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It has been a sad week for us, music lovers. Rick
Wright, one of the founding fathers of the band Pink
Floyd, died of cancer. Wright was a member of the 1963 R&B cover
6 that would grow, a couple of years later, into the next hip thing
when Syd Barrett joined the gang. The hip thing would soon become a
monster, a gravy train, a dinosaur, it had its up and downs, it was
praised and loathed by the so-called serious music press.
I am not good at obituaries, and who am I to write one anyway, so I’ll
pass the word to David Gilmour, not only a colleague but also close
friend of him.
In the welter of arguments about who or what was Pink Floyd, Rick's
enormous input was frequently forgotten.
He was gentle, unassuming and private but his soulful voice and playing
were vital, magical components of our most recognised Pink Floyd sound.
I have never played with anyone quite like him. The blend of his and my
voices and our musical telepathy reached their first major flowering in
1971 on 'Echoes'. In my view all the greatest PF moments are the ones
where he is in full flow. After all, without 'Us and Them' and 'The
Great Gig In The Sky', both of which he wrote, what would 'The Dark Side
Of The Moon' have been? Without his quiet touch the Album 'Wish You Were
Here' would not quite have worked.
In our middle years, for many reasons he lost his way for a while, but
in the early Nineties, with 'The Division Bell', his vitality, spark and
humour returned to him and then the audience reaction to his appearances
on my tour in 2006 was hugely uplifting and it's a mark of his modesty
that those standing ovations came as a huge surprise to him, (though not
to the rest of us).
I admit I was one of those many fans who sheered louder for Rick than
for the others on David’s last tour. Hearing him sing Echoes with David
was probably my best Floydian encounter ever, topping Dogs that Roger
Waters used (and still uses) to sing on his solo tours.
Roger Waters, normally a man of many words, has put the following
appropriate statement on his website:
Julianindica (aka Julian Palacios) wrote some great stuff about Wright
at Late Night:
Wright’s keyboard style had a unique melancholic grandeur. He had an ear
for exotic sounds, bringing in Middle Eastern Phrygian scales into his
mix. Never one to play lightning fast or pound the notes out, Wright
conjured up his unique style with patience. What was left out was as
important as what stayed in, and Wright took a calm and methodical
approach. The influence of Davis sideman Bill Evans introspective,
melancholic piano was strong. Modal jazz had minimal chords and relied
on melody and intervals of different modes. A slow harmonic rhythm
opened space in the music, in contrast to bebop’s frenzy.
On 30 June 1990 Pink Floyd played a short – albeit not very sharp - set
at the Knebworth
Festival. It has to be said that it was not the band’s sole
responsibility that the gig was, how shall we call it, mediocre by
Floydian standards. On this disastrous occasion, and this occasion
alone, a 20 minutes promo film was shown at the beginning of the show,
with a short appearance of none other than Iggy the Eskimo, somewhere
between the 4 and 5 minutes mark.
The movie consisted of a retrospective of the Floyd’s history and
included (parts of) several early songs (together with the predecessor
of the promo clip): Arnold Layne, See Emily Play, Point Me At The Sky,
It Would Be So Nice and others… Since it started with the first single,
the movie had to end with the last one as well. Storm Thorgerson's
visual rendition of the coke-euphoric-bring-on-the-digital-sound-effects Learning
to Fly from the welcome to the drum machine album A
Momentary Lapse of Reason ended the documentary.
In between the vintage scenes, Langley Iddens, who was then caretaker of
David Gilmour’s houseboat studio, sits at a table contemplating the
Langley Iddens (see top-left picture of this post) was a prominent face
on the Momentary Lapse of Reason campaign. He is the man on the cover of
the album but also acted in several promo and concert videos. He can be
seen as a boat rower (Signs of Life), in flight gear (Learning
To Fly) and in a hospital bed (On The Run). As Storm
Thorgerson directed these backdrop movies it is logical to assume that
also the Knebworth pre-show documentary was made by him.
There are however rumours that Pink Floyd drummer Nick Mason was
involved in the movie as well. Besides several promo clips of the
Sixties the movie also shows pictures, newspaper articles, posters and
flyers from the Floyd’s psychedelic past. It is a well-known fact that
Mason has always been the archivist of the band, culminating in his
personal account of the history of the band, Inside
Out. That book, however, doesn’t reveal anything about Mason’s
involvement on the Knebworth movie.
A short snippet of the Knebworth teaser, showing a happy Syd Barrett
frolicking in a park with Iggy, made a collector’s career under the name Lost
In The Woods or Syd Barrett Home Movie. This excerpt can be
found several times on YouTube. Those cuts, however, are in a different
order than on the original Knebworth feature. The Church has restored
the initial flow and presents you hereafter two different versions of
the so-called Lost In The Woods video.
It's a complete, stereo, recording from the original pay-per-view
broadcast of Pink Floyd's appearance at the Knebworth '90 festival. The
concert featured seven songs. Only five of these were broadcast. Two of
the five were included on the official LD, VHS, and DVD releases. The
other three songs haven't been seen since the original broadcast.
According to its maker, the pre-concert-documentary comes from a
collector in England who had a first of second gen copy of the tape.
White Label [VHS]
Because the Holy Church of Iggy the Inuit firmly believes in abundance,
we have added a second version of the same movie, coming from a
different source. The uploaded copy has been taken from a coverless VHS
tape labelled Pink Floyd film, found at an open air market stall
in London, and donated to the Church, in order to repent for his many
sins, by Dark Globe.
Dark Globe took it upon him to further analyse the clip, it is obvious
that it consists of different movies from different people at different
places, and he even went so far as harassing, although the Church
prefers the word investigating, some of the people who act in it. But
the results of that enquiry will be highlighted in the next post in a
couple of weeks.
Enjoy and don’t do anything that Iggy wouldn’t have done.
Some exciting news arrived last weekend through a Pink Floyd portal.
Alex Paterson, head spinner of the band The Orb, said in an interview
that he and David Gilmour had entered a studio ‘to work on an album’.
The news was vague and titillating enough to make all kind of
assumptions. Did this mean that LX & DG were attempting a Fireman
trick à la Youth and Mc Cartney? Perhaps Alex had finally lured Dave in
his spider web with a little help from Guy
Pratt who can be found as bass player and co-composer on several
Orb, Pink Floyd and David Gilmour records from the past? (Pratt and
Paterson also teamed up in a band called the Transit
The Orb's record output is prolific and even then a lot of tunes and
mixes stay hidden in the closet until LX decides to put them on a
compilation album somewhere. They just celebrated a third release in the Orbsessions
series from record company Malicious
Damage and according to some online reviews I read it is either
brilliant or utterly irritating, which makes it typically Orb, I guess.
I haven't bought Baghdad Batteries yet, my days that I ran to the
shop to get me their latest release are over as The Orb has left my
attention span somewhat thanks to the record Okie Dokie that
wasn't okie dokie at all but a mediocre Thomas
Fehlmann album with the brand name glued over it to sell a few extra
It took me over a year to listen to The Dream that followed Okie
Dokie and although it has Youth written all over it the result is pretty
average. Not pretty average as in pretty average but pretty
average as in pretty but nevertheless a bit average.
Probably I’ll get to Baghdad Batteries one of these days but I wouldn’t
hold my breath, if I were you…
Although one fan found that the announcement came about two decades and
a half too late the GilmOrb collaboration was making both Floyd and Orb
communities very excited but excitement is something David Gilmour does
not favour anymore in his line of work. This week the following comment
could be found on his official website…
David & Orb Rumours True – Up To A Point
Recent comments by ambient exponents The Orb's Alex Paterson that they
have been collaborating with David Gilmour are true – up to a point.
David has done some recording with The Orb and producer Youth, inspired
initially by the plight of Gary
McKinnon. However, nothing is finalised, and nothing has been
confirmed with regards to any structure for the recordings or firm
details re: any release plans.
In other words: forget it…
Update 2010: as the Metallic
Spheres collaboration album came out in 2010, the above article was
a tad too pessimistic.
This article first appeared on Felix Atagong's Unfinished Projects:
Dreams, some updates have been made.
History, as we know it, is the story of royalty and generals and does
not contain the memory of the millions who succumbed or who tried to
build a normal life.
This also applies to modern popular history. Pink Floyd & Syd
Barrett biographies and the so-called Sixties counter-culture
studies that have appeared all repeat the memories of a small, nearly
incestuous, circle of people who made it, one way or another. You always
stumble upon those who have become the royalty and generals of the
Underground. Others are less known, the lower rank officers, but still
Other people had less luck, but at least we know some of their stories.
Syd Barrett, although a millionaire in pounds, still is the prototype of
the drug-burned psychedelic rock star. But there are other members of
the Sixties Cambridge mafia, a term coined by David Gilmour, who didn’t
make it and whose stories are less known.
Ian Pip Carter, whose career started in Cambridge in the early
Sixties as pill pusher, had to fight a heroine addiction for most of his
life. After a visit to his friend (and employer) David Gilmour in Greece
Pip was imprisoned for drug possession where he was forced to go cold
turkey but he fell again for the drug once released, despite the fact
that the Pink Floyd guitarist send him to (and paid for) several rehab
sessions. “The needle had dug so far; searching relentlessly for a vein,
(that it) had decimated the nervous system in his left arm”, writes
Matthew Scurfield in his account of the Cantabrigian London mob.
Described by Nick Mason as 'one of the world's most spectacularly inept
roadies' the Floyd eventually had to let Pip go. He was the one who
accidentally destroyed a giant jelly installation at the Roundhouse on
the 15th October 1966 by parking the Pink Floyd van in the middle of it
or, different witnesses tell different stories, by removing the wooden
boards that supported the bath that kept the jelly. (You can read the story,
taken from Julian Palacios 1988 Lost In The Woods biography here.)
In 1988 Carter was killed during a pub brawl in Cambridge. Mark Blake
writes how David Gilmour used to help his old Cambridge friends whenever
they were in financial trouble and Pip had been no exception.
People familiar with the finer layers of the Syd Barrett history know
Charan Singh, the Master of the Sant
Mat sect, rejected the rock star for obvious reasons. The religion
was strictly vegetarian, absolutely forbid the use of alcohol and drugs
and didn’t allow sex outside marriage. Syd 'I've got some pork
chops in the fridge' Barrett hopelessly failed on all those points.
It is believed that John Paul Robinson, nicknamed Ponji, a very ardent
follower of the Path, tried to lure Syd into the sect after he had
visited India in 1967. And probably it had been another Cantabrigian,
Paul Charrier who converted Ponji first. (Paul Charrier was one of the
people present at Syd's trip in 1965 where he was intrigued for hours by
a matchbox, a plum and an orange. This event later inspired Storm
Thorgerson for the Syd Barrett (compilation album) record cover
and an impressive and moving Pink Floyd backdrop movie.)
John Paul Robinson had his own demons to deal with and in the Sixties he
visited a progressive therapist who administered him LSD to open his doors
of perception. Only after he had returned from India he ‘literally
seemed to be shining with abundance’, passing the message to all his
friends that he had been reborn. Ponji gave up his job, wanted to lead
the life of a beggar monk, but his internal demons would take over once
in every while.
He'd sit on the stairs with his elbows on his knees and forehead placed
carefully at the tips of his fingers, reeling out the same old mantra
proclaiming how he was just a tramp, that his body was an illusion, a
mere prison, a temporary holding place for his soul.
The story goes that he shouted ‘I refuse to be a coward for the rest of
my life’ just before he jumped in front of an oncoming train (1979?).
We only happen to know these people in function of their relationship
with Syd Barrett. Their paths crossed for a couple of months and we, the
anoraks, are only interested in that one small event as if for the rest
of these peoples lives nothing further of interest has really happened.
But the truth is that their encounter with Barrett is just one small
glittering diamond out of a kaleidoscope of encounters, adventures,
joys, grieves, moments of happiness and sadness. It is the kaleidoscope
of life: falling in love and making babies that eventually will make
babies on their own. A granddaughter's smile today is of much more
importance than the faint remembrance of a dead rock star's smile from
over 40 years ago.
The Church should be probing for the kaleidoscope world and not for that
one single shiny stone. Syd may have been a star, but our daily universe
carries millions of those.
Dedicated to those special ones whose story we will never know.
Thanks to: Paro नियत (where are you now?)
Sources (other than the above internet links): Blake, Mark: Pigs
Might Fly, Aurum Press, London, 2007, p. 47, p. 337. Palacios,
Julian: Lost In The Woods, Boxtree, London, 1998, p. 85. Scurfield,
Matthew: I Could Be Anyone, Monticello Malta 2009, p. 151, p.
208, p. 265-266. Photo courtesy of William Pryor, p. 192.
Update 2016: In the 2015 coming of age novel Life
Is Just..., Nigel Lesmoir-Gordon describes early sixties Cambridge
and the submersion into eastern religions.
About, let me count, thirty-four to thirty-five years ago I was
seriously investigating the so-called UFO phenomenon. Or whatever
serious means for a sixteen years old adolescent who urgently wants to
get laid but has found out that the chance to witness an encounter of
the third kind is statistically more probable than to have an close
encounter with the opposite sex.
I was a member of the Belgian Sobeps
association, long before the Belgian
UFO wave hit the skies and as the Internet was still a
science-fiction thing we had to rely on their magazine Inforespace
and the books, case files and real UFO pictures they sold by
mail-order to their members. They also had an electronic UFO detector in
their catalogue what made me wonder, already then, if they just weren't
a bunch of petty crooks. I must still have a Betty
and Barney Hill picture somewhere that I bought through their shop
and who were then (and maybe still now) regarded as the proverbial
Saul-stroke-Paul of the Holy Church of Ufology.
After a while opportunity knocked, even for me, and I didn't see the
purpose anymore to devote my life to the flying saucer - abducting
people for out-of-orbit enemas - enigma. But I am still mildly amused by
the phenomenon, especially from a historical perspective. Not that long
ago (at least not on the cosmic timescale) I partially readThe
Coming Race (1871) from Edward
Bulwer-Lytton, a (rather tedious) adventure book that apparently
inspired Nazi-Germany to start building flying
saucers. An internet search lead me to through several dubious
websites, some that might even be legally forbidden to consult in my
country as they vehemently propagate what I will mildly describe as
Aryan beliefs, and only strengthening me in my opinion that for
crackpots from all over the world the internet is Ultima
If I have understood it well American secret services grabbed nazi
occult mysteries by the truckload although it is not clear if they could
ever restore the phone lines to the Aldebaran
star system that became an après-guerre nudist resort for
the mystical and mythical Vril
Society pin-up girls (see image above and try not to drool). Thanks
to these secret nazi inventions the Americans not only landed on the
moon (although paradoxically enough conspiracy theory buffs deny this
ever happened) but they also tested anti-gravity
engines in earth-designed flying saucers and solved the so-called zero-point
Gary McKinnon is a Glasgow hacker who thought for a while he was a Lone
Gunman on a mission against the American government. Wanting to
prove the things mentioned above he hacked into 97 United States
military and NASA
computers over a 13-month period between February 2001 and March 2002,
using the name 'Solo'.
Hacking is not really the term one should use here, more trial and
error. Consulting a 1985 copy
of Hugo Cornwall's The
Hacker's Handbook McKinnon copied a Perl script that looked for
Windows computers without a password and to his amazement there were
still lots of unprotected computers residing in the NASA and military
networks 15 years after the book appeared. One can duly wonder what
these CIA, FBI and military secret service IT security guys had been
doing in the meantime. Playing Pong,
"A common mistake that people make when trying to design something
completely foolproof is to underestimate the ingenuity of complete
fools.", wrote Douglas
Adams in the twelfth chapter of Mostly Harmless (1992). That
quote may not be entirely his. Nobel price winner and inventor of the
Teller noted down a couple of years before: "There's no system
foolproof enough to defeat a sufficiently great fool." Anyway, in 2002
Gary McKinnon was the fool who undermined the American's pigheaded
assumption of safety. Military security thought they had devised this
big unsinkable Titanic and all it took was a entrepreneurial nerd
with a screwdriver and a sack of sugar to pour inside the gas tank.
Rather than admitting they had done an enormous security cock-up the
turned Gary McKinnon into a terrorist super-hacker whose sole intention
it was to metamorphose American secrets to putty and hand them over to
Al-Queda, who - as we all know - have been praying a long time for this
UFO technology. In consequence Gary could face a 60-years prison
sentence if condemned before an American judge. Unfortunately the UK
voted the 2003
extradition act making it possible to extradite UK citizens for
offences committed against US law, even though the alleged offence may
have been committed in the UK by a person living and working in the UK.
A review of the extradition act was voted down by British parliament
although there is a growing consensus amongst British members of
parliament that Gary McKinnon will not stand a fair trial in the US.
Several charities have been raised to help Gary
McKinnon in his struggle against the extradition and in August 2009
David Gilmour, Chrissie Hynde, Bob Geldof and Gary McKinnon recorded the Chicago
(Change The World) single. The only awareness it ever raised was that
extraditing Bob Geldof to Guantanamo Bay would be a benefit for
mankind to say the least. Perhaps the US authorities could consider that
for a while.
As a Pink Floyd collector for over thirty years now, with over a dozen
legit versions of Dark Side Of The Moon, I was obviously
offended. Probably I am just being jealous here but I still can't grasp
the concept that a lawbreaking idiot with a UFO fixation got a chance to
make a record with one of the ten best guitarists of this world while moi
who has in his possession the ridiculously shaped Love On The Air
(1984) picture disk and Gilmour's lamentable Smile (2006) single
will never get the change to meet his idol from less than a 100 meters
distance. Phew, nice I have finally got that off my chest.
Last year, in the aftermath of the Chicago single, Alex Paterson of the
ambient house band The
Orb made a strange announcement:
I’ve just started work on an album with David Gilmour from Pink Floyd
which I think every Orb and Pink Floyd fan will want to hear.
The news was almost immediately downsized by David Gilmour who
acknowledged he had jammed a bit in a studio with Martin
'Youth' Glover but that nothing had been confirmed 'with regards to
any structure for the recordings or firm details re: any release plans'.
But this week David Gilmour's blog
had the following news:
David's 2009 jam session with ambient collective The Orb has
grown into an album, Metallic Spheres, to be released via
Columbia/Sony Records in October. David's contribution to the charity
song Chicago, in aid of Gary McKinnon, sparked the interest of producer
Youth (Martin Glover), who remixed the track and invited David to his
studio for a recording session. With additional contributions from Orb
co-founder Alex Paterson, the album took shape from 2009 into 2010,
eventually becoming Metallic Spheres, to be released by The Orb
featuring David Gilmour.
