Pink Floyd The Piper At The Gates Of Dawn 1st Mono

	£		397
	$		526

Pink Floyd -  The Piper At The Gates Of Dawn

Original 1st UK Press, Mono, 1967 E.M.I. Records: cat no. SX 6157 Matrix: XAX 3419-2, XAX 3420-1. KT tax code stampers.

A beautiful copy of the debut album from the original Floyd lineup led by Syd Barratt.

99p start.

This item is offered with a money back guarantee if not as described below.

Sleeve Condition: EXCELLENT.

The laminate, triple flip back Ernest J. Day & Co.sleeve is in fantastic shape front & back, spines are mint with only one very minor corner rub on the bottom right, has some light ring wear on the front cover. Comes in the original company inner sleeve in excellent condition.

Vinyl Condition, Visual: EXCELLENT, nr. MINT.

A lovely shiny copy with only a few hairline surface marks that generally don't affect play.

Vinyl Condition, Audible: EXCELLENT, nr. MINT.

Plays fantastically with only very minor surface noise noticeable mostly in between tracks.

Label Condition: EXCELLENT.

Has some very light spindle marks, no ring wear, generally very clean.

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This record has been cleaned on the £1600 Loricraft PRC 4 Mk3 record cleaning machine (google `Garrard 501 Loricraft') using L'Art du Son cleaning fluid and placed in a Nagaoka antistatic inner sleeve. Only the best for our vinyl!

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Review:

The Piper at the Gates of Dawn is the debut album by the English rock band Pink Floyd, and the only one made under Syd Barrett's leadership. The album contains lyrics about space, scarecrows, gnomes, bicycles and fairytales, along with psychedelic instrumental songs. The album was initially released in 1967 by Columbia/EMI in the United Kingdom and Tower/Capitol in the United States. Special limited editions were issued to mark its 30th and 40th anniversaries in 1997 and 2007.

In January 1967, prior to recording The Piper at the Gates of Dawn, the band had produced at Sound Techniques Studio in London a single titled "Arnold Layne", which was later released in March, and reached number 20 in the British charts. Also in January, the band had recorded a 16-minute version of "Interstellar Overdrive" and an improvised jam called "Nick's Boogie" for Peter Whitehead's documentary film Tonite Lets All Make Love in London.. (The latter track was released in 1991, on the CD reissue of the film's soundtrack). The band's live show consisted mainly of instrumental numbers and blues covers. However, it had started to introduce songs that were written primarily by guitarist and lead vocalist Syd Barrett.

Recording of the album began on 21 February 1967 in studio three of EMI Studios, at the same time that The Beatles were recording Sgt. Pepper's Lonely Hearts Club Band. The album was produced by Norman Smith, an EMI staff member who had previously engineered all of the Beatles' recordings up to 1965's Rubber Soul. Smith would go on to produce Pink Floyd's follow up album, A Saucerful of Secrets. "Interstellar Overdrive" and "Matilda Mother" were two of the first tracks recorded, as the latter was viewed as a potential single. An early, unoverdubbed, shortened mix of the album's "Interstellar Overdrive" was used for a French EP release that July. In April, the band recorded both "Percy the Rat Catcher" (this would later be called "Lucifer Sam"), and a currently unreleased track called "She Was a Millionaire." At some point during the album's creation, Nick Mason recalled that the group was ushered into Studio Two, where the Beatles were recording "Lovely Rita". Several conflicting views surround how efficiently the recording of the album actually went. In his book Inside Out: A Personal History of Pink Floyd, Nick Mason recalled that the sessions went smoothly and that the whole process was extremely efficient. Norman Smith, however, condemned both the album's recording and the band members' musical abilities. Smith later stated that the sessions were "sheer hell." Both "The Gnome" and "The Scarecrow" were recorded in one take. Indeed a large proportion of the album is credited solely to Barrett, with tracks such as "Bike" having been written in late 1966 before the album was even started. "Bike" was originally titled "The Bike Song," and it was recorded on 21 May 1967. The last recording session took place on 5 July 1967, with the track "Pow R. Toc H." being one of the last songs added to the album.

Vic Singh photographed and designed the album cover. The back cover features a silhouette drawing of the band done by Barrett himself.

The album's title comes from the title of Chapter Seven, "The Piper at the Gates of Dawn", of Kenneth Grahame's The Wind in the Willows, where Rat and Mole, while searching for Portly, the lost son of Otter, are drawn to a place where the piper is playing on his reed flute. (The piper referred to is the Greek god Pan.)[1]

The original UK LP (with a monaural mix) was released on 5 August 1967, and one month later it was released in stereophonic mix. It reached #6 on the UK charts.[2]

The original US album appeared on the Tower Records division of Capitol Records in October 1967. This version (ST-5093, stereo; T-5093, mono) was officially titled simply Pink Floyd though the original album title did appear on the back cover as on the UK issue. The US album featured an abbreviated track listing and reached #131 on the Billboard charts. A UK single, "See Emily Play", was substituted for "Astronomy Dominé," "Flaming", and "Bike." The Tower Records vinyl issue also faded out "Interstellar Overdrive", and broke up the segue into "The Gnome", because the songs were re-sequenced. Later US issues on compact disc had the same title and track list as the UK version.

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UK Record Collector Grading System:

MINT: The record itself is in brand new condition with no surface marks or deterioration in the sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition.

EXCELLENT (US version of this term: Near Mint): The record shows some signs of having been played, but there is very little lessening in the sound quality. The cover and packaging might have slight wear and/or creasing.

VERY GOOD (US version of this term: VG++): The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover, or extra items, without any major defects, is acceptable.

GOOD (US version of this term: VG): The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits etc.