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THE MAN & THE JOURNEY STUDIO

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        THE MAN AND THE JOURNEY, WHAT IS IT ?

CONTEXT

« The Man and The Journey » is a concept-show dating from 1969. It is composed of two suites of eight titles which are loosely linked.


The first suite, entitled « The Man » describes the day of a common man in his different moments from morning to the evening.  We have for this first part the following titles:

Daybreak Part 1: he man is slowly waking up.

Work: He goes to work in a factory (according the sounds effects)

Tea break: In an old fashoned English way, the man takes a break with a tea

Afternoon: He comes back to his home and thinking about his working class man condition.

Doing it!: He had sex with his wife/girlfriend.

Sleeping : After that, the man slowly sleeping

Nightmare: As title said, he had a nightmare

Labyrinth: The alarm clock ending to his dreams. He’s waking up et begins a new day

 

The second part, entitled « The Journey », is more obscure and seems to follow  the ramblings of this man :

The beginning : The man is standing on a imaginary beach

Beset by the creatures of the deep: He is suddenly harassed by some weirds creatures 

The Narrow Way: The man runs to escape this creatures by taking a narrow path …

The Pink Jungle: …  then enters in a creepy jungle ….

The Labyrinth of Auximenes: … where he falls in a pit and is trapped in a labyrinth from where he try to go out

Footsteps: Following the footsteps, he opens many doors and gates and then find the exit

Behold the temple of Light: He’s facing a temple …

The End of the beginning: … where he climbs the steps to aims the final stage

PERFORMANCES’ DESCRIPTIONS  


Daybreak Part 1 (Roger Waters): After a long introduction composed of birdsong effects, the group plays Grantchester Meadows: it is an acoustic guitar duet between Roger (verses) and David (chorus). Rick Wright plays the organ.

Work (Waters/Wright/Gilmour/Mason) David and Roger set up a table and chairs, playing hammer and saw while Nick is playing a rhythmic pattern on drums and Wright xylophone.

Teabreak (Uncredited): After setting up a table, the group is served tea on stage by roadie (Alan Style)

Afternoon (Roger Waters) As the roadies clear the stage, the band begins playing the track Biding my Time with Rick Wright on trombone, David on lead and rhythm guitar, Roger on vocals and bass, and Nick on drums.

Sleeping (Waters / Wright/Gilmour/Mason): An ethereal improvisation by the four to introducing Nightmare

Nightmare (Roger Waters) / Labyrinth (Waters/Wright/Gilmour/Mason): This version of Cymbaline is interspersed with an organ and guitar solo by Rick and David before a coda of the third verse. David takes the vocals, supported by Rick on the chorus.

The Beginning (Roger Waters) This is a version of Green is the Color which is then chained with a version of Careful with that axe, Eugène under the title Beset by creatures of the deep. It was on the occasion of this concert-show that the group would play the two titles in succession until 1971.

Beset by creatures of the deep (Waters / Wright / Gilmour / Mason): Version of Careful with that ax, Eugène.

The Pink jungle (Barrett / Waters / Wright / Mason): Only Piece taken in extenso from a previous album, namely: Pow R., Toc. H.

The labyrinth of Auximenes (Gilmour / Waters / Wright / Mason): Based on a bass riff often used live (especially in the live versions of Interstellar Overdrive), this is an instrumental.

Footsteps (Gilmour / Waters / Wright / Mason) New non-musical sequence. The group uses sound effects of footsteps and doors to simulate the hero's winding path as the stage is plunged into darkness. The Floyd uses its Azimuth Coordinator system which allows it to rotate the sound through the audience 360 ​​degrees creating an obsessional feel.

The narrow way (David Gilmour) Song that will become the third part of The Narrow Way on the album "Ummagumma". Except during a BBC session, the track was only performed live during the show "The Man & The Journey".

Behold the temple of the light (Gilmour / Waters / Wright / Mason): Instrumental based on the Gilmour chord suite used as a transition between the second and third part of The Narrow Way.

