinct species, I am very proud to offer an ultimate first pressing. {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. 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. We take 100% responsibility after an item has been posted and offer our fullest support in the event of any problems.

"There Are No Problems, Only Solutions" (John Lennon)

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.