Sunday, April 13, 2014

Pink Floyd - The Massed Gadgets of Auximenes


Pink Floyd – The Massed Gadgets of Auximenes
(soniclovenoize studio album reconstruction)





Side A – The Man:

1. Daybreak, Pt I

2. Work

3. Afternoon

4. Doing It!

5. Sleep

6. Nightmare

7. Daybreak, Pt II



Side B – The Journey:

8. The Beginning

9. Beset By Creatures of the Deep

10. The Narrow Way

11. The Pink Jungle

12. The Labyrinths of Auximenes

13. Behold the Temple of Light

14. The End of The Beginning





In doing research for my previous Pink Floyd album reconstructions I discovered an overlooked “album that never was” that I found intriguing conceptually and challenging logistically.  This is a reconstruction of an all-studio version of Pink Floyd’s experimental performance piece “The Man and The Journey”, often titled The Massed Gadgets of Auximenes.  This reconstruction attempts to present a version of the performance that would have taken the place of the Ummagumma album, only utilizing studio recordings and condensing the performance down to two sides of a vinyl album.  Note that this reconstruction is conceptually not a part of my other two Pink Floyd reconstructions from this period, Vantage Point and Soundtrack To The Film Zabriskie Point; not only are there song overlaps but all three belong in different continuities of my blog. 



Musical soul searching was the predominant mindset in 1969 for Pink Floyd.  The previous year had seen the band attempt to mimic their former bandleader’s singles-oriented approach to psyche-pop with their second release Saucerful of Secrets as well as the single releases “It Would Be So Nice” and “Point Me At the Sky”.  After the failure of the two singles to make any significant chart impact, Pink Floyd switched gears and focused on what the remaining four members could do the best without Syd Barrett: sprawling, experimental psychedelic jams. 



Pushing this envelope to its fullest extent in 1969 gave birth to a series of performances sometimes entitled The Massed Gadgets of Auximenes but usually titled “The Man and The Journey”.  Arranged as two 40-minute movements, the first set seemed to follow the events of a typical person throughout his mundane, British, post-Industrial life—this segment was called “The Man”.  The set included the members of Pink Floyd actually building a table on-stage (to represent ‘Work’) and being served tea (to represent ‘Teatime’).  The concept of the second is less clearly defined and seemed to be largely instrumental and improvisational.  Called “The Journey”, the piece seemed to center around an individual’s journey for… well, who knows?  Pink Floyd has never given any hints of what the prize of the conceptual journey was, and the task is apparently left to the imaginations of the listeners.  My own interpretation is that “The Journey” is the evolution of agricultural mankind into industrial mankind, the quest for knowledge and technology; while there isn’t an actual Greek name Auximines, it could be stemmed from the Latin auxiliāris (to help) and the first pharaoh of Egypt, Menes (whose name translates to “he who endures”), literally a metaphor for the king (of humanity) who is assisted by gadgets (our technology) as he endures (history). 



Both sets included songs that had been featured on the Soundtrack To The Film More, released earlier in 1969: “Cymbaline”, “Green Is The Colour” and “Quicksilver”.  Just as well, the sets contained songs that would eventually appear on Ummagumma later that year: “Grantchester Meadows”, “The Narrow Way” and elements of “The Grand Vizier’s Garden Party”.  The performances also contained an Ummagumma outtake “Biding My Time” and a 1968 single b-side that had created the template for this new era of Pink Floyd, “Careful With That Axe Eugene.”   Amongst these more formalized songs were improvisational jams that included elements of “Saucerful of Secrets” and “Interstellar Overdrive” as well as a few drum solos that varied from performance to performance, which would later emerge in various places as “Up The Kymber”, “Party Sequence” and “Heart Beat, Pig Meat”.  And as aforementioned, Pink Floyd were also served tea and built a table. 



