This wonderful item was created to advertise a promotional campaign that offered free Beatles photo-cards with any purchase of Eskimo Fish Fingers. The display measures Guns N Roses. Originally released in , available on vinyl for the first time, features all the so ngs you could ever want, and now includes the single Shadow of Your Love, which hit No.
The groups tenth studio album, their first new release in 12 years, they jumped back into the studio followingtheir most successful tour in ove r 20 years. In a foil-blocked sleeve designed by Trevor Johnson, with inner sleeve, with a digital download code and and lyric printed gatefold insert. Please note: this example is in brand new condition in the hype-stickered shrink, we have o. The groups tenth studio album, their first new release in 12 years, they jumped back into the studio followingthe ir most successful tour in over 20 years.
Please note: this example is in brand new condition in the hy. Why you should buy from us. Starting in , the band that would become Pink Floyd evolved through various line-up and name changes including "The Abdabs",   "The Screaming Abdabs",  "Sigma 6",   and "The Meggadeaths". Storm Thorgerson then living on Earlham Street and Barrett went to a London hotel to meet the sect's guru ; Thorgerson managed to join the sect; Barrett, however, was deemed too young to join.
Thorgerson sees this as a deeply important event in Barrett's life, as he was extremely upset by the rejection. While living near his friends, Barrett decided to write more songs " Bike " was written around this time. However, the change was not instantaneous, [nb 4] with more improvising on the guitars and keyboards.
During this period, Barrett wrote most of the songs for Pink Floyd's first album , and also songs that would later appear on his solo albums. Pink Floyd, the house band,     was its most popular attraction and after making appearances at the rival Roundhouse ,    became the most popular musical group of the " London Underground " psychedelic music scene.
Blackhill was staffed by lodgers Jenner found in his Edbrooke Road house, and among others, Barrett's flatmate, Peter Wynne Wilson who became road manager, however, since he had more experience in lighting, he was also lighting assistant.
King and Jenner befriended American expatriate Joe Boyd , the promoter of the UFO Club , who was making a name for himself as one of the more important entrepreneurs on the British music scene. The newly hired booking agent, Bryan Morrison , and Boyd had proposed sending in better quality recordings. From Morrison's agency the band played a gig outside London for the first time.
However, unknown to Barrett, Spires had an affair with Peter Whitehead. Spires convinced Whitehead who thought the band sounded like "bad Schoenberg " to use Pink Floyd in a film about the swinging London scene. Boyd attempted to sign the band with Polydor Records.
Unusual for the time, the deal included recording an album, which meant the band had unlimited studio time at EMI Studios in return for a smaller royalty percentage. The band then attempted to re-record "Arnold Layne", but the Boyd version from January was released instead. Of the eleven songs on Piper , Barrett wrote eight and co-wrote another two. Through late and early , Barrett became increasingly erratic, partly as a consequence of his reported heavy use of psychedelic drugs such as LSD.
Once described as joyful, friendly, and extroverted, he became increasingly depressed and socially withdrawn, and experienced hallucinations, disorganized speech, memory lapses, intense mood swings, and periods of catatonia. One of the striking features of his change was the development of a blank, dead-eyed stare. He did not recognise old friends, and often did not know where he was; while on a tour of Los Angeles, Barrett is said to have exclaimed, "Gee, it sure is nice to be in Las Vegas!
The audience seemed to enjoy such antics, unaware of the rest of the band's consternation. Interviewed on Pat Boone 's show during this tour, Barrett's reply to Boone's questions was a "blank and totally mute stare"; according to Mason, "Syd wasn't into moving his lips that day. During this time, Barrett would often forget to bring his guitar to sessions, damage equipment and occasionally was unable to hold his pick. For a handful of shows, Gilmour played and sang while Barrett wandered around on stage, occasionally joining the playing.
The other band members soon grew tired of Barrett's antics and, on 26 January , when Waters was driving on the way to a show at Southampton University , the band elected not to pick Barrett up: one person in the car said, "Shall we pick Syd up? Barrett did not contribute material to the band after A Saucerful of Secrets was released in Of the songs he wrote for Pink Floyd after The Piper at the Gates of Dawn , only one, " Jugband Blues ", made it to the band's second album; "Apples and Oranges", became a less-than-successful single; and two others, " Scream Thy Last Scream " and " Vegetable Man ", were never officially released until in The Early Years — box set, as they were deemed too dark and unsettling.
He would return hours later to find Barrett in the same position, sometimes with a cigarette burned completely down between his fingers an incident later referenced in Pink Floyd's The Wall. He also showed up to a few gigs and glared at Gilmour. Barrett played slide guitar on " Remember a Day " which had been first attempted during the Piper sessions , and also played on " Set the Controls for the Heart of the Sun ".
Considering Barrett to be the musical brains of the band, Blackhill Enterprises retained Barrett. After leaving Pink Floyd, Barrett was out of the public eye for a year. After Barrett left Pink Floyd, Jenner followed suit. However, Jenner said: "I had seriously underestimated the difficulties of working with him". For the sessions, Gilmour played bass. Talking to Barrett wasn't easy, said Jones: "It was a case of following him, not playing with him. They were seeing and then playing so they were always a note behind".
