Pink Floyd - A Nice Pair 12" Vinyl Double LP Album

- The Uncensored Collage That Sparked a Quiet Scandal

Album Front cover Photo of Pink Floyd - A Nice Pair 12" Vinyl Double LP Album https://vinyl-records.nl/

A nine-panel collage framed in white borders: surreal snapshots of corridors, a torso image with bold typography, a lone person before a Japanese building, samurai artwork, a football team portrait, a giant fork planted in barren ground, a headless yellow coat, hovering UFOs over power lines, and a teapot stuffed with fish. Absurd, playful, slightly provocative—pure early-70s visual mischief.

Pink Floyd's "A Nice Pair," a 1967-1968 Italian release on EMI (catalog number 3C 154-50203), melds the band's inaugural albums, "The Piper at the Gates of Dawn" and "A Saucerful of Secrets." This vinyl gem encapsulates Pink Floyd's pioneering psychedelic and progressive rock sound. The Italian imprint symbolizes the band's international impact during a transformative period, making "A Nice Pair" a cherished collector's item, both musically and visually.

"A Nice Pair" Album Description:

“A Nice Pair” isn’t a 1967-1968 release, no matter how many old catalog pages try to bluff it into being one. It’s the early-70s repackaging job: two full LPs (“The Piper at the Gates of Dawn” and “A Saucerful of Secrets”) folded into one gatefold and sold to people who’d just discovered Pink Floyd the hard way - by being flattened by their later albums and then wondering what the band sounded like before the cathedral got built.

One record drops you into Syd-era London where songs don’t politely “start,” they just lurch into the room. “Astronomy Domine” is the opener that still feels like someone threw open a door to a noisy planet. “Lucifer Sam” struts. “Interstellar Overdrive” refuses to behave. It’s not “groundbreaking,” it’s stubborn. That’s why it survives. Norman Smith’s name sits there in the small print like the calm adult who somehow kept the tape rolling while everyone else tried to levitate the studio.

The second LP is where the mood thickens. The band gets heavier, the jokes get darker, and the grooves start hinting at the machine they’d become. “Let There Be More Light” punches the air. “Set the Controls for the Heart of the Sun” does that slow, hypnotic burn that either drags you under or bores you silly depending on your patience level. Credit where it’s due: this side is where the early weirdness starts learning discipline, whether you like that word or not.

Collector reality shows up fast on the Italian copy. The Harvest labels are loud yellow and green, “Made in Italy” riding the rim text, and the catalog numbers split across the two discs (3C 154-50203 on one, 3C 154-50204 on the other). The dates printed on the labels (P 1967 and P 1968) aren’t the compilation’s release year; they’re the original copyright years for the material. It’s the kind of detail that stops arguments at record fairs, which is a public service.

The cover art is where “A Nice Pair” turns into a traveling circus. Hipgnosis built it as a grid of visual puns and odd photos, and different countries couldn’t resist meddling. Some copies slap a black bar over the nude panel. Others hide it with a sticker over the shrinkwrap. Early runs even swapped out one panel after a real dentist objected to his surgery being used as a joke, because reality always ruins the fun. Even the inside gatefold photos can vary between pressings, so two “identical” copies can quietly disagree with each other in the details. Annoying. Also irresistible.

Italian labels get their own little collector-side quest thanks to SIAE, the Italian rights society. On plenty of Italian records the SIAE mark shows up as a physical stamp applied after printing - actual ink, sometimes different colors, sometimes slightly off-kilter because a human hand did it. That’s the charm and the headache: “official” can look messy on purpose. On this release the S.I.A.E. marking sits in the usual boxed position on the label, and whether your copy has a stamped mark or a printed one is exactly the kind of thing that makes sane people back away slowly while collectors lean in closer.

So yes, it’s a compilation. It’s also a very practical trap: two foundational albums, one gatefold, and enough label and cover variations to keep you checking “just one more copy” for the next twenty years. Pretend it’s about “history” if you want. The sleeve knows better.

