Jump to content
Fantasy Football - Footballguys Forums

Pink Floyd-Related Audio/Video

Recommended Posts

Pink Floyd - The Story 40 minute doc - an episode of the British program Omnibus, career-spanning doc (at least up to the time of its making and airing).

The Making Of Dark Side Of The Moon approx 50 minute doc with another 30+ minutes of bonus material, from the VH1 classic albums series.

The Story Of Wish You Were Here 1 hour doc.

la Carerra Panamericana 1 hour+ doc circa '92 on the famous Mexican road race, in which David Gilmour and Nick Mason competed (Gilmour's car crashed and he was unharmed but the other driver broke his leg, Mason finished in the top 10). Pink Floyd soundtrack/score, including new material written exclusively for this.

More 111 minutes (maybe NSFW?) - their first full length film score, director Barbet Schroeder's first feature. He later did La Valee (The Valley Obscured By Clouds), another film scored by Pink Floyd and worth looking up, imo, he also did Barfly based on Bukowski, and docs on Koko the "talking" gorilla and Idi Amin that are in the Criterion Collection.

David Gilmour Remember That Night Royal Albert Hall Part I 90 minute segment

Part II 2 hours+ including behind the scenes docs.

Pink Floyd concert 2 1/2 hours - 1994 circa Pulse tour.


Link to post
Share on other sites
  • Replies 136
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

Popular Posts

To be fair, Roger hates people in general.

#PinkFloyd #darksideofthemoon

Also Richard Wright's last concert before he passed. I've posted it in other threads, but Gilmour's version of "Echoes" (beginning at 1:13) here is sensational - right up there with the studio version

Pink Floyd with Syd Barrett, London '66-'67 30 minutes, early footage of the legendary UFO Club proto-raves (from Tonite Let's All Make Love In London, by Peter Whitehead, an early document of the psychedelic era and time capsule-like artifact of the times).

Belgian TV '68 23 minutes. Lip synching, early music video style, songs from their first album, Barrett's psychedelic masterpiece, Piper At The Gates Of Dawn, as well as the second, Saucerful Of Secrets (the only album with all five members, Barrett on some, and Gilmour on others). Gilmour had already replaced Barrett by this time.


The Amazing Pudding (aka - Atom Heart Mother) VIDEO 37 minutes, circa '72.


Link to post
Share on other sites

Dark Side Of The Moon from the Hollywood Bowl, '70s.


Couple songs from the French show, Bouton Rouge, circa '68.

Set The Controls For The Heart Of The Sun


Astronomy Domine


Documentary with extensive early coverage 80 minutes.


Live 8, the final reunion concert of the classic lineup in 2005, 24 minutes.


Link to post
Share on other sites

The only show I saw was at the Rose Bowl, must have been for the Pulse (Division Bell) tour. Almost saw the Delicate Sound Of Thunder (Momentary Lapse Of Reason) Tour at the Sports Arena.

No video, but audio of the in/famous concert from the '77 In The Flesh (Animals) tour in which Waters melted down and snapped due to the crowd's antics and noise, which was reportedly a precursor to his conception of The Wall. Gilmour was on fire this whole tour (and pretty much his entire career, come to think of it! :) ).

7-6-77 Montreal (full concert)

Again no video, but audio of the soundtrack for More (the movie proper in the first post upthread), their third album. The doomed Barrett was the mastermind behind the first album, and like a booster rocket, helped launch the band into orbit with a record contract and the first hit records/album. As noted above, the second album, Saucerful Of Secrets, was a transitional work. Gilmour has described this as a difficult period, when he was feeling his way into his role within the band and evolving his personal style (having to play Barrett's parts sounded very much like Lester Young's description of how he was very uncormfortable replacing Coleman Hawkins in the Fletcher Henderson Orchestra, due to expectations of others that he sound like his more famous predecessor). For me, it is in More (in The Nile Song and Ibiza Bar, two of the heavier songs Pink Floyd ever did, and the atmospheric, hypnotic, spacey Main Theme and Dramatic theme) that, for the first time, Gilmour begins to sound like Gilmour, and find his guitar sound and "voice" that would play an increasingly prominent role in the band's overall sound.


Link to post
Share on other sites

David Gilmour's eponymous solo album debut, circa '78 (situated between Animals and The Wall within the Pink Floyd timeline).

Interview (audio) from '78 on the first solo album.

Link to his second album, About Face, from 1984.

Interview (video) during the tour supporting About Face 21 minutes.

Live At The Hammersmith Odeon from '84, full concert (Video) 1 hour.

Link to David Gilmour At Robert Wyatt's Meltdown (videos), from '02, an acoustic Floyd set.

On An Island, solo album #3, released 3-6-06 in England, his 60th birthday (his first solo album in 22 years, and first studio album in 12 years, since Division Bell).

Live In Gdansk (Video), from the On An Island Tour, similar to Remember That Night in the first post, but a tribute to the Polish labor movement, Solidarity. In addition to classic Pink Floyd songs, there is a full performance of his solo album backed by a symphony orchestra. Not sure if the blu ray/dvd set Remember That Night comes with a companion CD set (?), Live in Gdansk is a 2 CD set that is available both by itself, and in deluxe version/s with multiple DVDs. The sound on the CDs is spectacular.

Link to post
Share on other sites

Live In Gdansk (Video), from the On An Island Tour, similar to Remember That Night in the first post, but a tribute to the Polish labor movement, Solidarity. In addition to classic Pink Floyd songs, there is a full performance of his solo album backed by a symphony orchestra. Not sure if the blu ray/dvd set Remember That Night comes with a companion CD set (?), Live in Gdansk is a 2 CD set that is available both by itself, and in deluxe version/s with multiple DVDs. The sound on the CDs is spectacular.

Also Richard Wright's last concert before he passed. I've posted it in other threads, but Gilmour's version of "Echoes" (beginning at 1:13) here is sensational - right up there with the studio version and the rendition the full Floyd did at Pompeii. Love the way the crowd goes nuts as soon as they hear the very first piano plink.

Thanks for all the links - I haven't seen a lot of these and looking forward to when I have some time to kill.

  • Like 1
Link to post
Share on other sites

Good points (and always liked that avatar).

Wright died shortly (few days?) before this was released. I actually was watching and listening to this for the first time last night (I already had Remember, from the same tour). Phenomenal Echoes, reminiscent of Pompeii, as you noted. Pompeii has become my favorite music video, period. My favorite part of the movie was in Echoes Part I, when Gilmour unveils that massive sound of his*. Reportedly a big part of his signature sustain, echo, delay and reverb effects (he also used wah and fuzz) was something called a Binson echorec (?), which he can be seen playing during Pompeii. His predecessor Syd Barrett also used this rig as part of his highly influential sound, along with a zippo lighter as an improvised slide.

Wembley 11-16-74 140+ minutes, I think this is the official "bootleg" you get, in two parts, with the Immersion Boxes or Experience Editions for DSOM and WYWH, respectively. You get the first set, a complete Shine On You Crazy Diamond Parts I-IX suite as well as the embryonic Sheep and Dogs (Raving And Drooling and You've Got To Be Kidding) with the latter, and the second set complete Dark Side Of The Moon (minus the finale, coincidentally, Echoes! :) ) with the former. I take it that this came from a soundboard tape and was already very clean, but the version/s officially released by Pink Floyd is cleaned up and sonically upgraded even further.

