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Every review you’ve read of the new Roger Waters album is wrong (except for this one)
06.06.2017
06:53 pm
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Last Friday, June 2, I spent the entire day checking the mail. I’d preordered the new Roger Waters album—his first album of original rock material in nearly a quarter century—and was eagerly awaiting its arrival when I got notice from Amazon at about 7pm that evening that the delivery would be delayed, possibly until the following Tuesday. Being as I am, a married middle-aged man, this was going to be the highlight of my fucking week and listening to it on headphones, stoned to the gills, constituted most, if not the entirety of my weekend plans. Drats! Foiled again! My disappointment was palpable, but I googled the reviews to sate my curiosity only to read one critical appraisal after another of the most vaguely worded, tepidly positive sentiments. I’d seen the second (not including the dress rehearsal in NJ) show of Waters new Us + Them tour in Louisville, KY (more on this below) over the recent Memorial Day holiday weekend and the reviews I was reading didn’t really jibe with my expectations for the new album, having already heard a handful of the songs from the upcoming album played live and being blown away by how great the set’s new material was. It was difficult to tell what anyone really thought of it from the early reviews.

Rolling Stone’s reviewer was one of the worst offenders. The nearly pointless review of Is This the Life We Really Want? read as if he’d played the album once and dashed it off in about 15 minutes to collect a couple hundred bucks. (One commenter sighed “This review has zero substance. ‘It’s just Roger being Roger.’ Way to phone it in.”) One after another of these empty calorie reviews used the same words—“bitter,” “bleak” and “dystopian” prominently among them (and all referenced President You-Know-Who)—and indicated that good ol’ Rog was still up to his same old bag of tricks, etc, etc, etc. As the editor of a website like this one, I’m well aware of what lazy writing looks like and frankly nearly all of last Friday’s release date reviews of Is This the Life We Really Want?—at least the ones I read—smacked of it to my trained eye. In aggregate they equaled almost nothing useful. I wondered how it was possible not to have a strong opinion about a new Roger Waters album after so many years. Many of them, I imagine were written by underpaid millennials with only the dimmest idea who Roger Waters is, who were just cribbing from the press release.

The next morning the album was delivered before 10am and my weekend plans were back on.

Now don’t get me wrong, while anyone could be forgiven for assuming a priori that the first new release in decades from a 73-year-old multi-millionaire rock star would not necessarily be something to jump up and down about, by the time the first side was over I was completely gobsmacked, stunned at the darkly gorgeous poetry and sonic brilliance of the musical gold that had just been poured into my ears. I flipped it over for two even better, even more emotionally powerful songs. Riveting stuff. Oh sure, it’s true that not every new album by a septuagenarian rock superstar is going to be an instant classic, standing alongside their best work, but Waters’ astonishing and deeply profound Is This the Life We Really Want? is one, and does. I think it’s the best thing he’s done since Animals and I feel like that is saying quite a lot. This is a major event in pop culture. A big fucking deal with sirens blaring.

Now obviously, if you’re Roger Waters and you’ve got something (anything) to say, you (he) can say whatever you want, whenever you want and however you want to say it and a major media conglomerate will rush to exploit this to the hilt and squeeze every last bit of money they can out of your every utterance. Roger Waters and “the music of Pink Floyd” (as the current tour is billed) is a very big business—his multi-year worldwide The Wall Live trek is the highest grossing solo rock tour in history—but admirably, rather than put out one uninspired going-through-the-motions album after another like so many classic rockers of his vintage, Waters waits—25 years if he has to—to make sure that he’s got something important to say before going into the recording studio. No Sinatra covers for him. No Christmas albums. He’ll never record one of those awful “Great American Songbook” things. It’s just not going to happen. There is no squandered goodwill in that way between Waters and his fans. Since 1999 Waters has toured extensively, but without releasing any new material since 1992’s Amused to Death save for the recording of his French Revolution opera Ça Ira. After decades of playing the hits (and amassing a ridiculous fortune that’s managed to survive four divorces) the material on Is This the Life We Really Want? is just about the most potent musical statement imaginable for the Trump era, even if many of the songs were probably written and recorded before his surprise election. Perhaps the ferocious “Picture This” doesn’t refer directly to Trump, although it certainly seems like it does.