The album will be divided into two 25 minutes parts with five movements
each, a 'Metallic Side' and a 'Spheres Side'. The Orb will
consist of founder Alex Paterson (sound manipulation, keyboards and
turntables) with part-time member Youth adding bass, keyboards and
handling the production. It is not certain if Thomas
Fehlmann (full member of The Orb since 1995, absent on The Dream
(2007), but back on Bagdhad Batteries (2009)) and long time Orb
and Pink Floyd collaborator Guy Pratt will be present or not. For the
moment it looks like a three men line-up with David Gilmour contributing
guitar, lap steel guitar and some of his Chicago vocals.
Ghahary created the artwork (see image above) and all artist
royalties will go to helping Gary McKinnon fight his extradition.
When Gary McKinnon logged in on the military computers he allegedly
found proof of extra-terrestrial involvement in the NASA space program,
but unfortunately his telephone line did not allow him to download the
pictures and documents. The only tangible result of his actions will be
a Floydian cooperation that Orb (and some Pink Floyd) fans have been
dreaming about for the last two decades.
Long live Gary McKinnon, long live the greys! U.F.FlOrb is finally on
its way! And don't worry, I'm sure those pretty Aldebarans will
rescue Gary if he ever gets imprisoned in the land of the free.
(This article first appeared on Felix Atagong's Unfinished Projects:
There was a time when I would put in the latest Orb CD and murmur
blimey! Blimey because The
Orb pleasantly surprised you or blimey because Alex
'LX' Paterson and band utterly frustrated you. They had that effect
on me for years from their very first album Adventures
Beyond The Ultraworld (1991) until the quite underrated Cydonia
(2001) and often the wow! and shit! effect could be witnessed on the
same disk, most notably on Orbus
Terrarum that probably contains the freakiest ambient track ever
(the heavenly Oxbow Lakes) but also some of the worst.
The Millennium Orb
After 2001 Paterson continued to make albums under the Orb banner but
the wow! effect had largely disappeared and his most prolific output lay
on quite a few (from good to excellent) compilation and/or remix albums:
Dr. Alex Paterson's Voyage Into Paradise, Auntie Aubrey's Excursions
Beyond The Call Of Duty (containing an Orb remix
of Rick Wright's Runaway), Bless You (the best of the Badorb
label), Orbsessions I and II (outtakes), Back To Mine, The Art Of Chill
and last but not least The BBC Sessions.
For ages The Orb has been called the Pink Floyd of ambient dance but the
only fusion between both bands was the use of some Pink Floyd samples on
early Orb anthems (the four note Shine On You Crazy Diamond
signature tune on A
Huge Ever Growing Pulsating Brain That Rules From The Centre Of The
Ultraworld) and the presence of Pink Floyd bass player ad interim Guy
Pratt on a couple of Orb albums. Contrary to a stubborn belief the
so-called ambient (and illegal) Pink Floyd remix albums from the
Nineties were not the work from The Orb, nor from Alex Paterson. Neither
will we ever know Pink Floyd's retaliation: when the band worked on
their 1994 The Divison Bell album they ended up with so many left-over
material that - in the words of Nick Mason - "we considered releasing it
as a second album, including a set we dubbed The Big Spliff, the
kind of ambient mood music that we were bemused to find being adopted by
bands like The Orb".
Update 2015 01 15: Parts of The Big Spliff may have appeared on
the latest Pink Floyd album: The Endless River. See our review: While
my guitar gently weeps...
Exactly one year ago Alex Paterson, who has always been a bit of a
I’ve just started work on an album with David Gilmore (sic)
from Pink Floyd which I think every Orb and Pink Floyd fan will want to
But that news was hurriedly demoted by David Gilmour.
Recent comments by ambient exponents The Orb's Alex Paterson that they
have been collaborating with David Gilmour are true – up to a point.
David has done some recording with The Orb and producer Youth, inspired
initially by the plight of Gary McKinnon. However, nothing is finalised,
and nothing has been confirmed with regards to any structure for the
recordings or firm details re: any release plans.
On the 17th of August of this year, however, the David Gilmour blog
had the following to reveal:
David is not working with The Orb on a new album, contrary to some
reports, but you may remember that he had been in the studio jamming
with Martin “Youth” Glover in recent months. (…) Alex Paterson was not
involved in the sole jamming session and the only plan initially was for
David to play guitar on that one track.
However, as it turns out and as you can see, the result of that jam
session has now been spread across the next Orb album, Metallic Spheres,
which will be released as ‘The Orb featuring David Gilmour’. So there
you have it. He was working on an album with The Orb. Sort of.
If I may read a bit between the lines I feel some friction here between
Sir David and this Orb thingy. But the next day, David Gilmour's
had the next comment:
David's 2009 jam session with ambient collective The Orb has grown into
an album, Metallic Spheres, to be released via Columbia/Sony Records in
October. David's contribution to the charity song Chicago, in aid of
Gary McKinnon, sparked the interest of producer Youth (Martin Glover),
who remixed the track and invited David to his studio for a recording
With additional contributions from Orb co-founderAlex
Paterson, the album took shape from 2009 into 2010, eventually becoming
Metallic Spheres, to be released by The Orb featuring David Gilmour. (underlined
Calling LX Paterson an Orb co-founder is technically not untrue, but it
feels a little weird when you have just been presenting Martin Glover.
It is comparable to describing Syd Barrett as a Pink Floyd co-founder
while discussing Bob
Klose. Agreed, Youth (from Killing
Joke fame) was probably around when The Orb saw the light of day but
it is generally acknowledged that the band was formed in 1988 by Alex
Paterson and Jimmy
Cauty. Cauty's primary project however, the Kopyright
Liberation Front (with Bill Drummond) pretty soon outgrew The Orb
and when - at a certain point in time - some Orb remixes were released
in Germany as KLF remixes this provoked a rupture in the co-operation
between the duo as Alex and Jimmy started fighting over… copyrights.
After the split between KLF and The Orb Martin Glover helped LX out with
two tracks (on two separate albums): Little Fluffy Clouds and Majestic,
but he did not become a member of the band. Only in 2007 Youth will join
The Orb for a one album project: The
Together with the announcement on David Gilmour's website, and then
we're back on the 18th of August of this year, a promotional video for
the Metallic Spheres album is uploaded to YouTube. Depicting only Youth
and David Gilmour several Orb fans wonder where LX Paterson, and thus
The Orb, fits in this all. The first, original movie disappears after a
couple of days for so-called 'copyright' reasons but is rapidly replaced
with a second version (unfortunately taken down as well, now),
containing some hastily inserted images of LX Paterson strolling through
the grasslands and recording some outdoor musique concrète.
It feels, once again, as if the Floyd-Orb connection didn't go down well
at the Gilmour camp and Paterson's image was only included on the promo
video after some pressure had taken place. But the above is of course
all pure speculation and not based upon any fact, so tells you Felix
Atagong who has been closely following the band for over two decades.
Bit by bit we hear how the album came into place. It all started with
David Gilmour's charity project for Gary
McKinnon, an X-Files adhering half-wit who hacked into American
military and NASA computers in order to find out about extra-terrestrial
conspiracy theories. Because of this he faces extradition from England
to the USA where apparently they take these kind of idiots very
seriously, see also the 43rd president who governed the country from
2001 to 2009.
It is not quite clear if Gilmour asked Youth (David Glover) to make a
remix of the Chicago charity tune or if Youth got hold of the
project and proposed to help (I've come across both explanations). The
two may know each other through Guy Pratt who played in Glover's band Brilliant
in 1986 (LX Paterson was their roadie for a while). In 1990 Youth
Pearl with Durga
McBroom who had toured with Pink Floyd for the previous three years.
Amongst the session musicians on their Naked album are Guy Pratt,
David Gilmour and Rick Wright.
This isn't Glover's only connection with the Floyd however. In 1995 he
teamed up with Killing Joke colleague Jaz
Coleman to arrange and produce a symphonic tribute album: Us and
Them: Symphonic Pink Floyd, but only The Old Tree With Winding
Roots Behind The Lake Of Dreams remix from Time combines a
modern beat with romantic classical music.
To spice up the Chicago remix Youth invited David Gilmour in his home
studio and out of it came a twenty minutes guitar jam. Glover soon found
out that he could expand the session into an ambient suite and asked old
chum LX Paterson for his opinion and to flavour the pieces with typical
Orbian drones and samples, rather than to turn this into a sheepish Fireman-clone.
The Orb featuring David Gilmour can only be a win/win situation.
Orb fans have dreamed about this collaboration for the past two decades
and that will add to the sales figures for sure. And although artist
royalties go to the support of Gary McKinnon there will always be a
spillover effect for the artists involved, good news for The Orb whose
last album Baghdad Batteries sunk faster than the Kursk in the
Rest us to say that an Orb album is an Orb album when it has got the
name Orb on it, whether you like it or not (and in the case of Okie
Dokie, not a bit).
Spheres starts with Gilmour's pedal steel guitar over some keyboard
drones that makes me think of those good old days when the KLF shattered
the world with their ambient masterpiece Chill
Out (LX Paterson - as a matter of fact - contributed to that album,
although uncredited). But soon after that Gilmour's guitar wanders off
in his familiar guitar style with axiomatic nods to The Wall and The
Division Bell albums. A welcome intermezzo is Black Graham
with acoustic guitar, not from Gilmour but by ragtime busker Marcia
Mello. The 'metallic side' flows nicely throughout its 29
minutes and has fulfilled its promise of being 'the ambient event of the
year' quite accurately.
The CD is divided into two suites: a 'metallic side' and a 'spheres
side' (and each 'side' is subdivided in five - not always
discernable - parts). The second suite however, is more of the same,
clearly lacks inspiration and ends out of breath at the 20 minutes mark.
So no wow! effect here (but no shit! either)... Youth has done what was
expected from him and produced an all-in-all agreeable but quite
mainstream product leaving ardent anoraky Orb fans with their hunger,
but perhaps winning a few uninitiated souls.
As far as I am concerned this is about the best Orb CD I heard for the
past couple of years, but it is still far from Orblivion, U.F.Orb or
Ultraworld. But as this is 2010 already you won't hear me complaining.
(This article first appeared on Felix Atagong's Unfinished Projects:
A couple of months ago a new Syd Barrett compilation was announced and
EMI (Harvest) was proud to proclaim that Syd Barrett had joined the
league of Jimi
Hendrix or Marc
Bolan, meaning that the man has got more compilation albums written
on his name than genuine albums.
Let's make a quick sum, shall we? Barrett, who was the founder of the
mythical band Pink
Floyd, was overtly present on their first album The
Piper At The Gates Of Dawn. On the second album A
Saucerful Of Secrets he had already taken a sabbatical, and although
present on 3 tracks (out of 7) he only takes the vocal lead (and writing
credits) on the testamentary coda Jugband
There are at least 7 Pink Floyd compilations that have Barrett's
(sometimes unreleased) work on it and the last one Echoes
(2001) turned Syd Barrett into an overnight millionaire. The fortieth
anniversary edition of Piper (2007) has (in the deluxe edition)
an extra CD containing some alternative versions and the Pink Floyd's
early singles as well.
Barrett's solo output in the early seventies is limited to two albums, The
Madcap Laughs and Barrett,
and that is all there is, give or take 5 or 6 compilations. The count
depends whether one catalogues the Opel
(1988) record as a compilation of alternative takes and unreleased
material or as a real 'third' solo album.
The most recent compilation 'An
Introduction To Syd Barrett' boasts that this is the first time in
history that Barrett's Pink Floyd and solo tracks have been compiled on
one disk. This is true, but… so what?
On the other hand a quick glance at the list
of unreleased material shows that there are about a dozen Pink Floyd
studio tracks from their Syd Barrett era, but alas this compilation
still doesn't contain any of them.
So what could possibly be the added value of this album, one might ask?
Not its cover, that doesn't show Syd Barrett at all but that has been
created, as usual, by Storm
Thorgerson. Thorgerson, and more particularly his Hipgnosis
studio, made some landmark record sleeves in the Seventies and Eighties,
but he seems not able nowadays to sell his creations to influential
bands, unless you call the freaky weirdoes of The Mars Volta
influential of course. Thorgerson's contemporaneous work flirts a bit
too much with cheap kitsch and luckily there is still Pink Floyd Ltd
that keeps him away from the unemployment office. I'm quite fond of
Thorgerson's work and I do like the cover although most Syd Barrett fans
I frequent compare it with visual diarrhoea so I leave it to you to make
up your own mind.
As a Barrett anorak I am not interested in the regular songs on this
compilation - as a matter of fact I didn't even listen to those - but I
jumped immediately on top of the so-called enhanced tunes. The
compilation boasts that 4 tracks have been remixed and one track has
been 'upgraded' with additional bass from David Gilmour who also
supervised the mixes. (The following review has been largely influenced
comments on the NPF
forum and MOB's
comments on the A
Fleeting Glimpse forum.)
Dominoes: the new mix has been so subtly done that there is
hardly any difference. The vocals are more emphasized and the backwards
guitar sounds a trifle clearer. Some corrections may have been done,
because on the original versions several (drum) parts were out of
'synch'. These errors have miraculously disappeared on the 2010 mix.
Octopus: this track is 7 seconds longer, due to the fact that a
'false' start has been added at the beginning. The "isn't it
good to be lost in the woods" vocals have been clarified and brought
to the fore and it could even be that its first part has been taken from
an alternative take (also a few drumbeats have been added that weren't
there on the 1970 version). Overall the muddled sound of vocals and
guitars have been cleaned.
She Took a Long Cool Look: this track has always been
called She Took A Long Cold Look in the past, but the
title has now been changed. This is one of so called 'live' bits from
Barrett's first album. These included false starts, bad guitar playing,
unstable singing and Barrett generally loosing it… David Gilmour said he
included these demos in 1970 to reveal Barrett in all his fragility, but
later regretted his choice…
The 2010 version snips some of the unnecessary background sounds
(Barrett turning some papers) and the guitar breakdown in the middle of
the song is replaced by some strumming from another take. And - as with
all of these remixes - Barrett's voice sounds more crisp than before and
with less disturbing echo.
Matilda Mother (Pink Floyd): the 40 years anniversary edition of Piper
already had this alternative take but in a much shorter version. This
one takes 50 seconds longer and has benefited from a real mix. Probably
the 2010 version is a sound-collage of several outtakes.
Here I Go: this little dance hall tune has always been my
favourite Barrett track. For over 40 years I have wondered how this song
really ended and now the ditty lasts 5 seconds longer. Gilmour has done
a fine job by adding extra bass and after my second listen I already
felt that this was the way it should always have been. (There is also a
tiny rhythm correction - compared with the original version - at 01:46.)
Personally I find it a bad judgment from Gilmour & Co to keep the fade
out but the closing chord I had been waiting for can still be heard. And
I know it's starting to sound repetitive, but Barrett's vocals have been
upgraded as well and sound crispier than ever. You don't need to buy the
album to listen to this track as a promo video has been put on the web
as well: Here
I Go (official video).
The few remixes on this compilation are subtle, have been done with
great care and love for the original material so that my initial anoraky
opinion of 'don't touch the originals' has now been switched over to
'why didn't they simply enhance all tracks'?
But the real revelation of the album can't be found on plastic. The CD
contains a key to download the mythical Rhamadan track from the official
Syd Barrett website and this is what the next chapter is all about.
I won't get into the old story, legend or myth, of Rhamadan as it is all
old news by now. The Holy Church of Iggy the Inuit wrote a bit about it
and Pontiacs and Rob Chapman in A
Very Irregular Head describes it as a 'conga-heavy jam session
lasting eighteen minutes and of little merit', although it is highly
doubtful that the biographer could get hold of the piece.
The only person, apart from some EMI alumni, who could listen to the
track in its full glory was David Parker, author of Random
Precision. In order to get EMI's permission he had to sign a 'scarily
draconian declaration', so scarily draconian that he even had to
delete a forum post wherein he had simply admitted it had been 'scarily
draconian'. The Holy Church of Iggy the Inuit sometimes threatens with
the Holy Igquisition but apparently that secret service is
peanuts compared to the EMI 'unlimited supply, there is no reason why'
David was the only author who could write, in detail, how the piece
sounded and as it is so damn accurate I see no point of trying to give
my own description.
Peter Bown announces Rhamadan take 1 over some bass and organ
noises. He pronounces the title Rarmardarn like a 1950's BBC
newsreader. The piece itself begins with the conga drums (probably Steve
Took from Tyrannosaurus Rex).
The bass comes in and immediately takes the lead role (whoever the bass
player is they are extremely proficient) with some very fast Stanley
Clarke style runs and slides in places. The vibes then begin to come in,
along with some disjointed organ chording (mostly on one chord). This
then continues for a couple of minutes with the bass leading over the
conga beat, vibes and organ chords. A piano then enters playing a loose
boogie rhythm, and someone starts playing some very staccato mellotron
notes as well. Things settle into a groove, and a second drummer joins
in, mainly on cymbals. After about 5 minutes Syd's guitar starts to
appear, playing muted chords to fill out the sound. The bass falls back
slightly, and the piano takes the lead, Syd's guitar feeding back
momentarily as he begins to play solo notes. (…)
The piece eventually starts to fizzle out with some mad staccato
mellotron, the ever present organ chord and a lot of bass improvisation
with a sprinkling of piano notes. Syd plays some open chord plucking and
everything gets rather free form with Syd letting his guitar build-up
feedback and then fades it out. (…)
Syd starts another riff but it begins to fade until the bass player
picks up on it, and everyone begins following along. Another crescendo
of feedback builds up as Syd picks out what sounds like the Close
Encounters three note theme (!). (…)
Things build up yet again, with everyone in random improvisation, then
everyone stops except the organ chord. The bassist begins a strident
riff, giving the vibes a chance to solo (with staccato mellotron
accompaniment). The bass rockets off into a hyper-drive riff, then
everything finally falls to bits, ending with our old friend the organ
chord drone, the mad mellotronist and a few bass notes.
We don't really know who are the players on Rhamadan, but Steve
Peregrin Took is a name that appears in almost all biographies.
Biographer Julian Palacios, however, seems to disagree now:
Talking to my friend GH today, he wrote: 'I don't think that Steve Took
is the conga player on these sessions. I knew Steve and discussed Syd
with him on a few occasions, he said that Syd had jammed with him round
at his flat and that he had recorded it, but there was never any mention
of going into a recording studio with Syd. My understanding was that
Steve didn't get pally with Syd until after his split from Marc (Bolan).
Back in 68 Tyrannosaurus Rex where gigging like crazy and still very
much a going concern.' (Taken from Late
Night Discussion Forum.)
Rhamadan isn't half as bad as everyone, who had never heard it, claimed
it to be. Especially when one remembers that the same biographers and
journalists tend to praise AMM, The Soft Machine or The Third Ear band
for their revolutionary musical approach. Rhamadan is of course a highly freakadelic
experiment, almost free-jazz in its approach, a genre Syd Barrett was
not unfamiliar with.
