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An item that is used but still in very good condition. No damage to the jewellery case or item cover, no scuffs, scratches, cracks, or holes. The cover art and liner notes are included. The VHS or DVD box is included. The video game instructions and box are included. The teeth of disk holder are undamaged. Minimal wear on the exterior of item. No skipping on CD/DVD. No fuzzy/snowy frames on VHS tape. See the seller’s listing for full details and description of any imperfections.
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ITEM: VINYL 12" LP 33 1/3 RPM
ARTIST: TITLE: A Collection of Great Dance Songs COUNTRY: OZ CAT No: CBS, SBP 237729 COVER: (Grade at EXCELLENT+) INNER COVER: (Grade at EXCELLENT+ to NEAR MINT-) LABELS: (Grade at MINT-) VINYL: (Grade at EXCELLENT+ to NEAR MINT-) TRACKS: Side one "One of These Days" (David Gilmour/Roger Waters/Rick Wright/Nick Mason) (Meddle) "Money" (Re-recorded in 1981 at New Roydonia Studios) (Waters) (original version from The Dark Side of the Moon) "Sheep" (Waters) (Animals)
Side two "Shine On You Crazy Diamond" (Edit) (Gilmour/Waters/Wright) (Wish You Were Here) "Wish You Were Here" (Waters/Gilmour) (Wish You Were Here) "Another Brick in the Wall, Part II" (Edit) (Roger Waters) (The Wall) PERSONNEL: See scans David Gilmour – guitar, bass guitar, vocals, lead vocals on "Wish You Were Here" and "Another Brick in the Wall, Part II","Money" Roger Waters – bass guitar (except on "Money"), vocals, rhythm guitar on "Sheep", lead vocals on "Sheep", "Shine On You Crazy Diamond", and "Another Brick in the Wall, Part II" Richard Wright – keyboards, synthesizers (except on "Money"), vocals Nick Mason – drums, percussion (except on "Money"), vocal phrase on "One of These Days"
Additional personnel James Guthrie – remastering production The Islington Green School – vocals on "Another Brick in the Wall, Part II" Dick Parry – saxophone on "Money", "Shine On You Crazy Diamond" Doug Sax – mastering and remastering TCP (pseudonym for Hipgnosis) – sleeve design and photos (Storm Thorgerson, Peter Christopherson, and Aubrey "Po" Powell) COMMENT: Biography by Richie Unterberger
Pink Floyd is the premier space rock band. Since the mid-'60s, their music relentlessly tinkered with electronics and all manner of special effects to push pop formats to their outer limits. At the same time they wrestled with lyrical themes and concepts of such massive scale that their music has taken on almost classical, operatic quality, in both sound and words. Despite their astral image, the group was brought down to earth in the 1980s by decidedly mundane power struggles over leadership and, ultimately, ownership of the band's very name. After that time, they were little more than a dinosaur act, capable of filling stadiums and topping the charts, but offering little more than a spectacular recreation of their most successful formulas. Their latter-day staleness cannot disguise the fact that, for the first decade or so of their existence, they were one of the most innovative groups around, in concert and (especially) in the studio.
While Pink Floyd are mostly known for their grandiose concept albums of the 1970s, they started as a very different sort of psychedelic band. Soon after they first began playing together in the mid-'60s, they fell firmly under the leadership of lead guitarist Syd Barrett, the gifted genius who would write and sing most of their early material. The Cambridge native shared the stage with Roger Waters (bass), Rick Wright (keyboards), and Nick Mason (drums). The name Pink Floyd, seemingly so far-out, was actually derived from the first names of two ancient bluesmen (Pink Anderson and Floyd Council). And at first, Pink Floyd were much more conventional than the act into which they would evolve, concentrating on the rock and R&B material that were so common to the repertoires of mid-'60s British bands.
Pink Floyd quickly began to experiment, however, stretching out songs with wild instrumental freak-out passages incorporating feedback; electronic screeches; and unusual, eerie sounds created by loud amplification, reverb, and such tricks as sliding ball bearings up and down guitar strings. In 1966, they began to pick up a following in the London underground; on-stage, they began to incorporate light shows to add to the psychedelic effect. Most importantly, Syd Barrett began to compose pop-psychedelic gems that combined unusual psychedelic arrangements (particularly in the haunting guitar and celestial organ licks) with catchy melodies and incisive lyrics that viewed the world with a sense of poetic, childlike wonder.
VINYL GRADING SYSTEM
RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear. NEAR MINT:
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear. EXCELLENT:
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing. VERY GOOD:
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine. GOOD:
RECORD: Very obviously been played with very noticeable surface marks & exhibits major loss of sound quality.
COVER: Noticeable folding, scuffing of spine or edges, splits in seams or spine or fading of colour. FAIR: RECORD: Still just playable & exhibits considerable surface noise. COVER: Major tears, wearing, splits & stains. POOR: RECORD: Will not play properly due to scratches etc. COVER: Very badly damaged. +(PLUS)/-(MINUS): Slightly up or down in condition as appears in the comments above. NOTE: Gradings are done visually unless there appears to be a questionable surface mark on the vinyl, it is then put on the turntable to check. A comment describing the outcome will appear if this is the case.
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