The end of the beginning (Gilmour / Waters / Wright / Mason): This instrumental is a cover of the part titled (apocryphally) Celestial Voices on the track A Saucerful of secrets.

WHY THERE IS NO STUDIO VERSION OF THIS PROJECT ?

It’s uneasy to place this project in the history of the group. To locate it, we have to go back to the year 1967. At that time, the group presented a summit of the Barrett period: « Games For May ». This concept-concert was imagined by Syd, Rick and Roger as a performance integrating visual and sound aspects (apart from the musical aspect, through the use of sound effects). This idea flourished in the minds of the band who sought to make the link with concrete music and certain dimensions of the living theater.

While on tour to promote their second album, the Floyd asked the engineers of EMI to reconstruct one of the tools of the concert for the month of May: the Azimuth Coordinator. This quadraphonic system has the particularity of presenting a dual control that rotates the sound 360 degrees around the viewer, giving him an immersive impression unprecedented for this rock-era. It is not foolish to think that once this improved system in hand, the group wondered how to make full use of it again.

In October 1968, Waters, when interviewed by the « Melody Maker » seemed to follow this path: « (This system) assumes original content - it can include melodrama, literal things, musical things or lights ». This desire was reaffirmed at the beginning of 1969 when the group declared that it wanted to perform a concert performance composed of a symphony orchestra and electronic noises. Admittedly, the group at that time had a lot of projects in its boxes (a cartoon, a ballet ... which will run over several years). Nevertheless, the possibility of marrying different artistic aspects on stage remains the priority of Roger, who in 1967 had mentioned the possibility of linking these different dimensions around a simple narration: the cycle of life (which is important for the future).

In 1968 again, one would have thought that once the fall tour was over, the group would set about setting up the various elements of this future show. But it’s not as so simple …


Because, the group finally wanted to focus their work on his next album by deciding to go back into the studio. There is no clue at this point that the band is looking to record the skeleton of « The Man … ». Sisyphus was recorded, first, for « Ummagumma » (on September 17th, 1968). The other track Rick worked on at the next session was Summer 68’ (known as One Night Stand).

In November 1968, Malcom Jones also indicated to the press that the work had started with Embryo (under the still working title of I'm the Embryo; this will be the version chosen for the sampler « Picnic, a breathe of fresh air »).  Admittedly, at this moment, nothing allows to believe that these titles could not have appeared in the continuation « The Man … ».

However, the first two pieces don’t fit with the general line of the concept. The last title, about birth, could have fitted very well into a narrative centered on the cycles of life. It would have been a story then certainly more ambitious than what resulted from it (A man caught in the throes of an average day) but there is no denying the similarities. The confirmation comes when Wright said in the November issue of « Beat International » that the group has decided to record a record where each member will perform a solo part.


The status of Embryo then remains in abeyance: is it a Waters' solo contribution or a song intended to be performed in a group ? 

We know that the basic track was recorded on November 26, 1968 and the overdubs (notably the voice) from December 1 to 4 of that same year. The following month, in December, the group took part in a BBC session where the track Embryo and a new solo composition by Gilmour titled Baby shuffle in D Major were performed. This Baby ... is an instrumental composed by Gilmour for the first part of the future The Narrow Way. The first demo made by David actually dates from August-September 1968 (he recorded this demo in his home-studio inside his London’s flat on Old Brompton Road). This corresponds to the first and second parts of the title. We can reasonably think that each musician works on his solo contribution and that these two titles are two examples.

On January 25, 1969, the « Record Mirror » confirms the progress of the « Ummagumma Project » by indicating that « the next album, scheduled for March, will include solo appearances from each member of the group equally on the record » that the group has definitely stopped the concept of this album. It is not or no longer a question of creating a series of songs to draw the outline of « The Man & the Journey ».