Although this was a wonderful performance—best memorialized as a stereo bootleg sourced from a BBC recording & broadcast of their May 12th 1969 performance—the band could not fathom how to make a studio recording of the conceptual performances and release it as a commercial product.  Pink Floyd instead chose to release Ummagumma in its place, a double album that featured a disc of live performances and a second disc of experimental studio recordings, that were essentially collected individual solo recordings by each member.  In many ways, Ummagumma seemed to be the commercial product version of “The Man and The Journey”, sharing much of its aesthetic but without its incomprehensible concept and untranslatable performance pieces.  That is, until now... 



For my construction, we create an alternate timeline in which Pink Floyd never abandoned Massed Gadgets for the somewhat streamlined Ummagumma, and present it as Pink Floyd’s third studio album.  But we have two challenges: Firstly, my goal was to avoid using any actual performances of “The Man and The Journey” and stick exclusively to studio recordings.   While this seemed to work for almost all of “The Man”, it worked for only half of “The Journey” since studio recordings simply don’t exist for those missing segments.  I felt that substituting in the fantastic BBC May 12th recording would be ‘cheating’, so in these instances I’ve used approximations and substitutions that will be explained later.  The second challenge is time length: while each set ran approximately 40 minutes, this reconstruction, unedited, seemed to run 60 minutes once all studio recordings were sequenced.  Utilizing my own “less is more” ethos, the decision was made to edit each of the sets down to two 24-minute sides of an LP.  The results were obviously less sprawling than their live counterparts, but my reconstruction appeared more concise, focused and in my opinion more enjoyable.  Which leads one to the question: if “The Man and The Journey” had actually been a studio album, would it have been a single album or double?  Based on the results of my reconstruction, I believe it would have been a more abbreviated single disc. 



Side A of my reconstruction—“The Man” segment—begins with “Grantchester Meadows” from Ummagumma, here titled “Daybreak pt I”.  This represents The Man waking and beginning his day, the song concluding with him running to work.  In the original live performance, this is followed by the members of Pink Floyd constructing a table to represent The Man’s day at work.  There is obviously no studio recording of this, so instead I substituted “Sysyphus” from Ummagumma as “Work”; the track seemed, to me, to sound like a chaotic work day at a factory!  The original performances followed with “Teatime”; no studio recordings exist and there really is no plausible substitution for the sound of Pink Floyd being served and drinking tea, so "Teatime" is the only song excluded from my reconstruction.  The studio outtake “Biding My Time” from Relics is “Afternoon”, The Man’s leisure after a hard day’s work.  Following is “Doing It!”, a representation of sexual intercourse.  While the band used different drum solo patterns for this track throughout the tour, I chose “The Grand Vizier’s Garden Party” as it had the best flow in-between “Afternoon” and “Sleep”.  An edit of “Quicksilver” from More is used as “Sleep”, and “Cymbaline” is used to represent the nightmare The Man has during his sleep (this being the second appearance of the track on my blog!).  The night turns to day and the never-ending cycle continues as The Man wakes in “Daybreak, pt II”, an instrumental reprise of “Grantchester Meadows”.



