PINK FLOYD The Wall SUPERB HARDLY PLAYED UK 1979 EX++ LPs COMPLETE, SUPERB SOUND

	£		172
	$		227

ONEADAYRECORDS – Simply Delivering Quality Music to the World in Quality, Safe Packing.

Postage: UK £4.75 (£1 per extra record). Europe (including Russia) £12.50 (£2 per extra record). Rest of World (including ALL parts of the USA) £16.50 (£3 per extra record). All boxes signed for in quality, safe packaging – I NEVER use mailing envelopes that offer virtually no protection at all, and records WILL arrive damaged in them at some time as most record buyers will already know. Here, you get what you pay for – SAFE PACKING in BOXES using 7mm DOUBLE-WALL STIFFENERS including full side protection and bubble wrap, the records removed from the covers of course. All this very safe packing means I lose money on every box I post, but safe delivery is, and will always be paramount. You WILL see the difference when my packet arrives. Also, I will pay for insurance on any record that sells for over £100 at NO extra cost – that is UK and abroad. Also I aim to post the very same day after payment is received if possible.

Posting to Russia: Yes, I do post to Russia. But delivery can take up to 4 to 6 weeks from the UK. So please be patient. I will submit a tracking number to the winning bidder, and when the packet arrives there it can be followed online using the Russian post website.

ALSO: I now apply the Ebay ‘2-day’ rule for non-payment to keep things moving – cash-flow is important for any small business.

FINALLY: Late payers, non-payers and ‘0’ bidders will now be blocked or cancelled at my discretion. As will any bidder who cancels a bid. I do not like this practice as it is most often used to phish out the price to beat. Ebay does not approve and neither do I – so only bid on my items if you want them.

Artist or Band: PINK FLOYD

Album Title: The Wall

Producer(s): Bob Ezrin, David Gilmour, James Guthrie, Roger Waters.

TRACK LIST:

Side 1: In the Flesh?; The Thin Ice; Another Brick in the Wall Part 1; The Happiest Days of Our Lives; Another Brick in the Wall Part 2; Mother.

Side 2: Goodbye Blue Sky; Empty Spaces; Young Lust; One of My Turns; Don’t Leave Me Now; Another Brick in the Wall Part 3; Goodbye Cruel World.

Side 3: Hey You; Is There Anybody Out There?; Nobody Home; Vera; Bring the Boys Back Home; Comfortably Numb.

Side 4: The Show Must Go On; In the Flesh; Run Like Hell; Waiting for the Worms; Stop; The Trial; Outside the Wall.

Label/Format: Harvest – customised design with matt, quite smooth surfaces.

Label Conditions: All four practically as-made. Very clean, fresh and attractive with hardly a spindle trace to be seen. This amazing copy appears hardly even played. Another album from the one-owner-from-new collection who treasured his collection. He cover-protected the main sleeve and stored the records in replacement Decca inner sleeves (these were placed inside the albums’s inners and will be supplied). Thus most from this collection are in superb condition, this album has no initials or writing.

Catalogue Number: SHSP 4111/12

Mode / Speed: Stereo / 33.3 rpm.

Warps: Assume all records I offer have no warping of any significance and all tracking is easy and effortless and should play on all turntables and even ‘budget’ decks.

Weight of Records: 120 / 127 grams.

Country of Manufacture: England

Rarity & Special Note: The album itself is common, let’s not pretend otherwise, even first issues – where there are records, there will a copy of ‘The Wall’. It sold in vast numbers in the UK, Europe and especially America. That possibly surprising due to being issued right at the peak of punk rock and the ‘New Wave’ era at the end of the 1970s. It did not receive the greatest of reviews in some quarters either, many reviewed it through punk-rock-tinted-headphones. As a younger man, I bought the three ‘rock’ music weeklies of the time – ‘Sounds’, ‘NME’ and ‘Melody Maker’, the reviews were somewhat negative that I was somewhat put-off even buying a copy, especially as I was never that keen on the previous album ‘Animals’, which for me, is still the most disappointing Pink Floyd album. With the youth of the day swayed by the new raw and energetic sounds of the punk bands, it appeared the age of conceptual progressive rock albums had had their day – but the more discerning record-buying public had other ideas. A friend on the day of issue came round to my house (well my parents house to be accurate in 1979) with a copy and said “fancy listening to this”? I did, and was immediately hooked – I thought it a magnificent return to form and sent my system into overdrive.

