Item Description
FAT OLD SUN Dave Gilmour, 1970 When that fat old sun in the sky is falling, Summer evening birds are calling, Summer s thunder time of year, The sound of music in my ears, Distant bells, New mown grass smells so sweet, By the river holding hands, Roll me up and lay me down.
And if you see, Don t make a sound, Pick your feet up off the ground, And if you hear as the warm night falls, The silver sound from a time so strange, Sing to me, Sing to me.
When that fat old sun in the sky is falling, Summer evening birds are calling, Children s laughter in my ears, The last sunlight disappears, And if you see, Don t make a sound, Pick your feet up off the ground, And if you hear as the warm night falls, The silver sound from a time so strange.
Sing to me, Sing to me, When that fat old sun in the sky is ..
PINK FLOYD: Atom Heart Mother LP.
THE VERY FIRST UK PRESSING, 10th OCTOBER, 1970.
The late 1960 s and early 1970 s were the time of constant text alterations and label re-designing, this was still very early in the evolution of the Harvest label.
Pink Floyd moved from Columbia when Harvest was founded in 1969 and only one year later, first pressings labels of Atom Heart Mother were still in the original design.
Harvest reflected all EMI related label text and logo changes, Atom Heart Mother was first issued in October, 1970, when there was not an EMI boxed logo at 9 o clock, until March,1973, the rim text was Gramophone Co.
Ltd.
at 11 o clock.
This is the very first UK pressing of Atom Heart Mother and every possible exclusive feature is here, the labels, the record s heavyweight vinyl, the very first maitrix, the stamping codes, the gatefold cover and the Harvest catalogue promo inner sleeve.
Even the inner sleeve has the 1970 record shop s very neatly handwritten SHVL 781 catalogue number, LP title and artist on the front, top right corner, always a great sign of professional careful storage, with the cover and inner sleeve and record separated until purchased.
Today, that provides historical interest as well proof the original Harvest inner sleeve and record were together since being paired together from Day One.
Meddle was the first Harvest label Pink Floyd album issued as a new title without an EMI boxed logo, Atom Heart Mother was following the November,1969 Ummagumma double album, the pressing details are identical to the 1979 Atom Heart Mother.
AS the first pressing, the final groove at the end of Side 2 has the Sgt.
Pepper innovation, a dripping tap has the equivalent of a tape loop because the stylus keeps playing the drip continuously until you lift the stylus.
Please see my compiled picture of the maitrix, in the bottom picture of Side 2, you can actually see the last groove as a really thin lighter ring on the darker surrounding final run-out grooves.
I always try to provide all pressing details for identification purposes, the same emphasis falls on the fantastic condition of a first issue gatefold cover, the inner sleeve and most importantly, the record is still like brand new.
Possibly even unplayed, but the faintest of faint suggestion of one side being played, via a label spindle trace, that was all I needed for an excuse to play and describe one of my most loved Pink Floyd albums.
The labels are as immaculate as the vinyl, a completely unmarked Mint, 47 year old Atom Heart Mother is extremely rare and very precious.
GREEN HARVEST LABEL: SHVL 781 MAITRIX: SHVL 781 A - 1 G / SHVL 781 B - 1 G EMI STAMPING CODES GR 1 / PA 2 The above shows first and second mothers per individual side, which are those of a very first EMI pressing.
EMI used the end digits to index the following pressings and only first pressings had the letter G as a suffix, this record s matrix on both sides was the starting point of all that followed.
A - 1 G / B - 1 G was the lowest you could possibly find, for Atom Heart Mother there are several other identification details that combine to give a definitive method of establishing genuine UK first pressings, particularly this late in 1970.
THE LABELS HAVE Gramophone Co.
Ltd.
ON THE RIMS AND ARE WITHOUT THE BOXED EMI LOGO ON THE LEFT SIDE OF THE CENTRE HOLE.
TO CONFIRM A GENUINE FIRST PRESSING THAT IS NEARLY ADEQUATE, BUT THEY HAS TO INCLUDE THE ABOVE MAITRIX CONFIGURATION S G SUFFIX.