Side B—“The Journey” segment—is conceptually ambiguous.  Unlike the previous suite, “The Journey” concept is not self-evident, and the band has given absolutely no clues to the meaning.  Pretensions aside, we can only gather the meaning of this piece through the song titles and the mental images the music invoke, which was probably their intent.  Aptly beginning with “The Beginning”, “Green is the Colour” from More is used.  Following this is “Beset by Creatures of the Deep”, which was usually performed as “Careful With That Axe Eugene”.  Instead I used “Come In Number 51, Your Time Is Up” from Zabriskie Point (for the third time on my blog!!) as the song is essentially “Eugene” played in a different key, Em instead of Dm; because of this, it follows “Green is the Color” (in G) more harmonically as well as matching the following “The Narrow Path” (which begins with an Em drone) and staying within the same chordal family.  “The Narrow Path” from Ummagumma seems to be the start of our protagonist’s journey into the next track, “The Pink Jungle”.  Here, Pink Floyd alternated between a jam of the intro to “Pow R Toc H” or a jam originating from the brief time both Syd Barrett and David Gilmour were in the band, entitled “Nick’s Boogie”.   Since we know “Nick’s Boogie” was eventually incorporated into the second movement of “Saucerful of Secrets” (retiled “Syncopated Pandemonium”), I will utilize an August 9th, 1969 Hilversum 3 radio broadcast recording of that segment, taken from the remastered bootleg Celestial Instruments.  Our protagonist seems to exit the Jungle and enter “The Labyrinths of Auximenes”, performed as the improvised jam sections of “Interstellar Overdrive”, again taken from the Celestial Instruments bootleg.  Upon reaching the center of the maze (either literally or metaphorically, take your pick), he can only “Behold The Temple of Light”, which was a unique improvisational jam of the intro to “The Narrow Way”.  There are no studio recordings of this piece, so a loop was created from the song’s intro on Ummagumma.  Harnessing his prize, the protagonist reaches “The End of The Beginning”, here as the fourth segment of “Saucerful of Secrets”, “Celestial Voices”, taken from the Celestial Instruments bootleg. 






Lossless FLAC (part 1, part 2)





Sources used:

Celestial Instruments (2007 bootleg, MOB remaster)

Relics (1996 remaster)

Soundtrack to the Film ‘More’ (1987 remaster)
Ummagumma (1994 remaster)

Zabriskie Point (1997 remaster)





flac --> wav --> editing in SONAR and Goldwave --> flac encoding via TLH lv8
*md5, artwork and tracknotes included


33 comments:

  1. Thanks for this one, I look forward to listening to it tonight. Especially interesting to me actually, as I recently completed my own version. My personal preference was to stick to the original performance lengths of the suites (approx 35 and 40 minutes respectively). Here's how I constructed mine:

    Track breakdown for version one:

    The Man:
    1. Daybreak = Grantchester Meadows (Ummugumma) with the 'fly swat' sequence edited out
    2. Work = Sysyphus pt 3 (Ummagumma) plus steam whistle added at the start
    3. Teatime = Grand Vizier's Garden Party Part 2: Entertainment (Ummagumma) plus steam train sounds added at the end
    4. Afternoon = Biding My Time (Relics)
    5. Doing It = The Grand Vizier's Garden Party (Entertainment) [6:12 onwards] (Ummagumma) plus "Up the Khyber" (More)
    6. Sleep = Quicksilver (More) plus heavy breathing from 'Body Transport' (Music from The Body)
    7. Nightmare = Cymbaline (More)
    8. Daybreak reprise = Grantchester Meadows (Ummagumma) heavily edited plus birdsong (Cirrus Minor) and ticking clock

    The Journey:
    1. The Beginning = Green is the Colour (More) plus waves & seabirds effects
    2. Beset by Creatures of the Deep = Come In Number 51, Your Time Is Up (Zabriskie Point) plus wind effects (One of These Days)
    3. The Narrow Way = The Narrow Way part 3 (Ummagumma) with intro edited out and faded up into the wind. Link section to next track added from Sysyphus Pt 4 then birdsong from Cirrus Minor again into Pink Jungle (this section represents the approach to the Jungle's edge)
    4. The Pink Jungle = Pow R Toc H (Piper at the Gates of Dawn) ends in 'falling scream' sound effect
    5. Labyrinths of Auximines = Corrosion ('Jupiters Eye' from Around the Mystic) into Moonhead, then 'footsteps' sequence from RAH '69 and then link to next track with effects section from Quicksilver
    6. Behold the Temple of Light = intro from start of Narrow Way Pt 3 (Ummagumma), then Sysyphus part 4 (minus section used above), then the lead-in section to Celestial Voices (from A Saucerful of Secrets)
    7. Celestial Voices (from A Saucerful of Secrets)

    I took a few pointers from the version MuabDib did back in 2002, but rethought it thoroughly and came up with what is now my favourite PF disc. I've been considering doing an 'alt' version utilizing different sources like the BBC session and making one or two different editing decisions, but that's for the future.

