CAN - Tago Mago - RARE Orig UK 1st Press Envelope Cover

	£		182
	$		241

ONEADAYRECORDS – Delivering Best Progressive Krautrock to the World.

Artist or Band: CAN

Album Title: Tago Mago

Producer(s): Can.

TRACK LIST:

Side 1: Paperhouse; Mushroom; Oh Yeah.

Side 2: Hallelujah.

Side 3: Aumgn.

Side 4: Peking O; Bring Me Coffee or Tea.

Label/Format: United Artists – Original Pale cream and brown format. (Please see label scan).

Label Conditions: All near immaculate with any spindle traces being very light and faint.

Cat Number: UAD 60009/10.

Mode/Speed: Stereo / 33.3 rpm.

Weight of These Records: 134 / 120 grams.

Country of Manufacture: England. The record has the prized first issue German and UK matrixes as listed further down.

So What is Krautrock?: ‘Krautrock’ was an affectionate term given to a new wave of young German bands in the late 1960s and early 70s. Before the emergence of these pioneering experimental rock and electronic artists, the German music scene was a real mess of sugary pop music. Out of this fog of a musical mire, a very new sound emerged as radical and as daring as anything ever heard. Whereas in the UK, rock music was very much blues or psych-based, but these young long-haired, pioneering German musicians played music that was very different. They opened new musical horizons and boundaries into the use of sound as entertainment. Several were classically trained musicians (Can) – some could barely play an instrument at all (Kluster). Far too weird and experimental for most, many were into avant garde territory, but this German underground scene was admired by many and loved by a small number of record buyers of the time. The sounds they created were often challenging and difficult, but unique and were highly influential for the development of music. Some used conventional instruments, some delved into electronics and some used unconventional devices to form sound (Faust). A few became successful even outside Germany with the odd hit single or two (Kraftwerk and Can), but some did not compromise and never sort commercial success (Faust, Neu). Although there were others, the best-known of the early experimental Krautrock bands were: Kraftwerk, Can, Faust, Amon Duul I and II, Neu, Popul Vuh, Guru Guru, Kluster and Tangerine Dream. All are worth checking out – they made some of the most groundbreaking music in rock and their importance is beyond any dispute. In terms of rarity, these early albums are never easy to find especially in top conditions, they sold in relatively small numbers and are seldom seen or offered, especially in high grading conditions.

Rarity: Always a scarce album in whatever format it came in, this original being the rarest. This was album of many guises regarding it’s cover. The very first, that had the German and UK matrixes and a textured envelope style cover, as per this. The texturing was soon replaced by a smooth finish but retained the early original artwork, these are slightly more common. Later still copies saw the cover format changed again, the envelope was dropped to a standard gatefold design with the more familiar ‘coloured heads’ artwork as seen on the Spoon pressings (and CDs).

Original Year of Release: 1971.

Matrix Nos: UAD 60009 A-1 [C 29211 A-1] / UAD 60009 B-1 [C 29211 B-1] / UAD 60010 A-1 [C 29212 A-1] / UAD 60010 B-1 [C 29212 B-1]. I feel sure this is the very first copy I have had with the full set of dual matrixes. Sometimes side three omits the German ones. All these matrixes are deeply machine punched in bold upright text and very pronounced and visible.

Mother & Stamper Codes: 1 G / 1 G / 1 G / 1 R (one of the earliest ever pressed)

Musicians: Michael Karoli (Guitars), Irmin Schmidt (keyboards), Jaki Leipzeit (Drums, percussion), Holgar Czukay (Bass) and the legendary vocalist, Kenji ‘Damo’ Suzuki.