References

Album Key Details: Genre, Label, Format & Release Info

Music Genre:

Psychedelic, Acid, Progressive Rock Music

Label & Catalognr:

EMI – Cat#: 3C 154-50203 (15450203)

Media Format:

Record Format: 12" Double LP

Release Details:

Release Date: 1967-1968

Release Country: Made in Italy

Collector’s Note: Pink Floyd "A Nice Pair" 2LP

Pink Floyd's two best records: "Piper at the Gates of Dawn" and "Saucerful of Secrets" combined into a single gatefold album.

Gatefold/FOC (Fold Open Cover) Album Cover Design
UNCENSORED front cover

Production & Recording Information:

Producers:
  • Norman Smith – Producer, Sound Engineer

    The Beatles called him "Normal". Pink Floyd collectors call him the guy who made the chaos sound expensive.

    Norman Smith - the calm EMI wizard I still hear in the grooves whenever early Floyd turns the lights weird. He cut his teeth at Abbey Road, engineering The Beatles' EMI sessions from 1962 through autumn 1965 (yes, up to "Rubber Soul"), then stepped out from behind the glass as a producer. In 1967-1969 he steered Pink Floyd through "The Piper at the Gates of Dawn", "A Saucerful of Secrets" and "Ummagumma", keeping Syd's sparkle and the chaos on tape. In 1968 he produced The Pretty Things' "S. F. Sorrow", and in the early 1970s he shaped Barclay James Harvest (including "Once Again"). Later he even popped up as Hurricane Smith, because rock history loves a plot twist.

    Norman Smith Wiki

Band Members / Musicians:

Band Line-up:
  • Roger Waters – Bass, vocals, songwriter

    Roger Waters is the guy I blame (politely) when a Pink Floyd song stops being “spacey vibes” and starts staring straight through you with lyrics that feel like a courtroom cross-examination.

    Roger Waters is, to my ears, Pink Floyd’s razor-edged storyteller: bassist, singer, and the main lyric engine who pushed the band from psychedelic drift into big, human-scale themes. His key band period is Pink Floyd (1965–1985), where he became the dominant writer through the 1970s and early 1980s, before leaving and launching a long solo career (1984–present). After years of public tension, he briefly reunited with Pink Floyd for a one-off performance at Live 8 in London on 2 July 2005—basically the musical equivalent of spotting a comet: rare, bright, and gone again. Since the late 1990s he’s toured extensively under his own name, staging huge concept-driven shows that revisit Floyd classics like "The Dark Side of the Moon" (notably on the 2006–2008 tour) and "The Wall" (2010–2013), because apparently subtlety is not the point when you’ve got something to say.

    Roger Waters Wiki
  • Syd Barrett – Guitar, vocals, songwriter

    Syd Barrett is the original Pink Floyd spark plug I always think of when the music sounds like it was beamed in from a kinder, stranger universe—he co-founded the band in 1965 and shaped their early psychedelic identity before everything went sideways.

    Syd Barrett (born Roger Keith Barrett) is, to me, the “before” and “after” line in Pink Floyd history: the frontman, guitarist, and main songwriter in the band’s formative years, then the haunting absence everyone kept orbiting. His key band period is Pink Floyd (1965–1968), where his songs and playing defined the early sound and led to the debut album era, before his departure in 1968. After that, he had a short, intense solo period (1968–1974), highlighted by the albums "The Madcap Laughs" (released 1970) and "Barrett" (released 1970), after which he largely withdrew from the music world. It’s a brutally brief career arc for someone so influential, which is exactly why his shadow still feels weirdly present whenever early Floyd comes on.

    Syd Barrett Wiki
  • David Gilmour – Guitar, vocals

    David Gilmour is the voice-and-fingers combo I hear whenever Pink Floyd turns from “spacey” into straight-up cinematic: he joined in 1967 and basically helped define what “guitar tone with emotions” even means.