The journalist confirms that David Gilmour is still working for his section, but that Rick Wright has finished his part. According to Gilmour and Wright, Roger Waters is composing « a song or two about conception and birth with a sci-fi twist ». In fact, Dave has already recorded his first two parts under the names Dave's Scene 1st Movement and Dave's Scene 2nd Movement in January. This is the third part which will not be recorded until March (the 6th). For completeness, Nick recorded his section under the working titles Nickey's Tune Section 1 and Nickey's Tune section 2 on September 24 and 25, 1968. We can clearly relate the first part of this assertion to the title Embryo, which by the way still does not seem to be finalized - which corresponds to the reaction of Roger when learning that this song had been included in the sampler « Picnic, a breath of fresh air » without her consent when he considered that he was not yet a model. But what about the second song mentioned by the musicians ?

The only clue given concerns this « touch of science fiction ». It is difficult to see how this could correspond to Grantchester Meadows! If one thinks that the group records two months later the first titles for the soundtrack of « More », one can possibly think of Cirrus Minor which has this light touch of science fiction. Waters is known to have written the melodic line of this track since mid-1968 (the track Roger’s Boogie was rehearsed in August). We can estimate that this title is a candidate for this second title mentioned by Dave and Rick.


In an eight-day session, it is not unthinkable that the group would have mobilized freshly composed material to fulfill in a short time their contractual obligations for the soundtrack of « More » » Problem: Roger Waters indicated in an interview that they entered the studio without having any material in advance (« (…) We didn’t have the material for one song when we started »). Where are we then with « The Man & The Journey » ? On February 15th, 1969, in « Disc & Music Echo », Nick Mason indicates that he has finished his solo songs. When asked if it will be a single or double album, here is what he replies: « I hope it will ... which could be really great because we can bring our own. solo contribution on one record, and having on the other side a side of classic songs and a side of major material involving everyone ».

What is a priori clear, in January-February of the year 1969, is that there is no question here of a Live disc. According to Vernon Fitch, Floyd only recorded demos between January-February. So, we have as a project a double album with a disc comprising four solo compositions (ie a quarter disc for each member). These are the A & B sides. 


Then, we have a second disc with one side made up of classic songs (Side C) and another with « major collective pieces »! (Side D). We can think that the band recorded certain tracks on Side C or D which were finally used on the soundtrack of « More ». It can also be assumed that Embryo is part of the C-side or that it is still being considered to be Roger's solo part. Indeed, if Grantchester Meadows is recorded on May 2, 1969, the performance of April 17 shows that the piece already existed before that date.

One can estimate that Embryo was put aside when Roger considered to carry out a test of concrete music which was a decision which one can date from the end of March given what the number of « Beats International » of April says. 1969: « Roger Waters' contribution is not due to his bass playing. In fact, he has never been so close to electronic music in the sense that he did not want to leave this experimental framework ».

Reading the Abbey Road session sheets, the recording of the basic track is dated on March 6. If we can reasonably refer to Several Species ... as Waters' electronic contribution, and if we take up the words of Gilmour and Wright above which indicate that Roger wrote two songs on conception and birth, we can think that this title was present on side C or D at the start.

On the other hand, it is at first glance complicated to put Biding my Time on side C or D because the cover notes of the American version of « Relics » indicate as date of recording July 19, 1969! If we consider that the sleeve notes are reliable, that does not mean that the title did not exist previously. Indeed, this piece is present from the first performance of the show in April 1969 (and in its final form).

It is therefore possible to think that the group recorded a first version between January and April then did a new take in July (which is plausible given the complex and unusual orchestration of the song).

There would therefore remain about ten tracks (if we take into account the average number of tracks per album at that time) which would be unreleased. For all that, do they make up the matrix of « The Man & the Journey »? Let us take again the titles present on this concept on April 14, 1969 (we will consider as a pre-version a piece recorded after the date of April 14, 1969):


THE MAN:

Daybreak Preview of Grantchester Meadows: composed at least between March and April 1969

Work / Tea Break Unpublished

Afternoon Preview of Biding My Time. Composed at least from the month of March 1969.

Doing It! Unreleased even if ideas are taken / derived from / from The Grand Vizier's ...

