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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 Paul McCartney? 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
Kings.)
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
copies more.
The Orb The Dream.
It took me over a year to listen to The Dream that followed Okie
Dokie and although it has Youth (Martin Glover) 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 is 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. For a (partial) review, check here: The
Relic Samples
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.
The nazi dark side of the moon conspiration
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
Thule indeed.
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
energy problem.
How do I know all this? Because Gary
McKinnon told us so.
U.F.Off, The Orb (compilation).
Beam me up Scotty
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,
probably.
Mostly Harmless
"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
H-bomb Edward
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
American powers-that-be
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.
Saint Gilmour
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.
Metallic Spheres (cover: Simon Ghahary).
Pink Florb
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.
Metallica
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) and 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/or 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.
Simon
Ghahary created the artwork (see image above) and all artist
royalties will go to helping Gary McKinnon fight his extradition.
Conclusion
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.
There was a time when I would put in the latest Orb CD and murmur
blimey! Blimey because The
Orb pleasantly surprised me or blimey because Alex
'LX' Paterson and band utterly frustrated me. They had that effect
on me for years from their very first album Adventures
Beyond The Ultraworld (1991) until the quite underrated Cydonia
(2001). Often the wow! and meh! impression 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 has largely disappeared. His most prolific output lays
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 is 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 are 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...
Metallic Spheres, The Orb ('deluxe' cover).
Rumours...
Exactly one year ago Alex Paterson, who has always been a bit of a
bigmouth, revealed:
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
hear.
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.
Floydian friction
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
official website
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
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. (underlined
by FA.)
Bollocks
Calling LX Paterson an Orb co-founder is technically not untrue, but it
feels a little weird when you have just been presenting Martin 'Youth'
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 but not by Youth who only occasionally teamed up with
Alex Paterson as a temporary aid. 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 'Youth' Glover helped LX
out with two tracks (on two separate albums): Little Fluffy Clouds (on
'Adventures', 1991) and Majestic (on U.F.Orb, 1992), but he never was a
member of the band and certainly not a founding member. In 2007 however,
Youth replaced Thomas Fehlmann and joined The Orb for a one album
project: The
Dream.
Update 2018: Youth can also be found on the 2018 'No Sounds Are
Out Of Bounds' and on a 2016 live CD and DVD release of the band.
Orb remix from Rick Wright's Runaway.
...and gossip
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.
The first, original movie disappears after a couple of days for
so-called 'copyright' reasons and 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 doesn't go down
well at the Gilmour camp. Alex Paterson's image, so it seems, has only
been included on the promo video after some pressure (from LX
himself) took 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 Orb for over two decades.
Gary McKinnon
Bit by bit we learn 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 (read some more about that on: Metallic
Spheres). 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
founded Blue
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.
Island Jam
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 some help. LX flavoured the pieces with typical
Orbian drones and samples, rather than turning 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. That can only be good news
for The Orb whose last album Baghdad Batteries sunk faster than
the Kursk in the Barents Sea.
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. (In the case of their Okie
Dokie album, not a bit).
Promotional copy of Metallic Spheres, The Orb vs. Dave Gilmour.
Metallic Spheres
Metallic
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 meh! 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 have 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.
Versions
In true Orbian tradition this album exists in different versions. There
is the regular UK version (with a 'black' cover) and the deluxe version
(with a 'white' cover). That last one has a bonus CD in a 3D60 headphone
remix, comparable to the holophonics system on Pink Floyd's 'The
Final Cut' album from 1983.
Update 2018: Just like 'holophonics' in the eighties, 3D60 no
longer exists. The 'special' effects can only be heard through a
headphone, but don't expect anything spectacular.
A Japanese enhanced Blu-spec release has two additional bonus tracks and
two videos. One of these extra tracks (remixes, actually) could also be
downloaded from The Orb website and from iTunes. One of the videos has
been made by Stylorouge, who worked with Storm Thorgerson on
several Floydian projects.