A FINAL DETAIL CONCERNS 1970 BEING SO CLOSE TO THE LATE 1960 s, THE VINYL ITSELF WAS MASSIVELY HEAVYWEIGHT AND THICK WITH CANYON DEEP GROOVES.
There is a direct connection to the late 1960 s on the first edition labels, the band s original name was The Pink Floyd and the first edition cover s spine has the then shortened Pink Floyd.
The labels here have The Pink Floyd printed on the top left section, glance down to the bottom section and the production of Atom Heart Mother was credited to Pink Floyd, maybe pure trivia, but the connection to the 1967 The Piper At The Gates Of Dawn and Syd Barrett is not trivial.
This record is more in line with EMI s heaviest vinyl from the early 1960 s, I would go all the way back to 1963, for that and that becomes significant to why first pressings of Atom Heart Mother have such staggering sound....powerful? This will blow away anything that followed, because the deep grooves handled the amazingly loud and powerful mastering, unfortunately it led to terrible and painful distortion on worn copies, most were severely damaged in late 1970 alone.
This record was only possibly played once on one side, as the spindle alignment is so faint I cannot be certain Side 1 was even played at all.
Just to confirm that, please see my pictures of the gatefold cover and inner sleeve, both only have traits of standing in storage for nearly half a century.
As a result, I m thrilled to present the stunning very first pressing sound of a UK Abbey Road recorded, mixed and mastered, then EMI pressed record.
I have had a careful listen, no distortion or wear inflicted noise, just the precise sound Pink Floyd and Norman Smith worked so hard to achieve with an innovative use of choirs and orchestration, taking their overtly psychedelia from the late 1960 s into the 1970 s decade.
I had better move on before I end up writing the main description here and now ORIGINAL 1970 HARVEST LP PROMO PICTURES INNER SLEEVE, PERFECT POLY-LINING, WITHOUT ANY SPLITS OR TEARS.
THE GLUE USED TO STICK THE LINING INSIDE ALWAYS TENDED TO SOAK INTO THE MATT OUTSIDE PAPER TECHNICALLY NOT AGEING, A VIRTUALLY UNUSED SLEEVE.
A RECORD IMPRESSION AND A FEW LIGHT RELATED CREASES.
AS described above, the original 1970 record shop wrote the catalogue number, LP title and artist in black ink, interestingly it was The Pink Floyd , must have been looking at the labels and not the cover s spine.
THE INNER SLEEVE IS IN NEAR MINT CONDITION.
VERY FIRST ISSUE, 1970 GATEFOLD COVER, A DISTINCTIVE SHAPE SPINE SEPARATES THIS FROM ALL FOLLOWING Atom Heart Mother COVERS.
THE SPINE IS A POSITIVE SQUARE SHAPE, MUCH WIDER THAN THE ROUND SPINES, THE SPINE S BLACK CENTRAL TITLES WAS PRINTED ON THE CONTINUATION OF THE ARTWORK S PALE BLUE SKY.
Atom Heart Mother WAS THE FIRST EVER MATT PINK FLOYD COVER, SIGNIFICANTLY IN THE 1970 s DECADE.
First issues had a much more realistic colour tone for the sky, almost a pinky/ light purple colour of the clouds, more so on the back picture.
An effect I can describe as a mottling between the sky blue and the purple tinged clouds, I never know screen resolution settings of individual PC screens, tablets and mobile smart phones have out there.
Mine is the default factory setting because that looks right to me, the back picture of three cows should show the initial very first Garrod colours printed, later covers do not have such subtleties, or 1970 covers outside are simply worn out or turned several shades of yellow...
or worse.
Back to the spine, it was folded and assembled at a slight angle, but still positively square shaped and very wide or book shape.
The massively heavyweight first records had a down side, unlike the thick lavishly laminated previous Pink Floyd gatefold cover for Ummagunma , the matt covers suffered from holding the records, particularly with the average heavy use, accounting for why they usually are in such a poor state today.
Atom Heart Mother was always the most likely Pink Floyd first pressing to have horrific wear problems, all four previous 60 s covers were laminated and sad to say, there never lamination again in the UK.
The gatefold cover was hardly used and superbly stored in a plastic outer sleeve, which basically means only minimal standing in storage traits.