Sleeping Preview of Quicksilver. According to the festival program, this title is called Quicksilver, and the first version played (April 14) is very close to what the band recorded for the movie « More » (later versions different). We can imagine that this title was either intended for « Ummagumma » (opposite C or D), or transplanted from « More ».

Nightmare Version of Cymbaline. At least composed in January since recorded for the film in February 1969. Nothing prevents to think that this title was not previously considered as a piece of the C&D sides.

Daybreak Unpublished even if anecdotal being an outro of Cymbaline.

 

THE JOURNEY:

The Beginning Preview of Green is the Color This title is called Stephan's Tit on the program. However, sessions-sheets of the album "More" indicate this working title for the track Green is the Color. This title is too detailed not to think that it was written for the film and transplanted for the concept concert. It was at least composed in January as it was recorded for the film in February 1969.

Beset By Creatures Of The Deep Very clearly a remake of Careful With That Ax, Eugène recorded on November 4, 1968 and developed on stage in May (and incidentally heard on the soundtrack of "The Committee" in May also ).

The Narrow Way Preview of The Narrow Way (part 3).

The Narrow Way very clearly matches David's solo contribution. It cannot therefore come from C&D sides. Unless you think David recorded another song that he finally removed. Given his difficulties writing a solo piece at the time, this is unlikely.

The Pink Jungle Cover by Pow R Toc H. 

The Labyrinths Of Auximines Cover of live elements. This title is typical of the nature of Floyd's improvisations of this era. We can recognize central elements of the live version of Interstellar Overdrive. Items that will be found without pieces like Corrosion or Moonhead. This is not really a new one even if the group will formalize it more and more as and when its live performances.

Behold The Temple Of Light Preview of The Narrow Way (part 2) This song is a long digression on the chord suite David found to bridge parts 2 and 3 of The Narrow Way.

The End Of The Beginning Cover of A Saucerful Of Secrets, part Celestial Voices.


If we accept this setlist as the canonical setlist, we realize that there are only three truly unreleased tracks (and only in the first suite. However, these are not really straights. »As indicated by Mason in his interview:

Work is a concrete music sequence, Doing it! a redundant percussion sequence with the solo contribution of Mason (who admitted to having to start his part again, which could imply that the piece played on « The Man … » was the drummer's first attempt) and Daybreak (reprise) is a short moment that concludes Nightmare.

They are therefore not really eligible for the C-side. There remains the great D-side project mentioned once again by the drummer which could be on a sort of "HouseHold Objects" before its time and for which these songs would be relevant. 

What we can conclude is that either the songs from « The Man & The Journey » were recorded (if only as a mock-up) around January-February 1969 but all were dispatched in « More »  but two: Embryo and Biding my Time. Regarding the known unreleased tracks, we find the track of the title Biding my Time under the name Roger's Blues recorded on March 25th, 1969. There remains a title entitled Roger's Tune recorded on September 25th, 1968. It would not be aberrant that this title had was a preview of The Embryo (or rather I am the Embryo). Finally, if you look at the advertisement for the Sheffield concert, it says that this concert will be recorded for a live record called « Ummagumma ». So it appears that « The Man & the Journey » was never considered a studio album. This would confirm what David Gilmour said on this subject:

Gilmour:

« It was a thing called « The man » first and then (...) « The Journey ». I don't remember that very well because there were songs from other records. So we couldn't save it »

« Libre antenne aux Pink Floyd », Europe 1st May 1982.


Peter Mew (sound engineer):

« They didn't, so far as i could tell, actually have anything prepared. On the very first day in the control room of Studio 2 at Abbey Road, Norman Smith said to them "Well, what are we gonna do?" and they just looked blank. It was only after a lot of discussion that they decided that this was the way were going to go - one quater of the album each »

« To Infinity ... And Beyond! », Uncut, May 2019.


Interviewer: « Why did you hurried the project ? ».

