pink floyd early version download atom heart mother early version download. LAST MODIFIED: April 22, 2012. ------DARK SIDE OF THE MOON ------on QUAD 8 TRACK. When a music fan thinks of the "Quadraphonic Sound" of the 1970's, and even today's modern 5.1 sound options, one of the first music titles that come to mind is Pink Floyd's "Dark Side of the Moon" . Released in 1973, this album combined thematic music with a myriad of sound effects and spoken passages that has entertained listeners for the past 30+ years. Many have spent hours listening with headphones, while others listened as stereos and boom boxes played their LPs, cassettes, and 8 tracks. When the CD format arrived, this was one of the first titles to get released, earning the first catalog number used in the US by Capitol: CDP 40001 . A special few, however, got to hear this work with than two channels, as it was originally conceived. When the album was recorded, engineer Alan Parsons created a discrete 4 Channel mix that was to be used for commercial LP and tape release in the new "Quadraphonic" systems. Pink Floyd had been using surround in their stage presentations of this music, so it seemed quite logical that the fans be able to hear it as it was meant to be heard. EMI owned the rights to all Pink Floyd material throughout the world, with the exception of the United States. In the USA, Pink Floyd titles were released on the Capitol label, originally controlled by EMI. In the early 1970's, there were competing formats for quadraphonic records. Early matrix systems competed with discrete tape, and soon JVC came up with a discrete format for the LP, the CD-4 system. With 3 major systems to choose from, many labels vacillated between choices, waiting to see which one would be the "victor". Columbia championed its' own SQ system, while RCA pushed the discrete CD-4 system. Some labels, like A&M, used both SQ and CD-4, as well as the third system from Sansui, the QS system. EMI decided to use the CBS SQ system throughout the world, and "Dark Side of the Moon" became available in the UK, Europe, and Australia as an SQ LP. Interestingly enough, in Japan, it was released using the RM matrix system, which was the system that Sansui based their QS system on. In the USA, however, Capitol did not release "Dark Side of the Moon" as a quad LP**. They did, however, release it as a quad 8-track tape. This, however, is where the story gets interesting. Alan Parsons had created a vibrant, discrete mix of "Dark Side of the Moon". Those that have heard it will attest to the fact that it is quite remarkable, and surely a masterpiece when we consider the equipment available to him during 1973. (There is an interesting article called "Four Sides of the Moon" that details the creation of the mix.) When this discrete mix was finished, EMI created the master for the worldwide SQ LP release by encoding the discrete master tape using an SQ encoder. This device mixed the front and rear channels together, combining them into a compatible stereo track that could be pressed onto LPs and be subsequently decoded by a proper decoder, resulting in the playback of the original mix. In theory this sounded good, but the encoding and decoding equipment was far from perfect. Once the tracks were mixed together, they could never be decoded to the point where they were totally discrete as was the master tape. Even the modern "Full Logic" decoders that emerged in the 1980's could not reproduce the exact mix that existed on the master tape. In the UK, EMI created their Quad 8 Track from the master discrete tape, thus creating the only commercially released version of this classic. Since quad tapes were sold in very small numbers in the UK, an instant collectible was created. The UK DSOTM Q8 usually sells for over $500 when it changes hands. As you can see from the illustration below, this tape presents the quad mix in a totally discrete fashion. The UK EMI Q8 of "Dark Side of the Moon" is totally discrete. In the USA, Capitol, for some reason, received the SQ master tape to "Dark Side of the Moon". Why they received this tape is unknown, as there was never an intended SQ release for the USA (Capitol never decided on a format to release quad LPs, and although they released a few sampler LPs using the CBS SQ system, no commercial titles were ever released) In an incredibly stupid move, Capitol took the SQ Master Tape and used it to master their domestic Quad 8 Track! They simply decoded the SQ reel using an SQ decoder, then mastered the US Q8 from the decoded source. This resulted in a "less than discrete" tape. The US Capitol Q8 of "Dark Side of the Moon" is a decoded tape. Consequently, in the USA, the only quadraphonic release