BEATLES Magical Mystery Tour EP 1st UK STEREO '67 MINT-

AWAY IN THE SKY, beyond the clouds, live four or five Magicians.
By casting WONDERFUL SPELLS they turn the Most Ordinary Coach Trip into a MAGICAL MYSTERY TOUR.
If you let yourself go, the Magicians will take you away to marvelous places.
Maybe YOU'VE been on MAGICAL MYSTERY TOUR without even realising it.
Are you ready to begin?
SPLENDID! The story begins.......

Roll up, roll up for the Mystery Tour,
Roll up - and that's an invitation,
Roll up for the Mystery Tour,
Roll up - to make a reservation,
Roll up for the Mystery Tour.
The Magical Mystery Tour is coming to take you away,
Coming to take you away.

THE BEATLES: "Magical Mystery Tour" DOUBLE EP SET, FIRST UK PRESSING, 8th DECEMBER,1967.
IN RARE STEREO, PLAYING AT 45 RPM.

PARLOPHONE: SMMT - 1

EP 1: CATALOGUE #: SMMT - A1. MAITRIX: 7CXE 18435 - 1 / 7CXE 18434 - 2 (How All First Stereo Pressings Came.)
EP 2: CATALOGUE #: SMMT - B1. MAITRIX: 7CXE 18436 - 1 / 7CXE 18437 - 1

EMI STAMPING CODES:
RECORD 1: PR G (1) * / PR 2
RECORD 2: 1 M ?** / MM 4
* 'G' was often used instead of '1' or even alongside it, because it was the letter coded as '1'.
** The most unusual and unique stamping at both 3 & 9 O'clock I have ever seen, the '1' stamped in front of the 'M' was
obviously intended for the 9 O'clock position. Instead in that position an unreadable mis-stamped digit was crossed out
and re-stamped underneath but unclearly, it looks like 'G.' I can say this is positively the very first stereo pressing.

THE DISTINCTIVELY TEXTURED LABELS HAVE, "Gramophone Co. Ltd." ON THE RIMS
THE 1967 ONLY, FIRST ISSUE TEXT, "Sold In UK," IS PRINTED ON THE PUSH-OUT CENTRES.
"KT" IS EMBOSSED ON THE CENTRE OF EP 2, SIDE 1 AND STAMPED AT 12 O'CLOCK IN THE RUN-OUT GROOVES>

THE RECORDS ARE IN THEIR ORIGINAL 1967 FLUTED TOP INNER SLEEVES, WITH A VERTICAL AND A HORIZONTAL
FLIPBACK EDGE ON ONE SIDE. WITH ONLY A FEW RECORD SHAPE RELATED VERY GENTLE CREASES, BOTH ARE IN
TOTALLY UNAGED, NEAR MINT MINT CONDITION.

LAMINATED GATEFOLD STEREO COVER, WITH INTERNAL FLIPBACK EDGES UNDER THE FRONT & BACK RECORD STORAGE
COMPARTMENTS. THE BACK TOP RIGHT CORNER HAS, 'SMMT- 1' WITH "Stereo" UNDERNEATH.
INSIDE IS A STAPLED "Magical Mystery Tour," 24 PAGES BOOK, THE CENTRE PAGES WITH THE FULL LYRICS ARE IN THE
PALE BLUE COLOUR, LIKE THE MONO EDITION, EXCLUSIVE TO THE 1967 UK FIRST PRESSINGS ONLY.

THE GATEFOLD COVER AND BOOK ARE IN OUTSTANDING AND BEAUTIFUL UNAGED & UNWORN MINT-CONDITION,

BOTH RECORDS ARE IN IMMACULATE CONDITION, WITHOUT ANY MARKS AT ALL, NOT EVEN ANY TRACES OF HANDLING.
THE ONLY WAT TO TELL THEY HAVE BEEN PLAYED IS FROM THESE EXTREMELY LOW SPINDLE TRACES:
RECORD 1, SIDE 1: Played Twice. SIDE 2: Played Three Times.
RECORD 2, SIDE 3: Played Three Times. SIDE 4: Played Six Times

BOTH RECORDS CAN BE GRADED TOGETHER, IN STUNNING MINT- CONDITION.

