Pink Floyd Records 3-LPs PFRLP36: Pink Floyd – Delicate Sound Of Thunder 2020 SS

	C$		150
	$		109

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Background -

This is the DELUXE Boxed Set Edition / Version pressed in the Netherlands / Holland / Dutch on 3 x 180-gram LPs, remixed from the original master tapes with a 24-page booklet and featuring 9 songs not included on the 1988 released 2-LP set. Issued in 2020 and factory sealed!!

In one respect, it's hard to fault David Gilmour for retooling Pink Floyd as a neo-oldies act with Momentary Lapse of Reason, since Roger Waters took the band over the brink with his obsessive, non-musical The Final Cut. Fans were eager for an album that sounded like classic Floyd, which is what Momentary Lapse was. But what they really thirsted for was a live spectacle from Floyd, where they could hear the old tunes and see all the old stunts. That's what they got on the 1987/1988 Pink Floyd world tour, which is documented on the double-disc set The Delicate Sound of Thunder. Gilmour's reunited Floyd was intent on recreating the sound and feel of classic Floyd, so it shouldn't come as a surprise that the oldies feel like the classic records, only with Gilmour taking each vocal. He and Floyd deliver well, but this is a recreation that makes less sense on record than it did on-stage, where the nostalgia was justified. Here, it feels passable but never compelling. This is professional, competent, and, often, even enjoyable music, yet, like many souvenirs, it never once feels necessary. - Stephen Thomas Erlewine
Some bands turn into shorthand for a certain sound or style, and Pink Floyd belongs among that elite group. The very name connotes something specific: an elastic, echoing, mind-bending sound that evokes the chasms of space. Pink Floyd grounded that limitless sound with exacting explorations of mundane matters of ego, mind, memory, and heart, touching upon madness, alienation, narcissism, and society on their concept albums of the '70s. Of these concept albums, Dark Side of the Moon resonated strongest, earning new audiences year after year, decade after decade, and its longevity makes sense. That 1973 album distilled the wild psychedelia of their early years -- that brief, heady period when they were fronted by Syd Barrett -- into a slow, sculpted, widescreen epic masterminded by Roger Waters, the bassist who was the band's de facto leader in the '70s. Waters fueled the band's golden years, conceiving such epics as Wish You Were Here and The Wall, but the band survived his departure in the '80s, with guitarist David Gilmour stepping to the forefront on A Momentary Lapse of Reason and The Division Bell. Throughout the years, drummer Nick Mason and keyboardist Rick Wright appeared in some capacity, and the band's sonic signature was always evident: a wide, expansive sound that was instantly recognizable as their own, yet was adopted by all manner of bands, from guitar-worshiping metalheads to freaky, hippie, ambient electronic duos. Unlike almost any of their peers, Pink Floyd played to both sides of the aisle: they were rooted in the blues but their heart belonged to the future, a dichotomy that made them a quintessentially modern 20th century band.

That blues influence, quickly sublimated and only surfacing on the occasional Gilmour guitar solo, was the foundation for the band's very name, as the group decided to splice the names of two old bluesmen -- Pink Anderson and Floyd Council -- as a tribute to the American music they loved. These members of the early Floyd -- guitarist/singer Syd Barrett, bassist Roger Waters, keyboardist Rick Wright, and drummer Nick Mason -- were all architecture students at London Polytechnic, with the exception of Barrett, who was an art student and a friend of Waters since childhood. This version of the band started gigging regularly in 1965, with Barrett becoming the group's lead singer quite quickly. During this time, the group relied on blues and R&B covers, not unlike many of their British peers, but they wound up extending the time of their sets through extended instrumental jams, planting the seeds of space rock that would come to fruition not much later. In 1966, the group's increasingly adventurous sets became something of a sensation in the London underground, leading to a contract with EMI early in 1967. Their first single, "Arnold Layne," backed with "Candy and a Currant Bun," appeared in March of 1967, and it was banned from some radio stations due to its gender-bending lyrics, but the single wound up in the U.K. Top 20, and the group's second single, "See Emily Play" -- a menacing, mincing stomp with a profound, lasting influence -- went into the Top Ten, paving the way for the release of The Piper at the Gates of Dawn. On their full-length LP, Pink Floyd veered toward the experimental and avant-garde, particularly on the elastic, largely instrumental vamps "Astronomy Domine" and "Interstellar Overdrive," resulting in an album that had a significant  influence not only upon its release but well beyond. It was also a hit in the U.K., reaching number six on the British charts.