Brief Artist & Album Info: It’s always a pleasure just to offer any early Can album. Arguably the definitive and most important of the German progressive bands of the early 70s. Known affectionally as ‘Krautrock’ these types broke new barriers in rock music. Can took this art to new levels of creativity and excellence, spawning a host of immitators - few came close. This album features their classic line-up as listed above. The four instrumentalists were all unique and having a style all of their own. Schmidt, a classically trained keyboard player, had a karate chopping style which was unusual. Czukay’s basslines had a throbbing sound, and the strings really twang, Leipzeit’s percussion was almost metronomic at times and is without doubt one of the finest and most influential drummers ever. And the late, great Michael Karoli’s guitar had a splintering sound that complemented the Can style perfectly. That leaves Damo: not so much a singer but a vocalist who at times just breathes down the mike - inventive, abstract and sometimes scary - at times he just goes completely off the rails bursting into free-form improvisation. The same can be said of Can in general really. Live they were never the same and their early 70s gigs are legendary, often lasting through to the early hours of the morning. Karoli and Damo, a mass of long hair and face almost invisible, Czukay stark features with that customary drooping moustache, a bundle of manic concentration, Schmidt climbing atop his keyboards keeping control, almost as a conductor with nods and gestures, and Jaki pounding the skins like a man possessed - what an awesome band Can were. This seminal record, their third proper, including the Soundtracks album is truly amazing. This is my personal favourite, it’s stunning sound visions and breathtaking, innovative creativity is beyond my words. Can were simply one of the most influential and original bands of all time - daring, inventive and highly entertaining - premiership Krautrock and worthy of inclusion any serious record collection. A definitive album, a work of genius spread over four sides. Sides two and three are full length pieces that occupy the entire sides. ‘Hallelujah’ is sublime – it’s the Can track that even non-fans have an interest in, the first of the long pieces. It has beautiful rhythm and pace and slowly builds up to a keyboard and drumming frenzy which is totally out there with the very best – this has to be Leipzeit’s finest moment. ‘Aumgn’, side three’s 17.22 minute gem is one of the eeriest tracks I have ever heard. Damo’s vocals on this are unearthly. Play this one in a darkened room alone and the shivers are guaranteed aplenty. Then on side four, ‘Peking O’ seems quite a melodic and easy going track at first, but don’t be fooled... Damo’s burst of freeform improvisation blended with Schmidt’s manic keyboard pyrotechnics will blow you away. This is experimental rock at its most sublime - every track is stunning - Can hit the real heights of their creative peak on this amazing album. This is a terrific copy with two records hardly played with few blemishes. The very delicate, original textured envelope cover is also in lovely condition and devoid of the usual heavy wear and damage. I have taken a close-up of the lug and recess to show how fine they still are. Often these are sheered off or badly burred or torn. Still ridicuously undervalued in the guides this is a tough one to find with the original artwork in any form. For fans of this innovative and mighty German band, this is a copy too good to miss out on, they will rarely ever be seen like this now. Take another look at this cover, when was the last time you saw one much better? This landmark piece of rock history is in a class of its own.

Cover’s Potential for Wear: Very High++. Most are seen badly rubbed and even with tearing and major damage including torn off lugs and split recesses. This has nothing like that, some mild edge rubbing being the most wear present.

Cover Grade and Format: Better than EX+ and only marked down a little for rubbing on the spine edge. This is the original first-made with the textured surfaces – later envelope examples were made with smooth card. Unlaminated and with the top entrance for the record, again later ones were from the side. This opens up fully via lugs and recesses as can be seen on my picture fully opened. Matt finished and all outer surfaces textured. The top flap is secured by a single lug and recess. The lower half is retained by two shaped lugs and two recesses. This was printed and made in England by the E. J. Day Group and has the ‘Patent applied for’ text.

Cover Front: Superb and this is certainly up there with the very best I have ever seen. This has little to fault being clean, fresh with any rubbing light and only mild corner tip creases. The lack of deep penetrating ringwear is always a bonus on this one for which it’s heavily prone. Any record rim impressions are faint and very light indeed. Any speckle on the raised textured surface is minuscule with the unique early artwork looking superb. This original front, one of the most famous in the Krautrock catalogue, will be hard to find much better.

Cover Back: The back is far more complex: the top flap opens from a top fold-hinge, this surface is again superb with barely any traces of wear or creasing. The single thickness ends are neat and sharp with minimal rub traces or burring. The fragile lug (see in close-up) is solid and hardly even creased with no weakening or stresses. Very light rubbing to the top and edges only which will occur on being used. Often this part can sheer off or become very tatty – not this one. The lower bottom half is immaculate: the surfaces of this and the retaining side flaps are practically unworn and all three lugs and recesses are strong, undamaged with no weakening or creasing of any real note. Again these are often seen threadbare, often repaired or cellotaped, not these ones. The underside is unusually clean with any traces of set-off tiny and faint. All the brown, textured outer surfaces will prove very difficult to find better than this.

