PINK FLOYD-Relics-premier space rock band-K6-LP

	A$		34
	$		23

ITEM: VINYL 12” LP 33 1/3rpm
ARTIST: PINK FLOYD
TITLE: Relics
COUNTRY: GT. BRITAIN
CAT No: MFP 50397
?Matrix / Runout (Side A): SRS 5071 A - 4
?Matrix / Runout (Side B): SRS 5071 B - 7
?Barcode: 5 099941 539712
COVER: (Grade at NEAR MINT-) 3.5cm top seam split
LABELS: (Grade at NEAR MINT-) S1 has either a label glued over another “Beatles” label, or it has absorbed some “Beatles” label details.
VINYL: (Grade at EXCELLENT-)
TRACKS:
Arnold Layne 2:52
Interstellar Overdrive 9:38
See Emily Play 2:54
Remember A Day 4:28
Paintbox 3:35
Julia Dream 2:35
Careful With That Axe, Eugene 7:45
Cirrus Minor 5:13
The Nile Song 3:23
Biding My Time 5:16
Bike 3:21
PERSONNEL:
Pink Floyd
?Syd Barrett – lead and rhythm guitar on "Arnold Layne", "See Emily Play", "Interstellar Overdrive" and "Bike", lead vocals on "Arnold Layne", "See Emily Play" and "Bike"
?David Gilmour – lead and rhythm guitar on all tracks except "Arnold Layne", "See Emily Play", "Interstellar Overdrive" and "Bike"; backing vocals; lead vocals on "Julia Dream", "Cirrus Minor" and "The Nile Song"
?Nick Mason – drums, percussion, original cover design
?Roger Waters – bass guitar, lead vocals on "Biding My Time", backing vocals
?Richard Wright – organ, piano, lead vocals on "Remember a Day" and "Paintbox", backing vocals, trombone

Additional personnel
?James Guthrie – remastering supervision
?Norman Smith – drums and backing vocals on "Remember a Day"
?Doug Sax – remastering
ALBUM NOTES: Wikipedia
Relics is a compilation album by Pink Floyd released in 1971. The album was released on 14 May in the UK and 15 July in the United States. A re-mastered CD was released in 1996 with a different album cover, a three-dimensional version of the original sketch drawn by drummer Nick Mason for the initial release. Initially released by Starline, the compilation was reissued by Music for Pleasure in the United Kingdom; Harvest and Capitol distributed the album in the United States.

The release of Relics occurred because the band's record company, EMI, were concerned that they had gone into the studio to record what would become Meddle without any songs or ideas, effectively starting from scratch. This, combined with their ever increasing touring schedule, made EMI realise that no new product would be released for some time, possibly not until well over a year after completing their previous album, Atom Heart Mother. In order to issue some more "product" for fans, they decided to release a budget priced LP on their Starline label, combining early singles, B-sides, album tracks and one unreleased number, "Biding My Time".[5]

Relics has been released on numerous occasions, and at times without the proper authority. One such incident involved EMI Australia releasing the album without the band's consent. This led to the LP being withdrawn and the album as a result became a rarity. A reissue of the album in 1996 meant that it could be purchased easily again.

Relics was most noted for its inclusion of Syd Barrett-era hit singles, "Arnold Layne" and "See Emily Play", as well as B-sides to three other singles. The Relics versions of "Paintbox", "Julia Dream" and "Careful with That Axe, Eugene" are mixed in stereo. Relics has the only CD release of "Paintbox" that has the same length (3:33) that the original single version had; on the albums The Early Singles (1992, part of Shine On), 1967: The First Three Singles (1997), and the 40th anniversary edition of The Piper at the Gates of Dawn (2007), it fades out about 13 seconds later.

The album also includes a previously unreleased studio recording of a Roger Waters composition, "Biding My Time", which had otherwise only been heard by live audiences as part of "The Man and The Journey" concert sequence.

The album was not a definitive collection of material previously only available as singles, and several A-sides were missed out. Until this was rectified with the release of The Early Singles (1992), it was left to bootlegs such as The Dark Side of the Moo to plug the gap.
COMMENT: Biography by Richie Unterberger
Pink Floyd is the premier space rock band. Since the mid-'60s, their music relentlessly tinkered with electronics and all manner of special effects to push pop formats to their outer limits. At the same time they wrestled with lyrical themes and concepts of such massive scale that their music has taken on almost classical, operatic quality, in both sound and words. Despite their astral image, the group was brought down to earth in the 1980s by decidedly mundane power struggles over leadership and, ultimately, ownership of the band's very name. After that time, they were little more than a dinosaur act, capable of filling stadiums and topping the charts, but offering little more than a spectacular recreation of their most successful formulas. Their latter-day staleness cannot disguise the fact that, for the first decade or so of their existence, they were one of the most innovative groups around, in concert and (especially) in the studio.

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; on-stage, 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, childlike wonder.

VINYL GRADING SYSTEM

MINT:
RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear.
NEAR MINT:
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear.
EXCELLENT:
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing.
VERY GOOD:
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine.
+(PLUS)/-(MINUS):
Slightly up or down in condition as appears in the comments above.
NOTE:
Gradings are done visually unless there appears to be a questionable surface mark on the vinyl, it is then put on the turntable to check. A comment describing the outcome will appear if this is the case.

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