Mason: « Because I think it was a little too advanced, even for us. It worked on stage, but there wasn't enough substance for people to buy it on record. We thought it was more coherent to make a real album, with a balance between songs and more free tracks »

« Pink Floyd: Tout est là, et même plus », Rock & Folk, November 2016.

The will to reconstruct « The man and the journey » come from a kind od disappointment by listening the few projects already out * 

The difficulty, in my opinion, is that these outfits only offer a collection of songs. In addition, the long instrumental titles (Sleep, Labyrinth of Auximenes ...) were replaced by other titles loosely related (Quicksilver, Sysyphus). Finally, no sound effects were used, reducing the main dimension of this project: the appearance of "concrete music" within the Floydian corpus. 

The discovery of the sound library of EMI studios and the BBC radio used was the first trigger of the project when I reconstructed in extenso the live sequence of Cymbaline in 1970-1971. The second element was the release of new “Zabriskie Point” falls from the “Pink Floyd - Early Years 1965-1972” set.

* http://albumsbackfromthedead.blogspot.com/2018/04/pink-floyd-man-and-journey.html or even

http: //albumsthatneverwereæ.blogspot.com/2017/10/pink-floyd-massed-gadgets-of-auximenes.html

PROJECT INTENTION

The main idea is to really act as if this album had been recorded in 1969.  For this, I imposed several constraints on myself:


  • Do not use other musical sources than those from the band. This means not to use sources from albums or live recordings by David, Nick or Roger. Obviously, this means not relying on contemporary covers like the Crying Song by Hubert Laws (1969) or The Nile Song by Human instinct (1969) or even the famous cover of Cymbaline by Hawkwind (1970).


  • Using only contemporary sources (1968-1971). The start date is chosen because the first wishes of the group concerning this show are at this time. In addition, some ideas developed on stage will then be taken up until 1971, for example:

                 - The use of the Behold the temple ... chord suite on the transition between parts 2 and 3 on The narrow Way (« Ummagumma », 1969).

                 - The tea sequence from Alan Psychedelic Breakfast (« Atom Heart Mother », 1970),

                 - The wind effect on One of these Days (« Meddle », 1971)


  • Use only studio sources. This criterion automatically eliminates the live side of « Ummagumma » or bootlegs from the 1969-1971 period. However, given the lack of studio equipment available, this criterion has been relaxed to take a few live (contemporary) sources, but only when they have been captured without an audience:

                  - The 1969 BBC sessions,

                  - The KQED TV performance in April 1970

                  - The « Live at Pompeii » captured between October and December 1971.


  • Offer different versions. The goal is not to integrate in situ the pieces already available (Green is the color, Cymbaline, Biding my time …) but to try to bring something (relatively) new. These tracks have been remixed differently. It is sometimes subtle (Pow R., Toc H. from a needledrop extraction of the vinyl of « Record Store Day » 2018 with an enhanced piano) sometimes less (The Narrow Way oops to be lengthened and remixed).


  • Respect the technical limitations of the time. If it had been released on an LP, it would have been a double album with the two main limitations of the era: less than 35 minutes running time for each side and a side jump for each record. We had to resist creating transitions that were virtually impossible for the time.

‍    I. THE MAN


01. Daybreak (Part 1)

The idea was to de-noising the Grantchester Meadows title as much as possible from its flies and other birds. Then create an intro and especially an outro to fit into the rest. Use the BBC 1969 version to highlight the piano part. Integrate the voice of David on the choruses.


02. Work

I reduced as much as possible this non-musical title which hardly works on disc. The idea was to create a fast rhythm from the sound effects to conclude it with a rise of drums.


03. Teabreak

Material was taken from Alan’s Psychedelic Breakfast as well as from the EMI and BBC sound library. Here too, the version was shortened because it was not very interesting on disk.


04. Afternoon

Remix the track from the Canadian stereo version of « Relics » (released in 1971) featuring David's extraordinary guitar and the brass parts. The mix from the Canadian version is far superior to the European edition of the disc.