of DSOTM was the compromised Capitol Q8. Although it actually sounds pretty good to the unknowing, the UK Q8 blows it out of the water. The Alan Parsons mix used to create both tapes was not used to create the current 5.1 Super Audio CD, as the group preferred to have their current engineer James Guthrie create a new 5.1 mix to match the capabilities of the SACD format. While the SACD is astonishing in it's own right, the original Alan Parsons mix remains a favorite of fans, as it is known to be more "aggressive" in its' use of the surround channels. MORE LOOKS AT UK DARK SIDE OF THE MOON Q8's (Note that the cartridge label is not in color and it's also a reverse image of the pyramid) ABOVE: The UK Q8 with Slip Case and white shell. ABOVE: The UK Q8 in the green shell (Photo's from eBay auction) ------DARK SIDE OF THE MOON ------on QUAD RAPHONIC LP. The Japanese RM LP (top), the UK SQ LP (lower left), and the German SQ LP (lower right) In Japan, Dark Side of the Moon was pressed using the "RM", or "Regular Matrix" system. This was basically the Sansui QS system without the Sansui name. This is the most desirable, and consequently the most valuable, of the DSOTM quad LPs. It sells for well into the hundreds of dollars when it shows up on eBay, which is usually only once a year. The UK and German LPs, while collectable, are still fairly common. In the USA, there was no official release of the album in quad, although the following article was published in Billboard Magazine claiming that there were in fact "secret" quad issues in the racks with no quadraphonic labels or graphics. It is assumed that these would have been QS encoded, but to this day this has never been proven as true. AROUND THE WORLD with DARK SIDE OF THE MOON. EMI produced and marketed the Quadraphonic LP in other countries such as Brazil, Australia, and Yugoslavia. In Australia, they released a special Pink Vinyl "Tour" Edition of the LP. Below are pictures of some of these pressings in photographs snagged off of eBay over the year (with a friendly "thank you" to the folks whose listings I grabbed thes from!) YUGOSLAVIAN SQ LP on JUGOTON LQEMI-73009 AUSTRALIAN SQ LP. AUSTRALIAN SQ TOUR EDITION AUSTRALIAN SQ LP IN PINK. BRAZILIAN SQ LP UK SQ LP ALLEGEDLY SIGNED BY THE BAND MEMBERS. ------DARK SIDE OF THE MOON ------on SACD. The SACD of Dark Side of the Moon does not contain Alan Parsons original quadraphonic mix. It was the opinion of the group that the SACD be created from a new 5.1 mix, and commissioned their current engineer James Guthrie to create that mix. The SACD was released with the below disclaimer printed on the ower right corner of the back graphic. This was odd for an SACD release. ------DARK SIDE OF THE MOON ------on Blu-Ray (IMMERSION BOX) In 2011, Pink Floyd began their IMMERSION box set releases with Dark Side of the Moon as the inaguaral title. To the delight of surround fans everywhere, not only was the James Guthrie SACD mix included on the Blu-Ray disc, but the original Quadraphonic mix done by Alan Parsons in the '70s was included as well. This was the first time this mix had been officially released in a discrete format since the UK EMI Q8. (A DVD-V disc was also inluded in the box with the same content) ------ATOM HEART MOTHER ------on Quad 8 Track. THE CAPITOL (US) AND THE EMI (UK) ATOM HEART MOTHER (Black Shell) QUAD 8-TRACK. The Atom Heart Mother Q8's were released on both sides of the Atlantic in the same manner as the Dark Side of the Moon tape. Capitol's tape is a decoded SQ master while the UK tape is totally discrete. While not as popular as the UK DSOTM, the UK Atom Heart Mother usually sells in the hundred dollar range on eBay because of it's surround quality. The Capitol tape is fairly common and can be found for a reasonable price to this day. The UK Q8 can be found in a white, green or black shell, with a clear plastic slipcase or a cardboard case. Several examples are show below in graphics pulled from eBay auctions. ------ATOM HEART MOTHER ------on QUAD RAPHONIC LP. Just as was done with Dark Side of the Moon, this title was released in Japan encoded with the 'RM' matrix system, and in the rest of the world (aside from the USA) using SQ. In the US, there was no quadraphonic LP release. BELOW: The jacket of the Brazil issue of the album. ------ATOM HEART MOTHER ------on QUAD RAPHONIC CASSETTE. This oddity showed up on eBay a while ago. Apparently, this is an RM encoded cassette tape of Atom Heart Mother. It's quite possible that the source of the tape was the quadraphonic encoded master, but it's also possible that they just grabbed the quadraphonics graphics for the creation of this tapes documentation. Only the owners of this tape know for