PINK FLOYD DARK SIDE OF THE MOON WLY KP LP RECORD WINCHESTER PRESSING WALLY KEN

Description: 2014 JOHN MARK NELSON SINGS THE MOON INDEPENDENT LABEL 33RECORD FOLK FUN CROONER PINK FLOYD DARK SIDE OF THE MOON WLY KP LP RECORD WINCHESTER PRESSING WALLY KEN Description GREETINGS, FEEL FREE TO "SHOP NAKED."© We deal in items we believe others will enjoy and want to purchase. We are not experts. We welcome any comments, questions, or concerns. WE ARE TARGETING A GLOBAL MARKET PLACE. Thanks in advance for your patronage. Please Be sure to add WDG to your favorites list! NOW FOR YOUR VIEWING PLEASURE… Pink Floyd – The Dark Side Of The Moon Label:Harvest – SMAS-11163 Format:Vinyl, LP, Album, Winchester Pressing, KP / Wly Mastering, Gatefold Country:US Released:Mar 1, 1973 Genre:Rock Style:Prog Rock, Psychedelic Rock Tracklist A1Speak To Me Written-By – Mason* A2Breathe Written-By – Gilmour*, Wright*, Waters* A3On The Run Written-By – Gilmour*, Waters* A4Time Written-By – Gilmour*, Mason*, Wright*, Waters* A5The Great Gig In The Sky Vocals – Clare Torry Written-By – Wright* B1Money Saxophone – Dick Parry Written-By – Waters* B2Us And Them Saxophone – Dick Parry Written-By – Wright*, Waters* B3Any Colour You Like Written-By – Gilmour*, Mason*, Wright* B4Brain Damage Written-By – Waters* B5Eclipse Written-By – Waters* Record Company – Capitol Industries, Inc. Recorded At – Abbey Road Studios Marketed By – Capitol Records, Inc. Distributed By – Capitol Records, Inc. Manufactured By – Capitol Records, Inc. Phonographic Copyright ℗ – The Gramophone Co. Ltd. Copyright © – TRO-Hampshire House Publishing Corp. Mastered At – Capitol Mastering Pressed By – Capitol Records Pressing Plant, Winchester Published By – TRO-Hampshire House Publishing Corp. Backing Vocals – Barry St John*, Doris Troy, Leslie Duncan*, Liza Strike Design [Sleeve Design], Photography By – Hipgnosis (2) Engineer – Alan Parsons Engineer [Assistant] – Peter Jones* Keyboards, Vocals, Synthesizer [VCS3] – Richard Wright Lacquer Cut By – Wly* Lyrics By, Bass Guitar, Vocals, Synthesizer [VCS3], Effects [Tape Effects] – Roger Waters Mixed By [Mixing Supervised By] – Chris Thomas Percussion, Effects [Tape Effects] – Nick Mason Producer – Pink Floyd Sleeve, Artwork [Stickers] – George Hardie, NTA* Vocals, Guitar, Synthesizer [VCS3] – David Gilmour "Wly" in runouts denotes that it was mastered by Wally Traugott. The Dark Side Of The Moon is another Winchester pressing, but has "KP" in runouts, denoting it was mastered by Ken Perry. Recorded at Abbey Road Studios, London between June 1972 and January 1973. Manufactured by Capitol Records Inc., a subsidiary of Capitol Industries, Inc., U.S.A. ℗ 1973 The Gramophone Company Ltd. Note on Credits: Though credited for the entire album, Barry St. John, Doris Troy, Lesley Duncan, and Liza Strike perform backing vocals only on tracks A4, B2, B4, and B5. Early release came with a hype sticker that did not have “Printed in U.S.A” Pressing Plant ID: KP (side 1) / Wly (side 2) Matrix / Runout (A-Side runout, var. 1): MASTERED BY CAPITOL SMAS-1-11163-F58 #6 KP Matrix / Runout (B-Side runout, var. 1): MASTERED BY CAPITOL SMAS-2-11163-F-48 Wly SOUND TESTED / BUYER APPROVED RECORD IS VG+ > EX COVER IS VG > VG+ (foxing, ring wear) THE FOLLOWING IS AN EXAMPLE, NOT ACTUAL https://www.youtube.com/watch?v=ybrN-NyX3go&list=PLC3cW51U-9eY-ED9F67QCtcP9McFLZ4i5 ---------------------------------------------- FYI In music, a single or record single is a type of release, typically a recording of fewer tracks than an LP or a CD. This can be released for sale to the public in a variety of different formats. In most cases, the single is a song that is released separately from an album, but it can still appear on an album. Often, these are the most popular songs from albums that are released separately for promotional uses such as commercial radio airplay, and in other cases a recording released as a single does not appear on an album. 45 rpm records are played on a record player or turntable. They can be played one at a time, with the records changed manually after they finish, or a stacking spindle could be used to play up to six in succession without manually changing them. The use of the spindle led to the coined "Stack O Wax" term in the 1950s. History: The basic parameters of the music single were established in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercial music. Gramophone discs were manufactured with a range of playback speeds (from 16 rpm to 78 rpm) and in several sizes (including 12″/30 cm). By around 1910, however, the 10-inch (25 cm) 78 rpm shellac disc had become the most commonly used format.The inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The relatively crude disc cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, and a high rotation speed was necessary to achieve acceptable recording and playback fidelity. 