    David Gilmour is, for me, the calm center of Pink Floyd’s storm: an English guitarist, singer, and songwriter whose playing can feel gentle and devastating in the same bar. His earliest band period worth name-dropping is Jokers Wild (1964–1967), before he stepped into Pink Floyd in 1967 as Syd Barrett’s situation unraveled. From there his main performing era is Pink Floyd (1967–1995), including the post-Roger Waters years where the band continued under his leadership and released "A Momentary Lapse of Reason" (1987) and "The Division Bell" (1994), with a later studio coda in "The Endless River" (2014). Outside Floyd, he’s had a long solo run (1978–present) with albums ranging from "David Gilmour" (1978) to "Luck and Strange" (2024), and he even did a sharp side-quest in 1985 with Pete Townshend’s short-lived supergroup Deep End. And for one historic night, the classic lineup reunited at Live 8 in Hyde Park, London on 2 July 2005—one of those “you had to be there (or at least press play)” moments.

    David Gilmour Wiki
 
  • Richard Wright – Keyboards, vocals

    Richard Wright is the secret atmosphere machine in Pink Floyd: the guy who can make one chord feel like a whole weather system, and then casually add a vocal harmony that makes it hit even harder.

    Richard Wright (born Richard William Wright) is, for me, the understated genius of Pink Floyd: co-founder, keyboardist, and occasional lead vocalist whose textures are basically baked into the band’s DNA. His main performing period with Pink Floyd runs from 1965 to 1981 (including the early albums through the massive arena years), then he returned as a full member again from 1987 to 1994 for the later era tours and albums. In between those chapters, he didn’t just vanish into a fog machine: he released a solo album, "Wet Dream" (1978), and later "Broken China" (1996), and he also had a proper side-project moment with Zee (1983–1984), which produced the album "Identity" (1984). He passed away in 2008, but his playing still feels like the part of Pink Floyd that makes the air shimmer.

    Richard Wright Wiki
  • Nick Mason – Drums, percussion

    Nick Mason is the steady heartbeat I always come back to in Pink Floyd: the only constant member since the band formed in 1965, quietly holding the whole weird universe together while the rest of the planet argues about everything else.

    Nick Mason is Pink Floyd’s drummer, co-founder, and the one guy who never clocked out: his main performing period with Pink Floyd runs from 1965 to the present, and he’s the only member to appear across every Pink Floyd album. Outside the mothership, he’s had a very “I’m not done yet” second act: in 2018 he formed Nick Mason’s Saucerful of Secrets (2018–present) to bring the band’s early psychedelic years back to the stage. He’s also stepped out under his own name with projects like the solo album "Nick Mason’s Fictitious Sports" (released 1981), which is basically him taking a left turn into jazz-rock just to prove he can. And yes, he was part of that blink-and-you-miss-it full-band moment at Live 8 in London in 2005, when the classic lineup briefly reunited and reminded everyone why this band still haunts people.

    Nick Mason Wiki

Complete Track-listing:

Tracklisting Record One: The Piper at The Gates of Dawn
  1. Astronomy Domine (8:12)
  2. Lucifer Sam (3:07)
  3. Matilda Mother (3:08)
  4. Flaming (2:46)
  5. Pow R. Toc H.
  6. Take Up Thy Stethoscope and Walk (3:05)
  7. Interstellar Overdrive (9:41)
  8. The Gnome (2:13)
  9. Chapter 24 (3:42)
  10. The Scarecrow (2:11)
  11. Bike (3:21)
Tracklisting Record Two: Saucerful of Secrets
  1. Let There Be More Light (5:38)
  2. Remember a Day (4:33)
  3. Set the Controls for the Heart of the Sun (5:28)
  4. Corporal Clegg (4:13)
  5. A Saucerful of Secrets (11:57)
  6. See-Saw (4:36)
  7. Jugband Blues (3:00)

Disclaimer: Track durations shown are approximate and may vary slightly between different country editions or reissues. Variations can result from alternate masterings, pressing plant differences, or regional production adjustments.