If you have bought the CD, Rhamadan can be downloaded (legally) from the
official Syd Barrett website, but unfortunately only in the MP3 format
with a rather cheapish 152kbs bitrate. But its bitrate is not the only
amateurish characteristic. While millions of people all over the world
have discovered MP3 tags, EMI is of the opinion that this invention is
way over their heads. The tags are all empty and reveal that the track
is untitled (Track 1), comes from an unknown album,
is from an unknown artist and from an unknown year. Not
even the Publisher and Copyright data are filled in. My 8-years old
godchild can rip MP3 tunes better than EMI does, she at least knows how
to attach a (sleeve) picture to the file. (Although I worked this out by
myself, Jen D at madcapslaughing
beat me by a day by publishing the same findings before me. As I haven't
got an irregular head I'll give this bloke the credits.)
While EMI has been nagging us for years that copying is killing music
a closer look on the MP3 tags reveals us that the file has been
converted with FreeRIP.
Here is the biggest music company in the world and it uses a freeware
version of a (quite good, I agree) MP3 converter to spread around a
track belonging to the founder of their second most commercially
successful band, next to The Beatles.
I know of the bad financial situation of the music company but I wasn't
aware that EMI was that close to bankrupt that they can't even afford a
29,75 dollar software program anymore.
None really. The best thing is to decide for yourself if the 5 remixes
and the 1 download are sufficient to buy the album. As a Barrett anorak
myself, I simply had no choice.
Sources: (other than internet links mentioned above) Chapman,
Rob: A Very Irregular Head, Faber and Faber, London, 2010, p. 215. Parker,
David: Random Precision, Cherry Red Books, London, 2001, p.
Words: Mark Blake. Pictures: Storm Thorgerson, Iggy Rose, Rank
Organisation. Date: 20 January 2011. Previously published on
If there is one image of Syd Barrett that never ceases to fascinate it's the
back cover of his debut album, The Madcap Laughs. The reason: the
mysterious naked woman perched on a stool with her head thrown back and
face obscured by swathes of long dark hair. Syd's companion was known
only as "Iggy The Eskimo". But as Barrett fans have been
wondering since 1970 - who was Iggy and where did she go?
Rock believed that his cover girl had "married a rich guy and moved
off the scene". Barrett's old flatmate, the artist Duggie Fields,
heard that "Iggy had become involved with one of the voguish religious
cults of the time", before adding to the mythology with a story of once
seeing her disembarking from a Number 31 bus in Kensington, wearing a
1940s-era gold lamé dress, and very little else.
In 2002, Mick's coffee-table book Psychedelic
Renegades featured more shots of Syd and Iggy posing outside the
Earls Court mansion block, alongside Barrett's abandoned Pontiac. Rock's
photos found their way onto most Pink Floyd fansites, where Iggy
had acquired cult status. Before long, The
Holy Church Of Iggy The Inuit, a fansite in her honour, had
appeared, its webmaster, Felix Atagong, sifting through ever scrap of
information gleaned from MOJO and elsewhere with a forensic scientist's
attention to detail. Among Felix's discoveries was a
November 1966 issue of NME which featured a photo of "Iggy who is
half eskimo" dancing at South Kensington's Cromwellian club.
While researching my Pink Floyd biography (2007's Pigs
Might Fly: The Inside Story Of Pink Floyd) I quizzed everyone about
Iggy's whereabouts. Anthony Stern, formerly a schoolmate of David
Gilmour's, told me he had met her at a Hendrix gig and had
just discovered photos he had taken of her on a houseboat in Chelsea;
Anthony had also filmed Iggy dancing in Russell Square. Meanwhile,
former Middle Earth club DJ Jeff Dexter recalled meeting "the
mysterious-looking" Iggy in 1963, when she was a "part of a group of
very wonderful looking South London girls" that danced at The Orchid
Ballroom in Purley. Jeff even hatched a plan with his friend, the late
DJ and Shadows songwriter Ian "Sammy" Samwell, to turn
Iggy and two of her friends into "a British version of The
Supremes. We booked a studio but unfortunately none of them could
sing." Believing that Iggy may have gone to school in Thornton Heath,
Jeff and Anthony contacted The Croydon Guardian, who ran an article - So
Where Did She Go To, My Lovely - enquiring after the whereabouts of the
girl "who entirely captured the spirit of the '60s".
Then, in March 2010, MOJO received a letter from ex-Cambridge mod Pete
Brown, who had "shared some wild nights on the town with Iggy in the
1970s". Pete informed us that Iggy had been last heard of in the '80s
"working at a racing stables... and has since been keeping her
whereabouts quiet." Pete sent a copy of the letter to The Croydon
Guardian, whose reporter traced Iggy through the stables and phoned her
out of the blue. Their subsequent article included a handful of quotes
from its reluctant subject, including the words: "I have now left that
life behind me." Which is why it came as a surprise when my mobile rang
late one Saturday night. "It's Iggy!" declared the voice at the other
end, as if I would have known that already. "I've been reading what you
wrote about me in MOJO... about the pictures of my bottom."
The local newspaper's call had prompted Iggy to borrow a neighbour's
computer and go online for the first time. She was amazed to discover
MOJO, the fansites, the photos, and the wild speculation and
misinformation about her time with Syd Barrett. Which is why, in October
2010, I found myself stepping off a train at an otherwise deserted
Sussex railway station to be met by the woman that had once graced the
cover of The Madcap Laughs. Three hours in a local gastro-pub and
countless phone calls later, Iggy pieced together her story. Some of it
was printed in MOJO
207, the rest is here...
Firstly, why Iggy? "My real name is Evelyn," she explains. "But when I
was a child, my neighbour's young daughter could never pronounce Evelyn,
and always called me Iggy. Now everyone calls me as Iggy. But 'The
Eskimo' nickname was a joke. That was something I told the photographer
from the NME when he took my picture at The Cromwellian." Iggy's father
was a British army officer, who served alongside Louis Mountbatten, and
attended the official handover ceremony from Great Britain to India's
first Prime Minister, Jawaharial Nehru in 1947. "My father also knew all
about Mountbatten's wife's affair with Nehru," she adds mischievously.
During a spell of leave, he had travelled to a remote village in the
Himalayas "where he met the woman that would become my mother." Iggy was
born in Pakistan, and attended army schools in India and Aden, before
the family moved to England. But not, as believed, Thornton Heath. "I
grew up by the seaside," she reveals. "I went to art school. I became a
mod in Brighton, and saw the fights with the rockers, and I met The
Who when they were on Ready Steady Go! I loved soul music, loved The
Righteous Brothers, and I loved dancing, so I used to go to all the
clubs - The Orchid Ballroom in Purley, where I met lovely Jeff Dexter,
The Cromwellian, The Flamingo, The Roaring Twenties..."
It was at The Cromwellian that Iggy encountered Eric Clapton. "I
didn't know who he was at first," she insists. "He took me to meet Lionel
Bart and to a party at Brian Epstein's place..." By the
mid-'60s Iggy had become a Zelig-like presence on the capital's music
scene, sometimes in the company of Keith Moon, Brian Jones,
Keith Richards.... She saw Hendrix make his UK debut at the Bag
O' Nails in November '66, and in February '67, narrowly avoided the
police raid at Richards' country pile, in West Wittering: "The night
before, I decided not to go, thank God." A year later, still in the
Stones' orbit, she found herself watching the recording sessions for
what became Sympathy For The Devil.
By then, Iggy had made her film debut. In 1967, IN Gear was a short
documentary screened as a supporting film in cinemas around the country.
Its theme was Swinging London, including the chic Kings Road clothes
shop Granny Takes A Trip, a place, according to the breathless narrator
that "conforms to the non-conformist image of the !" A
mini-skirted Iggy can be seen in one silent clip, sifting through a
rack of clothes and chatting with Granny's co-owner Nigel Waymouth.
By 1967, pop music had changed. The summer before, Iggy had met Syd
Barrett's girlfriend Jenny Spires, and drifted into the Floyd's social
clique, showing up at the UFO club nights where Pink Floyd played
regularly: "When I recently watched that Syd Barrett documentary [The
Pink Floyd & Syd Barrett & Story] and saw Syd in the kaftan,
chanting [on Pow R Toc H], the memories came rushing back," she
explains. "I'd been there. I'd seen that." In April '67, Iggy joined the
counter-culture throng in Alexandra Palace for The
14-Hour Technicolor Dream - "all 14 hours of it!" - where Floyd
played a hypnotic set at dawn.
By early 1968, though Barrett had been replaced by David Gilmour, and,
according to many, was on a drug-fuelled downward spiral. Towards the
end of the year, he moved into a new place with his level-headed friend,
the would-be artist Duggie Fields. The pair took over a two-bedroom flat
Wetherby Mansions in Earls Court. Around January '69, at Jenny
Spires' suggestion, Iggy, needing a place to stay, moved in. She hooked
up with Barrett, but shared a musical bond with Fields: "Duggie and I
were into soul music, and Syd used to laugh at me dancing around to
As Iggy told MOJO 207: "I didn't know Syd had been a pop star."
Elaborating further, "I didn't make the connection between him and the
person I had seen at UFO. I knew he was beautiful looking and he had
real presence, but that was all." Once, when she picked up his acoustic
guitar, fooling around, he took it off her and started playing properly.
"I was overwhelmed. The way he played the guitar, the way he moved. He
said, 'Do you think I look good?'," she laughs. "I said, 'You look
amazing. Wow!' He then said, 'Would you listen to this?' And he bought
out this big, old-fashioned reel-to-reel tape recorder, and said, 'Tell
me what you think'." Syd then played her the songs that would end up on
The Madcap Laughs. One track, Terrapin,
made an immediate impression. "I said, 'That's quite catchy', and, of
course, I don't think Syd was really into catchy...It was a long tape,
and he didn't demand any opinion, but just asked if I thought it was OK.
At the end he said 'Someone at EMI - I cannot remember the name - wants
me to make a record. How would you feel about having a rock star
Words: Mark Blake. Pictures: Iggy Rose, Chris Lanaway. Date: 20
January 2011. Previously published on mojo.com.
While there are many reports of Barrett being withdrawn and even
aggressive at this time, Iggy remembers it differently. "People talk
about Syd's madness and his dark side, but I never saw it," she states.
"We had a wonderful giggly time. There were no sinister moments." Only
briefly did she glimpse a more troubled side to his personality. "One
day, he said to me, 'How do you feel? Are you sad?' I was naked, and he
went and got some paint and painted two great big eyes on my breasts
with two tears coming down, and on my belly button he painted an arrow
and underneath that a picture of me with a big belly, and said, 'There
could be life in there. I could give you life.' But I didn't want that
at all. So I panicked, and scrubbed it off." He was also uncomfortable
with some aspects of fame, as Iggy discovered on a night out with Syd to
The Speakeasy, a music-biz haunt in Margaret Street. "We'd persuaded Syd
to go, but it was full of posers," she admits. "There were a few of us
there. Someone asked the DJ to put on See Emily Play, which was a stupid
thing to do." A hit for Pink Floyd more than two years before, the
dance-floor cleared. "So I went on and started dancing, but Syd ran off.
He was obviously very sensitive about it all."
"We had a wonderful giggly time. There were no sinister moments."
In March '69, Barrett began recording The Madcap Laughs at Abbey Road,
but his erratic behaviour in the studio resulted in Roger Waters
and David Gilmour helping to oversee the sessions. Gilmour was now
living in Richmond Mansions, a block so close to Wetherby Mansions that
he could almost see into Syd and Duggie's kitchen window. One evening,
Syd announced that he had to go out. Iggy wanted to go with him, but
Barrett insisted she remain at the flat. "I think I thought he was
seeing another woman," she says. "I got a bit jealous, a bit pouty -
very silly. Duggie knew where Syd had gone but wouldn't tell me." With
Syd gone, Iggy decided to pay a visit to David Gilmour instead. Fields
helped Iggy back-comb her hair, plaster her face with make-up and paint
her lips black. "I looked like Medusa. Like a banshee. Duggie then took
me round to Dave's place. Dave was very beautiful and very cool, and his
flat was nicer than Syd and Duggie's - it was warmer for a start. Dave
opened the door, took one look at me, but didn't bat an eyelid."
When Iggy walked in, she saw Syd sat in Gilmour's living room. "I went
in, shouting, 'OK, where is she?' thinking there was a woman hiding in
one of the rooms. But, of course, the meeting had been with Dave about
the record they were making together." Barrett left Iggy with Gilmour,
but rather the worse for wear, she knocked the stylus on his record
player accidentally scratching his copy of Pink Floyd's brand new album.
"I have no idea what album it was, only that it was their new album,"
Iggy sighs. (The likely candidate seems to be Soundtrack From The Film
More) "So Dave threw me out... If he ever reads this I would like to say
sorry for scratching his record." Back at Wetherby Mansions, Barrett was
unfazed by her planned defection: "Syd just said, 'Come in love, and
I'll make you a cup of tea'. How sweet."
By now, Barrett had prepared his bedroom for The Madcap... cover shoot,
painting most of the floorboards orange and mauve. On the morning of the
shoot, Syd asked Iggy to help finish the job. "He jumped off the
mattress and said, 'Quick, grab a paint brush.' He did one stripe and I
did another. If you look at Mick Rock's pictures, I have paint on the
soles of my feet." When Rock arrived with the Floyd's sleeve designer Storm
Thorgerson to take the photos, a naked Iggy went to put some clothes
on. "But Syd said, 'No, don't'. That was his wicked sense of humour. I
put the kohl around his eyes that day and tousled up his hair: come on
Syd, give us a smile, moody, moody, moody! But he knew exactly what he
was doing. He was as sharp as anything. He set the tone. He was the
"Syd just said, 'Come in love, and I'll make you a cup of tea'. How
Iggy joined Syd for further photos outside the flat. Later, Rock
recalled showing Barrett one of the pictures and Syd mysteriously
scratching around Iggy's image; an act that has acquired some
significance among Barrett's more earnest devotees. "They're making
something out of nothing," she insists. "Later on, Syd showed me one of
the pictures and said, 'You like that one, don't you? I know why,
because of your cheekbones'. I think I was sucking on a cigarette, and,
yes, I was being vain, I liked the way my cheekbones looked. So he tore
the pic in half and gave it to me. There was nothing more to it than
that." Strangely, Iggy also recalls other photographs being taken that
day, which have never appeared since. "I don't think Storm and Mick were
very impressed by them. If you've ever seen the cover of the Rod
Stewart album, Blondes Have More Fun, they were a bit like that...
Of me and Syd. There were others of me and Syd, as well, which remind me
of the picture of John and Yoko [on Two Virgins] which came out later.
I'd love to see those pictures now."
Before long, Iggy had drifted out of Wetherby Mansions and out of Syd's
life as quickly as she had drifted in. When she returned later, Duggie
told her: "Syd's not here. He's gone back to Cambridge. Don't bother
trying to find him." She never saw him again, and is adamant she only
became aware of her presence on the cover of The Madcap Laughs
after being phoned by the Croydon Guardian: "I went to a boot sale with
my husband... When I saw the cover, I thought, Oh yes, that is my
Although the stories of her marrying a rich banker and joining a
religious cult are untrue, there is a kernel of truth: after Syd, Iggy
began seeing a wealthy businessman who was also a scientologist. However
Duggie Fields' recollection of spotting Iggy climbing off a bus in a
gold lamé dress is not in dispute: "It was a beautiful dress that cost
£50." Still a fixture on the music scene, Iggy recalls accompanying Pink
Fairies' drummer Twink to the Isle Of Wight Festival and turning up
"for the very first Glastonbury... ". But in 1978 Iggy married her
husband, Andrew, and "left that life behind me".
"I heard on the radio that Syd died, and I felt sad, but it was so long
ago," she says. Since reading about those times in MOJO, the memories of
the people and the places have slowly come back to her. "Mick Rock took
some beautiful picture of me," she smiles. "But, of course, I wish I'd
been paid some money for them. Still, it is amazing that people have
been looking for me... and that someone has even set up a website. I
still don't know what to make of all this." The fascination continues.
Last week, Iggy called to tell me she had found a poem online written
about her by a professor at a university in Missouri. "And it's in
French," she said, sounding astonished. "'Iggy l'esquimo, Fille De Le
Space'...it goes. I never believed anyone would ever write a poem for
The next months will be musically dedicated to Pink
Floyd and several, if not all, of the serious music magazines are
hanging a separate wagon at EMI's gravy train.
Rock 162 (with AC/DC on the cover) comes with a separate Pink Floyd
24 pages booklet, titled at one side: The making of the Dark Side Of
The Moon, and at the other side (when you turn the booklet around) The
making of Wish You Were Here, written by Pink Floyd biographer Glenn
Povey, with pictures of Jill Furmanovsky.
215, ridiculously called the October 2011 edition while we purchased it
now in August (somebody ought to tell those Mojo editors what a calendar
is), has a 12 pages Pink Floyd cover story from Pigs
Might Fly author Mark Blake and with pictures from... Jill
Furmanovsky, but more about that later.
Rock Prog (out on August 31) will be celebrating the 40-iest birthday of Meddle,
an album that – according to their blurb – changed the sound of Pink
Floyd and prog rock forever.
But we start with the most recent Uncut
(that has a Marc Bolan / T-Rex cover, but it didn't cross the Channel
yet) where Nick Mason expresses his belief that there still is room for
a combined Piper/Saucerful Immersion set. That extended CD-box-set would
have early Pink Floyd rarities as Vegetable Man and Scream Thy
last Scream but also...
...we've got some demos that were made really early on, which I think
are just charming. these come from 1965 and include 'Lucy Leave', "I'm A
King Bee", "Walk With Me Sydney", and "Double O-Bo". They're very R'n'B.
Of course we were yet another English band who wanted to be an American
style R'n'B band. We recorded the demo at Decca. I think it must have
been, in Broadhurst Gardens. A friend of Rick's was working there as an
engineer, and managed to sneak us in on a Saturday night when the studio
As all Immersion sets come with some live recordings as well all eyes
(or ears) are pointing into the direction of the Gyllene Cirkeln
gig that was recently sold by its taper to the Floyd. But Mark Jones,
known for his extensive collection of early Pink Floyd and Syd Barrett
pictures, heard something else from his contacts at Pink Floyd Ltd. He
fears that this gig will not be put on an early Floyd immersion set:
I doubt it, my answer from someone 'high up' was 'the Stockholm
recording does not feature Syd's vocals'. I take that means either his
mic was not functioning properly or he was singing off mic. (…) My
answer was from 'high up' and from what I gathered it meant they weren't
Like we have pointed out in a previous article (see: EMI
blackmails Pink Floyd fans!) the September 1967 live set does not
have audible lyrics, due to the primitive circumstances the gig has been
recorded with (or simply because Syd didn't sing into the microphone).
