Bought to compare against my 1s press copy which I am thinking of selling.
Will let you know!
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Nice one, Graham. There’s one for sale for almost £2k. Good luck if you’re selling. I’ll be keeping my copy a little longer. Hope you’re well.
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I’m good Tony thanks for asking had a bit of a health scare about 18months ago but ok now 
However looking at some of the prices being asked for some of the albums and box sets (Beatles mono) has got me thinking 
ATB Graham
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Cant see that beating a 1st press
Got rid of some box sets couple of years ago when Tina passed away. Including the Beatles one. Even then £600 plus was being asked. Having another clear out soon. Last Mono Piper went for £650 on the bay.
Hope your healths better Graham.
I’ve struggled with new vinyl in paper sleeves for years. Great tip above, gently sliding in two anti static liners either side of the new vinyl. Worked a treat!
Anyone any better methods??
Oh, yeah:
Pre-ordered, before recent events. I’ve spent this month’s allocation on donations 
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I am ok Steve sorry to hear about Tina. Hope you are doing well and finding happiness I often think about the fantastic day we had listening to some great music with Steve J.
Take care peace and love Graham.
Not expecting it to better my 1st press.
That was a good day. Steve seems to be more into his cooking and bikes now.
Had hard couple of years but met a lovely women who’s embraced vinyl collecting like you wouldn’t believe. My step daughter now has my old XS system in her bedroom and loves collecting CDs so the whole house is very music driven. 
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Vega Trails - Tremors in the Static, Gondwana Records (2022) PRE ORDER
Bassist and composer Milo Fitzpatrick (Portico Quartet) launches new collaborative project with saxophonist Jordan Smart (Mammal Hands)
Vega Trails is a new project from double-bassist and composer Milo Fitzpatrick, a founder member of Portico Quartet, who has also performed with the likes of Nick Mulvey and Jono McCleary and features saxophonist Jordan Smart (Mammal Hands, Sunda Arc) in a richly powerful duo bringing together two powerfully charismatic musicians. The project which takes its name from Carl Sagan’s science fiction novel ‘Contact’ (a book about signals of new life detected from the Vega system) and was born out of a desire to bring the elements of bass and melody to the foreground in their rawest form and Fitzpatrick explains that he deliberately chose the stripped back approach.
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Off topic… Steve do you ever hear from or have any news on Stu from Ashford Kent.
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Yes, just tear the rubbish paper inner and lift the album out 
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Not heard from him for ages. Think he’s his normal self causing chaos on other forums before being banned
Think I’ve still got his email so may drop him a message
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I was 10 when I first saw a short film of the FHF+2 one afternoon on TV. I then patiently collected all their LPs, which were only available as US-imported prints, very fine but costly for a boy. My only non-original copy was The FHF+2 Story, Vol. 2, which was French. I became an adult and often played their records, they seem to be the only band forcing good mood in me even in the greyest hours. These LPs have followed me in my many many moves, resisting time and some indecent turntables.
A couple of weeks ago I was spending a day in Lugano, Switzerland. There is a flea market there on Saturday. Browsing among old LPs, with no hope to find anything worthwhile, I stumbled into a brand new, sealed!, US copy of the ‘French’ LP. It was like being transported back fifty years. I bought it for €10. Driving back home I felt like a boy of eight with a goldfish. I am playing it now. After more than half a century my collection is now complete.
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That’s because it never happened until recently. I never once came across it in my ‘first life’ collecting vinyl between 1976 - 1997. I also never heard so much swooshing noise or so many warped records. Some committed and diligent moden vinyl producers can still get it right, but way too many simply don’t seem to know how to do the job properly, which is crazy given what they are charging. All we can do is choose very carefully I guess.
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Thanks; I’m pleased it’s not just me. Back in the 70s and 80s I rarely bought a dodgy record, but these days it seems all too common.
I think we forget too easily. Certainly after '73/74 vinyl quality took a bit of a hit and I’ve got pressings where there’s cardboard and all sorts from the recycling got stuck in the vinyl from back in the day. Look back at the magazines of the day (Record Review) and you’ll see the letter pages filled with moans about noisy, crackly, warped records. For many CD couldn’t come soon enough, and I guess the comparative silence and lack of noise was the main benefit, even though sound quality as a whole was still a way off its full potential.
Non-fill only really becomes an issue when LP thickness and weight increases beyond around 120g. That’s probably why it was so rare until comparatively recently.
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The return rate I’ve found far higher with what I buy now and Juno Amazon etc fortunately make that easy. I never had to return a record years ago which is a mystery to me why it’s so common now. All very well buying 180g record but they seem to be more prone to being warped which I don’t understand. At my mum’s I found a copy of the River by Springsteen bought in 1982 and untouched for 30 years it plays perfectly!
It may well be different from one place to the next. In the UK most shops separated the LP from the sleeve - the LP and inner being kept behind the counter and the sleeve being out in the bins. I guess this prevented them being nicked. The salesperson would also slide out the LP and give it a quick check, so anything obviously amiss would be spotted.
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But then, how would you be able to return the record if you subsequently find it’s faulty?