Picture a courthouse with no fucking laws
Picture a cathouse with no fucking whores
Picture a shithouse with no fucking drains
Picture a leader with no fucking brains

Top that! The song pulses and throbs like the best mid-70s Floyd barnburner, obviously quite purposefully and by deliberate design. Producer Nigel Godrich (Radiohead, Beck) has surrounded Waters with a crack band of some of the finest musicians in America—among them Jonathan Wilson on guitar; vocalists Jess Wolfe and Holly Laessig from Lucius; REM/Beck drummer Joey Waronker, a Mason-esque octopus-armed pounder to be sure; and Roger Manning Jr. of Jellyfish on keyboards—with what seems to be the canny dual intention of simultaneously providing Waters with some inspired and well-chosen collaborators who bring their own magic to the table, and using this A-list crew to record what is probably the closest thing to a full-on Pink Floyd 70s headphones album experience as could possibly be hoped for (minus the obviously missing participants). The gorgeous string arrangements were done by David Campbell (Beck’s father, who Wikipedia tells me made his recording debut playing cello on Carole King’s Tapestry) and… wow… just wow. This album is just crazy fucking good on every level.

Continues after the jump…

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Posted by Richard Metzger
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06.06.2017
06:53 pm
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Stoner doom-mongers The Sword recreate Pink Floyd’s ‘The Dark Side of the Moon’ in doom metal style
06.05.2017
05:35 pm
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To celebrate 50 years since the August 5, 1967 release of Pink Floyd’s debut The Piper at the Gates of Dawn, Kyle Shutt, the guitarist from Austin, TX’s foremost stoner/doom-mongers The Sword, is releasing a complete cover of that seminal psych/prog band’s most popular album, The Dark Side of the Moon—by far a more metal-friendly album to rework than Piper.

The idea came to me after getting baked and wanting to hear a heavy version of “Time.” I thought, why not just cover the whole album? After sitting down and working out some loose concepts, the arrangement for “Money” materialized and I realized that I could totally do this if I assembled the right band.  It felt a little strange messing with someone’s legacy, but I’m treating it as a celebration of one of the greatest bands to ever rock, a party that everyone is invited to.

 

 
This is far from a new move—baby’s-first-prog-metal band Dream Theater has covered the entire album live, and a CD and DVD were released in the mid ‘oughts. Here’s a YouTube link to a live performance that’s probably my favorite Dream Theater thing I’ve heard. Make of that nugget of praise what you will.

Much more after the jump…

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Posted by Ron Kretsch
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06.05.2017
05:35 pm
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Concert screen projections from Pink Floyd’s 1974 and 1975 tours
03.31.2017
11:11 am
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Few bands did as much to push forward the visual experience spectators could enjoy at arena shows as Pink Floyd—the very phrase “a Pink Floyd concert” conjures a very specific idea of an arena show as a kind of hallucinogenic mass orgasm, an event not to be experienced without some form of pharmaceutical enhancement.

In the 1970s the Floyd periodically worked with a filmmaker named Ian Emes. For the 1974/1975 Dark Side of the Moon tour they hired Emes to make some suitably mind-blowing short movies to be projected on the back of the stage while the band went through the comparably mind-blowing songs “Time,” “Money,” “Speak to Me/Breathe,” and so on. 

Dark Side of the Moon is one of the few albums where the band toured the material extensively before fans could buy the album in March 1973. That long tour began in January 1972—more than a year before the album was released—and lasted through the early summer of 1973, technically coming to an end in London on November 4, 1973. Emes’ films were unveiled for Floyd’s 1974 tours of France and England and the 1975 Wish You Were Here tour of North America.