But that set also has some instrumentals that could be put on a rarities
disk: a 7 minutes 20 seconds unpublished jam nicknamed 'Before or
Since' (title given by the taper), Pow R Toc H (without the
jungle sounds?) and Interstellar Overdrive.
It will be a long wait as an early Immersion set can only see the light
of day in late 2012 and only after the other sets have proven to be
Back to Mojo with its Dark Side Of The Moon / Wish You Were
Here cover article. Obviously the 'Syd visits Pink Floyd' anecdote
had to be added in as well and at page 88 Mark Blake tells the different
versions of this story once again (some of them can also be found in
Big Barrett Conspiracy Theory).
In his Lost In Space article Mark Blake also retells the almost
unknown story about an unpublished Pink Floyd book that has been lying
on Roger Waters' shelves for about 35 years. After the gigantic success
of Dark Side Of The Moon the band, or at least Roger Waters,
found it a good idea to have a documentary of their life as successful
rock-stars. Waters asked his old Cambridge friend and golf buddy Nick
Sedgwick to infiltrate the band and to note down his impressions.
Another sixties Cambridge friend was called in as well: Storm
Thorgerson, who hired Jill Furmanovsky to take (some of) the
pictures of the 1974 American tour. Nick and Storm could follow the band
far more intimately than any other journalist or writer as they had been
beatnik buddies (with Syd, David and Roger) meeting in the Cambridge
coffee houses in the Sixties. In his 1989 novel Light Blue With Bulges
Nick Sedgwick clearly describes how a loud-mouthed bass player and the
novel's hero share some joints and drive around on their Vespa
Life on the rock road in 1974 was perhaps too much of a Kerouac-like
adventure. The band had its internal problems, with Roger Waters acting
as the alpha-male (according to David Gilmour in the latest Mojo
article). But there weren't only musical differences, Pink Floyd had
wives and families but they also had some difficulties to keep up the
monogamist life on the road. Then there was the incident with Roger
Waters who heard a man's voice at the other side when he called his wife
When David Gilmour read the first chapters of the book he felt aggrieved
by it and managed to get it canned, a trick he would later repeat with
Nick Mason's first (and unpublished) version of Inside Out. But
also Nick Mason agrees that the book by Nick Sedgwick was perceived, by
the three others, as being to openly friendly towards Roger Waters and
too negative towards the others. Mark Blake, in a Facebook reaction to
the Church, describes the manuscript as 'dynamite'.
Unfortunately Nick Sedgwick died a couple of days ago and Roger Waters
issued the following statement:
One of my oldest friends, Nick Sedgwick, died this week of brain cancer.
I shall miss him a lot. I share this sad news with you all for a good
He leaves behind a manuscript, "IN THE PINK" (not a hunting memoir).
His memoir traces the unfolding of events in 1974 and 1975 concerning
both me and Pink Floyd. In the summer of 1974 Nick accompanied me, and
my then wife Judy, to Greece. We spent the whole summer there and Nick
witnessed the beginnings of the end of that marriage.
That autumn he travelled with Pink Floyd all round England on The Dark
Side Of The Moon Tour. He carried a cassette recorder on which he
recorded many conversations and documented the progress of the tour. In
the spring of 1975 he came to America with the band and includes his
recollections of that time also.
When Nick finished the work in 1975 there was some resistance in the
band to its publication, not surprising really as none of us comes out
of it very well, it's a bit warts and all, so it never saw the light of
It is Nick's wish that it be made available now to all those interested
in that bit of Pink Floyd history and that all proceeds go to his wife
To that end I am preparing three versions, a simple PDF, a hardback
version, and a super de-luxe illustrated limited edition signed and
annotated by me and hopefully including excerpts from the cassettes.
For those interested in the more turbulent episodes of the band Pink
Floyd this will be a very interesting read indeed.
Update 2016 12 04: the Sedgwick Floyd biography 'In The Pink' has
not been published yet. In a 2015 interview for Prog magazine Roger
Waters, however, said that the project was still on.
The Church wishes to thank: Mark Blake, Mark Jones & although he will
probably never read this, Roger Waters.
Business as usual at The Anchor. Felix Atagong, that old
drunk hippie, was sitting at the bar, ogling some of the mojito
girls eagerly discussing Justin Bieber's posterior. At his fifth
Guinness Felix usually starts to get all glazzy eyed and wants to start
a Pink Floyd fight. Most of the time it suffices to name-drop Rob
Chapman to make Atagong throw a tantrum, but there weren't enough
spectators today to make this trick worthwhile.
"Alex", he said, "Did I already tell you that David
Gilmour wore a Guinness
t-shirt during the 1974 French tour, just to piss off their sponsor Gini?"
I pretended not having heard this story a dozen times before.
"In 1972", he orated, "Pink
Floyd signed a lucrative publicity contract with Gini, a French übersweet
soft drink. The band went to the Moroccan desert where they had some shots
taken by photographer William Sorano, a fact not a lot of people know
of." Felix likes to brag a lot, especially when he gets a bit light in
"Of course Pink Floyd wasn't a millionaire's super group yet when they
agreed with the deal. They liked to describe themselves as an
underground art band and only the French were daft enough to believe
that. British have this national sport to fool the French and for three
full decades those have thought that 'pink floyd' was English for 'flamant
rose' or 'pink flamingo'. That rumour was started on the mainland by
journalist Jean Marie Leduc after he returned from a trip to London in
sixty-seven. Asking a freaked-out acid head what a pink floyd
really meant he turned into the proverbial sitting duck and eagerly
swallowed the bait."
"So whenever Pink Floyd wanted to get arty-farty they only had to hop
into the nearest ferry to Calais where they were hauled in as national
heroes. One of their sillier projects was to play behind a bunch of men
in tights, jumping up and down in an uncoördinated way, and calling that
a ballet. Of course there was a kind of 'intellectual snobbery' involved
in this all, but even more the Pink Floyd's fine taste for champagne and
oysters that was invariably hauled in by the bucket." Felix had
certainly reached lift-off and would be raving and drooling now for at
least the next half hour to come."
"Another project was the soundtrack for the art movie La
Vallée, a typical French vehicle for long pseudo philosophical
musings about the richness of primitive culture and the sudden urge of a
French bourgeois woman to hug some trees and to hump the local Crocodile
Dundee. Part of the movie is in the kind of English that would turn
Inspector Clouseau green with envy. What does one expects from a bunch
of hippies, making a tedious long journey to a mythical valley they call
'obscured by cloud' (not 'clouds')?"
"The hidden valley is supposed to be a paradise and the story sounds
like a cheap rehash of the ridiculous Star Trek episode, The
Way To Eden. Over the years journalists and biographers have
rumoured that the movie is saved by showing a fair amount of frolicking
in the nude, but it miserably fails in that department as well. Quite
unusual for a French movie of the early seventies, I might add, as the
cinematographic intellectual trend was to show the female form in all
its variety. The only bush that can be seen is the New Guinean forest
"Obviously the Floyd couldn't resist this challenge and helped by the
easy money soundtracks brought in they were wheeled into a château
with a stock of red wine and boeuf bourguignon. Two weeks later
they emerged with one of their finest albums ever." Atagong took another
drink and belched loudly. This had only been the introduction, I feared,
I was right.
"Rick Wright recalls in a 1974 Rock & Folk interview how
their manager Steve
O'Rourke met a bloke on a French beach, waving a fifty thousand
British pounds check in front of him. O'Rourke frantically jumped up and
down, like a dancer from a French avant-garde ballet dancing troupe,
making hysterically pink flamingo quacking sounds. Little did he know
this was going to be first time in Floydian history that the band didn't
manage to trick the French, a tradition that started in 1965 when Syd
Barrett and David Gilmour busked the French Riviera. Of course it is
easy to say in retrospect O'Rourke was duly screwed 'up the khyber'
by the Gini coöperation, but in 1972 it appeared not to be such a bad
deal after all. Part of the deal was that Gini promised to sponsor a
French tour, including radio and television promo spots that
unfortunately have not survived into the 21st century."
"The main problem was that in 1973 Pink Floyd suddenly turned into
millionaire superstars thanks to Dark Side Of The Moon and that
50,000 pounds was now something they spent on breakfast orange juice.
But Gini, waving with the two years old contract, threatened with legal
action and the Floyd reluctantly agreed to meet the conditions."
"In the summer of 1974 Floyd hit France and wherever they appeared a
publicity caravan of 15 people would follow them. It had cute girls who
gave Gini drinks, stickers and fluorescent t-shirts away, 4 'easy
riders' on 750 cc super-choppers
(painted by Jean-Paul
Montagne) and a green 1956 Rolls-Royce Silver
Wraith (numberplate: 567 AAF 75) with a loud stereo installation.
Rumours go that at a certain point the atmosphere was so heated between
the Pink Floyd management and Gini that a minimum distance between band
and publicity people had to be agreed on. But according to Nick Mason,
in his auto-biography Inside Out, it was only the band that got
infuriated, the technical crew quite enjoyed the promo girls and they
exchanged more than soft drinks alone."
"French journalists immediately accused Pink Floyd of a sell-out and the
band rapidly declared that the money was going to charity, something in
the line of a school for handicapped children. Rock & Folk squeezed out
the names of the Ronald
Laing Association and the French hôpital
de Salpêtrière, but reality may have been a bit different.
Nick Mason told Mojo's Mark
Blake this summer that they probably just shelved the money,
although David Gilmour and Roger Waters still keep up it was donated.
Rest me to say that Waters was so angry at the situation that he wrote
an unpublished song about the Gini incident, titled Bitter Love
(aka 'How Do You Feel')." Felix Atagong paused a bit, to have a drink,
so this was a moment for immediate action.
"Out!", I said, "The Anchor is closed."
"But", retaliated the Reverend, "this was just a mere introduction to
start talking about the Wish You Were Here Immersion set that has
just been issued and I would like to say something more about the 1967 Stockholm
Cirkeln show that has finally been weeded out to the public..."
"Out!", I said again, "There is no time for your drunken ramblings any
I pushed Felix Atagong out of the door and I heard him staggering back
home, murmuring incomprehensible things. He'll be back tomorrow anyway.
(The above article is entirely based upon facts, some situations have
been enlarged for satirical purposes.) The Anchor wishes to thank:
Nipote and PF Chopper at Y.
Sources (other than the above internet links): Blake, Mark: Pigs
Might Fly, Aurum Press Limited, London, 2007, p. 179-183, 214. Blake,
Mark: Lost In Space, Mojo 215, October 2011, p. 85. Feller,
Benoît: Complet, Rock & Folk, Paris, July 1974, p. 44. Leduc,
Jean-Marie: Pink Floyd, Editions Albin Michel, Paris, 1982, p.
125. Mason, Nick: Inside Out, Orion Books, London, 2011
reissue, p. 197-198. (unknown): La "caravane" Pink Floyd-Gini,
Hit Magazine, Paris, July 1974.
One of the promo Pink Floyd Gini choppers is still around today and has
its own Facebook page: The
Pink Floyd Chopper.
The Anchor is the Holy Church of Iggy the Inuit's satirical
division, intended for people with a good heart, but a rather bad
character. More info: The
Anchor. Read our legal stuff: Legal
On Wednesday, 9 May 2012, it was reported that Clive
Welham passed away, after having been ill for a long time.
50 years earlier, he was the one who introduced a quiet, shy boy to
Roger 'Syd' Barrett at the Cambridge College of Art and Technology. The
boys had in common that they both liked to play the guitar and
immediately became friends, that is how Syd Barrett and David Gilmour
met and how the Pink Floyd saga started.
Just like in the rest of England, Cambridge was a musical melting pot in
the early sixties with bands forming, merging, splitting and dissolving
like bubbles in a lava lamp.
Clive 'Chas' Welham attended the Perse
Preparatory School for Boys, a private school where he met fellow
student David Gilmour. As would-be musicians they crossed the
social barriers and befriended pupils from the Cambridge and County
School for Boys, meeting at street corners, the coffee bars or at home
were they would trade guitar licks. Despite their two years age
difference Clive was invited to the Sunday afternoon blues jam sessions
at Roger Barrett's home and in spring 1962 this culminated in a
'rehearsal' band called Geoff Mott & The Mottoes. Clive
Welham (to Julian Palacios):
There was Geoff Mott [vocals], Roger Barrett [rhythm guitar], and
“Nobby” Clarke [lead guitar], another Perse boy. I met them at a party
near the river. They’d got acoustic guitars and were strumming. I
started picking up sticks and making noise. We were in the kitchen, away
from the main party. They asked me if I played drums and I said, “Not
really, but I’d love to.” They said, “Pop round because we’re getting a
Clive Welham (to Mark Blake):
It was quite possible that when me and Syd first started I didn't even
have any proper drums and was playing on a biscuit tin with knives. But
I bought a kit, started taking lessons and actually got quite good. I
can't even remember who our bass player was...
Although several Pink Floyd and Syd Barrett biographies put Tony Sainty
as the Mottoes' bass player Clive Welham has always denied this: “I
played in bands with Tony later, but not with Syd.”
Another hang-around was a dangerous looking bloke who was more
interested in his motorbike than in playing music: Roger Waters.
He was the one who designed the poster for what is believed to be The
Mottoes' only public gig.
After Clive Welham had introduced David Gilmour to Syd Barrett, David
became a regular visitor as well. Surprisingly enough Syd and David
never joined a band together, starting their careers in separate bands.
Although they were close friends it has been rumoured there was some
pubertal guitar playing rivalry between them.
1962: The Ramblers
The Mottoes never grew into a gigging band and in March 1962 Clive
Welham, playing a Trixon
drum kit, stepped into The Ramblers with Albert 'Albie' Prior
(lead guitar), Johnny Gordon (rhythm guitar), Richard Baker (bass) and
Chris ‘Jim’ Marriott (vocals).
The Ramblers’ first gig was at the United Reformed Church Hall on Cherry
Hinton Road. They used their new Watkins Copycat Echo Chamber giving
them great sound on The Shadows’ Wonderful Land and Move It.
The Ramblers soon acquired a certain reputation and gigged quite a lot
in the Cambridge area. One day Syd Barrett asked 'Albie' Prior for some
rock'n roll advice in the Cambridge High School toilets: “...saying that
he wanted to get into a group and asking what it involved and in
particular what sort of haircut was best.”
Unfortunately the responsibilities of adulthood crept up on him and lead
guitarist 'Albie' had to leave the band to take a job in a London bank.
On Tuesday, the 13th of November 1962, David Gilmour premiered at a gig
at the King's Head public house at Fen Ditton, a venue were they would
return every week as the house band. Gilmour had joined two bands at the
same time and could also be seen with Chris Ian & The Newcomers,
later just The Newcomers. Notorious members were sax-player Dick
Parry, not unknown to Pink Floyd anoraks and Rick
Wills (Peter Frampton's Camel, Foreigner and Bad Company).
Memories have blurred a bit but according to Glenn Povey's Echoes
Gilmour's final gig with The Ramblers was on Sunday, 13 October 1963.
Beginning of 1964 The Ramblers disbanded but three of its 5 members
would later resurface as Jokers Wild.
1963: The Four Posters
But first, in autumn 1963, a band known as The Four Posters was
formed, although it may have been just a temporarily solution to keep on
playing. David Altham (piano, sax & vocals) and Tony Sainty (bass &
vocals) were in it and perhaps Clive Welham (drums). Unfortunately their
history has not been documented although according to Will Garfitt, who
left the band to pursue a painting career, they played some gigs at the
Cambridge Tech, the Gas Works, the Pit Club and the university. Contrary
to what has been written in some Pink Floyd biographies John Gordon was
I was never in The Four Posters. Clive and I were together in The
Ramblers, and we left together to join Dave, David and Tony to create
Jokers Wild. I don't know whether Dave and Tony came from The Newcomers
or The Four Posters...
1964: Jokers Wild
The Ramblers, The Four Posters and The Newcomers ended at about the same
time and the bands more or less joined ranks. Renamed Jokers Wild
in September 1964 it was at first conceived as an all-singing band. “We
were brave enough to do harmony singing that other groups wouldn’t
attempt, including Beach Boys and Four Seasons numbers”, confirmed Tony
Sainty. The band had good musicians, all of them could hold a tune, and
they soon had a loyal fanbase. They became the house-band at Les Jeux
Interdits, a midweek dance at Victoria Ballroom. Clive Welham: “We
came together in the first place because we all could sing.”
Some highlights of their career include a gig with Zoot
Money's Big Roll Band, The
Paramounts (an early incarnation of Procol Harum) and a London gig
as support act for The
Animals. This last gig was so hyped that a bus-load of fans followed
them from Cambridge to the big city of London.
1965: Walk Like A Man
Mid 1965 the band entered the Regent Sound Studios in Denmark Street,
London. They recorded a single that was sold (or given) to the fans
containing Don’t Ask Me What I Say (Manfred
Mann) and Big Girls Don’t Cry (The
Four Seasons). Out of the same session came a rather limited
one-sided LP with three more numbers: Why
Do Fools Fall in Love, Walk
Like a Man and Beautiful
Delilah. This is the only 'released' recording of Jokers Wild
although there might be others we are not aware of. Peter Gilmour
(David's brother) who replaced Tony Sainty on bass and vocals in autumn
1965 commented this week:
Sad news. A great bloke. I'll replay some of those old recordings doing
Four Seasons and Beach Boys numbers with his lovely clear falsetto voice.
Somewhere in October 1965 they played a private party in Great Shelford
together with an unknown singer-songwriter Paul
Simon and a band that was billed as The Tea Set because Pink
Floyd sounded too weird for the highbrow crowd. Clive Welham:
It was in a marquee at the back of this large country house [that can,
by the way, be seen on the cover of the Pink Floyd album Ummagumma,
FA]. I sat on and off the drum kit because of my wrist problems. Willie
Wilson sat in on drums and I came to the front on tambourine.
The musicians enjoyed themselves, jamming with the others and Paul Simon
- 'a pain in the arse', according to drummer Willie Wilson - joined in
on Johnny B. Good. A couple of days later Jokers Wild supported Pink
Floyd again, this time at the Byam Shaw School, Kensington, London. Each
band was paid £10 for that gig.
1965: the Decca tapes
By then Jokers Wild were seriously thinking of getting professional.
They were not only known by the locals in Cambridgeshire, but did
several society parties in London as well. Also the military forces had
discovered them: Jokers Wild was invited for the Admiral League dance at
the Dorchester Hotel in London and played several dances at the RAF and
USAF bases of Mildenhall, Lakenheath, Alconbury and Chicksands. Their
repertoire changed as well, shifting more towards soul, R&B and Tamla
Motown. Libby Gausden: “How we danced to David Gilmour, Peter Gilmour,
David Altham, John Gordon, Tony Sainty and dear Clive xxx.”
Some promoters were sought for and the band recorded a single for Decca:
You Don’t Know Like I Know (Sam
and Dave) / That’s How Strong My Love Is (Otis
Redding), but unfortunately it was never released because the
original version by Sam and Dave had already hit the UK market.
