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Sunday, August 30, 2009

Pink Floyd Wish You Were Here 1974 UK Tour Program

Pink Floyd Wish You Were Here

Here's a rare, comic style, Program from the Pink Floyd Wish You Were Here 1974 UK Tour. Pink Floyd’s British Winter Tour '74, was a short concert tour by Pink Floyd during the winter of 1974 in the United Kingdom. The tour commenced on November 4, 1974 and concluded on December 14, 1974.

This Program opens with a breakdown of the crew & contributors to the comic, these include:

Hipgnosis & Nick Mason
Gerald Scarfe
Paul Stubbs
Joe Petagno
Colin Elgie
Richard Evans
Dave Gale

Then follow the comic strips themselves :-

'Rog Of The Rovers'
'Captain Mason R.N.'
'Rich Right'
& 'The Exploits Of Dave Derring'

There is also a quiz page, a 'life lines' biog page & a lyric page, all topped off with an amazing Gerald Scarfe centrefold.

The lyric page is especially interesting as the lyrics listed are for:

Shine On You Crazy Diamond - Released the following year on 'Wish You Were Here'
Raving & Drooling - Finally radically altered & released on 'Animals' as 'Sheep'
Gotta Be Crazy - Finally radically altered & also released on 'Animals' as 'Dogs'

The 1974 British tour featured the debut of "You Gotta be Crazy".

Concert Set list:

"Shine On You Crazy Diamond"
"Raving and Drooling" (Early version of "Sheep")
"You Gotta be Crazy" (Early version of "Dogs")
"Speak to Me" (extended tape)
"On the Run"
"The Great Gig in the Sky"
"Us and Them"
"Any Colour You Like"
"Brain Damage"

Tour dates:

04/11/1974 Usher Hall - Edinburgh, Scotland
05/11/1974 Usher Hall - Edinburgh, Scotland
08/11/1974 Odeon - Newcastle upon Tyne, England
09/11/1974 Odeon - Newcastle upon Tyne, England
14/11/1974 Empire Pool, Wembley - London, England
15/11/1974 Empire Pool, Wembley - London, England
16/11/1974 Empire Pool, Wembley - London, England
17/11/1974 Empire Pool, Wembley - London, England
19/11/1974 Trentham Gardens, Stoke-on-Trent – England
22/11/1974 Sophia Gardens Pavilion - Cardiff, Wales
28/11/1974 Empire Theatre - Liverpool, England
29/11/1974 Empire Theatre - Liverpool, England
30/11/1974 Empire Theatre - Liverpool, England
03/12/1974 The Hippodrome - Birmingham, England
04/12/1974 The Hippodrome - Birmingham, England
05/12/1974 The Hippodrome - Birmingham, England
09/12/1974 The Palace Theatre - Manchester, England
10/12/1974 The Palace Theatre - Manchester, England
13/12/1974 The Hippodrome - Bristol, England
14/12/1974 The Hippodrome - Bristol, England


Thursday, August 27, 2009

Pink Floyd Tickets - 1967 Fillmore Auditorium

Pink Floyd Tickets
Pink Floyd Tickets

Pink Floyd Tickets

Check out these Pink Floyd tickets from the ill-fated 1967 American Tour. The dates are: Oct 26, 1967 - Oct 28, 1967; Nov 2, 1967 - Nov 4, 1967; Nov 9, 1967 - Nov 11, 1967.

The Oct 26, 1967 - Oct 28, 1967 shows had to be cancelled because the band failed to get their work permits ready on time. A Nov 1, 1967 gig at the Whiskey A Go Go was also cancelled.

Bill Graham was livid over the canceled dates, and swore to ban the group for life if they didn’t appear for the Nov 2, 1967 - Nov 4, 1967 set of dates.

Syd was in rough shape. During one of these shows at the Fillmore, Syd slowly detuned his guitar on stage. It was at an LA gig where he slopped his noggin with the bryll cream and mandies. There was also an infamous appearance on the Dick Clark show where he refused to mime.

