FLAC 16 July 1970 Live at Paris Theater, Regent Street, London, England (BBC Recording Date) 30 September 1971 Live at Paris Theater, London, England (BBC Recording Date) Disc 1: 1. Green Is The Colour 3. Careful With That Axe, Eugene 4.
Atom Heart Mother Disc 2: 1. Fat Old Sun 2. One Of These Days 3. Echoes Band: Roger Waters David Gilmour Rick Wright Nick Mason Links The files have been split with HJSplit, if you do not have it, you can download it from It is a lightweight application that requires no installation.
Atom Heart Mother Studio recording March-August 1970. Released 10 October 1970 Production Produced by Pink Floyd Recorded at EMI Studios, Abbey Road, London Engineers: Peter Bown, Alan Parsons Executive producer: Norman Smith Special thanks to John Alldis Choir Cover design & photos by Hipgnosis Releases UK: Harvest SHVL 78 (Stereo mix 52.04) Reached #1 on the UK charts US: Harvest SKAO 382 Reached #55 on the US charts OVERVIEW Pink Floyd's first recording in the 70s reflected a new direction for the band. Their first album to be recorded using eight-track tape machines (as opposed to four-track), Atom Heart Mother was also the first to feature a composition which took up an entire album side. Nick Mason: 'We didn't consciously set out to do it, but it became apparent that we'd need at least a side to get it all down. You have, to some extent, to work in album terms which means that a piece can't be longer than forty minutes. Maximum unbroken length is about twenty-three minutes or whatever.' The band's classical pretensions reached new heights as the Atom Heart Mother Suite featured an orchestra with brass and a choir.
However, this album did succeed on many levels (albeit intermittently) and was an important step towards the next LP, Meddle. Details are sketchy on the production of this album, but it appears that writing for the title track began in November or December of 1969, and finished in time for its premiere (under the title The Amazing Pudding) in late January of 1970. The band then went into the studio to record (probably March), and laid down the basic tracks for the Atom Heart Mother Suite before handing the project over to collaborator Ron Geesin and session musicians and leaving for an American tour in May (see the individual song entries for details). Most of the work on the title track was finished by late June, when the piece had its live premiere in its embellished form. Production work continued in July and August, and it was probably during this time that the songs for side two of the album were recorded, before the band left for yet another US tour in September.
The album consisted of two lengthy group compositions sandwiching three songs written by Waters, Wright, and Gilmour respectively. The group compositions, Atom Heart Mother and Alan's Psychedelic Breakfast, were written in a style which was developing a Pink Floyd tradition — that of putting together different ideas from all the band members to create a segmented but linked piece. This method was much more successful with the former than it was with the latter. The album ends up as a bit of a vehicle for Rick Wright, as his song Summer '68, and his keyboard playing on the group compositions, are considered by many to be the highlights of the album. Engineers Peter Bown and Alan Parsons were also stars of this show. Stereo effects are used very creatively throughout the album, especially in the group compositions. Peter Bown had worked with the Floyd before, but the brilliant Alan Parsons (later responsible for so much that was great on Dark Side of the Moon) was new on the scene.
They make the album a rewarding listen through headphones. Not long after the album's release, Nick Mason commented on the growth of the group from the early days to the present, focusing on Atom Heart Mother. Nick Mason: 'The few attempts we made to compromise our public were disastrous. I'm thinking of our early singles which were made as a deliberate attempt to get into the charts. Since those early days we have never trod a particular path but simply zigzagged our way about. For example, we are probably best known at present for our electronic effects but in a few months you will probably be hearing an entirely different side to the group.
Atom Heart Mother, our last album, was the beginning of an end. What we'd like to do is get into a position where we have complete control of what we do, based on a different set of values. Get to the point where we don't have to make excuses and blame the record company for things that go wrong.
I don't mind admitting that Atom Heart Mother was very rushed — we had to go on an American tour right after that. The LP could have been technically better, but the effect is there and that's very important. The title track was particularly rushed.
Pink Floyd Atom Heart Mother Goes On The Road
Generally, we go into the studios not with a plan but with the idea of making an album. Practically the first note becomes part of the finished product. We'd like to think about it longer next time.' Album Package Hipgnosis, Storm Thorgerson's design company, was once again contracted to do the cover and photos for the LP, and this time they outdid themselves.