78 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. These factors, combined with the 10-inch songwriters and performers increasingly tailored their output to fit the new medium. The 3-minute single remained the standard into the 1960s when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recordings. In 1968 songwriter Jimmy Webb shattered the standard 3 minute format with "MacArthur Park" which exceeds 7 minutes length. Although Webb had written million-selling songs and was a multiple Grammy winner, the song had been rejected by several labels as simply too long for the marketplace to bear. The Beatles' also challenged deliberately the long-standing 3-minute standard for pop singles with their 1968 7 minute 20 second single "Hey Jude" which according to some was extended in length in order to exceed "MacArthur Park" Singles have been issued in various formats, including 7-inch (18 cm), 10-inch (25 cm) and 12-inch (30 cm) vinyl discs (usually playing at 45 rpm); 10-inch (25-cm) shellac discs (playing at 78 rpm); cassette, 8 and 12 cm (3- and 5-inch) CD singles and 7-inch (18 cm) plastic flexi discs. Other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc (5″/12 cm, 8″/20 cm, etc.). The most common form of the vinyl single is the 45 or 7 inch, the names are derived from its play speed, 45 rpm and the standard diameter 7″ (18 cm). The 7″ 45 rpm record was introduced in 1949 by RCA as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs. The first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s. Although 7″ remained the standard size for vinyl singles, 12″ singles were introduced for use by DJs in discos in the 1970s. The longer playing time of these singles allowed the inclusion of extended dance mixes of tracks. In addition, the larger surface area of the 12″ discs allowed for wider grooves (larger amplitude) and greater separation between grooves, the latter of which results in less cross-talk. Consequently, they 'wore' better, and were less susceptible to scratches. The 12″ single is still considered a standard format for dance music, though its popularity has declined in recent years. The sales of singles are recorded in record charts in most countries in a Top 40 format. These charts are often published in magazines and numerous television shows and radio programs count down the list. In order to be eligible for inclusion in the charts the single must meet the requirements set by the charting company, usually governing the number of songs and the total playing time of the single. In popular music, the commercial and artistic importance of the single (as compared to the EP or album) has varied over time, technological development, and according to the audience of particular artists and genres. Singles have generally been more important to artists who sell to the youngest purchasers of music (younger teenagers and pre-teens), who tend to have more limited financial resources. Perhaps the golden age of the single was on 45's in the 1950s and early 1960s in the early years of rock music. Starting in the mid-sixties, albums became a greater focus and more important as artists created albums of uniformly high quality and coherent themes, a trend which reached its apex in the development of the concept album. Over the first decade of the 21st century, the single generally received less and less attention in the United States as albums, which on Compact Disc had virtually identical production and distribution costs but could be sold at a higher price, became most retailers' primary method of selling music. Singles continued to be produced in the UK and Australia but have declined since the mid first decade of the 21st century. Dance music, however, has followed a different commercial pattern, and the single, especially the 12-inch vinyl single, remains a major method by which dance music is distributed. As of 2006 the single seems to be undergoing something of a revival. Commercial music download sites reportedly sell mostly single tracks rather than whole albums, and the increase in popularity seems to have rubbed off on physical formats. Portable audio players, which make it extremely easy to load and play songs from many different artists, are claimed to be a major factor behind this trend. A related development has been the popularity of mobile phone ringtones based on pop singles (on some modern phones, the actual single can be used as a ringtone). In September 2007, Sony BMG announced they would introduce a new type of CD single, called "ringles", for the 2007 holiday season. The format included three songs by an artist, plus a ringtone accessible from the user's computer. Sony announced plans to release 50 ringles in October and November, while Universal Music Group expected to release somewhere between 10 and 20 titles. In a reversal of this trend, a single has been released based on a ringtone itself. The Crazy Frog ringtone, which was a cult hit in Europe in 2004, was released as a mashup with Axel F in June 2005 amid a massive publicity campaign and subsequently hit #1 on the UK charts. (VIDEO & PICTURES 11 & 12 FOR DISPLAY ONLY) ------------------------------------------------- Thanks for choosing this auction. You may email for alternate payment arrangements. We combine shipping. Please pay promptly after the auction. The item will be shipped upon receipt of funds. WE ARE GOING GREEN, SO WE DO SOMETIMES USE CLEAN RECYCLED MATERIALS TO SHIP. Please leave feedback when you have received the item and are satisfied. Please respond when you have received the item * If you were pleased with this transaction, please respond with all 5 stars! If you are not pleased, let us know via e-mail. Our goal is for 5-star service. We want you to be a satisfied, return customer. Please express any concerns or questions. More pictures are available upon request. 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Price: 27.73 USD

Location: Jenks, Oklahoma

End Time: 2024-10-29T20:11:57.000Z

Shipping Cost: 7.38 USD