Jimi Hendrix Record Value


Auction: EIRE APPARENT Sunrise LP JIMI HENDRIX - GUITAR & LP PRODUCER UK 1st PRESS MINT

about this auction
Title EIRE APPARENT Sunrise LP JIMI HENDRIX - GUITAR & LP PRODUCER UK 1st PRESS MINT
Ended true
Sold true
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Price USD 233.91
EIRE APPARENT Sunrise LP JIMI HENDRIX - GUITAR & LP PRODUCER UK 1st PRESS MINT, thumbnail_release165_253290997730.jpg

Auction Description

"MR. GUY FAWKES" (Mick Cox, 1968)

On and on, upon a windy day,
Just to stop ourselves blowing away,
Tongue in cheek, we told a policeman,
"London Bridge is burning down, burning down."

Taking out his notebook and pen,
"Mr. Guy Fawkes and his tricks again."
London Bridge is looking good today, but not tomorrow.
(Not tomorrow, 'morrow, 'morrow.)

I've got my love to keep me warm,
I've got my love to keep me warm,
I've got my love to keep me warm.

She's got one arm and she's dynamite,
Blow your mind and you clean out of sight,
He keeps her locked up in a little box,
And sings so softly.....

I've got my love to keep me warm,
I've got my love to keep me warm,
I've got my love to keep me warm.

In the morning there's nothing left,
But the embers turned cold,
And the fire that was young, turned old.

On and on, upon a stary night,
They stood and watched the flame die out of sight,
Tongue in cheek, we told the policeman,
"London Bridge is burning down."

I've got my love to keep me warm,
I've got my love to keep me warm,
I've got my love to keep me warm,
I've got my love to keep me warm.......

EIRE APPARENT: "Sunrise" LP. ULTRA RARE FIRST UK PRESSING, RELEASED MAY, 1969.
Directly after recording and releasing "Electric Ladyland", Jimi Hendrix dedicated his time and genius to a band who toured with
the Jimi Hendrix Experience in America and Europe.  The touring started in February, 1968 in the USA initially with Soft Machine
and Eire Apparent joined the 'magic carpet ride,' Jimi and all on the tour were mightily impressed by the talent of Eire Apparent
performing live.  There is some poor sounding bootleg and semi-official recordings of the tour, mostly from Germany and France,
Eire Apparent had yet to record an album and as soon as  "Electric Ladyland" was finished and released in November, 1968,
Jimi Hendrix took over the recording sessions and played lead guitar on Eire Apparent.  The result was a psychedelic masterwork
and should have been as commercially successful as "Electric Ladyland," unbelievably it was completely ignored in the UK and
when "Sunrise" was released never sold enough copies to make an entry in the British charts.  Jimi Hendrix was credited  but his
name was on the back cover and the vast majority of Jimi Hendrix fans simply had no idea he had put his genius into creating a
a psychedelic masterpiece with the multi talented Eire Apparent.  Fortunately I read the music papers every week and was among
the few who heard and fell in love this extraordinary album that became a late 60's 'lost treasure.' The album is so rare in the only
condition I would consider offering a UK first pressing of "Sunrise," in nearly 17 years on ebay, this is only the second time I
have been able to present this wonderful album., an album that makes the perfect companion to "Electric Ladyland." Just now
I knew about 90% of the lyrics to the amazing "Mr. Guy Fawkes" and only had to check where the instrumental pieces came in
Jimi's guitar on that track is just unbelievable!  As he did on "Electric Ladyland," Jimi was working with Eddie Kramer and the
glorious psychedelic epic of a track, "Mr. Guy Fawkes" surely has the most mind blowing psychedelic stereo effects on a guitar
riff, ever recorded and mixed!   From this Mint first UK pressing the sound is nothing less than sensational, but I must get back
to the more mundane but essential details of a 'lost masterpiece,' still waiting to be discovered.


  ON THE TEXTURED BLACK & SILVER TEXTURED BUDDAH LABEL: 203 021
'Buddah' were a US record company who incorporated 'Kama Sutra Records,' started in 1967, they were distributed by 'MGM Records.'
UK records were pressed and distributed by Polydor, who adopted Buddah for releasing psychedelic, progressive music, the maitrix
  follows their Poydor format.
 
