Vinyl: TRAFFIC John Barleycorn Must Die LP 1st UK PRESS 1970 PINK ISLAND UNPLAYED MINT PERFECT SOUND ~ SUPERB Nr. MINT EJDay GATEFOLD COVER

There were three men came out of the West, their fortunes for to try,
And these three men made a solemn vow,
John Barleycorn must die.
They’ve ploughed, they've sown, they've harrowed him in,
Threw clods upon his head,
And these three men made a solemn vow,
John Barleycorn was dead.

They've let him lie for a very long time, 'til the rains from heaven did fall,
And little Sir John sprung up his head, and so amazed them all.
They've let him stand 'til midsummer's day, 'til he looked both pale and wane,
And little Sir John's grown a long long beard, and so become a man.
They've hired men with their scythes so sharp, to cut him off at the knee,
They've rolled him and tied him by the way, serving him most barbarously.
They've hired men with their sharp pitchforks, who've pricked him to the heart,
And the loader he has served him worse than that,
For he's bound him to the cart.

They've wheeled him around and around a field, 'til they came onto a pond.
And there they made a solemn oath on poor John Barleycorn.
They've hired men with their crabtree sticks, to cut him skin from bone,
And the miller he has served him worse than that,
For he's ground him between two stones.

And little Sir John and the nut brown bowl, and his brandy in the glass,
And little Sir Johnn and the nut brown bowl, proved the strongest man at last.
The huntsman he can't hunt the fox, nor so loudly to blow his horn,
And the tinker he can't mend kettle or pots, without a little barleycorn.

TRAFFIC: "John Barleycorn Must Die" LP. PINK ISLAND VERY FIRST UK PRESSING, 1st AUGUST, 1970.
The very first pressings were mastered in America and the full details were so comprehensive, there are substantial items to give
for this immaculate record. Only the intial Polydor pressings had them, an unusual scenario as early as 1970 was Polydor did not
have their usual maitrix format. They only added a few machine stamped digits to the original 'Sterling Sound' studio mastering
and indexing, I know the pressing info is essential but an unplayed very first pressing of "John Barleycorn Must Die" is off the
scale for the rarity. An incredible Traffic album, apart from having the full initial mastering details, the only variation is
Pye also contractually pressed some of the records, which also contained the USA details Pye stamped their own distinctive and
familiar maitrix seen on the pink Island label. I sold a copy a years ago on ebay but they are seldom seen, Island Records
never had a pressing plant of their own and relied on Polydor & Pye up to November, 1970, when EMI took over when the pink rim
labels were introduced. On that subject, "John Barleycorn Must Die" was only inside that time frame by eight weeks, so the pink
label first pressing only had two months before the album appeared on the pink rim / palm tree labels in November, 1970.

PINK ISLAND LABEL: ILPS 9116 .

THE SOFTLY TEXTURED PINK LABELS HAVE A WHITE "i " ISLAND LOGO, THEY ARE IN AGE DEFYING, UNUSED,
PRISTINE CONDITION.

AS THE FIRST PRESSING, THE RUN-OUT GROOVES HAVE THESE UNIQUE FEATURES:

1.) The "Sterling" logo is stamped on both sides, so the album was mastered in New York's legendary 'Sterling Sound' studio.

2.) On the right of the 'Sterling' stamped logo, 'LH' is hand scribed, the logo of Sterling's current top sound engineer, the
fantastic sound and outstanding first stereo mix mastered in 1970, can be attributed to Lee Hulko. He mastered several Island
albums in the early 1970's, including Sandy Denny's 1971 solo debut LP, "The North Star Grassman And The Ravens."

3.) '6. 3. 70' is hand scribed on both sides, '3rd June, 1970' is the actual date of the above mastering in New York, because the
American "John Barleycorn Must Die" release was July,1970 and the UK release, August,1970. If this was a UK mastered album,
that date would have been '6th March, 1970', American date abbreviations usually place the month first, but that would not be
a possibility because in March,1970, Traffic were still recording the album and they would not complete it until the April.