Top Edge: This acts as the spine edge and includes text – this has moderately rubbed along with some of the text. The lower half of the text has eroded but the top half is visible, this seems a trait of the cover and to find one with perfect text is an immense task which this one has failed to achieve. However, this is pretty much the only minus on this lovely cover and is more than compensated by the main areas being so attractive.

Bottom Edge: Minimal traces of wear, this is real nice.

Right & Left Edges: Both show minuscule traces of rubbing, the flap edges are very neat and crisp.

Corners: All very neat with any rubbing light and faint. Slight corner creases on the lower ones but fine to very fine shape retained.

Cover Summary: A beautifully designed cover in all aspects but highly fragile and vulnerable to all forms of wear and damage. Few survive in such lovely condition. The relatively light edge rubbing being the only real issue, but who wants to sit and look at the edges? The main surfaces including the ‘working’ parts are in superb shape and this is a justifiably high-grading example that should please most collectors.

The Inners: Special mention must be made to the original plain unlined inners. Not so ‘plain’ anymore. The original owner was clearly had an artistic trait and applied his own personal customising of these inners. I suppose in most cases I would not elaborate on this sort of thing, but clearly he was a major fan of this band (and why not?). Both inners and sides have been ‘decorated’ in vintage Can memorabilia with pictures of the band at this time. Best of all is a drawing of a tin can with vintage press pictures of artists and politicians of the day. Including caricature cartoons of Harold Wilson and Ted Heath, the famous prime ministers of the times – an interesting collage of characters of the early 1970s, I even took this in close-up as this really does add to this album’s history and era.

Vinyl Condition/Visual Grading: EX, a few light hairlines and a small scuff on side three, all are non-sounding surface blemishes only. A very fine visual pair that are very clean, shiny, intense black and solidly pressed. Both little played for certain and both play with superb sound with little unwanted. They should please the majority of collectors.

Album Played For Grading: Yes. [I play ALL records I offer before submitting to Ebay, also the record is played in its entirety unless clearly stated otherwise. I do NOT play snippetts or joining grooves to check for sound quality and quietness – I play from the beginning to end via clinically revealing B&W speakers that include the legendary tweeter from their awesome Nautilus range that reveals every blemish or miniscule sound present on any record.]

Sound Quality and Audio Grading: Both records play above their visual grading to the highest levels with barely anything to fault. Strong and powerful, distortion-free sound, all frequencies are sharp and clear - sound quality is astonishing with a wide dynamic range and very detailed sound. The drumming on this album is little short of breathtaking and must rank as some of the finest ever put to record within the rock field. Even non-Can fans have asked me about this album, side two is Can at their very best and for me is one of their most brilliant ‘progressive’ tracks ever. Any surface sounds are minimal indeed and this is a fine clean pressing for (at times) a fairly difficult album. This sometimes can be less than quiet with some very quiet passages especially on side three. But generally this has little unwanted but absolute total ‘silence’ is almost unrealistic. But nothing spoiled my pleasure in hearing this landmark recording from vinyl again. The in-built power and dynamics of this analogue recording still leaves all CD versions as second-best. Any small and light blemish pales into insignificance for the sheer pleasure in hearing real thing and this will captivate all vinyl fans. This is a gateway into the wonderful world of Can and their Inner Space recording studio. The details embedded in these grooves cannot be beaten, listening to this on very revealing equipment bought out details I swear I had not heard before - the beauty of one of the earliest ever pressings for sure. Incredibly complex and intricate music that simply flows from the speakers – side threes bass depths were almost subsonic. Few copies will outperform this ultra early pressing significantly I feel sure. I feel very sure both records have been played very lightly and have been clearly well stored, almost certainly in a non-smoking environment. When many of the early copies of this are only fit for the (trash) Can, this is like a breath of fresh air. Only the early fans would have splashed-out on an experimental album like this initially and those who did were rarely hi-fi buffs. This awesome copy will prove difficult to find in better all round condition and is strongly recommended.

End Piece: A supreme album, not quite ‘perfect’ but it will prove difficult to find in overall better condition. This magnificent release must rank as one of the most important albums ever and I simply cannot recommend it highly enough, it’s influence can still be felt even today. I conclude this advert quoting the text on the cover’s back written by Duncan Fallowell reproduced courtesy of Melody Maker.