Also included on the DSOM Immersion set are two videos (roughly circa Pompei?) and a handful of additional audio tracks from a '72 concert in Brighton.

Careful With That Axe, Eugene (VIDEO)

Set The Controls For The Heart Of The Sun (VIDEO)

Brighton 1-20-72 (AUDIO) 100+ minutes, I think this may have been first public performance of DSOM?

Two of the most dramatically altered tracks from the inception to final realization on the album are the songs later known as On The Run and Great Gig In The Sky, previously called Travel and Mortality Sequence, respectively.

Travel Sequence (from Brighton and the Immersion Box), showcase for Gilmour's guitar, before the synthesizer tracks were subbed in, of which "staged" (?) studio inserts were seen in Pompei.

Mortaility Sequence (not as sure about the provenance of this bootleg?), originally had biblical passage readings, before the iconic wordless vocal by Clare Torry was fit to Wright's haunting melody, chord changes reportedly inspired by Kind Of Blue.

BTW, I've had the consensus best bio, Comfortably Numb: The Inside Story Of Pink Floyd by Mark Blake for a while, but just got around to start reading it. So far, HIGHLY recommended.

Piper At The Gates Of Dawn, Syd Barrett's psychedelic magnum opus, before his personality got fragged and he went psychologically AWOL. You can hear what the fuss was about with the extended, long form freak out jams Astronomy Domine and Interstellar Overdrive. He was using hypnotic, trance-inducing drone riffs.

Relics, a compilation featuring Barrett's first few singles (Arnold Lane and See Emily Play) interspersed here with some other material found on the first few albums.

The Early Singles, available only as a bonus disc from the selective Shine On box set, contains the rare singles It Would Be So Nice and Point Me At The Sky (left off of Relics).

An Introduction To Syd Barrett is an excellent survey of his brief post-Floyd body of work (culled from Madcap Laughs, Barrett and post-retirement but authorized Opel, comprised of unreleased tracks and outtakes from the earlier sessions), with some songs remastered in 2010 and produced by his former friend Gilmour, who also produced and played on some of the original sessions, as did Richard Wright. Uneven, but this is partly mitigated by the Gilmour curated selective choices, includes moments of brilliance for fans of early Floyd, the last dying embers of creativity from the band's initial inspiration, driving force and visionary guiding light/genius.

* Pompeii (60+ minutes VIDEO), Dave breaks out his "big voice" on guitar around the 9 minute mark, and I ESPECIALLY like his wailing, "volcanic" ( :) ) solo during the funky break around the 11 minute mark, he really makes that swelling tone sing (great in the pocket rhythm and groove bass by Waters, nice fills by Mason and always tasteful farfisa organ work by Wright - which he broke out again for the Live At Gdansk, Remember That Night and other shows during the On An Island tour). IMO, Wright and Mason don't get enough credit for the classic Floyd sound. Obviously Waters and Gilmour were more integral and "instrumental" components in that magical alchemy, but the consumate taste, sensitivity and sense of dynamics and space of Wright and Mason contributed heavily to showcasing Gilmour, by not being too busy and freeing him up to improvise and fill up those acoustic spaces and sonic atmospheres.
Link to post
Share on other sites

The Amazing Pudding (aka - Atom Heart Mother) VIDEO 37 minutes, circa '72.


Thank you very much for posting! The video is awesome and the sound quality is very good/excellent.

Some minor detective work shows this link is actually:

May 22, 1972 Amsterdam.

Atom Heart Mother Suite (final performance)

One of These Days (missing)

Careful With That Axe, Eugene

Echoes (missing)

E: Saucerful of Secrets

"The Amazing Pudding" was the working title of AHM

Edited by Amused to Death
Link to post
Share on other sites

Saw the "Animals" tour in the summer of '77 at Riverfront Coliseum in Cincy. What a show - floating pig, wall of fire.

We enhanced the show ourselves prior to entry but it really didn't need it.

Good stuff, thanks.

Wish You Were Here is my favorite album, but Animals rocked the hardest, which is always nice in a live context. For a lot of Floyd afficianados, I'm guessing this tour was their apex (and when Gilmour was in peak form and at the height of his powers).

Per Zamboni, worth noting in the DSOM doc (the classic albums one, linked above), Gilmour viewed Echoes as a pivotal song in the evolution of the group sound. He talked about falling out of love with the "psychedelic, noodling" material, and how in his opionion that was a big step forward for the band, as far as a direct antecedent and immediate precursor to DSOM.

Unfortunately, apart from bootlegs, officially Pink Floyd was not that well documented live (video or even audio) during their classic period. Early, there is Umma Gumma (where the first album was live, with the second album solo works by the individual members). In retrospect, they weren't fans of this double album, but the live part is outstanding, and the solo material has its moments, like the acoustic, folksy Grantchester Meadows by Waters, and the three part Narrow Way by Gilmour. The guitarist reportedly wasn't a confident song writer at the time, and when the band did something structurally similar to Umma Gumma on Atom Heart Mother (one album side being a group collaboration, the other side compositions from the four individual members - Meddle also had Echoes taking up one entire side of the album), tasking him with writing a song as his part of the individual contribution, it was a challenge, but he wrote Fat Old Sun, which ended up being one of his favorite songs - versions also on Remember That Night and Live In Gdansk.

There is of course Pompeii, a fantastic document, but I don't think a soundtrack was ever released? Than no live material until the Wall (Is There Anybody Out There?) and the final two tours, post-Waters.

So the Atom Heart Mother material was somewhat of a revelation. The Hammersmith Odeon show for his second solo album tour (About Face) was a blast from the past, as well. Also the la Carerra Panamericana doc, I think I may have had the latter two in VHS tape at one time, but as far as I know, they never have been issued in DVD form (let alone blu ray).

The Pink Floyd And Syd Barrett Story (five parts, approx 50 minutes), highly recommended doc for the first chapter of their history.

Moonhead, an unreleased track commissioned by the BBC to accompany the first manned lunar landing.

* List of unreleased Pink Floyd songs


Link to post
Share on other sites

My pleasure, thanks to everybody for the input.

9-22-72, a legendary '72 show, the only time Pink Floyd ever played in the Hollywood Bowl, the LA debut of DSOM.




Travel Section

Time Song

Home Again

Mortality Sequence


Us & Them

Dave's Scat

Lunatic Song



One Of These Days

Careful With That Axe,Eugene


A Saucerful of Secrets


Set The Controls For The Heart Of The Sun

Link to post
Share on other sites

From the Wish You Were Here Tour (aka - North American Tour), debuted the song Have A Cigar, the concluding leg was the last time Pink Floyd played the entire DSOM and Echoes live with Roger Waters.

Boston 6-18-75


You Tube notes - Time for another Pink Floyd Show. This time, the remastering group PRRP did a remaster, using 2 different recordings from the same gig, which were done with the same equipment. Hope you will enjoy it. Here are some original notes.

