| Title |
Price |
GBP |
Media |
Condition |
Label |
| Live And Let Live |
6.42 |
|
2LP |
Very Good Plus (VG+)/Very Good Plus (VG+) |
Mercury 6641714 |
| Item Number: 2081141417 246102 |
ex/ex/ex, gatefold [246102]
 |
|
Tracklist
|
| A1 | The Second Sitting For The Last Supper | | | A2 | You've Got A Cold | | | A3 | Honeymoon With B Troop | | | A4 | Art For Art's Sake | | | A5 | People In Love | | | B1 | Wall Street Shuffle | | | B2 | Ship's Don't Disappear In The Night (Do They?) | | | B3 | I'm Mandy Fly Me | | | B4 | Marriage Bureau Rendezvous | | | C1 | Good Morning Judge | | | C2 | Feel The Benefit | | | C3 | The Things We Do For Love | | | D1 | Waterfall | | | D2 | I'm Not In Love | | | D3 | Modern Man Blues | |
|
Identifiers
Rights Society: n©b
Matrix / RunoutSide A etched: 6641 714 A ̶6̶6̶4̶1̶ ̶6̶9̶8̶ ̶A̶ MELYS
Matrix / RunoutSide B etched: 6641 714 B ̶6̶6̶4̶1̶ ̶6̶9̶8̶ ̶B̶ MELYS
Matrix / RunoutSide C etched: 6641 714 C ̶6̶6̶4̶1̶ ̶6̶9̶8̶ ̶C̶ MELYS
Matrix / RunoutSide D etched: 6641 714 D ̶6̶6̶4̶1̶ ̶6̶9̶8̶ ̶D̶ MELYS
Credits
Backing Vocals, Bass Guitar, Guitar - Rick Fenn
Backing Vocals, Drums, Percussion - Stuart Tosh
Booking [Concert] - Danny Betesh
Coordinator [Live Recording], Management - Ric Dixon
Crew [Stage] - Charlie Pile, David Hutchinson, Graham Youle, Ian Leach, Ian Scott, Roger Barnes
Design [Lighting] - Jimmy Barnett
Design [Sound Reinforcement System] - Formula Sound Ltd
Drums, Percussion, Electric Piano, Vibraphone - Paul Burgess
Engineer [Concert Sound] - Keith Bessey
Engineer [Live Recording] - Phil Ault
Engineer [Mixdown Assistant] - David Rohl, Richard Scott, Tony Spath
Engineer [Mixdown Assistant], Engineer [Concert Sound] - Keith Bessey
Engineer [Mixdown] - Eric Stewart
Lacquer Cut By - MELYS
Lead Vocals, Bass Guitar, Guitar - Graham Gouldman
Lead Vocals, Grand Piano, Electric Piano, Backing Vocals, Organ, Keyboards [Clavoline], Synthesizer [Minimoog, Polymoog] - Tony O'Malley
Lead Vocals, Guitar, Grand Piano, Electric Piano - Eric Stewart
Lighting - TFA Electrosound
Management - Harvey Lisberg
Management [Publicity] - Karen Fox, Tony Brainsby
Mastered By - Melvyn Abrahams, Melvyn Abrahams
Photography By - Gered Mankowitz
Producer - Eric Stewart, Graham Gouldman
Stage Manager [Equipment] - Gordon White
Tour Manager [British] - Jim Sullivan
Written-By - Eric Stewart, Graham Gouldman, Kevin Godley (Tracks: A1, B3), Lol Creme (Tracks: A1)
Notes
© Phonogram Ltd.
℗ 1977
Recorded at Odeon Theatre Hammersmith London 18th, 19th & 20th June 1977 and Apollo Theatre Manchester 16th & 17th July 1977 (The Island Mobile).
Mixdown at Strawberry Recording Studios (UK)
Gatefold sleeve
No printed track lengths on this edition
|
Note
Images and tracklisting are supplied by a third party and matched by catalogue number or barcode. Tracks on the release may differ from what is being sold.
|
|
| Release Country: Scandinavia |
| Release Date: 1977 |
Shipping Methods:
Denmark: (please have in mind we don't offer day to day shipping in Denmark):
CDs or 7”s: 1 : €5
CDs or 7”s: 2-4 : €6
CDs or 7”s: 5-18 : €8
LPS: 1 :€7
LPS: 2-6 :€9 - sent as parcel
International/USA/Europe/Australia/Oceania/Canada/Mexico/South America:
CDS or 7”s - first €5 each additional €1 (until the total weight including shipping material reaches 2 kilos - then please ask for a quote)
CDS without jewel case - first €4 each additional €0,50 (until the total weight including shipping material reaches 2 kilos - then please ask for a quote)
LPS First €9 each additional €2 (until the total weight including shipping material reaches 2 kilos - then please ask for a quote)
registered shipping: up to 2kgs €20
Return Policy:
full refund if the buyer is not satisfied
Grading of Items:
we grade our records after the record collector magazine
mint
near mint
ex
vg+
vg
etc
Record Collector's Grading System
MINT: The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition. Records advertised as Sealed or Unplayed should be Mint.
------------------------------------------------------------
EXCELLENT: The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and/or creasing.
------------------------------------------------------------
VERY GOOD: The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any major defects, is acceptable.
------------------------------------------------------------
GOOD: The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discoloration, etc.
------------------------------------------------------------
FAIR: The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump.
The cover and contents will be torn, stained and/or defaced.
------------------------------------------------------------
POOR: The record will not play properly due to scratches, bad surface noise, etc. The cover and contents will be badly damaged or partly missing.
------------------------------------------------------------
BAD: The record is unplayable or might even be broken, and is only of use as a collection-filler.
------------------------------------------------------------
CDs & CASSETTES: As a general rule, CDs and cassettes either play perfectly - in which case they are in Mint condition - or they don't, in which case their value is minimal. Cassette tape is liable to deteriorate with age, even if it remains unplayed, so care should be taken when buying old tapes. CDs are difficult to grade visually: they can look perfect but actually be faulty, while in other cases they may appear damaged but still play perfectly. Cassette and
CD inlays and booklets should be graded in the same way as record covers and sleeves. In general, the plastic containers for cassettes and CDs can easily be replaced if they are broken or scratched, but card covers and digipaks are subject to the same wear as record sleeves
|
|
|