4.) 'RC' is hand scribed on Side 1, I don't know who's initials they are but it has to be another 'Sterling' sound engineer, this
was the only item I could not fit into a huge compilation picture of all this very first pressing's indexing. There was more than
I could not include in pictures but apart from 'RC,' nothing of any consequence and mostly Polydor related except, the sides
were identified by 'A' & 'B,' because the mastering was made before the printed labels were attached.

DUAL MAITRIX FOR THE UK & USA:
5.) Hand scribed on both sides are the UK maitrix in June, 1970:
SIDE 1: ILPS 9116 A / 2
SIDE 2: ILPS 9116 B / 2

6.) Also hand scribed on both sides are the American 'United Artists' maitrix, once again added June,1970, in 'Sterling Sound'
studio by the sound engineer;
SIDE 1: UAS 5504 - A
SIDE 2: UAS 5504 - B

1970 ORIGINAL POLY-LINED INNER POLYDOR / ISLAND SLEEVE, THE FINAL DIGITS ON THE FRONT BOTTOM RIM
ARE IN THE FORM OF AN ENCODED DATE FOR THE MANUFACTURING MONTH AND YEAR;

0670 = June, 1970

With the album's release on the 1st August, the original sleeve was made a few weeks before being paired with this very first
pressed record in July, 1970.
LIGHTLY AGED, UNUSED AND UNSPLIT, WITH ONLY A RECORD IMPRESSION AND A FEW RELATED GENTLE CREASES.
THE INNER SLEEVE IS NEAR MINT CONDITION.

VERY FIRST ISSUE ONLY, 'E J Day' PRINTED GATEFOLD COVER.
These very first issue, 'E J Day'" printed gatefold cover were made from very heavy, unsealed and untreated plain cardboard, with
black printing on the front, back & spine. Being extremely absorbent textured cardboard, the originals rarely survive without
severe wear and very heavy staining from both the atmosphere and handling. Even if shelf stored and unused,the spines turned
various shades of brown and yellow, the chances of printed titles not being worn clean away in 1970 alone, were remote to say
the least. The same applies to ring wear and general scuffing having adverse affects on the artwork and extensive album credits
and details on the back of the outside. This gatefold cover was stored in a plastic sleeve from day one, so exceptionally unworn
and for once again ageing the spine does not have any form ageing, I can't remember when I last a genuine first issue without
positive yellowing / ageing on the spine. Atmospheric ageing is always a problem, the same effect on the spine also affected
an almost identical cover from the early 1970's, but not this time, am amazing condition first edition cover. In fact, all for me
to mention is a common factory finish for most gatefold covers from every decade, especially when the cardboard is this extra
thick and strong. When the corners were folded and the cover assembled, most had a 'bunching' effect you can duplicate by
folding thin paper, without great care even paper bunches up if not 100% accurately folded at the corners. That's so minor I could
not include that, I certainly will not include that in the grading because that was how the cover looked like 48 years ago when
brand new. Anyway, a Mint unplayed record is of much greater significance than how untreated cardboard reacted to time,
the spine is in outstanding condition with the titles and catalogue numbers present & correct. The rough, uneven top surface on
a hinging position, meant fractions of the lettering did not take the black ink, please see my close up picture of the central
main title for how trivial that is. Like even laminated gatefold covers, the extreme tips of the spine ends has the merest hint of
brushing / minimal rubbing from standing in storage for all those years. Unused and stored as perfectly as physically possible,
way back in 1970! This really is in beautiful condition, as usual I opened out the gatefold into a comfortable flat position, to
take a picture of the whole outside. I am delighted to offer it in is such superb condition, all edges are in perfectly sound,
strong condition with only the mentioned merest brushing. The colour picture of Traffic as a trio inside over both panels, is in
'as new condition.'
THE GATEFOLD COVER IS IN VERY RARE, NEAR MINT CONDITION

THE IMMACULATE LABELS DO NOT HAVE ANY SPINDLE ALIGNMENT TRACES AND THE DEEPLY GLOSSY, AS NEW VINYL
DOESNOT HAVE ANY MARKS. A REALLY LOVELY LOOKING AND PERFECT VERY FIRST 1970 PRESSING.
THE RECORD IS IN EXTREMELY RARE UNPLAYED MINT CONDITION.