I keep this Italian copy of "A Nice Pair" near the turntable because it's the laziest kind of time travel: Harvest/EMI rolled the set out in 1973, but the music inside is pure 1967-1968 brain-melt. The front is that Hipgnosis grid of little visual jokes, and on some pressings they slapped a bar or sticker over the "nice pair" gag - mine doesn't bother apologizing. Flip it and you get the practical stuff: titles, credits, the boring truth. Inside the gatefold the band look half-curious, half-worn out, like the Syd-era sparkle is still in the room while the post-Syd machine is quietly warming up. Then I end up under a lamp, squinting at EMI typefaces and catalog numbers like they're runes. Yeah. That's the point.

Album Front Cover Photo
Pink Floyd A Nice Pair Italian EMI 3C 154-50203 2LP front cover collage grid with uncensored central torso image, Hipgnosis design, nine-panel photo montage including corridor interior, samurai drawing, football team, fork in landscape, UFO scene, headless yellow coat and teapot with fish, printed on semi-gloss white bordered sleeve showing light edge wear and slight corner softening typical of 1970s Italian pressings

Laid flat on a desk, the sleeve feels heavier than it should, that slightly rigid early-70s board EMI favored for export markets. The white grid hits first. Nine images boxed in like specimens, each one pretending not to know the others. The central panel shouts the title over that infamous torso shot, still uncensored here, which tells you immediately this copy wasn’t neutered for nervous retailers. The black ink is dense, almost oily, and in the corners you can see faint rub where other sleeves leaned against it for decades.

The top left corridor glows in saturated yellow and red, a cheap hotel or cinema lobby caught mid-breath. Opposite it, a tiled roof and a solitary person framed in cold blue. The jump from warmth to chill is abrupt, not poetic. Deliberate. Someone wanted your eye bouncing, slightly irritated. The samurai drawing below looks like it wandered in from a different project entirely. Then there’s that amateur-looking football team photo, which still makes me grin because it feels stubbornly ordinary in a sleeve otherwise trying to be clever.

The giant fork planted in cracked earth is pure visual gag, and yes, it still works. The headless yellow coat with red boots—blunt, almost cartoonish—has picked up the tiniest surface scratches where the lamination thins near the lower edge. Bottom center, UFOs drift above power lines in monochrome, the print grain more visible there than anywhere else. And the teapot stuffed with fish closes it out like a punchline no one bothered to explain. The spine on this Italian pressing shows mild stress near the midpoint, just enough to tell you it’s been pulled out and pushed back in more than once. Good. That’s what it’s for.

Album Back Cover Photo
Pink Floyd A Nice Pair Italian EMI 3C 154-50203 back cover collage grid with frog image, cartoon conveyor mouths, censored cannabis field photo with yellow VSSL code sticker, pyramid landscape, Mr and Mrs Fear text panel, black and white shadow figures, interior record shop scene, and uncensored torso image, 2 Record Set Stereo marking visible, typical 1970s Italian sleeve wear

Flip the sleeve and the joke keeps going. Same white grid, same boxed-in logic, but the mood shifts from playful to slightly knowing. The paper stock feels identical to the front—semi-gloss, not quite laminated—and on this copy there’s faint ring wear forming a soft halo across the center panels. The corners are just beginning to feather, especially top right where the board has taken the usual shelf knock.

Top row: a squat frog staring straight out, then that loud, almost comic-strip “BIANCO” graphic with conveyor-belt mouths chewing through a plank. It looks like it was pasted in from another universe, and maybe that’s the point. To the right, the “2 Record Set” text sits calmly above a black-and-white field scene interrupted by a bright yellow sticker—VSSL code printed like a retail afterthought. That sticker is pure period detail, slightly crooked, and yes, it interrupts the image in a way that feels both annoying and absolutely right for an Italian shop copy.