05. Doing it!

It was necessary to reduce this title which does not work well on disc. The idea was to displaying all stereo effects which were of the highest chic in 1969.


06. Sleeping

The idea is to respect the overall movement of the piece:

‍        1. The hero falls asleep slowly

‍        2. He sinks into a somewhat scary deep sleep

‍        3. The hero is in a state of lethargic stanza ...

The transitions are marked by ascents and descents of (reverse) gong. My initial version is lasting on 20 minutes!!

‍ 

07. Nightmare

The version chosen is that of the BBC to highlight the organ


08. Labyrinth

Resumption of elements not retained for Sleeping to suggest an awakening of the character.

‍ 

‍    II. THE JOURNEY


09. The beginning

The main idea was to go back to the live configuration. I  removed the lead acoustic guitar, to put forward the voice of David (superb) and to highlight the piano and the electric piano which are buried in the mix.    

‍ 

10. Beset by creatures of the deep

The basic version chosen is Explosion, which is the atmospheric variation of Careful …  It’s a less aggressive version and one where the drum and organ sound harmonized better with the rest of the project.

‍ 

11.The Narrow Way

I had to create an introduction to respect the configuration of the live version. I filled the first two verses with the drums from the third verse to keep the global dynamic. It was also necessary to lengthen the title on release to achieve a more gradual transition with Pink Jungle.


12. The Pink Jungle

‍ The remastered version of Pow R, Toc H was faded with the sounds FX from the EMI sounds library.


13. The Labyrinths of Auximenes

I had to isolate the bass riff from the live version of 1969 and the sampler to then vary the other elements around. Two bass lines from Embryo and Explosion (not used on Beset ...) helped build the attack and release of the title.


14. Footsteps

A sequence reconstructed from sound effects from the EMI library as used by the group at the time. The sequence has been shortened for the disc


15. Behold the temple of the light

A huge job, since I had to isolate the four-chords sequence at the end of The Narrow Way (part 2), do the same on the chords from the Amsterdam 69 concert and then, chord after chord, play with the tempos and speeds to create a progression (sampler and looping would have made this artificial). A considerable amount of effects were applied (nearly twenty!). Some sequences had to be cut out to insert them with a shoehorn (see Sources used sections).


16. The end of the beginning

I wanted to create a slow dynamic by going through several stages articulated around the feedback created. The idea is to center the piece on Wright's organ. An accumulation of organ layers was created by incorporating Autumn '68 recorded during rehearsals of « The Man & The Journey ».

SOURCES USED


    I.THE MAN

    1. Daybreak (Part 1)

        - Grantchester Meadows from « Ummagumma », 1969.

        - Grantchester Meadows from « BBC Sessions May 1969 » Bootleg.

        - Grantchester Meadows from « Live at KQED TV » FMRip, 1970.

        - Grantchester Meadows from « Live at KQED TV » TVRip, 1970.

        - Birds Dawn Chorus from « Spectacular sounds effects Volume two », 1981.


    2. Work

        - Whistle sound from «1969-09-17 - Pink Floyd - Amsterdam '69 (HRV CDR003)», 1969.

        - Whistle sound from «1969-04-14 Rehearsals», 1969.

        - Steam locomotive USA with bell train comes to halt from « EMI Productions Sound Effects », 1970.

        - Atom Heart Mother (Early version) - solo drums from «Pink Floyd Early Years (1965-1972)», 2016.

        - Hard Way - extract from « Household Objects (outtakes) » in « The Dark Side … » (Immersion).


    3. Teabreak

        - Alan's Psychedelic Breakfast - Channel 2 Corn flakes from « Atom heart mother » 4.0 mix, 2016.

        - Alan's Psychedelic Breakfast - Channel 4 Tea drinking  from « Atom heart mother» 4.0 mix, 2016.

        - Lighting of matches and cigarettes between … from « EMI Productions Sound Effects », 1970.

        - Bacon frying on a gas stove from «EMI Productions Sound Effects », 1970.

        - Electric auto antenna and manual … from « EMI Productions Sound Effects », 1970.