The French/England tours of 1974 saw Floyd’s use of a circular screen onstage for the first time, a facet for which the band would become renowned. The only non-American date on the 1975 tour was the closer, at the Knebworth Festival on July 5, which was the last time that Floyd would perform “Echoes” and the entire Dark Side of the Moon album with Roger Waters.

The sights and sounds of the Pink Floyd, after the jump…

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Posted by Martin Schneider
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03.31.2017
11:11 am
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Rockstars with balls: Bob Marley, Rod Stewart, Elton John, Pink Floyd & more playing soccer


Bob Marley playing football backstage in 1979.
 

I love soccer. That’s all I ever watch. I’ll watch it all day if I can. But I’m too bloody old to play now.

—Lifelong soccer devotee, Geezer Butler of Black Sabbath.

 
I’m posting theses images today because I, and perhaps many of your reading this require a bit of a “mind cleanse” every now and then to blow all the bad shit out of your brain. And what better way to clear your mind of all the gloom and doom currently running amok in the global brain than to lose ourselves for a while looking at pictures of pretty people playing around with soccer balls. Ah, I feel better already.

There’s Robert Plant cavorting around in tiny sports briefs on a soccer field looking not-so-pleased that he was being photographed while doing so. There’s also a shirtless Roger Daltrey, a spandex-clad Rod Stewart, and a straight-up amazing shot of Bob Marley backstage at a show in San Diego in 1979 kicking a soccer ball around. Many other bands like Iron Maiden and Def Leppard actually actively played in amateur football leagues of their own during their time away from their headbanging duties, so I’ve included a few choice images of both bands suited up for gameplay as well.
 

Robert Plant.
 

Roger Daltrey.
 
More rockin’ footballers after the jump…

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Posted by Cherrybomb
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03.13.2017
09:24 am
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Recording console used by Pink Floyd for ‘The Dark Side of the Moon’ heads to auction
03.02.2017
03:43 pm
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EMI TG12345 MK IV. The console that Pink Floyd used to record ‘The Dark Side of the Moon’ in 1972 at Abbey Road Studios. Photo credit Mike Ross.
 
Only two of these custom EMI TG12345 MK IV consoles were ever made and according to former Abbey Road engineer Brian Gibson—long considered to be one of the foremost authorities in the world on such things—this particular console is the “greatest to ever be constructed.”

This particular EMI TG12345 MK IV was in use for over a decade in Studio 2 at the world-renowned Abbey Road Studio. The mythical studio that has stood on 3 Abbey Road, St John’s Wood, City of Westminster, London, England since 1931 has recorded notable bands from The Beatles to The Buzzcocks during its long history. When it comes to the history of this console, it is as rich as the studio it occupied during its heyday. Though it was used by other prestigious artists such as Paul McCartney and Wings, George Harrison, Kate Bush and later on by The Cure—as the title of this post indicates—the most noteworthy piece of musical history created with the help of this console was Pink Floyd’s 1973 mind-bender The Dark Side of the Moon. Whoah.

More after the jump…

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Posted by Cherrybomb
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03.02.2017
03:43 pm
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Interstellar Zappadrive: When Frank Zappa jammed with Pink Floyd
03.01.2017
08:43 am
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This post was originally published in 2012, but at that time, the actual footage of Frank Zappa jamming with Pink Floyd had yet to materialize. That changed late last year with the release of the mammoth Pink Floyd box set, The Early Years (released as individual volumes at the end of the month.)

“The Actuel Rock Festival,” sponsored by the fashionable Parisian youth culture magazine Actuel (along with the BYG record label) was to be the first ever major rock festival in France, and was heralded as Europe’s answer to Woodstock. French authorities, still smarting from the riots of May 1968, forbade it and the festival, which was originally going to take place in or near Paris, was held just a few miles beyond the French border, in Amougies, Belgium.