Pink Floyd
Boston Garden
Boston, MA
18 June 1975

Taper: Steve Hopkins (Source 1)
Location: Section CC, row 10, seat 14 (Left Center)
Lineage: Sony ECM-99A microphone hand-held

Taper: Dan Lampinski (Source 2)
Location: Section BB, row 5, seat 6
Lineage: Sony ECM-99 Stereo Microphone

Set I
01 Raving And Drooling 12:45
02 You've Gotta Be Crazy 13:27
03 Shine On You Crazy Diamond I-V 12:06
04 Have A Cigar 4:27
05 Shine On You Crazy Diamond VI-IX 11:47
Total Time 54:32

Set II
01 Speak To Me 5:35
02 Breathe 2:47
03 On The Run 4:45
04 Time 4:58
05 Breathe (reprise) 1:01
06 The Great Gig In The Sky 5:53
07 Money 7:53
08 Us And Them 7:22
09 Any Colour You Like 8:12
10 Brain Damage 3:46
11 Eclipse 4:18
12 Echoes 21:49
Total Time 78:19

1. Attenuate clicks, pops, bumps and isolated claps in each source.
2. Match pitch and tonality/EQ given different locations of tapers.
3. Synchonize recordings.
4. Patch missing sections in each recording with the other.
5. Merge both recordings and create stereo image.
6. Correct phasing and center sound.
7. Balance power and dynamics of each channel.
8. Track.

The PRRP 053 project attempted to optimize the sound of each recording of this show separately for enjoyment on its own. Given different taper locations, that allowed a different listening experience from each recording. This stereo remaster project compared the sound of each to the other and matched the pitch, tone and dynamics with the intention of merging them into a composite recording. Given the enhanced acoustics and the quality of each recording used for this project, the resulting stereo remaster provides a better representation of the true live audio experience.

Link to post
Share on other sites

Two more shows from the epic North American leg of the 1977 Animals (aka - In The Flesh) tour. The legendary 7-6-77 show from Olympic Stadium in Montreal already linked in post #12 above.

Boston 6-27-77


You Tube notes - This Concert was taped by Dan Lampinksi and remastered by PRRP, which means "Progressive Rock Remastering Project "... You will here a nice version of "Dogs" as well. I wish there would be any full video material of that tour.
Here are the Original Notes
Pink Floyd
Boston Garden
Boston, MA
June 27, 1977

Taper 1: Steve Hopkins
Location: FOB
Lineage : Sony ECM-99a Sony TC-158SD cass[master] DAT[?] cdr[?] EAC WAV archived in shn

Source comment: T.Mack (Yeeshkul): Almost certain this is a Master DAT clone and even if it's not, it's still damn good. PRRP: Have a Cigar version is closer to proper speed but trails off after 18,000Hz more than this version. Both have step-wise processing artifact after 16,000Hz but Have a Cigar verion goes to zero and this version does not. This version is clipped and runs too fast but both problems were corrected.

Taper 2: Dan Lampinski
Location: Floor section CC, Row 20, Seat 4
Lineage : Two Nakamichi CM-300 Microphones Nakamichi 550 Tape Recorder Master Cassette Nakamichi CR-3A cassette deck with azimuth correction M-Audio Firewire Audiophile 2496 CDWAV 24-bit/96-KHz wav files Goldwave (normalizing and crossfades) CDWAV (track breaks) FLAC

David Gilmour - guitar, vocals
Roger Waters - bass, vocals
Richard Wright - keyboards, vocals
Nick Mason - drums, percussion
Dick Parry - saxophone
Snowy White - guitar

Set I
01 01 Sheep 11:29
01 02 Pigs On The Wing (Part 1) 1:26
01 03 Dogs 18:58
01 04 Pigs On The Wing (Part 2) 2:19
01 05 Pigs (Three Different Ones) 19:28
Total Time 53:40

Set 2
02 01 Shine On You Crazy Diamond (I-V) 13:17
02 02 Welcome To The Machine 8:34
02 03 Have A Cigar 5:06
02 04 Wish You Were Here 6:57
02 05 Shine On You Crazy Diamond (VI-IX) 22:10
02 06 Money 12:16
02 07 Us and Them 8:11
Total Time: 76:31

1. Correct clicks, pops and tape imperfections of each source
2. Match EQ and verify pitch in each source
3. Dynamics differed between sources so channels balanced, clipping repaired.
4. Sync sources and correct speed
5. Repair missing sections using material from alternate source to complete each recording. 7 gaps repaired in Hopkins restoring 6 minutes and 41 seconds to the recording. 7 gaps repaired in Lampinski restoring 1 minute and 18 seconds to the recording.
6. Create stereo field
7. Correct phasing and center sound
8. Adjust dynamics
9. Track

Limited stereo field noted in each source. This is improved by the 2-source blending process
"As the Fear Grows" stated by one of the tapers at 5:15 of Sheep,
Roger shouts '48' at 12:26 during 'Pigs (Three Different Ones).
In Lampinski source a strong whistle can be heard just before the beginning of Wish You Were Here. It is heard faintly in Hopkins.
Money guitar solo differs from typical performance, using interesting effects.
Roger announces "Us and Them"
Roger says "The perfect end to a perfect day" at the end of the performance

Oakland 5-77 (May 9 or 10?). The first time Careful With That Axe, Eugene was played since '74, and its final live performance.


Link to post
Share on other sites

Footage of the inflatable pig flying over the iconic Battersea power station (I think the largest brick structure in Europe), which became the concept for the Animals cover.


Recreating the scene in 2011, as part of the Why Pink Floyd? remasters launch.


Link to post
Share on other sites

Footage of the inflatable pig flying over the iconic Battersea power station (I think the largest brick structure in Europe), which became the concept for the Animals cover.


Recreating the scene in 2011, as part of the Why Pink Floyd? remasters launch.


This made me very sad when hearing about it this past fall: http://www.cnn.com/2014/09/01/world/battersea-power-station/

Link to post
Share on other sites

Review of Endless River. There seems to still be an appetite for Pink Floyd music. I didn't realize it, but the review mentions it was the most pre-ordered album ever on Amazon.


By the time Pink Floyd’s

, Roger Waters’s “Requiem for the Postwar Dream”, came out in 1983, relations between him and the rest of the group were terrible – keyboard player Rick Wright had even been kicked out and rehired on a salary, for live shows only, at Waters’s insistence. So there’s a kind of poetry to the fact that, with Waters long gone, the new album – Pink Floyd’s first studio outing in two decades – is a tribute to Wright, who died of cancer in 2008.

It also features him heavily – he was back on board for 1994’s The Division Bell, and it’s from the sessions for that album that the material for this one has been taken.

By and large it’s an understated affair but unmistakably the Floyd, divided into four sides (and available on double vinyl), each with a different mood from the next. It also packs a great deal into 53 minutes – not least because some of the tracks are barely more than a minute and a half long. Nothing is dragged out.

Side one starts with voices discussing why people argue, before someone mutters, “The sum is greater than the parts”, and a deep boom gives way to the slow fade-up of scintillating synthesisers. David Gilmour uses an EBow on his guitar on this side, which makes it sound at times like it has been taped and played backwards and at others gives it a pleasing hum and buzz. It’s light-touch stuff, very pretty. Wright’s keyboards, meanwhile, are analogue perfection, It’s What We Do coming across like a quiet composite of Shine On You Crazy Diamond and


Drummer Nick Mason gets a go on side two, working up a fast tattoo on rototoms (even if he isn’t quite in his

) for Skins, with echo and weird atmospherics aplenty, courtesy of co-producer Youth. Then there’s a change of pace with pulsing Farfisa organ for Anisina, which starts like
and builds to a warm, triumphal peak, Gilad Atzmon’s soaring clarinet and throaty tenor sax trading licks with Gilmour’s high electric guitar.