sure! ------WISH YOU WERE HERE ------on QUADRAPHONIC LP. Released in the US on Columbia and in the rest of the world on CBS, Wish You Were Here was shipped with a colored shrink wrap around the jacket. In most countries it was blue, in some it was black. There was a large blue QUADRAPHONIC sticker on the Columbia LPs, but most of the EMI copies only had a small SQ logo within the edge printing on the round machine sticker on the shrink wrap. Once unwrapped, the US issues are identified by a gold embossed stamping of a standard stereo jacket proclaiming it's quadraphonic contents (see below). The below label and jacket are from the Australian issue. ------WISH YOU WERE HERE ------on QUAD 8 TRACK. Released only in the US, the Columbia Q8 of Wish You Were Here, although prone to excessive hiss, was the only way to hear the mix in a discrete format until the Immersion Box of the album was released. It is still highly sought after by collectors. ------WISH YOU WERE HERE ------on Blu-Ray (IMMERSION BOX) The second box set released in the Immersion series was Wish You Were Here. Again, surround sound fans were treated to not only the original 1970's Quadraphonic Mix of the album as previously released on US Q8 and Worldwide SQ LP, but the box contained the long rumored James Guthrie SACD 5.1 mix that was prepared but never released on SACD in the mid 00's. Both mixes were now available to listen to in High Resolution Blu-Ray audio, as well as a seperate DVD-V disc for those without Blu-Ray playback capability. ------WISH YOU WERE HERE ------on SACD. In an exclusive agreement with Analogue Productions and only available through their Acoustic Sounds website, EMI and Pink Floyd released the long awaited SACD of the album with the 5.1 James Guthrie "Group Approved" surround mix. The disc was enclosed in a very elaborate package with a hard cover book cover, and included post cards, lyric pages with photographs, and sold for $35.00. The SACD does NOT contain the 1970's quadraphonic mix of the album. ------ ------FILM on LaserDisc and DVD. This is the very rare, late release Dolby Digital THX LaserDisc of "The Wall" All copyrighted images remain the property of the copyright owner, and are used for informational purposed only. No ownership is implied. Pink Floyd - Dying Of Boredom [2CD] (2008) Artist : Pink Floyd Title : Dying Of Boredom Year Of Release : 2008 Label : Sigma Genre : Space Rock, Psychedelic Rock, Prog Rock Quality : 320 kbps / FLAC (tracks, scans) Total Time : 1:26:18 Total Size : 202 mb / 441 mb WebSite : Album Preview. Refectory Hall, Leeds University, Yorkshire, England – February 28th, 1970. Disc 1: The Embryo, Careful With That Axe Eugene, Set The Controls For The Heart Of The Sun. Disc 2: Amazing Pudding (Atom Heart Mother), , . The Refectory Hall at Leeds University is, judging by the wealth of talented band who have played there, an important venue in northern England. Pink Floyd played there three times. The first time was on November 8th, 1969 and doesn’t have a tape source. The February 28th, 1970 show, which is featured on Dying Of Boredom, is complete and the final appearance in Leeds, which was on January 23rd, 1971, has a fragmentary tape with “A Saucerful Of Secrets” and the blues encore. A previous commercial release of this tape can be found on Leeds 1970 (Ayanami-243) but Sigma is the first silver release of this tape. It is very good and clear but a bit “flat” and lacking in dynamics. It contains all of the music played the taper paused between songs cutting off many of the song introductions. Despite these limitations it is still a very nice document from the first couple months of the new decade. An engineering student named John Rettie’s took photos of the many of the bands who played in Leeds during this period including some from this specific event. In a recent interview he said, “The Floyd were very mystical. Pink Floyd was a great gig. I remember striking the big hanging drum. It had little Chinese symbols on it. They were very much into their mystic art. The Floyd weren’t quite as big a deal then and it was only two weeks after The Who, so in comparison it wasn’t as exciting. I didn’t go backstage with the band as I had with the others. I wish I had now because I could have met . Funnily enough he’s a motoring journalist – as I am.” (The Mirror, December 28th, 2007). The tape cut into Roger Waters’ opening remarks, saying, “…concert pitch. What we’re gonna do is a new song called ‘The Embryo.'” This is one of the earliest versions of the popular stage piece. The volume dips in track between 2:30 to 3:00, and the seabird screeches are played over the melody line instead of standing by itself as in later versions. “Careful