This was a sudden rush to stardom and complications arose nearly as quickly. Not long after the release of Piper, Barrett began showing clear signs of mental illness, to the point he would often freeze on-stage, not playing a note. At this point, David Gilmour -- a friend and associate of the band -- was brought in as a second guitarist, with the intention that he'd buttress the group's live performances while Barrett continued to write and record new material. This soon proved to be an impossible situation, and Barrett left the group, at which point the band's management also jumped ship, leaving them without any kind of leader.

In the wake of Barrett's departure, the remaining members of Pink Floyd developed a different musical identity, one that was expansive and eerie, characterized by the band's spacy, somber explorations and, eventually, Waters' cutting, sardonic lyrics. This transition took some time. In 1968, they released A Saucerful of Secrets, which contained Barrett's final composition for the group, "Jugband Blues," and it found the group moving forward, particularly on the instrumental sections. A Saucerful of Secrets also saw the group begin a long, fruitful collaboration with Storm Thorgerson's design team Hipgnosis; they'd wind up designing many iconic album covers for the band, including Dark Side of the Moon and Wish You Were Here. Hipgnosis emphasized album art, and albums are where Pink Floyd concentrated from this point forward. After the soundtrack to More, the group moved to EMI's progressive rock imprint Harvest and became the label's flagship artist beginning with the 1969 double-LP Ummagumma. Divided between live performances and experimental compositions from each member, the record wound up in the Top Ten in Britain and sowed the seeds of a cult following in the United States.

Pink Floyd's next album, Atom Heart Mother, featured extensive contributions from composer Ron Geesin and wound up as the band's first number one album in the U.K. The band embarked on an extensive supporting tour for the album and when they returned they delved even further into studio experimentation, learning the contours of the studio. Their next studio album, 1971's Meddle, bore the fruit of this labor, as did 1972's Obscured by Clouds, which was effectively a soundtrack to Barbet Schroeder's film La Vallee. All the experiments of the early '70s were consolidated on their 1973 album Dark Side of the Moon, an album for which there simply was no precedent in their catalog. Deepening their music while sharpening their songwriting, Floyd created a complex, luxurious album with infinite space and depth. Partially helped by the single "Money," it was an immediate success, reaching number one on the U.S. Billboard charts and peaking at number two in the U.K., but what was striking was its longevity. Dark Side of the Moon found space on the Billboard charts and then it just stayed there, week after week for years -- a total of 741 weeks in all (once it finally dropped off the charts, Billboard began the Catalog charts, where Dark Side was a fixture as well). Dark Side of the Moon was a staple on classic rock radio but it also was a rite of passage, an album passed down to teenagers when they were turning to serious music, and it was an album that stayed with listeners as they aged.