“I discovered The Can about 18 months ago through their first album Monster Movie. In every way it is an astonishing record, and therefore found its way into a few people only (John Peel among them), presumably those excellent ones who keep far out bands afloat until a large supporting audience arrives two or three years later. I am not going to say any more about the record except listen to it immediately, as loudly as you can manage, if possible on one of those stereo sets which eat into the floor-boards like woodworm: Fireball’ can wait a moment. Anyway, the outcome of this enthusiasm led to my visiting the group in Cologne at the beginning of the year.I didn’t know what to expect. The press handouts had been brief and enigmatic, with tantalising references to some castle which the band occupied and where they had their workshop. By the time I arrived the castle had turned into an old cinema, elaborately fitted out with what is reputed to be the finest electronic rock equipment in Germany. Also, the black American singer from the first album, Malcolm Mooney, had disappeared to New York to be replaced by Damo who doesn’t so much sing as breathe words heavily into the microphone in a particularly doom-laden fashion. He is Japanese and 21; the others are German and older. Irmin is the organist and articulate spokesman. Unbelievably, he used to conduct symphony orchestras and his English inclines to phrases like ‘parameters of consciousness’.

With him there is none of Keith Emerson’s front parlour arpeggios, or Richard Wright’s Vaughan Williams chord changes, or Brian Auger’s Sandy McPherson touch. Irmin studied under Stockhausen and Berio, and it shows.

As for his playing, well, I don’t know how he does it but it sounds like anything but an organ. Often it is almost indistinguishable from the guitar, but more disembodied, or the engine of a flying saucer (if you know how that sounds).

Then there is Holger. His bass catches you like a clam - he is ex-Stockhausen, too - and recently he built a ferocious machine to generate maximum concussion. Michael plays guitar in a weird spidery chip-chop sort of way, quite unlike anyone else. And Jacki, the drummer, holds the axis while at the same time exploring endless possibilities within a given rhythmic pattern. Yet separating out the ingredients in this way can convey very little because The Can’s music is intensely interwoven. Its surface is deceptively regular and beneath is an elaborate matrix of constantly shifting emphasis and cross-feeding, bulging in hypnotic spasms. Its effect is ectoplasmic and powerfully sexual.

They have been compared to the Velvet Underground and there is some sense in that, although it could be misleading. If the Velvets play in a junkyard, The Can are unmistakably Germanic. The kind of structured, planned pieces which many English groups go in for are rejected by them as ‘bourgeois’, an attempt to beat the Romantic composers at their own game.

Whatever truth there is in this, it means that this band are very single-minded and as far as possible create their music spontaneously. Having the luxury of their own studio, most of the material is worked out there on the floor. They just go in, start playing and let take over. In fact it couldn’t happen any other way because the music’s textures are too subtle to be contrived beforehand.

Originally they spent so much time in the workshop exploring their particular universe that they were sometimes thought of as a studio group. This is not so. The physical urgency of the music, its edgy excitement, is in no sense an insular affair and they have spent the last year doing many concerts in order to develop their confidence as public performers.

They are a big group in the German underground where a few years ago, before its Liberty release, people were paying £6 or more for private pressings of Monster Movie. The only outfit in England with anything in common with them if Hawkwind but again that is inapposite. Hawkind’s sound is cleaner and more straightforward, even if it operates on similar principles. Like any important bands, The Can sound like no other. They are hoping to visit England some time and if they do you should try to hear them”. – (If only it could happen again).

Now one of the most established sellers on Ebay and still offering the finest and most accurately described and graded records I can find. I pride myself on offering a variety of genres to keep my site as interesting as possible. I will rarely offer any record that falls below a true Excellent grading, unless its of a certain rarity which will justify offering a lesser grade. I try, to the best of my ability to describe as accurately and as honesty as I can all items I offer for sale with all the relevant information I can think of to help any potential bidder and collector. You may notice I only submit records sparingly on Ebay - on average ONEADAY, a couple more at weekends if time permits, hence the name - time rarely allows for more as I Play-Grade virtually every record I offer in their entirety, not just bits to guess a grade - visuals alone do not always tell a true or full story. I will mention any defects or flaws no matter how small that I notice to be fair as possible to any interested collector – I am very fussy and my buyers have the right to be too. Every record I offer, whether it be a common or rare item deserves the same respect as far as I am concerned and will be treated the same - just because an item is rare does not always mean its good. I get just as much pleasure offering a relatively common record in stunning near mint condition as the real rare items. All the pictures I use for your guidance are taken with a digital camera or scanned - they are NOT improved, cleaned-up or made better looking than they are with camera trickery or enhancing with digital programmes. What you see is what you get and scanned labels will give a more accurate representation of the genuine colour than flash photography where light is variable. I cannot guarantee total accuracy for colours however but most will be very close. If any picture I take looks more flattering than the actual item for any reason, I will clearly state the fact in the advert and vice-versa. I hope the item below is to your liking - any questions can be emailed and I will do my very best to answer you. I am enthusiastic, and have a fair degree of knowledge about many genres and I promise quality items - bid with confidence - excellence comes as standard and so does Near Mint regularly. Please assume all records I offer have NO jumps, sticks, warps or writing on covers or labels unless clearly stated to the contrary. Thanks for your interest and Good luck – MIKE.