With That Axe, Eugene” took on a life of its own after the live version on and this version has some bizarre sounds in the middle before Waters’ scream. There is a cut in the tape afterwards and when the track returns Waters is saying, “…anyway we won’t bother about that now. This is another oldie. It’s called ‘Set The Controls For The Heart Of The Sun.'” The long middle section is heavily keyboard driven and creates a true space-like setting in the venue. The second half of begins with another new songs which Waters introduces by saying, “…a new piece and it’s as yet untitled. And it’s quite long so get comfortable.” The opening of “The Amazing Pudding” is a bit tentative and the beginning vocalizations are a different and it has an overall “softer” arrangement than what the song would develop into later in the year. Richard Wright plays an interesting keyboard solo in the middle and this even has a very rare Nick Mason drum solo! “A Saucerful Of Secrets” is very unsettling in this recording. They really descend into the valley of spook in “Syncopated Pandemonium.” Wright’s keyboards conflict with Gilmour’s slide and Waters’ hyper aggressive gong banging, all to quietly segue into the “Celestial Voices” finale of the piece. “There’s only about seven or eight minutes of time left” Waters says. “So this is gonna have to be the fastest ‘Interstellar Overdrive’ ever.” The tape captures a full nine minute version of the piece before the show ends. This title is another limited edition on Sigma and another Pink Floyd silver worth having. (GS) :: TRACKLIST :: Disc 1 (35:11) 1. The Embryo (10:16) 2. Careful With That Axe, Eugene (11:43) 3. Set The Controls For The Heart Of The Sun (13:12) Disc 2 (51:54) 1. Amazing Pudding (Atom Heart Mother) (23:53) 2. A Saucerful Of Secrets (16:04) 3. Interstellar Overdrive (11:57) Pink Floyd - The Early Years 1965–1972 (2016) [11CD Box Set] MP3. Artist : Pink Floyd Title : The Early Years 1965–1972 Year Of Release : 2016 Label : Parlophone Genre : Progressive Rock, Classic Rock Quality : Mp3 320 kbps Total Time : 12:17:47 Total Size : 1.65 GB WebSite : Album Preview. Volume 1: 1965-1967: Cambridge St/ation. Disc one (CD) – studio recordings from 1965 & 1967. 1. "Lucy Leave" - 2:57 2. "Double O Bo" - 2:57 3. "Remember Me" - 2:46 4. "Walk with Me Sydney" - 3:11 5. "Butterfly" - 3:00 6. "I'm a King Bee" - 3:13 7. "" - 2:57 8. "" - 2:55 9. "Apples and Oranges" - 3:05 10. "Candy and a Currant Bun" - 2:45 11. "Paintbox" - 3:48 12. "Matilda Mother" - 4:01 13. "" - 3:01 14. "In the Beechwoods" - 4:43 15. "" - 2:32 16. "Scream Thy Last Scream" - 4:43. Disc two (CD) - Live in Stockholm and John Latham sessions. 1. "Introduction" (Live, Stockholm, 1967) - 0:25 2. "Reaction in G" (Live, Stockholm, 1967) - 7:18 3. "Matilda Mother" (Live, Stockholm, 1967) - 5:34 4. "Pow R. Toc H." (Live, Stockholm, 1967) - 11:56 5. "Scream Thy Last Scream" (Live, Stockholm, 1967) - 4:00 6. "Set the Controls for the Heart of the Sun" (Live, Stockholm, 1967) - 7:17 7. "See Emily Play" (Live, Stockholm, 1967) - 3:16 8. "Interstellar Overdrive" (Live, Stockholm, 1967) - 8:57 9. "John Latham Version 1" - 4:32 10. "John Latham Version 2" - 5:06 11. "John Latham Version 3" - 3:45 12. "John Latham Version 4" - 2:59 13. "John Latham Version 5" - 2:48 14. "John Latham Version 6" - 3:17 15 "John Latham Version 7" - 2:36 16. "John Latham Version 8" - 2:49 17. "John Latham Version 9" - 2:38. Volume 2: 1968: Germin/ation. Disc one (CD) – studio recordings from 1968 ; BBC Sessions from 1968. 1. "Point Me at the Sky" - 3:40 2. "" - 3:46 3. "" - 2:34 4. "Careful with That Axe, Eugene" - 5:46 5. "Song 1" (Capitol Studios, Los Angeles, 22 August 1968) - 3:19 6. "Roger's Boogie" (Capitol Studios, Los Angeles, 22 August 1968) - 4:35. BBC Radio Session, 25 June 1968. 7. "Murderotic Woman (Careful with That Axe, Eugene)" - 3:38 8. "The Massed Gadgets of Hercules (A Saucerful of Secrets)" - 7:18 9. "Let There Be More Light" - 4:32 10. "Julia Dream" - 2:50. BBC Radio Session, 20 December 1968. 11. "Point Me to the Sky" - 4:25 12. "Embryo" - 3:13 13. "Intersteller Overdrive" - 9:37. Volume 3: 1969: Dramatis/ation. Disc one (CD) - More non-album tracks, BBC sessions and live in Amsterdam. 1. "Hollywood" (non-album track) - 1:21 2. "Theme" (Beat version) (Alternative version) - 5:38 3. "More Blues" (Alternative version) - 3:49 4. "Seabirds" (non-album track) - 4:20 5. "Embryo" (from ‘Picnic’, Harvest Records sampler) - 4:43. BBC Radio Session, 12 May 1969. 6. "Grantchester Meadows" - 3:36 7. ""- 3:38 8. "" - 4:48 9. "" - 3:21 10. "Careful with That Axe, Eugene"- 3:26. Live at the Paradiso, Amsterdam, 9 August 1969. 