To make the tickets unique and hard to duplicate, Bill Graham Presents printed their own concert tickets, most of which are now considered beautiful works of art in their own right. They were usually miniatures the show's promotional poster art and were typically color-coded to indicate multi-night engagements.

So that the Promoter could track sales each night, fans purchased tickets at the Fillmore box office and handed them right back over at the door, thus ending up in the archive as mint condition concert tickets.


Saturday, August 22, 2009

Unforgotten Hero: Peter Bown and Piper at the Gates of Dawn

Peter Bown was queer. Pink Floyd manager Peter Jenner fondly recalled him as 'more bent than a nine-bob note.' He was also one of the finest engineers to work at any London studio in the Sixties. A florid gay man in his forties, with a Beatles fringe and jovial disposition, Bown was known for having some of the finest ears in the business. Bown brought great experience, having begun his tenure at EMI in 1951 as balance engineer on pop music sessions.

Testament to his skill, Bown made the jump to recording classical music, a move as rare now as it was then. Between 1957 and 1965, Bown facilitated some remarkable recordings at Sadler's Wells Opera. With particular skill at microphone placement, a neglected art today, Bown introduced several innovations in the classical world, a stodgy genre notoriously resistant to audio experimentation.

Among his projects at Sadler's Wells, was the first recording to use 'ambiophonic' technology, which allowed much greater widening of reverb for near-holographic clarity. Given limitations of gear, often limited to two or three tracks, in 1964 Bown engineered a sublime Dream of Gerontitts for Sir Barbirolli.

From 1965-71, he continued classical work in league with producer Brian Culverhouse. Much more surprising was Bown's jump back into recording pop music. Going from pop to classical sessions is one thing, recording both is quite another, analogous to Beethoven suddenly decided to strap on a Telecaster and play heavy metal.

As EMI's top 'pop' engineer, Bown recorded hits for the Hollies, Gerry and the Pacemakers, Cilla Black among many others. Beatles producer George Martin called Bown 'an electronics wizard.'

His youthful enthusiasm set him apart from other engineers at the Studio. One co-worker called him 'the world's oldest teenager', which seems apt. Bown refused to wear the standard jacket and tie uniform; his paisley shirts rivalled anything worn by the groups. Because he was so good at what he did, the management let him get away with it. Sadly, Bown's flamboyance meant he was denied promotion to producer.

On 27 March 1967, EMI engineer Bown had just gotten home from a full day's work. One of three pop music engineers at EMI Studios at Abbey Road, Bown engineered a string of hits throughout the decade. With Malcolm Addey and Stuart Eltham, Bown formed EMI's terrifying trio. The competition in New York and Los Angeles would scrutinise their mixes, vainly trying to figure out how they got such remarkable sound from limited four-track equipment.

Glad to be home, Bown sat watching the News at Ten when the telephone rang. Studio manager EH Fowler said, 'Peter, I want you back at Studio 3 at midnight. You will be doing a new group, Underground music. You might find them difficult to get on with, they don't communicate much.' Bown gathered his wits, had a shot of whiskey for British courage, and returned to the studio.

A balance engineer was responsible for recording and mixing, as well as technical decisions. At EMI, Bown oversaw all recording equipment during recording. Whatever sounds or concepts artist or producer wanted, Bown was responsible for realizing the technical side. Bown's creative and aesthetic choices led to the unique sound of The Piper at the Gates of Dawn.

Inside Studio 3, the Pink Floyd were rehearsing improvisational centrepiece 'Interstellar Overdrive'. Bown told Cliff Jones, 'I opened the door, and I nearly shit myself. By Christ, it was loud! I thought, How the fuck are we going to get this on tape? I had certainly never heard anything quite like it and I don't think I ever did again. It was very exciting.'

Smith let the group play at full volume to gauge how to best record them. The Floyd’s extreme stage volume destroyed four heavy-duty condenser and ribbon microphones, testament to destructive wattage. Bown was severely dressed down by EMI staff, who informed him next time he was liable for repairs.