Now established superstars, Pink Floyd dug deep on Wish You Were Here, their 1975 sequel to Dark Side of the Moon, which functioned as an album-long tribute to Syd Barrett. Compared to Dark Side, Wish You Were Here wasn't quite a blockbuster but it was certainly a hit, debuting at number one in the U.K. and reaching that peak in the U.S. as well. Floyd continued to tour steadily, often working out new material on the road. This is particularly true of 1977's Animals, which had its roots in several songs aired during the 1975 tour. During the Animals tour, Waters had a difficult experience with a Montreal crowd where he spit on a heckler, and he used this incident as the genesis for 1979's rock opera The Wall. Co-produced by Bob Ezrin, The Wall may be Floyd's most ambitious album, telling a semi-autobiographical story about a damaged rock star, and it's one of the band's most successful records, topping the charts throughout the '80s and turning into a pop music perennial along the lines of Dark Side. Part of its success in 1980 was due to "Another Brick in the Wall, Pt. 2," where an instrumental motif from the album was given a disco beat and an anti-authoritarian spin, leading to a genuine number one hit single from the band. Certainly, the single had more to do with the album's success than the live production of the album, as Pink Floyd only did a handful of dates in major cities. Nevertheless, these shows, consisting of a wall being built across the stage during the first act and the band performing behind it during the second, were legendary (Waters would revive and update the production years later to great success).

Pink Floyd did attempt to film The Wall for a documentary film, but the footage was botched, so they decided to pursue a feature film directed by Alan Parker and featuring Boomtown Rat Bob Geldof in the lead role. The Wall arrived in theaters in 1982 and turned into a midnight movie staple. A year later, The Final Cut -- a further autobiographical work from Waters, its title a sly dig to his battles with Parker on the film -- arrived, but it didn't come close to matching the chart success of any of its predecessors. Behind the scenes, things were tense. Rick Wright had been fired during the making of The Wall -- he was hired as a contract player during the recording and tour -- and Waters split after the release of The Final Cut, assuming that it was the end of the band. Waters released his debut solo album, The Pros and Cons of Hitchhiking -- a piece that was pitched to Floyd in 1978, but the band chose The Wall instead -- in 1984, and not long afterward, Gilmour and Mason indicated they intended to carry on as Pink Floyd, so the bassist sued the duo for the rights to the Pink Floyd name. Waters lost and Pink Floyd released A Momentary Lapse of Reason in 1987, just months after Waters released his own Radio KAOS. Bad blood was evident -- T-shirts on Waters' tour bore the question, "Which One's Pink?," an old lyric that now had greater resonance -- but Pink Floyd emerged victorious, as A Momentary Lapse of Reason turned into an international hit, and racked up some hit singles, including "Learning to Fly," which was supported by the band's first music video. Most importantly, the band racked up significant box office returns on tour, playing to sold-out stadiums across the globe. This tour was documented on the Delicate Sound of Thunder live album.

The success of A Momentary Lapse of Reason allowed Pink Floyd to dictate their own schedule and they took their time to return with a new album, eventually emerging in 1994 with The Division Bell. Greeted by warmer reviews than its predecessor, The Division Bell was another international success, and the accompanying tour -- which featured a performance of the entirety of The Dark Side of the Moon -- was a smash success. As before, the tour was documented with a live album -- this one was called Pulse, packaged in eye-catching artwork with a pulsing LED light -- and it performed respectably. After that, Pink Floyd went into effective retirement. The group was inducted into the Rock and Roll Hall of Fame in 1996, while Gilmour released some solo albums, including the acclaimed On an Island, but most of their efforts were devoted to managing their catalog. Long a beloved band of audiophiles, Floyd saw their catalog boxed and remastered several times, including 5.1 mixes on SACD in the early 2000s.

As the new millennium progressed, a détente arose between the Floyd and Waters camps, culminating in an unexpected reunion of the original lineup of Waters, Gilmour, Mason, and Wright at the 2005 charity concert Live 8. The reunion was a rousing success, sparking rumors of a more permanent arrangement, but Gilmour declined.  Instead, Waters ramped up his touring -- he performed Dark Side in its entirety, then turned his attention to The Wall, touring that for years. Gilmour and Mason wound up appearing at a 2011 show in London, signaling that there was no ill will between the members. Barrett passed in 2006 from cancer and, in 2008, Wright also died from the disease.