11. "Interstellar Overdrive" - 4:20 12. "Set the Controls for the Heart of the Sun" - 12:25 13. Careful with That Axe, Eugene" - 10:09 14. A Saucerful of Secrets" - 13:03. Disc two (CD) - The Man and The Journey live Amsterdam, 17 September 1969. 1. "Daybreak" ("Grantchester Meadows") - 8:14 2. "Work" - 4:12 3. "Afternoon" ("") - 6:39 4. "Doing It" - 3:54 5. "Sleeping" - 4:38 6. "Nightmare" ("Cymbaline") - 9:15 7. "Labyrinth" - 1:10 8. "The Beginning" ("Green is the Colour") - 3:25 9. "Beset by Creatures of the Deep" ("Careful with That Axe, Eugene") - 6:27 10. "The Narrow Way, Part 3" - 5:11 11. "The Pink Jungle" ("Pow R. Toc H.") - 4:56 12. "The Labyrinths of Auximines" - 3:20 13. "Footsteps" / "Doors" - 3:12 14. "Behold the Temple of Light" - 5:32 15. "The End of the Beginning (A Saucerful of Secrets)" - 6:31. Volume 4: 1970: Devi/ation. 1. "Atom Heart Mother" (Live in Montreux, 21 Nov 1970) - 18:01. BBC Radio Session, 16 July 1970. 2. "Embryo" - 11.10 3. "" - 5.52 4. "Green Is The Colour" - 3.27 5. "Careful With That Axe, Eugene" - 8.25 6. "If" - 5.47 7. "Atom Heart Mother" (with choir, cello & brass ensemble) - 25.30. Unreleased tracks from the ‘Zabriskie Point’ soundtrack recordings. 1. "On The Highway" - 1.16 2. "Auto Scene Version 2" - 1.13 3. "Auto Scene Version 3" - 1.31 4. "Aeroplane" - 2.18 5. "Explosion" - 5.47 6. "The Riot Scene" - 1.40 7. "Looking At Map" - 1.57 8. "Love Scene Version 7" - 5.03 9. "Love Scene Version 1" - 3.26 10. "Take Off" - 1.20 11. "Take Off Version 2" - 1.12 12. "Love Scene Version 2" - 1.56 13. "Love Scene (Take 1)" - 2.16 14. " (Take 1)" - 5.56 15. "Love Scene (Take 2)" - 6.40 16. " (Take 1)" - 4.09 17. "Atom Heart Mother" (Early studio version, band only) - 19.15. Volume 5: 1971: Reverber/ation. 1. "Nothing Part 14" (Echoes work in progress) - 7.01. BBC Radio Session, 30 September 1971: 1. "Fat Old Sun" - 15.33 2. "One Of These Days" - 7.19 3. "Embryo" - 10.43 4. "Echoes" - 26.25. Volume 6: 1972: Obfusc/ation. Disc One (CD) 2016 Remix. 1. "Obscured by Clouds" - 3.03 2. "When You're In" - 2.31 3. "Burning Bridges" - 3.30 4. "The Gold It's In The. " - 3.07 5. "Wot's. Uh The Deal" - 5.09 6. "Mudmen" - 4.18 7. "Childhood's End" - 4.33 8. "" - 4.16 9. "Stay" - 4.06 10. "Absolutely Curtains" - 5.52. Bonus CD: Live at Pompeii. 1. "Careful With That Axe, Eugene": 6:45 2. "Set the Controls for the Heart of the Sun": 10:35 3. "One of These Days": 5:50 4. "A Saucerful of Secrets": 12:49 5. "Echoes": 24:56 6. "Careful With That Axe, Eugene" (Alternative Version): 6:06. Volume 7: 1967-1972: Continu/ation. BBC Radio Session, 25 September 1967: 1. "Flaming" - 2.42 2. "The Scarecrow" - 1.59 3. "" - 2.08 4. "Matilda Mother" - 3.20 5."Reaction in G" - 0.34 6. "Set the Controls for the Heart of the Sun" - 3.19. BBC Radio Session, 20 December 1967: 7. "Scream Thy Last Scream" - 3.35 8. "Vegetable Man" - 3.07 9. "Pow R. Toc H." - 2.45 10. "Jugband Blues" - 3.50. BBC Radio Session, 2 December 1968: 11. "Baby Blue Shuffle in D Major" - 3.58 12. "Blues" - 4.59 13. "US Radio ad" - 0.22 14. "Music from The Committee No. 1" - 1.06 15. "Music from The Committee No. 2" - 3.25 16. "Moonhead" (live on 1969 BBC TV moon landings broadcast) - 7.16 17. "Echoes" (live at Wembley 1974) - 24.10. 'The Early Years 1965 1972' is a comprehensive 28-disc box set that sees Pink Floyd delve into their vast music archive to produce a deluxe package that includes 7 individual book-style volumes, featuring much previously unreleased material. The Early Years box set contains unreleased tracks, BBC Radio Sessions, remixes, outtakes, and alternative versions over an incredible 11 hours, 45 mins of audio (made up of 130+ tracks), live and TV performance in over 14 hours of audio-visual material. The content includes over 20 unreleased songs, more than 7 hours of previously unreleased live audio, and over 5 hours of rare concert footage, along with 5 meticulously produced 7" singles in replica sleeves, collectible memorabilia, feature films and new sound mixes. Previously unreleased tracks include 1967's 'Vegetable Man' and 'In The Beechwoods', which have been mixed for the first time, specially for this release. 'The Early Years 1965-1972' will give collectors the opportunity to hear the evolution of the band and witness their part in cultural revolutions from their earliest recordings and studio sessions to the years prior to the release of 'The Dark Side Of The Moon', one of the biggest selling of all time. From the single 'Arnold Layne' to the 20-minute epic 'Echoes', fans will see the invention of psychedelic progressive rock via an insightful collection that explores the Pink Floyd story from the time Roger Waters, Richard Wright, Nick Mason and met at London's Regent Street Polytechnic, through to Syd's departure and joining to form the iconic lineup. 