        - Jimmy Young speech sketch from « 1974.11.16 BBC Revisited » Bootleg.

        - Country song (full mix) - Mason’s stance from « A total Zabriskie point of view » bootleg.

        + Easter egg!


    4. Afternoon

        - Biding my time from «Relics» Canadian version, 1971


    5. Doing it!

        - The grand vizier’s garden party (part 2) - snare drums part from «Ummagumma», 1969.

        - The grand vizier’s garden party (part 3) - Drums parts from «Ummagumma», 1969.

        - Set the controls for the heart of the sun - Cymbals isolation from «Live at Pompeii» 5.1 mix, 1971.

        - A saucerful of secrets - gong isolation from «Live at Pompeii» 5.1 mix, 1971.

        - Echoes - second part cymbals isolation from «Live at Pompeii» 5.1 mix, 1971.

        - Atom Heart Mother (Early version) - Drums from «Pink Floyd Early Years (1965-1972)», 2016.


    6. Sleeping

        - Clock from « EMI Productions Sound Effects», 1970.

        - Breathe - Roger’s breathing from «Music for the body», 1970.

        - Love Scene 2/Oenone (full mix) from « A total Zabriskie point of view » bootleg.

        - Explosion - bass riff from « Pink Floyd Early Years (1965-1972) », 2016.

        - Seabirds - Gong sounds from « Pink Floyd Early Years (1965-1972) », 2016.

        - Aeroplane - Intro Rising chord from « Pink Floyd Early Years (1965-1972) », 2016.

        - The grand vizier’s garden party (part 2) - organ part from «Ummagumma», 1969.

        - Love Scene 3 from « A total Zabriskie point of view » bootleg.

        - Love Scene 3 (band version) from « A total Zabriskie point of view » bootleg.

        - Set the controls … - Organ + Guitar reverberated from « Live at Pompeii» 5.1 mix, 1971.

        - A saucerful of secrets - Drone sound from «Live at Pompeii» 5.1 mix, 1971.

        - Set the controls for the heart of the sun - Gong isolation from « Live at Pompeii» 5.1 mix, 1971.

        - Love scene (Version One) from «Pink Floyd Early Years (1965-1972)», 2016.

        - Love scene (Version Two) from «Pink Floyd Early Years (1965-1972)», 2016.

        - Love Scene 5 (double vibe) from «A total Zabriskie point of view» bootleg.

        - Quicksilver from «Soundtrack from More» (2016 Vinyl remaster), 2016.

         - Rain is the country (Unknow song - full mix) from «A total Zabriskie point of view» bootleg.


    7. Nightmare

        - Cymbaline - Intro from «Soundtrack from More» (2016 Vinyl remaster), 2016.

        - Cymbaline from «BBC Sessions May 1969» Bootleg.

        - Cymbaline from from « soundtrack from the film More », 2016 Vinyl Remaster


    8. Labyrinths

        - Circular saw from «EMI Productions Sound Effects», 1970.

        - Alarm clock from « EMI Productions Sound Effects», 1970.

        - Love Scene (Version one) - Ending from « Pink Floyd Early Years (1965-1972) », 2016.

        - Birds Dawn Chorus from «Spectacular sounds effects Volume two», 1981.


    II. THE JOURNEY

    1. The beginning

        - The Seaside: Waves Breaking with Seagulls from «EMI Productions Sound Effects», 1970.

        - Green is the colour from « soundtrack from the film More », 1969.

        - Beginning from « April, 14th 1969 RFH rehearsals », 1969.

        -  Hollywood - break  part from «Pink Floyd Early Years (1965-1972)», 2016.

        - Take off (Version II) - Ending Gong - from « Pink Floyd Early Years (1965-1972) », 2016.


    2. Beset by creatures of the deep

        - Explosion from « Pink Floyd Early Years (1965-1972)», 2016.

        - One of these days - Wind Fx from « Meddle » 5.1 Mix, 2014 

 

    3. The Narrow Way

        - The narrow way (part 3) from « Ummagumma », 1969.