SIDE 1
"Glad" (Steve Winwood)
"Freedom Rider" (Steve Winwood)
"Empty Pages"(Steve Winwood / Jim Capaldi)

SIDE 2
"Stranger To Himself "(Steve Winwood / Jim Capaldi)
"John Barleycorn Must Die" (Traditional, arranged bySteve Winwood)
"Every Mother's Son" (Steve Winwood / Jim Capaldi)

TRAFFIC:
Steve Winwood - vocals, Hammond organ, piano, electric & acoustic guitars, bass guitar & percussion
Chris Wood - saxophone, flute, electric saxophone, Hammond organ & percussion
Jim Capaldi - drums, percussion & vocals

Recorded February - April, 1970, at Island Studios & Olympic Studios, London.
Produced By Chris Blackwell & Steve Winwood

I have written uncountable biographies for Traffic since joining ebay, rather than covering the previous three years in great
detail, something I thoroughly enjoy, I will condense it and aim at getting to describe the record and music faster than normal!
Being something of a Traffic fanatic I am extremely fussy about how I present their original albums, every one has their own
reasons why all the covers represent major problems over severe wear, but only the 1967 "Dear Mr.Fantasy" is ahead of this
first issue "John Barleycorn" gatefold cover for almost guaranteed severe wear and stains. The last copy I sold on ebay was
around January of this year, 2011 has ccertainly been a great year so far for locating records, like this magnificent Traffic LP,
many are becoming so rare in top condition, ever occaison is a major bonus for me, especially a mint "John Barleycorn Must Die"
on the first pressing only, pink Island label.

In 1967 Steve Winwood left the Spencer Davis Group, he had been with them since 1963, when he was only 15 years of age, the
records released prior to leaving had been on the Fontana label. He was 'going home' by signing his new band Traffic to Island,
Chris Blackwell who co-produced "John Barleycorn" was the first to recognise the unbelievably talented young Stevie Winwood.
With Island just starting out and releasing minority music mostly on singles, the founder Chris Blackwell was unable to afford to
finance the Spencer Davis Group and leased them to Fontana but always made sure 'Island Records were credited on the labels
and LP covers, assuming the printers remembered to include their credit! The timing was pefect in 1967, Steve might have been
only 19 but he was ready to evolve his r&b/blues roots into embracing and innovating psychedelic music, Island released Traffic's
debut single,"Paper Sun," an acclaimed 45 was closely followed by their first album, "Dear Mr.Fantasy", like the single, regarded
in 1967 and today, as one of, if not the greatest ever psychedelic masterpiece. Orignal founder member Dave Mason's behaviour
was a touch erratic and he left straight after "Mr. Fantasy" was issued, only to return to record a stunning second LP in 1968.
Dave Mason was again on his way even before "Traffic" was released, when it was, Traffic had achieved two Top Ten UK albums
in consecutive years. Their changing line up had seen them coping with becoming a trio without Dave Mason, Steve Winwood was a
musical genius who could play just about any instrument he picked up, in particular, keyboards, lead & rhythm and bass guitars
and a harmonica. When Traffic split up in January, 1969, Steve Winwood teamed up with Eric Clapton, Ginger Baker and Ric Grech
to form the magnificent, very short lived Blind Faith. In 1969, Island issued Traffic's third LP "Last Exit" but without the band
together, they were not touring to promote the album, as great as it was it sold so poorly, it failed to enter the UK charts and
joined Island Record's ever lengthening list of brilliant but commercial failures. After Blind Faith folded, in February, 1970,
Steve Winwood joined Ginger Baker's 'Airforce', a live album was recorded and then he started recording his first solo album,
which was intended to be titled "Mad Shadows". Jim Capaldi and Chris Wood joined Steve for those recording sessions and their
chemistry was re-ignited, it went so well and with their creative juices flowing again, they all decided to make it a new Traffic
album instead. Traffic were re-born as that trio of Steve Winwood, Jim Capaldi & Chris Wood, the album became the wonderful
"John Barleycorn Must Die". For me that's the shortest background I have ever written for a major Traffic LP like this, Traffic
have been a band I have loved since following Winwood from the Spencer Davis Group in 1967, just as a matter of interest, two
songs were originally recorded for Steve's "Mad Shadows" album and they were,"Stranger To Himself" and "Every Mother's Son."
The record production at that earlier stage was being handled by Island's ever reliable Guy Stevens, the other four tracks on the
LP were produced by Steve Winwood and Island's founder Chris Blackwell, as just mentioned.