Side three features more from Wright, first in the solemn piano of The Lost Art of Conversation then, sandwiched between the two slices of Allons-y (think some of the more rocked-up sections of The Wall), at the pipe organ of the Royal Albert Hall on (if not actually in) Autumn ’68. It’s a real treat, big, low pedal notes filling the speakers.

Stephen Hawking pops up next: Gilmour has chosen to use the same recordings of him talking about language from

that he did on The Division Bell (Keep Talking). The wisdom of this may be moot, but it’s sincerely meant (Gilmour has spoken of being terribly moved by the words) and not out of place. In fact communication, or the lack of it, seems to be a major theme. One song, the closing Louder Than Words, has lyrics written by Gilmour’s wife, Polly Samson, about #####ing and fighting, making up and carrying on. It’s quite fitting for a band that has had its fair share of conflict and turbulence – and also the kind of thing you might think of more when friends start popping off. The lyrics also refer to the sum and the parts (see side one) before the cascading, arpeggiating synths from the start of the album return and we come pleasingly full circle.

As well as The Endless River being Rick Wright’s swansong, Nick Mason and David Gilmour have said that it will be Pink Floyd’s last. It’s also the most pre-ordered album ever on Amazon, which is a pretty good way to call it a day.

Autumn '68 (from Endless River)


Link to post
Share on other sites

On some Pink Floyd history docs, the name Nigel Lesmoir-Gordon comes up (and his wife Jenny). They were close friends with the band from the beginning, filmed Syd Barrett, the band's first label contract signing, etc. He became a writer and documentary director, including the below, on the Mandelbrot Set and Fractal Geometry, narrated by Arthur C. Clarke. Noteworthy, because the music was composed by David Gilmour.

Colours Of Infinity


Link to post
Share on other sites

Point Me At The Sky, from Early Singles as noted above, one of the rarer Pink Floyd singles.


Many know of Careful With That Axe, Eugene through the live versions (video - Pompei, audio - Umma Gumma), but this studio version was the B side of the Point Me At The Sky single, also included on Relics. Much different from the live counterparts, it is more subdued, and other than the obligatory Waters screams, it almost sounds ambient at times, like it wouldn't have been out of place on one of the film sountracks, More or Obscured By Clouds.


More reading material.

Drummer Nick Mason wrote a book titled Inside Out: A Personal History Of Pink Floyd, with many photos from his personal collection.

The British MOJO magazine has had many issues featuring Pink Floyd articles, but had a career-spanning special edition dedicated exclusively to them, sub-titled The Whole Crazy Trip. Not sure if the cover is dated (sometimes special editions aren't), but on the first page forward, written by the Flaming Lips Wayne Coyne, it is dated 9-04.

Link to post
Share on other sites

Below is a bit more background on the bootleg recording from the Animals tour in Boston 6-27-77 (link in post #28 above), using two source recordings to create a "stereo remaster". BTW, on that You Tube page, there was a link to an MP3 version which I downloaded to put on my ipod and be able to stream to the surround sound stereo from the computer via Apple TV. I have more than a half dozen double CD length complete shows (two each from DSOM and WYWH, three from Animals, one from the Wall), including another version of that exact concert. While I haven't listened to the whole show yet, based on what I've heard so far, the sound is phenomenal. Highest possible recommendation (especially if you like that era - and who doesn't! :) ).

As The Fear Grows

Well, it's that time of the year again. Time to rejoice and celebrate another fruitful year in the life of the PRRP remastering group. Once more, our dedicated staff has made every possible effort to offer a good variety of exciting material to the ever growing progressive rock fan base. Over the years, the Special Anniversary Edition release has always been very special to us, its content carefully chosen to stand out from our regular programme of releases. This ninth edition of the anniversary special will be no exception to that rule. It features, for the first time in this instance, one of the most iconic bands in the history of rock music, the mighty Pink Floyd.

Pink Floyd is one of the most bootlegged bands in history, most of its tours widely documented in terms of high quality recordings, be it from radio or audience sources, and fans have been collecting these for over 40 years now. 'Most' is the key word here. Throughout these years, fans have desperately been searching for a high quality recording from the 1977 'Animals' tour. None of the shows from this tour was ever broadcast, and if Pink Floyd themselves have recorded some of them along the way, those must be surely kept under lock and key because no trace of such a recording has ever appeared anywhere, officially or not.

It is a well-known fact that this particular era in the band's life was not their favorite by far. Internal tensions were building up slowly, and although the 'Animals'album was a fine one in the end, it does however suggest that Roger Waters had already begun to take over as the main driving force behind the band. Shades of things to come. This new album was the beginning of a new phase in the band's existence, one that eventually drove Gilmour, Wright and Mason away from the Waters-driven Floyd. Even years later, when David Gilmour had resurrected the Pink Floyd name for two great albums and tours, it came as no surprise to see that none of the tracks from the 'Animals' album were ever included in the band's live sets.

Back in 1977, however, the band did embark on a long an gruelling tour to promote the album. Being the consummate perfectionists they always were, the band gave all that they had to offer fantastic and memorable live performances. Sadly, only a handful of the audience recordings that were made over the course of this turned out well, and those could only be granted a 'B' rating at best.

A short while ago, however, it was discovered that two young men from the Boston area, Dan Lampinski and Steve Hopkins, both known for the high quality of their audience recordings from the seventies, were at The Garden on June 27th, 1977, as Pink Floyd performed the 'Animals' show. Dan and Steve always used the best portable equipment available at the time, so both men achieved amazing results that night. After laying dormant for many years, these recordings were recently made available, and both received rave reviews from the fans.

Now here's the PRRP twist. Both of these recordings are truly good, separately. Each has its own merits, but is limited to a rather narrow acoustic field. Since the two tapers were sitting on opposite sides of the Garden, the PRRP sound engineer decided to combine the two recordings to try and increase the acoustic field. What you hold in your hands is the result of this meticulous and time-consuming process. This true labor of love was no waste of time by any means. The joining of the two recordings has not only widened the acoustic field, but also improved the overall sound and created a surprising stereo effect, which makes for a stunning listening experience. Only you, the fans, will be able to pass an unbiased judgment on this, but I personally believe this combined remaster to be the very best sounding 'Animals' tour recording EVER. Enjoy !


Notes from the Re-Master
What a great opportunity! Two high quality audience recordings of Pink Floyd during their wonderful 1977 tour. The Dan Lampinski team has provided us with his high quality source. The Steve Hopkins source has been available in various forms for a number of years. There has been some debate regarding the best source for the Hopkins recording. A presumed, master DAT clone was available on Yeeshkul as was a version called "Have a Cigar". Both showed some signs of probable high-frequency processing but the Cigar version frequency response drops close to zero while the master clone does not. For this reason, the master clone was used for this project.

Both recordings captured the full show but a number of gaps occurred in each. The largest gap was close to 5 minutes in the Hopkins recording during Shine On You Crazy Diamond part 6-9. Mr. Hopkins may have had to hide his equipment for security personnel at that time. Of course, for each gap, only one source was available but fortunately, all gaps were staggered so they were all filled using the other source. Since this is a two source stereo remaster, during the single source, gap filled segments, there is a noticeable change in the stereo field. This is particularly true during the long Hopkins gap. For the other smaller gaps, the change is brief.