The festival took place over the course of five freezing cold days in late October (24-27) of 1969. The audience numbered between 15-20,000 people who were treated with performances by Pink Floyd, Ten Years After, Colosseum, Aynsley Dunbar (this is allegedly where Zappa met his future drummer), former Yardbird Keith Relf’s new group Renaissance, blues legend Alexis Korner, Don Cherry, The Nice, Caravan, Blossom Toes, Archie Shepp, Yes, The Pretty Things, Pharoah Sanders, The Soft Machine, Captain Beefheart and many more.

From the notes of the 1969 The Amougies Tapes Zappa bootleg:

Frank Zappa was present at the festival in a twofold capacity. First, as Captain Beefheart’s road manager; secondly, as M.C., assisting Pierre Lattes, a famous radio/TV presenter at the time (and the pop music editor for Actuel magazine). The latter task proved problematic given Zappa’s limited French, the prevailing language among the audience, who themselves didn’t seem to understand much English. Instead, Zappa relinquished his M.C. job for one of occasional guest guitarist. He plays with almost everybody, especially with Pink Floyd, Blossom Toes, Archie Shepp and Aynsley Dunbar, a fabulous drummer he will hire shortly thereafter. He introduces his friend Captain Beefheart and provides a powerful stimulant to all the other musicians. Most legendary, of course, is Frank Zappa’s jam with Pink Floyd on a very extended “Interstellar Overdrive”. The festival was filmed by Jerome Laperrousaz, and the film was to be called MUSIC POWER. Due to objections from various bands (most notably Pink Floyd) whose permission hadn’t been properly secured, the film was never officially released.”

Simpsons creator Matt Groening asked Zappa about the festival in a 1992 interview, but oddly he doesn’t even mention sitting in with 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 French, 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.

 
More (including video footage) after the jump…

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Posted by Richard Metzger
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03.01.2017
08:43 am
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Spend New Year’s Eve 1968 with The Who, Small Faces, Françoise Hardy & Pink Floyd
12.30.2016
09:02 am
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New Years Eve, Paris, 1968. Amidst a volatile political climate of civil unrest that nearly brought the entire country to a virtual halt, rock ‘n’ roll music was still prevailed as “teenage entertainment” before being overthrown by the hippie culture of Woodstock the following year. The 3 1/2 hour New Years Eve Surprise Partie broadcast from the ORTF Studios (the only French TV channel at the time) is a beautiful, ultra-mod, time capsule that features rare performances by Jacques Dutronc, The Troggs, Françoise Hardy, Aphrodite’s Child, Johnny Hallyday, Fleetwood Mac, The Who, The Small Faces, P.P. Arnold, Booker T & The MGs, The Pink Floyd, Marie Laforet, The Equals, and many others. The invitation-only guest list included hundreds of fashionably dressed Parisian partygoers wearing the latest styles, and casually lounging about every inch of a cool, modern, space-age set.
 
Many of the artists here are documented during a very specific transition period in their careers. The Who lip-sync to “I Can See for Miles,” “Magic Bus,” and the rare Jigsaw Puzzle version of “I’m a Boy” with high energy despite the fact they had just suffered a year long dry spell devoid of commercial hits. Just a few months later they would switch gears with the musical Tommy and go on to become one of greatest stadium rock bands of the ‘70s. Later, during the Small Faces performance Keith Moon and Pete Townshend can be seen sitting behind Kenney Jones’ drum riser grooving to the music and having a good time without drawing attention to themselves. The Small Faces didn’t even bother to plug their gear in—they were only weeks away from breaking up—and performed tracks from their final album Ogden’s Nut Gone Flake.
 
The Pink Floyd can be seen still finding their way after the loss of vocalist and songwriter Syd Barrett just one year prior. In 1969 they would get back on track becoming the premiere live space rock band, incorporating their success into their fourth album Ummagumma, recorded five months later. The Equals (notable for being one of England’s first racially integrated bands) perform their million-selling chart-topper, “Baby, Come Back,” with guitarist Eddy Grant looking as if he had just time traveled from the 1981 punk scene, sporting bleached blonde hair and an orange vinyl suit. Eddy Grant‘s futuristic vision would serve him years later with a very successful solo career that included the platinum single “Electric Avenue.” Fleetwood Mac is also in wonderful form here with Jeremy Spencer taking the lead on two of the three songs, he would abruptly leave the band just two years later to join a religious group called the Children of God.
 
