• We have updated the guidelines regarding posting political content: please see the stickied thread on Website Issues.

Let There Be More Light: The Pink Floyd Thread

No luck as yet. There's a couple for sale here if you have a spare $300:
http://www.discogs.com/Pink-Floyd-1965-Their-First-Recordings/release/7780256

In my quest, I've uncovered a few other rarities I hadn't heard before, mainly from an album called "La Carrera Panamericana" a film about a retro car race in Mexico - released 1992.

Oh wow, I just found the film. PF did the soundtrack, and Nick and Dave are featured at various points as part of the documentary. Several tracks I hadn't heard before. Enjoy.

 
In my quest, I've uncovered a few other rarities I hadn't heard before, mainly from an album called "La Carrera Panamericana" a film about a retro car race in Mexico - released 1992.

Oh wow, I just found the film. PF did the soundtrack, and Nick and Dave are featured at various points as part of the documentary. Several tracks I hadn't heard before. Enjoy.

I remember recording this off the BBC back in '92!
 
Fantastic. Thanks, sherbs. I saw that page yesterday but overlooked the soundcloud. I've heard Leave Lucy and King Bee before on the Syd doco, but the rest are new to me. Looking forward to full downloadable tracks.
 
Syd Barrett sounds like he's going through a stage of really wanting to be Mick Jagger. Butterfly kind of points the way towards things to come the most out of all the tracks, I reckon.
 
Floyd statement on Facebook:

On Friday, a special limited edition set of two 7" singles was released, featuring previously unreleased Pink Floyd tracks. There were just over 1000 of these sets available. "Pink Floyd 1965 – Their First Recordings" included Lucy Leave, Double O Bo, Remember Me, Walk With Me Sydney, Butterfly and I'm A King Bee.

If you weren't one of the lucky ones to come across one of these in your local record store (the only place they were available from), don't worry, Pink Floyd hope to make them available in some physical form towards the end of next year.
 
Syd Barrett sounds like he's going through a stage of really wanting to be Mick Jagger. Butterfly kind of points the way towards things to come the most out of all the tracks, I reckon.
He really does. And yes very little else to indicate the psychedelic metamorphosis to come. Standard white boy blues up to that point.

Thanks for the link, sherbs. It'll be on solid rotation here for a while.
 
I hear much stronger links with the kind of work Syd produced after Floyd. Btw, my littlest loves King Bee. She's got her full wiggle on for this one. lol what a groover.
 
That is awesome!
 
I've got this odd compilation LP somewhere (possibly in a cupboard at my mum's house). Wikipedia says it's on a Dutch label but the sleeve notes are in German*. Anyway, I only bought to check out the uncelebrated singles/ B-sides as there was a solitary copy in our now defunct local record shop. It doesn't seem particularly rare as far as I can tell, and IIRC didn't sound too good either. Apologies if this has been mentioned elsewhere.

BC.jpg


Of the three obscure tracks, 'Candy and a Currant Bun' (aka 'Let's Roll Another One') and 'Apples and Oranges' are a poppier contrast to Syd's usual brand of psychedelic whimsy, which often seems pleasingly sinister to me, and far weirder.

Can't say I care for 'It Would Be So Nice' that much. Reminds me of those embarassing late 60's films with cheeky Robin Asquith-type characters gurning all over the screen whilst 'delivering things' to bored housewives when not grooving to the latest sounds.

* EMI anyway
 
Last edited:
I've got this odd compilation LP somewhere (possibly in a cupboard at my mum's house). Wikipedia says it's on a Dutch label but the sleeve notes are in German*. Anyway, I only bought to check out the uncelebrated singles/ B-sides as there was a solitary copy in our now defunct local record shop. It doesn't seem particularly rare as far as I can tell, and IIRC didn't sound too good either. Apologies if this has been mentioned elsewhere.

Of the three obscure tracks, 'Candy and a Currant Bun' (aka 'Let's Roll Another One') and 'Apples and Oranges' are a poppier contrast to Syd's usual brand of psychedelic whimsy, which often seems pleasingly sinister to me, and far weirder.

Can't say I care for 'It Would Be So Nice' that much. Reminds me of those embarassing late 60's films with cheeky Robin Asquith-type characters gurning all over the screen whilst 'delivering things' to bored housewives when not grooving to the latest sounds.

* EMI anyway

It was released all over Europe, you have the German edition as the catalogue number starts with a '1'.

Full details here.... http://www.discogs.com/Pink-Floyd-Masters-Of-Rock/master/44236
 
Slight dimming of the light here. Take a few extra spoonfuls of sugar with your coffee tonight. Haven't listened to this since I was 19. Best plaintive "Oh GOD!!" since Black Sabbath.
 
Ha! I haven't listened to this since I was in my teens either and had forgotten about it. Have an autographed copy which I won in an HMV-sponsored competition in perhaps the Evening Standard (or it may've been the NME or summat - I forget). Played it on and off and wasn't sure if I really got on with it, although I remember enjoying some parts...if one can 'enjoy' being plunged into one of Big Rog's neurotic nightmarescapes.