John Barleycorn Must Die" was issued in August, 1970, the first pressings have a date '6. 3. 70.' scribed in the run-out grooves,
I have given my explanation of the date above, wouldn't it be great if every first pressing record made had a date the mastering
was made! A first issue stacked with identification pointers in the in the run-out grooves, ironically none are required with
the pink Island labels only having another 8 weeks left before they were re-designed to become the palm tree / pink rim labels.
Traffic were back and the album made it to No.11 in the UK charts, without a current hit single, that was quite an achievement,
if not the Top Ten position it thoroughly deserved, but they could never be considered a commercial band and that position would
prove to be the last time their albums ever tasted coming so close to the Top Ten. The album title was taken from a traditional
English folk song and "John Barleycorn Must Die" became the first purely folk music Traffic ever recorded, the song was first
written down and printed in 1465, I have given the full lyrics above, only part of one verse is printed on the back cover where
the origin of the song is excellently documented.

Both labels are in superb unblemished conditon, a lovely bright pink colour, the deeper toned 1970 labels with a white "i" logo.
They do not have any traces of spindle alignments and the heavyweight, deep grooved vinyl is so typical of Island's 1967 - 1970.
first pressing. Looking like new with that special glossy sheen of a Mint record, no marks and if there any handling traces I
could not find any, it had to be handled, I always add 'near invisible' in case.
I had to hear this amazing condition first pressing, taking my customary care not to leave spindle traces on the labels, or any
signs of my equally careful stylus lowering. Naturally scrutinising every track, including the superb acoustic album title track,
"John Barleycorn Must Die", and every one produced absolutely perfect audio clarity. There was absolutely minimal static or
more realistically put, virtually no static during the music and gaps, a stunning sounding record or I would not even consider
offering it for sale, all will be honestly described in my usual track by track account. I must point out that even true mint pink
Island first pressings have some low level static, because the last thing I want to do is create the impression this is not vinyl,
incredible vinyl though and a fantastic way to enjoy "John Barleycorn." The truth is, this was an immaculately pressed record
and even mentioning the faintest hint of static, was my excuse for a second play and the chance to descibe the tracks!