After the Decca adventure the original band slowly evaporated over the
next few months. Peter Gilmour left (probably after the summer of 1966)
to concentrate on his studies. Clive Welham had difficulties combining
his full time job with a semi-professional rock band and had some
medical problems as well. John Gordon further explains:
Clive [Welham] became unable to play any more (with a wrist complaint)
and was replaced by Willie Wilson... and that line-up continued for some
time. It was later still that Tony Sainty was replaced by Rick
[Wills]... and then, when the band was planning trips to France, I had
to 'pass' to finish my degree at college.
1966: Bullit & The Flowers
Now a quartet with David Altham, David Gilmour, John 'Willie' Wilson and newcomer
Rick Wills on bass, they continued using the known brand name, a trick
Gilmour would later repeat (but slightly more successful) with Pink
Floyd, touring around Spain, France and The Netherlands. Another failed
attempt to turn professional made them temporarily change their name to Bullit
and when David Altham also left the remaining trio continued as The
Flowers, mainly playing in France. Around camp-fires on this planet
it is told how a sick (and broke) David Gilmour returned to London, just
in time to get a telephone call from Nick Mason, asking if he had a few
minutes to spare.
2012: Nobody Knows Where You Are
Clive worked at the Cambridge University Press but always continued with
his music. According to Vernon Fitch he played in a band called Jacob's
Ladder in the Seventies and was a successful singer with local
Cambridge band Executive Suite in the Nineties. Helen Smith
remembers him as the leader of Solitaire, what must have been
(according to Colleen Hart) in the mid-Seventies:
A brilliant front man in his band 'Solitaire' - he had a wonderfully
sweet singing voice and could easily hit the high notes!
Update 2012 08 12: In 1978 Clive made a private, non commercial
recording of Peanuts, originally a 1957 hit from Little
Joe & The Thrillers:
David Altham: guitar, saxophone, keyboards, vocals David Gilmour:
guitar, vocals, harmonica John Gordon: rhythm guitar, vocals (1964 to
late 1965) Tony Sainty: bass, vocals (1964 to early 1966) Peter
Gilmour: bass, vocals (early 1966) Clive Welham: drums, vocals (1964
to late 1965) John 'Willie' Wilson: drums (from late 1965)
Jokers Wild #2 (Summer 1966 - Summer 1967 / Source: Glenn Povey) AKA
Bullit (3 summer months in 1966 at the Los Monteros hotel in Marbella?) AKA
The Flowers (end 1966)
David Altham: rhythm guitar (to December 1966) David Gilmour: guitar,
vocals Rick Wills: bass (from January 1967) John 'Willie' Wilson:
According to Julian Palacios in Dark Globe, quoting David Gale,
'perse pigs and county cunts' were friendly nicknames the pupils of
these rivaling schools gave to each other. David Gale's assumption can
be found on YouTube
although it may have been a raunchy joke towards his audience and part
of his 'performance'. (Back to text above.)
Syd Barrett in Jokers Wild?
In an interview for the Daily
Mirror in August 2008 Rosemary Breen (Syd's sister) told:
He [Syd] started his first band, Jokers Wild, at 16. Sunday
afternoons would see Cambridge chaps and girls coming over for a jamming
session. The members of Pink Floyd were just people I knew. Roger Waters
was a boy who lived around the corner and Dave Gilmour went to school
over the road.
This seems to be a slip of the tongue as Syd Barrett never joined the
band. In a message on Facebook,
Jenny Spires adds:
Syd was not in Jokers Wild... He jammed with all the various members at
different times, but he wasn't in it. When I met him in 64, he was
playing with his old Art School band Those Without. He was also in The
Tea Set at the same time. He played with several bands at the same time,
for example if someone needed a bass player for a couple of gigs they
may have asked him to stand in. Earlier, he played with Geoff Mott and
also with Blues Anonymous. There were lots of musician friends in
Cambridge that Syd played and jammed with. (Jenny Spires, 2012 06 30)
Many thanks to: Viv Brans, Michael Brown, Lord Drainlid, Libby Gausden,
John Gordon, Peter Gilmour, Colleen Hart, Chris Jones, Joe Perry,
Antonio Jesús Reyes, Helen Smith, Jenny Spires & I Spy In Cambridge. All
pictures courtesy of I
Spy In Cambridge. ♥ Iggy ♥ Libby ♥
Sources (other than the above internet links): Blake, Mark: Pigs
Might Fly, Aurum Press Limited, London, 2007, p. 22-23, 34. Clive
Welham at Cambridge News Death
Notices, May 2012. Dosanjh, Warren: The music scene of 1960s
Cambridge, Cambridge, 2012, p. 42, 46-47. Free download
Spy In Cambridge. Fitch, Vernon: The Pink Floyd Encyclopedia,
Collector's Guide Publishing, Ontario, 2005, p. 342. Gordon, John: Corrections
re Jokers Wild, email, 2012-05-12. Palacios, Julian: Syd
Barrett & Pink Floyd: Dark Globe, Plexus, London, 2010, p.
27-28, 31. Povey, Glenn: Echoes, the complete history of Pink Floyd,
3C Publishing, 2008, p. 13, 20-24, 29.
What is there to say about Storm, except perhaps, like someone put in Birdie
Hop, that he had a great name and a great life?
Thorgerson was a member of the so-called Cambridge mafia, who in the
early Sixties fled their home-town en masse to seek fame and
fortune in the great city. They wanted to study in London, at least that
is what they told their parents, but frankly these youngsters just
wanted to get away from parental guidance and have an uncensored bite of
adult life: sex, drugs and rock'n roll. Paradoxically, or maybe not,
once they arrived in London they immediately flocked together, sharing
apartments and houses and meeting in the same clubs and coffee houses.
The term Cambridge mafia was coined by David
Gilmour to denominate that bunch of relatives, friends and
acquaintances who stuck together, not only in the sixties, but are still
doing today. As a relative young and unknown band Pink
Floyd looked for associates, sound- and light technicians, roadies
and lorry drivers in their immediate neighbourhood, often not further
away than the next room in the same house.
Thorgerson was no exception, he had played cricket in the same team as Bob
Klose and Roger
Waters, and when the Floyd needed a record cover for A
Saucerful Of Secrets, Storm managed to squeeze himself in, staying
there till the end of his life, as the recent variations
of the Dark Side of the Moon cover show us.
But even before Saucerful Storm had been involved with the band, it was
at his kitchen table at Egerton Court that the members, minus Syd
Barrett, discussed the future of Pink Floyd and decided to ask for a
little help from yet another Cantabrigian friend: David Gilmour.
Obviously, this blog would not exist if, in the week from the 14th to
21st April 1969, Storm hadn't made an appointment with history to start
a magical photo shoot.
Julian Palacios in Dark Globe:
Storm Thorgerson supervised the photo session for the cover of The
Madcap Laughs, bringing in Mick Rock to photograph at Syd’s flat. ‘Syd
just called out of the blue and said he needed an album cover,’
confirmed Rock. When Thorgerson and Rock arrived for the shoot, ‘Syd was
still in his Y-fronts when he opened the door,’ Mick explained. ‘He had
totally forgotten about the session and fell about laughing. His lady
friend of two weeks, “Iggy the Eskimo”, was naked in the kitchen
preparing coffee. She didn’t mind either. They laughed a lot, a magical
There has been some muffled controversy who was the brain behind the
pictures of The Madcap Laughs, not really helped by some contradicting
explanations from Storm Thorgerson and Mick
Rock. They both arrived the same day, both with a camera, and
probably Rock handed over (some of) his film rolls to Storm as this was
initially a Hipgnosis
Unfortunately we will never be able to ask Storm whether there was a
third photographer present or not, but the chance is he wouldn't have
remembered anyway. The rumour goes Storm was a rather chaotic person and
that most Barrett negatives disappeared or were misplaced through the
Perhaps the best, or at least the most personal, the most touching, the
most emotional album art by Storm is the cover of the 1974 Syd Barrett
vinyl compilation. It is a simple brown cover with Syd's name in
handwriting and a small picture, taken from what probably was an autumn
or late summer photo session also destined for the cover of The Madcap
Laughs. The pictures of the so-called yoga photo-shoot however where not
used, as we all know, for Syd's first album as Storm decided to use the
daffodil and Iggy session from April instead. Hence the misdating in
nearly all biographies.
In 1974 Harvest decided to package Barrett's two solo albums as a budget
release. Storm, by then de de facto house photographer of Pink
Floyd, was asked to design a new cover. Storm rang at Syd's apartment
but the recalcitrant artist smashed the door when he heard about the
reason for the visit.
Thorgerson went back to the office and decided to make a cover out of
leftover pictures. On top of the brown background he put a plum, an
orange and a matchbox. This was probably the first time that Storm
played a game that he would later repeat with other Floydian artwork,
leaving enigmatic hints that were initially only understood by that
select group of Cantabrigian insiders who had known Syd personally.
Thorgerson's riddles culminated in the art for The
Division Bell (and its many spin-offs) that had a visual companion
for every song of the album, and rather than clarifying or portraying
the lyrics they added to the mystery. It still is his opus magnum
and unfortunately he will not be able any more to top it. We will never
know if he was in with the Publius
Enigma hoax although there have been a few leads pointing that way.
At a later stage Storm lost me somewhat. His mix of photographic
surrealism and mockery became too much a gimmick and the freshness and
inventiveness were gone. The covers of the latest Syd Barrett and Pink
Floyd compilations were not always appreciated by the fans. Perhaps he
was already sick by then.
But these few failings disappear at the magical
visual oeuvre Storm Thorgerson has left us (and not only for Pink
Floyd): A Nice Pair, Argus, Cochise, Dirty Things Done Dirt Cheap,
Flash, Houses of the Holy, Lullubelle III, Picnic, Savage Eye, Sheet
Music, The Lamb Lays Down On Broadway, Tightly Knit, Venus and Mars and
many many more...
Thorgerson was a rock artist without having recorded a single note of
music, he will be missed on Earth, but if there is that nirvana he will
surely be welcomed by Clive, Nick, Pip, Ponji, Rick, Steve, Syd and the
Many thanks to: Lori Haines. ♥ Iggy ♥ Libby ♥
Sources (other than the above internet links): Palacios,
Julian: Syd Barrett & Pink Floyd: Dark Globe, Plexus, London,
2010, p. 340.
Interstellar Overdrive is the name of a January 2014 Shindig
guide and it's worth every penny you spend on it. In 35 articles on 170
pages, it tries to define and explore the space rock phenomenon. It has
in-dept articles on Amon Düül II, Gong, Hawkwind, Pink Fairies, Spacemen
3, Sun Ra and many others without forgetting the sci-fi movie
soundtracks of the fifties (Forbidden Planet!) and the BBC Radiophonic
Workshop (Doctor Who!).
In a six pages article 'The Reluctant Spacerockers' the on-off
relationship between Pink Floyd and space rock is examined and
what an enjoyable essay that is.
While journalists, who are nothing but a bunch of lazy buggers anyway,
have labelled the band as space rockers, its members denied this, in
particular Roger Waters who reacted in his usual diplomatic style:
“Space – what the fuck are they talking about?” Probably the bass player
is so demented nowadays that he has forgotten that his lame Amused to
Death album features some alien anthropologists trying to find out
why all these skeletons are sitting before their TV sets.
Then Austin Matthews chimes in and quite intelligible shows where and
how the Pink Floyd used space rock tricks to appease the masses.
There is an error in the article although the author is only partially
to blame. (We are just being gentle here, that spaced out sod could of
course have done a search on the Internet first.) On page 29 David
Gilmour is cited:”To say that we are thrilled at the thought of being
the first rock band to be played in space is something of an
This refers to the Soyuz
TM-7 rocket launch from the 26th of November 1988 five days after
Pink Floyd had released their Delicate
Sound Of Thunder (live) album. The French president François
Mitterrand attended the launch because of cosmonaut Jean-Loup
Chrétien, who was the first western European man in space (this
was his second flight, by the way, his first was in 1982). David Gilmour
and Nick Mason attended because a cassette of their latest album was
sent to the MIR
space station, apparently on demand by one of the cosmonauts. We'll
never know if this is true or just a staged lie but surely there was a
mighty PR machine behind the band who made it clear to the world that
this was the first rock music recording played in outer space.
Which was not true. Simple as that.
In 2003, while researching for an Orb
biography that would never see the light of day, the Reverend stumbled
upon the electronic band spAce
who had a million-selling disco hit in 1977 with Magic
Fly. The band split in the early eighties but electronic composer Didier
Marouani had a particular successful solo career in Russia (and the
East-European communist countries), often using the spAce name and logo,
depending on the lawsuit of the month that ex-members were bringing on
Marouani's solo work is slightly reminiscent of Jean-Michel Jarre, Mike
Oldfield or Tangerine Dream and was (still is) inspired by Russian and
American space programs and sci-fi themes. In 1987 he released a CD
called Space Opera (got the slight promotional nudge towards his
old band?) and that CD was taken by cosmonauts Alexander
Viktorenko, Syrian Muhammed
Faris and Aleksandr
Aleksandrov to the MIR orbital station in July 1987, more than a
year before Pink Floyd made all that brouhaha.
In 2003, long before the Holy Church of Iggy the Inuit was
founded, the Reverend interviewed Didier Marouani who had the following
I was composing my album Space Opera and I had the idea to bring
Americans and Russians together on my album which at that time was very
difficult (especially from the USSR). After negotiating with the Soviet
ministry of Culture for 6 months I got the authorization to have the Red
Army Choir together with the Harvard University Glee Club choir, who
were recorded separately.
Following my concept I thought it would be very nice to have this first
Space Opera shipped to MIR and then launched into outer space. They
asked me to wait while they would study my request and in the meantime I
wrote a letter to Mr. Mikhail
Gorbachev who answered very positive.
Two months later the Ministry of Space confirmed an appointment. On
July, the 2nd, 1987 I was received by the Russian cosmonauts and I gave
them a CD, together with a CD-player and 2 small speakers. This was
extensively reported in the Russian press.
The cosmonauts left Baikonur
on the 22nd of July 1987 and in October 1987 the CD, the player and the
2 speakers were launched into outer space. So my music really floats
into space which is for me a very big and happy achievement.
So for sure Pink Floyd did not have the first music in space. During a
concert tour in the USSR, I met cosmonaut Aleksandr Pavlovich
Aleksandrov, twice Hero of the Soviet Union, again who told me that he
worked in space for 7 months, listening to my music. [Note:
actually Aleksandrov stayed 160 days in Space in 1987.]
Lie for a Lie
But of course Mr. Gilmour may not entirely have been lying when he said
Pink Floyd was the first rock band to be played in space. Didier
Marouani's oeuvre is more electronic, new age (and recently: dance)
oriented and the Floyd, as we all know, have never flirted with these
musical styles before. (Yes, this is called irony.)
The last laugh may be for Didier
Marouani though. In 2011 he released an album called From Earth
to Mars and it was officially appointed by Roskosmos
as the album that will go with the first manned Russian flight to that
planet. But we earnestly doubt that listening to it for 6 months in a
row will have a positive effect on its crew.
It was probably Monday the 28th of March 1994 when the Reverend came
home from work and had a burning hot CD in his pocket. On the train from
work to Atagong mansion he had already opened the booklet, had
thoroughly scrutinised the artwork by Storm
Thorgerson, trying to read the music in the intriguing images. Cerro
Tololo, the boxing gloves,
the paper heads
(and headlines)... The Reverend's heart literally skipped a beat when he
found out that Rick
Wright had been given a song
he could call his own. Rick's first Pink Floyd song for nearly two
decades (and literally the centrepiece of the album).
Probably the Atagong family had supper first, then LA-girl sat in the
couch, and after the Reverend had put the CD in the player he sat next
to her. It must have been a rather chilly day because there was some
wood burning in the stove and Mimi, the fat and pregnant cat, was
enjoying the heat in her basket.
The earth noises came in... and a new legend was born...
All this came back to the Reverend when, on the 19th of May 2014 a new
Pink Floyd website appeared, called Division
There was a countdown clock and a new - Storm Thorgerson inspired - video
for the excellent Marooned
instrumental, that grew out of a jam at the Astoria
recording studio between David
Gilmour & Rick Wright. There were immediately some rumours in Pink
Floyd internet land, some clearly more inspired than others, but the
general consensus was that the album would be re-released in an
anniversary or even an Immersion edition.
The obvious nod towards Thorgerson and Wright made the fans hope for the
release of The Big Spliff, a Division Bell satellite album whose
demos had been lying in the vaults since 1994. Nick
Mason in Inside Out:
After two weeks we had taped an extraordinary collection of riffs,
patterns and musical doodles, some rather similar, some nearly
identifiable as old songs of ours, some clearly subliminal reinventions
of well known songs. (…) But even having discarded these, forty ideas
were available. (…) We eventually ended up with enough left-over
material that we considered releasing it as a second album, including a
set we dubbed ‘The Big Spliff’, the kind of ambient mood music that we
were bemused to find being adopted by bands like the Orb, although –
unlike Gong’s Steve Hillage – we never received any invitations to join
this next generation on stage.
It needs to be said that the Reverend's expectations were running in
overdrive as well, he was hoping for a new Publius
Enigma clue (or perhaps a modest explanation of the riddle - stroke
- hoax), hidden in the artwork somewhere, and of course the anticipation
of some unreleased tracks, as on the other Immersion and Discovery sets
(see also: Fuck
all that, Pink Floyd Ltd).
Four Star Daydream
When the clock reached zero the website indeed revealed a pricey
Division Bell box-set (actually it crashed at first, as it was hit by
thousands of fans at the same time). Limited at 500 copies worldwide it
contained an exclusive Limited Edition Division Bell 20th Anniversary
T-shirt, a remastered double vinyl in gatefold sleeve, a Division Bell
CD and a Bluray with 3 alternative mixes and the new Marooned music
video. Some 7 and 12 inch coloured vinyl singles were thrown in as well,
together with a 24 Page 12" (30 cm) booklet, 4 art prints and... some
So basically Pink Floyd decided to ride the gravy train (again) by
repackaging the same product five times in the same box and throwing it
at the fans for the giveaway price of £157.50 (about 263 $ or 193 Euro,
the unlimited box [without t-shirt and coasters] comes somewhat cheaper
and is still available).
Each man has his price, Fred
The fact that it is Gilmour now who spits the fans in the face even made
it into the papers
and generally there is much disdain from the fanbase. What seemed to be
the hype of the year was nothing but a cheap stunt to sell some recycled
material at exorbitant prices. That the memory of Rick Wright and the
legacy of Storm Thorgerson were thrown in to make a cynical million
bucks more makes this release even more sickening. Polly
Samson once wrote: “David Gilmour should be cloned so that every
crowded house might have one”, but at this rate she can keep him inside,
lock the door and throw away the key.