However, he followed Pink Floyd to Ibiza according to legend, he skipped check-ins and customs, ran onto the runway and attempted to flag down a jet. One of his friends, J. Ryan Eaves, bass player for the short-lived but influential Manchester band York's Ensemble, later spotted him on a beach wearing messed-up clothes and with a carrier bag full of money.
By this point, during the trip, Barrett had asked Gilmour for his help in the recording sessions. These sessions came to a minor halt when Gilmour and Waters were mixing Pink Floyd's newly recorded album, Ummagumma , to Barrett's dismay. However, through the end of July, they managed to record three more tracks. The problem with the recording was that the songs were recorded as Barrett played them "live" in studio. On the released versions a number of them have false starts and commentaries from Barrett.
We had very little time, particularly with The Madcap Laughs. Syd was very difficult, we got that very frustrated feeling: Look, it's your fucking career, mate. Why don't you get your finger out and do something? The guy was in trouble, and was a close friend for many years before then, so it really was the least one could do.
Upon the album's release in January , Malcolm Jones was shocked by the substandard musicianship on the Gilmour and Waters-produced songs: "I felt angry. It's like dirty linen in public and very unnecessary and unkind". Gilmour said: "Perhaps we were trying to show what Syd was really like.
But perhaps we were trying to punish him". Waters was more positive: "Syd is a genius". Barrett said "It's quite nice but I'd be very surprised if it did anything if I were to drop dead. I don't think it would stand as my last statement. Evelyn "Iggy the Eskimo" Rose — appeared nude on the back of the album's inner sleeve. The second album, Barrett , was recorded more sporadically than the first,  with sessions taking place between February and July However, Gilmour thought they were losing the "Barrett-ness".
One track "Rats" was originally recorded with Barrett on his own. That would later be overdubbed by musicians, despite the changing tempos.
Shirley said of Barrett's playing: "He would never play the same tune twice. Sometimes Syd couldn't play anything that made sense; other times what he'd play was absolute magic. At the moment it's too windy and icy". On various occasions, Barrett went to "spy" on the band as they recorded their album. The jump in quality over the truncated-tobits CD is mind-blowing!
The recordings were to tape, but there was never an edited and assembled analog master made. It wasn't possible to use the tapes, but we were able too compile from flat high-res transfers directly from the tapes. The results are similarly astonishing as even the original LPs were mastered from bit files. I would throw the Classic Trinity Sessions on the list as that is the one title that had me personally shut up about digital recording being pressed on vinyl.
Margo casts a spell on me when I spin it and I would have lost money if I bet it was originally recorded digitally.
Great video! Mike, at the end of the video you said you were going to make a video of Classical records to own soon. I really hope you do because I would be very interested in seeing that. Classical is an unpopular genre, but because of this it is possible to find original Columbia six eye records for a decent price used.
You gamble on the condition but sometimes get lucky. I have bought some on ebay. A lot of them are dirty and have surface noise, but some come in good shape. As opposed to Jazz records where the originals are way too expensive to gamble on. Especially on ebay. Thank you for a very informative video! I'm a little younger than Michael I was in High School when he was in College , which might explain why I find his list of too heavy on Jazz for my taste.
I did go see Bola Sete live in '67 the father of the guitarist in my garage band was an amateur Jazz drummer, and took us to that show in Los Gatos, CA as well as to see Cream and Hendrix at The Fillmore and Winterland. Mighty hip dad, but he wouldn't smoke Jazz cigarettes with us ;-. I do love Ellington and Basie, though, and Mose Allison too. Great work, very comprehensive list and highly entertaining video. Bongos for Mike since kudos are already taken by another familiar face:.
Can easily subscribe to most of the titles in the first third of the list Jazz. Just no recent reissues or …? My absolute favourite, but my copy Columbia KC sonicaly muffled and bassless.
We all know that in modern vinyl masters, the grooves are not evenly spaced on the record. In order to control the spacing, the cutting machine needs to know the signal before it reaches the cutting head. So, the source signal is splitted with one part routed to the cutting machine and the second part is delayed about 2 seconds before it is routed to the cutting head. Most modern mastering is done with digital delays.
In other words - even if the source material is purely analog, the process of delaying the cutting signal requires digitization - unless the master engineer has a specially modified tape that can do the delay. So - here's my question: Is there any information as to what kind of delay was used on those recordings?
You are right, the signal needs to be split in time for the lathe control and the cutter head to work together. I have a modest system. I read this and decided to hear for myself. I bought the Tony Bennett live record from Analogue Productions.
Thank you for this highly informative and enjoyable video. Many of the records were unknown to me and I have now ordered many of them from various sources. Being 58, it seems the focus is primarily on records that are a little before my time I started getting into music in the early '70s which is probably why they are new to me. As John Darko's reviewing focuses on music from the 80's and later I could only hope that some reviewer would dig into worthwhile records from the '70s.
The Turn is not AAA. I think Pro Tools was used. Michael, Not sure where to post this inquiry Do you have any insight into the Chrysalis issue of the Ten Years After above? It looks like it could be AAA, but the available info is incomplete about source and recording site.
