You gotta be crazy, you gotta have a real need.
You gotta sleep on your toes, and when you're on the street,
You gotta be able to pick out the easy meat with your eyes closed.
And then moving in silently, down wind and out of sight,
You gotta strike when the moment is right, without thinking.
And after a while, you can work on points for style.
Like the club tie, and the firm handshake,
A certain look in the eye and an easy smile.
You have to be trusted by the people that you lie to,
So that when they turn their backs on you,
You'll get the chance to put the knife in.
I gotta admit that I'm a little bit confused.
Sometimes it seems to me as if I'm just being used.
Gotta stay awake, gotta try and shake off this creeping malaise.
If I don't stand my own ground, how can I find my way out of this maze?
Deaf, dumb, and blind, you just keep on pretending,
That everyone's expendable and no-one has a real friend.
And it seems to you the thing to do would be to isolate the winner
And everything's done under the sun,
And you believe at heart, everyone's a killer.
Who was born in a house full of pain?
Who was trained not to spit in the fan?
Who was told what to do by the man?
Who was broken by trained personnel?
Who was fitted with collar and chain?
Who was given a pat on the back?
Who was breaking away from the pack?
Who was only a stranger at home?
Who was ground down in the end?
Who was found dead on the phone?
Who was dragged down by the stone?
PINK FLOYD: "Animals" LP. VERY FIRST UK PRESSING, 10th FEBRUARY, 1977.
After waiting for five years, I have finally located and bought a Mint first pressing of Â "Animals", my insistence on only Mint
Pink Floyd records, does get harder with every passing year. Â Unplayed is more than I hoped for and I decided to take one of
my undetectable plays as reward for Â patience and dedication, first the pressing info and a concerted effort not to discuss the
album's complex contents and fantastic music, until that is completed! Â Just read the above lyrics for the sheer intensity of one
greatest albums of all time.
HARVEST: SHVL 815.
MAITRIX: Â SHVL 815 - A - 2U / SHVL 815 - B - 2U Â (The First Pressing)
EMI began the pressing sequence with the end digits and letters, '- 2U' per side, the digits before the 'U' rose , then even the
'U' was removed and the Â following multiple re-issues only had this format; ' - A - 1 /- B - 1,' Â From there, the end digits once
again climbed....and climbed. The maitrix on this very first made record is unique only to the 'first of the first' UK pressings.
The order they were made in is subject to ebay seller manipulation because a huge amount was required and made, immediately
below the stamping codes become the complimentary section of EMI's meticulously indexing that ensured perfect sound quality on
every single record made.
For the records still at the very point indexing began, Â '- 2U' on both sides is where it all began in January, 1977, the same
applies to the very first made records belonging with unique first issue only printed items.
EMI STAMPING CODES: Â GRG 1 / OR 2
The above speaks for it's self, a first and second mother per individual side belongs to the earliest possible maitrix.
FIRST ISSUE LYRIC INNER SLEEVE, CONSTRUCTED FROM THICK CARDBOARD WITH A TEXTURED SHEEN FINISH
TOP SURFACE, THE INSIDE IS A NATURAL, UNTREATED BUFF CARDBOARD COLOUR.
Unused with only a record impression but no ageing at all to the still pure white lyrics printed in white on both sides, all four
corners are rounded and not square.
THE INNER SLEEVE IS IN MINT- CONDITION.