In 2011, Pink Floyd launched an ambitious reissue project called Why Pink Floyd…? spearheaded by multi-disc, rarity-laden box set reissues of Dark Side of the Moon, Wish You Were Here, and The Wall; newly released exclusives included the original Alan Parsons mix of Dark Side, heavily bootlegged live tracks like "Raving and Drooling," and demos. Three years later, in 2014, The Division Bell was reissued to celebrate its 20th anniversary, but the bigger news was the announcement of a new album called The Endless River. Constructed using outtakes from the recording sessions for The Division Bell, the primarily instrumental album was co-produced by Gilmour, Roxy Music's Phil Manzanera, Youth, and Andy Jackson, and featured heavy contributions from the late keyboardist Rick Wright along with new work from Gilmour and Mason. The Endless River saw release in November of 2014. Two years later, Pink Floyd released the mammoth box set The Early Years 1965-1972, which combined 28 CDs, DVDs, and Blu-Rays to tell a complete audio and visual picture of the band's first act; six of the box's seven volumes were released individually in March 2017. Released alongside the box was The Early Years 1967-1972: Cre/Ation, a double-disc compilation of highlights from the set. The Later Years: 1987-2019, a luxurious sequel to The Early Years chronicling the post-Waters era, arrived in 2019, accompanied by a single-disc collection of highlights from the big box. - Stephen Thomas Erlewine

Release date: 2020

• PINK FLOYD Records 3xLPs Item (deluxe edition)
  

• LPs made in the Netherlands / Dutch / Holland

• Pressings are in STEREO
  

• Record Catalog Number: PFRLP36
  

• Limited Edition
  

This listing is for a limited edition 3-LP title. This item is SEALED and made by PINK FLOYD Records in the Netherlands / Holland / Dutch. This is a much sought after audiophile LP featuring -

Pink Floyd

3-LP Boxed Set Title -

Delicate Sound Of Thunder

Track Listing -

A1. Shine On You Crazy Diamond Parts 1-5 - Written-By – David Gilmour, Richard Wright, Roger Waters - 12:09
A2. Signs Of Life - Written-By – Bob Ezrin, David Gilmour - 3:18
A3. Learning To Fly - Written-By – Anthony Moore, Bob Ezrin, David Gilmour, Jon Carin - 5:20
B1. Yet Another Movie - Written-By – David Gilmour, Pat Leonard - 6:18
B2. Round And Around - Written-By – David Gilmour - 0:34
B3. A New Machine Part 1 - Written-By – David Gilmour - 1:35
B4. Terminal Frost - Written-By – David Gilmour - 6:17
B5. A New Machine Part 2 - Written-By – David Gilmour - 0:32
B6. Sorrow - Written-By – David Gilmour - 10:33
C1. The Dogs Of War - Written-By – Anthony Moore, David Gilmour - 7:59
C2. On The Turning Away - Written-By – Anthony Moore, David Gilmour - 9:01
C3. One Of These Days - Written-By – David Gilmour, Nick Mason, Richard Wright, Roger Waters - 6:32
D1. Time - Written-By – David Gilmour, Nick Mason, Richard Wright, Roger Waters - 5:19
D2. On The Run - Written-By – David Gilmour, Roger Waters - 2:49
D3. The Great Gig In The Sky - Composed By [Vocal Composition By] – Clare Torry - Written-By – Richard Wright - 4:51
D4. Wish You Were Here - Written-By – David Gilmour, Roger Waters - 4:38
D5. Welcome To The Machine - Written-By – Roger Waters - 7:58
E1. Us And Them - Written-By – Richard Wright, Roger Waters - 7:35
E2. Money - Written-By – Roger Waters - 8:18
E3. Another Brick In The Wall Part 2 - Written-By – Roger Waters - 5:33
F1. Comfortably Numb - Written-By – David Gilmour, Roger Waters - 9:55
F2. One Slip - Written-By – David Gilmour, Phil Manzanera - 6:08
F3. Run Like Hell - Written-By – David Gilmour, Roger Waters - 8:06

