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Vinyl: PINK FLOYD 'DARK SIDE' EARLY US WALLY PRESSING COMPLETE w/ 2 POSTERS & STICKERS
63.00 USD
24.99 USD
05 Mar 2025
26 Feb 2025
14 bids
3644
164
United States
Used
HARVEST SMAS-11163
Rock & Pop
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PINK FLOYD 'DARK SIDE OF THE MOON' ~ COMPLETE EARLIER US PRESSING
COMPLETE w/ THE EARLY 'TYPO' JACKET, BOTH POSTERS & 2 STICKERS ~ A BEAUTY!
PINK FLOYD "THE DARK SIDE OF THE MOON"
LABEL: HARVEST SMAS-11163
RELEASED: MARCH 1, 1973
EARLY U.S. 'WALLY' PRESSING w/ EARLY 'TYPO' JACKET
GATEFOLD VERSION ~ CLEAN & COMPLETE w/ 2 POSTERS & 2 STICKERS
RECORDED AT ABBEY ROAD STUDIOS ~ LONDON ~ JUNE 1972 to JANUARY 1973
MASTERED AT CAPITOL MASTERING
MASTERING / LACQUERS: SIDE ONE w/ WALLY TRAUGOTT MASTERING MARK ('Wally')
RECORDING ENGINEER: ALAN PARSONS
CAPITOL RECORDS PRESSING PLANT ~ WINCHESTER, VA ( ─◁ IN MATRIX)
ALBUM JACKET DESIGN: HIPGNOSOS
STICKER AND RECORD SLEEVE ART: GEORGE HARDIE
PUBLISHING: TRO-HAMPSHIRE HOUSE PUBLISHING CORP.
MATRIX (SIDE A): (Etched) SMAS-1-11163 F67 #6 'Wally' ─◁ (Stamped) 'MASTERED BY CAPITOL'
MATRIX (SIDE B): (Etched) SMAS-2-11163 G64 #8 'Gene'' .─◁ (Stamped) 'MASTERED BY CAPITOL'
CONDITION: VINYL: At least VG+ JACKET: At least VG+ POSTERS & STICKERS: At least VG+
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I've been going thru my massive vinyl record collection these past few months and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for over 45 years and it's time to pass some of them on to the next generation of vinyl collectors. After all, we are just 'guardians' and 'caretakers' of these musical gems until they get passed on and absorbed into someone else's collection.
This week on EBay I am offering up this early, original, complete, US Pressing of Pink Floyd's classic 'Dark Side of the Moon'. An amazing record that everyone should have in their vinyl collection.
This is a clean, complete, early pressing and comes with both posters and both stickers, which are all still in great, un-hung & un-peeled condition.
This copy has an early jacket with the 2 text typos and is pressed with custom matte black Harvest blue triangle labels.
See much more on this album's specific details and condition below.
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"The Dark Side Of The Moon" was the 8th studio album to be released by Pink Floyd.
The album was recorded in two sessions, in May 1972 and February 1973 at EMI Studios, now called Abbey Road Studios, in London. It took the band approximately 60 days to record, and was completed on February 9th, 1973.
'The Dark Side Of The Moon' was released in the US in early March 1973 and a week later in the UK.
Just 4 days after its American release, it hit #1 on the Billboard charts. Although it didn't stay at the top of the charts for long, it remained in the Billboard top 200 albums chart for over 800 non-consecutive weeks (from March 1973 to July 1988), becoming one of the best selling Classic Rock albums of all time.
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Early on, Pink Floyd conceived 'Dark Side of the Moon' as a concept album that would focus on the pressures and struggles that people faced, not only the band, but all people, during their lifetime.
The album's songs reflect the various stages of human life and explore the nature of the human experience. The album's lyrical and musical themes include conflict, greed, the passage of time, mental illness, and ultimately insanity and death.
Former bandmate Syd Barrett, who left the group in 1968 after dealing with mental health issues and a quickly deteriorating mental state, was constantly on lyricist Roger Waters and the Band's minds as they conceived and wrote this amazing album.