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    1. is there any chance you could upload your version, i'd like to give it a listen too

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    2. Sorry, I'd prefer simply to encourage you to go ahead and put your own version together! You will undoubtedly enjoy the end result more if you choose your own source material and make your own editing decisions. Incidentally, here are MuabDib's mastering notes for his version, which you might also find useful:

      'More Furious Madness from the Massed Gadgets of Auximines' - the 'missing' studio album from 1969 (version 2.2)

      This project was conceived after hearing the various available live recordings that exist of The Man and The Journey shows that Pink Floyd played during the summer and autumn of 1969. What would a studio album sound like if one had been recorded? Most of the individual pieces are available in studio quality, or at least have an equivalent. Many of the extra effects are also available on later recordings.

      Here is my interpretation of what that studio album would sound like. And I stress my interpretation! Some of the pieces played bore only slight resemblance to released material, but I hope I have managed to convey the intended overall sound. I make no excuses for using recorded material from much later dates; the Floyd have recycled good ideas often enough.

      The Man:

      1) Daybreak = Grantchester Meadows (Ummagumma) plus birdsong from Cirrus Minor (More)
      2) Work = Sysyphus pt 3 (Ummagumma)
      3) Teatime = Grand Vizier's Garden Party Part 2: Entertainment (Ummagumma) plus additional sounds and the 4:15 from Euston station
      4) Afternoon = Biding My Time (Relics)
      5) Doing It = Syncopated Pandemonium (Saucerful of Secrets) / Up the Khyber (More)
      6) Sleep = Quicksilver (More) plus heavy breathing from Music from The Body
      7) Nightmare = Cymbaline (More)
      8) Daybreak reprise = Grantchester Meadows heavily edited and the birdsong again plus effects


      The Journey:

      1) The Beginning = Green is the Colour (More) plus wave sound ripped from More film mpeg plus effects from Echoes (Meddle)
      2) Beset by Creatures of the Deep = Careful with that Axe Eugene (single B side) plus a few species of Small Furry Animals (Ummagumma) and the wind from One of These Days (Meddle)
      3) The Narrow Way = The Narrow Way part 3 (Ummagumma)
      4) The Pink Jungle = Pow R Toc H (Piper at the Gates of Dawn) with special guests Syd Barrett and assorted friends of the Effervescing Elephant
      5) Labyrinths of Auximines = parts of Interstellar Overdrive live and the footsteps and doors sequence from this piece as played in Amsterdam 17.09.69
      6) Behold the Temple of Light = Sysyphus pt 4 edits (Ummagumma) introduced by guitar from Narrow Way and the Floyds beloved windmachine
      7) The End of the Beginning = Celestial Voices from Saucerful of Secrets with additional chorus from live version (Ummagumma)

      Throughout additional sound effects are derived from Soundscapes (P*U*L*S*E)

      Therefore virtually all you hear are Floyd recordings. The exceptions being the train on 'Work' and the animals on 'Pink Jungle'.


      MuabDib
      23.12.02

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    3. I do not have the resources (software or hardware) to create my own. Please upload yours so that I may enjoy it.

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    4. your right it is more fun making your own version
      heres my 4th and hopefully final attempt
      1.Daybreak Pt I = Grantchester Meadows (Ummagumma)
       2.Work = (The Auximines Project)
      3.Teatime = (sfx of man drinking tea)
       4.Afternoon = Biding My Time (Relics)
       5.Doing It = Up The Khyber (More)
      6.Sleep = Quicksilver (More)
       7.Nightmare = Cymbaline (More)
      8.Daybreak Pt II = (TMGOA,SLN)
       9.The Beginning = Green is the Colour (More) 
      10.Beset by Creatures of the Deep = Careful with that Axe, Eugene (Cre/ation)
      11.The Narrow Way = The Narrow Way (Part 3) (TMGOA,SLN)
      12.The Pink Jungle Pts 1&2 = The Pink Jungle (TMGOA,SLN) & Intersteller Overdrive (Cre/ation) (as one track)
      13.The Labyrinths of Auximines = (The Auximines Project) 
      14.Behold the Temple of Light = (The Auximines Project)  
      15.The End of the Beginning = (TMGOA,SLN)

      sources:-
      Ummagumma
      The Massed Gadgets Of Auximines (SLN)
      More
      Cre/ation (The Early Years 65-72)
      Relics
      The Auximines Project (online resource - link at bottom of wikipedia article on `The Man & The Journey`)