Performers / Credits / Other Information -• Phonographic Copyright ℗ – Pink Floyd (1987) Ltd.
• Licensed To – Sony Music Entertainment
• Copyright © – Pink Floyd (1987) Ltd.
• Published By – Pink Floyd Music Publishers Ltd., Concord Copyrights Limited, Roger Waters Music Overseas Ltd., BMG Rights Management (UK) Limited, BMG Platinum, TRO-Hampshire House Publishing Corp.
• Recorded At – Nassau Coliseum
• Mastered At – Tube Mastering, Metropolis Mastering
• Pressed By – Record Industry – 30328
• Backing Vocals – Durga McBroom, Margret Taylor, Rachel Fury
• Bass, Vocals – Guy Pratt
• Crew [Tour Personnel] – Aidan Bradley, Al Mousseau, Alan Comer, Albert Lawrence, Alex Trebus (2), Andre Marie-Luce, Andy Beattie, Andy Ledbetter, Ava Wower, Barrie Knight*, Bart De Bruycker (2), Bernard James (3), Bert Bunte, Bill Humphreys (2), Bob Case (4), Bob Cronauer, Bob Hurwitz, Bob Mardon, Bob McNally (3), Bob Pleva, Bob Worgan, Brad Trahan, Brian Lukas, Brian Schofield (3), Bruce Emerick, Buford Jones, Carol Graham (2), Casey Vreeland, Charlene Colon, Charlie Boxhall, Chris Burns (13), Chris Schmidt (4), Christophe Ducret, Clive Brooks, Clyde Taff, Colin Compton, Daniel Jollimore, Dave Carter (5), Dave Gold (11), Dave Harvey (6), Dave Lohr*, Deborah Sandvik, Dee Edwards (2), Denise Loveland, Dirk Vel Kooy, Don Desmidt, Donna Stone, Ed Kish (2), Eddie Perez (11), Eddie Santiago (4), Elizabeth King (2), Eric Peterson (29), Ernest Weathington, Fiona Mackenzie (6), Frank Geroski, Geert Delbaere, Gerald Schweitzer, Gerry Barad, Gerry Fradley, Gerry Georgettis, Glyn Mount, Gordon 'Yorky' Cairn, Gordon Barden, Graeme Dew, Greg Wilson (13), Hedwig Demeyer, Heidi Sikora, Herbie Bayliss-Smith, Howard Hopkins, Howie Hoffman, Jack Wilson (26), James Geddes, Jane Sen, Jeff Adams (22), Jeff Scornavacca*, Jeffrey Taylor (5), Jennifer Walton (3), Jim Aman, Jim Harkins (2), Jodi Brake, Joe Baptista, Joel Magarian, Joel Rickards, John Bleich, John Carr (24), John Edmunds (6), John Magda, John Street (4), John Thomson (8), John Ward (38), John White (5), John Woytas, Juan Zilveta, Keith Burton (5), Keith Cromer, Keith Smith (2), Kevin Adams (7), Larry Miller (24), Larry Wallace, Laurie Lubanski, Lee Hunt (3), Les Fisher (3), Liz Adshead, Loren Geilenkirchen, Lou Stefanel, Lyn Scoffin, MIke King (32), Malcolm Craggs*, Marc Brickman, Marcus Lopez (3), Mark Bradley (16), Mark Brown (30), Mark Gilmore (4), Mark Grega, Mark Merry, Mark Phillips (36), Max Espagne, Melissa Smith (8), Michael Martineau, Mickey Chapman (2), Mickey Sturgeon, Mike Conner (9), Mike Farese, Mike Inman, Mike McEntee, Mike Reed (24), Mike Wiesman, Mitch Davis (7), Morris Lyda, Nicholas Woodring, Nick Brown (38), O'Dean Scott, Pascal Moran, Pat Donna, Pat Raven (2), Patrick Schneider (11), Paul Butcher (3), Paul Davies (20), Paul Efron, Paul Giansante, Paul Staples, Pete Wills, Peter Callaghan, Peter Dreuning, Phil Laycock, Phil Palmer (6), Phil Taylor (5), Rande Walters, Randy Halsing, Ray Naeiman, Raymond Dew, Reg Dew, Rich Mayne, Richard Bray (3), Richard Hartman, Richard Humphrey, Richard Jumper, Richard Voutselas, Richie Wights, Rick Mohr (2), Rick