‘The Wall’ is superbly recorded with immense hi-fi sound, but as per usual, it was quickly mass-produced to meet demand – and there lies the problem. Predictably, pressing quality suffered, I reject far more copies of this album than I ever offer. Many copies can appear clean and hardly even used, but have inherent crackle, sporadic pops and clicks, and even pressing pits and bumps that of course emit loud clunks when they contact the stylus – I will NOT offer them. Over time, I have found this one of the most difficult albums to find that will play well throughout, and I deem a ‘silent’ copy over four sides near impossible to find.

Well – at last – I have a first issue copy here that comes pretty close. Play-graded on my Linn Sondek LP12, still one of the world’s most revealing turntables, it takes no prisoners in revealing all what is good on a record (as well anything bad) – a copy that totally blew me away with little unwanted. Knowing the issues this record so often has, I will no longer purchase any copy I cannot hear all the way through first – actually a policy I have for most albums these days. There is so much rubbish out there, and who needs it? All four sides are very impressive, devoid of pressing flaws or unwanted noises. The odd gentle sporadic tick, yes, but over four quite long sides, will any standard copy really have none? So in terms of ‘rarity’, I consider a clean-playing ‘Wall’ to be pretty rare, even with many examples in circulation. Buying them ‘blind’ is massively risky if sound quality is of prime concern. Not only is this superbly pressed, it is barely even run-in with two stunning records that do this immense production and work absolute maximum justice. The sheer drama, soundscale, dynamic range and warmth the analogue format offers will never be bettered for the sound purists, no other format to date, does this massive album better justice. This is a complete copy with the transparent name sheet, the original text cover and both inners, again with the first credits. Also a ‘Time Out’ paper cut-out dated June 1982 that promotes the Film of the same name, even with the Empire theatre ticket application form fully intact with no writing. A nice bonus piece that enhances the album.

Original Year of Release: November 30th, 1979

Matrix Nos: SHSP 4111 A-2U / SHSP 4111 B-5U / SHSP 4112 A-4U / SHSP 4112 B-2U [all machine punched]

Run-Out Groove Etchings: TML-X / TML-M / TML-X / TML-M

Credited Musicians & Vocalists: David Gilmour – guitars, vocals, bass guitars, synthesisers, clavinet, sound effects; Nick Mason – drums, percussion; Roger Waters – vocals, bass guitars, guitars, synthesiser, sound effects; Richard Wright – organ, piano, Rhodes electric piano, synthesisers, bass pedals. With: Bruce Johnston, Toni Tennille, Joe Chemay, John Joyce, Stan Farber, Jim Haas – backing vocals; Islington Green School – children’s choir, Michael Kamen – orchestral arrangement, Bob Ezrin – orchestral arrangement.

Additional musicians (uncredited): Bob Ezrin – organ, piano, synthesiser, backing vocals; James Guthrie – percussion, synthesiser, sound effects; Jeff Porcaro – drums; Joe Porcaro, Blue Ocean & 5 others – snare drums; Lee Ritenour – guitars; Joe (Ron) di Blasi – classical guitar; Fred Mandel – Hammond organ; Bobbye Hall – congas, bongos; Frank Marrocco – concertina; Larry Williams – clarinet; Trevor Veitch – mandolin; New York Orchestra – orchestra; New York Opera – choral vocals; Unnamed children’s choir from New York – children’s choral vocals; Vicki & Clare – backing vocals; Harry Waters – child’s voice, ‘Goodbye Blue Sky’; Chris Fitzmorris – male telephone voice; Trudy Young – voice of the groupie; Phil Taylor – sound effects.