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  2. I am surprised you didn't include elements of the BBC recordings. I have done an edit that incorporates the original Grantchester intro with the BBC recording (with piano) as an ending and it works very well.

    Your cut into 'Afternoon' feels a little abrupt, and perhaps including the 'tea-break whistle' as per the original concerts may have provided a smoother transition?

    I know it it not technically part of the suite, put mixing Grand Vizier's Garden Party Part 3 into the final daybreak may have made a nice conclusion?

    Finally, I would have definitely considered incorporating part of Moonhead / Heart-beat Pig Meat into the "Labyrinths of Auximines".

    All in all another fine edit, with some wonderful fades and juxtapositions. When one considers More, Music From The Body, The Committee and the mountain of Zabriskie recordings all created in a 12 month or so period Ummagumma itself is a huge disappointment and not an accurate reflection of the band at that point. I have never heard a conclusive argument from the band as to why 'The Man / The Journey' was abandoned. It would have made for a far, far better album that the studio Ummagumma . It is nice to have another interpretation of it here.

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    1. This comment has been removed by the author.

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    2. I think the reason these suites were abandoned by the band is a) they felt they didn't really work well enough even after refining them through a number of live performances, and b) they included too much already-released material.

      Fact is, the band wanted to move on, so they recycled some of the new material into 'Ummagumma' and abandoned the 'Man / Journey' concepts altogether (well, nearly - isn't 'Dark Side' pretty much rooted in the same basic ideas?)

      Looking back, the only possible way they could've released the suites at the time would've been as a double live album (and perhaps that's exactly what 'Ummagumma' should have been!)

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  3. How about an alternative Wish You Were Here as a next mix?

    Perhaps it would go against your usual approach, but you could mix together live and studio elements to create an album as it could have appeared in Winter of 1974:

    Wine Glasse / Shine On
    Raving & Drooling
    Gotta Be Crazy

    In addition to the existing albums you could use:
    Immersion boxset
    From Abbey Road to Brittania Row - The Extraction Tapes
    Los Angeles, 26th April recording (one of the best quality I've heard)
    Ontario, 28th June (Perhaps most aggressive / confident in playing)

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  4. Well, I've listened to it now, and I have to be honest and say it didn't really 'do it' for me. Some of the transitions work very well, but I was a bit baffled by some of your editing decisions and choice of source material.

    Firstly, I miss the sound effects the band used to illustrate the stories during the live performances. The factory whistle, the steam train, the snoring during 'Sleeping', the ticking clock at the conclusion of 'Daybreak (reprise)', etc, etc. Particularly noticeable by it's absence was the 'footsteps' sequence from 'Labyrinths', which to me, is an essential part of the piece. I appreciate the band never laid these components down in the studio, which is why I gathered the sound effects for my version from various non-Floyd sources on the net (screw being purist, I want the best version I can possibly put together!) For 'footsteps' I did have to break the ‘rules’ and resort to using a concert recording. I chose the Royal Albert Hall ‘69 show because the nervous laughter of the audience and the cavernous acoustics of the RAH sound like the denizens of the labyrinth mocking our intrepid hero as he passes through.

    Secondly, I cannot for the life of me understand why you left the ‘fly swat’ sequence in at the end of ‘Daybreak’. It just seems so out of place. Yes, you could just about (barely) pass off the bit where the guy is running down the stairs as representing him rushing to work, but the bit where he swats the fly with a newspaper just doesn’t fit the narrative.

