MFSL PINK FLOYD MEDDLE S/N 4999 LIMITED EDITION AUDIOPHILE LP

$ 163

$ 163 Sold For

Nov 20, 2011 Sold Date

Nov 17, 2011 Start Date

$ 149 Start price

2 Number Of Bids

USA Country Of Seller

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Description

UP FOR AUCTION FOR ***3 DAYS ONLY*** IS AN ORIGINAL RELEASE 1971, PINK FLOYD- MEDDLE, MOBILE FIDELITY SOUND LABS ORIGINAL MASTER RECORDING LIMITED EDITION LP S/N 4999

RARE MFSL 1-190 (LAST 1980'S PRESSING BEFORE 1990'S ANADISC EDITIONS). **SEE MY OTHER AUCTIONS FOR MORE RARE MFSL LPs, I COMBINE SHIPPING***

Track Listing

SIDE 1
1. One of These Days
2. Pillow of Winds, A
3. Fearless
4. San Tropez
5. Seamus

SIDE 2
6. Echoes

CONDITION=VINYL LOOKS EX TO NEAR MINT, VERY NICE!! PRESSED IN JAPAN.

JACKET= VG+ TO ++ ONE CORNER BUMP, LIGHT CORNER WEAR AND A FEW CREASES, POSSIBLY SHOWS IN PICS. ALL INSERTS AND RICE PAPER SLEEVE, GATE FOLD GREAT GIFT FOR YOURSELF OR FLOYD FAN, GET IT NOW OR BACK IN MY COLLECTION, LOW PRICE! PLEASE WAIT TO RECEIVE YOUR INVOICE WITH SHIPPING CHARGES/OPTIONS, GOOD LUCK

Details Playing Time: 47 min. Producer: Pink Floyd Distributor: MFSL
Recording Type: Studio Recording Mode: Stereo

Album Notes
MEDDLE was the first album to hint at the musical identity that would define Pink Floyd in the mid- to late-'70s. Whereas prior releases like UMMAGUMMA and ATOM HEART MOTHER announced the presence of new singer/guitarist/songwriter David Gilmour, MEDDLE represents the band's Gilmour-influenced evolution toward a sleek, epic, spacey sound. In "Echoes," an ambitious 23-minute soundscape, the pinging of a synthesizer greets the listener before Gilmour's warm, open guitar and gentle crooning gives way to a repetitious, workmanlike rhythm. From here, the music fades into an abyss of whale calls and eerie sonic reverberations.Elsewhere, Floyd dabbles with straightforward cocktail-hour jazz ("San Tropez") and a twisted slow blues ("Seamus"). But it is "One of These Days," MEDDLE's opening track and lone radio staple, that truly previews things to come. Roger Waters's bass, played through a Binson echo unit, establishes the song's manically hypnotic groove, as Richard Wright's synthesizer bursts in and out, Nick Mason's off-kilter drum fills get tossed around, and Gilmour's guitar dive-bombs through it all. These varied sound effects, packaged in a song that clocked in at less than six minutes, were a precedent for the masterpiece that was two years away: DARK SIDE OF THE MOON.

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