Middle row slides from a cluttered, almost decadent seated figure buried in fabrics and trinkets to a stark “Mr & Mrs Fear” panel—minimal, cold, graphic. Then the pyramids, sun-washed and suspiciously postcard-like. Bottom row drops the temperature again: blurred black shapes casting long shadows, a cramped interior scene with two people hunched over records, and finally the torso image reappearing, clinical and unapologetic. The small stereo box and catalog reference sit up in the corner, tidy and bureaucratic against all that chaos. It’s a back cover that refuses to behave like one. Good. A double LP like this shouldn’t whisper its credentials.

Photo One of Inside Page Gatefold Cover
Pink Floyd A Nice Pair Italian EMI 3C 154-50203 2LP gatefold interior collage with live stage photo, early black and white band portraits including Syd Barrett era lineup, EMI Italiana Harvest logo, handwritten style track listing panel, and period typography, showing light ring wear and minor spine stress typical of 1970s Italian pressings

Open the gatefold and the paper gives a soft crackle, the kind that only shows up after years of being opened flat on coffee tables. The interior keeps the boxed collage format but tightens it up with band history staring straight at you. Top left, a cramped early club shot—small room, low ceiling, microphones too close together. No arena myth here. Just volume and sweat. The black and white portraits beside it feel staged but not glamorous; the lighting is flat, almost stubbornly honest.

Across the top right, a full stage under blue lights—later era, bigger rig, more distance between players. The jump in scale is obvious and maybe a little smug. Middle panels slide between lineup photos that quietly document the shift from Syd’s presence to the post-Syd configuration. The expressions aren’t heroic. They look tired, curious, occasionally bored. That’s accurate.

Bottom left corner carries the EMI Italiana SpA text with Harvest logo and “Made in Italy” credit, printed in small, practical type. No romance there, just manufacturing reality. The board shows faint ring wear bleeding through the lighter panels and a slight ripple near the spine fold where the glue has tightened over time. Bottom right, the handwritten-style track listing panel looks almost improvised, red ink corrections scrawled like someone was still arguing about sequencing. It’s messy. Good. A compilation stitching together 1967 and 1968 shouldn’t look too neat.

Photo Two of Inside Page Gatefold Cover
Pink Floyd A Nice Pair Italian EMI 3C 154-50203 gatefold interior collage with multiple band portraits across Syd Barrett and post-Syd eras, studio rehearsal photo with drum kit and amplifiers, aircraft scene, botanical dome image, and torn-paper design elements with visible aging and handling marks typical of 1970s Italian double LP sleeves

This is the other half of the gatefold and it feels less like a design exercise and more like someone emptied a shoebox of band history onto a layout grid. Nine panels again, boxed in white borders that have started to dull slightly toward cream on this copy. There’s a faint thumb gloss near the middle row where the sleeve naturally gets held open. The paper here bends a little more easily than the outer cover; decades of being flattened under its own weight have softened it.

Top row leans hard into early black-and-white: close-cropped faces, that overhead halo shot with hair fanning out like a dark starburst, and a four-man portrait that already looks transitional. No heroic framing. Just young men who don’t yet know they’re going to outgrow their own mythology. Middle left, the longer-haired trio outdoors—more relaxed, less fragile. Center panel jumps in color with that greenhouse dome image and a surreal falling silhouette. It almost feels too deliberate, like a nod to the grander Floyd that was coming. Middle right drags us into a cluttered rehearsal space: drum kit wedged against amps, cables everywhere. That’s the honest one.

Bottom left shows the aircraft scene with visible marker scribble on this particular copy—blue ink cutting across the margin. Collector irritation? Slightly. But it’s period handwriting, and oddly it anchors the sleeve in real ownership. Bottom center is a heavier, darker group shot, faces shadowed, expressions already less whimsical. Bottom right tears the frame apart with ripped-paper effects and circular stains that look like someone rested a coffee cup there in 1978. Maybe they did. The spine fold here shows minor stress whitening, nothing dramatic, just the quiet fatigue of a double LP that’s been opened a few hundred times. It’s messy, uneven, and far more truthful than a polished retrospective ever could be.

