THIS IS THE 2015 EUROPEAN REPRESSING on COLUMBIA label. NUMBERED [#06996] LIMITED EDITION PICTURE DISC + REMIXED + GATEFOLD TRANSPARENT PLASTIC COVER + HYPE STICKER. The cover is in VG+ condition, normal wear and without any major deterioration, for details see photos. The vinyls in EX/NM condition (barely played).

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ROGER WATERS

with JEFF BECK, B.J. COLE, PATRICK LEONARD, RANDY JACKSON, P.P. ARNOLD, STEVE LUKATHER,

ANDY FAIRWEATHER LOW, DON HENLEY, JEFF PORCARO, RITA COOLIDGE, NATALIE JACKSON, etc.

Roger Waters is Pink Floyd's grand conceptualist, the driving force behind such albums as Dark Side of the Moon, Wish You Were Here, and The Wall. In the wake of Syd Barrett's departure, Waters emerged as a formidable songwriter, but it's this stretch of '70s albums -- each one nearly symphonic in its reach -- that established him as a distinctive, idiosyncratic voice within rock, one with a sober morality and sardonic sense of humor. Waters left Pink Floyd after 1983's The Final Cut, after which he recorded a triptych of concept albums -- The Pros and Cons of Hitchhiking, Radio K.A.O.S., and Amused to Death -- addressing personal and political struggles in the modern world.

"AMUSED TO DEATH"

<reissue, originally published 1992>

2LP     COLUMBIA RECORDS     88875065801

MADE IN EU    2015 REPRESSING

NUMBERED LIMITED EDITION PICTURE DISC + REMIXED

THIS COPY #06996

NOTES: New 2015 remix completed by James Guthrie.

"The 2015 Limited Edition, numbered 2 LP picture disc vinyl features art by Sean Evans, the creative director of Waters 2010-2013 "The Wall Live" tour and movie.

The materials used to create picture discs and color vinyl are not the same as traditional vinyl. Picture discs will have an inherent surface noise in playback."

Pressed By information is not listed. Information derived from runouts.

Barcode and Other Identifiers

Barcode: 8 88750 65801 2

Label Code: LC00162

Rights Society: BIEM/GEMA

LABEL: COLUMBIA - ARTWORK DISC - WHITE TEXT

Catalog on cover: (Hype Sticker) 88875065801S1

Catalog on disc: 88875065801A,  88875065801B, 88875065801C, 88875065801D

Matrix / Runout (Runout A, Etched): 88875065801 - A REI

Matrix / Runout (Runout A, Stamped): TML-M 129923E1/B

Matrix / Runout (Runout B, Etched): 88875065801 - B REI

Matrix / Runout (Runout B, Stamped): TML-M 129923E2/B

Matrix / Runout (Runout C, Etched): 88875065801 - C REI

Matrix / Runout (Runout C, Stamped): TML-M 129923E3/B

Matrix / Runout (Runout D, Etched): 88875065801 - D REI

Matrix / Runout (Runout D, Stamped): TML-M 129923E4/B

On labels: rim text "Side........℗ & © 1992, 2015 Columbia........Made in the EU. BIEM/GEMA. LC00162"

On cover: (Black Insert) Tracklist + Credits

COLUMBIA + LEGACY + SONY MUSIC logos

tracklisting: please, for tracklist see pictures

grading

RECORDS EX/NM but (please, read above description)

SLEEVE VG+ but (please, see pictures and read above description)War is Roger Waters' great muse, the impetus for so much of his work, including the semi-autobiographical 1979 opus The Wall. The Final Cut, his last album with Pink Floyd, functioned as an explicit sequel to The Wall, but 1992's Amused to Death acts as something of a coda, a work where Waters revisits his obsessions -- both musical and lyrical -- and ties them together with the masterful touch of a mature artist. Certainly, Waters' narrative of a society filtering all manners of ugliness through a television screen isn't as sci-fi silly as that of its immediate predecessor Radio K.A.O.S., but a greater point in its favor is that it's a richer affair than that stiff, synthesized relic of the late '80s. Working with Patrick Leonard -- a veteran collaborator of Madonna's who also dabbled with the latter-day David Gilmour-led Pink Floyd -- Waters gives Amused to Death forward momentum, an aspect conspicuously absent from the still, meditative The Final Cut and Pros and Cons of Hitchhiking, both of which seemed to be comprised of song poems. The tunes on Amused aren't quite hooky or melodic but they do have structure, as does the production by Waters, Leonard, and Nick Griffiths. The tapestry of found sounds, choirs, televisions, washes of organ, lonely acoustic guitars, and blues leads by Jeff Beck does recall Floyd at their '70s peak, but Amused to Death sounds grander and more expansive; it's a creature of the CD age, using up every one of its available 72 minutes. At this length, it's a mere ten minutes shorter than The Wall, and although it can sometimes feel indulgent, it never feels excessive. Unlike the other two Waters solo albums -- or The Final Cut, which is a Waters project masquerading as a Floyd album -- Amused to Death feels cohesive and complete as an anti-war rock opera. If it winds up being Waters' last original rock album, so be it: it is a masterpiece in the sense that it brings together all of his obsessions in one grand, but not unwieldy, package…(AllMusic)