Brief Info: Most rock fans will know all about this album, it’s fame and popularity is largely global. Even with somewhat mixed reviews of the time, and no longer deemed ‘fashionable’, it sold in vast numbers. The condition for me the most important factor as I know from experience (with several less than wonderful copies bought ‘blind’ in the past) many, if not most, will not offer the sound the more discerning fans and collectors really want. This not unusual from very mass-produced albums and many earlier Pink Floyd albums suffer the same issues. If any album deserved the Nimbus Super-Cut treatment, this is one of them, alas it never happened. That said, this copy plays SUPERBLY, with little unwanted across all four sides – that is immensely unusual, bordering on rare. These records appear hardly used or handled, the original cover hardly aged, both inners unsplit and clean, and lastly, the plastic transparent ‘sticker’ on the front is fantastic, fresh and clear. This part, so often missing, is somewhat unusual as well. The most crucial factor for me is always audio quality – I only want top sound – and this really delivers. Not absolutely pristine, but I deem few ever will be that, but I would take a copy this clean every day of the week. I have heard few better and they come along very infrequently as such.

Cover Grade and Format: EXCELLENT(++): an unlaminated gatefold format with matt, smooth surfaces with no bar code. It has no outer text, even on the spine and has the correct darker off-white finish (later ones were pure white and look very different). It includes the PVC transparent ‘static adhesive’ title panel (‘sticker’), but this is not sticky. The inside has the correct text for a first printed cover, also the brick ends on the edges are non-aligned. Printed and made in England. Includes the two different card unlined lyric inner sleeves which were printed and made in England by Garrod & Lofthouse. These have the correct round corners and wide, recessed areas on the top openings. For good measure as stated above, a ‘Time Out’ cutting promoting the Movie of the same name.

The PVC Title Sheet: PRACTICALLY MINT: this ‘adheres’ with static, but this affect dimishes with age, and this one has lost it being honest. It remains close to as made: very clear unfogged and fresh looking with any marks or blemishes minuscule, there are no scratches, all the text is pristine. No curl or thumb creasing, this still lays perfect flat and attractively to the cover’s surface as seen.

Cover Front: Very simplistic in design, but an iconic cover within the rock genre, this has the correct off-white finish, later ones were very white (and have different inside credits). Offering minimal trace of age and barely any hint of grubbiness with hardly a crease to be seen. Any blemishes seen under light little and very light, this famous front will prove hard to find better.

Cover Back: Practically the same again – even better if anything. The lack of ring wear or rim impression is most welcome and seldom seen.

Cover Inner Gatefold: Nothing really to fault, almost as made, this has the first credits, that means the band members are NOT listed.

Top Edges: Straight and flat with barely any wear or discolouration at all. Viewed end-on, the inside card panel ends are seen which is again correct for a first-made format.

Bottom Edges: Virtually as above, any thickening to the card end panels tiny and very light, hardly any.

Right Edge(s), and Type: Both immaculate, clean, crisp and sharp with no thickening, even viewed end-on. Both are guaranteed untrimmed or enhanced in any way. Records enter on these edges.

Spine and Text: Solid, thick, straight with no compression or rubbing. This folded close to square, so the edges meet up flush and near parallel. No text printed on this spine or any outer part of this cover. Very slight darkening of the surface which few avoid totally.

Corners: Barely any tip rubs or wear at all, all retain better than excellent to mint shape with no knocks or dinks.

Cover Summary: A very strong all-round example of this famous late 1970’s cover, one that will prove difficult to find much better. This attractive, little handled and cover-protected example should please many, if not most collectors.

The Inner Sleeves: Both PRACTICALLY MINT: these have the correct rounded corners and wide recessed top openings. These card inners are unlined and the top openings are immaculate as-seen, quite honestly, both are practically as-made, totally unaged, creased or rubbed. As stated, the one-owner-from-new put new Decca soft-lined inners inside these, thus they have even avoided rim impression. I will supply these same Decca inners as well as my standard brand new soft-lined white inners as well.

The Paper Cutting: No Grade, it is not part of the album, but a lovely item to own with its link to this set. Its a page from ‘Time Out’ from June 1982. This promotes Pink Floyd ‘The Wall’ movie with its dramatic graphic. The Empire ticket application form is attached and not filled-in. This sheet uncreased or aged, certainly a piece of Floyd history that will not be found often these days.