Storm had the idea to come up with a sleeve design that was 'as unpsychedelic as possible, as un-Floyd-like, and completely off the wall.' Having heard of Andy Warhol's cow wallpaper, Storm decided to drive through the countryside looking for a cow to photograph.
He happened upon a pedigree Frisian by the name of Lulubelle III, and took a superb photo that he (quite correctly) describes as 'the ultimate picture of a cow — it's just totally cow.' Storm noted that on an album by just any pop band, the photo could 'never have carried the weight it carries on a Pink Floyd album.
It looked great in the shops when it first came out. It was something completely different, and really did look completely different. Especially 'cause the group decided not to put their name on it, which was quite a risky thing to do at the time. I'm very fond of it.' The back cover features multiple cows, each successively farther away; another great photo.
Inside the gatefold was an unremarkable black and white picture of a cow field. It was this album design that inspired the band to name a couple of segments of the Suite after cow motifs.
I have posted tons of studio outtakes and demos as well. All of these are my personal opinion for can't miss live Floyd: (Best “The Wall” Live Bootleg Available?) Pink Floyd: Bars in the Window FA005 Earl's Court, London, England August 6th 1980 This was obtained directly from the taper, and it's a remaster of his master tapes (made by himself), but whatever he did, it sounds wonderful. Amazing show, you are not to miss this one. Analog Audience recording 01. In The Flesh? The Thin Ice 04. Another Brick In The Wall (part I) 05.
The Happiest Days of our Lives 06. Another Brick In The Wall (part II) 07. Goodbye Blue Sky 09.
Empty Spaces / What Shall We Do Now? Young Lust 11. One Of My Turns 12.
Don't Leave Me Now 13. Another Brick In The Wall (part III) 14. The Last Few Bricks 15. Goodbye Cruel World 16.
Is There Anybody Out There? Nobody Home 19. Bring The Boys Back Home!
Comfortably Numb 22. The Show Must Go On 23. In The Flesh 25. Run Like Hell 26. Waiting For The Worms 27. The Trial 29. Outside The Wall Best DSOTM Bootleg?
Pink Floyd: Time In London 1974 (Pre-FM Master) TSP Remastered Edition 320kbs - The Swingin'Pig presents 'The Swingin'Pig Digital ProjeKct #09' Pink Floyd ‘Time In London’ - Live in London Empire Pool, Wembley, November 16 1974 30th Anniversary Edition Source: PreFM Master (DC - PiNkRoIoShN) Remastered (Adobe Audition 1.5) Digitally Restored, Remastered, Re-Edited and Packaged by The Swingin'Pig 01. Speak To Me 2:36.146 02. Breathe 2:55.880 03. On The Run 5:05.760 04. Time 6:40.986 05.
The Great Gig In The Sky 6:51.280 06. Money 8:03.320 07 Us And Them 7:57.813 08. Any Colour You Like 7:40.173 09. Brain Damage 3:40.093 10.
Eclipse 1:52.160 11. Tune up 1:57.613 12. Echoes 23:48.573 Total running time: 1:19:09.800 About the TSPDP09 ProjeKct: Why a new version of the November 16, 1974 Pink Floyd concert at the Empire Pool, Wembley? Despite the fact that a great number of different audio sources exist for this concert, none of them seems to be as good as required. Although the 'PreFM Master' source is, to my knowledge, the best one available, it suffers from various audio flaws like: - presence of noise (hiss and clicks) and saturation, - wrong speed, - signal drop-out and stereo image losses, - ‘parasite’ signal on ‘On The Run’ (end) and ‘Time’ (beginning), - wrong equalisation and dynamics of the audio signal. The restored version proposed here, mainly based on the 'PreFM Master' source, is an attempt to correct, as far as possible, these different flaws.