40+ items of archival memorabilia including: posters, flyers, tour programs, tickets, press advertisements, & much more. This set includes: 11 CDs, 8 Blu-ray Discs, 9 DVDs, 5 seven-inch vinyl singles, collectible memorabilia, & more. 7 inch Singles: 1. Side A: Arnold Layne Side B: Candy And A Currant Bun 2. Side A: See Emily Play Side B: The Scarecrow 3. Side A: Apples And Oranges Side B: Paintbox 4. Side A: It Would Be So Nice Side B: Julia Dream 5. Side A: Point Me At The Sky Side B: Careful With That Axe, Eugene. Pink Floyd fans ordering 'The Early Years 1965 - 1972' will get an extra piece of the band's history. The box-set will now also include a supplementary disc featuring the band's seminal Live At Pompeii concert as a 2016 audio mix. The 6 tracks totaling over 67 minutes include live versions of 'Careful With That Axe, Eugene', 'Set the Controls For The Heart Of The Sun', 'One of These Days', 'A Saucerful Of Secrets', 'Echoes' and an alternative take of 'Careful With That Axe, Eugene'. Live at Pompeii has never been available as an audio only CD so this is a real first for fans. Pink Floyd: Atom Heart Mother - Album Of The Week Club review. Pink Floyd's Atom Heart Mother marked the point where the band found their way out of their post-Barrett malaise. By Classic Rock 25 March 2019. 1. Atom Heart Mother Suite a. Father's Shout b. Breast Milky c. Mother Fore d. Funky Dung e. Mind Your Throats Please f. Remergence 2. If 3. Summer '68 4. Fat Old Sun 5. Alan's Psychedelic Breakfast a. Rise and Shine b. Sunny Side Up c. Morning Glory. David Gilmour described Pink Floyd’s 1970 album Atom Heart Mother as “a load of rubbish. we were scraping the barrel a bit at that period.” His bandmate, Roger Waters, was no less harsh, later stating that if anyone was foolish enough to ask him to perform it now, he would tell them unequivocally: “You must be fucking joking." And yet the album that Pink Floyd’s two main protagonists at the time were so quick to dismiss was a landmark on many levels: the first British ‘rock’ album to feature one track covering an entire side of vinyl; the first to appear without any indication on the sleeve of who the group was or what the album was called, or indeed any information whatsoever; the first Floyd album to feature an outside writer (, who co-wrote the monumental 23-minute title track); the first Floyd album to be specially mixed for four-channel quadraphonic sound as well as conventional two-channel stereo; and, despite all this, the first Floyd album to go to No.1 in the UK chart. Atom Heart Mother marked the moment that Pink Floyd came in from the cold of their post-Barrett malaise and found the way forward, towards everything we now remember them best for. Not simple pop-psychedelia, nor mere prog showmanship, but a clearly thought-out, if occasionally wavering, attempt at something that could neither be categorised as rock, nor classical, nor indeed anything else outside of what it is: its own faltering, frustrating, enticing, fundamentally flawed yet gloriously individualistic musical form. And while side two of the album comprised three five-minute tracks, each written by one member, culminating in a final ‘suite’ of sound effects largely concocted by Nick Mason, it was the title track – co-written with the aforementioned Scottish avant-garde musician and composer Ron Geesin – that finally cemented Floyd’s burgeoning reputation as creators of both art and music. Every week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute. Background. An album that ended with a cow in a field in Potters Bar, Hertfordshire, began over a year before in Rome. Italian director Michelangelo Antonioni had commissioned Pink Floyd to score his next film, Zabriskie Point. They arrived in Rome to start recording in November ’69. The early Pink Floyd had embraced the unexpected and the concept of being, as drummer Nick Mason put it, “more than just a pop group”. They’d stopped releasing singles after December 1968 and had followed their second album, that year’s A Saucerful Of Secrets , with a soundtrack for the art house movie More . Zabriskie Point was the next stage on Floyd’s varied musical journey, but the band quickly discovered that Antonioni was an impossible taskmaster. “We did some great stuff,” insisted Waters. However, the director, worried their music would overpower his movie, criticised everything: “You’d change whatever was wrong and he’d still be unhappy. It was hell.” Floyd lasted two weeks in Rome and then came home. Zabriskie Point appeared in February 1970 and was a resounding flop. The soundtrack included just three Floyd tracks, padded out with songs by the Grateful Dead, among