Side 1 has near silent run-in grooves and any natural static is as quiet as it gets, enough of such nonsense because this
first track's intro is absolutely perfectly clean and clear of anything, other than crystal clear and extremely powerful music.
The album begins with the outstanding instrumental,"Glad", and now that unique musical chemistry between the trio of Winwood,
Capaldi and Woods that first ignited on the magnificent "Dear. Mr. Fantasy" is resumed! Steve Winwood's keyboards are sheer
genius as he plays the Hammond organ and the piano as inspiredly as ever. Apart from Traffic, over the previous two years, Steve
Winwood's recent performances with Jimi Hendrix and Eric Clapton had now shaken off the 'boy genius' tag he had carried from his
Spencer Davis Group days. He was a maturer and more accomplished musician, from the pure r&b and blues, then psychedelic music,
Steve was equally comfortable playing Traffic's loosely structured, still very much free form music. Jazz, blues or progressive?
Certainly rock, I really don't care about categories, all I need say is, "This was Traffic in 1970 inspired out of their skins!"
It was 1970 but the sound and inspiration was the late 1960's and the music they created here was up there with the very finest.
The stereo mix is purely vested in the just passed decade, the 1960's sensory total channel separation, gave "Glad" exceptionally
wide and dynamic sound, the 70's were just waiting for music that flowed as sweetly as this. I cannot praise the mastering and
pressing enough, almost like an alternate mix for the purity and impact of the music, every single note played is heard in such
amazing audio clarity, it gives to individual instruments, an astonishing life like sound, the instruments impact as natural for
human ears to absorb. First pressings this close to the 1960's are such unique sounding records, without any form of static or
pressing related surface sound, a Mint record for the appearance and the sound. The ending has a lovely atmospheric feel, Steve
holds down the one note on his Hammond organ, which serves as a bridge and creates a seamless join into the simply glorious,
"Freedom Rider". Not only had Steve matured, Jim Capaldi's drumming is outstanding, Chris Wood made a far bigger input and his
flute and sax were a main feature on their earlier albums, but "Freedom Rider" finds his influence and performance acting as the
perfect foil for Winwood to work off. The tracks do not have standard lead guitars with lengthy soloing, that in itself is very
refreshing to hear for a change, had Steve wanted a blues guitar during the first two tracks, he would have added that himself.
If asked, Jimi Hendrix was still alive when the album was recorded and released, he would have willingly accepted an invitation.
Apart from playing the bass, the piano and helping Jim with some extra percussion, Winwood's vocals are superbly sung, keeping
this gentle, breezy, floaty jazzy feel, created by keyboards and Chris Wood's flute. This was such a great song when performed
live on stage and this staggering studio version does indeed have a 'live in the studio' sound, the final segment was wonderfully
and inspiredly ad-libbed. The piano's note fade away naturally into a total silence and the gap does no more than present the
smoothest possible entrance for a real Traffic classic of a Winwood and Capaldi composition, the magnificent, "Empty Pages".
Jim Capaldi really does play some very solid drums, setting the rhythm the other two add to, the instrumental section finds Steve
Winwood picking up on this infectious rhythm at first with a piano, then with that unmistakable Hammond organ. Once more he
also provides the superb bass guitar along with those keyboards, just for good measure he also sings the lead vocals. Although
Winwood had to overdub so many parts, you do not get the slightest inkling of that, it's rather extraordinary to hear this album
and remind yourself there are only just three musicians involved and one played the drums. The music has such a thick and full
sound, I can only name that as 'Traffic' because you hear the same dynamics on every record they ever made, a consistency few
artists manage, I can honestly say I have never heard an ordinary or uninspired recording from any of their line-up's. The melody
is sublime, I do find it extremely difficult describing Traffic's music, I tend to just let it take over and lose myself in it, a very old
habit I have no intention of breaking! With a Mint record involved or not, this description would always shorter than normal as
you cannot place Traffic's music into any convenient category, they simply played it as they felt it. The sound quality on this
first side has been so stunning, I can sum it up here, a razor sharpness to the audio and the 1970 first made stereo mix, or the
panning effects, sounded absolutely stunning. Without virtually any surface sound or static either, a problem free Side 1 of
"John Barleycorn" makes a fantastic listening experience! If you also enjoy the full 'bottom end' or bass on records, Polydor's
vinyl was custom made to handle the loudest and most overpowering 'bottom end', it booms out in perfect clarity and my volume is
ridiculously loud, 'distortion' does not enter the equation. For the potential of poor sound reproduction, I have to name this
record my find of the year so far.... mind you, I have some amazing albums coming up thanks to a wonderful collection.

