PINK FLOYD Ummagumma EX 1969 Harvest STBB-388 2LP 1ST PRESSING BRITISH PSYCH

$

30

Vinyl:  EX  Play Graded. Sounds Excellent!   Harvest Labels are Clean and Bright.   This is the 1969 Harvest STBB-388 Original 2LP 1ST PRESSING!  One of the best ways to experience Pink Floyd's Pre-Mega-Stardom eccentricity, this one was made a full 3-4 years before the making of Dark Side Of The Moon and it is at turns, weird, wild and wonderful.  One disc is Live, the other is in the Studio and gives each member a chance to explore sonically to their own pleasure...Enjoy!

See Review Below!
In The Dead Wax:  On both sides:  matrices, etched.  All sides have the glyph for Capitol's Los Angeles Pressing Plant.   Complete Dead Wax info cheerfully provided upon request.
Cover: VG+ (see photos).  Gatefold.  The famed trompe d'oeleil cover.  Front, Gatefold and back of cover artwork and text are rich, clear and bright, with some ring wear.  Seams, corners and spine are solid and clean with some wear.  No splits.  No writing.  Spine print is crystal clear.  

Goldmine Standards.   I play grade every record that I sell on eBay as I have found you can't rate a record accurately by just visually inspecting it.  I wipe the dust off of every cover with clean, unscented baby wipes.  I professionally clean the vinyl.  (I also operate a Vinyl Record Cleaning business for your dusty/dirty records--if interested, send me a message).
U.S. Shipping:  $5.49 Media Mail.  Tracking included.  50 cents additional shipping per additional item, when the shipment is combined.   If you wish to take advantage of my COMBINED SHIPPING deal, simply select your items by clicking on "ADD TO CART" on the main listing page.  Do this for all of your selections and then go to your cart to checkout. Your combined shipping discount will be computed automatically.  Free domestic shipping if you spend $100 or more!  
All records are packaged securely with the vinyl outside the jacket (to avoid seam split in transit). The vinyl and jacket are sandwiched between two cardboard stiffeners and shipped in a custom cardboard record mailer box. 
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Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album? 
First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl.  Why  experience the worse elements of both formats?  These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared.  They are nearly always compressed with murky transients and a general lifelessness in the overall sound.  There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm.  First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider.  Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive.  Inner details are  clearer.   On first and early pressings, the music tends to sound more ‘alive’ and vibrant.  The physics of sound energy is hard to clarify and write about from a listening perspective, but the best we can describe it is to say that you can 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.   

Ummagumma Review

by Bruce Eder

For many years, this double-LP was one of the most popular albums in Pink Floyd's pre-Dark Side of the Moon output, containing a live LP and a studio LP for the price of one. The live set, recorded in Birmingham and Manchester in June 1969, is limited to four numbers, all drawn from the group's first two LPs or their then-recent singles. Featuring the band's second lineup (i.e., no Syd Barrett), the set shows off a very potent group, their sound held together on-stage by Nick Mason's assertive drumming and Roger Waters' powerful bass work, which keep the proceedings moving no matter how spaced out the music gets. They also sound like they've got the amplifiers to make their music count, which is more than the early band had. "Astronomy Domine," "Careful with That Axe Eugene," "Set the Controls for the Heart of the Sun," and "A Saucerful of Secrets" are all superior here to their studio originals, done longer, louder, and harder, with a real edge to the playing. The studio LP was more experimental, each member getting a certain amount of space on the record to make his own music -- Richard Wright's "Sysyphus" was a pure keyboard work, featuring various synthesizers, organs, and pianos; David Gilmour's "The Narrow Way" was a three-part instrumental for acoustic and electric guitars and electronic keyboards, and Nick Mason's "The Grand Vizier's Garden Party" made use of a vast range of acoustic and electric percussion devices. Roger Waters' "Grantchester Meadows" was a lyrical folk-like number unlike almost anything else the group ever did.