UNIQUELY DESIGNED AND CONSTRUCTED Â VERY FIRST ISSUE,'Garrod & Lofthouse' PRINTED GATEFOLD COVER,
THE WIDE SPINE IS JUST ONE OF THE DISTINCTIVE FEATURES, PLEASE SEE BELOW FOR THEM ALL. Â INSIDE, THE
RIGHT HAND PANEL, UNDERNEATH THE BOXED 'Harvest' LOGO IN REALLY TINY PRINTING IS THE ACTUAL DATE
OF THE PRINTING, DATE CODED AS; Â '7701' = January 1977. Â
AN UNUSED, AND PERFECTLY STORED VERY FIRST ISSUE GATEFOLD COVER, IS JUST AS RARE AS A MINT RECORD
WITH Â 'A - 2U /B - 2U' MAITRIX ENDINGS. Â THERE IS NOTHING TO DETAIL AS WEAR BEYOND THE UNAVOIDABLE
TRAITS OF STANDING IN STORAGE FOR 38 YEARS , JUST THE MEREST BRUSHING TO THE STANDING EDGES AND
THE LIGHTEST POSSIBLE SPINE ENDINGS RUBBING. TINY PAPER LINES AT THE TOP OF THE COVER WHERE IT WAS
FOLDED AND GLUED, IS COMMON TO ALL HEAVY DUTY GATEFOLD COVERS LIKE THIS. Â
THE COVER IS UNAGED AND AMAZINGLY THE ULTRA THIN SHEEN TOP SURFACE IS ALMOST COMPLETELY IN PLACE
APART FROM THE EXTREMITIES, SO AN AMAZING UNFADED FRONT AND BACK. Â I PERSONALLY PEELED OF ONE
THE 1970'S GATEFOLD OUTER PLASTIC OUTER PLASTIC SLEEVES, BOUGHT FROM FROM A FELLOW RECORD SELLER
FROM OUR TIME TRADING AT RECORD FAIRS. Â WE BOTH LOOKED IN DELIGHT AT THE REMOVED COVER, AS IT WAS
TAKEN OUT FOR THE FIRST TIME SINCE FEBRUARY, 1977.
I do not make up stories, that was exactly what happened last Saturday at London's Olympia Record Fair and what you see in the
pictures, is precisely what a perfectly stored, unused very first edition "Animals" looks like 38 years later in 2015. Â I leave
fairy tales for other ebay sellers s to make up, I have the greatest respect for those still working at record fairs and this was
not put on sale by my friend, he kept it behind his stall and offered it directly to me. Of course I haggled over the price, but
he set the price he wanted, I was thrilled to pay and leave him with a very old yellowed hard plastic outer sleeve that preserved
this amazing very first UK pressing of "Animals". Â As a rather old Pink Floyd fan, I had to include the circumstances this came
into my very grateful possession, as I said I earned the right to take one listen to the gleaming record.
I WILL STILL GIVE THE STRICTEST GRADING, EVEN THOUGH I KNOW THIS IS UP THERE WITH THE FINEST I HAVE
EVER OFFERED, Â IN STUNNING EXCELLENT+++ / NEAR MINT CONDITION.
THE TEXTURED FIRST ISSUE LABELS DO NOT HAVE ANY SPINDLE ALIGNMENT TRACES ON EITHER SIDE, LOOKING
LIKE BRAND NEW. Â SO IS THE EXTRA HEAVYWEIGHT, VERY FIRST PRESSED RECORD, WITH THAT VERY SPECIAL
GLOSSY LUSTER OF JUST PRESSED VINYL. Â WITHOUT ANY NO SCRATCHES AND ONCE AGAIN I WILL INCLUDE
THAT RECORDS WERE HANDLED AT THE PRESSING PLANT AND RECORD SHOPS, ANY FEATHER LIGHT SIGNS OF
HANDLING IS NEAR INVISIBLE TO INVISIBLE!
THE RECORD IS IN UNPLAYED, MINT CONDITION.
"Pigs On The Wing (1)" Â (Roger Waters)
"Dogs" (Dave Gilmour / Roger Waters)
"Pigs (Three Different Ones)" (Roger Waters)
"Sheep" (Roger Waters)
"Pigs On The Wing (2)" Â (Roger Waters)
Roger Waters - bass guitar, lead vocals on all tracks except as credited below.