Each recording was separately remastered. During the process, non-destructive repairs were made to clicks, pops and other tape imperfections. Pitch and frequency response/EQ were then compared and matched as close as possible. The dynamics of the two recordings differed greatly so calculations were made to match average and total power for each. The two recordings were then synchronized to the exact same run time. A stereo field was then created by blending the two sources together.

The individual recordings were each high quality but both had limited stereo field characteristics on their own. By combining the recordings, the overall stereo field was greatly expanded and better reproduced the experience that must have existed in the venue that night. Phasing was corrected and routines were used to center the sound in the stereo field. The final recording was then tracked using traditional tracking points.

PRRP Staff

Link to post
Share on other sites

A 50 minute BBC doc, Monsieur Rene Magritte, on the master surrealist painter. What does this have to do with Pink Floyd? It was directed by Adrian Maben, who famously directed Pompeii (also has some Pink Floyd soundtrack elements, as well as Bartok). Plus, the faceless man with the bowler hat in the Wish You Were Here art was noted by one of the Hipgnosis principals, Storm Thorgerson or Bo Powell, as a conscious and explicit homage to Magritte (that was one of the first things I thought when I saw it initially).


Speaking of Maben, below is a link to part one of a four part in-depth breakdown of the Pompeii video and shoot, including Maben interview, when the director's cut was released, found at the Pink Floyd news aggregator site, Brain Damage. If you are a fan of the movie, there is almost certainly some new information here


I missed this when it premiered 1-11-15, a Roger Waters interview by Bill Weir on the new PBS show Speakeasy (the format refers to the subject choosing his/her interviewer). Only this several minute excerpt on You Tube so far, hopefully they re-air it on PBS, check local listings and times.


Link to post
Share on other sites

The Art Of Tripping was a documentary broadcast by BBC in two parts in '93. It was directed by Floyd's long time friend Storm Thorgerson of Hipgnosis (did many/most of their covers), with music by Gilmour.

The Art Of Tripping Part I


The Art Of Tripping Part II


A pretty detailed videography from the band and individual members, for tracking down sundry Floyd video arcana, curios and otherwise marginalia.


A post-mortem of Syd Barrett's psychosis/mental disintegration.


The iconic pig wasn't the first member of Pink Floyd's inflatable beastiary. At the '71 Crystal Palace Garden Party music festival, they deployed an octopus, during a notorious aquatic misadventure in which many fish allegedly perished. One theory was that it was because of the extreme volume, but this sounds like a likely apocraphyl explanation. Though it sounds like extreme volume is a legit recurring theme in the history of the band. An engineer at the Piper At The Gates Of Dawn sessions talked about (metaphorically :) ) the sound level being so loud he nearly lost bowel control. Reportedly in one of the DSOM (?) sessions, one of Gilmour's guitar overdub parts was so ridiculously high volume (he tended to play REALLY loud to the point of overdriving the amp so he could cultivate those riding on the edge of ringing feedback tones) that engineer Alan Parsons and his assistant actually had to leave the control room, presumably because they feared permanent hearing loss.


Link to post
Share on other sites

Bob- has there ever been a documentary on the making of Animals? ( like the above DSOM doc)

Not that I'm aware of, but I'll look into it. There is a fairly comprehensive and thorough videography in the post immediatly above, for future reference.

Video EP for Final Cut (18 minutes - four songs?).


Link to post
Share on other sites

Zabriskie Point Soundtrack versions. Just Pink Floyd contributions, including songs not used in the film 37 minutes.


Two disc edition, includes additional material not used in the film 52 minutes.

Complete Zabriskie sessions bootleg, including multiple, alternate takes 75 minutes.

In the two career spanning box sets, Oh By The Way and Discovery (Shine On was partial), the canonical, complete works are 14 titles and 16 CDs (Umma Gumma and The Wall are doubles). This includes the two scores for Barbet Schroeder films, More and Obscured By Clouds.

Piper At The Gates Of Dawn

Saucerful Of Secrets


Umma Gumma

Atom Heart Mother


Obscured By Clouds

Dark Side Of The Moon

Wish You Were Here


The Wall

Final Cut

Momentary Lapse Of Reason

Division Bell

Zabriskie Point is not included, probably because they were only one of about a half dozen contributors, and also, Antonioni only used about half of the music they submitted. But when you include all the unused material, it is a significant amount of music, about an hour (the running time of More and Obscured by Clouds was about 45 and 40 minutes, respectively, for comparison purposes). Several members of Floyd in the Making Of DSOM video above, talked about how Antonioni was notoriously picky. Waters thought their involvement could primarily be attributed to the director merely wanting the rights to Careful With That Axe, Eugene (which did conclude the movie, in a shock ending - a few other songs were included), and also did an amusing impersonation of the director - "The music is beautiful, but it is so sad. It makes me think of church." :) The track used at the film's end, Come In Number 51, Your Time Is Up was a re-recording of Careful With That Axe, Eugene. An unused Richard Wright track, The Violent Sequence, was famously reworked as Us And Them on DSOM.


* Some of the links above will get buried in the maelstrom of other Floyd links ( :) ), so just for highlight purposes, one of imo the best and rarest, and my favorites, is in post #5. The first link includes footage of the Syd Barrett-era Floyd, at their first recording studio session, the UFO club and the 14 Hour Technicolor Dream At Alexandra Palace. There are only two performances, but comprising nearly a half hour, including an extended version of Interstellar Overdrive (more than 15 minutes, the version on the debut album was closer to 10 minutes), and a song called Nick's Boogie, which was a precursor to the second section of Saucerful Of Secrets (the title track of their second album, and also a song on the live album Umma Gumma and live video Pompeii). These are the earliest commercially available versions of Pink Floyd, a DVD/CD set titled London '66-'67. Both of these are heavily psychedelic, at times involving extended freak out jams.

To more specifically underscore the general highlight, there is a point at around the 3:50 mark (possibly where the UFO club footage starts?) where the music is very understated and beautiful, and they quietly explore a hypnotic, trance-like rhythmic groove, in a way perhaps many wouldn't associate with Barrett-era Floyd, for example, a song like Bike. Right after that, things come to a dead stop and do get fairly weird. Even here, though, I think it shows characteristics of how the band and music was ahead of their time. To use a metaphor, the French noir Rififi was extremely unusual for a post-silent era film, in that the caper/heist part included a nearly 30 minute scene with no dialogue. It was riveting. Virtually no movies are like that any more, now nearly everything has thousands of split second jump cuts, presumably because studios are concerned about the audience's collective ADD being unable to tolerate less borderline epilepsy-inducing editing without being reduced to boredom. Back to Floyd, the operative word in space rock, per their pre-DSOM work, was SPACE. They had a lot of space in their music, and you hear that in these two songs, right at the beginning, following the lead and taking a cue from Barrett, they took time to let their collective improvisational statements unfold.

London '66-'67


Link to post
Share on other sites

The Man And The Journey, the "lost" Pink Floyd album. The genesis of these two album length suites was a performance at Royal Festival Hall on 4-14-69, titled The Massed Gadgets Of Auximines - More Furious Madness From Pink Floyd. In addition to unreleased material, it included music later heard on Umma Gumma and More. It incorporated almost performance art pieces, including the sawing and construction of a table, as well as taking afternoon tea on stage.*

You Tube (audio 2 hours+), from the 9-17-69 performance in Amsterdam.