THE SIX TRACKS FROM THE FILM ARE:

SIDE 1:
"Magical Mystery Tour"
"Your Mother Should Know"

SIDE 2:
"I Am The Walrus"

SIDE 3:
"The Fool On The Hill"
"Flying"

SIDE 4:
"Blue Jay Way"

The December 1967 UK issue of "Magical Mystery Tour" was issued in this double EP format, with all the above six tracks from
the film's soundtrack on the four sides. As usual, George Martin recorded them all in stereo, he made a true stereo and a mono
mix and both formats were issued simultaneously on the 8th December, 1967. I often feel the magnitude of that has now become
completely overlooked, because as far as I am aware there had never been any other 45 RPM records issued in stereo previously
in Britain. Certainly not for rock/pop/psychedelic music, I'm uncertain if that also applies to musical fields outside my interest,
classical/orchestral/easy listening, I would be surprised to find there had been anything available. A stereo EP containing such
overtly psychedelic music was a major innovation and a historic ground breaking event in a mono dominated era. I know America
had stereo EP's or mini LP's made for jukeboxes only in the late 1950's, then stereo was dropped for 45 RPM 's after 1963 when it
was re-introduced. I can't say precisely, a good guess would be 1968 because I believe it was the same in America for 45's, they
were only pressed in mono during 1967. For the UK though stereo was never available for a 7" record in the 1950's decade and it
began to change slowly in 1968, beginning here with the Beatles stereo "Hey Jude"/"Revolution" single that helped to launch the
new Apple label. One thing that is for certain, because December 1967 was a mono stronghold, the genuine 1967, first stereo EP
pressings of "Magical Mystery Tour" were made and sold in extremely low numbers. During that time I was totally unaware there
even was a stereo edition available because it definately was not stocked in my local record shop, me and my friends spent most of
our spare time hanging round record shops and we examined all the new arrivals, especially the latest Beatles ones! In the 1960's
you could ask to hear any new record, there were boothes with speakers connected to decks behind the counters to give individual
listening, yes, those played and handled records were then bought as new or 'mint' as we now call them. An obsession with records
begin at a really young age but where the Beatles were concerned, their new records were more like a matter of life and death!

As I am down memory lane, colour television was just coming into the UK in late 1967 and my friend's dad had a TV repair shop, he
also sold them as new. He had just taken delivery of a colour TV, which was a real wonder in the 60's, so we nagged him into letting
us have the shop's keys and about twelve of us squeezed into this unheated, freezing cold TV shop, in Walthamstowe, East London.
Crowding around a brand new colour TV, to watch the original UK broadcast of the "Magical Mystery Tour" film... in amazing colour!
Back to these vinyl issues, genuine 1967 stereo copies are rare, as rare as colour television was in December 1967. Finding them
without the severest wear most 45's were subjected to in the era, I am sure most were not bought specifically for a stereo system
because the overwhelming majority were treated exactly the same as the mono records and covers were, totally wrecked! Anyone
watching my previous ebay listings of "Magical Mystery Tour" will have noticed I will only sell one in Near Mint/Mint condition, a
tall order but a challenge I have been relishing for a really long time before joining ebay. Over all those years I have bought and
sold many, many copies and often people wrote the date inside the front cover on the white section, I have seen several with 1968
dates. The EP was released as a single, reaching No.2 and it remained in the British singles charts for twelve weeks, still selling
in March 1968. So two possibilities, EMI were either re-pressing them or far more likely, unsold stereo copies were sent out to
record shops which will account for them being so roughly handled and placed under the dreaded blunt mono needles. Now nearly
eight years trading on ebay, this is only the 4th 1967 stereo first issue I have been able to offer, I have seen copies but hearing
degenerated, distorting sound and severe crackles in two channels, holds no appeal for me. Nor does seeing the battered sight of
an original cover with ripped, grubby stained pages inside a once superb "Magical Mystery Tour" book. Instead I have offered the
1972 EP re-issues or the 1976 UK LP version, great alternatives, but nothing can ever generate the same excitement and the thrill
of 1967 originals, just to hold and look at let alone hear. For example,"I Am The Walrus" was pressed in true stereo current to the
actual psychedelic era and most pertinent of all, the recording and the subsequent mastering to vinyl. 1967 was the penutltimate
pinnacle of the Beatles career and without any kind of strategey involved, except the momentous descision to quit touring in 1966
and concentrate all their artistic energies into songwriting, recording music and making records. These six tracks represent the
Beatles at the very height of their inspired pyschedelic period and at their most imaginative, all boundaries had been swept aside
with almost contempt for conventionality. How exactly do you follow "Strawberry Fields Forever"/"Penny Lane" & "Sgt.Pepper"?

