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Pink Floyd-Related Audio/Video (2 Viewers)

Mammoth 27 disc box set (Blu-ray/DVD/CD) street day 11/11/16. Hideously expensive, but the price has already dropped (and should further). Compared to initial price, $200 less at Amazon UK, as much as $300 less through Burning Shed (gotten a few XTC CDs recently, reasonable price and convenient shipping - but they are known to charge as soon as order is placed, so maybe wait until closer to ship date).   

Includes the KQED in studio concert video, quad mixes of Atom Heart Mother and Echoes from Meddle, 5.1 remix of Live at Pompei and Blu-Ray editions of the films More and La Vallee (Obscured By Clouds). 

Rolling Stone

http://www.rollingstone.com/music/news/pink-floyd-detail-massive-27-disc-early-years-box-set-w431264

The Guardian

https://www.theguardian.com/music/2016/jul/28/pink-floyd-release-27-disc-set-early-years-1965-1972

Pink Floyd press release with track listings

http://www.pinkfloyd.com/news/pdfs/Pink_Floyd_The_Early_Years_Press_Release.pdf

 
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Pink Floyd's Echoes synched to Kubrick's 2001 - final scene Jupiter And Beyond The Infinite (VIDEO 25 minutes) 

https://www.youtube.com/watch?v=i2uuRG9l1JA

Investigating the myths around the '2001'-Pink Floyd connection

http://www.2001italia.it/2014/12/investigating-myths-around-2oo1-pink.html

Atom Heart Mother Floyd/Kubrick connection

https://en.wikipedia.org/wiki/Atom_Heart_Mother_(suite)

Stanley Kubrick wanted to use this track for his film A Clockwork Orange; however, the band refused permission.[7] Kubrick did, however, include the album cover in the film. It can be seen on a shelf in the music shop scene. Years later, Kubrick refused Roger Waters permission to use audio samples from his film 2001: A Space Odyssey on Waters' solo album Amused to Death.

 
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Inside Out - A Personal History Of Pink Floyd by Nick Mason

Just started, and it is one of the most hilarious auto-biographies I've read, music or otherwise, he is a genuine wit (of the droll, sardonic variety). 

Next year will be the 50th anniversary of Pink Floyd's first album, The Piper at the Gates of Dawn. The producer at the pre-DSOTM beginning of their career through Atom Heart Mother and Meddle was Norman Smith, who had been an engineer for the Beatles, and it is worth noting that, in addition to being high psychedelic, those formative years albums were very well recorded, which helped them both initially, and for their legacy to endure. Attention to sonic detail was a tradition they would continue with landmark albums such as DSOTM and WYWH.

The Piper at the Gates of Dawn (AUDIO 40 minutes)  

https://www.youtube.com/watch?v=bGr_w1-QoSA 

Producer Norm Smith Discusses Pink Floyd's First Rock Milestone, 'Piper at the Gates of Dawn'

http://www.guitarworld.com/producer-norm-smith-discusses-pink-floyds-first-rock-milestone-piper-gates-dawn

"Automatic Double Tracking (ADT) is a tape-based doubling technique that had been used to process everything from vocals to guitars and sitars on Beatles recordings. On Piper, it was used quite extensively on Syd Barrett’s lead vocals. The album production entailed a great deal of tape editing as well, splicing together different takes of a song. This was especially efficacious given the mercurial Barrett’s tendency never to perform a song the same way twice."

Norman Smith obit

http://www.soundonsound.com/people/norman-smith-beatles-first-engineer

PATGOD breakdown

http://andrewdarlington.blogspot.com/2012/06/pink-floyd-piper-at-gates-of-dawn.html

Relics (AUDIO 50 minutes)

https://www.youtube.com/watch?v=_MRHgyROam0

 
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Great thread Bob,  I need to go through this one closely.... I may have to read masons auto sounds interesting.  I've read a bunch of books about them over the years. 

 
Listening to PATGOD via the link above right now while I'm working in my lab. While it's down on the list of my PF albums, this one sounds much, much better than previous versions I've listened to and is growing on me.

 
Great thread Bob,  I need to go through this one closely.... I may have to read masons auto sounds interesting.  I've read a bunch of books about them over the years. 
Thanks, Neo.

Let me know if there are any busted links and I can repost them (though no more embedded videos).

Yeah, so far, the Mason (co-written) band bio is a keeper. I'm in the process of reorganizing my library, but will note my Pink Floyd-related books. I know I have a recent latest edition one by the late Storm Thorgerson on their covers and art work (of Hipgnosis fame, he was from Cambridge and went way back with Waters and Barrett, not sure about Gilmour - Mason and Wright entered the picture at the Architect's College Waters attended).  

 
Listening to PATGOD via the link above right now while I'm working in my lab. While it's down on the list of my PF albums, this one sounds much, much better than previous versions I've listened to and is growing on me.
An epic, 15+ minute version of Interstellar Overdrive in Barrett's prime, maybe the best that is out there (the subtle riff or groove he explores about the 3:33 mark makes me wonder what he could have done if he hadn't flown too close to the sun like a psychedelic Icarus). This is audio only, but you get the accompanying video footage on a set called London '66-'67 that also includes a rare track titled Nick's Boogie, as well as the movie it was in (Tonite Lets All Make Love In London?).  

https://www.youtube.com/watch?v=aHNQCdWOfdM

Nearly 10 minute excerpt of the above film

https://www.youtube.com/watch?v=KAoBLcxESZQ

Another 15+ minute audio version of IO, from a different movie (San Francisco?)

