To sum up, the release seems like a solid, high-quality pressing. It has the bottoms and high frequencies. The only downside is the flatness of the sound.

Matrix / Runout (Runout Side A, variant 1 (stamped, exc. SHVLA 804-A- etched )): QHVL 804 A-3 SHVLA 804 -A- This was NOT pressed in Denmark. No one recalls any Dark Side pressings being made and I have yet to see a danish pressing with the outer label dip meaning that those machines werent used here. It does, however, resemble many of the Sonet records from the early 70s pressed in the UK. Eg the theory that it was pressed at a non EMI plant (someone mentioned Decca) is a lot more likely. Remastered by James Guthrie and Joel Plante at das boot recording. 5.1 and Atmos mixes by James Guthrie. Group Poster: A six-pane group shot poster in landscape style with "SHVL 804" in the bottom right corner. Matte or glossy. I described the 2016 Grundman cut as a very balanced and only slightly harsh but well sounding alternative. Which is what we come to realize again here. The UK does seem slightly less edgy in comparison and from experience with comparing other Pink Floyd originals vs reissue this is a common trend, the EQ is a smidge lower, removing some of that harshness. Cymbals and high hats sound more smooth and earthy while the reissues is more metallic for example.Note: The 4th pressing should have any variations of A-5/B-5 A-4/B-3 or A-6/B-3 stampers in the run-out and "EMI Records Ltd" in the rim text. Variations with stamper numbers higher than 6 in the stampers indicate a 5th pressing or later. There are 3 sleeve opening variations. 1. The right front opening of the gatefold cover is sealed with the two sides glued together. 2. The right front opening of the gatefold cover is sealed with a fold-over flap that is glued inside the opening. 3. The right front opening of the gatefold cover is not sealed. Matrix / Runout (Runout Side A , variant 2 (stamped, exc. SHVLA 804-A- 8B2 , etched)): QHVL 804 A-3 SHVLA 804 -A- 8B2 Release Information: Original stereo issue with a very dark blue cover, and a solid light blue triangle (prism) on the label with "The Gramophone Co., Ltd." text on the edge of the label. I grew up listening to this on CD in the mid-to-late 90s and, while I haven’t heard any OG pressing of this, this 2016 BG cut is close to flawless and sounds absolutely wonderful. DSD pressed well is the future of reissues anyway, once all the tapes are dead, so we’ll probably shelve our analogue stridency.

New box set triples the price of the Immersion edition •Includes Dolby Atmos Mix •Live at Wembley 1974 on vinyl for the first time

REPLICA OF EMI PAMPHLET AND INVITE TO THE PREVIEW OF THE DARK SIDE OF THE MOON AT THE LONDON PLANETARIUM ON 27TH FEBRUARY 1973 It may not be the true Alan Parsons discrete mix of the album, but I honestly prefer how this one sounds over the original stereo mix, even on a two channel setup. It’s not because of the additional instrument overdubs, but rather how OPEN the soundstage is on this pressing. Front Cover: Very dark blue with prism. The front cover has been found with three different types of front openings: After enjoying this 2016 cut for several years and, in the spirit of finding the “iconic” analogue cuts, I bought NM copies of MoFi’s 1979 and Kevin Gray’s 2003 pressings. I admit I haven’t heard a UK OG pressing (I’m trying to get a German OG from Michael Ludwig), but this 2016 sounds cleaner, fatter, and clearer than both analogue cuts I own. That’s not to say it’s the best cut out there - obviously - but it is to say these 2016 remasters are phenomenal, especially if you just want great sounding pressings of these records for a great price. I also have the 2016 cuts of WYWH and had ANIMALS, before I replaced it with the “2018” remix (which is the best version of ANIMALS to my ears due to the remix). But the 2016 ANIMALS reissue did sound great for the original mix.

As my journey continues in search of the best Dark Side of the Moon I finally stumble upon an early UK copy in good condition and decide to buy it. To be specific a third generation A3/B3 from 1973. Its not to say that it doesnt use the high end to effect though, the guitars have just as much clarity and air if not more even, on the original. It then gives the lower end some more ground to stand on simultaneously. International E.M.I. catalog number 1E 064 o 05249 appears in small font and parentheses on the cover rear. Reverb too seems just as good if not better here on the A3/B3 giving subtitles in echoes more effect. Rear top right corner has the text (IE 064 o 05249) between SHVL 804 and "stereo" centered (later copies have it left aligned).It exists a similar release The Dark Side Of The Moon, with slightly different inside gatefold colours: on bottom left corner, EMI Harvest logos and all the text info around them are blue instead of white. In March, Pink Floyd will release a new deluxe box set to celebrate the 50th anniversary of their classic 1973 album The Dark Side of the Moon.

No barcode on sleeve. Under the SHVL 804 I have the IE 064-05249. Inside gatefold bottom left, I have the L 7303. Found a fairly clean copy of this (A3/B3) in a record store and just couldn't bring myself to not take it home with me. Even though I already owned the 2016 reissue and 2nd Japanese pressing, I wanted to see what all the hype was about regarding the early UK pressings. The 2016 reissue sounds terrific and the vinyl is very quiet, and the early Japanese pressing being fully analog definitely brings out more of the mid range, warmth, and dynamics that the recording has to offer.This is the special edition with A B on matrix (without stampers, mothers' letters, and without lacquer signs! Matrix / Runout (Runout Side B, variant 1 (stamped, exc. SHVLA 804-B- 6B etched)): QHVL 804 B-3 SHVLA 804 -B- 6B But right after we are then treated to the synth and drum intro before the vocals and the UK certainly has more bite here. That coupled with the extra bass from the low end really gives it and edge over the reissue.