The Beatles were not even slightly drained of innovative new songs & sounds in the summer of 1967, on the contrary, "Sgt.Pepper"
acted as an inspiration to their creative genius. They were reluctant to leave Abbey Road studios even after having spent so much
time in there making the album, that had begun in November 1966. Recording sessions began just shortly after they had finished
"Sgt.Pepper", next came the "All You Need Is Love"/"Baby You're a Rich Man" single, once completed and released they started to
work again on on the unhurried and very long "Magical Mystery Tour" sessions, they started on the 22nd August and ended on the
17th November, including their next single's A-side, "Hello Goodbye," plus two tracks that remained unreleased for quite a while,
"It's All Too Much" was finally released in January 1969 , "You Know My Name (Look Up The Number)" was not issued until 1970.
The concept and filming came next, then there was the death of Brian Epstein in September 1967, plus the Marahishi 'affair' also
began, not forgetting 'Apple Records' was formed and the Apple boutique was opened in the December, they were all a part of the
very eventful second half of 1967, diectly following the June release of "Sgt.Pepper." From the "Summer Of Love" to the freezing
cold of December, everything we did seemed to revolve around the Beatles!

As I mentioned, I am accustomed to presenting the mono "Magical Mystery Tour" in top condition for the EP's, the gatefold cover
and the stapled book, I'm finally in the position to again offer that standard for the rare stereo version. I do not mean how ebay
sellers who place 'Mint' in a heading but once you check, surprise surprise, the grading has changed, even more treacherous are
the sellers who mis-use the grading terminoligy with 'plays as Mint', when in reality the records are no better than V.G. visually,
but marked with severely worn out grooves/music signals. Have they ever heard a genuine mint first pressing? I doubt it and I
intensely dislike the latest way to avoid an honest grading, we now have 'nice', well in the late 1960's 'nice' was a drugs dealer
and you could not trust them anymore than you can anyone today describing a record as..... 'nice'.

Both records have all four labels in pristine condition with extremely low spindle use traces, as detailed in my headings the few
plays were between two to six and with the greatest possible care, unbelievably careful! To be so meticulous in 1967 can mean
only one thing, this was specifically bought for a Stereo system and therefore with a full awareness to avoid handling & playing
marks, scuffs and scratches. I have seen many once /twice played record badly marked and a blunt 60's needle ruined records in
one play, none of that applies to this pair, the sound quality is as stunning as it was in December 1967, which was the last time
the records, the inner sleeves, the book and even the gatefold cover saw the light of day. The storage was as unbelievably caring
as those ultra careful few plays were, the gatefold cover's outside, inside & every single one of the book's 24 pages are still like
brand new. The records are in absolutely stunning condition, without a single mark on any of the four sides, they have the deeply
glossy sheen of of just bought in 1967, such comsumately careful handling has left no signs of human contact. Fantastic looking
and also sounding records, I do know precisely how Mint 1967 Stereo "Magical Mystery Tour" first pressings sound like, I have
my own cherished mono and stereo first pressings, apart from my genuine long term experience of selling Beatles records in the
same condition I insist on for myself. I took a listen earlier on and the sound quality was breathtakingly perfect, the sensational
1967 sensory true stereo first mix was a joy to hear, well, more like experience! They do indeed look like they were just bought
in 1967, a subject I am in a position to personally endorse. 'New' 1960's stereo records have a 'shimmering' pattern, it becomes
lost when vinyl has been given the average amount of plays. New re-mastered CD's? I still have not heard them and why should I
when I am almost daily hearing the staggeing sound I was just blown away by? I suppose I'm now supposed to concede how these
records will have surface sound /static the CD's do not, writing ebay descriptions for mint or mint- vinyl and being forced into an
an absurd disclaimer for perfect audio, is both unfair and just plain crazy! Do ebay CD sellers feel obliged to add to descriptions,

"This disc has been digitally re-mastered destroying all of the 'warmth', the depth and dynamics of once perfect analogue sound,
with the guts ripped out of the once owerwhelming psychedelic sounds? The compression and supression methods used will have
removed all the power and the impact from the original master tapes."?

Excuse my indignant reaction after hearing such sensational sound quality and now facing writing nonsense disclaimers for what
are after all records, the audio was amazingly sharp edged, these very first stereo pressings have total channel seperation of the
vocals and instruments with some fantastic sensory orientated panning effects. These records are the first generation away from
Abbey Road Studio's 1967 Master Tapes, but in 1967 that was exactly as mixed by George Martin himself and most importantly of
all, that mix and sound met the full approval of the Beatles, "I Am The Walrus" alone is nothing less than awesome!