Dave Gilmour - guitars, bass guitar, backing vocals, talk box, synthesiser & lead vocals on the first half of "Dogs"
Richard Wright - Hammond organ, Wurlitzer electric piano, Fender Rhodes electric piano, Hohner Clavinet,
Yamaha grand piano, ARP Solina String Machine, ARP synthesiser, Minimoog & backing vocals
Nick Mason - drums & percussion, acoustic & rhythm guitars
Recorded April - November,1976, At Britannia Row Studios.
Engineered By Brian Humphries.
Produced By Pink Floyd.
After experiencing such massive world wide success in 1973 with "Dark Side Of The Moon," Pink Floyd could have easily just
settled into commercially conformist album productions, with unchallenging, unimaginative music padded out with their ability
to create stunning studio sound effects in Abbey Road. Â The earlier 1970's coincided with the awakening and awareness of how
stereo systems could flood your rooms with the most incredible sounds, even that ringing alarm bell on "Dark Side" was being
appreciated for the both a startling realism and how effectively it was panned in stereo! Â There was no chance of that happening,
the band had not lost any of the original inspiration from their late 60's psychedelic innovations, during the early part of the
1970's decade, the Syd Barrett era was well and truly over, aided by the band's musical and production assistance, Syd had even
re-emerged with two solo albums in 1970, only to then sink back into his own surrealistic world and never to appear again. They
followed "Dark Side" with the fullest possible inspiration from those Barrett led innovations, in 1975, "Wish You Were Here" was
the album dedicated to that 'crazy diamond' and their homage to Syd produced an emotional response, which was in fact essential
to moving on from "Dark Side Of The Moon." Â "Wish You Were Here" was a fantastic triumph of an album, as well as being such a
loving tribute to Syd Barrett, the emotional content that produced such unique recordings, included the other side of the coin to
love....anger. Â Anger was for how the music business was responsible for the way artists like Syd were sucked dry and allowed to
become a 'vegetable man.' Â "Welcome To The Machine" and "Have A Cigar" did not pull any punches and they even had Roy Harper
singing the stinging lyrics on "Have A Cigar," telling how a young Pink Floyd were first induced to 'riding on the gravy train.'
Their good friend Roy Harper had attacked the record companies on just about every album he made and the mixture of him and the
band, was extremely potent, Dave Gilmour regularly guested on Roy's albums and so did Jimmy Page. Â I have quoted this before
from "Wish You Were Here," but it is ideal to illustrate the changes recording that album brought out of the band and of course
had a huge influence on the writing of the 1977 follow up, a masterpiece of a Pink Floyd Â album,"Animals". Â The scene is a record
company executive meeting the young band for the first time during the 1960's, and promising them the earth if they signed with
him, looking around at them all, assuming the band's name belongs to just one of them he asks;
"Oh, by the way, which one's Pink?"
Roger Waters was now writing exceptional lyrics and two years later in 1977, for "Animals" he wrote an even angrier condemnation
about how man was evolving, or more like, not evolving! Â Who would have thought that Waters would produce this scathing comment
You have to be trusted by the people that you lie to,
So that when they turn their backs on you,
You'll get the chance to put the knife in.
The full lyrics of the track that came from are given at the top of the page, even without hearing the amazing music behind them,
they are the most intensive and bitingly incisive lyrics ever found on any Pink Floyd album, including even on "The Final Cut".
The whole album revolved around a concept worthy of Orwell, that Man deep inside was still only at the most basic level with the
most vilest aspects of three animals, pigs, dogs and sheep. Â Two of this album's songs evolved from being performed in concert,
"You've Gotta Be Crazy" became "Dogs" and the "Dark Side Of the Moon" themed "Raving and Drooling" was adapted into "Sheep."