'Bown was one of Piper producer Norman Smith's mentors,' says Kevin Ryan, co-author of the landmark Recording the Beatles. 'A senior engineer, Bown taught Smith the art of engineering when Smith was just starting out. Bown had many years of recording experience on Smith. Though history hasn't quite painted him in this light, Bown was by far the most innovative and experimental engineer at the studio.'

Bown's wide-ranging ear and inventive stance meant he was open to the Pink Floyd's experiments and sympathetic to what the group was trying to create. 'Bown has not received the credit and acknowledgement he deserves,' says Ryan. 'More than any other engineer at EMI, he experimented endlessly. Bown was gear-obsessed. He was always trying new equipment and looking for unconventional ways of combining pieces to make new sounds. Bown was the best engineer for Floyd. They deserved each other.'

The third member of the team, tape operator Jeff Jarratt, switched tape spools, filled in session sheets, filed tapes in the tape library, wired up electronic gear and made tea. Jarratt ensured tape rolled when needed, rewound for overdubs, and each track on each take was noted. All punch-in edits were done by Jarratt, a tricky manoeuvre where Smith said 'Now!' and Jarratt dropped in an overdub.

The trio was a triple threat of experience, originality and willingness to throw away the rulebook when need be. They were also ready to use unorthodox microphone arrangements, taking care to ensure the best sound. When the Pink Floyd sought unusual sounds, Smith and Bown conferred, sometimes buzzing staff technicians through the intercom. They arrived, clad in white coats like laboratory assistants, puzzled out what was needed and brought in various filters and EQs to create the sound the engineer requested. The group could not have chosen a better place to record.

Piper’s sound has several vital ingredients. All recording took place through EMI’s custom-built REDD mixing consoles. Hefty grey REDD.51 consoles used in Studios 2 and 3 were exceedingly rare: three were ever constructed. Spartan controls disguised sensitive valves inside the desk. Preamplifiers were the EMI-designed REDD.47, imparting punchy mid-range character to sound.

Each channel had boost and cut controls for treble and bass, though no mid frequency controls, and no sweepable parametric. Engineers literally plugged small equalisation units into the console to change the desk’s capabilities. Plug-ins came in two flavours - ‘Classic’ and ‘Pop’. Changing the plug-in changed curves of desk EQ, for the ‘Classic’ EQ plug-in, bass and treble were shelving EQs at 100 Hz and 10 kHz. ‘Pop’ EQ plug-in had bass control identical with ‘Classic’, though treble control centred at 10 kHz when cutting, and 5 kHz when boosting.

The Fairchild 660 limiter was another weapon in EMI engineers’ arsenal. Delivering warmth and clarity in mixes, Fairchild boosted midrange without compromising treble and bass. Limiters prevented audio levels from going higher than a specified point. Fairchild was excellent for electric guitars, vocals, and drum sounds.

Though engineers at EMI paired Fairchild with a modified Altec compressor, the RS124, Bown marched to his own drum. A compressor cut dynamic range on audio signal. Bown's masterful mix of compression and limiting made for a range of sounds rife with atmospheric tension typified by British rock. A paradoxical space and tension British engineers boosted further with echo chambers and reverb.

From the start, engineers at EMI were pioneers, with microphones placed extremely close to drums, direct injecting guitars into the mixing board, making acoustic guitars sound like thunderous electrics, wiring effects together from spare parts. EMI engineers developed atmospherics that gave recordings unique spaciousness.

In research for Recording The Beatles, Kevin Ryan and co-author Brian Kehew discovered Bown recorded Floyd’s first album with an experimental EMI prototype Zener limiter. Bown combined valve-powered Fairchild and solid-state Zener for precise warm sound.