    My other concern was why you would consider using the BBC session as ‘cheating’, yet are happy to use live material from ‘Celestial Instruments’ on what is supposed to be a studio album? Those BBC session tracks are the nearest thing we have to an actual formal studio recording of these suites (albeit a very partial one). The only reason I didn’t use these in my own version is because I felt the sound quality isn’t quite as good as the released versions. I will be using all of these tracks in my ‘version 2’ though.

    Regarding those ‘Celestial Instruments’ tracks, I can’t really see ‘Syncopated Pandemonium’ as ‘The Pink Jungle’ at all. For me, it just has to be ‘Pow R Toc H’, with it’s animal-like whoops and yells. I also think using ‘Syncopated’ provides less variety of mood in this suite than using ‘Pow R’. Also, although ‘Labyrinths’ is often cited as being part of ‘Interstellar Overdrive’, I think it has more in common with ‘Corrosion’ and ‘Moonhead’. I’ve already commented on your lack of ‘footsteps’.

    I won’t criticise you for leaving out ‘Teatime’, as I’m well aware it simply doesn’t exist. I initially thought I could create a similar effect using bits of ‘Alan’s Psychedelic Breakfast’, but it wouldn’t quite work. I do intend to try and incorporate a brief ‘breakfast’ sequence into ‘Daybreak’ for my ‘version 2’ though. In the end, I went with MuaBDib’s novel solution of using ‘Entertainment’ (the ‘oriental’ sounding part of ‘The Grand Viziers Garden Party’ instead, which works quite well IMHO (although I will certainly bus in some tea pouring and slurping effects at the beginning of this next time around).

    I could go on, but I’m sure you’re bored already! Hopefully you won’t be offended by my comments though. Thanks for all you do on the blog – I consider many of your previous posts to be pretty much definitive – and I look forward to more in the future (my fingers are currently crossed for ‘Who’s For Tennis’, but how about doing the Small Faces ‘1862’ as well?)

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    1. please upload your version, i'd love to give that one a listen too

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    2. Please refer to track two, side one of the second Peter Gabriel album!

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    3. It's alright, everyone deserves their own opinion! Thank you for giving it a listen.

      I chose to exclude those elements because
      1) I tried to stay within a 1969 time frame. I think I forgot to mention that in my write-up, actually. To me, it seemed inappropriate to use something from Meddle as well as something from Pipers. If it wasn't from this specific time frame, I didn't use it. Hence Pow R Toc H is out, especially since Syd was on it.
      2) I tried to not use any actual The Man And The Journey live recordings. In my mind, that would be a part of the challenge and to mix in sound FX from the boots, no mater how essential they may be, would be "cheating". The used the Celestial Instruments bootleg because they dated from 1969, they weren't a TMATJ recording and they could stand up to the studio quality recordings, since there are no vocals to be the dead giveaway (I think the boot sounded better than the first disc of Ummagumma!)
      3) I excluded sound FX in general because I felt that while they were an essential part of the live performance (being an experiment in surround sound), they didn't seem to be something that would have fit on a commercial studio album. While yes, Pink Floyd used sound FX in their career in general, but I don't think to extent that what would have been needed here for TMATJ. Thus I toned it down a bit, so that the music itself could communicate the concept rather than sound FX spoon feeding the listener.
      4) I thought of using GVGP for Tea Time, but it didn't really sound like tea time. Isn't tea time supposed to be calm and 'proper'? Idk I'm an American we don't have tea time! (haha)
      5) I felt on my mix, it should be concise and fit on one disc. Why? Because everyone else does a double disc! ;)

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    4. Thanks for explaining your methodology for this in greater detail. You were certainly working within far more limited parameters than I had realised. My only rule was not to use any live material (apart from 'footsteps') and to make sure it all sounded congruent, regardless of when it was recorded. The end result really surprised me with how well it all sounded together.