For the music, unlike both Pink Floyd's previous two LP's,"Dark Side" and "Wish You Were Here," they dropped using a saxophonist
and reverted to playing as an extremely tight rock/blues band, featuring Dave Gilmour in his greatest guitar form out of the whole
of the 1970's decade. Â Combined such the massive strength within the material itself, "Animals" was such an extraordinary album,
it alienated so many who expected a continuation of their previous work, this was no longer music to compliment your hi-fi system
and only marvel at the stereo trickery, although it does that and more, "Animals" was and very much still is, an album to confront
the very fabric of society and challenge the listener's perspective. Â Syd Barrett's legacy still lived on! Â I had better leave this until
describing the record and music,and deal with the pressing info. Â I must admit the thought of trying to Â describe "Animals" is a very
daunting prospect because it works as a whole entity, as ever I will be trying my best but I know from two previous attempts how
hard that is.
"Animals" was a major success and sold in huge numbers, released in February, 1977 in the UK, it made No.2 and spent 33 weeks
in the charts. Re-pressings never stopped after that during every decade following, trying to tie down initial first pressing made
prior to the release date is very involved, an essential job though to the many blatant re-issues I regularly see being sold as
'UK first pressings' on ebay. Â As, usual first printed covers were unique in format to anything that followed and that becomes an
ideal place to begin. Â The reason it takes priority over the record centres on the poor way these first made gatefold covers wore,
the originals are now subject of being switched around for later decade's covers that only just came before the introduction of
bar codes, those unnaturally shiny plasticised monstrosities! Â Since "Umma Gumma" in 1969, all but two Pink Floyd LP's were
issued in gatefold covers, "Umma Gumma" was the only one laminated, in the 19980's and onward, a plasticised coating provided
the protection that these originals never had. Â In 1977 they were not totally matt because there was ultra thin sheen to the top
surface, so thin it quickly wore away with constant handling and poor storage, the result is a common sight in ebay's Pink Floyd
category, not a pretty sight, with edges, corners, the spine and huge sections of the artwork stripped down to white subsurface
white. I should really include the late 1970's for that, not the first issues of "The Wall," the same applies to the genuine 1979
first pressings because all that stood between wear was that slightest of sheen to the printed paper's top surface, more a satin
finish, I know the info is ineffective, pictures on ebay are simply not revealing enough or sellers just hide necessary details,
Â The first detail about a first UK printed cover is the extra wide, square or book shaped spine, the central title has a really large
border on either side, my close up picture of that's certainly of the greatest help for anyone unsure how 'wide' looks in a direct
relationship to the printing itself. Â The same is true of all wide spines because the font size was not altered, only the spine was
made narrower. The outside has a positive matt finish and if still unworn like this fantastic first issue cover, a described satin
like sheen will still be there to see and so will all the printed artwork! Â The original colours of Roger Waters' designed artwork,
depicting the famous 'inflatable pink pig' floating in the sky above 'Battersea Power Station' in London, are exceptionally rich,
full bodied, deeply toned and totally unfaded from the normal really heavy use. Â I must just slip in a bit of trivia here, the album
began in 1976 and a film shoot was held in December 1976. That made news headlines, they could not have made this up if they
tried! Â A fourty foot high inflatable pink pig broke loose from it's mooring's above Battersea Power Station, causing the British
Civil Aviation Authority to issue a warning to pilots using London's air space....a giant pink pig was on the loose in the sky!
This is indeed a true story, the last known sighting given by a pilot, was it was seen at 18,000 feet above Chatham in Kent.
Back to genuine first printed covers, the most telling difference is how the front compartment edge of the gatefold was finished,
just like "Dark Side" the edges were not cut in a straight line to both sides of the edges there. Â The artwork continued over the
front's edge onto the inside, covering it completely and was then glued underneath the inside's left hand panel, creating that
distinctively sloping shape to the front. Â The cover's inside was a white colour not natural cardboard, again if unaged like this
cover, a pure white colour, allowing for a fraction of the inside's black printing to 'bleed' through. Please see my picture with
the record on top of the sealed compartment for how extra thick the folded over far right edge is Â where the printing continued.