Ryan notes ‘Bown was using Zener limiters on sessions since early 1966. Other engineers did not; any Floyd sessions recorded by other engineers used the standard Altec and Fairchild blend. Bown’s preference for the prototype limiter was prescient, as Zener became a prime component in EMI’s next generation ‘TG’ consoles – used to record Floyd’s Dark Side of the Moon, and much sought after for unique sound.’

The Zener prototype had faster attack time than Altec, though Bown saw their potential. Zener limiters hard limiting and smooth distortion was critical in shaping Piper.

Bown and studio manager David Harris positioned microphones an hour before the session began. Testament to the Pink Floyd's efficiency, they plugged in and played with little ado. Volume used by the Floyd saturated small Studio 3 with sound. The room had peculiar acoustics, which EMI staff tamed through extensive screens and baffles. Most engineers at the studio tried to minimize bleed by isolating amps and speakers with screens. Not so on the Pink Floyd sessions. They faced one another, with few audio screens between - a practice Peter Bown and Norman Smith established earlier with the Beatles. Ryan notes the only two engineers that did not regularly use screens on sources were Bown and Smith.

Ryan notes, 'Contrast Revolver, recorded by Geoff Emerick with screens, and much of it in Studio 3, with Piper. You sense the difference this isolation makes. The lack of screens on Norman's Beatles sessions he learnt from Peter Bown during his training.' Each engineer had different preferences, though on almost all his sessions Smith used Bown's setup.

However, they did always use screens around the bass amp. Waters' Selmer bass amp and Goliath cabinet was placed behind a small screen in the corner of the room. An AKG D19C microphone was placed inches from the amp's grille. The bass was also simultaneously direct injected into the desk in the control room.
Bown did often use a vocal isolation booth on Floyd sessions. Setting Syd alone with headphones in the booth allowed him to make the best use of his quiet voice without straining.

Jeff Touzeau, writer for EQ and author of Home Recording Essentials, notes Bown placed Mason's drums in the south-west corner of the studio, with tall baffles to the rear and sides of the kit. Bown defied standard pop practice at the studio by putting five microphones on Mason's kit. Bown miked bass drums, cymbal and snare. He also suspended an overhead microphone above drums to capture snare and a general image of the kit below. Bown stood in front of Mason's kit as he played, and listened. Back in the control room, he reproduced Mason's drum sound with added boost from Fairchild limiters.

Wright's organ was placed in the open, with Bown miking the Farfisa Combo-Compact Organ's built-in speaker. Sometimes Wright played the studio Hammond RT-3 organ, useful for church and classical touches. Bown put a microphone a foot away from the organ's rotating Leslie speaker for oscillation effect. With acoustic upright and grand pianos when needed, Wright was meticulous. The staff indulged him on time-consuming overdubs to ensure he got the sound he wanted.

Syd was placed behind baffles in a v-formation, with his amp miked with one U67 microphone, as at Sound Techniques. Bown told Cliff Jones, 'Syd's guitar was always a problem because he would not keep still and was always fiddling with his sound. He used to go and kick his echo box every now and then, just because he liked the sound it made.'

As Ryan explains, 'Bown's microphone choices differed from the standard setup Norman Smith used with the Beatles and other artists. Norman had not used DI on bass or D19c on bass or bass drum. He never used KM56 on drums, or the Sony C38, or the U67 on electric guitar. The one similarity between Bown's setup and Smith's was a Neumann U48 for vocals, though every engineer used the U48 for vocals. The division of labour at EMI ensured the selection of recording equipment was the domain of the balance engineer, not the producer.'

'When Norman moved into a producer capacity, he became an 'ideas' man and left technical concerns to the engineer. Smith acknowledged he was not a technical person. If there was a technical problem during a Floyd session, he might have helped address it if he could, though he was a music person and glad to focus on the music rather than the technical side. Smith joined EMI with the hope of being a producer. He never wanted to be an engineer.'