      Regarding 'Teatime', I could never understand why the Floyd called it that rather than 'Teabreak', because here in Britain teatime is very much an 'at home' thing, whereas a teabreak is an 'at work' thing. Teabreaks at work aren't calm and proper - it's just workers slurping tea and crunching biscuits really. The formal, old-fashioned tea party at 4:00pm only really happens in fancy hotels nowadays. GVGP was a good bit of lateral thinking by MuabDib, but I think it needs to begin with sounds of boiling water, pouring tea and slurping noises before the 'Oriental' theme fades up (the latter supposed to represent the Man being 'carried off' to the Orient by the taste of the tea! Or something like that!)

      My version lasts about 75 min, so it does go on one disc. I am sorely tempted though to make my 'version 2' a two-disc 'maximised' version incorporating as much material as physically possible! 'The Journey' especially, could be vastly extended (a 30-minute 'Labyrinths'?!) I guess 'less is more' isn't really my thing ;^)

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  5. Here are links to two mixes I have created.
    Both tap into the mellower, pastoral aspects of my two favourite bands.
    They exist as single tracks, with odd cuts and surprises thrown in (esp at the ends)

    https://www.dropbox.com/s/052m6qac2nt56an/Genesis_Mellow_Momments.mp3

    https://www.dropbox.com/s/vixmjebdoud31o5/Floyds_Mellow_Momments.mp3

    If I have time, I'd like to create a single lamb, or single Topographic.
    My single lamb could be comprised from the Headley Grange sessions solely.
    Damn job, wife and kids just get in the way...gotta shake off this creeping malaise...etc..etc..

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  6. Thank you for your blog and for this fantastic work.

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  7. I am completely blown away. I was searching for recordings of The Man & The Journey when I came across your blog. I am in sonic nirvana! This is incredible. Please, continue this amazing work! It's both extremely enjoyable and incredibly fascinating. Rock On!!!

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  8. Thanks for your work. I enjoyed very much.Amamzing stuff!

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  9. Just another smash hit ! - Thank you.

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  10. Give this a try :)
    http://sydbarrettpinkfloydesp.blogspot.com.es/2012/07/album-para-descarga-syd-barrett-y-pink.html?m=1

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  11. Here's my take on The Committee:

    http://www15.zippyshare.com/v/16506931/file.html

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  12. I had a lot of fun listening to all the 5 fictional "what-if" Pink Floyd albums on here. They proudly sit on my iPod now alongside the other PF albums. I hadn't listened to Syd Barrett in years and to hear his songs within the context of other PF songs of the same era is a real treat.

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  13. Outstanding blog! Keep up the excellent work. I'll becoming back often.

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  14. Outstanding blog! Keep up the excellent work. I'll becoming back often.

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  15. The idea that Barrett left music history in early 1968 is hereby proven wrong. The albums reconstructed are actually stronger than the ones released.
    Would be interesting to see a reconstructed The Wall soundtrack album. As well as a reconstructed pre Division Bell 1990's album using Carrera Panamericana soundtrack, Gilmours Colours of infinity soundtrack and Ruby makes a trip.

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  16. I'm very new here and don't know how to get the sound from your albums.
    Please explain what I have to do!
    Where I have to klick to hear the music?

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  17. Excelente aporte y gracias por compartirlo.

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  18. I was looking a this today trying to decide whether I wanted this version or if I preferred to make my own version or if I simply wanted to download the live version. Then I started thinking, what if you took away all the older material and simply reorganized the Ummagumma tracks to better approximate Man/Journey? And I came up with this:
    1. Grantchester Meadows
    2. Sysyphus
    3. Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict

    1. Grand Vizier’s Garden Party
    2. The Narrow Way

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  19. Excellent work.
    However I just went through Nick Mason's reconstruction on the Dramati/sation Disc of the Early Years Box Set and it spans 72 minutes.
    Looks like it was conceived as a double album anyway.
    Even more so your effort to edit it down to a single album deserves appreciation.

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  20. i very much enjoy all your hard work especially the floyd,beatles and who stuff

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  21. This comment has been removed by the author.

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