Did you understand the music, Fat Dave, or was it all in vain?
And when you feel you're near the end And what once burned so bright
is growing dim? And when you see what's been achieved Is there a
feeling that you've been deceived? Near The End - David Gilmour, 1984.
Upgrade 2014: a month after the publication of this article it
was found out that a brand new 'recycled' Pink Floyd album was in the
make, loosely based upon the Big Spliff sessions. However, this resulted
in an unprecedented attack of the Floyd management towards its fans.
loathful Mr. Loasby and other stories...
(The above article is entirely based upon facts, some situations may
have been enlarged for satirical purposes.)
Sources (other than the above internet links): Mason, Nick: Inside
Out: A personal history of Pink Floyd, Orion Books, London, 2011
reissue, p. 315-316. Samson, Polly: Perfect Lives, Virago
Press, London, 2010, p. 225.
The Anchor is the Holy Church of Iggy the Inuit's satirical
division, intended for people with a good heart, but a rather bad
character. More info: The
Anchor. Read our legal stuff: Legal
Last weekend, we, The
Anchor, the satirical
division of the Holy
Church of Iggy the Inuit, felt the peculiar need for an apology. It
is a feeling we seldom have, being a general pain in the arse and having
carefully cultivated the pompous pernickety air our spiritual job has
brought upon us. You may remember that we were not entirely favourable
of the anniversary release of the Division Bell album. In the article Grab
that cash we described it, and we quote:
What seemed to be the hype of the year was nothing but a cheap stunt to
sell some recycled material at exorbitant prices. That the memory of
Rick Wright and the legacy of Storm Thorgerson were thrown in to make a
cynical million bucks more makes this release even more sickening.
We duly admit this was not nice at all and due to the recent
developments in the Pink
Floyd camp, more about that to follow later, we profoundly
apologise. This doesn't mean that we are suddenly of the opinion that
Edition is worth the bulldog's bollocks, even if it may contain a
Enigma hint. It still is utterly overpriced and utterly redundant,
but of course what the honourable reader does with his money is his own
business and not ours.
On Saturday, the 5th of July 2014 at 3:13 PM (UTC), a mysterious tweet
was send into the multiverse by Polly
Samson, a tweet that created a heavy storm in the mostly silent
waters of modern Floydiana:
The world first took its time to digests its scrambled eggs, bacon,
sausages, tomatoes, toast, coffee and marmalade (at least in the proper
time-zone) but about 45 minutes later the news had been retweeted a few
thousand times and had been copied on Facebook walls, forums and blogs
all over the planet.
McBroom, confirmed the news less than an hour later and added that a
recent picture of her with David
Gilmour hadn't been taken during a solo album session, as she had
stated before, but that she had been asked to do vocals on a new Pink
Remember this photo? It wasn't what you THOUGHT it was.
A third confirmation came from Pink Floyd engineer Andrew
Jackson, so the rumour that Polly Samson's Twitter account had been
hacked and that this was nothing but a hoax was becoming less and less
believable. There was going to be a new Pink Floyd album, after twenty
years of silence.
This was not going to be just another Pink Floyd album. The starting
point were the Division Bell ambient demos that had been nick-named The
Big Spliff in the good old Floydian tradition to give recording sessions
silly names. Work on the mixes started over a year ago and probably,
although this is nothing but an assumption, it was foreseen as a short
and sweet bonus disk for a Division Bell Immersion set. While working on
the music however, David Gilmour and Nick Mason must have felt something
of the excitement from two decades before, they must have felt the muse,
the inspiration and the spirit of their friend and colleague (and in the
case of bass player ad interim Guy
Pratt, father in law) Rick Wright and decided to enhance the jams
into a proper record, asking Phil
Manzanera and Martin
‘Youth’ Glover to sit behind the mixing console.
Called The Endless River, after a line from the Division Bell’s
magnum opus High Hopes (in itself cryptically referring to See
Emily Play), the album will be mainly ambient and instrumental,
although at least one track will be sung by David Gilmour with lyrics by
Reactions from that strange horde, also known as the Pink Floyd fandom,
ranged from scepticism to enthusiasm. Some critics found it strange that
Pink Floyd would be recycling old material, perhaps unaware of the fact
that this is something the band has been doing for ages. The whale song
section from Echoes
was borrowed from their concert staple Embryo,
and Them was originally called The Violent Sequence and a Zabriskie
Point soundtrack leftover, and the magnificent Comfortably
Numb was something David Gilmour had been messing with for his
eponymous solo album.
Half of the Animals
(1977) album consists of songs the Floyd played live in 1974 but none of
those fitted the Wish
You Were Here (1975) concept. Animals was and still is a landmark
album, something that can’t be said of The
Final Cut (1983), practically a Roger Waters solo album, featuring
Wall (1979) rejects (and unfortunately it shows).
Let’s not be cynical for once and forget that a separate release of The
Endless River will shelve a few million copies more than a Division Bell
bonus disc. Even if the record will mostly have ambient atmospheric
pieces and may fail the default description of a typical Pink Floyd
album we will consider it as Richard Wright’s musical testament and an
honest tribute from the rest of the band.
Now, and here is a confession this old bartender has to make, when we
read Polly Samson's tweet, we were literally shaking all over our body
as excited as a puppy who has just been thrown a bone. We started
browsing the well-known Floydian fan-sites for more and the first
website who added the news to its page was Col
Segmental Pig File
Col Turner is not your average Pink Floyd fan site webmaster, he has
dedicated his life to the Floyd and if you ask us, we think he is pretty
daft for doing so. Nevertheless, we appreciate his masochist streak and
if we want to know the latest news of the Dark Side universe Fleeting
Glimpse (and Brain
Damage) are the first ones we open.
When we say that Colin Turner is not an average fan, we mean he is not
an average fan. Turner eats, feels, dreams and breaths Pink Floyd
(frankly we are a bit curious what he does in the bedroom) and as such
he already knew for a while that a new album was in the make. However,
instead of putting that news on his wall, like we would have done in a
nanosecond, he promised the Pink Floyd management to shut his mouth and
wait until an official announcement of the band was made.
Now, we ask you, dear reader, can you get any closer to an official band
announcement than the wife of the band leader, who happens to be the
main lyricist as well, tweeting the news into the world?
Well, opinions seems to differ apparently.
The Bleeding Hearts and the Artists
An artist is, by definition, a creative person, a sensitive person,
someone with a frail mind. He writes these songs that appeal to people
all over the world, people who recognise themselves in these songs, who
recognise the feelings, the emotions, the love, the sadness, the anger,
We, the fans, may think these songs have been written for us and
sometimes we are so touched by the beauty and sincerity of it all that
we will ask the artist to play the latest album in our backyard, for a
beer and a whopper on the grill. That is why an agent, or some
management, comes in... While the artist may not have the guts to
disappoint the fan, his agent's preferable syllables are invariably
'no', 'fuck off' and, if this is your lucky day, 'how much'.
There has always been a huge gap between Pink Floyd, the band, and Pink
Floyd, the company, and it is pretty impossible to determine how the one
has influenced the other. Although some of its members openly preached a
socialist philosophy their business manners have always been exactly the
opposite, at least after the Peter
Jenner days. Steve
O'Rourke was not only a quasi-mythical agent who uplifted the band
from the gutter towards the moon, but he was a bully as well, bombastic
in his manners, a Floydian pit-bull and above all... über-greedy.
Rumour goes O'Rourke started his career as a dog food sales rep, so
determined to succeed that he ate the stuff in front of his prospects to
prove it was quality meat.
Giving none away
The band who criticised capitalism on Money,
Torry£30 for her input on The
Great Gig In The Sky, less than a third of what a Dark
Side of the Moon Immersion set costs. In a nineties interview for
the Dutch Penthouse
a bitter Alan
Parsons recalled how the four gentlemen in the band never told him
that he had the right to earn some ‘points’ on his engineering /
producing work for Dark Side of the Moon. That situation was settled
later when Parsons was asked to remaster the album for an anniversary
release. Clare Torry had to seriously threaten with legal action before
the band agreed to share a small slice of the pie.
Harper sung the lyrics on Have
A Cigar, another one of these sarcastic songs describing the shady
corners of music business. It was made clear to him that he wouldn't
receive any copyright so Roy asked for some football tickets instead.
Although the band were multi-millionaires by now a season's ticket was
too much to ask and he never received it. The kids, singing ‘we don’t
get no education’, were only given a copy of The Wall album after a
newspaper turned it into a scandal.
Turn, Turn, Turn
Colin Turner published the news about the new Pink Floyd album on A
Fleeting Glimpse, after it had been tweeted by Polly Samson. Then
he messaged the Pink Floyd management that the floodgates had been
opened. While hundreds of others were already retweeting and commenting
on social media a Pink Floyd goblin found it necessary to threaten Colin
with legal action and made him remove the post.
This made Colin so bitter that he deleted the entire news page, and at a
certain point he was so disillusioned he wanted to close down AFG
I was (...) asked to remove the story as it had not been cleared by
official channels. This I did and I am now awaiting approval to publish
full details about the album, despite it now being widely spread across
the Internet. I intend to honour the commitment I made and the site will
remain down until such a time as I receive official approval to publish.
Louis Matos (and with him many other AFG readers) reacted in shock:
That high service to the fans and to the Pink Floyd brand (...) was
respected by Steve (O'Rourke), is respected by Mark (Fenwick) and should
be respected by whomever now attends to David's business. I find it
insulting - as a professional of the music business - that a loyal
dedicated fan had to be "disciplined" for reproducing a Tweet by Polly
by anyone other than Polly or David (and they could have done it, mind
you). Even - and especially - anyone on the business side of it.
Remember "Welcome to the Machine"? Well, it was about that kind of
abuse. (Taken from: The
To add insult to injury, at the moment when one of Pink Floyd's little
hitlers found it necessary to threaten to close down A Fleeting Glimpse,
the official Warner Music Why
Pink Floyd website had already inserted the announcement on its news
stream. Double standards, anyone?
Now here is where this article is going to get nasty, so if you are
easily offended, please go and visit the Boohbah
David Gilmour's (and also Syd Barrett's) management happens to be in the
hands of One
Fifteen who have the following Hunter
S. Thompson quote on their site:
The music business is a cruel and shallow money trench, a long plastic
hallway where thieves and pimps run free, and good men die like dogs.
There's also a negative side.
If our information is correct Paul Loasby probably was the toerag
(note) who intimidated the Fleeting Glimpse
webmaster. According to a Cambridge mafia insider, who we will not name,
Paul Loasby is the opposite of a villain and an amicable man:
I have met him and spoken to him many times. He seems very pleasant and
was always totally respectful of Syd... and others...
But apparently that is only when he doesn't see a pot of gold at the end
of the rainbow, which he will receive anyway, regardless of him throwing
a tantrum about a leaked tweet or not.
What had to be, for the fans, one of the most joyous days in Pink Floyd
history, a new album, a much awaited tribute to Richard Wright, an
indirect nod to Syd Barrett (mind you, not that we think One Fifteen
knows anything about Syd Barrett), the Pink Floyd agent managed to turn
it into something of a misplaced nightmare.
Mister Loasby, you are a party pooper and you should be ashamed
Game of Thrones
But in a way: hats off to Paul Loasby. In four minutes he managed to
kick Steve O'Rourke from his throne as the eternal Pink Floyd baddy,
simply by putting the knife in the back of someone who does a lot of
Pink Floyd promotion, for free. If you are somewhat familiar with the
Floydian canon – this is something dogs do for a living. Welcome to the
We want to end this article with a friendly suggestion for Col Turner,
who was at the centre of this crisette.
There is a Dutch saying,
dating from the Middle Ages: "Tis quaet met heeren criecken eten'."
"It's difficult to eat cherries with noblemen", meaning that if you want
to schmooze with the higher crowd you will be treated as their servant
whether you like it or not.
Better be independent, better be vigilant, better be critical than to
bark only when the puppet master allows it, this is The Anchor's motto
and it will always be. While A Fleeting Glimpse may generally be the
first and the best in giving Pink Floyd news, it slightly troubles us
that they have completely forgotten to mention the Last
Minute Put Together Boogie Band release, with Syd Barrett's last
Sitting to close to the throne, too busy eating cherries over a lavish
Division Bell box set, no doubt.
Epilogue / Update
On the quadrophonicquad
forum Pink Floyd engineer Andy Jackson wrote on the 14th of July (2014):
No, still can't talk about Endless River, the 'leak' was damage
limitation as a UK newspaper had got hold of the story.
So if we read this well, a newspaper - rumoured to be The Sun - heard
about the new Pink Floyd album on the fifth of July and was going to
publish the news, perhaps even in next day's Sunday paper. Polly Samson
was then asked to tweet the news to the world before the newspaper would
publish it. It all makes perfect sense.
But what we still don't understand is why Paul Loasby had to threaten A
Fleeting Glimpse then. Why Pink Floyd? Why?
Can't you see It all makes perfect sense Expressed in dollars and
cents, Pounds, shillings and pence Can't you see It all makes
perfect sense (Roger Waters, Perfect Sense, Amused to Death, 1992)
The Floydian empire strikes back (Update: 2014 09 14.)
For the past few months early Pink Floyd songs have been disappearing
from YouTube: Scream Thy Last Scream, Vegetable Man, Astronomy Domine,
Lucy Leave, King Bee. Even the Men
On The Border live cover of Scream
Thy Last Scream has been silenced and has now got the text:
This video previously contained a copyrighted audio track. Due to a
claim by a copyright holder, the audio track has been muted.
Obviously this is a blatant lie and could be considered illegal, as the
copyright holder of the audio track is Men On The Border itself and not
Pink Floyd, nor EMI, Warner Music Group or one of its little helpers.
a volunteer-driven organisation that archived, restored and weeded (for
free) Pink Floyd live audio and video recordings
has been taken down after a friendly reminder from Mr. Loasby. All its
torrents have been deleted from Yeeshkul
who suddenly went chicken shit and have forbidden the further use of the
'Harvested' word to all its members. Also the Pink Floyd Multicam
website has been closed down.
The argument (from Pink Floyd) that ruthless entrepreneurs take the
freely distributed material from Harvested (like The
Man and The Journey), press it on a CD or DVD and sell it to the
public doesn't make sense. Warner should go after the companies who sell
these bootlegs and not after the people who give it away for free and
thus spoil the 'market' for the bootleggers (although we do understand
this is something of an illegal situation). By closing down Harvested
(and in a near future, perhaps Yeeshkul?) fans will again be obliged to
buy these recordings from shady companies if they want them, instead of
downloading them for free.
As usual the big three fansites (A
Fleeting Glimpse, Brain
haven't mentioned this news at all, afraid to no longer receive the
crumbles falling off the Pink Floyd table and to be left in the cold
when 'The Endless River' will come out. Col Turner, who went apeshit
over Paul Loasby threatening him (read the article above) has removed
all trace of the incident and, as such, it never happened. (It is still
in the forum,
but you have to dig deep to find it.)
Sounds, who will press the vinyl version of 'The Endless River'
(they also did the recent 'Division Bell' release), received the
lacquers cut straight from Doug Sax and crew at The Mastering Lab (Los
Angeles) and posted some pictures on their Facebook page this week.
Guess what, these (innocent) pictures have now been deleted and we can
only guess who is behind that.
Who would have thought that ultimately Pink Floyd would turn into the
neo-fascist impersonation of their Wall album?
(The above article is entirely based upon facts, some situations may
have been enlarged for satirical purposes.)
So here it is. The Holy Church of Iggy the Inuit's The
Endless River review of what undoubtedly is the most anticipated
record of the year.
The album has four, mostly instrumental, suites, that Pink
Floyd prefers to call sides. Each suite has several tracks, but
these are best listened to in one piece as they form one ensemble. The
'luxe' edition has a 39 minutes extra DVD or Blu-ray with 6 videos of
1993 studio rehearsals and 3 audio tracks. The Blu-ray version is the
most complete (and expensive) as it also has a stereo PCM, a 5.1 DTS and
a 5.1 PCM version of the album, whatever these acronyms mean.
The front cover concept was designed by Ahmed
Emad Eldin, in what could be called ersatzHipgnosis
style, probably chosen because it evokes the boatman who was present in The
Division Bell artwork (and, in lesser extent, on A
Momentary Lapse Of Reason). The other artwork is credited to the
usual gang of graphic designers: Aubrey
and, weirdly, Hipgnosis, although that company stopped in 1983. The
24-pages booklet has a maritime feel: compasses, maps, logbooks... The
lettering misses a piece in most letters, to accentuate the missing
keyboard player, who has been credited on 11 of the 18 tracks. Storm
Thorgerson is remembered as well in the credits.
The album was created out of rejected 1993 jams and demos, with Richard
Wright, Nick Mason and David Gilmour, that were probably revisited to be
added to a Division Bell anniversary
set of one kind or another. Rejected is too strong a word because
way back, twenty years ago, it had been the idea to turn the The
Division Bell into a double CD-set, what was abandoned for lack of time.
That second album turned into the apocryphal The Big Spliff that
still sits in Gilmour's studio in an unfinished form and that was
assembled by Andy
Manzanera was asked, in 2012, to work on it, but refused.
I don't wanna hear. I wanna hear every single piece or scrap that was
recorded, everything. Outtakes from Division Bell. Everything.
In December 2012 Manzanera puzzled dozens of unfinished pieces into a
skeleton, divided into four 12 minute suites, out of 20 hours of
material. According to Manzanera, Pink Floyd thanked him and immediately
put the work in a box where they forgot it. Martin
'Youth' Glover however says that he was invited in June 2013 and
that David Gilmour had already worked on the two different versions of
Within about 40 seconds, it sounded like Floyd. It was absolutely
magical. (…) Listening to unreleased Pink Floyd recordings with David,
the hair was going up on the back of my arms.
Youth then created a third version and in November 2013 a meeting was
held between the two remaining Pink Floyd members and the three
producers: Andy Jackson, Phil Manzanera and Youth. Gilmour and Mason
picked the best ideas from each version and started working on something
that could have been an atrocious Frankenmix but that turned out
quite coherent in the end.
Side One: ambient spaces
"Things Left Unsaid...", Gilmour, Wright "It's What We Do",
Gilmour, Wright "Ebb and Flow", Gilmour, Wright
Things Left Unsaid (4:27): a very ambient, Cluster
One atmospheric, introduction, with some voice samples of the Floyd
members. Tradition wants that it only starts morphing into something of
a melody after the two minutes mark. It gradually slides into It's
What We Do (6:17) that thrives on a Shine
On You Crazy Diamond moog synth and traces of Marooned
later on. This is a typical Floydian spacey slow blues, ideal for those
fans who want to chill out with a big spliff. It's lazy and slow and
probably a bit boring for some, a typical trademark of the Floyd sound,
and just because it is so intriguingly and deliberately slow, the first
thrill of the album. It continues into Ebb and Flow (1:55),
mainly an epilogue to the previous track.