I should really grade this amazing unused covers as a minimal of Near Mint- condition, but I felt I should be hyper critical..
it still has the starchy rigidity of newness, so the opening edges are as crisp and sharp as the day it was made, able to remain
rigid in a flat position. Â Most were handled so often to remove and return the record, the opening edges are limp and worn thin.
Made from massively heavyweight cardboard, with the deeply toned colours of the first printing, this is totally unlike any of the
immediately following covers, even still in early 1977, they were without distinctive features detailed above. To complete this,
'Garrod & Lofthouse' printer credit is found inside the gatefold on the right side panel, not easy to find in minute white print,
'7701' is January,1977, the month and the year the first covers were made. That cannot be used in isolation from those exclusive
cover Â details, re-printing often kept all original text and digits, in other words detailed here everything has to be in place.
The first inner sleeve was also made from exceptionally thick, heavy quality cardboard but the majority still split at the heavy
record's contact points with constant use or poor storage. Â These are most certainly not interchangeable with the flimsier card
or paper of the re-issues, to have this lyrics inner sleeve unsplit and in Mint- condition is seldom found, that also applies to
a Mint record inside. Â Talking about 'inside', unlike the cover, the inside of the inner sleeve is natural untreated cardboard.
This first issue cover in really outstanding condition, regardless of my way too harsh grading of a thirty eight year old, really
beautiful condition cover.
The pressing variations that came after the first pressing batches are endless, most had the USA maitrix scribed in the run-out
grooves as well as the stamped UK maitrix. Â Thank goodness for EMI's ever reliable maitrix configurations, conjecture about
which what constitutes a first UK pressing of "Animals," was being discussed when I first Â starting selling records in the 1980's.
Opinions will no doubt vary today but nobody can argue with the consistency that began the 1970's decacde for EMI's other big
selling artists, the Beatles. Â Right from 1970, the maitrix for "Let It Be" was actually exactly the same as "Animals" had and the
other digit variations before 'U' letters were the same for "The Wall" in 1979. Â Yet there are sellers on ebay claiming re-issues
with 'A-1/B-1' are first pressings. EMI's pressing plant begs to differ, maitrix ending's started with '-2 U' or as the pressings
progressed into vast numbers, combinations of that with '-3U'. Â So this record makes a perfect example of how EMI set out the
maitrix before the later/re-issue Harvest label's configurations were brought in after the first pressings were made and sold.
So, 'SHVL 815 - A - 2U / SHVL 815 - B - 2U' without the USA maitrix is positively a UK first pressing. Â In reality I could have
said, I bought every Pink Floyd record as issued from first buying "Arnold Layne" as a fourteen year old kid in 1967, but I deal
in solid facts, learnt in the first person, year by year and witnessed every first pressing as a cherished acquisition. Â Without
wishing to brag or sound conceited, just truthful, I was in fact one of, if not the first to understand and break EMI's stamping
codes, they reveal here, how from the huge amount made, this record is also from the very beginning of the actual order of the
manufacturing. Â Not the very first made, the first & second Â 'Mother' digits, but all the Beatles 60's albums also have the same
or much higher 9 'oclock digits, but they also have distinctive label text and unique cover details to validate and confirm they
were indeed from the initial pressings. Â Once again, the information I first introduced to ebay has been taken, used and abused
to sell worn out junk, without any question, this record, cover and inner sleeve were together since being made and distributed
to a UK record shop on the very first day of release in February,1977.
Unplayed, true Mint is extremely rare for a genuine first pressing , by 1977 standards is thick edged,heavyweight and deeply
grooved, gleaming away with that very special glossy sheen of Mint vinyl. Â There are none of the usual scratches and marks and any
near to invisible surface handling traces are mere wisps, I know the first ever play will be a major audio listening experience!