Close up of record’s label
Close up of Side One record’s label
Close up of Side One Harvest label for Pink Floyd A Nice Pair Italian pressing 3C 154-50203, yellow and green EMI Harvest design with SIAE box, Stereo marking, 1967 copyright, Made in Italy rim text

The label is that unmistakable Italian Harvest design: a saturated lemon-yellow field with deep green graphics that almost glow under light. The surface shows faint spindle traces radiating from the center hole—thin, pale arcs where the vinyl has been guided onto a turntable a few dozen times. They’re light, not abusive. Honest play.

Dominating the upper right quadrant is the large stylized Harvest logo: a rounded abstract human figure formed inside a thick green circular line, connected by a flowing line that curves across the label like a vine or cable. It looks agricultural and futuristic at the same time—part crop symbol, part 1970s corporate optimism. The word HARVEST sits bold and blocky beneath “PINK FLOYD,” stretching left to right in a custom geometric typeface that anchors the design.

Above the spindle hole, “EMI” appears in a small white box, and just below it a boxed “STEREO” marking in black. To the left sits the S.I.A.E. rights box, confirming Italian rights society registration. Beneath that, a small “P 1967 EMI Records Ltd.” credit quietly nods to the original recording year of The Piper at the Gates of Dawn material. On the right side, the catalogue number “3C 154 - 50203” is printed in bold, with the side indicator “A” directly below. The rim text encircling the edge is in Italian, ending at the bottom with “Made in Italy,” printed in small capitals along the curve.

Track titles are centered in tight uppercase lines, each followed by composer credits in parentheses and durations. The producer credit “Prod. by Norman Smith” sits near the bottom of the text block. The ink density is slightly heavier on the green graphics than on the black track text, a common trait in Italian EMI pressings of the period. The vinyl surface surrounding the label shows faint hairline reflections but no heavy groove burn. It’s a clean example, properly stored.

Harvest, Italy Label

This is the Italian EMI Harvest label used for domestic pressings of progressive and rock releases in the early to mid-1970s. The design reflects EMI’s international Harvest branding while incorporating Italian manufacturing and rights markings. This particular label design was used by Harvest (EMI Italiana) between approximately 1973 and the late 1970s.

Colours
Bright yellow background with dark green logo and border graphics; black text for track listing and credits.
Design & Layout
Large Harvest logo dominating upper half; EMI box at top; Stereo and SIAE boxed markings; centered track listing; catalogue number and side indicator on right.
Record company logo
Harvest emblem featuring a stylized abstract human figure enclosed in a circular vine-like graphic, symbolizing growth and artistic cultivation.
Band/Performer logo
No separate Pink Floyd logo; band name printed in bold uppercase sans-serif type above the Harvest branding.
Unique features
Italian S.I.A.E. rights box; Italian-language rim text; “Made in Italy” marking; catalogue prefix “3C” identifying Italian EMI numbering system.
Side designation
Marked as Side “A” beneath the catalogue number.
Rights society
S.I.A.E. (Società Italiana degli Autori ed Editori).
Catalogue number
3C 154 - 50203
Rim text language
Italian, including manufacturing and reproduction rights statement.
Track list layout
Compact uppercase listing with composer credits in parentheses and durations aligned inline.
Rights info placement
Copyright year and EMI Records Ltd. credit beneath SIAE box; producer credit at bottom of track block.
Pressing info
“Made in Italy” printed along lower rim text; EMI Italiana manufacturing implied via rights and catalogue prefix.
Background image
Flat color field with integrated Harvest logo graphic; no photographic background.
Second Close up of record’s label
Close up of Side Two record’s label
Close up of Side Two Harvest label for Pink Floyd A Nice Pair Italian EMI pressing 3C 154-50204, yellow and green design with SIAE box, Stereo marking, 1968 copyright, Saucerful of Secrets track listing and Made in Italy rim text

This is the companion label from the second record in the set, and at first glance it mirrors Side One almost perfectly: the same saturated yellow field, the same deep green Harvest emblem spreading across the upper half like a stylized vine wrapping around the spindle hole. Under direct light the gloss catches slightly along the curve of the logo, and there are faint circular spindle trails around the center hole—thin grey arcs from repeated placement on a turntable spindle. Nothing aggressive. Just life.