MAITRIX:  *'Willie' 203021    A // 1     1   1   / **203021  B // 1    1    1   
* A very early mastering logo appearing on a UK record, handwritten in front of Side 1's maitrix, I have no idea who 'Willie' was
but he sure know how to master psychedelic rock!
** 'Willie' also incorrectly started ' 203021'with '6, saw the error and stamped the intended '2' very neatly, you can see both
side's indexing in a compiled picture.
The first and only UK pressing made, no sales meant no chart entry, I still find it hard to take that in for such an amazing
album with the greatest living guitarist on the planet, performing on and producing it!


I FORGOT TO TAKE A CLOSE- UP PICTURE OF A POSSIBLE CODED DATE OF WHEN THE POLYDOR INNER SLEEVE WAS
MADE.   THE TEXTURED BLACK LABELS SHOW ONLY 2 PLAYS PER SIDE, BUT I AM COUNTING THE REMOVABLE TRACE
AND IN REALITY THOIS IS A ONCE ONLY PLAYED RECORD AND I REFUSE POINT BLANK TO GRADE THIS RECORD
  ANYTHING EXCEPT 'MINT.'   THE INNER SLEEVE IS THEREFORE THE 1969 ORIGINAL, THE POSSIBLE CODED DATE
WAS PRINTED ON THE FRONT BOTTOM RIGHT CORNER,  WHICH WAS MOST LIKELY WAS INTENDED AS, '1969,'
AS THE YEAR BUT THE DIGITS ARE IN THE WRONG ORDER TO HAVE A MONTH.   PRINTERS ARE NOTORIOUS FOR
JUMBLING DIGITS AND LETTERS AS MUCH AS SOUND ENGINEERS.   IN THE 60'S THE YEAR OF THE DECADE WAS
  NOT PRINTED UNTIL THE 1970's BUT AN EASY ERROR WOULD ACCOUNT FOR '609.'  SO POSSIBLY '6 = June' NOT
THE EXPECTED '5 = May.'  THAT WAS A VERY LONG TIME  AGO AND THERE ARE ENDLESS SCENARIOS FOR A FEW
WEEKS DELAY DELAYED RELEASE, EVEN MORE SO FOR NON SELLING ALBUMS LIKE "Sunrise."
THE INNER SLEEVE IS LIGHTLY AGED, UNSPLIT AND IN NEAR MINT CONDITION.

'609' FIRST ISSUE UK COVER, PRINTED BY 'The Jupiter Press Ltd.', HOW UNIQUE CAN AN OBSCURE PRINTER CREDIT
BE FROM THE 60's?  THIS IS FULLY LAMINATED ON BOTH SIDES AND THE 60's DESIGN POINTED SHAPE SPINE,
ONCE AGAIN CREATED TYPICAL RIDGES EACH SIDE OF IT.
  This will be easier on the eye to read, I am fed up with having to constantly contradict a phrase on the internet / ebay that is
  not that is untrue for low played records in cared for covers, 'laminate lift.' This had a plastic outer sleeve right from 1969
and laminate cannot lift if it was not suck down in the first place!  In order to stick lamination over the ridges, required the
most dedicated cover assembler, the majority were methodically doing a repetitive job.  For both side's ridged edge, from
the front or back as starting positions, the next sticking position was the spine itself, over the next ridge with no attempt or
half hearted one to press the sticky laminate down into the recess.  Leaving areas of unstuck laminate each side of the
spine on the front and back. This cover has that in on the front and the back immediately adjacent to the spine's ridge, my
own original has the whole of the front and back, it was how I bought it in 1969.  'Laminate lift' is yet another invention from
those too young to have seen these covers when brand new.  The colours on the fantastic front psychedelic artwork are just
spectacular, with the laminate clear and still ultra glossy with full reflective qualities, the front looks absolutely stunning.
A small compact cover like this had to develop a positive record impression along with the related laminate edge lines and
spine and 'double up' with the unstuck lamination in the that described position.  As usual the pointed edges have light rubbing
but I must also stress how the back cover's deep pink background, to the very thoughtful and comprehensive LP credits, is vividly
bright and like the front, unfaded and unaffected by the age. Talking about the credits, I have shown the cover length credits in
a pink vertical box, in two sections to make them readable.  Due to contractual restraints, Jimi and Noel were unable to be
credited for their musical contributions, maybe that sealed the fate of "Sunrise", in 1968 -1969 hardly anyone knew Jimi Hendrix
was playing on virtually the whole album.  Mind you, "Electric Ladyland" was still being digested and a permanent fixture on the
turntables, after being released so recently, in November 1968. 