Vinyl Condition/Visual Grading: Both EXCELLENT(++): the only reason a Near Mint grading was not considered is two sides have a little light dulling from those aforementioned lined Decca inners. This seen under light, it does absolutely nothing. Still a superb visual pair that are clean, still fresh with mostly superb shine. The lack of stylus or inner sleeve abrasions is the best news, these appear hardly even handled. The connoisseur owner really knew how to look after records, and quite honestly hardly played them. I doubt if these discs have seen light-of-day for decades and barely run-in in vinyl terms. These are two records time has overlooked, and rarely do popular albums that came in those hard card inners get away with hardly even a hairline. These appear pressed on very pure vinyl and that makes the real difference. They are pressed to near ultimate quality for a massed-produced title, and that is not always the case.

Album Played For Grading: Yes. [I play ALL records I offer before submitting to Ebay, also the record is played in its entirety unless clearly stated otherwise. I do NOT play snippets or joining grooves to check for sound quality and quietness – I play from the beginning to end via clinically revealing B&W speakers that include the legendary tweeter from their awesome Nautilus range that reveals every blemish or minuscule sound present on any record.]

Sound Quality and Audio Grading: The sound quality on this album has been a long-time hi-fi favourite and demonstration-piece to really put any system through it’s paces. With thunderous dynamics and audio range, this is a masterclass in engineering and production. So sadly often let-down by mass-production – getting units in the retailers was the order-of-the-day and quality control seemed less important. As already stated further up, I seldom find any copy of this album I deem worthy of offering – if they fail to please me (yes, I am admittedly fussy), why should I expect them to please any potential buyer? Often blighted with loud crackle, loud pops, repetitive clicks and pressing noises, these issues are all too common on this album. This has several very quiet passages and is quite long in duration. One copy I had, was covered in pressing pits and tiny blisters which sounded, ruining the whole experience, I will not offer such copies and it end-up in the recycling bin. I will not purchase any copy without hearing it first, I simply do not need any more ‘rejects’ or inferior noisy copies. This one was a genuine delight to play-grade with any blemishes very few and light.

It is always with trepidation I play even the cleanest, most unplayed looking copy of ‘The Wall’. Sure, any hardly used copy stands a better chance, but even brand new copies – as I heard back in 1979 – could, and did disappoint. This one failed to do so, it has very little to fault. An album of contrasting volumes and effects, some immensely quiet passages as well as loud – a typical prog-rock album in all respect. Played at volume on my LP12, that diving Stuka with the wailing sirens made my skin erupt in goosebumps, and the famed helicopter sounded directly overhead. The incredible slam of the drums and bass, and the equally famous smashing up of the room was breathtaking. Even the quiet passages were mostly just that – quiet – with little unwanted, tracking is effortless*. No distortion, pressing sounds, all the ultimate details fully intact with no loss of focus and clarity. The lack of irritating crackle and loud or repetitive clicks considerable pluses. The odd sporadic tick is nigh-on impossible to avoid, that simply being realistic. It only takes a minute fragment to embed into those ultra fine groove and it can sound, that can happen simply by removing from the inner. All elements of this copy, well stored and carefully handled, the records were stored inside replacement soft-lined inners and probably not seen light-of-day since. The aforementioned dulling does absolutely nothing in terms of audio playback and is relatively small and light anyway. Little of any note spoilt my pleasure when play-grading this prog-rock classic. ‘Comfortably Numb’ is probably the best way of explaining how I felt after playing these four sides – that immense track with its monumental guitar break simply left me aghast. Knowing what this is like to find, this hardly played, superbly pressed copy will prove immensely difficult to find better and merits my highest recommendation.

* As played-graded on a high-end Linn LP12 Sondek turntable with Ittok Mk II arm and Ortofon Quintet Black moving coil cartridge tracking at 2.2 grams. Records are a ‘contact’ format, and few will avoid the odd minor sound blemish.

