PINK FLOYD See Emily Play INCREDIBLE MINT- condition

	£		62
	$		82

PINK FLOYD-See Emily Play/The Scarecrow

extremely hard to find 1967 Columbia '45 DB 8214

with "THE GRAMOPHONE CO LTD" and "SOLD IN U.K." label text

Side One matrix: 7XCA 30214-1

Side Two matrix: 7XCA 30215-1

1 HA & 1 HO STAMPERS with KT in run-out grooves and around side 1 spindle hole.

Vinyl in incredible MINT- condition 

original company sleeve in stunning EXCELLENT+++ condition

This is, quite simply, the best condition copy of See Emily Play you will find! Truly amazing. What is more, it's not the more common solid centre pressing that makes up about 80% of those you will see, but the much rarer removable centre which, quite simply, hardly appears on any EMI pressings of 1967. The vinyl is stunning, and is really as MINT as you will find, with no wear to report. It plays, as you would expect, absolutely perfectly, which is such a rare treat. Listening to this record with such incredible audio is virtually impossible now. "Scarecrow", in particular is usually so "clicky" that you can't tell the track intro from the clicks! This copy plays with perfect clarity. Outstanding! The labels, too, confirm that this 45 has been virtually unplayed, as they appear untouched. The original sleeve is similarly superb, beautifully clean, crisp, untorn and unstained. This is a must-have item for Pink Floyd/60s collectors as it's the ultimate copy for your collection. Cannot be bettered!

While Pink Floyd are mostly known for their grandiose concept albums of the 1970s, they started as a very different sort of psychedelic band. Soon after they first began playing together in the mid-'60s, they fell firmly under the leadership of lead guitarist Syd Barrett, the gifted genius who would write and sing most of their early material. The Cambridge native shared the stage with Roger Waters (bass), Rick Wright (keyboards), and Nick Mason (drums). The name Pink Floyd, seemingly so far-out, was actually derived from the first names of two ancient bluesmen (Pink Anderson and Floyd Council). And at first, Pink Floyd were much more conventional than the act into which they would evolve, concentrating on the rock and R&B material that were so common to the repertoires of mid-'60s British bands.

Pink Floyd quickly began to experiment, however, stretching out songs with wild instrumental freak-out passages incorporating feedback, electronic screeches, and unusual, eerie sounds created by loud amplification, reverb, and such tricks as sliding ball bearings up and down guitar strings. In 1966, they began to pick up a following in the London underground; onstage, they began to incorporate light shows to add to the psychedelic effect. Most importantly, Syd Barrett began to compose pop-psychedelic gems that combined unusual psychedelic arrangements (particularly in the haunting guitar and celestial organ licks) with catchy melodies and incisive lyrics that viewed the world with a sense of poetic, child-like wonder.

The group landed a recording contract with EMI in early 1967 and made the Top 20 with a brilliant debut single, "Arnold Layne," a sympathetic, comic vignette about a transvestite. The follow-up, the kaleidoscopic "See Emily Play," made the Top Ten. The debut album, The Piper at the Gates of Dawn, also released in 1967, may have been the greatest British psychedelic album. Dominated almost wholly by Barrett's songs, the album was a charming funhouse of driving, mysterious rockers ("Lucifer Sam"), odd character sketches ("The Gnome"), childhood flashbacks ("Bike," "Matilda Mother"), and freakier pieces with lengthy instrumental passages ("Astronomy Domine," "Interstellar Overdrive," "Pow R Toc H") that mapped out their fascination with space travel. The record was not only like no other at the time; it was like no other that Pink Floyd would make, coloured as it was by a vision that was far more humorous, pop-friendly, and light-hearted than those of their subsequent epics.

 
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