Maybe a little static in the grooves from the initial pressing, but that will play out and I anticipate the sound quality on every
second to be breathtakingly sharp edged and crystal clear on the quietest moments, without virtually any intrusive static, even
even during the very quietest musical segments. Â My text will be restricted to just the one play and I should get the urge to add
any lyrics etc. that will be done after the second side has finished and the record is carefully back in the inner sleeve and
the new cardboard cover I supply with every record sold. Â First a few words on the complexity of the actual concept.....
"Animals" is best described as being a concept album, the 'animals' involved have specific characteristics just like people do!
The 'pigs' dominate and oppress the 'sheep' and they use the 'dogs' to control the 'sheep', sound familiar? The dogs are actually
like their (and our) society's police force, but without any civil liberties being granted or permitted. The sheep rebel and have
a revolution to overthrow the dogs, but the pigs always win and remain in power. That may be a bit too simplistic, I have always
understood "Animals" as being Roger's interpretation of our good old English class system, with the 'pigs' / the establishment,
always firmly in control. Â Waters would take this onto "The Wall" later on in 1979 but as a complete album, then he got caught
up with his father's death in the Second World War and the natural progression led to "The Final Cut" continuing the momentum
begun in 1977. Â "Animals" stands alone as a unique album in every sense of the word, before that 'division Â bell' was rung and
Roger Waters left Pink Floyd and one of the most major chapters in rock's history ended and a whole new book had to begin for
his solo career, but also for Pink Floyd. Â "Animals" was really special for the sound and the stereo mix of the genuine first UK
pressings, a rather long introduction, it has been five long years, since I could locate a top condition first pressing, so just me
enjoying every possible moment of describing this Pink Floyd masterpiece. Â Right from the first seconds, here are the reasons
why I refuse to associate myself with the average condition first issues. I must stress natural static is often found on unplayed
vinyl from any decade and I will not have time to keep repeating that, in theory I should really offer this without my input, but
I simply cannot help myself playing this record....and record is the key word regarding faint static! Â I am surprised I made it
all the way to Thursday after buying it last Saturday.
Side 1's run-in grooves are near silent, in vinyl terms, silent, that means an immaculately clean, clear intro for Dave Gilmour's
acoustic guitar intro to, "Pigs On The Wing (1)." Â Beyond faint static, Â virtually no suggestion of a record's surface sound during
the lovely acoustic guitar intro, or when Roger's emotionally strung out vocals are very quietly sung on this short opening track
that will later serve as an acoustic outro to the album. Â With hardly any sensation of vinyl on this extremely exposed to noise
opening track, I'm delighted to be able to say this plays precisely as I expected from an unplayed true Mint record, especially
the acoustic,"Pigs On The Wing (1)." Â The guitar and Roger's voice are in ultra sharp edged sound and this track ends into the
near silence it started from. Â Then the organ, the bass and acoustic guitars intro to "Dogs" are in the same awesome clarity,
this first piece does not have any drums yet and it is astonishing how even here, not the slightest hint of surface sound beyond
vinyl's natural. Â Pristine vinyl for "Animals" and to be such a stunning playing record is beyond belief, I mentioned the average
condition originals, by now there would have been more crackles and clicks than I could even write about. Â A fantastic sequence
begins, as Pink Â Floyd produce that exceptional music I wrote about earlier, Dave Gilmour's inspired guitar here is just part of
how superbly the whole band played on this album, I will stress the word 'band' as well. I Â have an impossible job to describe
this side long "Dogs." As I found last time when trying to describe this sensational album, either I type the fantastic lyrics or
just try the best possible, if somewhat fragmented, attempt at trying to capture this simply awesome suite of music. Â Neither
options were really suitable then or now, the lyrics need the music and this is too mind blowing stuff to even try writing about.