The right side corners, edges and the spine are near perfect, a few laminate edge lines. a superblooking, perfectly sturdy cover,
 still with the sloping shape pointed spine endings created.  I took several views and the pictures will compliment this text,
the rarity of this cover cannot be ignored but I will still grade it very strictly. I do have some amazing music to describe soon!
THE BARELY USED COVER IS IN AN ABSOLUTE MINIMUM OF EXCELLENT+++ CONDITION.


THE PRISTINE LABELS HAVE THE FAINT AND EXCEPTIONALLY LOW SPINDLE ALIGNMENT TRACES OF ONLY 2 PLAYS,
BUT AS COMMENTED, AFTER ONE PLAY THE RECORD HAD TO BE REMOVED AND PASS A 60's SPRINGED CLIP AT
THE TOP OF THE AUTO STACKING SPINDLE.   AN ITEM I PERSONALLY USED IN THE 60's AND CAN READ LIKE A
BOOK, I  STILL DO, AS I HAVE A 1965 AND A 1969 VALVES / TUBES POWERED RECORD PLAYER, ONE IS MONO AND
THE OTHER IS STEREO, BUT I PLAY ALL RECORDS I SELL ON EBAY ON TOP QUALITY MODERN EQUIPMENT.
 
THE HEAVYWEIGHT VINYL HAS THE BEAUTIFUL GLOSSY TOP SURFACE OF A MINT RECORD.  WITH ONLY A COUPLE
OF FEATHER LIGHT, NON VISUALLY OBVIOUS FINGERTIP HANDLING TRACES, BUT POSITIVELY NO SCRATCHES.
WITH THE EXTREME RARITY FACTOR INVOLVED, MY GRADING WILL BE VERY STRICT, WHILE STRESSING HOW
STUNNING THE SOUND QUALITY IS, THE RECORD IS IN EXCELLENT+++ / NEAR MINT CONDITION.

SIDE 1
"Yes I Need Someone" (Chris Stewart / Ernie Graham / Mick Cox / Davy Lutton )
"Got To Get Away" (Ernie Graham)
"The Clown" (Chris Stewart)
"Mr. Guy Fawkes" (Mick Cox)
"Someone Is Sure To (Want You)" (Ernie Graham)

"Rock 'N' Roll Band" (Taylor/Ernie Graham)
"Morning Glory" (Mick Cox)
  "Magic Carpet" (Ernie Graham)
"Captive In The Sun" (Mick Cox)
"1026" (Ernie Graham /Chris Stewart)

EIRE APPARANT
Ernie Graham - vocals
Mick Cox - acoustic & electric guitars
Chris Stewart - bass
Davy Lutton - drums

Jimi Hendrix -  Lead Guitar On Eight Of The Ten Tracks;
"Yes I Need Someone"
"The Clown"
  "Mr. Guy Fawkes"
"Someone Is Sure To (Want You)"
"Rock 'N' Roll Band"
"Morning Glory"
"Magic Carpet"
"Captive In The Sun"

The Two Tracks Without Him;
"Got To Get Away"
"1026"

HELP & ENCOURAGEMENT:
Robert Wyatt  (Then the current the drummer in The Soft Machine)
Noel Redding  (Noel also played bass on "Sunrise")
Gerry Stickells  (The Jimi Hendrix Experience road manager)

Orchestration Arrangement - Vic Briggs
Sound Engineers;
Jack Hunt
Eddie Kramer
Gerry Kellgren
Tony Songlovi Jnr.