Deck: Linn LP12/Hercules/Cirkus with Ittok Mk II arm and Ortofon Rondo Red moving coil cartridge (tracks at 2 grams). Amps: Naim Nait 5i with Project USB phono stage and Chord interconnects. Speakers: B&W 704 Floorstanding 3-way Monitors (bi-wired with QED Silver terminated cable). All records I offer on Ebay are cleaned on a professional Moth vacuum machine before play-grading for the cleanest and best possible sound and will include a brand new lined inner and protective cover too.

First-time, zero-rated bidders, who do not ask permission to bid, will be cancelled immediately and blocked – NO exceptions. For winning bidders who I consider excessively slow to make contact or submit payment, I will use my right to block future bids. If any bidder who wins in the final seconds is present to do so, surely they can at least email me to inform of intention and payment method? If swift or promp payment is a problem, please do not bid.

PACKING - THIS IS WHAT YOU GET - PLEASE SEE MY TYPICAL PACKING BOX PICTURE.

What You Get: To confirm to the strict Ebay rules on shipping, I must now send ALL my packets ‘Signed-For’ with NO exceptions. Both buyers and sellers want their packets to have a safer journey and this is not a bad thing.

I now offer the fastest possible posting, often the very next day after payment is received or within two to three days maximum (unless on holiday). I only use FIRST-CLASS Mail. The record’s cover will be placed within a BRAND NEW soft protective sleeve and the actual record will be professionally cleaned on my Moth Pro vacuum system to give ultimate clean grooves and playing surfaces and the best possible looks and ultimate sound quality. You will NOT get tired, dull looking, dust infested records inside worn and foggy covers with tatty inners from this seller and that’s a promise and guarantee. All records are posted in professional thick boxes (NOT Mailers or Cruciforms, these do not offer maximum protection). The record(s) REMOVED from their main cover to avoid edge splits and placed within a brand new polylined inner. The record’s original inner will be included if available. The boxes are then reinforced with THREE or EVEN FOUR ULTRA THICK stiffeners for maximum extra protection – these are FOUR TIMES thicker than commercial stiffeners and are custom-made for oneadayrecords. Really rare and expensive albums will even be Double Boxed if deemed necessary and possible. The thick record and stiffener ‘sandwich’ is then thickly embedded into bubble-wrap to bulk out the record inside the box to centre the item inside to reduce the risk of damage still further. Printed address labels are used for clarity as well as a sender label. Customers requests or special needs for P&P will be respected if at all possible but ‘Signed-For’ posting is NOT an option anymore. Please see my picture of a typical finished box packet that will now be used on ALL transactions as from now. I do not profit on posting and the cost of this lavish packing is NOT even charged for, I offer probably the best-value and safest shipping possible for ultimate confidence. These boxes and ultra thick double-wall stiffners and bubble wrap make a near impregnable fortress for safe shipping and this is used inland and overseas for ALL my records, not just the rare and expensive. I will invoice any winning bidder as soon as possible after the auction ends. My ‘loss’ or ‘damage rate’ is less than one in two thousand based on over 6,000+ items sold in over 8 years of Ebay trading and I consider that pretty exceptional. The only damage rate acceptable for this seller is ZERO and I think my packets will offer just that. It would take a vicious postman or postal service to damage these for sure. Even one of these stiffners cannot be bent by hand, so what chance 3 or 4 inside a box? Oneadayrecords is a MAILER-FREE ZONE. I discount of course for multiple purchases with a maximum of FOUR records per box (one double can sometimes be included subject to total weight). I will not respond to questions on shipping costs as all the details are included here and on ALL of my adverts. Details below:

NOTE: First Time Bidders: I will cancel ALL first-time bidders with no feedbacks or excessive negatives who do not ask me if its OK to bid first – NO EXCEPTIONS.