First, all the kind of noises have been removed and a correction of the speed, based on the BBC6 2003 broadcast, has been applied. Then, most of the signal drop-out and saturation have been attenuated. Concerning the so-called ‘parasite’ audio source (that you can still hear at 04:08 from the beginning of ‘On The Run’) this one has eventually been masked by the add of the clock 'tick-tock' that is listenable on the BBC6 2003 broadcast previously mentioned. The crowd noise has been added at the beginning of the show by reference to what you can ear on the ‘Completely Brain Damaged Vol.3’ bootleg. During the making off this project, another source containing a very good audio quality of ‘Echoes’ emerged from sharing communities, I decided to include this number in this project. Although a doubt remains concerning the origin of this source (mp3 sourced?), I chose to preserve this piece because of the historical nature of the performance (sax and female voices).
Finally, an equalisation and a modification of the dynamics were applied to the whole of the project in order to obtain a good final mix. The best efforts were produced in order to obtain similar sounds for ‘DSotM’ and 'Echoes'.
Because of the lack of source of equivalent audio quality for the other played titles on this day ('Shine On You Crazy Diamond', 'Raving and Drooling' and 'You've Gotta Be Crazy'), these ones were not included in this project. If someone could provide a very good recording of these tittles I would be delighted to provide an add-on for the TSPDP09. Although this anniversary edition is not totally flawless (is an official release will surface some day?), I hope that you will enjoy this new remastered version of this Pink Floyd performance. Acknowledgements: I would wish to thank the ‘Sharing The Groove’ and ‘EzTorrent’ communities as well as the Direct Connect one ‘PiNkRoIoShN’ (pinkroioshn.myftp.org) for sharing all the sources used in this project. Last but not least, I would like to specially thank ‘Tattieboggle’ for providing the BBC6 2003 broadcast of this show. The Swingin’Pig, November 16, 2004. Pink Floyd: BBC Archives The Complete Paris Cinema Sessions - PINK FLOYD BBC Archives Ayanami, 2CD July 16, 1970 and Sept 30, 1971 When John Peel was alive, he was more than a radio presenter.
He championed music, music that wasn't fashionable or current. You could say he was interested in all kinds of music and probably felt that different music could appeal to different people. In memory of John Peel, who died October 25, 2004, here are two early Pink Floyd shows presented by Peel. On July 16, 1970, Pink Floyd performed at the Paris Cinema in London. As stated in the liner notes to The Floyd's Of London, ' Peel, at the time, was something of a maverick. Bucking the Top-40 format, he was more interested in promoting almost anything that was not in the mainstream, and had been a huge admirer of the Pink Floyd.' The tracks performed were: 1, Opening Speech 2.
Fat Old Sun 4. Green Is The Colour 5. Careful With That Axe Eugene 6. Atom Heart Mother with John Alldis Choir and the Philip Jones Brass Ensemble. Appearing on the Peel Sunday Concert, this was considered a landmark concert where the group premiered two new pieces, If and Atom Heart Mother. The show was first broadcast July 19, 1970. This show was re-broadcast on Swedish Radio, P3 on October 7, 2005.
Almost a year later, on Sept 30, 1971, at the same venue, the group performed the following tracks: 1. Fat Old Sun 2.
Atom Heart Mother Goes On The Road
John Peel Announcement 3. One Of These Days 4.
Blues This set was broadcast on Peel's In Concert programme on Oct 12, 1971. This was the first time two key songs were performed on the BBC - Echoes (at one point it was called The Return Of The Son Of Nothing) and One Of These Days. But fans will probably want to listen to the rarity that is Blues. The quality of these shows is brilliant AND a 320kbs rip for you!
Pink Floyd: Complete Concertgebouw 1969 radio Soundboard - September 17, 1969 Concertgebouw, Amsterdam, The Netherlands Free Range Pigs (FRP CDR-007/008) This is the complete soundboard source as recorded by Hilversum 3 Radio Pre-FM SBD ? Free Range Pigs CD-R ?.shn Part I - The Man Disc One: 1. Introduction 1:00 2. Daybreak 8:11 3.
Teatime 3:34 5. Afternoon 5:13 6.
Doing It 4:03 7. Sleep 4:37 8. Nightmare 9:14 9. Daybreak (Part Two) 1:21 Part II - The Journey Disc Two: 1. The Beginning 4:55 2. Beset By The Creatures Of The Deep 6:27 3. The Narrow Way 5:13 4.