Recorded 30th October,1968 - 5th January, 1969, At TTG &  Sunset-Highland Studios, Los Angeles, California,
Finishing At Polydor Studios, London, In January ,1969.

Jimi Hendrix Produced All The Tracks October 1968 - January 1969, Except;
   "1026" Was Produced By Jack Hunt.
"Rock 'N' Roll Band" Was Recorded By Carlos Olms, 5th January 1969, At Polydor Studios, The Last Session Jimi  Hendrix  Played on for "Sunrise.

I have been waiting impatiently to get to the actual description and the enormity of "Sunrise" has left me wondering where to
  begin, I think I had the ideal place just now.  The completion and release of what is regarded as one of the greatest ever albums
of all time, "Electric Ladyland," should really have left Jimi Hendrix feeling drained and staying away from a recording studio.
Having just completed a masterpiece he was actually frustrated that the final mix did not have what he called, '3D stereo' in an
interview I have on a bootleg tape, made with a radio DJ just after the release. Jimi felt he was hearing an inferior sound to one
he finalised,as amazing as the first / original pressings of "Electric Ladyland" are, the genius behind the double album was very
   eager to re-discover the sounds he knew were possible.  Apart from Eddie Kramer, sound enginers just shook their heads at all
he tried and applied conventional methods.  Without going too deeply into all this, Jimi clashed with one of the "Sunrise" sound
  engineers, Jack Hunt, and he had to be assertive over the sound achieved on the album, the best way to do it was step away from
  the recording console, plug his guitar in and play!   Which he did and this was only six weeks after finishing "Electric Ladyland",
to say he was still on a high and buzzing from creating that double album, is the understatement of the year!  If you had to pick
the most inspired moment in Jimi's tragically short career in a recording studio, October, 1968 was quite a time to have him as a
band member and record producer on your debut album!  I regularly describe how Jimi Hendrix played on one track of Stephen
Stills 1970 first solo album, "Old Times, Good Times," but Stills was a veteran and the rest of the album's musicians read like a
'who's who', for example, the next track on the album featured Eric Clapton in equally inspired form.  Jimi was producing a band
who were hardly known and had yet to record a whole album, only a single, Eire Apparent were extremely talented and wrote
the whole ten tracks, so the material was no problem. Jimi Hendrix was about to turn those songs into astonishing masterpieces,
for example, the track I mentioned "Mr. Guy Fawkes" had in-built psychedelic surreal elements, but with Hendrix involved those
  ideas were brought to stunning technicolour, wide screen cinemagraphic proportions.  Sound effects of explosions, surprisingly
unexpected musical reprises, cross melodies, interludes of fantastic sounds, were in direct proportion to the magnificent melody,
bizarre lyrics and incredible musicianship.  I regard this Eire Apparent album with the same esteem as anything recorded in the
late 60's when albums were genuine works of genius, talking of which, the input from the record producer was immense, he could
transform a recording by creating sounds from a guitar like no other, his physical presence alone added an inspirational quality
that words cannot articulate.
 
Myths converge onto albums and true great artists, to counteract that I tend to give solid facts, for some, records and albums are
   all about cardboard and plastic, but in my era it was always the music.  I sincerely hope to have given the correct balance in my
ebay descriptions but nothing written here relies on 49 plus years of memories.  For anyone interested in exactly what happened in
October, 1968, you can read factual accounts about "Sunrise" and every recording session Jimi Hendrix ever played on from 1966.
  I am admittedly a fanatic but if anyone has doubts about Jimi Hendrix playing guitar on "Sunrise", that can be confirmed by reading
  John McDermott's essential book "Jimi Hendix Sessions".  I thoroughly recommend the book, entirely devoted to being a superbly
  researched, day by day account of every recording session, including an input from Billy Cox and Eddie Kramer.  The book names
all the tracks Jimi played on for "Sunrise", pages 71, 72, 73 & 74 give a fantastic insight into this album, not that you necessarily
  need to read them to enjoy and appreciate Eire Apparent.   They released a single in January, 1968 on the Track label, but there is
  no reference to either side involving Jimi Hendrix on "Follow Me"or "Here I Go Again," I sold a copy of that single on ebay about
  eight years ago and that is as rare as this album, in fairness to Eire Apparent, both sides were absolutely brilliant and they should
  receive full credit, but as a long term  Jimi Hendrix collector I cannot help wondering if he was involved.   Becoming their only
  record released on the Track label, as a genuine UK pressing "Sunrise" was only ever issued on the Buddah label, time to give
  some background details.