https://www.youtube.com/watch?v=gT8VK3g5iKU

Rare original mono pressing of IO. I found the mono/stereo debate that accompanied the Beatles massive catalog reissue in 2009 fascinating. I always thought mono was retrograde, but no longer think that. As Gilmour himself noted, an album mix (controlling the faders and so forth) can be every bit as much of a performance as a live gig, though it is almost never viewed in this manner. After close listens to just the first track on the stereo and mono versions of Sgt. Pepper, I became convinced there were (among other things) guitar sounds buried in the former that were clearly far more audible in the latter. Some early stereo mixes were ping-pongy and distractingly artificially separated. McCartney amusingly recounted how sometimes they would want to share a guitar lick on a new favorite album on somebody's hi fi at a party, but it wasn't on one speaker so they would have to re-encamp in front of the OTHER speaker. I have a cool 2007 3 disc release of PATGOD that includes mono, stereo and alternate mixes, edits and various other rarities.         

https://www.youtube.com/watch?v=tcoFiGEaiwQ

IO (Take 6)

https://www.youtube.com/watch?v=JfvOZutoe_s

Reaction In G (rare Syd-era bootleg circa '67 from a Copenhagen performance)

 https://www.youtube.com/watch?v=yM8rayamI14

Dominoes - solo Barrett (produced by Gilmour, he and Wright played on some of Barrett's post-PG output), Gilmour was in awe of how he effortlessly dropped a backwards guitar track into this song - you have to play music backwards and record the guitar track over that, than when you flip the tape the backing track is playing normal and the inserted guitar track is reversed.  

https://www.youtube.com/watch?v=1tY1aNaIazA

A KEY part of Barrett and early PFs sound was an Italian effects device called a Binson Echorec. Keyboardist Richard Wright can also be seen using it in vintage films, as well as David Gilmour (see Pompeii).  

https://en.wikipedia.org/wiki/Binson

* I have gone in and out of phases where I like than have gradually become indifferent to portions of their body of work. I still am not as well versed in their post-Waters material (though love the concert films Pulse and Delicate Sound of Thunder), but a few years ago sort of re-appraised all the early stuff and came away convinced Barrett was a legit genius and ahead of his time. There is a wealth of pre-DSOM material waiting to be explored for those unfamiliar with it (PATGOD, Saucerful of Secrets and Ummagumma, soundtracks Obscured By Clouds, More and Live at Pompeii, Atom Heart Mother and Meddle - though only the first two include Barrett, he dominated PATGOD, was already being marginalized by SOS, with only one song credit, played on two others, Gilmour the rest).  

 
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An epic, 15+ minute version of Interstellar Overdrive in Barrett's prime, maybe the best that is out there (the subtle riff or groove he explores about the 3:33 mark makes me wonder what he could have done if he hadn't flown too close to the sun like a psychedelic Icarus). This is audio only, but you get the accompanying video footage on a set called London '66-'67 that also includes a rare track titled Nick's Boogie, as well as the movie it was in (Tonite Lets All Make Love In London?).  

* I have gone in and out of phases where I like than have gradually become indifferent to portions of their body of work. I still am not as well versed in their post-Waters material (though love the concert films Pulse and Delicate Sound of Thunder), but a few years ago sort of re-appraised all the early stuff and came away convinced Barrett was a legit genius and ahead of his time. There is a wealth of pre-DSOM material waiting to be explored for those unfamiliar with it (PATGOD, Saucerful of Secrets and Ummagumma, soundtracks Obscured By Clouds, More and Live at Pompeii, Atom Heart Mother and Meddle - though only the first two include Barrett, he dominated PATGOD, was already being marginalized by SOS, with only one song credit, played on two others, Gilmour the rest).  
Isn't it amazing that they could go from Barrett directly to Gilmour....two geniuses at their crafts.  I've always listened to Barrett's stuff and said exactly what you said in the first paragraph....what if.  It's such a conundrum in a way because he became one of their greatest sources of inspiration and wrote SOYCD as a result of his downfall.  But man, when I read about Barrett and how he could just pick up the guitar and come up with a song literally off the top of his head...I'm just like what if.  But then again, you see their post Barrett stuff and you have Gilmour....who is one of those guitarist that you hear 1 or 2 notes and you immediately know it's him.....it's just, what other band had that happen?  One genius for another.....it's just crazy and lends to the bands overall legend.  Interesting tidbit about Gilmours guitar playing....my guitar teacher told me never to bend the root note....the root note is like the sun and the sun has to stay in it's place.....unless of course your David Gilmour!   It's one of the things that makes his style unique.

As for the post Waters stuff, I always enjoyed Division Bell and A Momentary Lapse of Reason....but they almost feel like Gilmour solo albums in lots of ways.       

 
Isn't it amazing that they could go from Barrett directly to Gilmour....two geniuses at their crafts.  I've always listened to Barrett's stuff and said exactly what you said in the first paragraph....what if.  It's such a conundrum in a way because he became one of their greatest sources of inspiration and wrote SOYCD as a result of his downfall.  But man, when I read about Barrett and how he could just pick up the guitar and come up with a song literally off the top of his head...I'm just like what if.  But then again, you see their post Barrett stuff and you have Gilmour....who is one of those guitarist that you hear 1 or 2 notes and you immediately know it's him.....it's just, what other band had that happen?  One genius for another.....it's just crazy and lends to the bands overall legend.  Interesting tidbit about Gilmours guitar playing....my guitar teacher told me never to bend the root note....the root note is like the sun and the sun has to stay in it's place.....unless of course your David Gilmour!   It's one of the things that makes his style unique.