I should never be surprised by a pressing I own and regularly play, but this really is one heavyweight record, making the cover's
stunning condition even more remarkable. The sheer quality of the cardboard was in direct ratio to the vinyl, a perfect match!
Side 2 also has silent run-in grooves and any natural faint level static belongs there, permitting an ultra clean and clear intro
to the first of the songs that inspired Traffic into re-forming and abandoning Steve's solo album, "Stranger To Himself" was an
apt song title under the circumstances. This was a truly inspired song, r&b / blues for the basics but that fails to generate the
magical feel coming from my speakers, amazingly Winwood played every single instrument here and this was a fully produced
track. This was meant to be a track for his solo album and that explains why he took on playing everything, a really astonishing
thing here is, not only Steve Winwood's amazing ability to play the drums so expertly, you can't even tell this was not the same
musicians as just heard on Side 1. Also the first song on the album featuring his talent as a lead guitarist, something that is
overlooked because of his dexterity on the keyboards. Steve Winwood produces an incredible tone to his blues guitar and that
is perfectly reproduced in stunning audio clarity by this immaculate playing record. A brilliantly played piano, plus an acoustic
and a bass guitar are effortlessly mixed to sound like a full band, the stereo is awesome on the very first pressings. The piano
is panned right with part of the drums, from the left, the bass & blues lead guitar and the rest of the drums, Steve's vocals are
from both channels. There are some backing vocals from Jim Capaldi, Winwood's lead vocal is pure inspiration and that genius
was burning extra brightly in 1970. The extra length of these tracks cut back on the number of songs on the album, with quality
like this who needs quantity? I wrote before you cannot categorise Traffic's music, but the next track is purely folk music and
"John Barleycorn Must Die" is among my personal favourite folk performances. This gap runs exceptionally quietly and if not
for the fractional low level static found on every first pressing, I would normally state 'silent' for any record, but I am fully
prepared to go to unrealistic lengths to give an accurate description for this true masterpiece, within an album that positively
is a masterpiece, even by Traffic's unbelievable musical standards. During the 6:20 minutes duration of this stunning track,
there is virtually no other static or surface sound, clean? This is beyond anything I hope for, even for a record in this superb
condition, "John Barleycorn Must Die" has made a very old Traffic fanatic very pleased, now there's a thought, I must be the
oldest regular professional record seller who collected Traffic records right from 1967. The intro is just an acoustic guitar and
this is astonishingly clear, unspoilt by the normal excessively loud crackles & clicks, the gap is as close to silent as it gets.
Even faint static during the quiet intro and the entire length of the track is too low to take seriously, especially for a once
only played record of this density, even so I do not ignore the subject. On the contrary, there only is one correct grading when
'Mint' is strictly applied to the track "John Barleycorn Must Die." The album's title track was an English traditional folk song,
given a splendid Winwood arrangement, a really beautiful song with a memorable melody as well as a tale to tell. The famous
British film "The Wicker Man" had this same theme, that concerns alcohol fermented from barleycorn, the cover gives the history
with illustrations of a song that can be first traced back to 1465. After that acoustic guitar intro, Steve Winwood's vocal is
just magnificent and one I rate as his very best, a voice that is naturally powerful and capable of the strongest blues, yet here
it has the delicacy of the purest folk music. The backing has very gentle percussion to keep the rhythm, with Chris Wood's flute
adding to the traditional Medieval feel, along with some suitably subtle Winwood piano. Steve's acoustic guitar playing is the
main sound, so all this means an extremely exposed song from original vinyl. This track was the one singled out for the heaviest
plays on the album and that was the cause of those irritating crackles that spoil the beautiful melody, the sound quality here is
stunningly clear and absolute perfection. Of course it is fourty seven year old vinyl not a digital clinically clean CD, but even
with my own ridiculously high audio standards, I declare this a fantastic sounding "John Barleycorn Must Die." I do know every
second of the album, a major part of record grading is based on knowing exactly the capabilities of these great original records,
I'm happy saying this is exactly how a beautiful song can and should sound from first UK Island pink label Polydor pressings.
Another reason I rate Winwood's vocals so much, he sings with an emotional edge in his voice, only the true greats naturally do
that without sounding contrived, they do not just sing a song, the song takes them over. "Every Mother's Son" is the second from
his intended solo album, Jim played the drums and once again Winwood played all the instruments as well singing the vocals.
How many of today's musicians could manage that? The last track on the LP, but one of the very best, this also features some
brilliant electric lead guitar, the middle instrumental section finds Steve switching over to keyboards, the piano is used as the
backing to an organ as the leading instrument. I think I can name "Every Mother's Son" a rock track, a wonderful melody but not
the delicate gentility of the previous performance, almost as if the band started it slowly out of respect for the previous track.
Gathering volume and power the sound swells and expands with superb stereo panning on the stinging blues lead guitar, played by
Steve with the same emotionally edge expressed during the album title track. How can one album contain such fantastic music and
provide such variety? What electrifying music this is, an incredible album I wondered if it was possible to describe in depth.
A listening experience of this magnitude never transfers into text but I had to try my best, something I can express though is
the medium filling my room with glorious music. This record has been a joy to hear and the climax of the proceeding's is indeed
the intensity of "Every Mother's Son", Steve's performance on the Hammond organ always takes me back to the 1963 -1967 blues
and r&b years with the Spencer Davis Group, only here it develops into really staggering music, the perfect expression to end
this description with.
{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;

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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.