In the morning there's nothing left, but the embers turned cold,
And the fire that was young, turned old.
 

Eire Apparent were from Northern Ireland, formed in early 1967 with the first incarnation 'The People', who were earning a fast
   growing reputation as an exciting new psychedelic band.   At this stage they had original guitarist Henry McCullough, on the bass
   was Chris Stewart, the  vocalist was Ernie Graham and the drummer Davy Lutton, their formal names are on the back cover, I have
included a close up of those credits in my picture to concentrate on more obscure details.   Still in 1967, the The People moved to
London where they found it tough getting gigs, while appearing at the famous UFO Club, luck and talent combined in their favour,
that night the club was full of talent hunters checking out the still unsigned Procol Harum.  The People were down the bill but the
reaction to their live set was a positive one, the Animals' Chas Chandler, now a manager, was there with his partner Mike Jeffer,
currently managing Jimi Hendrix and The Soft Machine. They signed them and the band's change of name was a clever pun on an
Irish ancestry, 'Eire Apparent,' added an Irish flavour to the expression, 'heir apparent', as used for for say a prince waiting to
  become a king and inherit the throne.  Jimi Hendrix had appeared on some awful 60's UK package tours, he was light years away
from the Walker Brothers and Engelbert Humperdink, the musical styles could not have been more different, late in 1967 the last
package tour Jimi  appeared on had a more realistic billing.   Eire Apparent were also on tour with The Jimi Hendrix Experience,
  The Pink Floyd, The Move, The Nice, Amen Corner and The Outer Limits.  The 'Track Records 'connection gave Eire Apparent the
  opportunity to record the single I mentioned just now, no sales was almost to be expected and there they ended an association
  with Track.  America beckoned, and in February they toured as the support act for Jimi Hendrix or Eric Burdon And The Animals,
  constantly touring in Europe and returning to the USA in 1968, turned them into a road hardened band, very different from their
  experience in Ireland.  Canada was to be the last time the original line-up performed together, Henry McCullough was busted for
   drugs and had to make a hurried exit, guitarist Mick Cox was flown over from England and he became a permanent fixture.

Henry McCullough returned to Ireland but he would later play with the Grease Band of Joe Cocker fame, next stop in 1973 was
   joining Paul McCartney & Wings for a productive period.  I think I might as well fill in the fate of the others here and now, after
   this brilliant "Sunrise" album failed to sell, Eire Apparent broke up in May, 1970, leaving behind the rumours of the second album
Robert Wyatt had produced, but if Soft Machine's drummer did work with the band, that's now unknown.  Mick Cox's only real later
claim to fame was recording a solo LP and playing on Van Morrison's "Common One" album in 1983.  Ernie Graham recorded a solo
LP in the following 1971 and joined 'Help Yourself' in '72, Davy Lutton played drums in 'Heavy Jelly' in 1970 and spent a year in
Steve Ellis' excellent 'Ellis,' then joined Marc Bolan between 1974 & 1976.  The most successful of them all after Eire Apparrent
  was bass guitarist Chris Stewart, apart from working with Joe Cocker, Spooky Tooth, Jim Capaldi, Eric Burdon, Graham Bonnet and
   Terry Reid, he had 3 years with a big hero of mine, the great Frankie Miller.  Scotland's finest ever rock vocalist & songwriter,
so great a vocalist, Otis Redding's widow named Frankie as the nearest white vocalist she had heard to Otis, after seeing him live.
  Frankie Miller enjoyed the most creative years of his career with the ever present Chris Stewart, between 1975 - 1978, from the
   the brilliant "The Rock" album, a superb hard edged r&b album that also re-united Chris Stewart with Henry McCullough. These are
  slight diversions I needed to discuss before getting to the album, it was Neil Young who perfectly summed up how all embracing
rock music was for the generation who experienced that exciting 1960's decade, then in turn for all who have followed since and
share exactly the same love of the music......"From Hank To Hendrix," found on Neil Young's "Harvest Moon" album.
  