That was why it made more sense to take my time with a long introduction and not just fill this up with the album's background
details. In a way "Animals" was a culmination of all the Pink Floyd albums that preceded it, and during those inspired musical
passages, you can hear musical strains of everything from "Piper" to "Wish You Were Here." The stereo panning from UK Abbey
Road mastered first pressings is nothing less than staggering in such audio perfection, loud and powerful yet as crystal clear as
the day this record was pressed, now an amazing 38 years ago. Before joining ebay in 2001, I had never used a computer before
or knew how to type, I learnt slowly and grew into a then unknown practice of describing records I dearly loved. One thing I have
learnt, is when an LP can be described, and "Animals" is too overwhelming to dissect or even try to, it can only be experienced in
a first person setting. Â It would be pointless trying to carry this on unless I had a record in need of constant sound updates, but
audio perfection of this magnitude is so rare for "Animals" and does not require a single negative comment. Â Then no way could I
leave this LP without including how perfectly the magnificent "Pigs (Three Different Ones)" performs, even the track's title was
purely Roger Waters at his most inspired!
Side 2 has near silent run-in grooves, a first ever play with only ultra light static, I enter the realms of fanaticism for this
age vinyl by even mentioning there the lightest possible static during the the sound effects intro. Â These canyon deep grooves do
require several plays to arrive at a finished article, even so, once the main track kicks in there's no hint of that. Â I include
all, however trivial, I have been there once or twice for loved records and I try my best to describe the complete listening
experience, which has to include how records were pressed as well. EMI were the world's finest and Pink Floyd UK first pressings
are from completely unworn vinyl, an astounding track, Â the pig grunts loudly from the left speaker, a sound effect impacts from
the right channel, a wonderful organ played by Richard Wright now begins the haunting melody to one of my all time favourite
1970's Pink Floyd songs. The sound was incredibly sharp edged Â for all that sequence and then the full keyboards, bass and lead
guitar, if not for writing a description I would not have even noticed static,records are not CD's and a stunning sounding record
like this is beyond such nonsense. Â The audio standards of these UK Â first pressings of "Animals" went way beyond most people's
expectations today, only you do need a Nr. Mint/Mint-record to hear exactly how those extraordinary audio standards, EMI's
sound engineers mastered exceptional sound quality. Â 'Vinyl' is the correct term here because CD's were still a long way over the
the horizon and the sound achieved in 1977 was absolutely staggering! Â I really find it absurd to even mention 'split seconds' of
natural low static when that was how we first bought and heard "Animals", EMI's sound engineers knew they had to produce the
most extraordinary mastering for Pink Floyd LP's, they were the very finest and they always seemed to be just as inspired as the
band were. Â This is most certainly not just about presenting the record as a perfect example of the first maitrix configurations,
I leave that to others and I am more concerned about providing the definitive example of how an album was first bought on the
day of release. Â A sound I and many my age grew accustomed to, on behalf of others I go to extreme measures to only offer the
records at their most potent, sure, some came with surface sound and worse, but they get just as honest assessment as I am now
bestowing on and presenting an absolutely staggering way to hear and enjoy Pink Floyd's masterpiece! Â If anything, the amazing
"Pigs"(Three Different Ones) Â has kept me from ending the description at the end of Side 1, need I say anymore than this is Pink
Floyd in their finest hour since Syd took one trip too many. Â Dave plays such an aggressive guitar riff and Roger's sublime bass
guitar gives this a chilling feel, a long intro impacts with real power and begins to gather pace, in comes the fantastic vocals,
and forget about Pigs. Â Roger Waters turns on the establishment with such venom the anger bottled up inside him is given a full
release, I didn't intend any more lyrics but this is really sensational stuff on a Pink Floyd album, Roger was hitting hard at
censorship currently being demanded by a moral crusader few agreed with. Â Deep Purple also immortalised her in 1973 on their
"Who Do We Think We Are" album in a very funny song titled, "Mary Long", but Roger Waters really let her have it both barrels!