Touzeau states Altec 605A monitor speakers inside the control room gave a crude hearing of what was recorded onto tape. Over the years, Smith and Bown learnt through trial and error how to compensate for limited frequency range. During the final mixing stage, Bown used the studio's latest innovations to embellish and polish songs. Frequently used during mixing of Piper was the newly invented ADT, or Artificial Double-Tracking. Developed at the request of John Lennon, tired of manually double tracking vocals, ADT created a double-tracked vocal from one vocal track. Taping the recorded vocal off the Studer sync-head and feeding it to another tape recorder, then replayed the copy vocal slightly out of time with the original vocal. Properly adjusted, the effect could be remarkably convincing.

'Used all over Piper,' says Ryan, 'ADT may well be on every song in some capacity. Oftentimes, you hear what sounds like a double-tracked vocal, with one voice in the left speaker and one in the right. In actuality, this is usually a single-tracked vocal, though Bown used ADT to conjure up a convincing double of the vocal in the opposite channel. ADT was useful for adding depth to a stereo mix when mixing from only four tracks. The engineer had a fifth source to play with, and it could be applied to any or all four tracks. ADT was great on instruments as well, not just vocals. ADT was equally useful in mono mixes for creating odd sounding vocals and phasing sounds. ADT added unique depth to mixes.'

The entire mix was swamped in echo, product of the studio's excellent echo chambers. Bown was fond of the studio's underused EMT plate reverbs, embracing their sound long before most of other engineers came around to them. EMT reverb formed a key ingredient in Piper's sound. Forty-plus years on the recordings sound superb. Echo contrasted with severe limiting accented Barrett's dramatic style. The result, taut and sprawling, heightened the mix. The result, a masterpiece of audio engineering given the limitations of recording equipment then. The Piper at the Gates of Dawn stands the test of time.

Bown went on to work as engineer on Pink Floyd's Atom Heart Mother and Meddle. He also did brilliant work on UFO psychedelic group Tomorrow's sole album in 1967. He further engineered a few sessions for Peter Jenner's ill-fated 1968 production stint with Syd Barrett. Bown returned to work extensively with David Gilmour on Syd's The Madcap Laughs and Barrett.

Bown continued peerless classical work on beloved operas, including Muti's Aida and La Traviata. A mentor to a young Alan Parsons, Bown spent his final years at EMI carefully transferring 78-rpm masterpieces to compact disc. Bown eventually retired in 1991, going on to build his own home studio, where he recorded dozens of bands, with his telltale mixing touch throughout.

Peter Bown died in 1997, aged 71.

An unforgotten hero, the limitless bounds of interstellar sound on Piper, intimate warmth of 'The Scarecrow' or celestial coda on 'Chapter 24', are testament to Peter Bown's subtle brilliance. On 'Feel' or 'Wined and Dined', the feeling you are feet away from Syd strumming acoustic or unamplified Telecaster – is proof of Peter Bown's artful craft.

Home Studio Essentials
by Jeff Touzeau

An insightful book filled with tips for your home studio. Touzeau has the rare gift to make the technical accessible to the rest of us. Jeff also wrote a brilliant article, well worth seeking out, on the making of The Piper at the Gates of Dawn in the December 2007 issue of American audio magazine EQ.

Recording the Beatles by Kevin Ryan and Brian Kehew

A 540-page masterwork. The finest book ever written on EMI Studios or Beatles sessions.

Many thanks also to David Parker, whose brilliant Random Precision contains the most comprehensive interview with Peter Bown regarding his work with the Pink Floyd and Syd Barrett.

'Syd Barrett and Pink Floyd: Lost in the Woods'
Julian Palacios

Out 29 September 2009


Thursday, August 20, 2009

Pink Floyd 1967 Fillmore Auditorium Tickets

pink floyd 1967

Check out these original PINK FLOYD 1967 tickets for the Fillmore Auditorium October 26th-28th 1967. The artist was Bonnie Maclean. She called it the "Nehru Jacket" because of the well dressed hipster & the psychedelic pattern of the fabric.

