PINK FLOYD Dark Side of the Moon BLUE PRISM 1st Press UK 1973 SHVL 804 COMPLETE

$

771

Record Grade: VG+

Sleeve Grade: VG+

(Grading Reference - “Goldmine Magazine”, “Vinyl Factory”)

Visually, this record is essentially “EX”. Side 1 has a very faint scuff at the “top” that is difficult to see but I included an extra photograph showing just that. Otherwise, both sides have hardly any noticeable blemishes. Each side has a fantastic shimmer and shine.

Comes with all “extras” included in the original UK release. Postcards and posters are visibly unused.

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Side 1 Matrix

SHVL 804 A-2 (0 looks like C)

Other- “OP” sideways, C1 (possibly 01)

Side 2 Matrix

SHVL 804 B-2 (0 looks like C)

(Some brackets) “[ ]”, C1 (possibly 01)

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See all photographs for exact details. This is the copy you will receive. If more photographs of specific angles or areas of the record / sleeve / extras are desired, please message with your request. Serious inquiries only.

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Listen tested 11/18/2023. Audio recorded (not for archival) via iPhone microphone for reference. Audio file available upon request.

Audio system used: Ortofon 2M Orange, Technics SL-1200MK2, McIntosh MA-6100, Klipsch RF-5 x 2. Ultrasonically cleaned in tergitol solution, dried with microfiber-covered vacuum.

Full listen test notes:

Side 1

:05 Very light popping and crackle throughout intro

:49 begin talking

1:15 amazing dynamic with the machine synth sounds fading in

1:24 yelling fades in, hardly any crackles or pops audible

2:17 - one little crackle

2:40 - breathe vocals

3:18 - right before “all your life will ever be”, slight pop crackle

4:08 - some crackling in the transition

4:42 - pop audible, loudest thus far

5:06 - swelling left to right audio fantastic

5:55 - rich, deep bass as synth sinks

6:17 - lightest crackle left channel

7:10 plane crash to silence -

7:20 crackling - until time, every rotation a little tat

7:52 - clocks begin for time

8:33 - time synths drop in - light crackling in this section hardly noticeable with the tracks and piano

10:10 ticking away - vocals so rich and intentional distortion as

11:09 guitar solo 1, no unintentional distortion or muddling.

11:52 / 11:59 high notes in solo come through piercing

12:35 “when your eye” and background lead guitar parts come through spaced harmoniously

13:29 background vocals especially crisp

13:53 “home, home again”, a bit of overlay crackle

14:41 “softly spoken magic spells”

14:50 piano interlude — noticeably improved crackling at a minimum for this side

15:25 first spoken vocals -Great gig

16:55 wailing vocals and mix with synth at a climax and layering is magical- music every which direction but

17:19 - quiet oohs- very quiet surface noise. Almost indiscernible

18:20 piano lead to last vocals.

A little crackling in left on the rotation.

19:25 - surface sounds until fade out

Side 2

:10 money sounds

Crackling. A bit noticeable in right channel

But as bass enters, crackling and all pops are indiscernible.

:37 first guitar twang -

:50 money — amazing clarity

1:16 Some crackling with focus on left channel

1:34 again, if listening very very close some crackle in left channel

1:58 the Stratocaster comes through so genuine in the left channel

2:11 the sax solo rips both channels and covers all discrepancies of the surface sounds

3:14 guitar solo dynamic between each channel with the echo is almost unattainable in other pressings that I’ve heard

3:43 the climax of the guitar solo before the bending section and sound drop out carries so well - no top distortion whatsoever.

4:20 right at the near end of the quiet solo a pop comes through at this moment

4:42 all major squeals so pure

5:06 solo winds down and synths come in

5:20 vocals in right channel strong

6:00 “giving none away”- no surface sounds

6:12 as music fades and spoken vocals come on a little light rotational crackle comes through the right

6:49 Crackling pop for 15 seconds as Us and Them begins - primarily in the right channel. Nothing ugly.

7:40 one light pop in right channel.

7:50 soft sax solo - there can be a pop left and right and crackle until 8:20 when vocals become more present

8:30 crackle in left channel with very minor rotational pop

8:50 “me and you”, the pop is persistent in the left.

9:18 “forward you cry” - all surface noise indiscernible

9:49 - “black and blue”, crackling quieter than before

10:15 “who is who” - sax solo - quiet in background

10:41 “round and round” - amazing vocal separation and quiet surface

11:15 “room for you inside” —

11:25 piano solo - left channel crackle noticeable while the spoken vocal comes in

11:55 sax solo no cracks or pop. Very clean section.

12:26 - sax solo explodes with vocals - thunderous combination

12:52 “down and out” - barely left channel rotational pop - but noticeable due to quiet tracks

13:26 “with without” - a little crackle in either channel - “it’s what the fighting all about” - very clean here with the sax solo coming back

14:00 “it’s a new decay” -

14:29 any color you like - clean transition

14:50 if anything, a little crackle in the right channel more if listening close.

16:05 dialing guitars - maybe the slightest static distortion, but could also be original intention

16:33 the left channel guitar sounds perfect

16:50 the right channel guitar smacks are so clean

17:00 the baritone sax can heard so well and that bottom layer comes through in great balance

17:50 brain damage - slight crackle in either channel to begin with but gets surprisingly clear

(Recording paused due to child crying in background - timer reset for beginning of Brain damage)

(Start of brain damage)

:38 maybe some crackles but otherwise super clean in these timeless, classic vocal sections.

1:40 “I’ll see you on the dark side of the moon” - vocals are as expected perfectly layered and picked out - but the bass and synth that comes through is the real surprise here that can really feel the guttural response and producer’s intention.

3:05

Synth section - really, again, hardly any surface sounds that c

3:22 pop in the right channel 6 or 7 rotations and fades out - otherwise brain damage would have been a “9/10”

4:03 “all that you touch.” The clean guitar and synth dance here, and are built up further by the vocals.

5:16 hardly any surface sounds, the whisking of the record is all, with slight crackle and rotational low “whoosh” as the heartbeat fades out.

5:52 end.

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Final listing note - the last two photographs included are for reference only. The cleaning system, ‘other’ discs in the pictures, and all audio equipment are not included in this listing.