The labels have the very distinctive, matt textured paper of the mono first pressing counterparts, ultra bright silver printing is
like brand new, without a single scrape or scuff to be seen on all four labels. The rims have the "Gramophone Co." and with the
all important "Sold In The UK" text, speaking technically about EP's or 'Extended Plays,' they were classed as singles in the UK
by this half of the 60's decade, due to colossal sales acheived in 1967 and made up almost entirely by mono records and covers.
Even as EP's, "Magical Mystery Tour" still shot straight up the UK singles chart and fell just short of making the Top, peaking at
No. 2 on the 16th December. To say EMI needed to press multiple mono copies is an understatement, Christmas was weeks away
and many were being bought to give as presents. The maitrix ending digits given in my heading's are positively those of the very
firstpressing's made prior to the release date, in fact , Sides 1 & 3 were sourced from the very first stereo 'mother'. Put another
way for anyonenot into peering at the tiny figures, if you were in British record shop that did stock stereo on the first day they
were there delivered by EMI, in December 1967, you would have taken this set home with you. For such huge selling records by
artists like the Beatles, that can only ever be the most accurate definition of a first pressing/original, the rest is about tracking
down the actual sequence or an order of a manufacturing process for individual records, be they in mono or stereo. Yet for all
the volume made in mostly mono, but once again this record proves how individual every single copy made was, the stampings
on Side 3 will never be found again on any of the genuine first stereo pressings. To confirm a 1967 original gatefold cover and
book is simplicity itself because the mono and stereo covers were the same, they alone had blue lyric pages. For the re-issues,
unlike the blatant lies that claim they originated in 1969, in the early 1970's around 1972 only stereo was re-issued, they had
yellow colour pages, then later on in the 1980's there were green lyric pages.

Record 1, Side 1 only has very low level natural static in the run-in grooves, far too minor to take seriously, then a really loud
and powerful invitatation to join the Beatles on their "Magical Mystery Tour". The audio clarity is just stunning, the 60's style
true stereo total channel seperation made in the heart of psychedelia, opens up every individual part of the original recording.
The single/45 mix has it's own unique volume levels on both the mono and stereo versions, there is no difference at all between
the two formats, they both contain the same extraordinry power. The stereo mix brings a wider spectrum of sound with Ringo's
drums panned entirely from in the left channel with part of the vocal track, the piano and the bass guitar. From the right speaker
only, the brass parts with Paul's lead vocals, along with the rest of the superb backing harmonised vocals. This is the very sound
of 1967 true stereo, I have just cut out one speaker to only hearing the complete right channel's part of the track, now there is
the above details with just the faintest 'bleed' from the left channel's sections of the track. George Martin recorded in this true
stereo, before mixing down to mono, so this is exactly the way it was recorded originally. The drums sound exceptionally sharp,
the vocals are just magnificent, the superb sound effects of the bus are in a lifelike definition. Those fixed positions I descibed
are not permanently rooted to one channel, there are so many panning effects of sound movement, an example is the brass has
notes alternating in both of the speakers on the last verse, a rather pleasing effect! I will need to be aware not to get carried
with the amount of text I write, let loose on a 1967 stereo Beatles pressing and I could write forever! The sound is mega sharp,
I'm prepared to be as critical as anyone but there's nothing to criticise, just the most glorious sound quality only possible from
Near Mint/Mint- , the truth is there is nothing between the permutations, all I do is try my best to acknowledge a few plays and
the merest to near invisible traces of them, by using Near Mint or Mint-. The track gradually fades away with a lovely melodic
psychedelic piece, there is no surface sound at all.....

...The linking grooves are near silent/silent, in fact, any era's vinyl could not possible be any more silent than this is before
the "Sgt. Pepper" LP's continuation of "Your Mother Should Know" starts. A supremely clean intro, the second track has some
astonishing stereo panning effects on Paul's lead vocal, his voice begins entirely from the right speaker, in there with only his
bass and Ringo's drums. Next his voice is joined by the mellotron and after the first verse, Pauls voice drifts across as he sings
the actual words, "sing it again," his voice is now completely in the left speaker along with the fantastic vocal harmonies from
John and George. The effects might sound 'flat' read in text, but stunning to listen to and fascinating to follow the movement of
Paul's voice as it 'pops up' in the different speakers. That was deliberately placed in those positions and not an accident, Paul
would have been totally involved in hearing and approving the stereo and the mono mixes. The acute clarity of the sound makes
taking in all wonders of Abbey Road Studios such a real pleasure, I am really dying to write more but the track is just ending and
I will not indulge myself with vinyl in this remarkable condition.