At the top, the white boxed EMI logo sits neatly under the Italian rim text, which runs in a full circle and ends with “Made in Italy” along the lower edge. The boxed STEREO marking appears left of center, printed in black with a slightly heavier ink impression than the surrounding text. Beneath it, “PINK FLOYD” is set in bold uppercase sans-serif, clean and evenly spaced, followed by the large HARVEST wordmark integrated into the graphic curve.

On this label the copyright line reads “P 1968 EMI Records Ltd.” reflecting the A Saucerful of Secrets material. The S.I.A.E. rights box is positioned to the left, confirming Italian performance rights registration. To the right of the spindle hole sits the catalogue number “3C 154 - 50204,” with the side designation “A” directly below it. That numbering difference—50204 instead of 50203—marks this as the second disc in the Italian double LP set.

The track listing is centered and tightly stacked, beginning with “A SAUCERFUL OF SECRETS” header and listing Let There Be More Light, Remember a Day, Set the Controls for the Heart of the Sun, and Corporal Clegg, each followed by composer credits and durations. The producer credit “Prod. by Norman Smith” is printed at the bottom of the track block. The vinyl surrounding the label shows fine hairline reflections typical of careful cleaning rather than heavy play. Ink registration is sharp, especially in the green figure logo, with no visible misalignment—a well-executed Italian EMI pressing.

Harvest, Italy Label

This is the Italian EMI Harvest label variant used for the second record in the “A Nice Pair” double LP set. It maintains the international Harvest visual identity while incorporating Italian manufacturing and rights markings specific to EMI Italiana pressings of the 1970s.

Colours
Bright yellow background with dark green Harvest logo and border graphics; black text for titles and credits.
Design & Layout
Large abstract Harvest figure dominating upper half; EMI logo at top; boxed Stereo and SIAE markings; centered track listing; catalogue number and side indicator on right.
Record company logo
Harvest emblem showing a stylized human figure inside a circular vine-like graphic, symbolizing growth and artistic cultivation under EMI branding.
Band/Performer logo
No separate Pink Floyd logo; band name printed in bold uppercase sans-serif type.
Unique features
Catalogue suffix 50204 distinguishing this disc from the first record; Italian S.I.A.E. box; 1968 copyright date; Italian-language rim text; Made in Italy marking.
Side designation
Marked as Side “A” for the second record in the set.
Rights society
S.I.A.E. (Società Italiana degli Autori ed Editori).
Catalogue number
3C 154 - 50204
Rim text language
Italian, including reproduction and broadcasting rights statement.
Track list layout
Compact uppercase listing with composer credits in parentheses and durations following each title.
Rights info placement
Copyright and EMI Records Ltd. credit beneath SIAE box; producer credit at bottom of text block.
Pressing info
Made in Italy printed along lower rim; Italian catalogue prefix “3C” indicating EMI Italiana numbering system.
Background image
Flat yellow color field with integrated Harvest graphic; no photographic background.

All images on this site are photographed directly from the original vinyl LP covers and record labels in my collection. Earlier blank sleeves were not archived due to past storage limits, and Side Two labels are often omitted when they contain no collector-relevant details. Photo quality varies because the images were taken over several decades with different cameras. You may use these images for personal or non-commercial purposes if you include a link to this site; commercial use requires my permission. Text on covers and labels has been transcribed using a free online OCR service.