Wikipedia (includes a breakdown of the many songs that emerged in similar forms on other albums).


Rehearsal footage for The Massed Gadgets Of Auximenies (VIDEO 24 minutes - extremely rare)


The pre-Wish You Were Here, aborted Household Objects sessions, in which they made serious early attempts to make an experimental, musique concrete album without any conventional music instruments, at Richard Wright's suggestion. They were obviously feeling the pressure of following up DSOM with something different, and may have just been collectively, subconsciously stalling to delay actually beginning work on the next album. Two items from this period are on the DSOM (an interesting bass-sounding rhythm track that is more fully realized than the next track) and WYWH (the wine glass tones heard at the beginning of the first part of the Shine On You Crazy Diamond suite) Immersion Boxes, respectively. The latter track is also on the WYWH Experience edition.


Another take on this period, including a Roger Waters interview.


The Hard Way


Wine Glasses


Richard Wright's haunting solo piano Us And Them Demo (included in both the DSOM Experience Edition and Immersion Box), which again, began as an unused track from Antonioni's Zabriskie Point soundtrack.


The below two tracks are also included on both the WYWH Experience Edition and Immersion Box.

Alternate Have A Cigar with Roger Waters vocals. He never wanted to relinquish the lead vocals on this song, but did begrudgingly to influential musician and friend of the band, Roy Harper (also a friend of Led Zeppelin, who named the Hats Off To song on their third album after him). I prefer the Harper version, but it is hard to separate out the role familiarity may be playing in the case of my take?


Alternate Wish You Were Here with jazz violinist Stephane Grappelli (of gypsy jazz guitarist genius Django Reinhardt's band fame). Not a throwaway, an interesting, musically worthy variant that easily could have made the album.


Biding My Time, another somewhat rare track (Richard Wright composition, unreleased on album or single, prior to inclusion on the Relics compilation).


* This show also featured the debut of the (at the time) cutting edge Azimuth Co-ordinator. Pink Floyd employed the first panning control for a Quadrophonic sound system, operated by keyboardist Wright. In the 23 minute doc included in the DSOM Immersion Box, Gilmour talked about how previous generation DSOM copies were probably based on second-third generation tapes, and they went back to the master tapes (I found the included hi rez audio at 96/24 having a noise/sound floor that is dead black silent, the most pristine and immaculate I've ever heard of any previous incarnations of the album). Gilmour and Waters also talked about how the included Alan Parsons quad mix (also a contemporary 5.1 surround sound remix from regular Floyd engineer, James Guthrie, at least since The Wall - there is a counterpart original Parsons quad mix and Guthrie 5.1 remix in the WYWH Immersion box, as well) was hearing the music as it would have been performed and sounded live at the time.


Link to post
Share on other sites

Extensive documentation of their live body of work, various tours, etc.


Interstellar Zappadrive, Belgium 10-25-69 (Pink Floyd featuring Frank Zappa).


Link to post
Share on other sites

do they ever talk about how dark side of the moon plays perfectly with wizard of oz

This question does come up a lot, personally I've never checked it out. The band has always said any timing parallels are purely a coincidence (who knows, maybe if you look at enough video, it synchs up with some water purification documentaries out there? :) ). So, most likely, to visually quote Till Lindemann of Rammstein...


But if it were true, the below absolutely should be the art for the mash up cover. Somebody put some thought into this wallpaper. Gilmour/Tin Woodsman's "axe" is an axe shaped guitar (and axe is musician slang for guitar or instrument), and he is intently eyeing Waters, with the instrument raised in a striking position. He isn't yet ready to "bury the hatchet" (there was also the Floyd song Careful With That Axe, Eugene). Waters is Toto, and he wrote the song Dogs (he also appears to be attempting to relieve himself on Gilmour's leg, fire hydrant-style). The way the Cowardly Lion Mason is holding his tail in a rounded, circular position looks like he is grasping a steering wheel, and he is perhaps best known, after being the drummer for Floyd, of course, for having a world class car collection (he owns one Ferrari which only had about 30 production models - worth about $50 million, give or take $10-$20 million?). He is also smoking a cigar (per the WYWH song). Wright is the Scarecrow (he reportedly was less assertive than some other members of the band), which was a Pink Floyd song, albeit written by Barrett. The malevolent talking tree is shaking "limbs" with Wright, who bursts into flames like the iconic "Burning Man" WYWH cover (in the process igniting Mason's stogie).

Instead of a Yellow Brick road, the bricks are white, like in The Wall. The pig from Animals flies, so subs for the witch on the broom (and is also a piggy bank, so money is flying out of it). The Hammers from The Wall make good stand ins for palace guards. Animals Battersea power station is in the background (Witch's castle? - the broom flying pig and guards/hammers are moving from that direction). An incidental cow circa Atom Heart Mother is in a pastoral background (kind of small and hard to see in the distance, but maybe about to be knocked out in a poppy field - there is something funny about that cow, almost like there is a field of Tesla Coil electrical bursts and discharges around it?). Dorothy lived on a farm, which is where the AHM photo shoot took place. A tornado threatens in the distance, and the band had a stormy relationship for much of their career. The left background appears to be black and white, and the right background in color, mirroring the post-tornado transformation in the film from bleak, stark black and white to brilliant, vivid technicolor. Overarching the picture, a rainbow (like the song Somewhere Over The Rainbow) dovetails with and extends out of the image of the DSOM's prism refracting light into the color spectrum.


Link to post
Share on other sites

Interstellar Zappadrive, Belgium 10-25-69 (Pink Floyd featuring Frank Zappa).


I had a link to this all set to post a few days ago but something happened to my browser and I lost the whole thing. :doh: Didn't feel like re-creating it at the time.

Zappa was the road manager for Captain Beefheart who was playing at this festival. The Mothers didn't play, but Zappa was supposed to act as one of the MCs for the event. He jammed with a number of the bands (it was a 3 day festival). Here's some background as told to Matt Groening (long time friend of Frank and Gail):

Simpsons creator Matt Groening asked Zappa about the festival in a 1992 interview, but he doesn’t mention Pink Floyd:

Frank Zappa: I was supposed to be MC for the first big rock festival in France, at a time when the French government was very right-wing, and they didn’t want to have large-scale rock and roll in the country. and so at the last minute, this festival was moved from France to Belgium, right across the border, into a turnip field. they constructed a tent, which was held up by these enormous girders. they had 15,000 people in a big circus tent. this was in November, I think. the weather was really not very nice. it’s cold, and it’s damp, and it was in the middle of a turnip field. I mean mondo turnips. and all the acts, and all the people who wished to see these acts, were urged to find this location in the turnip field, and show up for this festival. and they’d hired me to be the MC and also to bring over Captain Beefheart. it was his first appearance over there. and it was a nightmare, because nobody could speak English, and I couldn’t speak fFench, or anything else for that matter. so my function was really rather limited. I felt a little bit like Linda McCartney. I’d stand there and go wave, wave, wave. I sat in with a few of the groups during the three days of the festival. but it was so miserable because all these European hippies had brought their sleeping bags, and they had the bags laid out on the ground in this tent, and they basically froze and slept through the entire festival, which went on 24 hours a day, around the clock. One of the highlights of the event was the Art Ensemble of Chicago, which went on at 5:00 a.m. to an audience of slumbering euro-hippies.

