WE CURRENTLY HAVE NEARLY 1,000 LISTED ITEMS
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· PINK FLOYD - DARK SIDE OF THE MOON – ULTRA-RARE ORIGINAL BRITISH PRESSING - ORIGINAL 1973 HARVEST RECORDS (UK) STEREO LP SHVL-804
· ORIGINAL U.K. PRESSING
· ORIGINAL 1973 PRESSING ON BLACK HARVEST LABEL WITH BLUE "PRISM" LOGO (THE 'PRYSM' LOGO IS COMPLETELY SHADED IN BLUE)
· INCLUDES BOTH ORIGINAL STICKERS (DECALS) AND BOTH POSTERS (NOTE: BRITISH AND JAPANESE POSTERS ARE SLIGHTLY DIFFERENT FROM THE AMERICAN ONES: THE 'PYRAMIDS' POSTER IS BLUE, NOT GREEN; AND THE 'GROUP PHOTO' POSTER IS ORGANIZED HORIZONTALLY, NOT VERTICALLY (ALSO, THE COLOR IS SLIGHTLY DIFFERENT: PINK, NOT DARK RED)
· INCLUDES INCREDIBLY RARE, PRACTICALLY NEVER SEEN, ORIGINAL 4-PAGE LYRICS INSERT (APTLY SUBTITLED "A PIECE FOR ASSORTED LYNATICS" AND APPARENTLY DELETED FOR RATHER OBVIOUS REASONS: WHAT'S THE POINT OF OFFENDING YOUR BUYING AUDIENCE?): , WHICH WE UNDERSTAND WAS INCLUDED ONLY WITH THE FIRST BATCH OF THE PRESSINGS, PROBABLY LESS THAN 500 COPIES TOTAL
· COURTESY OF THE ORIGINAL OWNER, THE WINNING BIDDER ALSO GETS TO RECEIVE THE ORIGINAL 2/23/1974 AND 5/18/175 NEW MUSICAL EXPRESS REVIEWS OF THE ALBUM (ORIGINAL ARTICLES, NOT REPRINTS), STILL AFFIXED TO THE ALL-BLACK INNER SLEEVE
· ONE OF THE MOST BEAUTIFULLY CRAFTED, RECORDED, MASTERED AND PRESSED AUDIOPHILE ALBUMS OF ALL TIME – A VERITABLE STEREO DELIGHT AND AN HONORARY ENTRY ON THE “TAS” AUDIOPHILE LIST.
· ORIGINAL GATEFOLD COVER
· CLEAN, WEAR-FREE LABELS
· THICK, HEAVY VINYL PRESSING
· MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD
· MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-A2/-B2'
(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)
(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get. GUARANTEED!)
By condensing the sonic explorations of Meddle to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon. The primary revelation of Dark Side of the Moon is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren't that impressive by themselves, but when given the sonic backdrop of Floyd's slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance. But what gives the album true power is the subtly textured music, which evolves from ponderous, neo-psychedelic art rock to jazz fusion and blues-rock before turning back to psychedelia. It's dense with detail, but leisurely paced, creating its own dark, haunting world. Pink Floyd may have better albums than Dark Side of the Moon, but no other record defines them quite as well as this one.
(EXCERPT FROM AN ONLINE REVIEW BY STEPHEN THOMAS ERLEWINE, ALL MUSIC GUIDE /ALLMUSIC.COM/)
For its extraordinary contribution to the modern music, superb production, craftsmanship, fine musicianship, revolutionary significance and influence it exerted on numerous generations of musicians, writers and general public, or for some other innate quality, this album was voted one of top-200 albums of all time in one of the largest poll of critics, music reviewers, professionals and producers ever organized: the poll, which was conducted by Paul Gambaccini, legendary BBC Radio A&R man, surveyed more than 50 top music professionals (including Roy Carr, Jonathan Cott, Robert Christgau, Cameron Crowe, Chet Flippo, Ben Fong-Torres, Charlie Gillett, Greil Marcus, Murray the K., Lenny Kaye , Bruce Morrow (a/k/a "Cousin Brucie"), Tim Rice (of "Jesus Christ Superstar" and "Evita" fame), Lisa Robinson, Robert Shelton (who wrote liner notes for Bob Dylan's first album), Ed Ward, Joel Whitburn, Pete Wingfield, etc.). For more details, see: "Critics Choice: Top-200 albums" compiled by Paul Gambaccini, Omnibus Press, Library of Congress Catalog No.7855565 (or ►click here for the complete album listing)
For additional historical or discography information on this album, including track listing ►click here
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(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we grade records under the strong, diffuse room light or discrete sunlight)
(a) WE GRADE THE VINYL AS NEAR MINT. Some VERY LIGHT AND SUPERFICIAL abrasions – mostly sleeve scuffs - are (barely) visible, but are probably inaudible, and do not affect visual integrity or beauty of the vinyl. The original luster is very much intact, and the vinyl shines and sparkles almost like new.
(b) The album comes with ALL original extras (two decals and two posters)
(c) The album comes with the practically UNHEARD-OF 2-page lyrics insert
(d) The album likewise comes with two original New Musical Express album reviews
(e) The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!
(f) The record comes in the original (all-black) stock inner sleeve.
(g) Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!
THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD+++.
The following flaws or imperfections are noted on the cover:
- Cover has a fewwrinkles along the spine
- Cover has a visible wrinkle (crease) in the cardboard base on the front panel
- Cover has JUST A HINT of ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and 10 being the most severe), we assess the severity of ring wear as 2.
- Minor shelf wear noted on the seams (nothing significant)
NO OTHER IMPERFECTIONS ON THE COVER:
- No split seams
- No cut-out (drill) holes.
- No cut-out corners
- No saw-marks or indents
- No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)
- No yellowing from aging
- No writing
- No stamps
- No tearing: no chips, dents or nicks on the seams
- No peel-off marks
- No stains