Side 2 of Record One is just the one track, but what a track! The run-in grooves are as described for Side 1, near silent/ silent
and "I Am The Walrus" is just mind blowing in the very first UK's 45RPM stereo mix! In fact, that is unique to this set only, for
anyone who only wants to hear authenticity, the intro powers out and the audio is crystal clear, you can listen out for all of the
intricately woven together or layering of background voices, the laughing and every psychedelic effect John Lennon could think
of adding! As one of Lennon's greatest compositions, lyrics and vocal performances, I love the mono and stereo mixes equally.
George Martin's production was astonishing, somehow he managed to get all of John's visionary ideas and previously unheard of
demands onto the final mix, creating the most devestating song the Beatles ever recorded. The stereo version or mix has so many
different parts here not included on the mono version, but it is all about the sheer dynamics of this in late 1960's sensory stereo
that is so breathtaking to experience. The incredible power and al those staggering effects are heard superbly clearly, there are
no crackles, clicks or any surface sound, only uninterrupted purest sound quality. John Lennon's vocals have perfect definition
throughout, the drums sound amazing here, Ringo's rhythm was so essential to this track. The bells ring out in the right speaker
before that bizarre moment, John Lennon alone would have included with such a fantastic psychedelic collage of exotic sounds,
"oompah, oompah, stick it up your jumper," some of the strangest lyrics found on any of the Beatles record. The prominent bells
are near enough unheard on the mono mix, or have been submerged in favour of giving more focus for another part of the track
being mixed to a 'one speaker' sound. Just typing out the small section of the backing vocals is a reminder however amazing the
music was, it still had John Lennon's sense of humour mixed with his musical genius. Interestingly, you won't find all the lyrics
for this track inside the book, certainly not the backing voices, "oompah, oompah, stick it up your jumper," perhaps improvised
and left on the track after several playback's. Even after 42 years of hearing "I Am The Walrus," this is still just as incredible
now as it was in 1967. That is my main incentive to find these stunning condition records,with the audio perfection here I get
to hear it as'just pressed' all over again. This is very impressive audio indeed, even with my excessively loud volume setting,
every second is without any form of distortion, the stereo effects on the long fade-out are just awesome and ultra clean!

The second EP starts with the film's quietest song,"The Fool On The Hill", the run-in grooves are much longer on these stereo
records than the mono versions, giving much more scope for a very noisy entrance. Here, they are as close to silent as vinyl
possibly can be, I'm not getting into natural sounds of a 1967 record again and for such an exposed beginning, the merest hint
of static should not enter the equation, an immaculately pressed record like this must never receive unfair criticism. The audio
contents is what original vinyl is about, this sound is amazingly sharp, the flute has exceptionally clear and perfectly defined
bird like sound, with Paul's wonderful lead vocals in true to life tones. The subtle effects are very pronounced in stereo with
the backing sounds starting out in one speaker and moving across to the opposite channel, a joy to follow in this superb sound
quality. A very gentle feel is superbly reproduced, as gentle as "The Fool On The Hill" is, anything vaguely in the background
is exactly that, non intrusive and this is as close to absolute perfection as any 1967 record can possibly be for such an exposed
to noise recording.

Followed by a major Beatles rarity, an instrumental composition, "Flying", one of the most effective parts of the film visually
and for the soundtrack, but it works just as well without the visuals. Beginning from near enough silent linking grooves, this
total channel seperation is stunning with the percussion doubling up from both sides. An extremely powerful sound, the clarity
of the instruments is sheer perfection, Paul's bass was panned in the right channel and mastered at massive volume, in stereo
it does seem to be even louder than on the mono version, but that is only an effect that undiluted sound as pure as this gives,
both versions are equally as powerful. Not quite entrely an instrumental, during the lovely melody vocalised harmonies give
an extra depth to the sensation of flying, as much as the psychedelic mellotron. As usual, during a very long fade-out ending
there is some static but in saying that, I must emphasise how stunning the musical sounds are, a record can only play like it
did when first pressed.