In an impressive television debut, English singing, French-based rock band Les Variations belt out some classic ‘60s garage tunes in front of a wildly enthusiastic home crowd. In his memoirs, guitarist Marc Tobaly remembers everyone getting a little bit drunk at the canteen down the street from ORTF Studios, insisting that the viewers at home were indeed watching a “real” party on television. American soul singer P.P. Arnold sang her interpretation of the Bee Gees song, “To Love Somebody.” Sadly, her performance here suffers from a poor sound mix, and she is not joined by The Small Faces for “If You Think You’re Groovy” despite the fact that they played on the recording and were present at the TV studio during the taping. While YouTube videos of Surprise Partie are constantly being removed because of content-ID matching, the fine folks over at Modcinema are selling a fantastic looking transfer on DVD as a 2-disc set. Dig it!
 

 
More after the jump…

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Posted by Doug Jones
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12.30.2016
09:02 am
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Pink Floyd’s BBC ‘moon-landing jam session’ of 1969: ‘So What If It’s Just Green Cheese?’
11.17.2016
10:31 am
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One of the posters that came with copies of ‘The Dark Side of the Moon’ LP

The landing of Apollo 11 on the moon easily qualifies as one of the truly epochal moments of the twentieth century. The three American astronauts, Neil Armstrong, Michael Collins, and Buzz Aldrin, spent about 21 hours on the moon, during which time countless thousands of people surely looked up and thought, “Wow, there are human beings up there.” In fact, we know for sure that David Gilmour of Pink Floyd was one of those people, as we shall see.

With some assistance from its colleagues in the Netherlands and Germany, the BBC mounted programming to celebrate the great event. One of the shows featured a live jam by Pink Floyd. The program was a one-hour BBC1 TV Omnibus special with the whimsical title of So What If It’s Just Green Cheese?. It was broadcast on July 20, 1969, at 10 p.m. Interestingly, the program featured two actors who would become much more famous about three decades later—Ian McKellan and Judi Dench. Dudley Moore and the Dudley Moore Trio were also on hand.

The Floyd jam session eventually came to be called “Moonhead.” It’s included in Pink Floyd’s massive new box set The Early Years 1965-1972, which was released just last week (its 2,840 minutes makes its $571 price tag seem almost affordable. Almost.).
 

Bootleg cover

David Gilmour reminisced about the appearance in an article he wrote for the Guardian in 2009:

We were in a BBC TV studio jamming to the landing. It was a live broadcast, and there was a panel of scientists on one side of the studio, with us on the other. I was 23.

The programming was a little looser in those days, and if a producer of a late-night programme felt like it, they would do something a bit off the wall. ... They were broadcasting the moon landing and they thought that to provide a bit of a break they would show us jamming. It was only about five minutes long. The song was called “Moonhead”—it’s a nice, atmospheric, spacey, 12-bar blues.

I also remember at the time being in my flat in London, gazing up at the moon, and thinking, “There are actually people standing up there right now.” It brought it home to me powerfully, that you could be looking up at the moon and there would be people standing on it.

 
More after the jump…

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Posted by Martin Schneider
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11.17.2016
10:31 am
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Atom Heart Motherlode: If that $$$ new Pink Floyd box is gonna be this good, my wife will kill me
10.24.2016
01:37 pm
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I’m guessing that many, if not most, of our UK-based readers caught this weekend’s big Pink Floyd TV special on the BBC. Obviously this program—a satisfying buffet of solid gold early Pink Floyd performances, in and of itself—is but a brief taster to whet the public’s appetite for that much-heralded (but way overpriced) 27 disc box set that’s coming out in November.