'Dark Side' loosely follows the life of a character, generally based on Syd, who battles the challenges and anxieties of daily life, struggling to make sense and find meaning in it all, ultimately failing, going insane, and becoming the 'lunatic' that several of the album's songs describe.
Pink Floyd intended this album to be one complete, cohesive, piece of music, so the first and last sounds you hear on the album are a human heartbeat, which gives the album a sort of life of its own, a beginning, and an end.
Although one doesn't typically think of a rock album that's essentially a musical tale of death, madness and disillusionment to become a top selling record, it somehow works, and works well. Pink Floyd was able to turn 'Dark Side of the Moon' into one of the classic, most iconic, and best selling rock albums of all time.
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As I said, Pink Floyd intended this album to be one cohesive work, so each side is presented as one long continuous piece of music, and each side flows perfectly and seamlessly.
The first side of the album opens with heartbeats and ends with "The Great Gig in the Sky" which features Clare Torry's iconic voice singing over Rick Wright's somber, emotive, solo piano work. She totally improvised her performance, on the spot, and created a heartfelt, wailing, soulful, wordless metaphor for death. Her stunning vocal performance really turns 'Great Gig' into 'her' song.
At the time, she was only paid the standard Union wage of £30 for her work, twice the normal amount as it was recorded late at night and 'off hours'. In 2005 she sued Pink Floyd and was, rightfully, awarded 50% of the song's writing credits for her contribution.
Side two opens with 'Money'. Money is one of the things that can drive people mad, but it also can help alleviate the stresses and burdens of life. Roger Waters wrote the clever ironic lyrics that both criticize and glorify the power of money and capitalism.
With its unusual 7/4 time signature, swirling tape loops of ringing cash registers and jingling coins, and other cool sound effects, it's an amazing song that utilized Alan Parson's mastery of studio technique and Roger's precise tape editing skills. Released as a single, it became the band's first hit in the United States.
Pink Floyd knew that they wanted to record their new album using all the latest studio tricks and technology that Abbey Road could offer. 'Money' is just one of the songs on this album that is sonically amazing, technically perfect, and a fantastic example of how Pink Floyd could master the recording studio to push the limits of their music. Many rock historians have mentioned how 'The Studio', and all it had to offer, was often considered as the 5th member of Pink Floyd.
The group used extensive multitrack recording, tape loops, reverse tape segments, tape reel flanging, and, newly invented, analogue synthesizers, like the Synthi A and the EMS VCS 3, to create new sounds and new sonic landscapes. The sounds created on 'Dark Side' still sound 'modern' today, over 50 years later, and the album still sounds amazing and holds up well.
The music on 'Dark Side' contains a timeless, advanced, electronic, and extensively layered sound, all of which was captured, recorded and blended perfectly by Recording Engineer Alan Parsons.
Although responsible for many of the unique sounds and technical marvels of this recording, Parsons didn't get much credit for the 'sound' of this album at the time. He has since been recognized for his studio wizardry and excellent production skills, both on this album and with his own 'Alan Parsons Project' albums.
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'Dark Side of the Moon' is performed by:
DAVID GILMOUR: Electric & Acoustic Guitars, Vocals, Synthesizers (EMS VCS-3 & AKS Synthi-A)
ROGER WATERS: Most Lyrics, Bass Guitar, Guitars, Synthesizers (VCS-3), Tape & Studio effects, Vocals
NICK MASON: Drums, Percussion, Tape effects
RICHARD WRIGHT: Keyboards including Hammond organ, Piano, Farfisa organ, Rhodes electric piano, EMS VCS 3 synthesizer, Wurlitzer electric piano, Synthi AKS keys, and background Vocals
DICK PARRY: Saxophones
CLARE TORRY: Stunning, soulful vocals on "Great Gig in the Sky".
Doris Troy, Barry St. John, Lesley Duncan, and Liza Strike perform backing vocals on several tracks.
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Near the end of the recording session, while looking for some spoken word pieces to weave through and inter-connect certain musical segments of the album, Roger Waters asked members of the road crew and other staff at Abbey Road to respond to some 'questions' about themes central to the album, including those of madness, violence, and death. Roger printed the questions out on flashcards and showed them to people hanging around the studio.
Questions such as "Have you ever been mad (insane)?", "When was the last time you were violent?", followed immediately by "Were you in the right?"
Snippets of some of their responses were recorded, and then edited and woven into the final mix at various points throughout the album. It gives the final album a very real, personal and 'human' touch.
Roadie Chris Adamson offered the words that open the album: "I've been mad for fucking years.... Absolutely years.... Over the edge..."
Roadie Roger 'The Hat' Manifold answered one question about death with "Live for today, gone tomorrow, that's me..."
Henry McCullough, guitarist with Paul McCartney, who was hanging around the studio, offered the classic line "I don't know, I was really drunk at the time."
The album's closing statement "There is no dark side of the moon really. Matter of fact, it's all dark..." came from Abbey Road studios' Irish doorman, Gerry O'Driscoll.
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Early releases of this album came complete with two posters and two colored stickers inside the gatefold sleeve, all designed by the U.K. graphics and design company Hipgnosis. George Hardie designed the artwork for the stickers and one of the posters.
The two postcard sized stickers have Pyramid themes and both have the same 6-panel artistic design, just printed in different color schemes. One is Yellow and one is a Golden brown color. Each panel on the stickers has several individual letters that, when combined together, spell out 'Pink Floyd'.
There are also two large, 6-panel, foldout posters, designed and created by Hipgnosis, included. One featuring 'green' infrared photographs of the Great Pyramids of Giza, which I can tell you from personal teenage experience, look accurately 'natural' colored when viewed under a blacklight. The second poster is made up of a collage of squares of photos of the band members taken live in concert. Each square contains several scattered letters, that together spell out 'PINK FLOYD', just like the panels on the stickers.
The earliest stickers included in the album were each individually printed and each sticker and poster had their own catalog number printed in the corner; (11163-1, 2, 3 and 4).
Later, but still early pressings, had the stickers printed together on a single sheet, rather than each printed individually and coming on it's own sheet.
The later 70's pressings of 'Dark Side' still had the posters and stickers, but they weren't individually numbered, and the gold-tone color of the one sticker was replaced by a much lighter tan color.
These stickers have the earlier 'gold' color.
Also the quality and colors of the posters dropped off over time. Earlier posters, like these, have much sharper images and more realistic, life-like images of the band members. For example, Rick Wright has an intense psychedelicized look and he stares right into your eyes, an effect that is more washed-out and 'lost' on the later, lower quality printings of the posters.
By the 1980's, many copies of this album, while still using the Gatefold jackets, no longer came with the extra posters and stickers. The full set of posters and stickers re-appeared from time to time over the years on 'special' later releases, but nothing beats having a nice, clean, original early set to go with an early pressing.
This record comes complete with both original tan-backed stickers, and the two, nicely printed, posters on thick glossy paper. These posters have never been hung, have sharp, clean, pin-hole free corners, and great crisp colors.
They are all in great condition, except for a very tiny corner 'ding' on the stickers and some very minimal folded-edge wear on the posters, a result of them shifting around inside the record jacket on my shelves for the past several decades, but they all still look fantastic.
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THE CLASSIC 'PRISM' ALBUM COVER ART
The instantly recognizable and iconic cover for the album was designed by the creative minds at Hipgnosis. The front shows a beam of light being split into it's full spectrum of colors which continues thru onto the inner gatefold where it cleverly includes individual green-colored 'heartbeats', like an EKG rhythm strip, tying the artwork together with the music.
Some nerdy 'purists' have pointed out that 'Indigo' is missing from the color spectrum, but that really doesn't matter. The idea and effect is still stunning.
The effect continues onto the back of the album cover, which contains Storm Thorgerson's idea of another prism, which recombines the spectrum of light back into a single white beam again. Storm thought that this would be a clever way for record stores to display the album, lined up next to each other, continuing the single beam of light from cover to cover, and uniting multiple copies of the record into one long chain of light, creating an amazing display of visual art.
I can remember one of my local 'regular' record shops doing just that, way back in the day, when this was a 'new' release and they had many fresh copies. It looked fantastic.
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THE VARIOUS EARLY U.S. PRESSINGS OF 'DARK SIDE OF THE MOON'
'The Dark Side Of The Moon' was released in the US in early March 1973. It was quickly a hit record, sold well, and a zillion early copies were pressed. Due to its initial high volume pressing, the album design and packaging wasn't really 'updated', and the record wasn't repressed in large numbers until two years later, in early 1975. This has led to several different earlier versions of this record being called American 'First Pressings' or 'First releases'.
The UK versions don't have that problem. The highly sought-after UK Harvest first pressing has the famous 'solid blue' triangular prism on the labels, and sells for thousands of dollars, but there were no 'Solid Blue triangle' U.S. pressings.
The very first US releases have a matte black Harvest label with the triangular "blue outline prism" label design, similar to this album's labels.
Unlike the 'solid blue' triangle UK First pressing, early US pressings of 'Dark Side of the Moon' all look rather similar and are somewhat difficult and complicated to figure out, as there were several early labels used, several similar early jackets used, and 2 different early mastering engineers involved, Wally Traugott and Ken Perry.
Add to that the various Capitol pressing plants involved and their individual characteristics, and the number of different early pressings of 'Dark Side of the Moon' becomes mind boggling. There are more copies of 'Dark Side' listed on Discogs than any other album.
I'll try to discuss and point out the various early US pressings and help clarify the mess.
There were several different record jackets used for the earliest US releases of 'Dark Side', all Gatefold style.
The very first jackets can easily be identified by having the " . INTERPAK Pats. Pending." text located in the bottom right corner inside the gatefold.
Several months after its first release, by the late summer of 1973, the 'INTERPAK' at the bottom right corner of the gatefold was gone and it now read " .", just like this copy.
True US First Pressings have the 'INTERPAK' wording inside the gatefold.
The next way to tell the early jackets apart from one another is by the errors and typos in the jacket's printing and text.
This early jacket has the typo in the lyrics to 'Money' printed inside the gatefold, with the line "I'm all right Jack keep your hands of my stack". It has 'of' printed instead of 'off'.
This early jacket also incorrectly lists one of the recording engineers as "Peter Jones" instead of his correct name of Peter James.
Those printing errors were soon corrected, making this jacket and copy an earlier pressing.
Early pressings also had the catalog number, 'SMAS 11163' printed in very small letters at the top center of the back cover, and the text at the bottom of the back cover, under the Harvest logo, had '℗ 1973 The Gramophone Company Ltd.' and a very tiny 'printed in U.S.A' underneath that.
This was the type of cover used up until the first major re-pressings and re-issues were done in 1975.
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In addition to the jackets, the record labels themselves underwent several changes early on as well.
The First Pressing and earliest pressings have labels with rim text that starts at 8 O'clock and reads: "Mfd. by Capitol Records, Inc., a subsidiary of Capitol Industries, Inc., U.S.A. • Ⓡ [Capitol dome logo] Marca Reg. • U.S. Pat. No. 2,631,859".
Collector's tip: There are many pressings of this album in used record stores and out 'in the wild', and they all look very similar. A quick easy way to tell a very early pressing of this album is by the short rim text that includes the Capitol 'dome' and the Patent number. First pressings will also have the 'Interpak' wording inside.
After 2 years, starting in 1975 with the first re-pressings, the rim text became longer, started at 10 O'clock, and contains the "All Rights Reserved" notice, no mention of a patent, and no Capitol 'dome' logo.
This record has the earlier style jacket with the 2 typos, but 1975-era labels with the longer rim text.
Due to this album's high demand when first released, Capitol also used 2 of their best mastering engineers to cut the lacquers for making stampers. Early pressings of this album typically have Wally Traugott's 'Wly' or 'Wally' mastering mark or Ken Perry's 'KP' mastering mark, or combinations of the two, depending on what stampers the pressing plant were using at the time.
These can be identified by their unique 'marks' etched in the vinyl run-off area. These albums sounded fantastic, so Capitol, to blow their own horn, added the boldly stamped 'MASTERED BY CAPITOL' mark starting in mid 1973. True first pressings do not have that Capitol stamp.
Wally Traugott was a legendary Mastering Engineer, the Kevin Grey of his day, and mastered many fantastic albums for Capitol in the early 70's. Although Ken Perry did a fine job as well, most collectors seek out the early Pink Floyd 'Dark Side' albums mastered by Wally Traugott that have his 'Wly' or 'Wally' mastering mark in the runout. Side One of this album has the 'Wally' mastering mark.
You can find copies of both the early "patent" label pressings, and the early 70's "rights reserved" label pressings, made from lacquers with Wally Traugott's mastering mark, Ken Perry's 'KP' mastering mark, or combinations of the two, one mastering each side, but most collectors and fans agree that the Wally Traugott mastered versions sound the best.
This record is clearly marked with "Wally" in the matrix on side one, indicating it was mastered by the legendary Wally Traugott.
The sound quality on these early pressings was fantastic and amazing, regardless of who mastered it, Wally or Ken, but what is more important to collectors and audiophiles is how 'fresh' the lacquers and stampers were; how close to the original master tape they were.
In the matrix information, early pressings of 'Dark Side' include the 'F' which denotes that it's an early mastering and that the high quality Neumann lathe at Capitol's Tower Mastering was used to cut the lacquer. The lower the F number, the earlier and 'fresher/cleaner' the lacquer and stampers, and the better the sound. The hand etched numbers after the 'F' represents the number of the 'Mother' made from that lacquer to press the record.
Obviously, fans and audiophiles want the lowest 'F' and lowest Mother numbers to get the best sound from the record. Around 1975, the original Neumann cutting lathe was replaced and Capitol started using 'G' instead of 'F' in the matrix of 'Dark Side' to represent that new equipment.
Starting in 1975, Capitol hired Gene Thompson to help with mastering their first large reissue of 'Dark Side'. Capitol's new Neuman solid-state cutting lathe was Gene's "baby" and his mastering tool of choice, Capitol started using the the 'G' (for Gene) mastering marks on some of those early Dark Side pressings. Side two of this album was mastered by Gene Thompson and marked 'Gene'.
The numbers in the matrix of this pressing are F67 and G64, not super low, but not super high either. I've seen early pressings of 'Dark Side of the Moon' with F and G numbers as low as 4 but they go up into the 80's and beyond. Looking at all the listings for 'Dark Side' on Discogs, you can see all sorts of different F and G numbers. It's crazy.
I know this all seems like a lot of 'Nerdy' and irrelevant information. After all, as we say, "It's the music that matters" but I just wanted to point out what a nice early pressing this copy of 'Dark Side' is.
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Summing all this up, this copy of 'Dark Side of the Moon', while not a true First Pressing, is an earlier pressing, with an early 'Hampshire House' gatefold jacket that still contains the 2 typo errors, the early 1975 era 'rights reserved' labels, and is complete with both early stickers and both posters.
Everything is in fantastic, clean, original condition. This has been in my personal collection for decades and I've taken great care of it for many years.
Although "The Dark Side Of The Moon" is a rather common record, you just don't find complete, clean, early copies like this every day and it would be a fantastic addition to any Pink Floyd or 70's rock vinyl collection.
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CONDITION: I tried to show good hi-resolution photos of the cover, labels and vinyl in my pictures.
I purchased this copy decades ago, on one of my regular vinyl digs in those days, and have taken great care of it since.
VINYL: The vinyl still looks very nice; clean and shiny. There is some mild evidence of play, a few hairlines, but no significant flaws. No serious scuffs, palpable scratches, or dings. It's been played a few times over the years, but always well taken care of. It still looks great and I'll call it at least VG+. I rarely call used records 'Excellent', but this one is very nice.
The Deadwax has the early etched matrix numbers. Side One has the early 'F' Neumann cutting lathe reference, Wally Traugott's "Wally" mastering marks, the stamped 'MASTERED BY CAPITOL' mark, and the ' ─◁ ' for Capitol's Winchester Virginia pressing plant. Side Two has the slightly later 70's 'G64' stamper number and Gene Thompson's 'Gene' mastering mark.
See the full Matrix numbers above.
Although difficult to photograph well, I tried to show some close-up pictures of the vinyl to show how good it still looks. Not perfect, but still very clean and I'm sure you'll be happy with it.
I haven't messed with it or cleaned it, other than regularly using my trusty 'DiscWasher' brush, in decades. it would likely benefit from a good deep cleaning to make it even better looking and better sounding than it already is. I'll leave that up to the new owner.
LABELS: This is pressed with the 'classic' early matte black Harvest labels with the the triangular "blue outline prism" label design. It has the early 'rights reserved' rim text starting at 10 O'clock.
The labels are clean and bright. The spindle holes are still relatively sharp and clean, suggesting minimal playing and my careful handling over the years.
These 'Dark Side' records were typically played often and under sub-optimal conditions, and these matte black labels usually show lots of wear, scrapes and marks around the center of the labels from stoned listeners trying to place the record on the turntable. This copy has very little evidence of that and the labels look very nice.
JACKET: As you can see from my pictures, this still looks fantastic for an early pressing.
Usually these older, all black jackets show significant wear, fingerprints, scuffs, scratches, dents, damage and ringwear, but this copy still looks terrific. It's been well protected for most of it's life. I purchased this copy 'gently used' in one of my regular NYC shops years ago and grabbed it up as it looked to be in fantastic condition. On closer inspection, there were one or two areas at the ends of the spine where it appears the previous owner, or the record shop 'dude', touched up some very minor spine scuffs with a black marker. It's barely noticeable, blends perfectly, but should be noted in full transparency.
This jacket still looks fantastic. These albums were typically played to death under unusual, sub-optimal 'party' conditions, by regular folks, on regular equipment, not audiophiles and collectors, so clean jackets, clean unstained gatefolds, and clean vinyl are quite rare. This one survived quite well. It's a beauty!
The cool 'prism' artwork is bold and bright, the colors just Pop, and the jacket corners are relatively sharp. No seam splits and the spine is straight.
The inner gatefold is clean and bright. No cracks or splits, no damage, scratches, burns, bong-water stains, 'substance' residue, marks or issues. Rare for this particular album.
The smooth black surface of the jacket is still fantastic. These are almost always found with dents, dings, fingerprints and scratches, which are hard to hide on this all black cover. No marks, names, writing or stains on this one. A nice survivor.
This record has been in a poly-lined inner and outer sleeve and stored properly in my collection for decades. As you can see from my pictures, is still quite nice for an early pressing.
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'Dark Side of the Moon' is a classic that belongs in every rock vinyl collection, and having a clean, early, complete copy is the way to go.
One of the best-selling albums of all time and it's often prominently featured in listings of the greatest albums of all time, deservedly so. 'Dark Side' was, and still is, an amazing, well crafted record which flows perfectly from beginning to end. It captures a rare snapshot of Pink Floyd working at the peak of their creativity.
Sadly, 'Dark Side of the Moon' marked the beginning of creative struggles within the band which would come to plague their future work and eventually cause their acrimonious demise.
If you like 70's classic rock and collect vinyl records, you really need this absolutely essential album in your collection.
Add this classic, early, complete, clean, copy of 'Dark Side of the Moon' to your collection today.
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* NOTE: I'm selling this rare 'Collector' record "AS IS" and "NO RETURN". It's rare and as described and I'm sure you'll be very happy with it.
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I’m recently retired and downsizing and letting go some gems and rarities from nearly 45 years of vinyl record collecting. Check out the many other fantastic 45s and 33s coming soon to my page!
All records have been carefully evaluated and graded by me. I visually inspect all records under bright light, personally gently clean them with a soft cloth and then, if unsure, play them on a modern high-end turntable to get a true picture of condition.
Please look at all the high-resolution pictures I added. They are all my own and are of the actual record being sold. The pictures are part of the description and can show small details, label variations, and condition better than I can put into words.
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THANK YOU for looking and reading if you got this far.
HAPPY HOLIDAYS TO YOU AND YOURS AND WE WISH YOU MUCH PEACE AND PROSPERITY IN THE YEAR TO COME! ~ JOHN