Slater, Rick Wyman, Rickie Acebo, Robbie Williams (3), Robern Pickering, Robert Toole, Roger Mercer, Rolly Steele, Ron Wilkinson (2), Rosi West, Roy Suckling, Scott Alsdorf, Scott Cunningham (9), Scott Dopson, Scott Ritt, Scott Schoonover, Seth Goldman, Sid (Huw) Pryce*, Sonja Brockdorf, Stephan Rongo, Steve 'Ziggy' Bartlett, Steve Guest, Steve Loebig, Steve Thomas (20), Steve Thonus, Stevie McGoldrick, Terence Dotzel, Terry Millard, Tim Shaw (7), Tom De Wille, Tom Foster, Tony Curtin, Tony Fielding (2), Val Bowes, Vasilie Souvaliotis, Vicki Brown, Wayne Scott (13), Wies Baalen
• Design [Front Cover Design Inspired By] – Aubrey Powell, Hipgnosis
• Design, Artwork – Blade Design Ltd., Steve Knee
• Drums – Nick Mason
• Engineer [Recording Engineer, Assisted By] – Robert (Ringo) Hrycyna
• Engineer [Recording Engineer] – Dave Hewitt
• Guitar [Guitars], Vocals – David Gilmour, Tim Renwick
• Keyboards, Vocals – Jon Carin, Richard Wright
• Lacquer Cut By – Stuart Hawkes
• Lighting [Lighting Designer] – Marc Brickman
• Management [David Gilmour] – Andy Murray, Elena Bello, One Fifteen, Paul Loasby
• Management [Estate of Richard Wright] – Andrew Gummer, Gala Wright, Jamie Wright
• Management [Nick Mason] – Jo Greenwood, Tony Smith, Tony Smith Personal Management
• Management [Pinkfloyd.com] – Jabeye, Peter Robson
• Management [Sony Music] – Charlie Stanford, Elliot Stubbs, Greg Linn, Jeffrey Schulberg, Jim Tosney, John Conroy, John Jackson, Lisa Marchese, Patti Matheny, Richard Alcock, Richard Story, Rob Stringer, Syd Schwartz, Tammie Holt, Tom Mackay
• Management [Warner Music] – Derek Allen, Dirk Ewald, James Radice, Lara Norgrove, Max Lousada, Paul Fletcher, Peter Breeden, Sarah O'Shea, Steve Cooke, Tom Gallacher, Tony Harlow
• Mastered By [Audio Mastering] – Andy Jackson
• Mastered By [Vinyl Mastering] – Stuart Hawkes
• Mixed By [Remixed By, Assisted By] – Damon Iddins
• Mixed By [Remixed By] – Andy Jackson
• Mixed By [Remixed With] – David Gilmour
• Other [Memorabilia] – Pink Floyd Archive
• Percussion – Gary Wallis
• Photography By [Package Photography] – Dimo Safari
• Photography By [Sleeve Photography] – Rupert Truman, StormStudios
• Photography By [Stills] – Pink Floyd Archive
• Producer [Produced By] – David Gilmour
• Public Relations [PR - LD Communications] – Bernard Doherty, David Cox, Doug Wright
• Public Relations [PR] – LD Communications
• Recorded By – Remote Recording Services
• Research [Archivist] – Tracey Kraft
• Saxophone [Saxophones], Guitar – Scott Page
• Technician [Musical Equipment Technician, Assisted By] – Keith Smith
• Technician [Musical Equipment Technician] – Phil Taylor
• Transferred By [Audio Transfers] – Damon Iddins
Recorded over five nights in August 1988 at Nassau Coliseum, Long Island, New York, USA
Tracks A1, D4, F1, F3: Published by Pink Floyd Music Publishers Ltd., administered by Concord Copyrights Limited/ Roger Waters Music Overseas Ltd., administered by BMG Rights Management (UK) Ltd. for the World excluding USA & Canada. USA & Canada: Pink Floyd Music Publishers Ltd. administered by Concord Copyrights Limited/ Roger Waters Music Overseas Ltd., administered by BMG Rights Management (UK) Ltd. All rights on behalf of BMG Rights Management (UK) Ltd. administered by BMG Platinum (BMI).
