The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus*
- An outstanding British copy of this shockingly well recorded album with solid Double Plus (A++) sound or BETTER on both sides
- These sides have presence, size and space we guarantee you have never heard on this album in all your born days
- An audiophile Demonstration Quality Recording on a par with Dark Side of the Moon, which is really saying something!
- A mark plays during the opening "pinging" on side two, but find me a good sounding copy with a quiet intro for side two and I will eat it
- 4 1/2 stars:"Pink Floyd were nothing if not masters of texture, and Meddle is one of their greatest excursions into little details, pointing the way to the measured brilliance of Dark Side of the Moon and the entire Roger Waters era."
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*NOTE: On side two, a mark on the edge makes 20 moderate to loud pops.
This vintage British import has the richness, space and the effortlessly extended top end that lets Meddle work its experimental proggy magic. With this pressing you will hear that veil upon veil has been lifted. You'll immediately become aware of aspects of the music and the recording that you hadn’t noticed when playing other, inferior copies of Meddle (of which there are many, see the Other Pressings tab above).
All the elements are THERE, right in front of you, clearly occupying their own space within the wider stage of the soundfield. Here are the startling dynamics, the deep, well defined bass, the vocal sweetness, the open spaces -- in short, here is exactly the kind of sound that the band would bring to the recording of Dark Side of the Moon.
This album is proof that they already had it in them in 1971.
What the best sides of Meddle 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 1971
- 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.
Pink Floyd's Recordings
With amazing sound like this you can finally appreciate the music in all its ANALOG glory. This is music that's as fresh today as when it was recorded more than forty years ago.
Meddle is good enough to take its place among the best sounding records Floyd or anybody else ever recorded, filled with all the analog magic that makes Pink Floyd one of the best recorded bands of All Time. Besides The Beatles who else even comes close?
Musically this record has really grown on us over the course of the last decade. There's not a bad cut on it, and most of them have not been played to death like most everything else by the band has. Play Fearless to hear Pink Floyd at their best, and I mean their best from any album.
If you're the kind of guy who gets a thrill from hearing Pink Floyd bangin' out one of their heaviest psych jams with mind-blowing sound, this copy is guaranteed to knock you out. Drop the needle on ’One of These Days’ and listen to how HUGE the soundfield is -- it’s so wide and deep and three-dimensional you should have no trouble whatsoever getting lost in the music.
Like many of the Hottest Stamper pressings we sell, with a copy that sounds as good as this one the experience of listening to the album is nothing less than immersive.
What We're Listening For on Meddle
- 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.
Size and Space
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 British original copies with which to do a shootout? These 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 original British pressings of Classic Rock 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.
The recording has a lot of very quiet passages on both sides, especially in the intro to Echoes, so Mint Minus Minus is about as quiet a copy as we can find. (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 later 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 that is a key part of the appeal 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.
- One Of These Days
- A Pillow Of Winds
- San Tropez
AMG 4 1/2 Star Review
Atom Heart Mother, for all its glories, was an acquired taste, and Pink Floyd wisely decided to trim back its orchestral excesses for its follow-up, Meddle.
Opening with a deliberately surging "One of These Days," Meddle spends most of its time with sonic textures and elongated compositions, most notably on its epic closer, "Echoes." If there aren't pop songs in the classic sense (even on the level of the group's contributions to Ummagumma), there is a uniform tone, ranging from the pastoral "A Pillow of Winds" to "Fearless," with its insistent refrain hinting at latter-day Floyd.
Pink Floyd were nothing if not masters of texture, and Meddle is one of their greatest excursions into little details, pointing the way to the measured brilliance of Dark Side of the Moon and the entire Roger Waters era. Here, David Gilmour exerts a slightly larger influence, at least based on lead vocals, but it's not all sweetness and light -- even if its lilting rhythms are welcome, "San Tropez" feels out of place with the rest of Meddle.
Still, the album is one of the Floyd's most consistent explorations of mood, especially from their time at Harvest, and it stands as the strongest record they released between Syd's departure and Dark Side.