Pink Floyd "Ummagumma" Harvest SHDW 1/2 UK 1st 2xLP g/fold "gand" misspell 1969

	£		20
	$		27

Pink Floyd "Ummagumma"  Harvest SHDW 1/2  UK 1st press 2 x Vinyl, LPs, housed in an outer laminated gate-fold sleeve and released in 1969. First issue without a boxed EMI logo on the yellow/green Harvest label. and on the D-side label, there is the misspelling: "The Gand [as opposed to 'Grand'] Vizier's Garden Party."
Both LPs appear to have been lightly played and are in great shape. The played through beautifully on my elderly stereo - no hop, stick or jump. The are housed in their original, gate-fold sleeve, which also shows minimum signs of wear and which is also in great shape - although a previous owner has written their name on the inside of the gate-fold and on the Side 1 labels of both albums. The spine is intact and totally legible. Matrix / Runout  Side 1 : SHDW 1 A-1 RT 2 Matrix / Runout (Variant 1 - Runout side B, stamped): SHDW 1 B-2 AG 2 Matrix / Runout (Variant 1 - Runout side C, stamped): SHDW 2 A-1 RH 1 Matrix / Runout (Variant 1 - Runout side D, stamped): SHDW 2 B-3 LI 1
"Ummagumma" is Pink Floyd's fourth album. It is a double album and was released on 7 November 1969 by Harvest Records. The first disc consists of live recordings from concerts at Mothers Club in Birmingham and the College of Commerce in Manchester that contained part of their normal set list of the time, while the second contains solo compositions by each member of the band recorded at EMI Studios (now Abbey Road Studios). The artwork was designed by regular Floyd collaborators Hipgnosis and features a number of pictures of the band combined to give a Droste effect. It was the last album cover to feature the band.
The album's title supposedly comes from Cambridge slang for sex, commonly used by Pink Floyd friend and occasional roadie, Iain "Emo" Moore, who would say, "I'm going back to the house for some ummagumma". According to Moore, he made up the term himself.
The album was the first album by the band released on the Harvest label. The cover artwork shows a Droste effect featuring the group, with a picture hanging on the wall showing the same scene, except that the band members have switched positions, and this is then repeated two more times. On most older editions, in the very centre of the Droste pattern is a tiny rendering of the band's previous LP "A Saucerful Of Secrets"; newer editions depict the Droste pattern repeating indefinitely. The cover of the original LP varies between the British, United States, Canadian and Australian releases. The British version has the album Gigi leaning against the wall immediately above the "Pink Floyd" letters. Storm Thorgerson explained that the album was introduced as a red herring to provoke debate, and that it has no intended meaning. On most copies of US and Canadian editions, the Gigi cover is airbrushed to a plain white sleeve, apparently because of copyright concerns, but the earliest US copies do show the Gigi cover, and it was restored for the US remastered CD edition. On the Australian edition, the Gigi cover is completely airbrushed, not even leaving a white square behind. The house used as the location for the front cover of the album is located in Great Shelford, near Cambridge.
On the rear cover, roadies Alan Styles (who also appears in "Alan's Psychedelic Breakfast") and Peter Watts are shown with the band's equipment laid out on a taxiway at London Biggin Hill Airport. This concept was proposed by Mason, with the intention of replicating the "exploded" drawings of military aircraft and their payloads, which were popular at the time. The inner gatefold art shows separate black-and-white photos of the band members. Gilmour is seen standing in front of the Elfin Oak. Original vinyl editions showed Waters with his first wife, Judy Trim, but she has been cropped out of the picture on most CD editions (with the original photo's caption "Roger Waters (and Jude)" accordingly changed to just "Roger Waters").
On release, "Ummagumma" received favourable reviews. International Times were particularly positive about the live album, with the reviewer describing it as "probably one of the best live recordings I have ever heard". Vox included the live half of this album on its list of "The Greatest Live Albums Ever". Stylus Magazine were very positive towards the album, saying the live album was "as a visceral document of the early Floyd's proclivity for atmospheric, energetic jamming, there's nothing else like it" and that the studio one "somehow transcends its fractured construction to make a full album-length statement".