Another interesting thing about these tickets is that they have the band Clear Light on the bill. Clear Light were signed to Electra Records and managed by Doors Producer - Paul Rothchild. Their sole LP, Clear Light, is well worth seeking out.

Now, if this wasn't the gig where Syd spread the mandies and Bryll cream across his noggin, this must've been some show. I have included two Clear Light videos for you to check out too.


Wednesday, August 19, 2009

Pink Floyd - Higher Quality Excerpt From Dope Film

Here is a higher quality Pink Floyd excerpt from the Dope film.


Tuesday, August 18, 2009

Pink Floyd Albums - The First XI

Pink Floyd Albums
Pink Floyd Albums

Pink Floyd Albums

Check out this rare vinyl set by Pink Floyd. To date, this is probably the finest set out there and that’s unfortunate. Thirty years gone and *this* is still the best?

Pink Floyd - The First XI. Rare 1979 French Pathe Marconi vinyl LP box set comprising issues of the first 11 Pink Floyd albums. A very rare 11 LP set, only 1000 released, containing the first 11 Pink Floyd albums, issued exclusively with picture discs of "The Dark Side of the Moon" & "Wish You Were Here", housed in a heavy duty textured box with slide-out compartment, released by Harvest/EMI.

The Pink Floyd Albums in this box are:

1. PIPER AT THE GATES OF DAWN (Laminated sleeve)
2. A SAUCERFUL OF SECRETS (Laminated sleeve)
3. SOUNDTRACK FROM THE FILM MORE' (laminated sleeve)
4. UMMAGUMMA (Double LP with Laminated sleeve)
6. MEDDLE (fully textured sleeve)
7. RELICS (Textured sleeve)
8. OBSCURED BY CLOUDS (Textured sleeve with rounded corners)
9. THE DARK SIDE OF THE MOON (Picture Disc with 2 Posters, 2 Postcards & Sticker)
10. WISH YOU WERE HERE (Still Sealed w/ Black shrink & sticker)
11. ANIMALS (with Lyric inner sleeve)

The LP's are mostly French pressings (Darkside... is German) on either the blue Columbia label or '70s Green Harvest label. Each LP has its own individual picture sleeve.

The albums are housed in an Italian made, black felt box with silver prism and band name text on both the back and front. The top portion of the box forms a lid which slips off to reveal the albums inside.


Wednesday, August 12, 2009

Pink Floyd 1967 Handbill - KPFA Benefit

pink floyd 1967

Check out this cool Pink Floyd 1967 handbill! It promotes a KPFA Benefit, on October 30, 1967, at the Fillmore Auditorium.

Berkeley FM station KPFA took a lead role as local voice for social activism and causes giving airtime and coverage to the anti-war, civil rights and Black Panther groups. A subsidiary of the Pacifica group, their broadcasts had to look for appeal beyond the college community, and Bill Graham hosted a benefit for the radio station at the end of October.

Broadcasting in 1949 KPFA became the flagship station in the Pacifica Radio network and the first public radio radio broadcaster in the USA. Before that, non-commercial stations were licensed only to promote educational functions of their schools. This venture into listener-oriented programming brought many critics as KPFA aired controversial programming.

The first interview with somebody from the gay political movement was broadcast by KPFA, as well as Allen Ginsberg's revolutionary poem Howl in the Fifties. In 1954, the broadcast by a group of marijuana legalization supporters had the tape impounded by the California Attorney General. In the Sixties, KPFA and Pacifica were accused of being part of the Communist Party, and several attacks on its license were waged, none of them successful.

KPFA is still around too! It's at 94.1 on the dial in Berkeley. They proclaim themselves to be listener sponsored free speech radio. You go!


Saturday, August 8, 2009

The Piper at the Gates of Dawn - Original UK Mono

Piper at the Gates of Dawn

Piper at the Gates of Dawn

Take a look at an original mono pressing of Pink Floyd’s greatest album – The Piper at the Gates of Dawn. This is a very rare original 1967 UK blue and black Columbia label eleven-track, mono, LP with stunning front laminated flip back picture sleeve and original illustrated EMI catalog inner.