A superbly clean outside, by that I mean the huge expanse of blue sky above the front s single cow and the cows on the back, are still pure, unaged and unstained.
The rest of the artwork colours like the grass, are still the original deeply toned of a very first issue cover.
All the edges, the corners and the spine are in in exceptional unworn condition, there is only slight rubbing on the spine s top tip, my close up picture shows how minor that is, but no worse than any 2017 cover now The spine bottom tip or left corner is near perfect and only the top tip has fractional rubbing, all four right side corners are unworn and at perfect 90 degree angles.
There is only the merest brushing to the edges, too minor to really include but I try to itemise all I can.
Mostly because I do not believe you can use one word cliche s to describe how cardboard wears after one year, let alone after 47, only Mint or Sealed warrant a one word description.
The record impression is exceptionally light for this first issue cover, including the inside, which is immaculate without any ageing to the black white panels, as new condition, even the heavyweight record record impression is remarkably mild, no ring wear on the back storage compartment.
Being matt and holding a heavy record was common to both and as an unused cover, this has escaped the usual severe wear and staining.
Of course there simply had to be a record impression and a few related tiny edge lines and a few ripples, as minimal as the passage of 47 years allows, please see my pictures for how outstanding the outside, inside, edges and the corners are.
Just a tiny amount of rubbing to the central titles on the spine, I do mean tiny, I took a full length spine picture to demonstrate the overall outstanding condition....1971 was a rather long time ago now and this is as minimal as it gets for a matt gatefold cover and this was never used.
AS mentioned, the cover credits on the spine and inside have Pink Floyd but the labels still have the 1960 s, The Pink Floyd band name, no doubt due to using the label templates from the previous Umma Gumma , the first UK Pink Floyd album on the Harvest label.
Inside the gatefold is the text File under POPULAR - Pop Groups 7010 TPS Printed and made by Garrod Lofthouse Ltd.
Patent No.
943,895 SHAVL 781 7010 is a code date for the month year the 1970 covers were printed, the October, 1970 the album was released, that was on the printing template so it only carries significance on the very first printed gatefold covers.
The same text was re-printed from the original template for this following covers and most of the much later re-issues.
This is without doubt one of the finest condition Atom Heart Mother gatefold covers I have ever handled, I will take all the points given here into the grading, however harsh it feels for this particular cover.
THE SUPERB COVER IS IN NEAR MINT CONDITION AN ONCE POSSIBLY PLAYED RECORD ON ONE SIDE ONLY, HAS PRISTINE LABELS AND AN ULTRA GLOSSY, AS NEW APPEARANCE.
OF COURSE IT WAS HANDLED AT THE PRESSING PLANT BUT I COULD NOT SEE ANYTHING, BUT STILL STATE ANY TRACES OF THAT IS NEAR INVISIBLE.
A BEAUTIFUL LOOKING AND STUNNING SOUNDING FIRST PRESSING, IN MINT CONDITION.
SIDE 1 Atom Heart Mother Dave Gilmour / Nick Mason / Roger Waters / Richard Wright / Ron Geesin a Father s Shout b Breast Milky c Mother Fore d Funky Dung e Mind Your Throats Please f Remergence SIDE 2 If Roger Waters Summer 68 Richard Wright Fat Old Sun Dave Gilmour Alan s Psychedelic Breakfast Dave Gilmour / Nick Mason / Roger Waters / Richard Wright a Rise And Shine b Sunny Side Up c Morning Glory David Gilmour - guitars, bass, drums lead vocals on Fat Old Sun Nick Mason - drums, percussion, tape editing, tape collage additional engineering on Alan s Psychedelic Breakfast Roger Waters - bass guitar, acoustic guitar on If , tape effects, tape collage lead vocals on If Richard Wright - keyboards, piano, Hammond Organ, orchestration lead vocals on Summer 68 ADDITIONAL MUSICIANS: Abbey Road Session Pops Orchestra - brass orchestral sections John Alldis Choir - vocals Philip Jones Brass Ensemble - brass Alan Stiles - voice on Alan s Psychedelic Breakfast Recorded March - August 1970, At Abbey Road Studios, London.