As for the post Waters stuff, I always enjoyed Division Bell and A Momentary Lapse of Reason....but they almost feel like Gilmour solo albums in lots of ways.       
Great question (what other band had that happen?). None come immediately to mind for me. The Rolling Stones lost Brian Jones, but he had already been marginalized and even kicked out of the band, and was never the main songwriter (or songwriter at all, for that matter, with a few exceptions that prove the rule). He was a gifted musician that could pick up a sitar and play it, but was more about accent and color. I'll have to think about this.  

* Syd Barrett: the genius who almost was – a classic profile by Nick Kent




The late Pink Floyd leader’s 70th birthday is celebrated with Nick Kent’s piece, first published in Creem in October 1973, and taken from Rock’s Backpages, the online home of music writing




https://www.theguardian.com/music/2016/jan/06/nick-kent-pink-floyd-syd-barrett-classic-profile-creem-1973





Rare Photos Of Pink Floyd's Creative Genius Syd Barrett

On what would have been his 70th birthday, we look back at the life of Syd Barrett, who fronted Pink Floyd in their psychedelic early days, and later enjoyed a solo career that was studded with brilliance. These pictures originally appeared alongside love letters and original artworks in the exhibition 'Syd Barrett: Art And Letters' at The Idea Generation in 2011 and in the book, ‘Barrett: The Definitive Visual Companion’, by Essential Works.

http://www.nme.com/photos/rare-photos-of-pink-floyd-s-creative-genius-syd-barrett/209240#/photo/1

Syd Barrett remembered by the people who worked with him

http://louderthanwar.com/syd-barrett-remembered-by/




 
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Waters was definitely haunted by the ghost of Barrett.

DSOM

http://www.nfl.com/fantasyfootball/story/0ap3000000681717/article/the-case-against-todd-gurley-as-a-topfive-fantasy-pick

"The Dark Side of the Moon's lyrical themes include conflict, greed, the passage of time, death, and insanity, the latter inspired in part by Barrett's deteriorating mental state; he had been the band's principal composer and lyricist."

"Brain Damage" looks at a mental illness resulting from the elevation of fame and success above the needs of the self; in particular, the line "and if the band you're in starts playing different tunes" reflects the mental breakdown of former bandmate Syd Barrett.

WYWH

https://en.wikipedia.org/wiki/Wish_You_Were_Here_(Pink_Floyd_album)

"Some of the songs critique the music business, others express alienation, and "Shine On You Crazy Diamond" is a tribute to Syd Barrett, whose mental breakdown forced his leave seven years prior."

"The album begins with a long instrumental preamble and segues into the lyrics for "Shine On You Crazy Diamond", a tribute to Syd Barrett, whose mental breakdown had forced him to leave the group seven years earlier.[6] Barrett is fondly recalled with lines such as "Remember when you were young, you shone like the sun" and "You reached for the secret too soon, you cried for the moon".


Syd Barrett's visit to the studio





 




One of the more notable events during the recording of Wish You Were Here occurred on 5 June 1975, the day Gilmour married his first wife, Ginger, on the eve of Pink Floyd's second US tour that year.[nb 2] The band were in the process of completing the final mix of "Shine On You Crazy Diamond"[nb 3] when an overweight man with shaven head and eyebrows, and holding a plastic bag, entered the room. Waters, who was working in the studio, initially did not recognise him.[6] Wright was also mystified by the identity of the visitor, presumed he was a friend of Waters' and asked him, but soon realised that it was Syd Barrett.[25] Gilmour initially presumed he was an EMI staff member.[22] Mason also failed to recognise him and was "horrified" when Gilmour identified him. In Mason's personal memoir of Pink Floyd, Inside Out, he recalled Barrett's conversation as "desultory and not entirely sensible".[26]Storm Thorgerson later reflected on Barrett's presence: "Two or three people cried. He sat round and talked for a bit but he wasn't really there."[27]

Waters was reportedly reduced to tears by the sight of his former bandmate, who was asked by fellow visitor Andrew King how he had managed to gain so much weight. Barrett said he had a large refrigerator in his kitchen, and that he had been eating lots of pork chops. He also mentioned that he was ready to avail the band of his services, but while listening to the mix of "Shine On", showed no signs of understanding its relevance to his plight. He joined the guests at Gilmour's wedding reception in the EMI canteen, but left without saying goodbye. None of the band members saw him from that day on until his death in 2006.[28] Although the lyrics had already been created, Barrett's presence on that day may have influenced the final part of the song – a subtle refrain performed by Wright from "See Emily Play" is audible towards the end of the album.

I'm very sad about Syd. Of course he was important and the band would never have ####### started without him because he was writing all the material. It couldn't have happened without him but on the other hand it couldn't have gone on with him. "Shine On" is not really about Syd – he's just a symbol for all the extremes of absence some people have to indulge in because it's the only way they can cope with how ####### sad it is, modern life, to withdraw completely. I found that terribly sad.

— Roger Waters
 

Watch David Gilmour's Lonesome 'Wish You Were Here' on 'Kimmel'


Former Pink Floyd guitarist also kicks out "Rattle That Lock" from latest solo LP
http://www.rollingstone.com/tv/news/watch-david-gilmours-lonesome-wish-you-were-here-on-kimmel-20160329
 
The Wall
https://en.wikipedia.org/wiki/The_Wall
 
"The songs create an approximate storyline of events in the life of the protagonist, Pink, a character based on Syd Barrett[25] as well as Roger Waters,[26] whose father was killed during the Second World War."
 
"The album includes several references to former band member Syd Barrett, including "Nobody Home", which hints at his condition during Pink Floyd's abortive US tour of 1967, with lyrics such as "wild, staring eyes", "the obligatory Hendrix perm" and "elastic bands keeping my shoes on"."
 