Like Record 1, this has one track only, George Harrison wrote the brilliant "Blue Jay Way", yet another song with fantastic
psychedelic visual imagery during the film. The side's run-in grooves are exceptionally quiet and near silent and even during
the very long and mood intensive organ intro, there is such minimal natural static on what is no more than a quietly building
droning sound, I might be over fussy but not beyond reason and logic. The really sensory stereo effects here are wonderful,
backward's sounds just fly between both of the speakers with breathtaking effects, you get all the mono version's phasing but
with some awesome sound movements, there is nothing that can replicate the very first stereo pressing made in 1967 for the
really special true stereo effects. Once more I have to praise the drum's sound, really loud and clear for every 'thud', heard
panned entirely from the left, with the lead vocalsopposite in the right speaker. The multiple psychedelic sound effects are
unfixed, with fluid movement between the speakers and the mentioned phasing effects sound extremely potent, keeping the
psychedelic atmosphere that has dominated this whole track, well more like all the four sides! The audio itself is absolutely
perfect clarity, I do find sound grading can make you over sensitive to the natural sound of a record playing, but I try to be
as honest about the quietest moments as the most overtly powerful psychedelic ones! will say there's no need to criticise
truly magical recordings, it's far better best to just enjoy them for what they were 42 years ago and they are still are today!
In my opinion these EP's were among the greatest music recorded in the 20th century, "Sgt. Pepper" accepted of course and
not forgetting,"All You Need Is Love", "Baby You're A Rich Man", "Strawberry Fields Forever" and "Penny Lane"!

The outside of the gatefold cover still has the original 1967, undulled and deeply glossy lamination, this really is in beautiful
condition! The brilliant artwork colours are vividly bright and totally unfaded, I can only recommend seeing my full range of 12
pictures to appreciate how like brand new thisactually is. There are not even any tiny laminate edge lines and the back only has
an really gentle impression from the two heavy records. The back cover is in exactly the same superb condition, without even an
almost expeted positive signs of storage and initial handling in 1967, if not from over the last 42 years. A staggering all round
condition of the outside of this rare first issue stereo cover. All to add concerns the printer or lamination finish in 1967, I really
have nothing to detail that concerns age or wear! The top left corner was not completely smoothed down, a tiny area, this is so
petty and trivial because I am clutching at straws to find anything to be negative about. The lamination on the bottom left corner
was finished at a alight angle, positively not wear because the tiny part of the printed paper not covered there is unworn and not
even a sign of brushing or rubbing. The covers were mass produced in huge numbers and the sheer quality of the materials used
makes drawing attention to such minor details seemingly pointless, but I always aim at providing an accurate assesment of all I
sell, regardless of being part of the manufacturing. That completes all the 'negative' details and to put all that into a perspective,
I could have written every word here back in December 1967, because it was there then. nothing here has any ageing or wear, I
even considered a straight 'Mint' grading but decided a minus was in keeping with the age.
The spine is in the original square/book shape and completely unworn, absolutely superb condition,even the two staples neatly
embedded in the centre are shiny and unrusted.

All of the edges and corners are in the same superb condition, there's virtually no rubbing on those tips of the spine either.

The inside is outstanding condition with every page very securely in place, including the slightly thinner paper of the center's
blue lyrics pages that are often torn through the staples and loose, or even missing. The pages are unstained and wonderfully
brightly coloured, the book is in simply incredible condition! The colour/black & white book has a full "Magical Mystery Tour"
story in the form of strip cartoons, opposite are colour and black and white photo stills from the film. There is no ageing, stains
or creases, the paper is still as crisp as in 1967, the white sections are.....white!

The records are in the original unique inner sleeves, wavy top opening's, plain white with die-cut centres and overlapped edges,
or as they are known,'flipbacks', unique to the 1967 stereo and mono issues. Both are unsplit and with only record shape/cover
related gentle creases, both are still the original 1967 pure white colour, unaged and unstained.
gentle Please see as much as I could show in the pictures available on ebay, there are twelve in all.
{Roy}

PAYMENT DETAILS.

WE WILL SEND ALL WINNING BIDDERS AN INVOICE WITH THE FULL
PAYMENT AND POSTAL DETAILS, AS NEAR TO AN AUCTION ENDING
AS POSSIBLE, THEN SHIP AS SOON AS IT IS PHYSICALLY 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 DECLARATIONS
FORMS AND WILL ALWAYS CONDUCT ALL OF OUR BUSINESS WITH THE
SAME TOTAL HONESTY OUR ITEMS ARE DESCRIBED AS.
AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE
SUCH HEAVY IMPORT DUTIES, WE WILL NOT LIE.

Pay me with PayPal. I don't charge my buyers extra!