Now one of the most established sellers on Ebay and still offering the finest and most accurately described and graded records I can find. I pride myself on offering a variety of genres to keep my site as interesting as possible. I will rarely offer any record that falls below a true Excellent grading, unless its of a certain rarity which will justify offering a lesser grade. I try, to the best of my ability to describe as accurately and as honesty as I can all items I offer for sale with all the relevant information I can think of to help any potential bidder and collector. You may notice I only submit records sparingly on Ebay as I Play-Grade every record I offer in their entirety – also on higher-end equipment – not just bits to guess a grade – visuals alone do not always tell a true or full story. I will mention any defects or flaws no matter how small that I notice to be fair as possible to any interested collector – I am very fussy and my buyers have the right to be too. Every record I offer, whether it be a common or rare item deserves the same respect as far as I am concerned and will be treated the same - just because an item is rare does not always mean it’s good. I get just as much pleasure offering a relatively common record in stunning near mint condition as the real rare items. All the pictures I use for your guidance are the item being offered with no digital enhancements. Room light factors can make things vary sometimes, that is hard to control, especially in winter. If any picture I take looks more flattering than the actual item for any reason, I will clearly state the fact in the advert and vice-versa. I hope the item below is to your liking – any questions can be emailed and I will do my very best to answer you. I am enthusiastic, and have a fair degree of knowledge about many genres and I promise quality items. Please assume all records I offer have NO jumps, sticks, warps or writing on covers or labels unless clearly stated to the contrary. Thanks for your interest and Good luck – MIKE.

Deck: Linn LP12/Hercules/Cirkus with Ittok Mk II arm and Ortofon Quintet Black moving coil cartridge (tracks at 2.2 grams). Amps: Naim Supernait 2 with Project USB phono stage and Tellerium Black interconnects. Speakers: B&W 805 Nautilus (bi-wired with Tellurium Black terminated cable) with REL subwoofer. All records I offer on Ebay are cleaned on a professional VPI-17 vacuum machine before play-grading for the cleanest and best possible sound and will include a brand new lined inner and protective cover too. Pictures taken with a Nikon D5000 SLR Digital Camera.

PACKING - THIS IS WHAT YOU GET.

What You Get: To confirm to the strict Ebay rules on shipping, I must now send ALL my packets ‘Signed-For’ with NO exceptions. Both buyers and sellers want their packets to have a safer journey and this is not a bad thing.

I now offer the fastest possible posting, often the very next day after payment is received or within two to three days maximum (unless on holiday). I only use FIRST-CLASS Mail. The record’s cover will be placed within a BRAND NEW soft protective sleeve and the actual record will be professionally cleaned on my new VPI-17 Pro vacuum system to give ultimate clean grooves and playing surfaces and the best possible looks and ultimate sound quality. You will NOT get tired, dull looking, dust infested records inside worn and foggy covers with tatty inners from this seller and that’s a promise and guarantee. All records are posted in professional boxes (NOT Mailers, these do not offer any real protection). The record(s) are REMOVED from their main cover to avoid edge splits and placed within a brand new polylined inner. The record’s original inner will be included if available. The boxes are then reinforced with at least TWO, ULTRA THICK stiffeners for maximum extra protection – these are FOUR TIMES thicker than commercial stiffeners and are custom-made for oneadayrecords. Really rare and expensive albums will even be Double Boxed if deemed necessary and possible. When larger boxes are used, the thick record and stiffener ‘sandwich’ is then thickly embedded into bubble-wrap to bulk out the record inside the box to centre the item inside to reduce the risk of damage still further. Printed address labels are used for clarity as well as a sender label. Customers requests or special needs for P&P will be respected if at all possible but ‘Signed-For’ posting is NOT an option anymore. I do not profit on posting, better quality packaging costs, I offer probably the best-value and safest shipping possible for ultimate confidence. The boxes and ultra thick double-wall stiffeners make a near impregnable fortress for safe shipping and this is used inland and overseas for ALL my records, not just the rare and expensive. I will invoice any winning bidder as soon as possible after the auction ends. My ‘loss’ or ‘damage rate’ is minuscule in over 17­ years of Ebay trading and I consider that pretty exceptional. The only damage rate acceptable for this seller is ZERO and I think my packets will offer just that. It would take a vicious postman or postal service to damage these for sure. Oneadayrecords is a MAILER-FREE ZONE. I discount of course for multiple purchases with a maximum of FIVE records per box (one double can sometimes be included subject to total weight). All postage costs are below and at the top of the listing.

NOTE: First Time Bidders: Please ask me first.