Starting with the Syd Barrett-era rarity of a “Jugband Blues” performance and ending prior to the release of The Dark Side of the Moon, the BBC compilation of HD Floyd footage Pink Floyd Beginnings 1967-1972 is a true stunner. Even if you already have most of this footage on high quality bootlegs—I’ve probably got about 80% of it myself—you’ve never seen or heard it quite like this. The only thing I can really compare the quality to would be last year’s Beatles Blu-ray collection, which was absolutely superb in every way. Even the things that would have have a videotape origin have been nicely rezzed up to high definition. Visually it’s simply dazzling.

Which sucks because now I can easily justify spending the big bucks on this goddamned overpriced box set, despite having the vast majority of it already. Trust me, I’d have been happy to pay $250, but even at over twice that (It’s listed for $571 on Amazon—ouch!) I’m simply salivating to own it after watching this hour-long BBC teaser and know myself well enough not to trust my itchy trigger finger anywhere near that Amazon 1-click button. My wife is just going to kill me.

I thought I’d be able to find Pink Floyd Beginnings 1967-1972 on YouTube—it’s currently not posted there—but but fret not Pink peeps, a kind person posted it on an Arabic language website. Having said that, who knows how long it will last? Use it or lose it, in other words.
 

Posted by Richard Metzger
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10.24.2016
01:37 pm
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‘The Wall’: Stunning behind-the-scenes images from Pink Floyd’s harrowing cinematic acid trip


A behind-the-scenes images of Bob Geldof as ‘Pink’ and actual skinheads from the 1982 film ‘Pink Floyd - The Wall.’
 
I don’t know how many nights I spent in my youth tripping balls on acid in a dark movie theater with 100 or so of my stoned out peers watching 1982’s WTF film Pink Floyd - The Wall for the 20th time (I guess I answered my own question there: 20). It was truly a rite of passage where I grew up back in Boston and I know that wasn’t the only place where young minds were getting blown apart by visions of marching hammers or a bloody, soon to be eyebrowless Bob Geldof screaming “TAKE THAT FUCKERS!” as he tosses a television out of a window.

Before I continue, I’ll give you a minute to recover from that mini-flashback you just had.
 

Bob Geldof being transformed into your worst drug-induced nightmare.
 
If you are following the news at all these days (and I wouldn’t blame you if you and the “news” are on “a break” right now as most of it makes me want to hide under my bed) you’ve likely seen some of the comparisons from last week’s GOP Convention to scenes from director Alan Parker’s brilliant adaptation of Pink Floyd’s 1979 conceptual masterpiece, The Wall. As I am about as nostalgic as they come I decided to watch the film once again (sans acid this go ‘round) and it should be of no surprise that despite a lack of chemicals cavorting around in my head the film is still quite impossible to look away from. It is also quite possibly even more terrifying to watch now when you allow yourself to consider the parallels some scenes seem to run with the ugly rhetoric spewing from the mouths of elected officials and a man who is currently vying to occupy the highest political office in the United States.

But as I often do, I’ve once again digressed away from the point of this post which is to share with you some remarkable behind-the-scenes photos from The Wall that I had never seen before as well as an interesting tidbit about the film’s star Bob Geldof. Apparently Geldof (who’s allegedly the leader of a new liberal political “party” in England called the “Sneerers” in case you were wondering what he’s currently up to) couldn’t swim and was also massively phobic when it came to blood. So when it came time to film the scene where Pink is bleeding out in a swimming pool, the reluctant Geldof was placed on top of a see-through plastic body mold so he could appear to be floating in the pool among a cloud of his blood for the sequence. Yikes. Many of the images in this post can be found in a must-own book for any Floyd fan by David Appleby, Pink Floyd - Behind The Wall.
 

 

Director Alan Parker on the set of ‘The Wall’ with ‘Little Pink’ played by actor David Bingham.
 

Alan Parker and an eyebrowless Bob Geldof.
 