Last but not least there is a Columbia promo version, containing a
unique identification number to trace unauthorised redistribution (see
above picture). To our, but probably not to Gilmour's, amusement this
promo-CD is titled The Orb Vs Dave Gilmour (instead of David).
According to at least one Orb fan this version has a different mix than
the official release.
Holy Church Wordcloud (2018). Artwork: Dolly Rocker. Concept: Felix
Atagong.
The church started as a jokey blog in August 2008, but we had to get
serious when, only a year later, Iggy was found back, thanks to Mark
Blake, from Pigs Might Fly fame. She lived in a village in
West-Sussex, 52 miles from central London in the north and 14 miles from
the south coast, with a population of approximately 5,000.
Those and other stories you can read in the overview of the first two
seasons of The Holy Church of Iggy the Inuit, a name that Iggy
thoroughly hated, by the way.
In season three the Church had acquired some maturity and because
Iggymania hit us hard there were over 30 articles that year. Here is
what happened a decade ago, a condensed overview of our third season, in
a reader’s digest way.
Metallic Spheres (cover: Simon Ghahary).
Metallic Spheres
Somewhere in the early nineties, the Reverend got aware of the band The
Orb, basically because some lazy journalists had baptised them the
Pink Floyd of ambient house. It has been a love/hate relationship ever
since because The Orb used to spit out songs and or remixes by the
bucket-load, often from uneven quality. (Check their 2020 sixteenth or
seventeenth studio album Abolition of the Royal Familia, that is
really good.)
In August of 2010, the official David
Gilmour blog (that no longer exists) finally confirmed the rumours
that a Floydian Orb partnership was going to take place. You can find
all juicy (and wacky) details in two articles but those aren’t amongst
the Reverend’s bests.
For those fans who might think, what does The Orb has to do with Pink
Floyd, Syd
Barrett or Iggy the Eskimo, there was news about Syd Barrett
compilation number 6 that saw the light of day in October 2010. An
Introduction To Syd Barrett was the first compilation combining solo
and Pink Floyd songs on one single album.
Before you say ‘what the fuck’ this compilation did have some extra bits
and pieces for the Syd Barrett anoraky collector. Four songs had been
remixed, plus one partially re-recorded, by David
Gilmour and for the first time in history, the 20 minutes version of Rhamadan
was offered as a downloadable extra track (for a limited period only).
About a year and a half after Rob
Chapman’s An Irregular Head Julian Palacios’ retaliated
with Dark Globe, a complete re-write of his previous Barrett and
early Pink Floyd biography Lost In The Woods.
Somewhat hermetic and not always the easiest prose to read it still is the
Syd Barrett authoritative biography around, giving credit where credit
is due, a department where Chapman lacked somewhat. Palacios is the kind
of biographer who will give you the brand of the coffee machine that was
used in a bar in Cambridge where Syd used to have an espresso and who is
a bit cross he couldn’t trace back its actual serial number. We have you
warned.
Mojo 207.
Mojo
The Mojo
edition of February 2011 (#207) put on its cover that Iggy the Eskimo
had been found and surprised us with a (small) article. Mark Blake
promised us a more in-depth article later on while Iggy was learning how
to type the right syllables on her portable phone, leaving a bunch of
quasi undecipherable messages at the Mojo website (for the first time
published here, see underneath).
Meanwhile, the Reverend and Iggy tried to connect, de tâtonnement en
tâtonnement as the French so beautifully say, figuring out what
the future should bring if there was a mutual future, to begin with.
The Strange Tale of Iggy the Eskimo was Mark Blake’s full article that
appeared as a Mojo Exclusive on its website. Unfortunately, it was
deleted a couple of years later. It is not even sure any more if it is
still around on Mark Blake’s own website, but a copy has been saved for
eternity at the Holy Church.
Obviously, the Church had quite a few articles about Iggy's reappearance
in season three:
Some of Iggy's comments on the Mojo website. (She had never used a
smartphone before.) Terrapin
9.