Please Note: I will now offer any item to the runner-up after the mandatory Ebay 3 days if no contact is made by the winning bidder unless prior notice of any delay is given beforehand. The same applies if no payment is received within the mandatory 7 days so any bidder who has just lost out can still email me to reserve the item as priority second chance – it’s always worth asking.

SHIPPING COSTS & CONDITIONS – THESE comply with EBAY’S RULES - PLEASE READ CAREFULLY:

Posting & Packing: UK & CHANNEL ISLANDS all now sent via Recorded Delivery:

1 LP (FIRST-CLASS Recorded Delivery with Standard Royal Mail Insurance) [Signed For] = £4.

1 LP (Special Delivery with Standard £500 Maximum Insurance) [Signed For, Next Day] = £7.50. (this includes insurance of £500). Add £2 per extra LP.

Posting & Packing: EUROPE & SCANDINAVIA. (Airmail Only):

1 LP (Small Packet ‘Signed For’ with Standard Royal Mail Insurance [£40 maximum]) = £9. (insurance optional extra £3). Add £2.50 per extra LP.

Posting & Packing: ALL OVERSEAS (non-European) e.g. USA (ANY PART OF); Australia; Canada; Japan and other Far East; (Airmail Only: I NEVER use Surface Mail):

1 LP (Small Packet ‘Signed For’ with Standard Royal Mail Insurance [£39 maximum]) = £13. Add £4 per extra LP. (insurance optional extra £3)

Payment Conditions:

I prefer PayPal or cheque from UK winning bidders. I can accept PayPal from overseas bidders or direct payment into my bank account.

Potential Bidders: Please do not bid if you have negative feedback unless checking first, I will cancel any bids I feel are timewasters. A maximum 3 days for communication and 7 days for payment to arrive - if not I will relist the item or offer to the runner-up. Fast deals get great feedback from me. Any questions - please ask and thanks for looking.

My Guarantee: If any winning bidder is not satisfied with their purchase I will offer a complete refund. I will not refund if any defect detail is clearly stated on the advert and missed by the buyer, so read the item description carefully. If any overseas collector does not understand anything in my listing, please email and ask me to help. Thank You.

SOME GENERAL GUIDES TO WEAR AND CONDITIONS TO HELP YOU DECIDE

My Use of Description Terminology: Surface Marks = Superficial, usually light marks, hairlines or light scuffs that rarely sound. Scratch = a needle mark that goes below the record’s surface, some will sound, some will not, my play-grade will inform. Original = a record that has been pressed with the first label design which does NOT neccessarily mean a very first pressed record. First Pressing = A record that I believe or know to be a genuine very first pressed record. I do not claim to always know for sure, and that’s why I state the stamper and matrix numbers if at all possible, for those who claim to know what they all mean, the information is there for the collector to decide. I prefer to use terms like ‘Early Copy’ rather than ‘First Pressing’ if I am not totally sure. Surface Sound = Mild, light sound, usually light crackle or similar. Distortion = Break up of the actual sound caused by groove wear or damage from a chipped stylus – the most undesirable form of unwanted sound, vintage mono records were the most prone to this happening but not exclusively so. The symptoms of distortion are high frequency clipping, moderate constant crackle or an echo type sound quality. Violin, piano and vocals are most prone to groove-wear distortion. Feathering = Fraying or softening of the entry edge of a cover. Covers with feathered entrance edges are more likely to have had the actual record inserted and removed more than a non-feathered, sharp-edged cover which are always far more attractive. Set Off, actually a printer’s term for dark ink leaving mild residue on pale or white ink when rested upon. e.g. when a gatefold cover has black ink closed against white, this can leave some black residue on the pale area – this is mostly unavoidable or course.

The Argument for Vinyl Original sound and mix (mono mixes are rarely available on CD), high quality sound on clean copies (played on a hi-end dedicated analogue system – breathtaking sound!), beautiful, large format covers, artwork, inserts and even full size posters etc; huge investment potential, and the pleasure of owning ‘the real thing’.