MFSL Pink Floyd - Dark Side Of The Moon Acetate LP

$

500

Pink Floyd
Dark Side of the Moon

Side 2 ONLY! *See Below*

Format: Original Acetate / Lacquer
Label: Mobile Fidelity Sound Labs
Release Date: 1979
No. of Discs: 1

The Ultimate Mobile Fidelity Audiophile Collectible

*The picture above is a stock image for display purposes only. The item you are bidding on is a plain acetate with hand-written label and comes in a generic MFSL jacket*

Grades:
Record (Visual) - Very Good Plus Plus (VG++)
Record (Play) - Very Good Plus Plus (VG++)
Playback has a few minor ticks & pops and a moderate amount of surface noise

Track Listing:

Side B
1. Money
2. Us and Them
3. Any Colour You Like
4. Brain Damage
5. Eclipse

Mobile Fidelity Sound Lab “Dark Side of the Moon” side two acetate

Half-speed mastered by Stan Ricker circa 1979 from the original master tape

!SIDE TWO ONLY!

In 1979, recently out of college and aspiring to launch a marketing career in the music industry, I made the rounds interviewing with the leading record labels in Los Angeles.

One day while shopping for vinyl at my local record store, I came across a bin labeled “Audiophile Recordings.” 

I picked up a disc in the bin -- Supertramp’s “Crime of the Century” -- released by a company called Mobile Fidelity Sound Lab.

I was taken aback: they wanted almost 20 bucks for the recording, when the conventional vinyl release from A&M Records was only 7 bucks!

I was intrigued enough to want to learn more, so I handed over a Jackson to the record store clerk and took the disc home.

The cardboard stiffener in the pocket of the album jacket explained Mobile Fidelity’s “mission”: impeccably mastered and defect-free records showcasing the world’s greatest recording artists.

Eager with anticipation, I placed the Supertramp album on my turntable and cued it up.

Oh, no . . . It was slightly pinch warped!

Inside the pocket of the album jacket was a yellow piece of paper -- a “warranty card” -- explaining that all suspected defective records had to be returned directly to the company (and not to the retailer) . . . just like an audio component.

I noted that Mobile Fidelity was located in Chatsworth, a short drive from my home in Burbank (both suburbs of Los Angeles).

So I grabbed my car keys and headed off for their office, in a nondescript industry park populated by warehouses.

I was greeted by June Miller, who introduced herself as the company bookkeeper and mother of the company founder, Brad Miller.

We chatted amicably (learning among other things that Brad grew up, like me, in Burbank . . . and had a passion for recording trains and environmental sounds) while she processed the paperwork.

In a throwaway comment, June mentioned that the record label co-founders (Brad residing in Nevada, and Gary Giorgi residing in Washington state) were moving the corporate headquarters to the Chatsworth warehouse.

Serendipitously seeing a job opportunity, I resolved to write Gary a letter of introduction that very day.

A few weeks later I called Gary at his new office, and he invited me to come in for an interview.  We talked about Brad’s and his background, their ambitions for the company (and need to hire a sales and marketing staff), my own hobbyist interests in music and audio equipment, and my fervent desire to join the record industry.

Twenty minutes later, I was hired: the first marketing staffer at the new headquarters of Mobile Fidelity.

During my halcyon years at Mobile Fidelity, my responsibilities included establishing the domestic retail dealer network; organizing and running the company’s twice-annual Las Vegas and Chicago Consumer Electronics Show exhibits; distributing new releases to the leading magazine and newspaper record reviewers in the United States and England; serving as a liaison with high-end audio manufacturers which used the recordings as playback source material when evaluating the performance of their equipment; and serving as a liaison with the public in personally listening to each and every album (not many) that was returned as a suspected defect under the warranty program -- using Mobile Fidelity’s reference system comprising some of the most expensive and renowned audio equipment in the world.

(And to this day some thirty years later, I remain friends with former Mobile Fidelity colleague Stan Ricker, the peerless half-speed mastering maven.)

The “Dark Side” acetate offered for sale was given to me by my boss Gary Giorgi as a keepsake.  I have stored it all this years with my other Mobile Fidelity production albums.

With the resurgence of interest in vinyl albums, the time seems right to find a “good home” for this one-of-a-kind collectible: the most popular Mobile Fidelity title ever, and the rarest of all versions: an acetate (which never become available).

Chad Kassem, whom I have known for years for his tireless and passionate efforts in preserving our recorded musical heritage, is just the right audiophile records dealer to be entrusted with bringing this treasure to market.

-- Bob Henry
Mobile Fidelity Sound Lab “employee # 8.”

!Keep your eye on our other current and upcoming auctions for more vintage vinyl!

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