Actually the first suite is pretty daring to start with in the hectic
days we are living in today, this is so contradictory with contemporary
music it nearly feels alienated. It's the kind of suite that will be
used in nuru massage parlours around the world.
Sum (4:48), there's that Cluster One intro again with ambient
effects switching towards an Astronomy
Domine space trip. Then it nods to an early seventies style Floydian
Of These Days, although bigger and louder, including that good old
Skins (2:37) further elaborates on the A
Saucerful Of Secrets tribal rhythms and this is the first time in
years we hear grand vizier Nick Mason take the lead on a track, finally!
We could never think we would be so happy with a fucking drum solo.
Gilmour makes his guitar scream à la Barrett in Interstellar
Overdrive in something that can be described as a beat bolero. The
track ends with some minor guitar effects, just for the sake of the
effect and glides over to Unsung (1:07), an intermezzo that is a
bridge to the ending of this suite, the magical Anisina (3:17).
Those who think this is Wright in a jazz lounge must be contradicted.
This is 100% Gilmour and it brings shivers down the spine, even if this
a known track that has been bootlegged before as a Division Bell outtake.
The second suite is the experimental one, although the experiment is
limited not to scare the casual listener away. We've heard people say
that this Pink Floyd record is more of the same. And it's true. But who
complains when The Rolling Stones or U2 bring out their umpteenth album
sounding exactly like the previous one?
Side Three: all that jazz
"The Lost Art of Conversation", Wright "On Noodle Street",
Gilmour, Wright "Night Light", Gilmour, Wright "Allons-Y
(1)", Gilmour "Autumn '68", Wright "Allons-Y (2)",
Gilmour "Talkin' Hawkin'", Gilmour, Wright
The lost art of conversation (1:43) is an introductory piano
piece by Wright, obviously with some guitar effects from Gilmour. It
segues into On Noodle Street (1:42), that is, as the title gives
away, nothing but a light jazzy noodling, featuring Guy
Pratt, Wright's son-in-law. It is easy listening for Floydheads,
just like the next track Night Light (1:42). The first three
tracks are merely the introduction for the highlight of this side, and
perhaps the album.
Allons-Y (1) (1:57), is a two-piecer and a Run
Like Hell copycat, only much better (actually, we find Run Like Hell
one of the worst tracks by the Floyd). It is irresistible and the moment
we really started tapping our feet. The mid-piece of Allons-Y is Autumn
'68 (1:35), the much discussed archival bit taken from a Wright
improvisation from the Royal Albert Hall in 1968, reminding us vaguely
of a movement of Mike
Bells, only this dates from about five years before. Allons-Y (2)
(1:32) is a reprise of the first part to close the circle.
Talkin Hawkin' (3:29) starts rather like one of those slow
evolving (and a bit tedious) pieces from On
An Island, but is – yet again – irresistible in its meandering
movements. Nobody is so immaculate in creating these lazy and slightly
boring moods than Pink Floyd. With its Stephen
Hawking samples this track is the obvious link to The Division Bell,
but the track itself is the counterpart of Keep
The third suite is the most light-hearted one, perhaps the most
commercial and catchy, and it surely is saved by, here we go, Allons-Y.
Side Four: turn off the lights
"Calling", Gilmour, Moore "Eyes to Pearls", Gilmour "Surfacing",
Gilmour "Louder than Words", Gilmour, Samson
Moore, who made the Broken
China album with Richard Wright is responsible for Calling
(3:38) and it certainly has the mood of that pretty depressed, and
unfortunately underestimated, album. The atmosphere is somewhat
reminiscent of David
it is an ambient and dark and haunting piece. It is a nice thing from
Gilmour to have added this obvious nod to Rick's solo album and one of
the more interesting pieces of the album.
Eyes To Pearls (1:51) breathes the air of Angelo
Peaks and has hidden hints of Money
and One Of These Days, but one can find traces of earlier work in about
all tracks on this album. Didn't Nick Mason quip once he was in the
recycling business? Surfacing (2:46) acts as the intro to the
final song, it seems a lesser track at first, but it has a weeping
guitar that hit us right in the heart / stomach / balls. Actually most
of the numbers may not be seen as individual pieces but as movements of
each suite and as such they perfectly serve their roles.
Louder Than Words (6:37) was gravely discussed when it came out,
it has been called Floyd by numbers and Polly
Samson's lyrics are of syrupy soap series quality but in this
context and as the coda of the album it just works great. Just listen to
that piano intro by Wright, the last we'll probably hear, that
irresistible refrain, the perfect ending solo, also the last we'll
probably hear... This is Gilmour at his best and for once he doesn't
stretches it too long, what was his problem on the previous Diet Floyd
records where he had the habit of putting six minute guitar solos in
three minute songs. Gilmour's playing on this album is to the point and
you never get the feeling he is showing off like on, for instance, On An
Island, although it is clear he bought a new set of pedals.
This is a great album, a classic in the making, although perhaps only
for the die-hard fans, and is far much better than we had ever hoped for.
(A third article, with a more critical approach to the album can be
found at: Chin
More reviews at A
Fleeting Glimpse and Brain
Damage. Illustrations (except the Rick Wright picture) taken from
The Endless River and The Division Bell.. ♥ Iggy ♥ Libby ♥
Sources (other than the above internet links): Bonner, Michael: Coming
back to life, Uncut, November 2014, p. 35 – 41.
The new Diet Pink
Floyd album The Endless River is conquering the world,
perhaps to the absence of any real competition. We don't think Susan
Boyle's cover version of Wish
You Were Here will pose a real threat, does it? In Holland the
album, currently at number one, sells five
times as much as the number two.
The Endless River is a slow evolving, ambient piece of work with obvious
nods to the Floyd's glorious past... one hears traces of A Saucerful Of
Secrets (Syncopated Pandemonium), Astronomy Domine, Careful With That
Axe Eugene, Cluster One, Interstellar Overdrive, Keep Talking, Marooned,
Money, One Of These Days (I'm Going To Cut You Into Little Pieces), Run
Like Hell, Shine On You Crazy Diamond and probably half a dozen more
we've already forgotten.
The familiarity of it all has created raving enthusiasm for some and
'mainly yesterday's reheated lunch' for others and this also seems to be
the opinion of the press. Mark Blake (in Mojo)
politely describes the album as 'big on atmosphere, light on songs',
Mikael Wood (in the Los
Angeles Times) states that Pink Floyd drifts towards nothingness
with aimless and excruciatingly dull fragments.
While the 1987 A Momentary Lapse Of Reason album was a David
Gilmour solo effort, recorded with 18 session musicians and with the
Pink Floyd name on the cover to sell a few million copies more, The
Endless River originally grew out of jams between Gilmour, Mason &
Actually these were rejected jams, not good enough to include on The
Division Bell, but over the years they seem to have ripened like
good old wine. Well that's the PR story but in reality Andy Jackson,
Phil Manzanera and Martin 'Youth' Glover had to copy bits and pieces
from twenty hours of tape and toy around with every single good sounding
second in Pro
Tools to obtain something relatively close to Floydian eargasm. Phil
Manzanera in Uncut:
I would take a guitar solo from another track, change the key of it,
stick it on an outtake from another track. 'Oh that bit there, it
reminds me of Live At Pompeii, but let's put a beat underneath it.' So
then I take a bit of Nick warming up in the studio at Olympia, say, take
a bit of a fill here and a bit of fill there. Join it together, make a
loop out of it.
This doesn't really sound like an organic created piece of music, does
it? The result is a genetically modified fat-free sounding record
and while this is the most ambient experiment of Pink Floyd it will
never get extreme, despite Martin Glover's presence whose only ambient
house additions seem to be the On The Run VCS3 effect that comes
whooshing in several times. Youth isn't that young and reckless any more
so don't expect anything close to the KLF's Madrugada
Eterna, Jimmy 'Space' Cauty's Mars
or the Orb's A
Huge Ever Growing Pulsating Brain That Rules from the Centre of the
Update April 2017: One and a half year after the record has been
released the involvement of Nick Mason can be finally discussed as well.
Pink Floyd know-all Ron Toon at Steve
Nick had nothing to do with this project except to play a few new drum
tracks basically being brought in as a session drummer. Of course he was
/ is a member of Pink Floyd but his involvement in this project was
minimal at best. The vision was David's and the other producers and Andy
[Jackson] did most of the work. Source: Pink
Floyd - The Early Years 1965-1972 Box Set.
But the music isn't the only thing that seems to be embellished. Last
week long-time Echoes
mailing list member Christopher, also known as 10past10, went on
holidays, taking with him the new Pink Floyd CD and, as reading
material, Nick Mason's Inside Out book. Then something happened
which unleashed the power of his imagination (read Christopher's
The mid-book picture of The Endless River shows the Astoria studio with
Rick Wright, David Gilmour and Nick Mason jamming in 1993, taken by Jill
Furmanovsky. This picture has been stitched out of several shots,
the borders don't match (deliberately) and Nick Mason (or at least his
arms) can be seen twice.
But Christopher was in for another surprise when he looked at the fourth
picture gallery in Nick Mason's Inside Out soft-cover (or on page 313 if
you have the coffee-table edition). It shows another picture of the same
session, with Rick Wright, David Gilmour and Bob Ezrin.
Now look at the man in the middle, the one who doesn't like to be called
If you look closely at every piece of David's clothing, his hair, the
way he is holding his guitar, the chords, the lot. It all matches
exactly ... too much not be a match.
Not only does The Endless River centrefold superimposes Nick Mason
twice, but they have glued in David Gilmour from another shot (and
removed Bob Ezrin).
And still, that is not all.
closely to Gilmour's face in the 1993 picture (left) and to his
face on the 2014 release (right). Christopher explains:
The difference is in the original shot. David has a double chin. In
The Endless River shot it has been dealt with.
There will be no fat on The Endless River, not on the music and
certainly not on Air-Brush Dave.
(The above article is entirely based upon facts, some situations may
have been enlarged for satirical purposes.)
Many thanks to Christopher (10past10), Ron Toon. Pictures courtesy of
Jill Furmanovsky. ♥ Iggy ♥ Libby ♥
Sources (other than the above internet links): 10past10
(Christopher), Alcog Dave no more, mail, 2014 11 14. Bonner,
Michael: Coming back to life, Uncut, November 2014, p. 39. Echoes
mailing list: to join just click on the appropriate link on their sexy echoes
subscription and format information webpage.
The Anchor is the Holy Church of Iggy the Inuit's satirical
division, intended for people with a good heart, but a rather bad
character. More info: The
Anchor. Read our legal stuff: Legal
Christopher's original posting to Echoes: (Back to article)
Date: Fri, 14 Nov 2014 18:00:32 +1000 From: 10past10 Subject:
Alcog Dave no more ... To: email@example.com
Hi Ho All,
I do believe there is photographic trickery afoot!
Exhibit A: The centrefold picture in The Endless River depicting
Richard, David and Nick in the studio.
Exhibit B: Inside Out; the fourth lot of pics in the paperback or p313
in hardback (1st ed), depicting Richard, David and Bob Ezrin.
Obviously it is a different pic of Richard and Bob/Nick. But I reckon
the picture of David is the same one; except for one difference.
So, I reckon, to get the wider shot for the TER CD centrefold (I don't
know how it may or may not appear in the other versions as I haven't
seen them yet), they have made a composite photo using the shot of David
rom the one Nick originally published and shots of Richard and Nick from
one or two different pictures.
If you look closely at every piece of David's clothing, his hair, the
way he is holding his guitar, the chords, the lot. It all matches
exactly ... too much not be a match.
Does this matter? Of course not. Why not do that to get what you need.
Obviously Nick himself is double exposed when you look at his arms.
Is it worth pointing out? Yes (but just because you can, not because it
will change the world). Why? Because of the one difference.
The difference is in the original shot David has a double chin. In The
Endless River shot it has been dealt with.
Some time ago I was castigated for calling David, Fat Dave. So I changed
that to Alcog Dave. He is that no more. In my more whimsical moods I
shall hence forth refer to him as "Air-Brush Dave".
"Bored socialist millionaires making solo records."
This header from a review of the About
Face album duly infuriated me, about three decades ago. In this
review the critic satirised the fact that David
Gilmour had asked colleague Pete
Townshend, from an equally legendary band, to help him out on a
couple of tracks.
In retrospect the About Face album tried a bit too hard to launch
Gilmour on a successful solo career, it was a bit too AOR,
to be good. The general audience wasn't interested in Pink
Floyd members going solo anyway and - in Belgium - Gilmour only
played a small university hall in Brussels, that was only partially
filled, if my memory is correct. Not that I was there, I didn’t go as
well, but that was thanks to my legendary social anxiety disorder.
Things are different now, the music industry may be complaining music
isn’t selling, but at least there is an appetite for the musicians
formerly known as Pink Floyd.
The buzz has been going on for quite a while now and you might except
that a new David Gilmour album is something like the second coming of
Christ. I’m a bit sceptic when things are getting overhyped, since Star
Trek V was promoted with the slogan ‘why are they putting seatbelts
in theatres this summer’? As the movie-goers found out, it was to
prevent them from leaving after fifteen minutes.
Although the preliminary signs weren't all too positive, who composes a
(rather mediocre) song around an annoying French railway jingle anyway
and links it to a text from John
Milton?, I tried to remain neutral when the CD appeared in the
5 AM starts a bit like the absolutely beautiful Let’s
Get Metaphysical (About Face) and makes me think remotely of At
The End Of The Day from Mason + Fenn's Profiles
album. It’s a nice introduction, but just when it could go somewhere it
simply fades out, what happens with several tracks on this album
unfortunately. It’s a nice, somewhat colourless intro, but that is
default Pink Floyd territory, so to speak.
Rattle That Lock sits in your brain like a cockroach and jumps up
when you least expect it. It’s Gilmour’s most catchy number in years,
sounding a bit like one of these irresistible Chris
Rea tunes: I
can hear your heart beat / Rattle that lock. The problem is, who has
heard of Chris Rea for the last 3 decades? The song has a standard
eighties feel with irritant percussion, irritant singing and irritant
lyrics and is a serious contestant to replace The
Dogs Of War as Gilmour’s worst song ever. On top of that the track
uses a sample from the Momentary
Lapse Of Reason days (Learning
To Fly) and that is how it sounds actually, fucking dated. While
David Gilmour gladly acknowledges that About Face suffers from the
eighties (over-)production, he does it all over again on this track.
Actually I am glad I don’t live in France so I don’t have to hear the SNCF
jingle on a daily basis and be reminded every time of this turd.
Faces of Stone. For a moment I feared Gilmour was going klezmer
but this is a little waltz that regularly puts you on the wrong foot.
Perhaps the best track on the album, although not among Gilmour’s bests,
if you know what I mean. It says something of the quality of the other
tracks, I fear. I guess I’m just happy there is a cool solo at the end.
Gilmour’s eulogy to Rick
WrightA Boat Lies Waiting starts with a long and slow intro
that could have been on The
Endless River. Although there is the tendency from fans to find it a
fitting remembrance it is a bit monotonous, despite some nice singing
and Nash. The song ends rather abrupt as if these old tossers were
suddenly out of breath, but others think that it is a symbolical way to
visualise how Rick was taken out of this world. Beautiful, but not
really earth-shattering and the fact that it is about Wright probably
makes me judge it milder than the others.
I don’t honestly know what to think of Dancing In Front Of Me,
I would like to like it, but then there is that feeling that it could’ve
been much better and that it is just a filler. Gilmour obviously is a
happy man and happy men, so goes the first rule of rock'n'roll, don’t
make great records. What if The
Wall had tracks like ‘My father and me went fishing’, ‘My mother was
always positive towards me’ and ‘Pink has a successful garden shop in
Cambridge’? Nobody would’ve bought it.
In Any Tongue first has some whistling for god’s sake, but then
it takes off like all the others in that lazy tone that specifies this
record. For a moment the refrain brings a solace, a glimpse of Floydian
grandeur, but – fearing I’m getting repetitive – the song never seems to
blossom, except perhaps for that ending 'Comfortably
Numb'-ish solo. With some help from Roger
Waters and Rick Wright this could’ve been an epic track. Wait a
minute. Did I just ask for Roger Waters? Something must be really wrong
with this record.
Beauty starts like it could’ve been a part of the last Floyd and
perhaps it was. Still sounds like a bit of filler, with a slight touch
of These Days. Too many bread and not enough cheese on this album
The Girl In The Yellow Dress or Gilmour and Samson go jazz.
Unfortunately it is the kind of jazz you hear as a soundtrack on French
romantic movies. This would be a cute track on a Jools
Holland album and actually that guy manipulates the piano here, as
Wyatt and Bob
(Rado) Klose. But as it is definitely something else it kind of
stands out against the rest. Different, not better.
Today starts like a church hymn, never a good sign, but then a
funky guitar takes over with a Fame
signature, unfortunately one of the David
Bowie tracks I loathe the most. Today is a mixed bag, has some awful
singing, and seems to be getting nowhere, like most of the disco dance
floor fillers. Chris Rea once sang 'I'm in a European disco', but this
is no Saturday
Night Fever, I'm afraid.
And then… there is a relieved sigh that this record is
finally over. The last instrumental will be used by radio makers all
over the world to end their show with and thank the audience for their
kind attention. If it had a sax solo it could also have been used to
musically accompany an episode of Red
Shoe Diaries, but just like that soft erotic drama series it never
really gets off the ground.
No sex please, we're British
As a matter of fact that is not such a bad comparison. David Gilmour has
given us a soft-core record, that will obviously be loved by millions,
but personally I was expecting something more 'in the flesh'. Of course
this isn't a bad record, David Gilmour is smart enough not to make 'bad'
records, but it is just so... dull, flat, uninspired. Like that American
cheese with no holes, no smell and also no taste.
As a final note I would like to add that the album comes in a regular
and a deluxe version. At almost the triple in price you get an
incredible amount of, what the Dutch describe so beautiful as, 'prullaria'
(kitsch, rubbish). One of those is a piece of plastic that is called a
plectrum, although 'plectrum-ish' would be far more closer to the
truth. It could be a plectrum for an ukulele, but apparently that is an
instrument you can't use a plectrum on, so tells me a musician who is
the master of all things strings. Whatever. (At the Holy Church Tumblr
page there is a gallery with the contents of the deluxe box: Unpacking
Rattle That Lock #1 and Unpacking
Rattle That Lock #2.)
The deluxe edition also contains a Blu-ray (or DVD) with a few
meticulous surround mixes, a couple of barn jams between Gilmour and
Wright and some horrifically bad remixes of Rattle That Lock. The barn
jams used to be online but they have already been deleted by the Pink
This is a fucking disappointing record and one that certainly won't help
me through my midlife crisis. On the other hand, Jason
Lytle has just announced a new Grandaddy
album. So there is still a reason to keep on going on with this
miserable life. But first, I think I'm going to have a listen to About
Face, compared to Rattle That Lock, it is a masterpiece.