From the demise of a truly great band, to describing a psychedelic masterpiece, sadly still the least known of them all, "Sunrise"
  will be recognised one day soon, but the actual rarity of a UK pressing will prevent easy access to the sensational production and
sound, unique only to original vinyl.  Due to my long term love affair with the album I will try to keep this brief but I will just have
  to see how it goes, I have only sold one copy on ebay before and before about 25 years ago, that went directly to a friend who
  also knew the Jimi Hendrix involvement.


  Side 1 has totally silent run-in grooves, Jimi's gradually fading up, senses tingling psychedelic guitar notes hit top volume, there
is no surface sound and how wonderful to hear that intro to "Yes I Need Someone" so perfectly clean and clear.  I am quite proud
how I kept my original also in perfect sound condition, I had better cut out the personal interludes, written by the whole band the
song starts to head towards psychedelic chaos or Sci Fi effects instigated by Jimi Hendrix's guitar, a lovey melody emerges with a
feel I can best compare to Love, from around the same period this was recorded in, 1968.  A constant Hendrix guitar piece moves
between the speakers with a fluidity that instantly brings to mind "Electric Ladyland," the 3D stereo effect is actually happening!
Great bass sound or bottom end as well, amazing sounds in perfect audio clarity, 'Jimi Hendrix - Producer' has quite a ring to it!
Superb vocals from Ernie and if anyone needed a taster or flavour of the album's contents and incredible stereo panning effects,
"Yes I Need Someone" is the best example.  A silent gap and a perfectly clean intro to one of the two tracks without Jimi Hendrix
invoved with the production or the performance, so you get to hear how talented the band were, they had to be to get Jimi Hendix
interested in the album. "Got To Get Away" was an Ernie Graham composition and the lead vocalist contributed a stunning melody,
psychedelic in execution with a pounding bass guitar offset by lovely acoustic guitars, with the melodic electric one from Mick, a
light up-tempo song with a heavy backing, if you know Chris Stewart's bass style that will make more sense.  Somewhere beween
Jack Bruce and Andy Fraser from Free, put another way, able to play it like a lead guitar, do check out the Fankie Miller albums!
The song has a really infectious and memorable melody, one I will have running through my mind when I wake up in the morning.
That will apply to most of the tracks, especially this following Chris Stewart composition,"The Clown", the gap remains muted, so
some bass notes,"Okay, Take 2....relax lads," from the recording booth, then some studio chat left on from the master tape, all in
  perfectly clean sound.  That live feel allows you to picture the studio, with the four Eire Apparent band members along with the
  genius who only just finished "Electric Ladyland", ready to perform a second take of one of the album's most overtly surrealistic,
  psychedelic tracks.  I did say by me describing this album, I will need to distance myself from the magnificence and a love of the
tracks and music to give an even balance, but that was just too amazing not to relate!  No book or text could substitiue hearing a
  moment frozen in October, 1968, if ever I lose the thrilll of how the sensational "The Clown" is presented on the album, it's time
  to stop selling records.  I should have really just said, there was no surface sound before and during the opening sequence, but
  that would a travesty, now you hear Jimi Hendrix's absolutely stunning psychedelic guitar floating between the speakers as the
  intro to "The Clown", as a reference point, the guitar part is in the direction of "Room Full Of Mirrors" but certainly not that and
  this guitar is developed by Jimi to reach mind blowing proportions.  A highly melodic song, but way out there....even for the late
  1960's!  Studio effects on Ernie's amazing vocals are full on psychedelia and as Jimi's guitar makes equally amazing sounds that
  are so unique to this track, I am once again marvelling at the genius of the man.  Just when you think he's exhausted anything to
add to that, you hit one of, if not the most amazing guitar extravaganza's that literally send the senses reeling. I do not have the
  ability to describe an extraordinary instrumental section or the dazzling stereo panning effects "Electric Ladyland" had, but was
  removed when the album was being  mastered without Hendrix being present. Eddie Kramer was one of the sound engineers on