Will give it another appraisal with the benefit of relative maturity :cool:
 
Roger Waters explains why an operatic version of The Wall is coming to Montreal

Roger Waters returned to the scene of the crime Thursday and made a full confession.

At a media conference in the old baseball press gallery at the Olympic Stadium, the co-founder of Pink Floyd and the main creative force behind their acclaimed album The Wall talked of how the famous rock-opera had its beginning at the ill-fated Floyd show at the Big O on July 6, 1977.


http://montrealgazette.com/entertai...tic-version-of-the-wall-is-coming-to-montreal
 
So they're using Roger Waters' lyrics as a libretto but setting them to an entirely new orchestral score? That's quite a bold approach.
 
Educational Antidisestablishmentarianism was a concept of the 1970's.
In that respect, it could be said that Roger Waters was on the wrong side of the Wall.
But that's only a very small element of the overall picture. "Another Brick In The Wall (Part 2)" is frequently over-identified as the pivotal, anthemic embodiment of the whole work, but that's only because it's the bit the majority of people were aware of (the song and Scarfe's related animations were everywhere for a long while.) It has to be seen in context if you're going to examine it in any more than a superficial way.

The work as a whole is very much about Walters' own sense of isolation, from the loss of his father (The Tigers Broke Free), to being humiliated at school - the bit you're on about, nothing to do with any movements or schools of thought, it's his own reaction - to his success as a musician which paradoxically removed him further from "normality". The wall is the metaphorical one Walters built to insulate himself from feelings or situations that could harm him, which he later acknowledged as a form of depression (the "Worms" that eat into his brain.)

No need to bring wider philosophies into it - this is about as ultimately personal as you can get.

EDIT: just realised, in all the years I've been listening to Floyd, I never noticed that it's "Waters" without an "L". It's not like I look at spellings for a living or anything..
 
Last edited:
I always thought The Final Cut was the most political of all the Floyd albums though I see the origins of it's stance seeded in The Wall which was it's direct predecessor. The same theme's Waters carried on into his solo album Radio Kaos once the band split.The autobiographical nature of The Wall, album and the film, in '78 and '79 explain exactly why in '87 Water's could pen tracks like "Home" and "Goodbye".

I'd offer no professional opinion but personally I also see Water's still struggling with the worms.
 
E="stuneville, post: 1571552, member: 1649"]But that's only a very small element of the overall picture. "Another Brick In The Wall (Part 2)" is frequently over-identified as the pivotal, anthemic embodiment of the whole work, but that's only because it's the bit the majority of people were aware of (the song and Scarfe's related animations were everywhere for a long while.) It has to be seen in context if you're going to examine it in any more than a superficial way.

The work as a whole is very much about Walters' own sense of isolation, from the loss of his father (The Tigers Broke Free), to being humiliated at school - the bit you're on about, nothing to do with any movements or schools of thought, it's his own reaction - to his success as a musician which paradoxically removed him further from "normality". The wall is the metaphorical one Walters built to insulate himself from feelings or situations that could harm him, which he later acknowledged as a form of depression (the "Worms" that eat into his brain.)

No need to bring wider philosophies into it - this is about as ultimately personal as you can get.[/QUOTE]

Antidisestablishmentarianismistically speaking, I wasn't trying to get too deep over this.:)
Rather, I just thought that the whole thing was quite ironic. I refer to Walters' own explanation of the origins of his concept album: that he wanted a 'wall' between himself and the audience. I just wonder if he has actually put himself on the wrong side of the 'wall' again, with this new development. It may be, that his being out of 'tune' with current
trends is what brings about his musical artistry, which of itself would be rather a serendipitous outcome.
As long as this leads to more great music, then long may it continue. I am, however, slightly concerned that it may reveal itself to be a bit pretentious. I have a dislike of musicians who's ego tends to get the better of them.
Great music, though.
 
Last edited:
I always thought The Final Cut was the most political of all the Floyd albums though I see the origins of it's stance seeded in The Wall which was it's direct predecessor. The same theme's Waters carried on into his solo album Radio Kaos once the band split.The autobiographical nature of The Wall, album and the film, in '78 and '79 explain exactly why in '87 Water's could pen tracks like "Home" and "Goodbye".

I'd offer no professional opinion but personally I also see Water's still struggling with the worms.

The Final Cut is a fantastic Roger Waters album, but not such a great Pink Floyd Album.
The thread from Welcome to the Machine (possibly my favourite Floyd song) through most of Animals and all of The Wall is clear, but is became far too raw and autobiographical to represent the band's broad vision by the 80s.

Yet it's a moving work.
 
Yet still such a broad appeal. The greatness of a Floyd work isn't always determined by the numbers. Probably my favourite of their songs is a little known track entitled Nick's Boogie. That is the essence of all of it. And it's an instrumental but no less political than anything else they subsequently released.
 
Back
Top