Tracks A2 to C2, F2: Published by Pink Floyd Music Publishers Ltd., administered by Concord Copyrights Limited
Tracks C3 to D2, E1: Published by Pink Floyd Music Publishers Ltd. administered by Concord Copyrights Limited/ Roger Waters Music Overseas Ltd., administered by BMG Rights Management (UK) Ltd. for the World excluding USA & Canada. USA & Canada: TRO-Hampshire House Music Publishing Corp.
Track D3: Published by Pink Floyd Music Publishers Ltd., administered by Concord Copyrights Limited for the World excluding USA & Canada. USA & Canada: TRO-Hampshire House Music Publishing Corp. 
Track E2: Published by Roger Waters Music Overseas Ltd., administered by BMG Rights Management (UK) Ltd. for the World excluding USA & Canada. USA & Canada: TRO-Hampshire House Music Publishing Corp.
Track D5, E3: Published by Roger Waters Music Overseas Ltd., administered by BMG Rights Management (UK) Ltd. for the World excluding USA & Canada. USA & Canada: Roger Waters Music Overseas Ltd., administered by BMG Rights Management (UK) Ltd. All rights on behalf of BMG Rights Management (UK) Ltd. administered by BMG Platinum (BMI).
Special Thanks: Michael Farrell, Bob Ezrin, Neil Warnock and everyone who came to our show.
Thanks: Justin Morris, Davie Meunier
A special thank you to Steve O'Rourke
℗ 2020 The copyright in this sound recording is owned by Pink Floyd (1987) Ltd., under exclusive license to Sony Music Entertainment.
© 2020 Pink Floyd (1987) Ltd. Sony Music Entertainment/25 Madison Avenue, New York, NY 10010
Made in the Netherlands.
Packaged in a die cut slipcase.
Includes a download card from We Are Vinyl.
Printed on hype sticker:
Remixed from the original master tapes
Heavyweight 180g Vinyl
24-Page Booklet
Brand new remix
Total Running Time: 2 hours 21 minutes 3 seconds
• Barcode: 194397403411
• Matrix / Runout (Side A, stamped (except for Stu.)): 30328 1A 19439740341 Stu.
• Matrix / Runout (Side B, stamped): 30328 1B 19439740341
• Matrix / Runout (Side C, stamped): 30328 1C 19439740341
• Matrix / Runout (Side D, stamped): 30328 1D 19439740341
• Matrix / Runout (Side E, stamped): 30328 1E 19439740341
• Matrix / Runout (Side F, stamped): 30328 1F 19439740341
• Rights Society: BMI

CONDITION Details:

The 3-LP, Outer Box / Jacket and Vinyl are all assumed to be in MINT condition as this item is FACTORY SEALED. NO seam splits. NO corner dings. NO tears in the plastic. This is your chance to get a truly mint LP record - see our pictures with this listing as they are of the actual item.

A Short Note About LP GRADING -

• Mint = Only used for sealed items.
• Near Mint = Virtually flawless in every way.
• Near Mint Minus = Item has some minor imperfections, some audible.
• Excellent = Item obviously played and enjoyed with some noise.
• Very Good Plus = Many more imperfections which are noticeable and obtrusive.

For best results, always properly clean your LPs before playing them.

The LP is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

Do not let this rarity slip by!