"Mary" &"Whitehouse" were one lady who took it upon herself without being voted in a position to weild power, to single handedly
wage a campaign against all she could not personally handle and actually stopped TV programmes being broadcast.
Bus stop rat bag, ha ha, charde you are,
You fu**ed up old hag, ha ha, charde you are.
You radiate cold shafts of glass,
You're nearly a good laugh,
Almost worth a quick grin,
You like the feel of steel,
You're hot stuff with a hat pin,
And good fun with a hand gun,
You're nearly a laugh,
You're nearly a laugh,
But you're really a cry.
Those incredible lyrics lose their intensity in cold text, I had to try, then the ending section features a blistering, white hot
Dave Gilmour guitar solo and the whole band rock like they are on fire! Â This is a stunning track and heard in such perfect sound
quality, it becomes just devastating to experience. Â Punk was coming to boil in 1977 and this sensational track contained more
electrifying energy and anarchy than anything I personally heard when buying the current Punk albums. Â Mind you, when they get
to Roger's re-written psalm, "The Lord Is My Shepherd" during "Sheep," things now become even more sensational! The fantastic
music explodes with massive power and I can hear the musical expression of the oppressed sheep who kill the dogs, is in the style
first started on "Atom Heart Mother." Â They channel pure energy in a way no words can articulate, well that was the best I could
manage, inadequate I know, but could anyone ever manage to describe "Animals?" I can say that the sounds of birds chirping and
the sounds of nature on the link into "Pigs On The Wing ( Part 2)," are again immaculately clean. Â Then this second version of the
acoustic song that began it all, now very gently ends this extraordinary album, playing in just as outstanding sound reproduction.
Please check out all the described items in my pictures, I really enjoyed taking them, this is an album of substance and you get
a feel of that by holding first issue items, or at least I did because the cover was untouched since February '77!
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. Â 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. Â EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD
WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
We take 100% responsibility after an item has been posted and offer our fullest support in the event of any problems.
"There Are No Problems, Only Solutions" (John Lennon)
MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS
FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION.
ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.
WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT
RECORDS AND COVERS ETC. Â 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
We have kept all our charges at the same level for years now, but due to the Post Office's new price increases, regretfully we
will have to increase the cost of LP's, however, singles will remain unchanged. Â Ebay were aware of that happening and have
increased their minimum postal cost for LP's to Â£7.00, that figure has been enforced by the UK Post Office and it will become
our UK First Class, Recorded Delivery cost for albums up to the value of Â£46. Â A temporary reduction this week means we can
now post LP's for Â£5, but who knows how long before the Post Office return to Â£7?
For LP's valued above Â£46, the cost will be Â£9, we are unhappy about either increase but our high standard of packaging has meant
in 13 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 Â£46 WILL BE SENT RECORDED DELIVERY, OVER Â£46 WILL BE
SENT SPECIAL DELIVERY.
FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA 'INTERNATIONAL SIGNED FOR.'
POSTAGE Â COST FOR LP's
UK: UP TO VALUE OF Â£46, FIRST CLASS RECORDED DELIVERY Â Â£5.00
UK: OVER VALUE OF Â£46, FULLY INSURED SPECIAL DELIVERY Â£9.00
EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR Â Â£15.00
USA,JAPAN & REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR Â£20.00
POSTAGE COST FOR EP's & 7"
UK: UP TO THE VALUE OF Â£46 FIRST CLASS RECORDED DELIVERY Â£3.00
UK: OVER THE VALUE OF Â£46 FULLY INSURED SPECIAL DELIVERY Â£6.00
EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR Â£10.00
USA, JAPAN ETC. AIRMAIL VIA INTERNATIONAL SIGNED FOR Â£12.00
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: Â PAYPAL, CHEQUES, POSTAL ORDERS & BANK WIRES.
FOR OVERSEAS BUYERS;
WE ACCEPT: Â 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.
Pay me with PayPal.
I don't charge my buyers extra!