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The 1994 remastering was made as soon as commercial 20-bit A-D converters became available, and when the analog master was only 17 years old. So, I think it has the best combination of analog-master-condition and converter-transparency of all CD-versions of Animals. The original digital mastering was done when the analog master was about ten years old, and it was apparently made with a 1st-gen digital recorder with Apogee's superior input filters, so although it has a nice high end and has good spaciousness and imaging, it doesn't have the low-level detail of the 1994 mastering. The 2011 remastering was apparently done with a high-res (DSD or 24-bit digital) recorder, but by then the analog master was past its best-by date. However, my CD which is based on the 1994 remastering has inverted polarity (I won't speculate about how this could have happened, but quite a few CD's have inverted polarity), and must be inverted in order to hear the subtlest nuances. It's fairly easy to hear the differences between the two polarities in the guitar work on the final track. So based on my brief examination of the production process, I assume that all CD's made with the 1994 remastering, and in existence as of this writing (June 2020), have inverted audio polarity. Ideally, new CD's based on the 1994 remastering, and with the correct polarity, would be made available. (They could be advertised as newly remastered.) But I wouldn't count on this happening anytime soon. How to change audio polarity As far as I've been able to determine, the only new consumer gear with polarity controls (invert buttons) consists of a few high-end preamps, such as those by Audio Research. However, there are a couple of alternative approaches for inverting polarity. One is to invert .wav's or FLAC's with an audio editor. Another is to flip the polarity of each speaker connection, which you could do with switches as explained below: ======== WARNING If you add a polarity switch in line with each speaker cable, as described below, do not flip the polarity at high volume levels, or you might damage your amplifier or speakers. ======== An example of a simple polarity control is a DPDT light/wall switch with cross-connected throws (throw A+ to throw B-, throw A- to throw B+) in line with each speaker connection - apply the input across the poles and take the output from across the throws, or vice versa. Wall switches and suitable enclosures (plastic outlet/switch boxes) are readily available, and the switches have screw terminals and hefty switch contacts. For solid connections, solder wire terminals on the speaker cables, and on the cross-connecting wires. Actually, one end of the cross-connect should share a terminal with the speaker cable, to ensure the best connection between the speaker cable and the cross-connect. I would avoid using the push-in terminals on the back of the switch because a good connection requires a combination of large surface area and oxygen-free metal-to-metal contact (almost a like a spot-weld), the latter of which requires wiping under high pressure. (This is why I recommend daisy-chaining the cross-connects onto the speaker cable - otherwise, there would be two wire terminals on each screw terminal where a speaker cable and a cross-connect meet, and the bottom terminal wouldn't be subjected to wiping as the screw is tightened, which would compromise its connections to the switch and to the other terminal.) Gold is ideal for audio connections, but a sufficient connection can also be obtained with a screw terminal screwed down on a wire terminal as tightly as possible without stripping the screw. Polarity control for balanced connections If you're lucky enough to have components with balanced (differential) connections, you could create an interconnect with a line-level version of the polarity switch described above. However, the same warning applies - before flipping the polarity, mute the audio ahead of the polarity switch, or you might damage your system. Read full review
Verified purchase: No
Any true Pink Floyd fan will love this album. This is one of their best albums. All titles are fairly well know for those knowing this bands music. Every song carries the Floyd energy. Often overlooked as a great album and overshadowed by DSOTM, The Wall and Ummaguma. This album deviates from earlier releases but is equally as innovative and groundbreaking. The songs are typically longer and thus did not get much air play. One of the last releases to contain both Roger Waters and David Gilmour. Great music with equally great lyrics. As a Floyd fan I would consider this as a must have title. The great songs include Sheep, and Dogs. The artestry, flow and mood of each and every track are impressive.
Roger Waters and David Gilmour composed "Animals" at a time in England when the face of rock music was drastically changing, 1977. Punk bands were forming everywhere, and they all hated Pink Floyd's brand of drawn-out, ethereal music -- stuff they felt was pompous. Thus, given the times, "Animals" turns out to be an impressively guitar-driven album, musical compositions that, despite it all, are also drawn-out and ethereal as only Pink Floyd can be. The middle of this great album courageously contains three lengthy songs, much too long- winded for radio, thus spoiling the album's commercial viability. Also, "Animals" strangely opens and closes with two short and melodically pleasing acoustic songs about love gone bad; "Pigs on the Wing," parts 1 and 2, somehow work well with the overall vibe of the album. Call it a settling of the nerves.Read full review
This album only has one song that was played on the radio but the whole album is very good. It was inspired by George Orwell‘s classic novel animal farm which is quickly becoming reality. Definitely recommend getting the album if you like Pink Floyd
Verified purchase: Yes | Condition: Pre-owned
Roger Waters vision of the World as a Dark and Dangerous Place csome here to rest. Dogs, Pigs (Three Different Ones) and even on A Wing Twice along with of course - The Sheep. Some of Gilmour's best guitar work and some of the Floyd's best conceptual material. John Lyndon hates Pink Floyd. Animals shows why he is dead wrong. Own this one. All lyrics written by Roger Waters. Side one No. Title Music Lead vocals Length 1. "Pigs on the Wing 1" Waters Waters 1:25 2. "Dogs" Gilmour, Waters Gilmour, Waters 17:03 Total length: 18:28 Side two No. Title Music Lead vocals Length 1. "Pigs (Three Different Ones)" Waters Waters 11:25 2. "Sheep" Waters Waters 10:25 3. "Pigs on the Wing 2" Waters Waters 1:23 Total length: 23:13
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