Asked about jamming with Zappa, Nick Mason has this to say in 1973:

Frank Zappa is really one of those rare musicians that can play with us. The little he did in Amougies was terribly correct. But he’s the exception. Our music and the way we behave on stage, makes it very hard to improvise with us.”

And from the same link:

The really frustrating thing about all of this is that the visual documentation (as well as superior sound recordings) of this collaboration MUST exist (or at least did at one time). Pink Floyd forbade Jerome Laperrous to use his footage of their performance from the Actuel Festival for his Music Power documentary of the event, but that still hasn’t stopped it from escaping to YouTube (see below), so where is the Zappa footage???

As the audio recording didn’t really show up and circulate until 2006, there is still hope. Another of the groups who Zappa sat in with at the festival were British psych rockers Blossom Toes, who released a CD in 2009, Love Bomb: Live 1967-69, that included Zappa’s participation in their Amougies set.

Link to post
Share on other sites

I read something that maybe Zappa had just disbanded the Mothers Of Invention weeks before the festival?

BTW, Gilmour and Waters have reunited several times since the historic final full band reunion at Live 8. Below is a four song set from a 2010 charity benefit (27 minutes).


Gilmour also joined Waters on stage during a 2011 performance of The Wall to play Comfortably Numb (Mason may have joined them for a song, too?). While the band isn't getting back together (especially since Richard Wright passed away), the chill seems to have thawed considerably. I've seen Waters in print express regret and characterize the law suit as ill conceived. They have been spotted hanging out with their spouses and appeared to have let byegones be byegones (though that shouldn't be interpreted as Gilmour wanting to play together on a regular basis, I think he finds Waters working methods plagued by being too controlling and strong willed to facilitate entering into any conceivable kind of collaboration he would be interested in for any committment more than or duration longer than the occasional one off charitable benefit). Gilmour seems reluctant to say never, but has repeatedly stated not having a place for Pink Floyd anymore, and clearly alluded to being done.


As noted above, there is a dearth of officially released live Floyd, pre-Wall. Aside from Pompeii, the live album half of Umma Gumma is one of the only documents we have. I think the double album/CD is great (especially the live part - that alone is imo worth the price of admission), though supposedly it is one of the band's least popular albums.


My favorite of the studio sides were Grantchester Meadows by Waters, and especially the three part Narrow Way by Gilmour.

Grantchester Meadows


The Narrow Way (Parts 1-3)


Atom Heart is another album that the band reportedly loathed and reviled, particularly Gilmour, but I like it, it certainly has its moments (sounds like they were their own toughest critics, perhaps that was part of their greatness and mystique - they hated works that would have been masterpieces by other bands). Below is some background. Pink Floyd was introduced to collaborator Ron Geesin through the Rolling Stones manager. They had to hit the road on a tour, so asked him to come up with orchestral scores and arrangements for the brass and choir on the side-length suite. It was somewhat unusual, in that instead of a few vocal or horn fluorishes layered onto the band carrying the song, there are passages in which the band is more providing rhythmic accompaniment, and the brass and choir are the lead sections. So while it sounds like the band wasn't equipped to do the orchestra scoring/arrangement task by themselves, they didn't just completely accept Geesin's charts as written. He claimed they were changed substantially, and his intended vision has never been heard, and in his opinion rocked or swung more, and the Floyd-edited variant, was in his estimation clunky at times, and didn't flow as well?


Also, of the bands early unofficial live recordings, some of the best SOUNDING were a series of recordings by the BBC (under the aegis of John Peel, in some/most cases?), for obvious reasons - they were professionally recorded broadcasts.

'74 show with complete DSOM plus Echoes 80 minutes.


'70 Atom Heart Mother suite 25+ minutes (haven't listened to this version, but I think with orchestra and choir - they didn't always use them, too expensive to travel with them on the road, sometimes they hired local musicians when they blew into town, ala Chuck Berry, but the orchestral charts/arrangements were unusual and hard to get classically trained musicians up to speed on quickly enough for the purposes and requirements of the show, so sometimes they just performed it as a four piece, sans brass and choir).


Also from '70 BBC broadcast (and from the Atom Heart Mother album), one of Gilmour's most epic early guitar vehicles, Fat Old Sun 15 minutes.


'68 BBC broadcast of the Syd Barrett song, Interstellar Overdrive, by this time with Gilmour on guitar.


The prescient Scream Thy Last Scream, an ultra-rare, never officially released Barrett song - like Vegetable Man (which was on the same '67 BBC broadcast, but currently audio blocked on You Tube).


An eight song, 20 minute BBC performance by a post-Floyd Barrett, from '71 (the Radio One Sessions). Gilmour, Waters and Wright all helped produce and/or played on Barrett's solo work. Gilmour and Humble Pie drummer Jerry Shirley are the other musicians in the studio. Gilmour talked about how the solo albums were a nightmare to work on (though there is some wheat in the chaff, imo), because, partly due to the fact that he was unwilling or unable to play any song the same way twice, and he was prone to arbitrary, frequent tempo changes within songs, it was pretty much impossible to record as an ensemble in the usual way. So either they would have Barrett play over pre-recorded tracks, or they would overlay as best they could material on top of HIS pre-recorded tracks (sounds like the latter may have been the preferred method).


Link to post
Share on other sites

Thanks Bob for all these great links. Curious if you have any links for Obscured by Clouds...my favorite lesser known album. I am assuming there is no concert footage of any tracks off this album because it was a soundtrack.

Link to post
Share on other sites

Thanks Bob for all these great links. Curious if you have any links for Obscured by Clouds...my favorite lesser known album. I am assuming there is no concert footage of any tracks off this album because it was a soundtrack.

Don't know about video, but there's audio of them playing an extended version of "Childhood's End" during the fall of '72 then in the winter/spring of '73 they were doing "Obscured By Clouds -> When You're In" during the 1st set of the DSotM tour.

Edited by Amused to Death
Link to post
Share on other sites

Essener Blues And Pop Festival 1969 (20 minutes VIDEO)


Saucerful Of Secrets - Kralingen Pop Festival, Holland 1970 (5 minutes, excerpt? VIDEO)


Corrosion - looks like a studio, Paris 1970 (6 minutes VIDEO)


Green Is The Colour - Live in San Tropez 1970 (VIDEO)


Cymbaline and Grantchester Meadows - Live KQED TV San Francisco 1970 (VIDEO)



Cymbaline and Set The Controls For The Heart Of The Sun - Abbaye de Royaumont 1971 (VIDEO)


Atom Heart Mother - Japan 1971 (15 minutes VIDEO)


Obscured By Clouds, behind the scenes, making of doc in two parts, requested by gdub (VIDEO). In two parts, not a lot of music (but some), includes Floyd interviews as well as director Barbet Schroeder and the star (his wife, not sure if she was already). BTW, this album is imo seriously underrated and one of their best. Good point that it was a score, so there was no Obscured By Clouds tour. Both More and this (and Zabriskie Point) perhaps did sound more slapped together than some of their albums proper, but maybe that was a good thing in these cases, so they didn't have time to overthink it. Chronologically, More is their third album, and first without a trace or last vestige of Barrett, and was more raw and developmental (though it made up for that in energy, creativity and atmosphere), and perhaps less cohesive, musically, than Obscured By Clouds - it did have a lot of moods, which could be a good thing for a movie. Obscured By Clouds was right before DSOM, and more polished and unified than More (though I do like them both, A LOT). The latter Barbet Schroeder soundtrack fell between Meddle and DSOM, two of their greatest albums, so it was auspiciously made at a time when they were really entering the wheelhouse of their classic phase and a collective creative peak, as a functional, collaborative ensemble.