Ron Geesin - orchestration Peter Bown - sound engineer Alan Parsons - sound engineer Executive Producer - Norman Smith Produced By Pink Floyd Pink Floyd had blazed a trail of sensational albums since their 1967 debut, The Piper at The Gates Of Dawn , by 1970 this was their fifth album in under three years, it was asking a great deal to produce yet another LP with innovative and original music.
Since my very first experience of seeing Pink Floyd playing live in 1966, a short but exciting Syd Barrett era, all the concerts reflected an ever evolving musical direction.
Earlier during 1970 I had seen an early incarnation of Atom Heart performed live under the working title of The Amazing Pudding, but nothing could have possibly prepared me or the other original fans for the the first full blown experience of the Atom Heart Mother tour.
That was even more surreal than seeing the early Barrett gigs at London s UFO and The Roundhouse The constant round of concerts in that period means I would be guessing the venue, I have often studied concert itineraries for so many artists, but to accurately place yourself into them is not always possible, some stick in your mind but my group of friends were constantly going to watch concerts, during the week as well as weekends.
Pink Floyd were playing the colleges and that meant really cheap entrances for students, plus it was rather a long time ago now I think my first exposure to the sensational Atom Heart Mother tour, had to be one of the mid-summer festivals, possibly at Bath.
Trying to think back to that amazing time is much easier for the original records, the mind blowing concerts and festivals packed with top artists came around almost weekly, now you do tend to be dazed confused as to where you actually were It was the late 60 s and early 70 s after all and as long as there was a great band playing, the event itself became ingrained into your memory, if not the location My strongest memory however, was the totally unexpected sight of Pink Floyd appearing on stage with not only a brass section, but a full male and female choir.
The men were very bizarrely dressed in dinner suits and bow ties, the women were wearing glittering evening ballroom gowns and alongside them, Pink Floyd were....
the same old Pink Floyd Plus the whole dream like scene included dramatic fireworks exploding overhead as well, I had yet to hear the album because it was still months before it was released later, well into the winter of 1970.
I m certain there will be many more my age with similar stories, who also had the same astonishing experience, being totally blown away by the full length performance of Atom Heart Mother on that tour of Great Britain, it also took in Europe and 47 years later, Atom Heart stands as a flagship of an LP for all that since followed.
While my memory is focused on the album, here s some info about the background details.
Atom Heart Mother was recorded in EMI s famous Abbey Road studio s, it became the first time Pink Floyd had worked with outside musicians for both composing and recording.
In particular, electronic composer Ron Geesin made a tremendous input to the music that filled one whole first side with six individual episodes or suites, they also worked with an orchestra and the John Aldiss Choir.
The LP s strange name was found by Roger Waters while reading n a newspaper and looking for inspiration for the still unnamed LP, album.
The Amazing Pudding would have been a great title, but instead bootlegs containing those early concerts used the original working title, you occasionally see them on ebay, I have no problem with unique material because I always collected that, but I detest counterfeit items of authentic official releases.
Roger Water read one story with a typical journalist s headline above it, it was about a pregnant woman having a pacemaker fitted to her heart, Atom Heart Mother was the actual headline and Roger felt that fitted the new album rather nicely This should prevent me adding all these details later on in the record s description, I am sure other related items will surface.
Another piece of trivia concerns the amazing track, Alan s Psychedelic Breakfast, which was written about a real Alan , Alan Stiles was their roadie, he even got onto the recording and you hear his voice on the track so I included him in the above album credits.
The famous cows outside and inside cover artwork, was a deliberate attempt to tone down the psychedelic aspect to their album covers.
First pressings of album s will always carry unique sounds but a little known fact is that at the very end of the record, after Morning Glory ends, the kitchen scene recorded in Nick Mason s kitchen is the final part on the record, the last sound heard is a dripping tap.
A continuous tape loop was inserted, exactly as found on the UK original mono and stereo Sgt.
Pepper records, so in that final run-out groove, if your tonearm does not have automatic return, you will hear the continuous sounds of the tap dripping.
That will only be found on original UK pressings because that was not the later re-pressings.
ear the record again so time to move on.