False Claims
In January 2011 somebody who appeared to be close to the Barrett
epicentre tried to sell a handwritten poem by Syd Barrett. Only, the
handwriting was not Syd’s, but by Barrett collector Bernard
White, who had published the poem in the fanzine Terrapin.
When the Church tried to investigate we were warned not to dig too deep,
for reasons still unknown, a decade later.
Anno 2020 there is a Syd Barrett lyrics book in the making. Perhaps it
will finally clear the fog around ‘A Rooftop Song In A
Thunderstorm Row Missing The Point’.
Fakes come in all sizes and colours. A Pink Floyd acetate containing Scream
Thy Last Scream and Vegetable Man was analysed by the Yeeshkul
community and proven to be a forgery. It's value dropped from ten
thousand dollars to about zero. Beware for the (many) fake records and
autographed items out there, people!
Fake as well, was an interview with the proprietor and mentor behind the
Holy Church of Iggy the Inuit, the famous and agile Reverend Felix
Atagong. Originally issued – in Spanish! - on the fantasticoSolo
En Las Nubes Barrett blog, it gave away all its dirty secrets. Ay
caramba! The English version appeared some while later at the
Church. It truly is an article of epic proportions.
Ian Barrett, Iggy Rose and Captain Sensible (picture: Captain Sensible).
Idea Generation
Iggy’s first public appearance in about half a century took place at the Idea
Generation exposition on the 17th of March 2011. A lot of people
were invited and Iggy was pleasantly surprised that she was asked, by
about everyone (minus one), for autographs and pictures.
That she was the star of the evening not only surprised her.
Unfortunately, it also led to a jealous outbreak from someone whom we
will call X. That person had always been high on the Syd Barrett pecking
order and was afraid to lose that spot. Iggy and X would be frenemies
for the rest of their lives, en passant adding the Reverend to
the war zone who was hit by friendly (and less friendly) fire.
In our third season, we also continued our Cromwellian nightclub series
with articles about professional wrestlers Paul Lincoln, Bob 'Anthony'
Archer, Judo Al Hayes and Rebel Ray Hunter who co-owned The Crom and
other clubs in the sixties.
Meanwhile, David Gilmour and Roger Waters are fighting an online battle
to get the most attention of the fans, by releasing home recordings of
Barrett, Floyd and solo songs. Nick Mason (with his Saucerful band) is –
obviously – still the coolest guy around.
See you next year, sistren and brethren!
Many thanks to all collaborators who helped us a decade ago and who are
still helping us today. RIP to those who are no longer around.:
Adenairways, Amy-Louise, Anne, Bob Archer, Emily Archer, Russell
Beecher, Paul Belbin, Mark Blake, Libby Gausden Chisman, Dallasman, Dan,
Dan5482, Dancas, Denis Combet, Dominae & Ela & Violetta (Little
Queenies), Paul Drummond, The Embassy of God, Emmapeelfan, Felixstrange,
Babylemonade Flowers, Gianna, Dark Globe, Griselda, Rich Hall,
Hallucalation, Rod Harrod, JenS, Jimmie James, Mark Jones, Kieren,
Krackers, Lynxolita, Natasha M, Mojo, MOB, Moonwall, Motoriksymphonia,
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Alain Pire, PoC (Party of Clowns), Antonio Jesús Reyes, DollyRocker,
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Wrestling Heritage, X, Xpkfloyd, Zag, Zoe and all the beautiful people
at Late
Night and Yeeshkul. ♥
Iggy ♥ Libby ♥
In 2002, a Scotsman with a UFO,
sorry UAP, fixation logged into a bunch of military and NASA computers.
This was, in the words of American justice, ‘the biggest military
computer hack of all time’. The United States asked Great Britain for
his extradition. In America, the chance existed that he would be
sentenced to seventy years in prison, not a bright-looking future for a
man in his thirties.
It took Gary
McKinnon over a decade to win his fight with American (and British)
justice, and during that period, several support events were held to
help him (financially) with his battle.
David Gilmour recorded a charity single for McKinnon, a cover of
Graham Nash’s Chicago.