others. However, Floyd’s discarded outtakes contained a musical sequence around which the Atom Heart Mother suite would evolve. Other albums released in October 1970. On the Boards - Taste Stone the Crows - Stone the Crows The Madcap Laughs - Syd Barrett Magic Christian Music - A Song for Me - Family Bridge over Troubled Water - Simon & Garfunkel Chicago Chicago aka Chicago II Moondance - Van Morrison American Woman - The Guess Who Argent - Argent. What they said. "Side one is a suite, almost a symphony. It has a lot in it. They use orchestral elements and a choir. The best that can be said for it is that it’s craftsman-like and that in spite of its many parts, it’s an entity. But that’s all. As Impressionism, it’s occasionally effective, but on a very imitative level. The beginning does sound sunrisey. And, there are sounds that draw pictures. But, as a whole it’s awful schmaltzy and a little vapid. Side two is generally worse. If is English folk at its deadly worst. It’s soft and silly. Ditto Fat Old Sun ." ( ) "There are interesting moments scattered throughout the record, and the work that initially seems so impenetrable winds up being Atom Heart Mother 's strongest moment. That it lasts an entire side illustrates that Pink Floyd was getting better with the larger picture instead of the details, since the second side just winds up falling off the tracks, no matter how many good moments there are. This lack of focus means Atom Heart Mother will largely be for cultists, but its unevenness means there's also a lot to cherish here." (AllMusic) " Atom Heart Mother is a very mellow album at its core, and it is a tough album to penetrate, so many people just skip over it or dismiss the album completely, but I think that is a mistake. Although it is mellow and unpolished, it is important to recognize that it is the first Pink Floyd album that contains all the key elements that would create their signature sound, so its place in the evolution of Pink Floyd is unparalleled and the album should not be overlooked. (Music Banter) What you said. David Heaton: Ahh. The Back Side Of The Moo. Pekka Turunen: It took them a while to get over Syd and find their own voice. On this album I don't think the execution of their ideas was quite up to par yet with their ambition. The title track has good ideas and parts, but goes on meandering for longer than it should, and Alan's Psychedelic Breakfast is all about the experiment with very little enjoyable music to show for it. But the three small songs in the middle are all pretty great, one for each writer. Back when I was getting into Floyd I dreamt of an album that had the opening and closing tracks of and the middle tracks of AHM , that would make a pretty flawless whole. Scott Spalding: I know people dog on the [opening] suite, it's too long, too indulgent, yadda friggin' yadda. That's what I love about it. The orchestra, the chorus, the horns, the goofy pretentiousness of it all. I don't consider it pretentious, unless you say they are pretending that they'd like to try something different. Then we get into three great, really enjoyable songs, one by each of the main writers of the group, which someone has mentioned here before. Each one is easily among the best songs of each writer. From a historical perspective, would the 3 of them ever share vinyl space so easily again? Not with Roger's increasing domination of all things Pink during their classic era. Heavy sigh's here. First we get Roger expressing a rare bit of humility and. Is that contriteness? A lovely song. If only he had a smidge of that grace nowadays. The first time I heard Summer '68 , only about 15 years ago, I was taken aback that the legendary Floyd had made a song with such subdued and subtle charms. Was this the same band that raged against the wall? That consigned all of humanity to Orwellian ? I came back to this many times, often just playing the one song on the entire LP, wondering why I dawdled so long to get into pre- DSOTM PF. My bad. Then David's Fat Old Sun , which is so well-crafted it's good enough to be in his modern setlist. Three winners in a row. The less said about Alan's Unappetizing Breakfast , the better. Hugh Lynch: In 1970 I was 17 and opening up to new sounds in music: I was fascinated by sound collage, having heard Revolution 9 on the Beatles' White Album, intrigued by Soft Machine's performance (and the Terry Riley piece that preceded it) at the BBC Proms that summer and astounded by the vocal stuff on the 2001 soundtrack. Then comes, at the end of that year, Atom Heart Mother which seemed to bring together so many of those elements for me. A schoolfriend bought it and we would listen to it over and over at his house