Piper… mono was released on August 5th, 1967 and one month later it was released in stereo. The album's title comes from the title of the seventh chapter of Kenneth Grahame's “The Wind in the Willows.”

Mono was the main format of the day and so those mixes were done at separate sessions for each track. The whole stereo album was mixed in a single day with Norman Smith doing a ham-fisted attempt, so this really is the definitive mix of this greatest album with significant differences to the stereo mix. Mono was where all the work and time went and the stereo mix, like “Sgt Pepper’s Lonely Hearts Club Band”, was pretty much cobbled together as an afterthought.

The Piper at the Gates of Dawn mono mix is much “punchier” and upfront. Shit it just plain sounds better. However, there are many subtle changes in effect, moment to moment gradations that alter the flow of an entire track. For example, Syd Barrett’s whoops and shouts on “Take Up thy Stethoscope and Walk” are simply dripping with delay and the sound collage constantly morphs, unlike the stereo version which is “fixed”. The coda of “Flaming” is briefer than on the stereo version, as is “The Gnome”. There's a whole layer of organ missing on the stereo mix at the start of “Interstellar Overdrive” with a bongo fade-out and seriously different parts in “Pow R Toch H”.

This is really the band’s greatest album and the one that laid the groundwork of their future sound; Syd (or Gilmour) with his Binson and slide guitar wailing along with Rick Wright. The “pushing aside” of Rick Wright in later years, until he was finally kicked out of the band for that abomination: The Final Cut, screwed with that key element of the ‘Floyd’s sound. But by that time, Igor Waters was convinced it was all about him.

Annnnnyway, if you had bought the original American release on the Tower label, you bought a bastardized version of the album. Tower dropped Astronomy Domine from the original tracking to include the "hit" See Emily Play.

For a band as legendary as Pink Floyd it really was downhill for them after this LP. Their next greatest album was A Saucerful of Secrets. After that, the soundtrack to the film More. The rest was a slow burn of ever decreasing risk taking and innovation with a big burst of popularity in the mid seventies. The band’s downward playing line finally crossed the public’s “dumb” line. It was Nirvana for a bit.

But Piper… is where it all started and Piper… remains their best.


1. Astronomy Dominé
2. Lucifer Sam
3. Matilda Mother
4. Flaming
5. Pow R Toc H
6. Take Up Thy Stethoscope And Walk
7. Interstellar Overdrive
8. The Gnome
9. Chapter 24
10. Scarecrow
11. Bike


Wednesday, August 5, 2009

Pink Floyd More - Japanese Audiophile Vinyl

pink floyd more
Pink Floyd MoreYou might have to resort to selling your sister down the river to get a copy of this. Maybe one of the few hundred collectors that still own copies will let you sniff the disc. Well... maybe you'll just get to sniff the sleeve that the disc came in; it depends upon how well you know the collector. A plastic lined sleeve that houses the vinyl, mmmmmmmmm... But THIS is as close as most of us, mere mortals, will ever get to something like this!

Check out this Pink Floyd More album. This is an ultra-rare original 1969 Japanese thirteen-track white label promo RED VINYL STEREO LP. This was originally pressed in very limited quantities in red vinyl because of improved sound quality. In the sixties Toshiba pioneered these red vinyl pressings using their trademark “Ever Clean” process. This utilized a special ingredient intended to prevent the build-up of static electricity on the vinyl.

The Japanese albums manufactured by Odeon Records before 1971 were printed in Japan in a dark red color edition ("Ever Clean"). These pressings are in the low thousands for each version making these records take up the top of the "most wanted records" list.

At that time the parent EMI Company (and consequently Toshiba, Apple and Odeon) had developed a specific technical patent called "Ever Clean Records". It seems this was a special vinyl paste with a high antistatic property (doesn't attract dust). This special material was used, and at the end of the manufacturing process, the vinyl turned to this ruby-red shade; a color very different from the ordinary red of many European and American records.