 

    4. The Pink Jungle

        - Pow R., Toc H. from «The piper at the gates of dawn» (2017 Record Store Day vinyl)

        - Macaw and other birds from « EMI Productions Sound Effects », 1970.

        - Monkeys from « EMI Productions Sound Effects », 1970.

        - Crickets from « EMI Productions Sound Effects », 1970.

        - Seventeen-year locusts from « EMI Productions Sound Effects », 1970.

        - Parrots from « EMI Productions Sound Effects », 1970.

        - Japanese nightingale from « EMI Productions Sound Effects », 1970.

        - Turtle doves courting from « EMI Productions Sound Effects », 1970.

        - Careful with that axe, Eugène - rear channel from «Live at Pompeii» 5.1 mix, 1971.

        - Love Scene 6 (full mix) - last drum from «A total Zabriskie point of view» bootleg.


    5. The Labyrinths of Auximenes

        - The Seaside: Water Splashing Round Pier, Rocks from «Spectacular sound effects volume one», 1981.

        - Embryo - outro bass riff from « Picnic a breath of fresh air », 1970. 

        - Explosion - bass riff from « Pink Floyd Early Years (1965-1972) », 2016.

        - Set the controls … - Organ + Guitar reverberated from « Live at Pompeii» 5.1 mix, 1971.

        - Interstellar Overdrive - bass break from « BBC Sessions May 1969 » Bootleg.

        - DVD menu loops soundscapes from « Pink Floyd Early Years (1965-1972) », 2016.


    6. Footsteps

        - Footsteps from « EMI Productions Sound Effects », 1970.

        - Doors, Gates, Stairs, Squeaks … Open Squeak & Close from « EMI Productions Sound Effects », 1970.

        - Doors, Gates, Stairs, Squeaks … Door Open & Shut from « EMI Productions Sound Effects », 1970.

        - Footsteps: Running in Street from « EMI Productions Sound Effects », 1970.

        - Cymbaline from «Live at KQED TV» FMRip, 1970.

        - Cymbaline from «Live at KQED TV» TVRip, 1970.


    7. Behold the temple of the light

        - The grand vizier’s garden party (part 2) - organ part from «Ummagumma», 1969.

        - Set the controls for the heart of the sun - Gong isolation from «Live at Pompeii» 5.1 mix, 1971.

        - The narrow way (part 3) - chord sequence intro from  « Ummagumma», 1969.

        - A saucerful of secrets « A saucerful of secrets», 2019 Mono Reissue for Record Store Day.

         - Childhood’s End - ending section from « Obscured by Clouds» , 2017 Vinyl Remaster.

        - Love scene (Version Two) - Beginning from «Pink Floyd Early Years (1965-1972)», 2016.

 

    8. The end of the beginning

        - Roger’s boogie - organ solo outro from « Early years (1965-1972) », 2016.

        - A saucerful of secrets - Celestial voices part from « A saucerful of secrets », 1968.

        - A Saucerful Of Secrets from « BBC Sessions May 1969 » Bootleg.

       - A saucerful of secrets - Storm signal part from « A saucerful of secrets », 1968.

       - Autumn’ 68 (isolated front channel) from « Endless River » 2014 5.1 Mix.

        - A saucerful of secrets - Gong isolation from « Live at Pompeii» 5.1 mix, 1971.

        - The Seaside: Waves Breaking with Seagulls from « EMI Productions Sound Effects », 1970.

MISCELLANEOUS

I used a total of 91 different sources; 48 for « The Man », 43 for « The Journey ». The title that requested the most sources is Sleeping. The title that requested the least is Afternoon. The most used album is "Zabriskie Point" (official version + outtakes). The least used album is « Obscured by Clouds ». 27 different sound effects were used.

An "easter egg" is hidden in the project ...

Exemple du nombre de pistes utilisées pour le morceau Sleeping/Nightmare/Daybreak (Part 2)


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