From 700 beds to flying pigs, Pink Floyds imagery has captured the imagination of worldwide audiences, but the stories behind the album covers are equally captivating.Please enable JavaScript in your browser to use the site fully.
Wish You Were Here Album Cover Series Of LegalIt was the kind of record that could have been a hit, but due to a series of legal and managerial entanglements, it was pulled from stores before it had a chance to find its audience.
For one, its easily the most cohesive album the group ever recorded -- a nice by-product of working with one talented producer (in this case, Chris Thomas ) for an entire album instead of piecing a record together. Also, the showcases each band member at a peak of songwriting. As the bands most prolific and gifted composer, Ham naturally has the strongest presence, and while each of his songs stands as proof that he was a consummate pop craftsman -- particularly the elegant Dennis, the hard-hitting Just a Chance, and the Abbey Road -esque Meanwhile Back at the Ranch. Joey Molland has a strong showing with the stately ballad Love Time and Should I Smoke, his complement to Ranch. What is surprising is that Mike Gibbins two contributions are of the same caliber, as is Tom Evans electric-piano laden King of the Load, since they were in a bit of a slump prior to this album. Wish You Were Here Album Cover Professional Production ThatThomas ties the record together with a clean, professional production that keeps the rockers energetic without losing their melodic edge, while preventing the sentimental numbers from seeming syrupy. All of this results in a classy, catchy pop record, possibly the best Badfinger ever released. Equipment Used: Rega RP1 with Nagaoka MP-200 Cartridge Cyrus 2 Amplifier System Fidelity SF-3050 Tower Speakers Custom made HQ Speaker Cables. Spine is narrow (pinched) at the top and bottom and wide in the middle on some covers, and uniformed on others (like all spines). Matrix variants A1 B3 are the first press of this record, other matrix are further pressings but still first issue of this LP. Made in Gt Britain Sleeve: Recorded at Abbey Road Studios, January to July 1975 1975 Printed and made in Great Britain Garrod and Lofthouse Limited. Besides some crackles which I mostly hope to get off with some cleaning Im quite happy with it for a number of reasons. Coming off of the 2016 issue as my only copy its clear that theres a lot more punch in the sound, that being the biggest difference. The low end bass is fuller and the sound is still so effortless, really wonderful. Wish You Were here just slams it compared to the new issue by Grundman and its really enjoyable. I can play the Grundman cut louder overall and whats gained from that soundwise is a bit of the soundstage and most of all the effect sounds. One of my favorite parts of the whole album is in Shine on right when the singing starts. That laugh used to send chills down my spine, mostly because of how real and in the room it felt. I feel similarly about the opening to Welcome to the Machine and Wish You Were here with their sound effects. This is just on first listen, Ill be going back to the 2016 issue next time and see if it sound underwhelming now or still holds up. Despite it all Im happy to have both the oldest and newest releases and maybe some day Ill find a sound that strikes the middle between the two or change my mind on them completely. On second inspection I notice a few other things, mainly about the EQ and Soundstaging again. The UK original is somewhat more low end favored which is probably what gives it its smoother and more bass filled sound. The BG is higher end favored and I feel reflects a slightly more realistic reproduction, even with less bass. Its probably what made me feel like the effects were less in the room on the UK as they become slightly less present and real. Now what I mean by soundstaging is the way in which instruments are placed. BGs work on this Pink Floyd series has been a very neutral and balanced approach. As with the EQ, the soundstaging is less deep, but then instead more present, and you hear some instruments buried in the mix of the original more so here. Is that good however Sometimes emphasis is more important than making everything heard at all times. Perhaps cymbals become more annoying than effectfull after a while. With the progress made here I have to say that I again favor the Reissue over the original and vice versa for certain things.
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