PINK FLOYD---IMPOSSIBOL RECORDS LIMITED COPY RARE 2 LP-PROGRESSIVE

	€		65
	$		74

Pink Floyd devised a compromise between the free-form tonal jam, the noisy, cacophonous freak out, and the eccentric, melodic ditty. This amalgam and balance was inspired and nourished by Syd Barrett's gentle madness on their first two albums, their psychedelic masterpieces: The Piper At The Gates Of Dawn (1967), that includes the pulsating, visionary trips of Astronomy Domine and Interstellar Overdrive (the bridge between space-rock and cosmic music); and A Saucerful Of Secrets (1968), that contains the stately crescendo and wordless anthem of A Saucerful Of Secrets and the subliminal raga of Set The Controls For The Heart Of The Sun. The ambitious Ummagumma (1969), a failed albeit intriguing attempt at establishing their credentials as avantgarde composers, and the eponymous suite fromAtom Heart Mother (1970), a failed albeit intriguing attempt at merging rock band and symphonic orchestra, marked the end of the epic phase. Barrett had already departed, and the new quartet led by bassist and vocalist Roger Waters was more interested in sculpting sound for the sake of sound, with each musician (guitarist David Gilmour, keyboardist Richard Wright and percussionist Nick Mason) becoming a virtuoso at his own instrument. For better and for worse, Pink Floyd understood the limits and the implications of the genre, and kept reinventing themselves, slowly transforming psychedelic-rock (a music originally born for the hippies that had been banned by the Establishment) into a muzak for relaxation and meditation (aimed at the yuppies who are totally integrated in the Establishment). The other half of Atom Heart Mother (1970) already hinted at the band's preference for the languid, mellow, hypnotic ballad, albeit sabotaged by an orgy of sound effects. Echoes, the suite that takes up half of Meddle (1971), sterilized and anesthetized the space-rock ofInterstellar Overdrive, and emphasized not the sound effects but meticulous studio production. The Pink Floyd did not hesitate to alter the letter and the spirit of psychedelic music. The delirious and cacophonous sound of their beginnings slowly mutated into a smooth and lush sound. Rather than just endorsing the stereotypes of easy-listening, Pink Floyd invented a whole new kind of easy-listening with Dark Side Of The Moon (1973) and Wish You Were Here(1975). The former was a collection of high-tech songs propelled by funky rhythms and shaped by electronic effects. The latter was basically the high-brow version of the former, a concept on primal states of the mind such as fear and madness that set the devastated psyche of the narrator (Roger Waters) in the context of a tragic and oppressing Weltanschaung. The futuristic anthem Welcome To The Machine was actually a symphonic requiem for layers of electronic keyboards and romantic guitar. A tactical move soon became a strategic move. In the end, Pink Floyd reshaped psychedelic music into a universal language, a language that fit the punk as well as the manager, just like, at about the same time, jazz-rock was "selling" the anguish of the Afro-American people to the white conformists. Roger Waters' existential pessimism and historical angst became the pillars of the band's latter-day melodramas, such as The Wall (1979). These monoliths of electronic and acoustic sounds, coupled with psychoanalytical lyrics, indulge in a funereal pomp that approaches the forms of the requiem and the oratorio. PINK FLOYD ATOM HEART MOTHER-ATOM HEART MOTHER-SING TO ME CYMBALINE-A SAUCERFUL OF SECRETS RARISSIMO 2 LP--TIS COPY LIMITED COLLECTORS EDITION 8/15 (MAX 15 COPY)
PINK FLOYD---IMPOSSIBOL RECORDS LIMITED COPY!!!!!!!!! RARE LP- TRATTASI DI LP/BOX DELLA MIA COLLEZIONE PRIVATA-