Mike, I've enjoyed following you on Youtube and just joined your site. Are these newer reissues and if so where can I find them? Or are you talking about the reissues from the 80's? Good Stuff and Thanks! He's referring to the Chris Bellman reissues. Here they are on Discogs. I cherish my copies by the way. Spanky DeBrest's bass solos on my copy are nearly inaudible in the right channel from which I can hear Monk's piano at normal volume.
Why did you skip this one in the video presentation? Stereo or Mono, Org or Org Music? Why not the Speakers Corner version? Inquiring minds want to know. Search form Search. Analog Corner. News News Analog Gear News. Here's recommended all-analog LP reissues worth owning. The video runs two hours so unless you are masochistic, you might want to watch in shorter segments but covering LPs took time!
Plus there are the usual fun stories interspersed throughout. Okay, I got wrong the The Who's "Tommy"'s original issue date I said November '68, was May '69 otherwise all of the information should be correct. Log in or register to post comments. I now see Blonde on Blonde. But just one Dylan?
Only One Dylan? Submitted by Michael Fremer on Thu, Columbia may have planned for the Bach album ML to be the first since the releases came in alphabetical order by composer. There is also a CD of this album on the market. When the LP was introduced in , the 78 was the conventional format for phonograph records. By , 78s still accounted for slightly more than half of the units sold in the United States, and just under half of the dollar sales.
Canada and the UK continued production into , while India, the Philippines, and South Africa produced 78s until , with the last holdout, Argentina, continuing until The popularity of the LP ushered in the " Album Era " of English-language popular music, beginning in the s, as performers took advantage of the longer playing time to create coherent themes or concept albums.
But for the '70s it will remain the basic musical unit, and that's OK with me. Although the popularity of LPs began to decline in the late s with the advent of Compact Cassettes , and later compact discs , the LP survives as a format to the present day. Vinyl LP records enjoyed a resurgence in the early s. It was introduced by RCA Victor in To compete with the LP, boxed albums of 45s were issued, along with EP extended play 45s, which squeezed two or even three selections onto each side.
Despite these efforts, the 45 succeeded only in replacing the 78 as the format for singles. This series was labeled AP-1 through about AP, pressed on grainless red vinyl. Today AP-1 through AP-5 are very scarce. By very tightly packing the fine groove, a playing time of 17 minutes per side was achieved. Reel-to-reel magnetic tape recorders posed a new challenge to the LP in the s, but the higher cost of pre-recorded tapes was one of several factors that confined tape to a niche market.
Cartridge and cassette tapes were more convenient and less expensive than reel-to-reel tapes, and they became popular for use in automobiles beginning in the mids. However, the LP was not seriously challenged as the primary medium for listening to recorded music at home until the s, when the audio quality of the cassette was greatly improved by better tape formulations and noise-reduction systems. By , cassettes were outselling LPs in the US.
The Compact Disc CD was introduced in It offered a recording that was, theoretically, completely noiseless and not audibly degraded by repeated playing or slight scuffs and scratches.
At first, the much higher prices of CDs and CD players limited their target market to affluent early adopters and audiophiles ; but prices came down, and by CDs outsold LPs. The CD became the top-selling format, over cassettes, in Along with phonograph records in other formats, some of which were made of other materials, LPs are now widely referred to simply as "vinyl". Since the late s there has been a vinyl revival. Soundtracks — played on records synchronized to movie projectors in theatres — could not fit onto the mere five minutes per side that 78s offered.
When initially introduced, inch LPs played for a maximum of about 23 minutes per side, inchers for around It wasn't until "microgroove" was developed by Columbia Records in that Long Players LPs reached their maximum playtime, which has continued to modern times.
Economics and tastes initially determined which kind of music was available on each format. Recording company executives believed upscale classical music fans would be eager to hear a Beethoven symphony or a Mozart concerto without having to flip over multiple, four-minute-per-side 78s, and that pop music fans, who were used to listening to one song at a time, would find the shorter time of the inch LP sufficient.
As a result, the inch format was reserved solely for higher-priced classical recordings and Broadway shows. Popular music continued to appear only on inch records. Their beliefs were wrong. By the mids, the inch LP, like its similarly sized 78 rpm cousin, would lose the format war and be discontinued. Ten-inch records briefly reappeared as mini-LPs in the late s and early s in the United States and Australia as a marketing alternative.
In , Columbia Records introduced "extended-play" LPs that played for as long as 52 minutes, or 26 minutes per side. The minute playing time remained rare, however, because of mastering limitations, and most LPs continued to be issued with a to minute playing time. A small number of albums exceeded the minute limit. These records had to be cut with much narrower spacing between the grooves, which allowed for a smaller dynamic range on the records, and meant that playing the record with a worn needle could damage the record.
It also resulted in a much quieter sound. Spoken word and comedy albums require a smaller dynamic range compared to musical records. I understand. Sold out Free delivery in the UK Save item. Liz Buckley. Track listing Show.popmarket is your Pop Culture destination for Classic Rock Vinyl, CDs, Boxsets, Pre-Orders, Festival Apparel, T-Shirts, Turntables and Official Merchandise.