The first UK sensory stereo mix is nothing less than mind blowing, so a typical early 1970 s Pink Floyd production, what an album I will positively restrict writing an extravagant length description, I have written a fair amount so far I m not even convinced it is possible to write a description about Atom Heart.
To this day, trying to find where one titled track actually begins and and ends, is still unknown, if anyone is being honest.
Besides, mystique of such a magnificent suite of music should definitely be left well alone and just heard as one continuous album.
This is more a listening experience than a collection of different tracks, the rarity of a first pressing in such fantastic condition, deserves to command the respect of this record seller and not be constantly played to indulge describing such a loved album.
I will play Side 1 and give some info about the pressing and the sound, basically just see how it goes because....how do you describe the indescribable? The first side is made up of six tracks, but as I said they are really irrelevant to how the music flows seamlessly together and partially inspired by the newspaper article Roger Waters read Father s Shout , Breast Milky , Mother Fore , Funky Dung, Mind Your Throats Please and Remergence.
The side s run-in are extremely close to being silent, no crackles or clicks and even any static is not an issue.
Then that very long build up that gradually grows in volume as the instruments come in, an intro of several minutes of the sound building from the faintest, almost distant sounds to full volume, usually full of annoying, wear inflicted noisy crackles.
Not here, minimal static, so low level, even my excessively high volume barely acknowledges there is anything, exactly how I anticipate finding on a Mint record.
The motor bike roars between the speakers and we enter the surreal and the melody becomes so beautiful and all encompassing.
Then in simply staggering power and audio clarity the orchestrated main theme is in the mind blowing first made stereo mix, that s as unique to this pressing as the described dripping tap ending.
A great example of this sensational stereo panning is when that motorbike revs up and accelerates across, left to right or how your speakers are wired.
The impact and the dynamics of this are just astonishing I will not attempt detailing sound movements between the speakers, but I can almost smell the exhaust fumes Dave Gilmour begins the guitar solo for this beautiful melody, the power steps up to an even stronger surge of the volume levels, the haunting choral vocals from the choir vocalise the melody and the heavenly sounds are just awesome This is a real test for fourty seven year old vinyl, it goes very quiet when the beautiful vocals rise in emotion, but beyond any natural almost inaudible static, all you hear is breathtaking sounds, even when Richard s organ plays and accompanies the very moving choral voices of the female voices.
Then the male voices create a cinematographic effect that words cannot describe and I can only repeat how stunning the sound quality here is.
What a joy to listen to without any clicks, crackles or the explosive pops that break up and ruin the very special magical feel and mood of this most wonderful section of music from the gods .
Just after the male voices join the ladies, Pink Floyd explode into action, a staggering stereo effect on the drums, bass and the organ sends the senses reeling.
The instrumental section begins with that amazing Roger Waters bass line, Richard s organ and Dave s lead guitar add some real menace to the album s main musical theme.
Dave Gilmour s guitar is moving so freely between the speakers now, I m really glad I can just listen to this without having to attempt putting such an amazing feat of stereo panning into text A native Indian style chant begins and the surrealistic nature of Atom Heart is heard in fantastic, ultra sharp audio definition, if I encounter surface sound I promise to note it, but beyond only split seconds of the merest static for the first play in 47 years, is not worthy of mentioning.
Now the brass that I first saw live during 1970 adds a really astonishing impact before a spaced out Syd Barrett like sounds take over, the stereo is just as stunning as the pin point audio sharpness impacts, this a very special way to hear this wonderful piece of original and inspired music.
As I said earlier, any natural static is at an absolute minimum, an odd reminder this is after all vinyl, but those are few and far between.
As I am hearing this record for the second time, I have to say how impressed I am again and this is re-enforcing my earlier comments about 1970 vinyl being precisely like a 1960 s record for the construction and therefore the sound.
This is a first generation master tape sound and that is the most important thing of all, Abbey Road s Masters are among the world s very finest, this has a rare 1 mother digit on one side and only a 2 on the other.
The train also has unbelievable first stereo panning, the section where a mechanical voice shouts, Silence In The Studio has extraordinary power and clarity, every lesson Pink Floyd learned about making records since Piper, is here on Atom Heart Mother.
The brass plays powerfully entirely from the left after that amazing moment, I have managed to cover far more than I thought possible on both the musical content and concentrating while being overpowered by music of the greatest intensity.
