Pink Floyd - The Massed Gadgets of Auximenes (upgrade)

Pink Floyd – The Massed Gadgets of Auximenes

(soniclovenoize “The Man & The Journey” studio reconstruction)

September 2017 Upgrade

Side A:

1.  Daybreak, Pt 1

2.  Work

3.  Afternoon

4.  Doing It!

5.  Sleeping

6.  Nightmare

7.  Daybreak, Pt 2

Side B:

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

After the release of Pink Floyd’s The Early Years anthology—especially the Dramatis/ation volume—I reevaluated this previous reconstruction, contemplating if it could be improved upon.  And I found I could!  This is an upgrade to a studio reconstruction of the never-recorded experimental performance piece of “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 More soundtrack and Ummagumma album, only utilizing studio recordings and condensing the performance down to two sides of a vinyl album. 

The upgrades to this September 2017 edition are:

• “Careful of that Axe Eugene” is used for “Beset by Creatures of the Deep” instead of “Come In Number 51, Your Time Is Up”
• “Main Theme” is used for “The Pink Jungle” instead of the live version of “Syncopated Pandemonium”
• “The Grand Vizier’s Garden Party II” is used for “The Labyrinths of Auximenes” instead of the live version of “Interstellar Overdrive”
• A new, longer edit of “Behold The Temple of Light was created.
• “Cirrus Minor” is used for “The End of The Beginning” instead of the live version of “Celestial Voices”. 

   

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 A Saucerful of Secrets as well as the single releases “It Would Be So Nice” and “Point Me At the Sky”.  While both singles failed to make any significant chart impact, it was actually the latter’s instrumental b-side “Careful With That Axe Eugene” that garnished some underground FM-radio play, prompting the band to make it a live staple.  Following the cues of their audience’s reaction to the one-off track, Pink Floyd switched gears and focused on what the remaining four members could do the best without Syd Barrett: sprawling, experimental psychedelic jams. 

The perfect opportunity to test these waters came in February 1969, recording the soundtrack for the film More at Pyre Studios in London.  For several months, the band tracked a few songs and a number of musical themes for director Barbet Schroeder that ranged from Pink Floyd’s typical space rock to pastoral ballads, from exotic influences to even proto-metal hard rock.  The soundtrack album was released in June and while not a critical nor commercial success, several of the album’s highlights were added to their current set, including “Green is The Colour” and “Cymbaline”.  But More was not all; by then Pink Floyd had also been working on their own proper follow-up to A Saucerful of Secrets. 

That Spring, each member of Pink Floyd entered Abbey Road studios alone to record solo material, intended to be collected together as the next Pink Floyd album.  Although Nick Mason and Richard Wright’s material was largely instrumental and experimental, Roger Water’s and David Gilmour’s material each featured a song that had already been performed live with the full band, “Grantchester Meadows” and “The Narrow Way”.  Paired with exquisite live recordings from The Mothers Club on April 27^th and the Manchester College of Commerce on May 2^nd, Ummagumma was released in October and cemented Pink Floyd’s status as a cult band, prepared to push rock’s envelope, even without hit singles.

While both More and Ummagumma tell a story of Pink Floyd’s progress in 1969, it is not the complete story.  With new and original material spread across two separate albums essentially recorded simultaneously, as well as another two albums-worth of material in their back pocket, the band pondered how to present the material in a cohesive live setting beyond the typical rock band performance.  Choosing to cull the highlights from both projects as well as their favorite instrumental jams from The Piper at the Gates of Dawn and A Saucerful of Secrets (as well as the b-side that was the catalyst for it all), Pink Floyd designed a series of performances from April to June, sometimes entitled The Massed Gadgets of Auximenes but usually titled “The Man and The Journey”. 

“The Man & The Journey” was arranged as two 40-minute movements, and utilized the newly-built Azimuth Coordinator, a primitive incarnation of a surround sound system which played pre-recorded samples meant to fit into the performances itself.  The first set—called “The Man”—seemed to follow the events of a typical person throughout his mundane, British, post-Industrial life.  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, as explained by Gilmour, was inspired by graffiti near Paddington Station, which said “Get up, go to work, come home, go to bed, get up, go to work, come home, go to bed, [repeated]... How much longer can you keep this up?  How much longer before you crack?”

The concept of the second set is less clearly defined and seemed to be largely instrumental and improvisational.  Called “The Journey”, sketches from the performances’ playbill—and even the songs themselves—seem to suggest the piece follows a pilgrim’s quest.  A member of Pink Floyd’s crew even appeared in a sea creature’s costume, moving through the audience and appearing on-stage near the end of the set.  Is there some greater meaning or metaphor beyond this?  Is this the Man’s own spiritual journey through existence?  Knowing Pink Floyd’s conceptual pretensions, that very well might be the case. But Pink Floyd has never given any hints of what the journey nor its prize was, the task 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). 

After two seasons of performances of “The Man & The Journey” which concluded with a penultimate performance in Amsterdam on September 17^th professionally recorded by VPRO Radio, Pink Floyd retired the conceptual pieces in time for Ummagumma’s release in October.  Unfortunately, the music assembled as “The Man & The Journey” was never formally recorded in the studio, suggesting that it was simply a way for the band to present the disparaging More and Ummagumma material in a live setting, rather than “The Man & The Journey” being the true genesis of either albums.  But is there a way to construct a studio version of “The Man & The Journey”, to condense and create some sort of conceptual order to Pink Floyd’s 1969 output? 

My reconstruction of “The Man & The Journey” will have two rules.  The first (which I regretfully broke when I originally reconstructed this album a few years ago) is that only studio material recorded in this era will be allowed.  This will exclude both live material and anything after 1969.  The problem that arises from this rule is that some of these pieces (“Work” and “Behold The Temple of Light”, for example) were never properly recorded by Pink Floyd.  The solution to this is in the second rule: we will substitute some unavailable tracks for other similar ones, assuming they are still from this same era.  Likewise we will try to avoid using previously-released tracks (“Pow R Toc H” or any section of “A Saucerful of Secrets”, for example) so that this album reconstruction can fit into any continuity you desire.  The Azimuth Coordinator sound effects are also omitted, as I believe it fits better for a live performance rather than a studio album.  I also chose to condense each set to fit on its own side of an LP, limited to 24 minutes. 

Side A—The Man—remains unaltered from my previous version of this reconstruction.  The Man wakes at “Daybreak” (“Grantchester Meadows” from Ummagumma) and then goes to “Work (since this musical piece was never recorded by Pink Floyd, we will use a similar-sounding track, “Sysyphus Part III” from Ummagumma).  “Tea Time” is omitted from my reconstruction, as it seemed more of a performance piece and less effective as an album recording.  “Afternoon” follows (“Biding My Time” from Relics), as well as the track “Doing It!” meant to represent sexual intercourse (often a Nick Mason drum solo, Pink Floyd often used either “Up the Khyber”, “Syncopated Pandemonium” or “The Grand Vizier’s Garden Party (Entertainment)” for this; here I use the later from Ummagumma).  Next the Man falls asleep (using an edited version of “Quicksilver” from More) and slips into a “Nightmare” (as represented by “Cymbaline” also from More).  The side concludes with the Man waking from his dream to the next day’s “Daybreak” (a short edit of "Grantchester Meadows"). 

Side B—The Journey—begins with the pilgrim leaving the British pastoral countryside (“Green is the Colour” from More) by sea, when they are soon “Beset By Creatures of The Deep” (depicted by “Careful With That Axe Eugene” from Relics).  The pilgrim’s ship plows through a 'horrid storm' (as depicted by “The Narrow Way III” from Ummagumma) and finally arrive on land, moving through a “Pink Jungle” (while Pink Floyd performed “Pow R Toc H” for this piece, here we will substitute a different ‘tribal’ track based around a rolling bass riff: an edit of “Main Theme” from More).  Our adventurers next creep through the “Labyrinth of Auximenes” (this piece often featured the bassline to the verses of “Let There Be More Light” juxtaposed with guitar effects and ominous drums; when stripped of the bass line, we are left with a track reminiscent of the first few minutes of “The Grand Vizier’s Garden Party II” from Ummagumma, which I used here) and “Behold The Temple of Light” (looping the chord sequence from “The Narrow Way II” also from Ummagumma).  “The End of The Beginning” is a problematic conclusion to the album, as any use of “Celestial Voices” would be reusing an old track, not to mention an anticlimax if using the subdued studio version that lacks the bombast of how it was performed for “The Man and The Journey”.  Here, we will substitute a different song that features a very similar organ passage: “Cirrus Minor” from More.  Not only are we then concluding the album on an actual song, but also it references a journey and features bird sound effects, a reoccurring motif of the performance.  

Sources Used:

Relics (1996 remaster)

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

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*md5, artwork and tracknotes included

The Smashing Pumpkins - Glass and The Machines of God

The Smashing Pumpkins – 

Glass and The Machines of God

(soniclovenoize reconstruction)

Disc One:

1.  If There Is A God

2.  Cash Car Star

3.  The Imploding Voice

4.  Wound

5.  The Sacred + Profane

6.  Stand Inside Your Love

7.  Real Love

8.  Innosence

9.  Let Me Give The World To You

10.  The Crying Tree of Mercury

11.  White Spyder

12.  Raindrops + Sunshowers

13.  Glass + The Ghost Children

14.  Go

Disc Two:

1.  Glass Theme

2.  The Everlasting Gaze

3.  Dross

4.  In My Body

5.  Speed Kills

6.  Lucky 13

7.  Heavy Metal Machine

8.  Blue Skies Bring Tears

9.  I of the Mourning

10.  Here’s To The Atom Bomb

11.  Try, Try, Try

12.  Home

13.  This Time

14.  With Every Light

This is a reconstruction of the proposed double-concept album originally meant to be The Smashing Pumpkins’ fifth and final proper studio album in 1999.  Originally conceived as a rock opera, the concept was dropped because of band member disintegration and disinterest as well as record label pushback.  The album was eventually released as the massive commercial failure MACHINA/The Machines of God in 2000, with most of the leftover tracks released posthumously by the band without their label’s consent as MACHINA II/The Friends & Enemies of Modern Music later than year.  This reconstruction attempts to cull the best possible sources (including the Machina pre-master and the best vinyl rip of Machina II), unifying their respective volumes and organize them into a cohesive double album that follows the Machina storyline.  Specific alternate versions of some tracks were utilized to give the album more of an organic “live band”-sound as opposed to the overproduced Machina album.

The Smashing Pumpkins were no strangers to turmoil.  Firing their drummer Jimmy Chamberlin in 1996 for perpetual drug use, the band made a 180-turn from their patented guitar sonics that made 1995’s Mellon Collie and the Infinite Sadness a landmark double album to an unusual combination of acoustic and electronic for their follow-up, 1998’s Adore.  Despite having superior songwriting and inventive arrangements, the album was less of a success as their previous efforts.  The tour in support of the album showed the band re-interpreting the soft-spoken material for a live rock-band, and the eventual re-hiring of Chamberlin in late 1998 showed promise that The Smashing Pumpkins were back to what they did best: loud fuzzy guitars pared with some of the best drumming of the decade. 

By April 1999, the band reconvened for their Arising Tour, meant to showcase the return of the original lineup.  Most of the set featured all new material, effortlessly written by head-Pumpkin Billy Corgan within the four months prior.  These tunes were part of a larger song cycle that would fill two CDs of a double-concept album tentatively called Glass and The Machines of God which concerned a rock star named Glass , his true love June, their rise and fall and Glass's redemption.  Most notably, the four members of The Smashing Pumpkins were to portray the characters of the concept album—Glass and his band The Machines of God, who were literal parodies of the public personas of the four members of The Smashing Pumpkins themselves —in promotion of the album. 

Unfortunately the machine was never switched on.  Halfway through recording the album, bass player D’Arcy Wretzky was dismissed from the band due to alleged erratic behavior; how could the band portray a convincing parody of themselves without the key members?  The situation worsened with guitarist James Iha’s increasing ambivalence to the band itself, as well as a record label unwilling to promote a convoluted double-album follow-up to the commercial failure Adore.  The solution was to scrap the concept and release the best material as MACHINA/The Machines of God, much like Lifehouse became Who’s Next 25 years earlier (a reconstruction also featured on this blog).  Machina was even more of a failure than Adore and by the end of the tour in support of the album, Iha wanted out.  The Smashing Pumpkins played their final show that December.  In one final rebellious move against the record label that had abandoned him, Corgan released the outtakes from the Machina sessions as a limited edition vinyl release, Machina II, with the explicit instructions to share and pirate it, making the album one of the first to be freely distributed on the internet by a major artist. 

Reconstructing Glass and The Machines of God is no easy task.  Corgan has been extremely vague and cryptic about how it would have been constructed, in as much as leaking false numerical codes allegedly forming track sequences.  Point of fact, of the 30-or-so songs recording during the sessions, Corgan has only divulged the narrative context of “Blue Skies Bring Tears”, “Speed Kills” and “With Every Light”.  Luckily Corgan has leaked a blueprint of the song cycle itself with a list of 17 of the cycle’s songs, all offering varying ways the songs could fit into the cycle.  Using this map, as well as song lyric interpretation matched with the synopsis of the album’s story written in Corgan’s typical superfluous prose, we are able to chart out a track sequence.  Both Corgan’s chart and his synopsis are included for reference. 

The only issue left is what sources should be used.  To avoid the terrible mastering found on Machina I, I used a rip of the leaked pre-master, featuring a larger dynamic range as well as subtlety different mixes.  As for the Machina II tracks I used the best possible source, the Virgin promo rip.  I then re-EQd the entire rip to match the EQ parameters of the tracks that were officially released (since those few were sourced from a non-vinyl master).  Since we also have a number of alternate versions of many of the songs, I specifically vied towards the versions of the songs that featured more of an organic ‘live-band’ and stripped-down arrangement and production, as that was allegedly how Glass and The Machines of God would have sounded.  The bootlegs Machina Acoustic Demos and The Original FEMM Tape were used, they were not the "th13rteen remasters" but original CD rips.  Setting a 28-song limit to ensure that this not become too overblown, a few songs were left on the cutting room floor: “The Age of Innocence” is excluded from this reconstruction as the song was written and recorded at the last minute and tagged onto the end of the Machina album, having nothing to do with the song cycle at all; “Slow Dawn”, “Vanity” and “Saturnine” all seemed too unfinished, skeletal and unneeded to communicate the story; “Soul Power” was a cover; and “Le Deux Machina” was already an element of “Glass + The Ghost Children”.  By the end, I have arranged two nearly 60-minute discs of 14 songs each, which seemed to be The Standard Smashing Pumpkins Album Length. 

Disc one beings with Glass establishing his character as a rather agnostic rock star, leader of The Machines of God, utilizing Corgan’s acoustic demo of “If There Is A God” which overlaps into the pummeling “Cash Car Star”; although most reconstructions of this album begin with “Glass Theme”, I chose this alternate route because this was how the band often performed the two songs live.  It was also quite reminiscent of the first two tracks from The Smashing Pumpkins’ 1994 b-sides compilation Pisces Iscariot, which always struck me as an extremely dynamic opening.  “The Imploding Voice” represents ‘The Voice’ of God speaking to Glass through the radio and instructing him to spread the word of love to the world through his music; “Wound” is Glass’s reaction to the sudden realization that he is a modern-day prophet and with “The Sacred + Profane” Glass begins to change the message of his band’s music with heavenly divination. 

The next part of the song cycle involves Glass’s love interest June and so all of the ‘love songs’ are grouped together—“Stand Inside Your Love”, “Real Love”, “Innosence” and “Let Me Give The World To You”.  Following this, Glass reaches a ‘crossroads’ in trying to balance his hedonistic rock n roll life with June vs. what he believes as his spiritual duty, articulated in “The Crying Tree of Mercury”, “White Spyder” (the spyder being a symbol for June’s drug use) and “Raindrops + Sunshowers.”  Following is the standard Smashing Pumpkins epic 10-mnute track, “Glass + The Ghost Children” in which the dictaphone middle section now actually makes sense as it specifically deals with Glass confessing his holy charge to June but fearing he may be instead mad.  James Iha’s “Go” has been problematic as it didn’t seem to fit in with the Machina concept at all, so it is sequenced here to close disc one, much as his “Take Me Down” closes disc one of Mellon Collie.  Perhaps it is sung from June’s point of view?

The second disc opens with what Corgan revealed as the ‘live set’ of the album, in which several songs would be grouped together as a mock live performance of The Machines of God.  Opening with actual audience ambience from a soundboard tape of their 9/20/2000 performance, Glass has grown cynical from his fans’ perceived betrayal of ‘rock n roll’ in “Glass Theme” and questions if ‘The Voice’ was even real in “The Everlasting Gaze” as his own band’s record sales plummet.  June becomes alienated from Glass and her resent is stated in “Dross”, following by increased drug use and a withdrawal inside herself in “In My Body”.  After an explosive fight, June is killed in a car crash as depicted in “Speed Kills”, using the ‘live-band’ version from Machina 2.  Glass blames himself and this sends him over the edge in “Lucky 13”, finally deciding to break up the band in “Heavy Metal Machine”.  

The night before the final show, Glass has a terrifying dream as heard in “Blue Skies Bring Tears”: a vision that without God, love, fans or even a band, he is now completely alone.  Here I chose an early arrangement of the song as performed on the Arising Tour to avoid the overproduced album versions.  Abandoning all belongings, Glass takes to the streets as a beggar, as depicted in “I of the Mourning”, and “Here’s To The Atom Bomb” (the mellow version from Machina 2).  In being alone and with nothing, he realizes that love, God, etc was there in his heart all along in “Try, Try, Try” (the mellow version found on the "Untitled" promo CD), “Home” and “This Time”.  The album closes with “With Every Light”, as Corgan had claimed, some sort of happy ending. 

An interesting side note is that within 6 months to a year from now, Corgan plans to release a remixed and remastered Machina featuring his originally-intended double-album tracklist as a part of the remastered series of The Smashing Pumpkins’ discography.  Will it appear and sound as I have offered here?  That is anyone’s guess, and I am curious to see how close I am to his vision.  But keep in mind Billy Corgan’s penchant for historical revision, as well as the recent fan dissatisfaction with the remasters’ quality control issues.  Whether this reconstruction is truly what the artist intended, it will always be here as an 'album that never was' just in case the real deal is crushed underneath Corgan’s own heavy metal machine. 

Sources used:

Rotten Apples/Judas O (2001 Virgin Records)

The Original F.E.M.M. Tape (bootleg 2003)

MACHINA/the machines of God (pre-master, 1999)

MACHINA II/friends and enemies of modern music (Virgin Records-sourced needledrop, 2001)

Machina Acoustic Demos (bootleg)

Untitled (Virgin promo CD 2001)

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