The Pink Jungle 4:48 5. The Labyrinths Of Auximenes 6:39 6. Behold The Temple Of Light 5:31 7. The End Of The Beginning 6:54 download: boot info: (Best 1975 Concert) Pink Floyd: Cruel But Fair (New Post-Higher Bit Rate and Digital Tape Hiss Reduction) - Pink Floyd: Cruel But Fair (Millard Recording 2 CDs FULL Concert) LA Forum, April 26th 1975 I reworked the FLAC files using Cool Edit Pro 2.1 and did a light hiss reduction (-15db) and converted to 320kbs istead of the 192kbs that I posted earlier.
I hope that you enjoy this truly great recording. 2.0 Notes: The fan recording of a concert is really an extension of taking snapshots of your heroes.
Back in the ‘60s and ‘70s recordable media was just making its way into households as a consumer electronic device, either an expensive reel-to-reel deck or a convenient cassette recording deck. Just imagine sneaking one of those into a concert these days. More likely, the stealth recorder of choice today would be a mini-disc recorder or your handphone. Small enough to fit your pocket. But Michael Millard was different. He arrived early at concerts near his home, pulled out a wheelchair from the boot of his car and proceeded to wheel himself into the arena as an invalid. He managed to secure front row 'seats', almost always front and centre.
Hidden underneath his wheelchair was a Nakamichi stereo cassette deck hooked up to two high-quality AKG mics. Security guards in those days were probably unaware of such goings on. His recordings were much sought after for their quality - capturing the expanse of the stage plus the great ambience of the halls. His close proximity eliminated any echo from his recordings. All the instruments recorded right off the front speakers. Plant’s voice is crystal clear. But Millard had a habit of marking his tapes when he copied them for another collector or fan.
He would, for instance, lower the levels when transferring the audio to a VHS tape or lower the volume in mid-song when making a cassette copy. It has been said he detested bootleggers who pressed up his recordings onto vinyls or CDs to sell. To that end, he kept a log of all the trades he made with clear indications of what markings he did to the tapes. That way, he knew which of his trades were sent to bootleggers.
He worked as a custodian in a public school. In a fit of depression, he committed suicide in 1990. His friends say he destroyed all copies of his Led Zeppelin recordings. What has survived are the first generation copies he made and shared freely with other Zep fans.
These are what are now being traded back and forth. Millard was active from 1974 to the ‘80s and was said to have taped shows by Led Zeppelin, Pink Floyd, Yes, The Rolling Stones, The Who, Jethro Tull and even Kansas. To date, we have never found a copy of his Who or Tull recordings.
The non-Zeppelin masters are known to be in possession of Millard’s family. Hopefully, someday they will be shared again. VERY desirable as it is one of very few FULL 1975 concert boots available.
It contains the best-existing versions of Dick Parry performing a saxophone solo in 'Echoes' and the prototype 'Raving and Drooling' and 'You've Gotta Be Crazy', which would eventually become 'Sheep' and 'Dogs' respectively. After You Gotta Be Crazy, Dave Gilmour says 'It was a cruel song. The next tune we're going to do for you is another new number, it's called 'Shine On You Crazy Diamond'. It has something to do with Syd Barrett who some of you might remember. & some of you probably won't.'
CD1 01 - Raving And Drooling (a.k.a. Sheep) 02 - You Gotta Be Crazy (a.k.a.
Dogs) 03 - Shine On You Crazy Diamond I-V 04 - Have A Cigar 05 - Shine On You Crazy Diamond VI-IX CD2 01 - Speak To Me 02 - Breathe 03 - On The Run 04 - Time 05 - The Great Gig In The Sky 06 - Money 07 - Us And Them 08 - Any Colour You Like 09 - Brain Damage 10 - Eclipse 11 - Echoes NEW and IMPROVED: click link then click 'Click here to download' link and file will generate immediately w/o going to rapidshare. Pink Floyd: A Passage of Time 1994 (Prisitne Soundboard) - Pristine quality soundboard recording from Juventus' home stadium, recorded live on Pink Floyd's final tour. Animation programs for free. Lo Stadio Delle Alpi in Torina, Italy on September 13, 1994. Disc 1 (Introduction) Astronomy Domine Learning To Fly What Do You Want From Me?