Even so, I have not come remotely close to describing such a magnificent sounding Atom Heart, I knew it wasn t possible but I had to make a reasonable attempt.
As I typed that sentence the fantastic final emphasises the very point I was struggling to make, the entire cast throws everything it has into the suite, the volume is unreal The sound is just mind blowing I really can t resist giving a glimpse of what Side 2 has in store, plus I want to hear the end groove s unique loop again, my turntable does not have automatic return so it s simple to hear that ever dripping tap.
I have to include how the side ends on a sung and played single note, as that fades away there is not any surface or pressing sound at all, EMI certainly knew how to press records The initial run-in grooves are totally silent, yes silent Then another intro of such a completely exposed nature begins in just immaculate sound quality.
If only has Dave Gilmour gently playing an acoustic guitar, once again such a minimal hint of low, faint natural static, that I can honestly say this is the cleanest clearest intro s I have yet to hear, especially the quietly sung vocals.
A beautiful melody, Dave s distant electric guitar playing a really haunting refrain, sounds incredible, just before the keyboards, bass and light percussion gradually increase the track s volume.
I hope a bluntly honest description does not detract from this record s stunning audio sharpness, vinyl can only ever be...
vinyl and this is the only way I know how to write descriptions, I could have settled for a visual grading but this is one of the greatest albums of all time.
This side has linking grooves / track gaps and a definite ending for the tracks, Roger Waters If finishes now into a completely silent set of linking grooves.
The lovely lone piano notes intro to Summer 68 are heard without any form of surface / pressing sound, that clearly tells me the enormous potential this once played record will have after several plays.
The piano is panned entirely from the left channel, that leaves the right speaker dormant for a minute or two, there s total silence from the right speaker before faint taps on Nick s snare drums begin, then the dreamy vocals occupy both the channels.
This is immaculate sound, then the track explodes into full volume with the massed vocals on the how do you feel repeated verse.
Now the acoustic guitar plays behind stunning vocal harmonies, brass plays the musical theme and then back to the sleepy, dreamy, gentle vocals, but now with a very strong instrumental backing.
A wonderful track that could easily have been on any four of the preceding Pink Floyd albums.
Only the incredible brass places this very firmly into the new dawn of Pink Floyd s musical adventures.
Such fantastic audio definition is simply breathtaking, then another positive gap before an intro to the deeply beautiful melody of Fat Old Sun.
Complete silence here, I think I will carry on into a full description, I feel it s very important to give a balanced overview of the record, as a whole entity, especially because of these gentle and dreamy songs are as much a part of Atom Heart as the incredible suite on Side 1.
There are sections when the vocals have no more than a near silent backing on the first section,once again there s only the very purest sound here.
Then the electric guitar plays powerfully from the left channel and the bass and drums come up to full volume as well.
A remarkable track in staggering audio perfection, maintained by the absolute silence before the supremely ultra clear and clean intro for Alan s Psychedelic Breakfast.
Here the first stereo mix and dazzling array of panning effects is just breathtaking to experience Even the dripping tap that starts the whole track off is free of any vinyl playing sounds, the early morning sleepy muttering and then the match struck to light the gas, are all ultra clear, without even any hint of a record playing.
A track with so many incredible sound effects, such as food frying and sizzling, cereal being poured out and munched are astoundingly true to life sounds.
The enormity of an attempt to accurately describe the mesmerising sound s movements is something I will not attempt but the important news is the entire track has virtually no form of surface sound.
Then smoothly and seamlessly into the next section of this extravaganza of sounds and melodies, for Rise And Shine with Sunny Side Up, closely followed by more of Nick Mason s kitchen recordings for Morning Glory.
The sound quality continues to be in absolutely staggering audio sharpness and once again there is no need to mention anything.
I am concentrating as much as possible, but this is the hardest description I have ever written.
I m now hearing the dripping tap in what normally would be an empty final run-out groove.
I will of course stop that here, but if I did not just lift my needle, that drip would play as a continuous sound loop.
This is vinyl, but stunning sounding vinyl and both sides performed as perfectly asI know to be possible, I rather enjoyed that 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.
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