  both "Electric Ladyland" and "Sunrise", he was in tune with Jimi's "Purple Haze" in 1967, and their partnership began when Eddie
  Kramer transferred the sounds he wanted. There was tension in the studio because of Jack Hunt, this time round Hendrix the record
  producer made sure his visionary sounds ended up on the record and the inspired guitar sounds I just mentioned, are here as Jimi
  wanted them to be heard.  The sound quality of the record itself is as stunning as the fantastic sounds being powerfully projected
  from my speakers,"The Clown" is like a mini epic on an album packed out with them.  If Jimi Hendrix's psychedelic guitar sounds
  and production were beyond my ability or desire to describe in words here, then what chance will I have with the next astounding
   track?  "Mr. Guy Fawkes" has been partially described but I only skimmed the surface, one of the instrumental sections of music
   is taken over by the genius of Jimi, something very special was called for and the nearest I can get to describing those sounds and
  impact created near the end of this near six minute long masterpiece, is to refer again to "Electric Ladyland."  Hendrix took Dylan's
  folk recording of "All Along The Watchtower"and added such depth and emotion to the song, in a similar way, the staggering ending
  guitar piece was not actually required but something had to express the sheer power and momentum that had naturally gathered by
  performing "All Along The Watchtower" with such a biting intensity.  Jimi expressed that via his guitar and the same happened here
  on "Mr. Guy Fawkes."   Sure, this was not filled with Dylan's apocalyptic references or religious icons  but this track carries the
  same intensity, an intensity both folk and truly great psychedelic writing and performing generates.  Add the potency of Hendrix to
  either and the results are not only sensational, this time he was in control of how the record sounded, more responsible really than
  on his own records.  I am now writing in a fashion I wanted to avoid, perhaps this is the logical place to leave this because there is
  no way I want to keep using superlatives for the sound quality or mind blowing stereo panning!   Plus there are still seven tracks
  of equal greatness left on the album!   In fact, just take Mick Cox's other lengthy composition,"Captive In The Sun," that includes a
  fantastic strings arrangement with a piano dominating, then suddenly Jimi Hendrix impacts with some rather tasty guitar, but the
   stand-out track on Side 2 falls between the magical "Magic Carpet" and the incredible "Rock 'N' Roll Band," both contain Hendrix's
   guitar genius, beautiful and melodic on "Magic Carpet," but "Rock 'N' Roll Band" features Jimi firing out superb pure blues, really
   fiery, mean blues at that!  I will definitely finish this here by saying the entire album has the same consistent perfect sound, there
   is only the most minimal possible reminders this is 49 years old vinyl, in other words any surface sound is not worthy of inclusion.
   Before I do I must remember to include how "Sunrise" ends, one of the two tracks recorded without Jimi Hendrix's lead guitar was
   an acoustic  track anyway, "1026"  was co-composed by Ernie Graham and Chris Stewart, there are no lyrics just a wonderful and
   beautiful melody, they vocalise that with harmonies that are more in line with a late 60's psychedelic folk track, a kind of mantra
   so the best comparison would be the Incredible String Band from their own late 60's era.  Their vocalised sounds are nothing like
    Mike Heron &  Robin Williamson's unique voices, but the feel is the same, a warm intimate sound that worked perfectly to finish an
    album of true greatness.
  {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.
 
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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.

For LP's valued above £50, the cost will be £9, we are unhappy about either increase but our high standard of packaging has meant
in 16 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 £50 WILL BE SENT RECORDED DELIVERY, OVER £50 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 £50, FIRST CLASS RECORDED DELIVERY  £5.00
UK: OVER VALUE OF £50, 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" SINGLES
UK: UP TO THE VALUE OF £50 FIRST CLASS RECORDED DELIVERY £3.00
UK: OVER THE VALUE OF £50 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.

statistics for auctions of this release
Release Name Sunrise UK Pressing
Catalogue 203 021
Sold auctions 8
Running auctions 0
Maximum paid $233.91
Minimum paid $9.99
Average paid $128.81
Popularity 80% of all auctions for this release were sold.