Tuesday, August 4, 2009

Pink Floyd The Nile Song - SICK Japanese 7"

Feast yer oooglies on this! Pink Floyd The Nile Song - a verrrrrry rare original 1969 Japanese 7" vinyl single also including Main Theme, wraparound picture sleeve with a color still from the film 'More' on the front, with Japanese notes inside and lyrics on the reverse. What's more, this is the still rarer 2nd sleeve variant with Main Theme credited on the front of the insert & the Japanese text moved to the bottom left with ¥500 over-stickered price mark.

If Pink Floyd had stayed in this vein they might have ended up like Black Sabbath! This song is heavy and demonstrates that the band could rock out with the best.

This 7" is fooking sick! I know that most of you would give your left nut, or tittie, for this!

Pink Floyd The Nile Song Lyrics:

I was standing by the Nile
When I saw the lady smile.
I would take her out for a while,
For a while.

Oh, my tears wept like a child.
How her golden hair was blowing wild.
Then she spread her wings to fly,
For to fly.

Soaring high above the breezes,
Going always where she pleases.
She will make it to the islands in the sun.

I will follow in her shadow
As I watch her from my window.
One day I will catch her eye.

She is calling from the deep,
Summoning my soul to endless sleep.
She is bound to drag me down,
Drag me down.


Rare German Saucerful Of Secrets / The Piper At The Gates Of Dawn Reissue

the piper at the gates of dawn

Check out this rare Saucerful Of Secrets / The Piper At The Gates Of Dawn two LP set. Extremely limited Edition of the first twp LPs in a special wraparound cover; issued in Germany in 1973. Notice how Saucerful of Secrets is the first LP. Wow.

I've never seen this one before. This is what A Nice Pair should have been; a two LP reissue of the first two albums. I never liked the substituting of tracks that ANP did. I just wish that this was a mono reissue! THAT would really be something!

Wow. I can find no mention of this German Pink Floyd reissue on the Web. This thing is extremely rare.


Sunday, August 2, 2009

Pink Floyd Bootlegs - Flowers & Vegetables

Check out one of the Pink Floyd bootlegs that Have You Got It Yet? has put out of business. This slab o' German vinyl is called Flowers & Vegetables. This thing was available in pink, blue & gold vinyl.

Of course, HYGIY? has made all of this stuff moot. We are the Borg. For those interested, check out the track listing below:

Pink Floyd Flowers and Vegetables

Outtakes and rarities from 1966 and 1967

Side 1

01 - Lucy Leave (Pink Floyd Studio Session)
02 - I'm A King Bee (Pink Floyd Studio Session)
03 - Interstellar Overdrive (the 16+ minute version from Tonight Let’s All Make Love in London)
04 - Silas Lane (Studio Outtake 1967)

Side 2

01 - Experiment (Studio Outtake 1967) (mentioned on the disc on side2, but present at the end of the first side ...)
02 - Flaming (BBC Session September 1967)
03 - The Gnome (BBC Session September 1967)
04 - Mathilda Mother (BBC Session September 1967)
05 - The Scarecrow (BBC Session September 1967)
06 - Vegetable Man (BBC Session December 1967)
07 - Pow R Toc H (BBC Session December 1967)
08 - Scream Thy Last Scream (BBC Session December 1967)
09 - Jugband Blues (BBC Session December 1967


Saturday, August 1, 2009

Pink Floyd Video - Newly Discovered UFO '67 Vid!

Check out this newly discovered color footage of Pink Floyd live at UFO! It’s from a segment of the film DOPE.

There was some confusion that the music wasn’t Pink Floyd but Soft Machine. If you look at the video you can see that the music and video are pretty much right in sync and the much can be none other than Pink Floyd.

Pink Floyd video from 1967! I wish that the person that shot the film would see fit to release it all to the fans.

The Floyd segment is being torrented, with permission from person that shot the film, here: