Pink Floyd - Themes From An Imaginary Western (1970)

Pink Floyd - Themes From An Imaginary Western

(a soniclovenoize re-imagining)

Side A:
 1.  Father’s Shout
 2.  Baby Lemonade
 3.  Wined and Dined
 4.  Rise and Shine
 5.  Gigolo Aunt
 6.  Mind Your Throats Please
 7.  Fat Old Sun

Side B:
 8.  Love Song
 9.  Wolfpack
10.  Dominoes
11.  Sunny Side Up
12.  Summer ‘68
13.  Effervescing Elephant
14.  Father’s Shout (Remergence)


This is the final installment of a trilogy of “re-imagined” albums that postulates “What if Syd Barrett hadn’t been fired from Pink Floyd?”   Themes From An Imaginary Western, a title derived from an early moniker of the song “Atom Heart Mother”, is the theoretical album that would have been released in 1970 by a Syd Barrett-led Pink Floyd, following my other two re-imagined albums, 1969’s Vantage Point and 1968’s The Shape of Questions To Heaven.  The entire album has been crossfaded and edited into two continuous sides of music with the “Atom Heart Mother” theme bookending the album, an aesthetic first explored by Pink Floyd at this time and continued for most of their career; it seemed appropriate for this material.

Themes From An Imaginary Western uses Syd Barrett’s second and final solo album Barrett and Pink Floyd’s Atom Heart Mother as source material, as both albums were recorded around the same time.  As we’ve already established, a Syd Barrett-led Pink Floyd would have primarily been a singles-oriented band, as opposed to the largely improvisational, instrumental and experimental quartet Pink Floyd of the late 60s.  This was an easy ethos to mimic on my first two re-imaginings, but the task is much more difficult here, as Pink Floyd’s contributions from Atom Heart Mother began to solidify the artistic visions that saw the creation of the classic Pink Floyd albums throughout the decade. 

My solution was to design Themes From An Imaginary Western as a collection of the decidedly Pink Floydian Barrett solo tracks, all interconnected with instrumental passages from Atom Heart Mother.  This seemed to be an appropriate choice, as the more low-key, less schizophrenic and honestly slick early 70s pop-production of many of the Barrett tracks seemed to pair well with the sound of Atom Heart Mother, a sound Pink Floyd continued to refine.  After much sequencing work was done, we are left with two sides of music that find this Barrett-led Floyd attempting a new musical direction, maybe a response to the lack of obvious hit singles from their last two albums.  Themes From An Imaginary Western, while not immediately abrasive, galactic or even heavy, is at least cohesive in sound and design and introduces the following album, the band’s first foray without Syd Barret, Meddle. 

Beginning Side A, the main theme from “Atom Heart Mother” (subtitled “A Father’s Shout”, and is indicated as such here) was used to introduce the album and somehow fits perfectly crossfaded into “Baby Lemonade”, which in turn is hard edited into “Wined and Dined”.  An instrumental interlude in the form of “Rise and Shine” (from “Alan’s Psychedelic Breakfast”) introduces “Gigolo Aunt”, which is crossfaded into a piece of the experimental section of “Atom Heart Mother” (subtitled “Mind Your Throats Please”) and finally into Gimour’s contribution to the album, the majestic side-closer “Fat Old Sun”.  Side B begins with the closest to a hit single on this album, “Love Song”, followed by the paranoiac “Wolfpack”.  “Dominoes” segues into another instrumental interlude culled from “Alan’s Psychedelic Breakfast” (subtitled “Sunny Side Up”) which leads into the epic “Summer ‘68”.  Barrett’s last word with Pink Floyd becomes one of his most noteworthy songs, the child-like “Effervescing Elephant”, crossfaded into the grand finale of the album, the closing reprise of the “Atom Heart Mother” theme (subtitled “Remergence”). 

This unfortunately must be the final Syd Barrett-led Pink Floyd album, as he simply ceased to make music after this point.  What few recordings we have from an attempted third solo album in 1974 are musically miserable and organizationally scant, unsuitable for any release, let alone an Album That Never Was.  It’s just as well, as Themes From An Imaginary Western is symbolic of the end of an era for this proposed Pink Floyd.  Listening, we can clearly hear a Syd Barrett simply running out of steam, the arrangements relying on typical post-psychedelic pop forays and arbitrary lyrical subject matter.  We can also hear the rest of the band beginning to surpass their once-leader, ready to tackle broader concepts paired with refined songwriting.  This is the farewell album that, in real life, Pink Floyd never got to make with Syd.  Instead, his ghost haunted Pink Floyd’s albums for some time.  With this trilogy complete, maybe Syd Barrett’s bones can finally rest. 

Sources used:
Pink Floyd – Atom Heart Mother (1994 MFSL remaster)
Pink Floyd – Atom Heart Mother (2011 EMI remaster)
Syd Barrett – Barrett (1994 Harvest remaster)


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Pink Floyd - Vantage Point (1969)

Pink Floyd – Vantage Point
(a soniclovenoize re-imagining)

Side A:
1.  Ibizia Bar
2.  No Man’s Land
3.  Long Gone
4.  Cymbaline
5.  Terrapin

Side B:
6.  The Nile Song
7.  No Good Trying
8.  Love You
9.  a) Embryo
      b) Come In Number 51, Your Time Is Up
10. Dark Globe

This “re-imaging” is the second of a trilogy of albums that asks the question “What if Syd Barrett hadn’t been fired from Pink Floyd?”  Vantage Point, the title of which is culled from the lyrics of “Cymbaline” and references the famous cover art of Pink Floyd’s Ummagumma, is the theoretical album released in 1969 by a Syd Barrett-led Pink Floyd, following my re-imagined 1968’s The Shape of Questions To Heaven and the very real 1967’s The Piper At The Gates of Dawn.  All tracks have been volume-adjusted and most of the songs have been tightly crossfaded for continuity and cohesion.  Two entirely new and original edits of songs were created and one unique remaster to an otherwise forgotten track. 

The primary source material for Vantage Point is the second and third recording sessions for Syd Barrett’s The Madcap Laughs in 1969, the third session as even produced by former bandmates Gilmour and Waters.  This allows us musical and conceptual continuity for this re-imagining, as a core group of quality and eccentric compositions can be chosen: “Terrapin”, “No Good Trying” “Love You”, “No Man’s Land”, “Dark Globe”, and “Long Gone”.  These tracks all seem to have a unifying sonic design: Syd Barrett’s signature songwriting, surrounded by atmospheric and post-psychedelic meandering.  No alternate Opal versions were used here, as the album versions all sound sonically complete and coherent (as opposed to the previous Barrett selections on The Shape of Questions To Heaven).  With over half an album already represented, we turn to what the other Pink Floyd members were pre-occupied with when not helping their former bandleader with his debut solo album.

As it turns out, 1969 was a scatter-brained year for Pink Floyd, recording music for two different soundtracks (More and Zabriskie Point) and collecting some of those ideas for a conceptual performance and intended live album, The Massed Gadgets of Auximenes, known by fans as “The Man and The Journey”, in reference to the two suites of experimental and conceptual music contained within.  While a studio version of The Massed Gadgets in itself would be an interesting reconstruction for this blog, Pink Floyd chose to utilize the material in their 1969 album Ummagumma, a double album with lengthy selections from their current live tour as disc one, and some of the recycled instrumental studio pieces creating disc two, each offered as solo recordings from each member of Pink Floyd.  The chaotic nature of this double album and its preceding projects illustrates Pink Floyd’s search to find their own fate and to exorcise the ghost of Syd Barrett, which haunted them on A Saucerful of Secrets.  It wasn’t until the following year’s Atom Heart Mother in which Pink Floyd began to discover their own voice. 

Knowing that at this point in time a Syd Barrett-led Pink Floyd is still a song-based band rather than a largely instrumental and improvisational-based band, “Ibizia Bar”, “The Nile Song” and “Cymbaline” from the Soundtrack From The Film More were chosen to sit alongside the six Barrett songs, fitting perfectly in mood and atmosphere.  In this alternate Barrett-led Pink Floyd timeline, we can presume that the rest of the band harnessed more songwriting weight on their albums, compensating for Barrett’s inevitable decline, and we must represent this on our re-imagining.  A 1969 live staple “Embryo” was taken from the compilation Works (which features a crisper remastering done by myself) and was edited into “Come In Number 51, Your Time Is Up” from Zabriskie Point.  This creates Pink Floyd’s staple epic psychedelic odyssey album-cut on Vantage Point, as seen with the previous albums’ “Interstellar Overdrive” and my own unique edit of “Golden Hair/Set The Controls For The Heart Of The Sun”. 

The ‘pink’ frosting on this cake would be the concluding track “Dark Globe”, my own unique creation which begins and concludes with the flutes from “The Grand Vizier’s Garden Party”, found on Ummagumma.  Adding a medieval atmosphere to a song already structurally and melodically reminiscent of European folk ballads, we are left with a melancholy and prophetic closing track that also introduces the aesthetic of my third and final re-imagined Barrett-led Pink Floyd albums… 

Sources used:
Pink Floyd – Soundtrack to the Film ‘More’ (1987 remaster)
Pink Floyd – Ummagumma (1994 remaster)
Pink Floyd – Works (original 1983 master)
Pink Floyd – Zabriskie Point (1997 remaster)
Syd Barret – The Madcap Laughs (1994 Harvest Remaster)


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Pink Floyd - The Shape of Questions to Heaven (1968)

Pink Floyd – The Shape of Questions to Heaven 
(a soniclovenoize re-imagining)

AS OF MARCH 2017 THIS RECONSTRUCTION WAS UPDATED
GO HERE FOR THAT



Side A:

1.  Vegetable Man

2.  Apples and Oranges

3.  Late Night

4.  Remember A Day

5.  a) Golden Hair
      b) Set The Controls For The Heart of The Sun

Side B:

6.  Lanky, Part One

7.  Paint Box

8.  Clowns and Jugglers

9.  Scream Thy Last Scream

10.  Jugband Blues 

I received a number of requests for this, so I thought I’d give it a try and see how well it comes together.  Luckily it seemed to come together rather enjoyably, so here is the first of a trilogy of my re-imagined albums that postulate “What if Syd Barrett hadn’t been dismissed from Pink Floyd?”  The Shape of Questions to Heaven is the theoretical 1968 follow up to 1967’s The Piper At The Gates of Dawn, and culls material from Pink Floyd’s A Saucerful of Secrets sessions and Syd Barrett’s The Madcap Laughs sessions to create a second album of Syd Barrett-led Pink Floyd, an album that most certainly never was.

At what the band believed to be the height of their popularity in 1967, Pink Floyd witnessed the mental collapse of their lead singer and songwriter Syd Barrett.  Caused by copious amounts of psychedelics and possibly a tendency for madness and erratic behavior in the first place, Barrett was known at that time for blank stares half-way through a Pink Floyd performance, spells in which he would just simply stop playing his guitar and vacantly stare motionless into the audience.  He was becoming unreliable inasmuch as the band resorted to hiring a second guitar player to back Barrett up, a guitarist by the name of David Gilmour.  After sessions for the second album had begun (which would eventually become A Saucerful of Secrets), Barrett’s madness climaxed during a rehearsal in which Barrett attempted to teach his bandmates a new song, allegedly entitled “Have You Got It Yet?”, in which every run-through of the song, Barrett altered the structure so the band could not follow along, and then sung to the band members “Have you got it yet?”  In one of the great moments in Rock History, Roger Waters simply didn’t pick up Syd for rehearsals and Pink Floyd continued without Syd Barrett, the crazy diamond himself.  This era in Pink Floyd’s history can only be remembered in the sole album featuring Syd Barrett as the lead singer/songwriter of Pink Floyd, the psychedelic-pop masterpiece The Piper At The Gates of Dawn.  But no longer does that have to be the case.  

To create this second Syd Barrett-led Pink Floyd album, we must put forth very specific constrictions of what source material to include.  The first of the source material would be the only songs on A Saucerful of Secrets to feature Syd Barrett: “Remember a Day”, “Set The Controls For The Heart of The Sun” and of course “Jugband Blues”.  More Syd Barrett & Pink Floyd songs were recorded during these late 1967 recording sessions which didn’t make the album that we can also include: the single release “Apples and Oranges” and “Paint Box” (taken from The Piper At The Gates of Dawn 40^th Anniversary remaster and Relics, respectively) as well as the unreleased Barrett-penned “Vegetable Man” and “Scream Thy Last Scream” (taken from The Syd Barrett Tapes bootleg).  Already we have more than half an album!   

After Barrett’s dismissal from Pink Floyd, he gathered himself in 1968 to record his first solo album, The Madcap Laughs.  The album was essentially recorded in three sessions: May-June 1968 with Peter Jenner, April 1969 with Malcolm Jones and July-August with former bandmates David Gilmour and Roger Waters.  For the sake of chronological continuity, we are only going to utilize the material Barrett recorded in his initial 1968 sessions (swiftly overlooking the overdubs made in 1969, of course), pairing them with the aforementioned material from the A Saucerful of Secrets sessions recorded in late 1967 and early 1968.  Focusing on the material that sonically fits with the previous seven selected Pink Floyd recordings, we are using “Late Night” and an alternate version of “Golden Hair” from The Madcap Laughs remaster, as well as “Clowns and Jugglers” and “Lanky (Part One)” from the Opel remaster.  

The sequence of The Shape of Questions to Heaven was heavily influenced by its actual previous album The Piper At The Gates of Dawn but almost all of the tracks were crossfaded to create a continuous two sides of music (a tactic Pink Floyd would later explore in the following years).  My re-imagining begins with a duo of uptempo rockers (“Vegetable Man” and “Apples and Oranges”) before a low-key decent with the following two songs (“Late Night” and “Remember The Day”), allowing the side to slowly wind down.  Side A concludes with an original edit of “Golden Hair” and “Set The Controls For The Heart of The Sun”, crossfaded into each other creating a seven-minute epic.  Although placed with a record-flip in-between, the psychedelic-jazz jam “Lanky, Part One” continues the mood set by the previous suite, even staying in the same key and mode.  After the rare stereo mix of Richard Wright’s “Paint Box”, the album picks up for a glorious and increasingly paranoid finish with “Clowns and Jugglers”, “Scream Thy last Scream” and the prophetic “Jugband Blues”. 

The Shape of Questions to Heavens shapes out to be an album very indicative of Syd Barrett’s mindset in 1968.  Although we largely have similar full-band Pink Floyd song arrangements as found on their debut psyche-pop debut, the off-kilter songwriting leans towards the bizarre, with two Richard Wright and a Roger Waters-penned song picking up the slack for their slipping songwriter.  We are fairly certain the album would have been a commercial flop, probably too avant-garde for the mainstream 1968 and too lacking in commercial singles, with “Apples and Oranges” the only possible contender (which was a failed single in itself).  Regardless, it is an enjoyable listen and an interesting alternative to A Saucerful of Secrets, and succeeds in creating an album that demonstrates just what Pink Floyd could have done with their lunatic on the grass.  

Sources used:
Pink Floyd – A Saucerful of Secrets (1994 remaster)

Pink Floyd – The Piper at The Gates of Dawn (2007 Remaster)

Pink Floyd – Relics (1996 reissue)
Pink Floyd – The Syd Barrett Tapes (bootleg, 2008 Needledrop Records)
Syd Barrett – The Madcap Laughs (1994 Harvest remaster)
Syd Barrett – Opal (1994 Harvest remaster)

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The Mars Volta - Frances The Mute (2CD)

The Mars Volta - Frances The Mute

(soniclovenoize double album reconstruction)

DISC ONE  [45:28]:
1.  Frances The Mute  [14:34]
2.  Cygnus....Vismund Cygnus  [13:02]
3.  The Widow  [6:32]
4.  L'Via L'Viaquez  [11:21]

DISC TWO  [45:41]:
5.  Miranda That Ghost Just Isn't Holy Anymore  [13:10]
6.  Cassandra Gemini  [32:32]


In honor of the announcement today that The Mars Volta are breaking up, I thought I’d share this album reconstruction I created recently.  This is a reconstruction of what The Mars Volta’s 2005 album Frances The Mute was supposed to be, notably with the addition of the title track crossfaded into “Cygnus…” to open the album, as well as the closing 30-minute epic “Cassandra Gemini” reunited as one track, instead of split into eight pieces.  The main source used for my reconstruction was a high quality vinyl rip to secure the dynamics that were lost on the overly compressed and brickwalled CD version.  My Frances The Mute reconstruction is thus divided into two 45-minute discs, hence its subtitle.  The vinyl side divisions are ignored here, as one would have to break up “Cassandra Gemini” ten minutes into the song, defeating one of the purposes of this reconstruction. 
 

The first task in this reconstruction was to edit out the locked grooves in the vinyl version.  On the record, the locked grooves contained short samples of the songs themselves, so that as the needle moves into the locked groove, the song will play endlessly.  Obviously this needed to be removed for my reconstruction.  All tracks have been edited to mimic the CD version of the album without the locked grooves, and in some instances a short sample of the actual CD pressing was needed to patch in a missing gap of audio.   This would have only been for a few seconds, and the volume of the CD-sourced patches were adjusted to match the vinyl mastering.

The next task was to restore “Frances The Mute” as the opening track of the album.  Unfortunately, there was no quality vinyl rip of The Widow single available for my reconstruction, so the CD version is instead used, volume adjusted to match the vinyl-source.  The song was crossfaded into the beginning of “Cygnus....Vismund Cygnus“, with the “Sarcophagi” intro to “Cygnus” acting as the resolution of the tension created at the end of the “Sarcophagi” ending of the title track.  The decision was made not to seamlessly crossfade the “Sarcophagi” riffs of the two songs together and thus omitting a couple minutes of ambient effects over the repeated “Sarcophagi” riff, for the sake of staying with the album’s motifs  of lengthy atmospheric and experimental passages between the proper songs. 

The final element to be corrected in my Frances The Mute was to rejoin the erroneously fractured “Cassandra Gemini” into one 32-minute track, as many fans are adamant that is the correct option for an optimal listening experience.  Again, the locked groove was edited out and the brief missing audio was patched in from the CD to make a continuous vinyl-sourced “Cassandra Gemini” that follows the CD version.  By the way, if one was to break “Cassandra Gemini” into its five correct movements, the splits would be at 11:25, 21:51, 28:44 and 31:38. 

Enjoy what I believe is one of the masterpiece rock albums from the last decade, in what I believe was how The Mars Volta intended the album to be, with the best possible dynamic range. 

Sources used:
Frances The Mute (GSL vinyl rip- unknown ripper [Technics SL1200 > Audio Technica 440mla > Musical Fidelity V-LPS]
Frances The Mute (CD)
The Widow CD single


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The Beatles - Good Night Vienna (1974)

The Beatles – Good Night Vienna

(a soniclovenoize re-imagining)

Side A: 
1.  Venus and Mars/Rock Show

2.  Whatever Gets You Thru The Night
3.  Love In Song
4.  So Sad
5.  Steel and Glass

Side B: 
6.  Junior’s Farm
7.  (It’s All Down To) Good Night Vienna
8.  Dark Horse
9.  #9 Dream
10.  You Gave Me The Answer
11.  Nobody Loves You (When You’re Down and Out)
12.  Venus and Mars (reprise)

This album is the fifth and final in a series of “re-imagined” 1970s Beatles albums that presume the question: “What if the Beatles never broke up?”  Good Night Vienna collects the highlights of the various Beatles solo material from and around 1974 into one cohesive album, which followed the previous four re-imagined 1970s Beatles albums (Instant Karma!, Imagine Clouds Dripping, Living In The Material World and Band On The Run, chronologically). 

Source material for Good Night Vienna starts with Lennon’s final solo album in the 1970s, Walls and Bridges, as well as George’s Dark Horse.  The Lennon-penned and performed token Ringo track was taken from his album of the same name.  1974 mostly saw Paul McCartney touring in support of Band On The Run, so the A-side of his 1974 single “Junior’s Farm” was used, as well as the highlights of his 1975 album Venus and Mars, being the closest available source material next to his 1974 singles.  Once again matching the atmosphere of all four of their solo projects into one cohesive Beatle-esque  yet strong album—strong for 1970s Beatles, that is—was actually a simpler task than previous re-imaginings, as I felt the strongest of their material all seemed to be Beatle-esque anyways.  This album came together rather quickly, and its effortless flow, while not making an incredible impact like Imagine Clouds Dripping or Band On The Run, is a rather unified and enjoyable listen (if one enjoys mid-70s solo Beatles material in the first place!).  “Venus and Mars” and it’s reprise was specifically used to bookend the album, with an introduction of the band at the start of Side A and a concluding farewell at the end of Side B (reminiscent of Sgt. Pepper).  New edits and crossfades were created for many of the tracks to make a continuous two sides of music, notably the first three tracks of Side A and the last three tracks of Side B. 