Chrissie Hynde saves the song, and it would have been excellent without
Geldof's or Gilmour's vocals. It’s a bit of an uncoordinated mess and
not something to be particularly proud of.
Youth Remix
Producer Youth (Martin Glover) was asked to make a remix of the
track, and David Gilmour recorded some uninspired guitar licks at
Youth’s studio. It was then that Youth got the luminous idea of turning
the song into an album. And not just any album, but an Orb album. Youth
has been a friend (and business partner) of Orb founder LX Paterson
since his Killing Joke days.
After some hesitations, David Gilmour agreed on the album, and Metallic
Spheres was released in October 2010. Although an Orb album in name,
it is my opinion that Alex Paterson’s influence was minimal, or at least
not as inspired as on other Orb releases. To quote another fan:
The original was such a letdown. On paper, it sounded like a dream
collaboration; on wax, it sounded like an afternoon jam session of ideas
all chucked together to be worked on later. (Mark Lawton @ Facebook.)
Metallic Spheres in Colour
This year, a remix of the album was announced, called Metallic
Spheres in Colour. For Pink Floyd buffs, this is not a remix in the
Floydian tradition where albums like Animals and A Momentary Lapse get a
much-needed cleaning up. It is a remix in the Orbian tradition where, if
you have some luck, a snippet of the original release can be recognised.
In other words, this is a completely new album; it is brilliant, and the
fact that it has even less Gilmour than before has all to do with it.
Part one, Seamless Solar Spheres of Affection, is a great
re-interpretation of the source material.
Part two, Seamlessly Martian Spheres of Reflection, is the kind
of ambient The Orb premiered in the late eighties. If you are into this
kind of music, you are in for a treat; otherwise, it will pester you
like a lingering toothache.
Kind of a funny remark for the dorks amongst us. The first Metallic
Spheres was issued as The Orb featuring David Gilmour; the 2023
remix changed that to The Orb and David Gilmour. (There is also a
promo CD with the politically incorrect The Orb vs. Dave Gilmour,
which really must have angered good old Fred.)
DSOTM - 50 years.
Colour me Dark
What is this rubbish? What does Pink Floyd think we’re thinking? Why
release a fifth CD remaster of Dark Side of the Moon that sounds
identical to all others? To quote Ramenastern:
Wikipedia lists: 1979 remastered Mobile Fidelity Sound Lab, 1992 Shine
On Remaster (also released as standalone in 1993), 2003 30th anniversary
remaster, 2011 remaster, 2023 remaster. So that's five now. That's
not including multichannel masters and mixes. (Ramenastern @ Reddit.)
The Dark Side of the Moon is no fucking Dash washing powder, is it?
Sounding whiter than white...
Check out this summary by NO TIME TO ROCK: Is Pink Floyd's Dark Side of
the Moon a TIMELESS CLASSIC or is it PLAYED OUT?
That there is a slight communication problem between Roger Waters
and David Gilmour is a well-known fact. When he first announced he was
going to reimagine Floyd’s 1973 masterpiece with the wisdom of an
80-year-old, most people thought he had finally become bonkers.
The Dark Side of the Moon Redux is partially a spoken word album,
basically replacing the instrumental parts with long-winding, not always
coherent, ramblings. This is not the first time Waters surprised us with
a spoken word record. The 2004 single To Kill the Child/Leaving Beirut
foreshadowed that. I don’t remember that single as being particularly
memorable.
What to think about it all? The Redux floats between the brilliant (Us
and Them) and the slightly exhausting (Money). The hits, so to speak,
are beautifully rendered with minimalistic instrumentation and with a
Tom Waits-like raspy voice. I imagine Roger Waters sitting behind a
piano in a cocktail bar, while Polly Samson is sipping from a
daiquiri and yapping loudly to drown out the music. In other tracks, it
feels like Waters is his own tribute band, mimicking the jazz-lounge
tunes of Air covering Pink Floyd.
It’s the kind of experiment only Waters can accomplish, but I guess once
is enough. Nobody will ask for a spoken word record of Wish You Were
Here. He would be capable of reciting his shopping lists over the
instrumental Shine On parts.
As a Pink Floyd fan who only listens to Dark Side once in a blue moon,
this is an essential record to have, but not really to listen to
regularly. I’ll stack it next to the Ca Ira opera and the spoken word
(again!) rendition of Stravinsky’s The Soldier Tale.
Wet Dream Remix.
Colour me Blue
Pink Floyd über-fans are such an elitist lot. I know I’m one of those as
well. But I don’t understand why some of them loathe the solo records
because they don’t have the same standards as the three, four, or five
Pink Floyd big ones. (I even like the Mason + Fenn album Profiles.)
One of those is Rick Wright’s Wet Dream, which appeared in 1978.
It went nearly unnoticed when it was released, but my favourite rock
radio show (in Belgium) gave it plenty of airplay, often coupled with
Gilmour’s first from that same year.
Zee is regarded as cult nowadays (see our review at: Are
friends Zeelectric?) and Wet Dream has been heading the same way. I
always found Wet Dream a fine album, with its scarcely hidden
Shine-On-You-Crazy-Diamond-ish style and mood. It probably is my most
liked (and certainly most played) solo album from the boys.
Just take the opener, Mediterranean C, for instance. This is Floyd pur
sang and would have found its rightful place on Wish You Were Here or
the slightly underrated Obscured by Clouds.
Cat Cruise is 33 seconds longer than in the original version; Waves even
52 seconds. The album follows the path of Gilmour’s first, which was
also about a minute and a half longer in its remastered version.
The Steven Wilson remix, as about everybody agrees on, is pretty
terrific, giving the instruments more place without destroying the
original mood of the album.
Get it and enjoy this forgotten album. It might grow into a classic.
Wet Dream Blu-ray menu.
Blu-ray version (Update: 2023 12 16)
After having travelled by carrier pigeons all over the entire world, the
Blu-ray version of Wet Dream finally arrived at Atagong Mansion. It
contains several superfluous postcards and a 10-page fold-out leaflet
with some new pictures and the original cover art. By the way, do you
know who the nipple belongs to that can be seen on that Hipgnosis cover?
(Answer at the bottom of this post.)
The Blu-ray has the album in a 2023 Dolby Atmos mix, a 5.1 surround mix,
and a 24-bit high-res stereo mix. All mixes that make audiophiles go
crazy, but frankly, I can’t be bothered. But - what a nice surprise - it
also contains the original 1978 stereo version.
The other extras are instrumental versions of the four tracks with
lyrics. These are the songs with the vocals stripped off, and as such,
they sound a bit meagre and repetitive. It’s somewhat interesting for
anoraks but doesn’t add to Wright’s legacy - quite the contrary.
Scene from Remember a Day.
Remember A Day
This isn’t the first time a Rick Wright song got the ‘instrumental’
treatment. In the 2000 bio-hysterical movie Remember
A Day, which every Syd fan should at least watch once, not for its
cinematographic merits but for its abundance of Floydian cameos, the
credits have an instrumental version of Rick’s Remember A Day song.
That version was initially promoted as a rare alternative take of the
Rick Wright song. Fans soon found out that it was merely a remix of the
song, with the instrumental parts stitched together and the sung parts
left out. You can listen to it here: Remember
A Day.
The Wet Dream Blu-ray also has a pretty nice photo gallery and a couple
of home videos with the surprise appearance of a certain Pink Floyd
guitarist.
The Nipple Theory
To answer the question above, the model on the Wet Dream original
artwork was Aubrey 'Po' Powell’s partner Gabi Schneider. This titbit was
revealed by journalist Mark Blake, who wrote the biographies Pigs
Might Fly and Us and Them. Gabi can also be seen on the back
covers of 10CC’s Bloody Tourists and Wishbone Ash’s Front Page News.
Many thanks to: Mark Blake, Mark Lawton, NO TIME TO ROCK, Ramenastern. ♥
Iggy ♥ Libby ♥