More glimpses behind ‘The Wall’ after the jump…

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Posted by Cherrybomb
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07.25.2016
10:30 am
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Unearthed footage of Pink Floyd performing ‘Atom Heart Mother’ at The Amsterdam Rock Circus, 1972
05.18.2016
05:07 pm
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This remarkable footage of Pink Floyd live at “The Amsterdam Rock Circus” was shot on May 22, 1972. The festival was held at Olympic Stadium and the other acts included Donovan, Gene Clark, Dr. John, The New Riders Of The Purple Sage and Buddy Miles. Pink Floyd were the headliners.

This admittedly ragged, yet still quite compelling document is notable for so many reasons: First of all, there is so very little footage of Pink Floyd just before (and after) The Dark Side of the Moon came out in 1973. They were obviously a pretty well-documented band from the very start of their career, but there’s only a small amount of live visual Floyd material from this particular era.
 

 
Second, the band is on fucking fire here. Please don’t take my word for it. It starts with an orchestra-less “Atom Heart Mother” (which includes a berserk David Gilmour guitar solo) and then goes into an extra dramatic and extra heavy “Careful with that Axe, Eugene” complete with a massive “festival-sized” pyrotechnics display during “the scream” bit. From the looks of the pyre they had going on there, this cool-as-shit conflagration probably singed some fringe off at least a few of the hippies in attendance that night. There was more fire during Nick Mason’s drum solo as he pounds on a giant flame-encircled gong. They also do “Saucerful of Secrets.”
 

 
Lastly, it was the final ever live performance of “Atom Heart Mother.”

Keep reading after the jump…

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Posted by Richard Metzger
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05.18.2016
05:07 pm
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‘The Body’: Little-known 1970 Roger Waters soundtrack features uncredited Pink Floyd performance
05.09.2016
01:41 pm
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The Body is an innovative scientific documentary film that was directed and produced by Roy Battersby (actress Kate Beckinsale’s Trotskyite stepfather) in 1970. The film’s soundtrack, composed by quirky Scotsman Ron Geesin and Pink Floyd’s Roger Waters, was released as Music from the Body. Some of Geesin and Waters’ songs made use of the human body as a sort of musical instrument. Pink Floyd were always big on using the heartbeat, but Music from the Body even used farts. One of the songs is called “More Than Seven Dwarfs In Penis Land.”

In Battersby’s film, internal cameras are used to show different parts of the human anatomy in action. The film was narrated by actor Frank Finlay and Battersby’s fellow Trotsky admirer Vanessa Redgrave.
 

 
“Sea Shell and Stone/Breathe in the Air” plays under the opening credits. If you can’t take the sight of a mother’s breast in a science doc, don’t click play, you’ve been warned, weirdo:

 
Continues after the jump…

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Posted by Richard Metzger
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05.09.2016
01:41 pm
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Watch Pink Floyd make an early appearance on American television, 1967
04.07.2016
03:46 pm
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By 1967 Pink Floyd was a significant presence on the UK rock scene. In the autumn of that year the group made its first trip to the United States, where they participated in a rather ill-fated tour that had to be rescheduled due to the late arrival of permits, leading to a great many cancellations. But the tour began in earnest on November 4, 1967, with a show at the Winterland Auditorium in San Francisco. Another factor making the tour difficult was that Syd Barrett was starting to fray in a way that couldn’t be ignored.

That first week in the United States, Pink Floyd taped a TV appearance for a show called Groovy on KHJ Channel 9 at the Cheetah Club in Santa Monica, then appeared on The Pat Boone Show, and a day later, American Bandstand and then another KHJ show called Boss City. These appearances would appear in people’s living rooms in a different order days or weeks later, but it appears that the American Bandstand gig was the third to be taped and the third to appear on TV. The Pat Boone Show appearance was apparently not saved for posterity, but at least a section of the American Bandstand appearance has survived, as you can see.

After playing the band’s fourth single “Apples and Oranges” (which failed to chart), Dick Clark engages in a bit of goofy Q&A banter, inanely asking Roger Waters about American cuisine. Waters says he’s only had “two cheeseburgers,” which “sat quite well.”