Syd Barrett’s Last Show With Pink Floyd
http://ultimateclassicrock.com/syd-barrett-last-show-with-pink-floyd/
 
"At first, it was proposed that Barrett stay home and take on the role that Brian Wilson had done with the Beach Boys, and concentrate on writing songs and recording. But this idea didn’t fly far either and it is still unclear just how long, and how awkward, the final severing of ties was. “There were jolly moments,” Gilmour said in the Barrett biography. “Two or three of us in a row including Syd, doing a jig in a dressing room before going on stage.”

It wasn’t until April 6, 1968, that the Floyd officially announced that Barrett had left the band. Poet and friend Spike Hawkins remembers Barrett telling him about the early Floyd recordings, and how he “wanted to go much deeper, using music and lyrics as a key to opening doors.” Hawkins told Barrett he had in fact opened doors for the band, Barrett replied, “Yeah, with cheap keys.”
 
Waters was definitely haunted by the ghost of Barrett.

DSOM

http://www.nfl.com/fantasyfootball/story/0ap3000000681717/article/the-case-against-todd-gurley-as-a-topfive-fantasy-pick

"The Dark Side of the Moon's lyrical themes include conflict, greed, the passage of time, death, and insanity, the latter inspired in part by Barrett's deteriorating mental state; he had been the band's principal composer and lyricist."
Bahhaah at the link Bob!  That time of the year. 

Edit to add:  I read that pork chop comment a long time ago....so sad man.   I can't seem to remember the TV show he was on that he just stared blankly at the camera while the band played.  I tried to find it and can't, is it in this thread somewhere? 

 
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Edit to add:  I read that pork chop comment a long time ago....so sad man.   I can't seem to remember the TV show he was on that he just stared blankly at the camera while the band played.  I tried to find it and can't, is it in this thread somewhere? 
I don't recall about that specific Barrett video with so many, Neo (incidentally, it would be awesome if in a parallel universe, The Dude was in the Matrix fighting Agent Smith/s instead of Keanu Reeves :) ).

Apples And Orange & Brief Interview - 11/4/67 (VIDEO 3 minutes) 

https://www.youtube.com/watch?v=q8AAbPHnl-Y 

Rick Wright interview on Barrett (VIDEO 25 minutes)

https://www.youtube.com/watch?v=dmQfKrvuubk

Nick Mason counterpart interview (VIDEO 25 minutes)

https://www.youtube.com/watch?v=I2k7sZKAvAA

Roger Waters interview excerpt (VIDEO 10 minutes)

https://www.youtube.com/watch?v=ozGKXahND0U

David Gilmour interview excerpt on WYWH (VIDEO 3 minutes)

https://www.youtube.com/watch?v=kfhm4-0vNOs

David Gilmour with Richard Wright and David Bowie perform Barrett's Arnold Layne Albert Hall, circa On An Island tour a decade ago (VIDEO 4 minutes)

https://www.youtube.com/watch?v=g9NivaKUFME

Same show performing Comfortably Numb (VIDEO 8 minutes)

https://www.youtube.com/watch?v=hODALOTiH6A

Gilmour and Wright perform Barrett's Astronomy Domine Abbey Road, this song hold up very well, imo, not dated at all, aged very gracefully, as heavy and OUT as any post-punk from the '80s-'90s

https://www.youtube.com/watch?v=GR20k5uMnl0  

Same, Gdansk last show of Gilmour's OAI tour (VIDEO 5 minutes)

https://www.youtube.com/watch?v=6jjZZtwzPI8

Not Barrett related, but Wots... Uh The Deal from (The Valley) Obscured By Clouds soundtrack, Albert Hall (VIDEO 5 minutes) 

https://www.youtube.com/watch?v=Jt3WTpc37Fg

Massive live versions of Echoes from the same Gilmour's OAI tour 

Albert Hall (VIDEO 22 minutes)

https://www.youtube.com/watch?v=EiN6of3rBW4

Gdansk (VIDEO 25 minutes), as noted above, I think the last live video footage we have of Wright before he passed away.  

https://www.youtube.com/watch?v=cl25ikVEPB4

* One reason I like Pink Floyd's final Endless River so much is that it is a musical tribute/elegy to Wright, incorporating work not included on the Division Bell album

EPK Gilmour/Mason interview (VIDEO 10 minutes)

https://www.youtube.com/watch?v=uwumke98koo

Album (AUDIO 50+ minutes)   

https://www.youtube.com/watch?v=Mo0Q1_C4scY

 
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http://floydpodcast.com/

November 11th Pink Floyd will drop The Early Years Box Set.  An atom heart mother load of rare recordings from just about every film and/or radio and television appearance the band has ever done.  This podcast, part 1 of 2, is a small sampling of some of the material featured in the box set from 1965 to 1969.  Here’s the playlist! 

 
http://floydpodcast.com/

November 11th Pink Floyd will drop The Early Years Box Set.  An atom heart mother load of rare recordings from just about every film and/or radio and television appearance the band has ever done.  This podcast, part 1 of 2, is a small sampling of some of the material featured in the box set from 1965 to 1969.  Here’s the playlist! 
Part 2 went up today (nearly three hours).

Continuing on from the last podcast, this episode is part 2 of 2.  A small sampling of material featured in the upcoming Early Years box set from 1970 to 1972 (well, actually 1974).  Here’s the playlist.

http://floydpodcast.com/

Code:
Playlist for BD237  
"Early Years (part 2)"
17. September, 2016

01. Pink Floyd - Atom Heart Mother [live in Montreux, 21 Nov 1970
02. Pink Floyd - Embryo [BBC Radio Session, 16 July 1970]
03. Pink Floyd - If [BBC Radio Session, 16 July 1970]
04. Pink Floyd - Crumbling Land [Zabriskie Point soundtrack]
05. Pink Floyd - Love Scene (Take 2) [Zabriskie Point soundtrack]
06. Pink Floyd - Cymbaline [KQED, San Francisco, USA, 30 April 1970]
07. Pink Floyd - Grantchester Meadows [KQED, San Francisco, USA, 30 April 1970]   
08. Pink Floyd - Summer of 68' [Atom Heart Mother - Quad Mix] 
09. Pink Floyd - Green Is The Colour [‘Pop Deux – Festival de St. Tropez’, France, 8 August 1970]
10. Pink Floyd - Careful With That Axe, Eugene [‘Pop Deux – Festival de St. Tropez’, France, 8 August 1970]
11. Pink Floyd - Instrumental Improvisations 1,2,3 [Roland Petit Ballet, Paris, France, 5 December 1970]
12. Pink Floyd - Embryo [Roland Petit Ballet, Paris, France, 5 December 1970]
13. Pink Floyd - Fat Old Sun [BBC Radio Session, 30 September 1971]
14. Pink Floyd - Set The Controls For The Heart Of The Sun [Abbaye de Ryaumont, Royaumont, France 15 June, 1971]
15. Pink Floyd - Wot's...Uh The Deal [Obscured By Clouds] (2011 Remaster)
17. Pink Floyd - One of these days [Live At Pompeii]
18. Pink Floyd - Echoes [Live At Pompeii]
 
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Pompei excerpt 2:30



https://www.youtube.com/watch?v=aeK_Kxv6aOs



Pink Floyd's Lavish, Epic 'Early Years' Box Set: 11 Essential Finds


What to look for among new set's 27 discs of mostly previously unreleased performances charting group's formative period

http://www.rollingstone.com/music/lists/pink-floyds-lavish-early-years-box-11-essential-finds-w448959

Long before prog-rock firebrands Pink Floyd defined cerebral pop for a generation with albums like Dark Side of the Moon, Wish You Were Here and The Wall, they were Stones-y blues rockers, psychedelic space cadets, folk-rock moodscapers and heady musical mad scientists. Each captivating turn they made in their salad days, whether with original frontman Syd Barrett or the partnership of Roger Waters and David Gilmour leading the way, kept listeners' ears piqued for what they would come up with next.

The ginormous new box set The Early Years 1965 – 1972 presents a goldmine of footage and recordings of the band before they were megastars. The collection contains 27 discs, including DVDs and Blu-rays, with unreleased outtakes, TV performances and other film clips, as well as five seven-inch singles and reproduced memorabilia. It all documents the group's genesis through the release of their Obscured by Clouds LP, as they weirded out **** Clark on American Bandstand, reorganized their catalogue into conceptual performances, worked with a ballet company and stormed the ruins of Pompeii. 

The set comes in a giant box – about the size of a treasure chest – patterned to look like Pink Floyd's original bus and it includes seven hours of previously unreleased audio and more than seven hours of rare footage. It costs a hefty price ($550 on the group's website, more on Amazon), but diehard fans will justify the cost since while some of the collection's rarities have circulated on bootleg circuits, they have never sounded or looked so good.

Here are Rolling Stone's picks for the greatest highlights from The Early Years.

1. 1965 Recordings
The band released this sextet of songs from its first recording session last year as a limited-edition seven-inch to preserve the copyright, but it was such a small run (1,050 copies) that prices for it have skyrocketed. At this point in Pink Floyd's career, they sounded very much in the vein of the Rolling Stones – big, bluesy pop songs, a Bo Diddley tribute, a Slim Harpo cover – and Barrett howled a bit like Mick. Their lead guitarist at the time, Rado Klose, played bouncy pentatonic solos, and they welcomed keyboardist Rick Wright's wife, Juliette Gale, to sing background on the whimsical Waters-penned tune "Walk With Me Sydney." Within a couple of years they'd be trawling the depths of psychedelia, making this period of time all the more curious.

2. Syd Barrett–Era Outtakes
Deeper into the same disc that contains the group's first sessions are a number of studio recordings that Syd Barrett made with the group around the recording of their A Saucerful of Secrets LP but have been shelved until now. "In the Beechwoods" is a dramatic and jammy instrumental. "Vegetable Man," which has been covered by the Jesus and Mary Chain and the Soft Boys, is a whimsical slice of psychedelia imagining Barrett as the title character. And "Scream Thy Last Scream" is a stilted, off-kilter rocker sung by Nick Mason as Barrett sings along in chipmunk voice.

3. Syd Barrett–Era Video Footage
Focusing on the period just after the band's first session, the Blu-ray and DVD that accompanies the group's earliest years presents an hour of revealing material. It includes, among other items, compelling footage of the band from 1966 hanging around Cambridgeshire and climbing rocks, as Piper at the Gates of Dawn's "Chapter 24" plays; a clip of them recording "Nick's Boogie"; a black-and-white newsreel on the psychedelic experience showing them playing "Interstellar Overdrive" to strobing lights; a hilarious clip of them at the beach with a mannequin as "Arnold Layne" plays; a colorful "Jugband Blues" video; and one of the weirdest American Bandstand performances of the Sixties, when they played "Apples and Oranges" a couple of days into their first-ever U.S. tour. It's worth watching **** Clark trying to figure them out.

4. The Man and The Journey
Pink Floyd's 1969 tour found them performing two suites, The Man and The Journey, which told a conceptual story of a day in the life of a person using songs from their career so far. They debuted the works at London's Royal Albert Hall in April of that year, and the box set includes footage of them rehearsing songs from both sets: "Afternoon" (originally Relics' "Biding My Time"), "The Beginning" (More's "Green Is the Colour"), "Nightmare" (More's "Cymbaline") and "Beset by Creatures of the Deep" (Saucerful's "Careful With That Axe, Eugene"). A CD also presents a full audio performance of The Man and The Journey, and it all provides intimate look at a unique turning point for the group as they embraced the idea of the extended concept-driven work, which would define their next decade. (Also, it's worth noting that another disc from this period contains alternate and unreleased tracks from the group's More soundtrack.)

5. "Interstellar Overdrive" With Frank Zappa
While performing at a festival in Belgium in October 1969, Pink Floyd were joined by Frank Zappa for a rousing, 11-minute performance of "Interstellar Overdrive." Roger Waters has a wild look on his face as he talks to Zappa, who has a cigarette hanging off his guitar, before they mount the weighty, unwieldy Piper at the Gates of Dawn standout. Although Rick Wright's keyboard sometimes drowns out Zappa's guitar, the moments where you can hear the main Mother of Invention let loose in freeform fluid jamming are transcendent.

6. Atom Heart Mother and the Zabriskie Point Outtakes
Pink Floyd's dramatic symphonic suite "Atom Heart Mother" makes up much of the disc's content from 1970. One CD contains two renditions of the work, including a version for BBC with choir, cello and a brass ensemble, and the Blu-ray and DVD contain several more renditions – including a stunning performance in Hyde Park with the Philip Jones Brass Ensemble and John Alldis Choir. The Blu-ray even includes the original quad mix of the entire Atom Heart Mother LP. The 1970 audio also includes more than an hour's worth of music that was written and abandoned for Michaelangelo Antonioni's Zabriskie Point movie. Fans know that the group plucked one unused track from that session and reworked it into Dark Side's "Us and Them" (that same melody is also present on the previously unreleased "Looking at Map"), so it's interesting to listen for the seeds of the next phase of their development. That disc also includes a band-only version of "Atom Heart Mother."

7. St. Tropez
The Blu-ray for 1970 also includes a stunning set the group recorded in St. Tropez in August 1970 at the Pop Deux festival. The highlight is a typically frightening, 12-minute performance of "Careful With That Axe, Eugene," which finds Roger Waters making animal sounds into his microphone.
 

8. Early "Echoes"
While the group was still promoting their Atom Heart Mother album, they began sketching out some of the music that would appear on Meddle. One such track is the epic "Echoes" – the apex of their Live at Pompeii film – and the CD that focusses on 1971 contains a seven-minute work-in-progress instrumental version of the tune, titled "Nothing Part 14." It includes the chilling pin-##### keyboard sounds and propulsive rhythms of the later version. The same disc also features a 26-minute version of the cut they recorded for the BBC later that year.

9. Ballet and Pompeii
The Blu-ray for 1972 contains a number of French newsreels showing the group's intriguing attempt at lending their music to ballet. Dancers pirouette and dive into upside-down positions to Floyd tracks "One of These Days" and "Careful With That Axe, Eugene" and a version of "Echoes" with vocals as a fog covers the stage and the band performs in shadows behind them. Another bizarre, beautiful clip shows the band better as well as the onstage pyro they used at the performances. Meanwhile, the same disc contains Pink Floyd's stunning Live at Pompeii film with the audio newly remixed into 5.1 surround sound, giving new depths to the stark visuals.

10. Pink Floyd's Bits and Bobs
Although most of the box set is arranged chronologically and logically, it also includes a bonus collection of works stretching from 1967 through 1974. The CD features two separate BBC sessions from 1967, including an early version of Roger Waters' "Set the Controls for the Heart of the Sun" and performances of "Vegetable Man" and "Scream Thy Last Scream." There's also an improvisation, dubbed "Moonhead," that the group performed in 1969 as the BBC broadcast the first moon landing, and a brilliant performance of "Echoes" at Wembley in 1974. Meanwhile, one of the Blu-rays in this section features an alternate music video for "Arnold Layne," showing the band playfully fighting, as well as performances from throughout the years, and the other contains the full feature films More and La Vallée, which the band had scored.

11. The Memorabilia
The amount of attention detail poured into this box set is remarkable. The band has reproduced concert programs, posters, tickets, articles and more from each year of its formation. Moreover, the seven-inches – which include "Arnold Layne ," "See Emily Play" and "Apples and Oranges," among others – contain faithfully reproduced artwork. This is the collection Pink Floyd fans have been waiting for. 
 
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A 2 CD sampler version of the above box set is reportedly on Spotify, as well iTunes and HDTracks (FLAC).

Pink Floyd: The Early Years 1965-72 review – 27 discs of dogged creativity 4 / 5 stars




This exhaustive document of Pink Floyd’s sonic explorations contains some tantalising glimpses of the different paths they could have taken – as well as 15 versions of Careful With That Axe, Eugene




https://www.theguardian.com/music/2016/nov/10/pink-floyd-the-early-years-1965-72-review-27-discs-of-dogged-creativity

Covered in the latest UK magazine Uncut

http://www.uncut.co.uk/blog/introducing-new-uncut-2-97535

http://www.uncut.co.uk/news/nick-mason-syd-barrett-looking-enlightenment-97571

Pink Floyd’s Nick Mason dissects mammoth ‘Early Years 1965–1972’ box set (includes official videos for Green Is The Color and Childhood's End)                            

http://www.torontosun.com/2016/11/04/pink-floyds-nick-mason-dissects-mammoth-early-years-19651972-box-set

Pink Floyd drummer Nick Mason talks drugs, nostalgia, Syd Barrett and the band’s future

http://www.heraldsun.com.au/entertainment/music/pink-floyd-drummer-nick-mason-talks-drugs-nostalgia-syd-barrett-and-the-bands-future/news-story/b16bc2078d78cd593181fea3e7e95c70

PINK Floyd drummer Nick Mason has trawled through the archives for a new box set that is a must listen for fans and reveals that he and his band mates have finally forgiven themselves for not helping troubled bandmate Syd Barrett. He also has some news on future events.
What a wonderful dip into the Pink Floyd archives — how did this come about and how involved were you guys in the band?

Well the first thing I might say is that I don’t think ‘dip’ is the right word — wallow might be better. We were pretty involved. I have been involved in archiving pictures and movie stuff for at least ten years so I have been knee-deep in that. The sound element, less so, because we have most of that to hand anyway.

Is it fair to say some of these early songs and albums have been overlooked a bit — there are a lot of Pink Floyd fans whose knowledge of the band starts with Dark Side Of the Moon, but this music and the visuals that go with it were very much an integral part of the band.

Yes they are. I am not sure whether overlooked is the right word but inevitably Dark Side was a much more polished performance than most of this earlier work so to some extent it makes perfect sense for people to perhaps connect further down the line. One has to accept that this set is really for people who are pretty serious fans. There is an awful lot of stuff here — it’s a big box.

Can you see a direct a direct line between those early songs and the better known Pink Floyd records or from an insider’s perspective is it more a series of reinventions and changed circumstances within the band?

There is absolutely some sort of line going from 1965 through to the present day. I think it occasionally gets tangled up and goes down cul de sacs and comes back out again. For me, an album like Atom Heart Mother, is something that we experimented with and then left to one side. You see more of a transition from Piper (At the Gates Of Dawn) to Saucer (Full Of Secrets) to Meddle really. But having said that, sometimes those cul de sacs are pretty interesting to go and have a look at.

I get the impression that Roger Waters and David Gilmour are slightly embarrassed by some of this earlier work — a lot of it didn’t get performed much by later incarnations of the band.

I don’t think they were embarrassed by the music, but I would absolutely agree that embarrassment is right for some of the visual stuff, where we’re all scampering around like little leprechauns in our fancy shirts. That doesn’t seem at all grown up. But on the other hand, it’s part of the history.

What kind of memories do these songs bring back for you?

It’s a sort of nostalgia. Inevitably there is a real mix of stuff here. There are things that you listen to and you go ‘yup, that’s dreadful — why did I play that?’ and others where you go ‘that’s interesting’. You can even hear things where you think ‘I wonder why I never carried on doing that’. It is a real mixture in that respect. There are good ideas and bad ideas, sometimes more or less played in the same bar. A musical bar that is, I’m not referring to someone being drunk on parade.

What’s it like hearing these unreleased tracks like Vegetable Man and Scream Your Last Scream?

They are interesting because of course they are so much part of the transition. The reason they were never released is because they were simply never finished. Had they been finished, first of all my vocals would have been replaced, which would have been a travesty (laughs). But I think they are still part of the canon of Syd’s work and it’s a shame that they were never finished. It’s very indicative of where we had gotten to that Syd couldn’t finish them and never did.

Are there some painful memories going back to those early Syd Barrett years and songs and seeing what happened to him in the midst of writing them?

A little bit painful but I think we have forgiven ourselves, if you like. We didn’t have any understanding of what was going on with Syd. We didn’t look after him as we should have done but you learn an awful lot in 50 years. We still don’t know exactly what went wrong — it looked like an LSD problem but on the other hand he was maybe also finding himself and realising that he didn’t want to be in a band. We couldn’t imagine that. As far as we were concerned, if he didn’t want the band to be really successful then he must be really ill. Looking at it now, maybe one should have examined it more closely. But at the time it was beyond us.

Some of those problems were drug-related, as you say, what effect did that have on the music?

I’m not sure because this is more specific to Syd than anyone else at the time. Syd’s music is a curious mix — at one level it is sort of interplanetary, wild music and then there’s sort of an English country side, with The Grome, The Scarecrow, or Bike or whatever. It’s almost folk music. It’s not easy to see any particular strain that runs through all of Syd’s work.

It’s wonderful hearing the progression from the different incarnations of the band but here is a period where it sounds very much like a band in flux — what effect did losing Syd have on the band and was there a point where you thought it might be all over for Pink Floyd?

That’s the most curious thing to look back on. Anyone in their right mind would go ‘if you lose your front man — the good looking guy who writes all the songs — you might think you are in trouble’ but curiously we missed out on that and felt perfectly comfortable continuing without him. Historically it’s interesting because other bands have been through this slightly similar state — Fleetwood Mac lost all sorts of members, also Genesis when Peter left. There is a sort of faith you can have — and the Beatles used the word faith in that recent movie Eight Days a Week — and if a band has that faith, they can ditch all sorts of really important people and continue with extraordinary optimism. That’s exactly what happened to us. As Dave, who arrived just before Syd left, there was a very brief transition program, and with his arrival we felt enormously confident. Maybe even slightly overoptimistic — but that’s how we felt.

Was there always a burning ambition within the band to reach those heights you achieved later in your career?

I don’t think it was — but I think it built up. We certainly had one particular member who was a highly driven character, although he now maintains he was in it to have fun and meet girls initially. I think he moved on over the years.

Those early days were also as much about the performance and the performance art as anything — is that correct?

I think we found a niche for ourselves and an identity for being the band that played funny music and had a light show. It was something that we more or less managed to keep to ourselves because to some extent you become subjugated to the show in a way. Most rock and roll is about people being front of stage, selling the personality or the star element of it. We found this rather curious and we found success by being a band that played music and had a light show that was not illuminating ourselves. It was such a peculiar approach to rock music at the time and it gave us an identity that stayed with us.

And making a decision not to release singles for some time — was that considered heresy and madness?

Not at all. It was an announcement that we made after a couple of singles that we did release failed to chart. So it seemed inevitable to say ‘well we’re not going to do it then’. It was a pragmatic choice rather than an artistic one.

Listening to tracks now like Interstellar Overdrive and Careful With That Axe Eugene and Atom Heart Mother — and around that Ummagumma and Atom Heart Mother era — did you feel like you were venturing into uncharted territory? It’s trailblazing stuff.

I don’t think we felt we were going into uncharted territory — we were actually continuing and that might be one of the things one might pick up from this set, that we were travelling down a path that we’d established. Careful With That Axe was a track that was more or less knocked together for a B side in a studio and was absolutely the sort of way we were working at the time. It was definitely not ‘let’s do something groundbreaking’ it was ‘let’s do something that we can do reasonably quickly and we know what we were doing’.

Was there a freedom in those early days that maybe diminished after Dark Side Of the Moon once you became one of the biggest bands in the world?

There was certainly more of an element of improvisation in the early work. But even when you have the constraints of a very specific arrangement, a live version of Dark Side of the Moon is a very different animal to a recorded version. There is still loads of opportunity to interpret things in a different way. I often say that if we just take my playing, it’s very unlikely I will play exactly the same fill — hopefully on a good night I will remember to play it in the right place — but whether I play the same one is unlikely. I will try to reinvent it or do something different. I think that goes for everyone — you have the opportunity to try to reinterpret a set piece of music.

This is a wonderful glimpse into the past — and I know this has been answered fairly definitively in other areas — but is there a future for Pink Floyd?

I think we are probably done with the recording — I don’t think there is any enthusiasm to get back into the studio and work together. But there are still some interesting things to do. Next year we are going to do an exhibition with the V & A Museum in London and I think that could be quite entertaining for our fans and hopefully for a broader bunch of people as well. It will be a look at how we did things and maybe just a little bit more hands on than just listening to music, you can understand the recording processes of the last 50 years.

HEAR: Pink Floyd The Early Years 1965-1972 (Sony) is out tomorrow as a deluxe 27-disc box set and 2-CD highlights album

 
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Alternate History/Parallel Universe Department:

What would have become of Pink Floyd if leader/song writer/guitarist Syd Barrett HADN'T disintegrated (whether from schizophrenia, acid casualty or both)? Almost certainly David Gilmour wouldn't have joined. It's hard to imagine. Barrett wrote nearly everything on their psychedelic masterpiece debut, Piper At The Gates Of Dawn, and also their first singles (which can be found on Relics). We do have his scant post-Floyd solo material and body of work below (including production and some playing by replacement David Gilmour, as well as keyboardist Richard Wright). Though he was already a shell of his former self and increasingly erratic personally, professionally and musically, there is enough interesting material to recommend checking out for those into their early sound.

Barrett Background/Bio

https://en.wikipedia.org/wiki/Syd_Barrett

The Madcap Laughs

https://www.youtube.com/watch?v=Mhwmtj7kyi4   

Barrett

https://www.youtube.com/watch?v=W5Ky2ZB7vWY&index=2&list=RDMhwmtj7kyi4

Opel (comprised of outtakes and partly finished demos from the above two "official" solo albums)

https://www.youtube.com/watch?v=Y2wHF_AI1Vg

Rhamadan (hypnotic, previously unreleased 20 minute bonus track included on the 2010 compilation, An Introduction To Syd Barrett, including new remasters and remixes overseen by Gilmour) 

https://www.youtube.com/watch?v=LmHA_TfxsZw&list=RDMhwmtj7kyi4&index=11

* EXTREMELY RARE - brief excerpt of the previously unreleased In The Beechwoods, one of the many highlights not only in the just released box set, but also included in the two disc sampler (I think a Barrett composition?)  

https://www.youtube.com/watch?v=77RGSj7LBts

 
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The Space Is The Place - Taylor Parkes On Abbey Road Studios
Taylor Parkes , March 24th, 2012



Taylor Parkes visits Abbey Road studios and talks to Brian Kehew and Kevin Ryan about the rooms that shaped seminal albums by The Beatles and Pink Floyd


http://thequietus.com/articles/08326-the-beatles-abbey-road


Careful With That Axe: Pink Floyd Reappraised, By Taylor Parkes
Taylor Parkes , February 4th, 2009



Taylor Parkes goes behind The Wall to find Pink Floyd's post-Syd Barrett greatness in a series of live albums that showcase them at their inventive, truly progressive best


http://thequietus.com/articles/01084-careful-with-that-axe-pink-floyd-reappraised

 
David Gilmour Live At Pompei

One night worldwide (not sure about Mongolia, check local times and listings) theatrical release, next Wed., 9/13/17.

Dunno if his website has theater list, I just googled it and found a few local ones.

 
David Gilmour Live At Pompei

One night worldwide (not sure about Mongolia, check local times and listings) theatrical release, next Wed., 9/13/17.

Dunno if his website has theater list, I just googled it and found a few local ones.
Lists all theaters and all showings.

http://www.davidgilmourcinematickets.co.uk/

And it's actually two nights . . . 9/13 and 9/15.

 
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Thanks for the reminder. Various CD, DVD &/or Blu-Ray versions avail. next month, 9/29.

The 2015 BBC doc Wider Horizons (72 minutes) is on YouTube. It is both a making of Rattle That Lock and biography (also included on the deluxe edition box set of the upcoming Pompeii release).
Released today.

 

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