Index of PINK FLOYD's Nice Pair Vinyl Album Discography and Album Cover Gallery

PINK FLOYD - Nice Pair (France) 12" Vinyl LP
PINK FLOYD - Nice Pair (France 154) album front cover

Harvest 2C 154 - 50.203 ( 154-50203) / C 154 - 50.203 , 1973 , France

Pink Floyd's "A Nice Pair" French double LP, featuring "The Piper At The Gates of Dawn" and "Saucerful of Secrets," is a collector's gem. The gatefold cover with an uncensored front, original inner sleeves, and Norman Smith's production spotlight a pivotal era in the late '60s. A harmonious blend of psychedelic rock and progressive elements, it stands as a sonic testament to Pink Floyd's avant-garde spirit and musical evolution.

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PINK FLOYD - Nice Pair (France 2nd Release) 12" Vinyl LP
PINK FLOYD - Nice Pair (France 2nd Release) album front cover

Harvest 2C 156-50.203 , 1973 , France

Pink Floyd's 1973 French release "Nice Pair" 2LP vinyl, a captivating relic, omits stereo labels, adding allure. Uncensored covers enhance its mystique. Featuring the band's initial masterpieces, "The Piper At The Gates of Dawn" and "Saucerful of Secrets," it's a time capsule. Norman Smith's production echoes in its soundscape. Harvest-labeled, with code 2C 156-50.203, and "Made in France," it's a globally cherished testament to Pink Floyd's early brilliance.

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PINK FLOYD - Nice Pair (Germany) 12" Vinyl LP
PINK FLOYD - Nice Pair (Germany) album front cover

HARVEST 1C 148-50 203 / 1C 172-50 204 , 1974 , Germany

Pink Floyd's "A Nice Pair" German release, cataloged as HARVEST 1C 148-50 203 / 1C 172-50 204, is a landmark compilation combining "The Piper at the Gates of Dawn" and "A Saucerful of Secrets." This uncensored edition provides an unfiltered experience of the band's early, experimental sound. Released during a pivotal period in the late 1960s, it encapsulates Pink Floyd's evolution and enduring influence on progressive rock.

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PINK FLOYD - Nice Pair (Gt Britain) 12" Vinyl LP
PINK FLOYD - Nice Pair (Gt Britain) album front cover

EMI Harvest SHSP 4031 SHSP 4032 , 1967-1968 , Gt Britain

Released in 1973, "A Nice Pair" is a significant 2LP vinyl album featuring Pink Floyd's debut, "The Piper at the Gates of Dawn," and "A Saucerful of Secrets." This British pressing showcases the band's evolution from psychedelic origins to a more experimental sound. With its iconic cover art, the album captures a transitional phase in Pink Floyd's journey, making it a collector's gem symbolizing the band's musical metamorphosis during that era.

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Updated PINK FLOYD - A Nice Pair (Italy) 12" Vinyl Double LP album front cover vinyl LP album https://vinyl-records.nl

The Uncensored Italian Harvest Pressing That Collectors Quietly Fight Over

PINK FLOYD - A Nice Pair (Italy) 12" Vinyl Double LP

Italian EMI pressing (3C 154-50203) of Pink Floyd’s early-70s 2LP compilation pairing "The Piper at the Gates of Dawn" and "A Saucerful of Secrets." Bright yellow Harvest labels, S.I.A.E. marking, and “Made in Italy” rim text make this psychedelic/progressive rock set a collector magnet for label quirks and sleeve variations.

PINK FLOYD - Nice Pair (Sweden) 12" Vinyl LP
PINK FLOYD - Nice Pair (Sweden) album front cover

EMI-Harvest 7C 172-50203 , , Sweden

Pink Floyd's "Nice Pair" Swedish release, featuring "The Piper at the Gates of Dawn" and "A Saucerful of Secrets," epitomizes the band's experimental era. The gatefold cover and unique EMI-Harvest catalog number (7C 172-50203) highlight its visual and auditory allure. Produced in Sweden, the LP's global impact underscores Pink Floyd's pioneering role in progressive rock. A sought-after collector's item, this vinyl encapsulates the band's innovation within the dynamic late 1960s and early 1970s music scene.

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