or in the 6th Form Lounge at school (where the real music-heads hung out). I realise it can be seen as a formative record by a band searching for something which received wisdom states they 'got' on DSOTM , and that is a fair-enough assessment. But that relegates this wonderfully inventive record to being a mere stepping stone: it is a sombre yet satisfying experience for this listener, music created by young guys excited about the new sounds they are hearing around them. Side Two is no less enjoyable for me, three songs and a piece which puts an amusing and reflective full stop to the kind of thing they were doing on the second Gumma disc and in some of their live work (check out the bootleg of the 1969 Amsterdam concert, a one-off, where they give themselves over to this kind of experimentation completely). Listening now, I find it still a very fulfilling experience, reminded of the tingle I got back then at those moments where things converge out of sonic chaos. I wish the drums had been recorded better, but we cannot have it all: it is what it is, and I love it for itself, not merely for its part in the band's progress. Hai Kixmiller: The opening song is nothing but musical psychobabble. Sure, it sounds like music but it goes nowhere. There's no direction, no story, it's like flicking through your T.V. channels at 2am, there's nothing on but crap. I've had dental visits that were shorter and less painful then the title track. If is lyrically the most interesting song on the album. My takeaway is that it's about a love sick man bemoaning his decisions, and his inadequacies. It's also very clear to see the influence ex-bandmate Syd Barrett had on Roger Waters. A boring melody, but the lyrics had me coming back to this song for several listenings. Summer '68 , Rick Wright got laid, wrote a song about it. NEXT! Fat Old Sun , David Gilmore's opus to pastures, fields, and parks. Boring! If I want to listen to music about parks, people, and summer I'll dig out my Chicago albums. I'm not even gonna go into Alan's Psychedelic Breakfast . It's 13 minutes of your life that you can't get back. Didn't much care for this album. But the proverbial "writing on the wall" is all there. One can sense the greatness to come. Dominic Grierson: I always feel like Post Piper /Pre Dark Side Pink Floyd is like that awful abyss between Christmas and New Year: full of directionless excess and a feeling of not knowing what day it is or where you really are. Perhaps a more vulgar analogy would to call it the Pink Floyd Perineum (PFP) though that might prompt further debate about which part you assign each era. I bought this album on vinyl second hand in the late nineties, I did listen to it a lot as I did other PFP albums at that time in my life - my favourites being Obscured By Clouds and Meddle . The Live at Pompeii VHS tape was also a favourite. I like the main suite, not that keen on the Wright song Summer 68 , the Gilmour song Fat Old Sun is enjoyable and still sounds fresh, If shows Waters improving as a songwriter. As for the mess that is the final track. less said, best mended. I love the cover art. On the whole I think it's good in parts but lacks the childlike invention of Barrett's work or the assured cynicism of the band when Waters grabbed them by the scruff of the neck and made them ask questions of more substance. New Album Releases. Pink Floyd – The Early Years 1970: Devi/ation (2017) Artist: Pink Floyd. Album: The Early Years 1970 Deviation. Style: Progressive Rock. Format: MP3 320Kbps. Tracklist: 01 – Atom Heart Mother (Live in Montreux, 21 November 1970) 02 – Embryo (Live BBC Radio Session, 16 July 1970) 03 – Fat Old Sun (Live BBC Radio Session, 16 July 1970) 04 – Green is the Colour (Live BBC Radio Session, 16 July 1970) 05 – Careful with That Axe, Eugene (Live BBC Radio Session, 16 July 1970) 06 – If (Live BBC Radio Session, 16 July 1970) 07 – Atom Heart Mother (Live BBC Radio Session, 16 July 1970) 08 – On the Highway (Zabriskie Point Remix) 09 – Auto Scene Version 2 (Zabriskie Point Remix) 10 – Auto Scene Version 3 (Zabriskie Point Remix) 11 – Aeroplane (Zabriskie Point Remix) 12 – Explosion (Zabriskie Point Remix) 13 – The Riot Scene (Zabriskie Point Remix) 14 – Looking at Map (Zabriskie Point Remix) 15 – Love Scene Version 7 (Zabriskie Point Remix) 16 – Love Scene Version 1 (Zabriskie Point Remix) 17 – Take Off (Zabriskie Point Remix) 18 – Take Off Version 2 (Zabriskie Point Remix) 19 – Love Scene Version 2 (Zabriskie Point Remix) 20 – Love Scene (Take 1) (Zabriskie Point) 21 – Unknown Song (Take 1) (Zabriskie Point) 22 – Love Scene (Take 2) (Zabriskie Point) 23 – Crumbling Land (Take 1) (Zabriskie Point) 24 – Atom Heart Mother (Early Studio Version)