La Vallee Obscured By Clouds intro/excerpt (VIDEO) gives a sense and some flavor of Floyd's powerfully atmospheric contribution to the soundtrack. Along with the simple but evocative narration, a sense of mystery about this undiscovered land is conveyed almost immediately (somewhat like the opening scene of the perilous, winding trek by the Conquistadors through the Andes accompanied by the atmospheric Popul Vuh soundtrack that quickly sets the tone for Werner Herzog's Aguirre: Wrath Of God).


Childhood's End (two versions, about 10 minutes each AUDIO).



Obscured By Clouds and When You're In (11 minutes AUDIO) from the DSOM tour, thanks to the heads up by Amused to Death on these live versions of Obscured By Clouds tracks.


BTW, the image on the cover of Obscured By Clouds is of a man haning on to a tree, so out of focus as to be unrecognizeable (somewhat like the cover of Meddle, a photo of an ear overlaid by images of water ripples to the point of making it a similarly mysterious image). Hipgnosis claimed they were both too simple and unclear, and neither were among their favorites. Once again, I liked them, so like Floyd themselves, they may have been their toughest critics, potentially a contributing source of and factor in their greatness?

Dogs - Live 1977 (VIDEO), not sure if this video matches up with the audio, reputedly from the legendary 5-9-77 show in Oakland (sometimes called Animal Instincts)


The Wall - Live complete 110 minutes (VIDEO), Earl's Court 1980.


Political cartoonist Gerald Scarfe is perhaps best known to Pink Floyd fans for his artistic involvement and collaboration with Roger Waters in the Wall at every level, on the album, concert theatrical performance and film. He first came to the attention of Mason and Waters with an animated short titled Long Drawn-Out Trip (circa DSOM), a scathing critique and withering indictment of Nixon-era American society and culture.

Long Drawn-Out Trip excerpts (VIDEO - NSFW).


Gerald Scarfe concert screens shown during the Wish You Were Here tour. These are included in the WYWH Immersion Box, as are the flying clocks on the DSOM counterpart, but that animation was imo more rudimentary and not as interesting. I don't think they used concert screen films for Animals, so the video material for the WYWH tour may have been their most sophisticated and mature, thematically (until the Wall).

Shine On You Crazy Diamond and Welcome To The Machine (VIDEO)



An in-depth Gerald Scarfe interview regarding the history of his collaboration with Pink Floyd in general and Waters specifically.


Link to post
Share on other sites
  • 2 weeks later...

There is much I disagree with about this article, but it was invaluable in highlighting some outstanding early/mid-period unofficial live recordings. I used to like the Wish You Were Here and Animals tours best, and while I still like them a lot, the Atom Heart Mother and Meddle tours have become my favorites. The interim from Piper At The Gates Of Dawn (dominated by doomed psychedelic genius Syd Barrett) to DSOM (after which Waters bone deep cynicism and bleak vistas increasingly took hold), especially LIVE, was marked by an emphasis on the consistently brilliant Gilmour/Wright improvisation and interplay. This was roughly '70-'71, a time during which they also imo worked on their best soundtrack (Obscured By Clouds) and concert film (Live At Pompeii) and finished up DSOM, an era or phase during which Gilmour and Wright were at the peak of their respective forms and both creatively on fire, often doing dramatically different variations of the same setlists from night to night.

Careful With That Axe: Pink Floyd Reappraised, By Taylor Parkes (2-4-09) excerpt below.

(excerpt excerpt - "Listening to New Mown Grass, from San Diego in 1971, or Smoking Blues, from the 1970 Montreux Festival, Electric Factory from Philadelphia in the same year, or the roaring performance at the Paris Theatre for John Peel's radio show in 1971, a different picture forms: Pink Floyd were for a time an astonishing, wildly exploratory rock band, ringing with forgotten promise.")



"But as it turns out, on stage between '68 and '72 - right up to Dark Side, when the spontaneity was sucked from their act - they were something else. Pink Floyd in concert were almost unrecognisable from Pink Floyd on record: massive, crude and hypnotic, all power and effect. The live disc of Ummagumma hints at this, as does Pink Floyd Live At Pompeii, the atmospheric (and in the case of the in-studio interviews which punctuate the tracks, unwittingly hilarious) film from 1971, in which the Floyd freak out inside a ruined amphitheatre, and roam the foothills of Vesuvius with beards and satchels, like hippie hitchhikers wandered off course. But to experience the full weight of mid-period Floyd – and to dismantle preconceptions of the band as stuck-up, showboating dinosaurs (or at least, replace these with other objections) – you have to seek out those superior live shows, now available free of charge via the internet. Once a moneymaking scheme for unscrupulous non-music-fans, the ancient recordings are now passed around like joints, with strict orders not to make a profit, dusted and remastered by the Floyd "fan community" (which does contain – surprise! - its share of audiophile geeks). Listening to New Mown Grass, from San Diego in 1971, or Smoking Blues, from the 1970 Montreux Festival, Electric Factory from Philadelphia in the same year, or the roaring performance at the Paris Theatre for John Peel's radio show in 1971, a different picture forms: Pink Floyd were for a time an astonishing, wildly exploratory rock band, ringing with forgotten promise.

Seven or eight songs, each lasting ten minutes or more. The set list barely changed for years. Appallingly complacent, of course - except that these "songs" were just vehicles for the Floyd's chaotic, non-virtuoso improvisation, an edgy tumult far removed from a blues band's formal jams, or the technical sterility of The Grateful Dead. The most durable numbers were the simplest to play, offering the widest scope for experimentation: 'Set The Controls For The Heart Of The Sun', a dense, repetitive mantra, which could be vague and ethereal or rumble up to peaks of punishing intensity, or the title track from A Saucerful Of Secrets, a sub-Stockhausen riot of battered cymbals and musique concrete (plus a juvenile finale of embarrassing choral pomp). Best of all, the show-stopping screamathon that was 'Careful With That Axe, Eugene', an extraordinary blend of minimalism and excess which scrapes chunks off the Floyd's British contemporaries. Sometimes it sounds weightless and translucent, the tension understated; sometimes it's unbearably oppressive, the shattering central section looming from the first note. Almost entirely improvisatory, 'Axe' is loosely but subtly structured, able to bear its own colossal weight – they almost never played it badly."

Fat Old Sun (BBC Sessions AUDIO)


Pink Blues (BBC Sessions '71 AUDIO)


Pre-Some stupid with a flare gun, Smoke On The Water Montreux Casino 1970 (140 minutes AUDIO), this overlaps with the title Smoking Blues noted in the article above.


Electric Factory, Philadelphia 1970 (AUDIO, kicked off the American leg of the AHM tour*), also noted in the article above.


Taft Auditorium, Cincinnati 1971 (115 minutes AUDIO, concludes the Meddle tour**), noteworthy as I think they retired Embryo and Cymbaline after this concert, and it was the longest Embryo ever, close to a half hour.


* Atom Heart Mother Tour


** Meddle Tour


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Reply to this topic...

×   Pasted as rich text.   Restore formatting

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

  • Recently Browsing   0 members

    No registered users viewing this page.

  • Create New...