Yesterday I had the privilege of watching David
Gilmour perform at the historical marketplace of the small city of Tienen.
I'm very glad my LA-girl pushed me to get tickets as I was so
disappointed in his solo album I didn't even wanted to go. You can read
my review of the Rattle
That Lock (RTL) album at: Attack
The concert started with three RTL-tunes and although they certainly
have more balls in a live rendition, it didn't really help me to get in
the mood. Actually I found the ambient-soundscape before the concert way
better. Rattle That Lock had lost the annoying sample it was
build around but that still doesn't make it a good song. What Do You
Want From Me gave the concert a necessary kick-start, but as it was
followed by The Blue the flow sank down like a soufflé that has
just been taken out of the oven. So far the concert had just been hot
There was a second highlight with The Great Gig In The Sky with
excellent vocal work by the backing singers, two ladies and a man. David
Gilmour used the opportunity to say that the song had been written by
Rick Wright, forgetting the little fact this the concert was actually
taking place on Rick's birthday, but perhaps he had a valid reason as he
also had his wedding anniversary to remember the next day.
Understandably Great Gig was followed by A Boat Lies Waiting,
Gilmour's musical eulogy to his old friend, but although I appreciate
his honest effort to commemorate his friend it still is pretty average.
The set kept yoyoing between classics and RTL. Wish You Were Here,
followed by Money, then In Any Tongue, the only song on
his latest album that shows a momentarily glimpse of Floydian grandeur. High
Hopes finished the first set.
As far as I was concerned, I couldn't call this a good concert by now.
The general flow of the music was spoiled by the lesser RTL tracks,
dragging the Floydian classics down. I gave it a 65% rating and was
getting a bit depressed.
But I also remembered my previous David Gilmour concert, in Amsterdam,
in 2006, where the public politely applauded after the obligatory bunch
An Island, but not with much gusto. The second set, however was an eargastic
spectacle with Echoes. Of course, in those days, Rick was still moving
the Moog, getting a standing ovation from the crowd.
The second set could only be better, I braindamaged myself.
Luckily, it was.
Astronomy Domine hit my body like a cocaine snort. Fuck, fuck and
triple fuck. This was an entry with a big E. Shine On You Crazy
Diamond. Fat Old Sun. Then a drop down with Dancing Right
In Front Of Me, one of the unnecessary fillers on RTL. But the
upward momentum couldn't be stopped. Coming Back To Life was a
treat and On An Island couldn't spoil the good mood I was in
(that album is quite an intimate and exquisite jewel compared to Rattle,
if you ask me).
The Girl In The Yellow Dress is just a San Tropez throw-it-away
kind of song, so I just put my attention on things I could pick in my
It was finally time to work towards an apotheosis. First with the
obnoxious floor-filling disco of Today, that I loathed on the
record, but that seemed more or less to do its work here. If you have to
pick one memorable tune from A
Momentary Lapse Of Reason, it is without a doubt Sorrow.
Feeling the bass tones tremble in your stomach is a goosebumps
experience. Run Like Hell is one of the worst Pink
Floyd tracks if you ask me, but as a concert highlight it is.. well,
a highlight. This was not a Pink Floyd tribute band, this was the real
deal, helped by Mr. Brickman's
fabulous light and laser show and an ear-splitting volume that you
normally only have at Iron Maiden shows.
The second set also had its deal of yoyoing, but the last quarter made
my rating rise to 80%
The encores started with some ticking clocks, enough for the public to
go berserk. A drizzle had started at exactly the moment when Gilmour
sang 'outside the rain, fell dark and slow', but now it was pouring. (A
proof that this man has some connections at Valhalla.)
Lucky for me because so nobody could see the tears running from my face. Time
was given the full treatment with Breathe (Reprise) and
that seeded without a break into the song everyone was waiting for: Comfortably
What can one say about Comfy? Let's say nothing about it as mortal
beings have not the words for it. Tongue-tied and twisted this
earth-bound misfit rated the encores at a whopping 110%.
Oops, you did it again, Gilmour. See you again in a decade.
First set: 5am, Rattle That Lock, Faces Of Stone, What Do You
Want From Me, The Blue, The Great Gig In The Sky, A Boat Lies Waiting,
Wish You Were Here, Money, In Any Tongue, High Hopes.
Second set: Astronomy Domine, Shine On You Crazy Diamond, Fat Old
Sun, Dancing Right In Front Of Me, Coming Back To Life, On An Island,
The Girl In The Yellow Dress, Today, Sorrow, Run Like Hell.
Nine years ago the Reverend made the remark that any new Pink Floyd
release will create some 'controversy between the fans, the (ex-)band
members and/or record company' (Fasten
Almost a decade later, with the release of Pink Floyd The Early Years
1965-1972, nothing has changed. Actually it only got worse.
Pink Floyd have always been a pretty hypocritical band when it comes to
making money. There is nothing bad about trying to make a good living,
obviously, but when you start selling inferior material for overabundant
prices it's like spitting the fans in their face. Not that anyone of
them would do that.
Of course nobody is obliged to buy The Early Years box (approx. 500 Euro
and limited to 28000 copies) but I duly admit: I am an absolute sucker
for anything with the Floyd name on it. And perhaps it's a nice pick-up
line: “Wanna see my Early Years box?”
The Early Years is a somewhat directionless, but nevertheless
interesting, 28 CD, DVD and Blu-ray box containing demos, live tapes
(some of bootleg quality), unreleased tracks, rarities, vinyl singles,
movies and a 2016 remix of Obscured By Clouds. Someone must have said at
a direction committee: 'you know what, we haven't got enough material on
our Obfusc/Ation disk, let's throw in an Obscured By Clouds-remix'.
Not that you hear me complain, Obscured By Clouds is in my personal top
three, before Dark Side Of The Moon and The Wall, but it does feel a bit
For this box, Pink Floyd didn't make the silly mistake of adding
marbles, scarves or toasters, like in the Immersion sets. There are
plenty of mini-posters, postcards, ticket replicas and other printed
items though, for those who like that. (Personally, I tend to ignore
that rubble.) An image of some of those, thanks to RobNl, can be found
Another shot can be found at the Church's Tumblr: (Un)Packing
The Early Years #12.
The box has a simplistic, black and white theme, but is... too big. The
outside box is about 41 x 22 x 31 cm, but the actual set tucked inside
only takes 19 x 20 x 14.5 cm. It doesn't take an Einstein to calculate
that 80% of the box is made of... empty spaces. (Sorry, I really
couldn't resist that pun.) I have put the outside box on top of a
wardrobe, where it will probably stay for the rest of my miserable life.
The Early Years #6.
The 'inner box' contains 7 book-boxes, with ridiculously bombastic
cut/up names. 6 of those will be sold separately over the next few
months, the seventh is a bonus set, exclusive to this release alone.
That's why I was waving so enthusiastically with my wallet. Picture: (Un)Packing
The Early Years #14.
The one gadget everyone I have spoken to really wants, me included, is
the Pink Floyd 'matchbox' miniature van. Alas, these have been made for
promotional use only and will probably fetch high prices on eBay.
Update November 2016: meanwhile a Pink Floyd miniature van has
been sold on eBay for the whopping price of 310£ (385$, 364 €), Tumblr
The quality of the book-boxes is not optimal. On the web are already
circulating pictures of pages that are falling out of the sets.
Apparently they have been glued rather flimsily to the spine. Taking out
a disk is always a matter of trial and error, and the first CD I picked
broke one of the plastic 'teeth' holding it.
The inside pages contain pictures of the band, unfortunately the
printing is rather average, although the 'later' sets in my box seem to
be slightly better. Each set also contains a booklet with 'copyrights',
thank you notes, a brief introduction by Mark Blake and seven times the
same text by film archivist Lana Topham, for whatever reason, although I
suppose sloppiness from the editor. These texts are printed in grey on
brownish paper, making it nearly impossible to read them anyway.
If it breathes something, it breathes cheap instead of zen.
When the box was announced, a couple of months ago, in the same
amateurish way The
Endless River was made public, the track-listing had some important
differences, as it listed 5.1 mixes for Meddle and Obscured By
Clouds. These can't be found on the released set (well, kind of) for
reasons that seem to be taken out of a Neighbours
It all starts with the fact that Pink Floyd has had several re-mixing
specialists over the years, notably James
Guthrie and Andy
Jackson, who, in true soap-series tradition, hate each-other's guts
as they belong to rivalling factions.
Andy Jackson, from the David Gilmour camp, was asked to create
the 5.1 mixes for Meddle and Obscured By Clouds and handed these over to Mark
Fenwick, who is Roger Waters' manager. Mark was a good dog
and passed these to Roger, for approval.
Roger Waters remembered that these remixes had originally been promised
to his protégé James Guthrie and when he found out that the 'other side'
had done these, without consulting him, he threw a tantrum like a kicked
So this is, in a nutshell, why the genius of Pink Floyd vetoed against
the inclusion of the Andy Jackson 5.1 mixes, although liner notes and
promotion material had already been printed. All that had to be redone
and the 5.1 disks that had already been pressed were for the dustbin.
Before somebody could say 'several species of small furry animals' the
rift between the David Gilmour and Roger Waters camp was back in place
and it seems that it won't be solved in the near future.
So the Obscured By Clouds and Meddle 5.1 mixes are not in the box,
right? Wrong. Well, partially wrong.
It was found out that the 1971 Blu-ray contains a hidden segment with
the complete Meddle 5.1 mix. However, you can't play it on a regular
Blu-ray player as one needs to extract the files to a computer first (or
burn them on another Blu-ray with the hidden files set to visible).
Apparently this is not an Easter egg but a simple mistake. Or an act of
Insubordin/Ation. Take your pick. Instead of deleting the Meddle 5.1 mix
from the disk the Floyd's technical leprechaun only deleted the shortcut
from the menu.
Keep on smiling, people.
The week before the box got released there was an impromptu announcement
of the record company.
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 totalling 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’.
The truth is slightly different. When the sets were already made and put
in the boxes for shipping a bright brain decided it was about time to
check if the disks really contained what was printed on the booklets.
Only then it was found out that the Obfusc/Ation set did not have
Obscured By Clouds, but the Pompeii soundtrack. By then it was too late
to open 28000 shrink wrapped boxes and replace the disks, so the
Obscured remix was put in a carton sleeve and thrown on top of The Early
Years box set, before closing the brown shipping parcel. Picture: (Un)Packing
The Early Years #2.
At least the carton sleeve has the guts to say the truth:
REPLACEMENT CD DISC FOR OBFUSC/ATION PFREY6 – CD (STEREO
2016 MIX OF PINK FLOYD 'LIVE AT POMPEII' CD SUPPLIED IN ERROR)
Some quality control, huh? By the way, the 5.1 Obscured By Clouds mix is
not in the box, but you probably already figured that out.
Update: some boxes seem to come without the Obscured replacement
disk, as was expected...
(For those interested, the Pompeii CD contains an extra take of Careful
With That Axe, Eugene, but no Mademoiselle Nobs. The box also has the
Pompeii movie, without the interviews, without the singing dog, but in
the director's cut version, so I have read. Another Indic/Ation that the
Floyd team doesn't seem to know what lives in the fan community as that
version of the movie is mostly regarded as inferior to the original.)
Update: the new 'mix' of Obscured By Clouds is (to quote
Cenobyte) 'too top endy'. The mix generally repairs the muddiness of the
original mix and brings everything out in a brilliant way, but adds this
layer on top and that kind of ruins it. Some posters even think that
something went wrong during the mastering process. (The same applies to
the new Pompeii mix as well.)
Several Floydian movies can be found in the box, but some come without
English subtitles. This may not be a very big problem for More
but La Vallée is basically spoken in Frenglish. And of
course these boxes are shipped all over the world, to places were people
are not familiar with the English language and could use subtitles.
It only feeds the rumour that the Floyd randomly added things onto the
disks, just to fill them up, regardless of quality.
(Note: in my box, The Committee, that is on another Blu-ray than More
and La Vallée, does have subtitles, even in Dutch.)
The Committee's soundtrack does not contain music from Pink Floyd alone.
One, pretty famous scene has underground colleague Arthur
Brown singing Nightmare,
but his name is not mentioned at all in the booklet. It is weird that a
band that scrutinises YouTube looking for copyright infringements
neglects Mr. Brown's rights.
As a matter of fact Pink Floyd even censored Nightmare from Arthur
Brown's personal YouTube place, a few months ago, because they claimed his
song hurt their copyrights. Unfortunately Arthur Brown doesn't
have a legion of lawyers to fight this.
Don't ask a slice of my pie, how utterly convenient.
Some of the tracks on this Compil/Ation are from inferior or bootleg
quality. We know that and can live with that.
But what if we say that the Pink Floyd mastering team deliberately
ignored some good takes and put inferior ones in the box?
Seems unthinkable for a band that used to flirt with high-end
The 1967 BBC radio sessions, for instance, are in a bad quality,
examples are 'Set the Controls for the Heart of the Sun', 'Reaction in
G' and 'Pow R Toc H' that is even incomplete.
It needs to be said that Pink Floyd consulted the official BBC archives
but these are in a bad state. The BBC had a habit of erasing their own
masters and only has copies of the Pink Floyd 1967 gig 'taken' from the
Top collectors, those that have the 'holy grails', informed the Floyd
that (a copy of?) the masters of the 1967 recording are in a private
collection but the Floyd didn't find it necessary to check this out.
Andy Jackson received high quality stereo copies of the BBC recordings
from at least two sources but the powers that be decided to use the
inferior mono tapes instead.
Isn't is ironic that the 'bootleg' community has better versions of
these Pink Floyd live tapes and early acetates than the band itself and
that they are giving them away for free? The Floyd has thanked them by
shutting down Harvested and threatening to shutdown Yeeshkul in the
past. (More of these vicious rumours at: The
loathful Mr. Loasby and other stories... )
Just as with the Immersion sets some Blu-rays come with errors, in this
case (as far as we know): the 1972 'Obfusc/ation' Blu-ray and bonus
package 'Continu/ation' Blu-ray 1. According to several testimonies the
menu screen loads, but halts there. You better check out your version
before it is too late.
Fans were happy to find out that Seabirds was finally going to
find a place on this collection. Seabirds
is a song written by Roger Waters for the More movie, where it can be
heard during a party scene, but it does not appear on the soundtrack
The song in the box though with the same title is not the one fans were
looking for but an alternate take of the instrumental Quicksilver.
God knows why this was erroneously labelled, but once again it seems
that the Floyd historians didn't do their homework right and just threw
songs on a CD without checking them out first.
Pink Floyd itself issued a statement, trying not to make it sound as an
apology. It appears that the master tape of the 'real' Seabirds was
given to the movie producers who used it for their final cut and who
destroyed the only copy afterwards.
While Pink Floyd is not to blame for that mishap we can at least say
they have been badly communicating to their fans about this track, but
Communic/Ation has never been the Floyd's strongest point.
(Another possible mistake can be found on the Stockholm disk where the
first instrumental number is titled Reaction In G while most
scholars think it is another 'untitled' instrumental, loosely based upon Take
Up Thy Stethoscope And Walk. This was already published by the
Church in 2011 so the Floyd had plenty of time to correct this. See
blackmails Pink Floyd fans!)
At 500 Euro a box this is a pretty hefty Christmas present, especially
when you realise that at least 85% of the box has been circulating
before, on bootlegs. Of course it is true that some visual material has
been beautifully restored and some audio tracks sound crispier than
ever. Other tracks have just been added for the sake of adding them, so
it seems. Anything in the bin we can still use?
There are still plenty of tracks not in the box that the fans were
hoping for. It has already been confirmed that one of these will be
issued as a Vinyl Record Store Day exclusive.
Somehow I have the feeling that during the Cre/Ation of this set, that
took twenty years, the energy went lost, or the interest. Perhaps there
was a lack of time when the deadline came closer. Perhaps a greedy
manager decided that they had already spend too much money on it.
Perhaps Waters and Gilmour, and their servants Guthrie and Jackson, have
been busy rolling over the floor fighting, rather than working together,
in a cooperative way.
This could have been such an exquisite rarities box, an example for
other bands to follow, if only the Floyd had put some extra effort in
it, if only the Floyd had consulted their fanbase that gathers at
specialised music forums.
Nick Mason, the gentleman drummer, probably takes better care of his
cars than he takes care of his musical legacy.
"Those ungrateful fans, it took us 20 years to make this box and Felix
Atagong, the Reverend of the Holy Church of Iggy the Inuit, just needed
20 minutes to trash it."
Update: this post was only published for about an hour when a new
'error' was published on one of the forums.
Belgian TV footage (1968): while the image transfer is great,
Pink Floyd made a stupid mistake by overdubbing the video with the
regular stereo versions instead of the original 'mono' sound. This leads
to the following errors: 1. The stereo Paintbox is about 15 seconds
shorter than the mono version, the last seconds of the clip are almost
silent while there was still music during the original TV broadcast. 2.
An unique early version of Corporal Clegg with an alternate ending has
been replaced with the common stereo version. 3. Set The Controls For
The Heart Of The Sun has lost the early mono mix that was used instead
of the album version.
Video transfers. Frame rates differ between 'vintage' movies and
digital technologies like DVD and Blu-ray. When old movies are
transferred to digital they have to be 'stretched' which is a pretty
straightforward process. However, one may not stretch the soundtrack the
same way because it will result in a sound distortion. Guess what, at
least one movie in the box runs with half a tone difference than
So here is another case where bootlegs have it right and the official
version has it wrong. Bunch of amateurs!
There are really too many people to thank for this article, but much
kudos go to Ron Toon and the dozens of others who gave valuable
information on the Steve
Hoffman Music Forum (304 pages!), another thread on the Steve
Hoffman Forum (72 pages!), Yeeshkul
(161 pages!) and A
Fleeting Glimpse (106 pages!). Sleeve illustrations by a forum
member whose post I can't find back any more, anyway thanks!
20 pictures of the (un)packing of the box can be found at the Church's
We wish you a very happy 2017, sistren and brethren of the
Holy Church of Iggy the Inuit. Last year was a pretty active one, on the
Iggy, Syd and Pink Floyd front, although that didn't always show on the
site you are currently reading.
Luckily there is a Tumblr
micro-blog that we daily update, with coloured photographs!, a Facebook
timeline and a Twitter
A short and sweet 2016 Tumblr overview
The Church wishes to thank: Mick Brown, Mary Cosco, Rich Hall, Lisa
Newman, Göran Nyström, Anthony Stern, Perse pigs, County cunts and
Cambridge spies. ♥ Libby ♥ Iggy ♥