PLEASE NOTE: I now exercise my right to open a dispute after the Ebay rule of TWO days if no payment is received. I will then cancel the dispute to end the bid, again after the mandatory FOUR days and then offer the item to the runner-up or relist. The non-payer will also be blocked from my Ebay site as will any suspicious bids or bid withdrawals. Small businesses need prompt payment to trade and these strict rules WILL be applied.

SHIPPING COSTS & CONDITIONS – THESE comply with EBAY’S RULES - PLEASE READ CAREFULLY:

Posting & Packing: UK & CHANNEL ISLANDS all now sent via Recorded Delivery:

1 LP (FIRST-CLASS Recorded Delivery with Standard Royal Mail Insurance) [Signed For] = £4.75

1 LP (Special Delivery with Standard £500 Maximum Insurance) [Signed For, Next Day] = £7.50. (this includes insurance of £500). Add £1 per extra LP.

Posting & Packing: EUROPE & SCANDINAVIA. (Airmail Only):

1 LP (Small Packet ‘Signed For’ with Standard Royal Mail Insurance [£50 maximum]) = £12.50 (enhanced Royal Mail insurance is an optional extra £3). Add £2 per extra LP.

Posting & Packing: ALL OVERSEAS (non-European) e.g. USA (ANY PART OF); South America; New Zealand; Australia; Canada; Japan and other Far East; (Airmail Only: I NEVER use Surface Mail):

1 LP (Small Packet ‘Signed For’ with Standard Royal Mail Insurance [£50 maximum]) = £16.50 (£17.50 for double sets). Add £3 per extra LP. (enhanced Royal Mail insurance is an optional extra £3)

Payment Conditions:

I prefer PayPal or cheque from UK winning bidders. I can accept PayPal from overseas bidders or direct payment into my bank account.

Potential Bidders: I will cancel any bids I feel are time-wasters. A maximum 3 days for communication and 7 days for payment to arrive - if not I will relist the item or offer to the runner-up. Fast deals get great feedback from me. Any questions - please ask and thanks for looking.

My Guarantee: If any winning bidder is not satisfied with their purchase I will offer a complete refund. I will not refund if any defect detail is clearly stated on the advert and missed by the buyer, so read the item description carefully. If any overseas collector does not understand anything in my listing, please email and ask me to help. Thank You.

SOME GENERAL GUIDES TO WEAR AND CONDITIONS TO HELP YOU DECIDE

My Use of Description Terminology: Surface Marks = Superficial, usually light marks, hairlines or light scuffs that rarely sound. Scratch = a needle mark that goes below the record’s surface, some will sound, some will not, my play-grade will inform. Original = a record that has been pressed with the first label design which does NOT necessarily mean a very first pressed record. First Pressing = A record that I believe or know to be a genuine very first pressed record. I do not claim to always know for sure, and that’s why I state the stamper and matrix numbers if at all possible, for those who claim to know what they all mean, the information is there for the collector to decide. I prefer to use terms like ‘Early Copy’ rather than ‘First Pressing’ if I am not totally sure. Surface Sound = Mild, light sound, usually light crackle or similar. Distortion = Break up of the actual sound caused by groove wear or damage from a chipped stylus – the most undesirable form of unwanted sound, vintage mono records were the most prone to this happening but not exclusively so. The symptoms of distortion are high frequency clipping, moderate constant crackle or an echo type sound quality. Violin, piano and vocals are most prone to groove-wear distortion. Feathering = Fraying or softening of the entry edge of a cover. Covers with feathered entrance edges are more likely to have had the actual record inserted and removed more than a non-feathered, sharp-edged cover which are always far more attractive. Set Off, actually a printer’s term for dark ink leaving mild residue on pale or white ink when rested upon. e.g. when a gatefold cover has black ink closed against white, this can leave some black residue on the pale area – this is mostly unavoidable or course.

The Argument for Vinyl Original sound and mix (mono mixes are rarely available on CD), high quality sound on clean copies (played on a hi-end dedicated analogue system – breathtaking sound!), beautiful, large format covers, artwork, inserts and even full size posters etc; huge investment potential, and the pleasure of owning ‘the real thing’.