As any astute follower of this series could assume, there would eventually come a certain point where these re-imaginings would no longer be possible, as Lennon ceased to make (commercially released) music in 1975, retiring to become a stay-at-home father.  We now have three choices to carry-on in the yearly fashion I’ve set forth with my series of 1970s Beatles albums: 1) continue this series without John Lennon; 2) continue this series with Lennon’s contributions being his Dakota acoustic home demos paired with Paul, George and Ringo’s studio solo material; 3) discontinue the series altogether.  As much as it might be a disappointment to you, constant listener, I have opted for Choice #3 and make the presumption that The Beatles took an indefinite hiatus in 1975, allowing for the other three to pursue their (sketchy) solo careers.  Since I’ve always felt that The Beatles had begun with John Lennon, it only seemed natural that they should end with John Lennon’s retirement.  Besides, after this point Paul and George’s solo albums diminished in quality at an appalling rate; it’s better to burn out then to fade away… 

So sit back, relax and imagine if you will:  After the success of the 1973 Beatles album Band On The Run, John continues what is called his “Lost Weekend”, a period of drugs and debauchery initiated by Lennon’s expulsion by Yoko Ono; after a world tour in support of Band On The Run in early 1974, The Beatles retreat to record another album that summer, but sessions are plagued by a disheveled Lennon preoccupied with partying alongside his celebrity-friends, not to mention a sudden onslaught of laryngitis for George, preventing him from contributing any number of new songs he’d written for the album; Paul’s leadership sees the band through to completing the difficult album, encouraging a generally “live-band” sounding album with one of his song fragments “Venus and Mars” beginning and ending the album; the album was named Good Night Vienna by Paul, after the Lennon-written song featuring Ringo’s lead vocals.  A cover photo was taken featuring The Beatles (as well as a Linda McCartney!) dressed as characters mentioned in the lead single “Junior’s Farm” (Bob Dylan was again impressed).

The response was generally positive for Good Night Vienna both critically and commercially.  It was definitely not their strongest album to date, but it wasn’t a disappointment such as Living In The Material World, and many fans and critics compared the album to the quaint Let It Be album from 1970.  “Junior’s Farm” backed with the non-LP B-side “Ding Dong, Ding Dong” was a hit in 1974 and brief European tour was planned along with a few select American dates.  That fall, around the time of the single release of “Whatever Gets You Thru The Night” b/w the non-LP track “Spirits of Ancient Egypt”, Paul foresaw his dear friend and bandmate’s eminent destruction from his joyously turbulent excess, and knew that something had to give; perhaps The Beatles had lived longer than they should have?  Paul realized that John was simply masking his loneliness and the loss of Yoko, the person who created balance in his life.  The title for their apparently final album—a slang for “it’s all over”—was  prophetic in that Paul knew the only way to save John was to stop the madness of The Beatles, the entity that had enabled John’s destruction.   While playing the final American dates, Paul orchestrated a meeting of John and Yoko to reconcile and hopefully let John rediscover the missing balance in his life.  Paul’s plan worked, and John and Yoko once again found the missing pieces of themselves in eachother, backstage of The Beatles’ final performance at Madison Square Garden on November 28^th, 1974 (Elton John was the opening act).  Both John and Paul decided it was time for the Beatles to take an indefinite break—to save John and free the others.  Seeing an opportunity for redemption for his previous family abandonment, John subsequently retired from music to concentrate on a domestic family life and to attend his soon-to-be-born second child.  The rest of the Beatles were free to pursue their own solo careers, which they most certainly did.  And the rest is history…  Or could have been, anyways. 

Sources used:

All The Best! (original 1987 master)

Dark Horse (1992 CD pressing)

Photograph – The Very Best of Ringo Starr (original 2007 master)

Venus and Mars (1995 Steve Hoffman remaster)

Walls and Bridges (2005 remaster)

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