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Pink floyd - the wall (180g 2lp)
Artist: Pink Floyd
Title: The Wall
Vinyl (February 28, 2012)
Number of Discs: 2 (180 gm LP)
Label: Capitol
ASIN: B00536OCYG

Features:
• 180 Gram Heavyweight Double Vinyl
• 2011"Why Pink Floyd?" Collector's Edition Double LP
• Cut by Doug Sax at The Mastering Lab
• Remastered by James Guthrie
• Artwork by Storm Thorgerson

Tracks:
LP 1
1. In The Flesh?
2. The Thin Ice
3. Another Brick In The Wall Part 1
4. The Happiest Days of Our Lives
5. Another Brick In The Wall Part 2
6. Mother
7. Goodbye Blue Sky
8. Empty Spaces
9. Young Lust
10. One of My Turns
11. Don't Leave Me Now
12. Another Brick In The Wall Part 3
13. Goodbye Cruel World
LP 2
1. Hey You
2. Is There Anybody Out There
3. Nobody Home
4. Vera
5. Bring The Boys Back Home
6. Comfortable Numb
7. The Show Must Go On
8. In The Flesh
9. Run Like Hell
10. Waiting For The Worms
11. Stop
12. The Trial
13. Outside The Wall
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Review:

I received this is a birthday present from my brother and got the opportunity to finally spin this on the turntable. I've been saving it for awhile as I am a big Pink Floyd fan and what can I say, I was not disappointed. This is probably the best I've heard Pink Floyd sound on vinyl. Great clarity, soundstage, and dynamics. Roger Water's voice rings beautifully.

In addition to the great sound, the packaging is nothing short of A+. It's a nice gatefold with the "wall" artwork on inside and out. It also comes with a poster, insert, and optional vinyl or paper LP holder (it's nice to be able to choose your preference for holding those precious disks).

If you are a Pink Floyd fan this is a "must own". If not, I still recommend the purchase although the price can be somewhat high. Overall, this is a top recommendation.

I have the original release and played it in juxtaposition to CD and SACD variants of later years the other night.

The original vinyl was also very well done. As I understand it, the band were even more obsessive than Fagen and Becker of Steely Dan, in the area of takes, retakes, edits, mixing and mastering.

The original vinyl holds up well compared even to the SACDs. I was impressed (not having listened to the original release in a long time).

Digging around to find all the Sheffield Lab direct to disk recordings, I found my Mobile Fidelity vinyl version, so I’ll put that one in the queue for a listen soon.

This one still gets a fair amount of spin time in the system. Pink Floyd was know for the psychedelic rock experimentation and I always felt the "sound" was very important to them and was reflected in their recordings.

admin wrote: ↑Wed Jun 15, 2022 6:30 am This one still gets a fair amount of spin time in the system. Pink Floyd was know for the psychedelic rock experimentation and I always felt the "sound" was very important to them and was reflected in their recordings.

For its era, it was a genuinely startling use of two channels. We had always had some notion of left and right. The notion of a soundstage was not yet prevalent except with the Hi Fi Fanatics - maybe that’s still true. But listening, especially with headphones, it was thrilling to hear two separate tracks. Horn here. Violin there. Sax on both so centered. There was a lot captured that systems of the day could not resolve.

Dark Side of the Moon was in your face, with stuff moving from one side to the other, and it includes a whole spectrum of expected and unexpected sounds. It was unique when it appeared.

Pink Floyd, every time I saw them in concert, would position speakers in the rear and to the sides of the venue in addition to those that were on stage. The speakers were spread through the venue (both indoors and outdoors) and mainly handled the special effects that they brought on tape machines.

Talk about a true “sound stage!”

They also knew how to pick some of the best venues to play. Like this:

Looks like the 1989 concert on the barge in Venice.

Ahhhh …. The life of a rock star.

Money for nuthin’ an’ you’re chicks for free

Actually there were many other experimenters with stereo imaging, and even quadrophonic imaging.

“Their Satanic Majesty’s Request” by The Rolling Stones had to have been an influence.

Instead of outer space (1000 light years from home) Pink Floyd took it straight to the inner workings of the mind. Rod Serling meets Gene Roddenberry.

The Stones studio work was not as well done in my opinion. They seemed oftentimes to be trying to sound like a garage band. Pink Floyd sounded like they knew you had money and wanted to titillate you. I’ve got at least five copies of assorted releases of Dark Side of the Moon (that I can put my hands on without looking), so I guess it worked.

You're right, AJ, about quad systems coming into vogue in the early 70s'. I had a Marantz/Cerwin Vega quadraphonic system from '74 until around 1985 or so when my main system was switched to a conventional stereo-based Adcom/Polk set-up. Then I fell into the rabbit hole around '93 with a CJ PV10A/ML rig. I've had CJ in one form or another ever since. Never looked back and never really disappointed.