At a show at The Fillmore in San Francisco a few days after the American Bandstand appearance, Barrett slowly detuned his guitar during a performance of “Interstellar Overdrive.” By the following spring, Barrett would no longer be in the group.
 

 
via Open Culture

Previously on Dangerous Minds:
‘An Hour With Pink Floyd’: Live TV Performance, 1970
Pink Floyd’s earliest post-Syd Barrett TV appearance, 1968

Posted by Martin Schneider
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04.07.2016
03:46 pm
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This is ‘What the Future Sounded Like’: Meet the pioneers of ‘music without frontiers’

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If you’re British and of a certain age then Doctor Who was most likely your first introduction to the sounds of electronic music. Apart from its famous theme tune, Doctor Who used an electronic soundtrack composed by Tristram Cary to underscore the arrival of the Daleks onto TV screens in 1963. At the time, most people considered electronic music as weird, alienating noise. Using it in a primetime TV series like Doctor Who was—as one commentator explains in the fascinating documentary What the Future Sounded Like—a rather subversive act.

Tristram Cary struck upon the potential of tape and electronic music while serving in the Royal Navy during the Second World War. The son of the Irish novelist Joyce Cary (The Horse’s Mouth), Tristram was one of the earliest pioneers of electronic music during the 1950s. A classically-trained composer, he had scored such movies as The Ladykillers and Town on Trial but found traditional music inhibiting. Reasoning that music was just the organization of sound, Cary began to experiment with electronic sounds, tape recordings and musique concrète, in a bid to create “music without frontiers.”
 
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At the same, two other electronic music pioneers, the aristocratic Peter Zinovieff and engineer David Cockerell were separately testing out their own ideas. The three eventually came together to form the Electronic Music Studios in 1969. Their intention was to produce a versatile monophonic synthesiser, which could be cheaply produced for public use. While this proved tricky, Cockerell did manage to design one of the first British portable commercially available synthesizer—or Voltage Controlled Studio—the EMS VCS3. This once futuristic-looking “suitcase synth” is what Brian Eno was seen using during his tenure in Roxy Music.

Keep reading after the jump…

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Posted by Paul Gallagher
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03.18.2016
10:44 am
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Pink Floyd: Their earliest recordings, 1964-65
01.09.2016
12:12 pm
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Fifty years after they were originally recorded, several heretofore unreleased Pink Floyd demos dating from late 1964 and early 1965 were released as a limited edition set of two seven-inch singles on this past November’s Record Store Day as 1965: Their First Recordings. The label, Parlophone, pressed up just 1050 copies of the EP (50 were promo copies) and it was only for sale in the UK.

This unnecessary scarcity may seem odd for a group as huge as Pink Floyd, but more than likely the point was not necessarily to gift this music to the grateful public for Christmas, but rather to extend the copyright which would have expired in 2015 under British intellectual property law and put the recordings into the public domain.

Two of the tracks, “Lucy Leave,” an early Syd Barrett original, and a Slim Harpo cover of his “I’m a King Bee” have been bootlegged countless times since escaping via the famous Magnesium Proverbs bootleg in the early 90s. The songs were recorded when the band would have probably still have been called “The Tea Set” or “The Pink Floyd Sound” (“Pink Floyd” came from two bluesmen, Pink Anderson and Floyd Council. Previous names the band performed under included “Sigma 6” “The Meggadeaths” “The Abdabs” and “The Screaming Abdabs”).
 

 
As the oft-bootlegged version of “Lucy Leave”—which was culled from an acetate—had a prominent thudding skip in the opening bars, it’s great to hear this song in higher quality. The absolutely amazing guitar player here is not, as you might expect Syd, but a fellow named Rado Klose who left the group a four piece to continue his architectural studies. I’m nuts about this song. To me this is the equal of ANY later Pink Floyd song. It’s amazing to me that they seem almost embarrassed by it. It doesn’t merely smoke, it burns.
 

“Lucy Leave”
 
More early Pink Floyd after the jump…

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Posted by Richard Metzger
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01.09.2016
12:12 pm
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