The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus*
Side Two: Mint Minus Minus*
- This vintage UK copy was giving us the big and bold sound we were looking for, with an INCREDIBLE Shootout Winning Triple Plus (A+++) side one mated to a solid Double Plus (A++) side two
- All our best copies had notable condition problems - it turns out that Animals is the most difficult record to find with quiet surfaces in the Pink Floyd canon, bar none
- Both sides are rich and smooth like good analog should be, with plenty of energy and rock and roll drive
- Marks in the vinyl are sometimes the nature of the beast with these Classic Rock records - there simply is no way around them if the superior sound of vintage analog is important to you
- 4 stars: "Of all of the classic-era Pink Floyd albums, Animals is the strangest and darkest, a record that's hard to initially embrace yet winds up yielding as many rewards as its equally nihilistic successor, The Wall. Animals is all extended pieces, yet it never drifts - it slowly, ominously works its way toward its destination. For an album that so clearly is Waters', David Gilmour's guitar dominates thoroughly ...it surges with bold blues-rock guitar lines and hypnotic space rock textures."
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*NOTE: On side 1, there is a mark that plays 9 times at a moderate level during the intro to track 2 / the last track, "Dogs." On side 2, there is a mark that plays 25 times lightly during the intro to track 2, "Sheep." There is also a mark that plays 7 times lightly about 1/2 way into the last track, "Pigs on the Wing, Pt. 2."
This vintage Harvest pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.
What The Best Sides Of Animals Have To Offer Is Not Hard To Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1977
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Size and Space
One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small -- they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.
Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.
We often have to go back and downgrade the copies that we were initially impressed with in light of such a standout pressing. Who knew the recording could be that huge, spacious and three dimensional? We sure didn’t, not until we played the copy that had those qualities, and that copy might have been number 8 or 9 in the rotation.
Think about it: if you had only seven copies, you might not have ever gotten to hear a copy that sounded that open and clear. And how many even dedicated audiophiles would have more than one of two clean vintage pressings with which to do a shootout? These kinds of records are expensive and hard to come by in good shape. Believe us, we know whereof we speak when it comes to getting hold of vintage UK pressings of Classic Pink Floyd albums.
One further point needs to be made: most of the time these very special pressings just plain rock harder. When you hear a copy do what this copy can, it’s an entirely different -- and dare I say unforgettable -- listening experience.
What We're Listening For On Animals
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren't "back there" somewhere, lost in the mix. They're front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
The Big Sound
Pink Floyd easily qualifies as one of the handful of bands to produce an immensely enjoyable and meaningful body of work throughout the 70s, music that holds up to this day. The music on their albums, so multi-faceted and multi-layered, will surely reward the listener who takes the time to dive deep into their complex sound.
Repeated plays are the order of the day. The more critically you listen the more you are apt to discover within the exceedingly dense mixes favored by the band. And the better your stereo gets the more you can appreciate the care and effort that went into the production of their recordings.
Shooting Out the Tough Ones
Pink Floyd albums always make for tough shootouts. Like Yes, a comparably radio-friendly Pop Prog band, their everything-but-the-kitchen-sink approach to recording makes it difficult to translate their complex sounds to disc, vinyl or otherwise. Everything has to be tuned up and on the money before we can even hope to get the record sounding right. (Careful VTA adjustment could not be more critical in this respect.)
If we’re not hearing the sound we want, we keep messing with the adjustments until we do. There is no getting around sweating the details when sitting down to test a complex recording such as this. If you can’t stand the tweaking tedium, get out of the kitchen (or listening room as the case may be).
Obsessing over every aspect of record reproduction is what we do for a living. Pink Floyd’s recordings require us to be at the top of our game, both in terms of reproducing their albums as well as evaluating the merits of individual pressings.
When you love it, it’s not work, it’s fun. Tedious, occasionally exasperating fun.
Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.
- Pigs on the Wing, Pt. 1
- Pigs (Three Different Ones)
- Pigs on the Wing, Pt. 2
AMG 4 Star Review
Of all of the classic-era Pink Floyd albums, Animals is the strangest and darkest, a record that's hard to initially embrace yet winds up yielding as many rewards as its equally nihilistic successor, The Wall.
Animals is all extended pieces, yet it never drifts -- it slowly, ominously works its way toward its destination. For an album that so clearly is Waters', David Gilmour's guitar dominates thoroughly, with Richard Wright's keyboards rarely rising above a mood-setting background (such as on the intro to "Sheep"). This gives the music, on occasion, immediacy and actually heightens the dark mood by giving it muscle.
It allso makes Animals as accessible as it possibly could be, since it surges with bold blues-rock guitar lines and hypnotic space rock textures. Through it all, though, the utter blackness of Waters' spirit holds true, and since there are no vocal hooks or melodies, everything rests on the mood, the near-nihilistic lyrics, and Gilmour's guitar.