Pink Floyd – The Massed Gadgets of Auximenes
(soniclovenoize “The Man & The Journey” studio reconstruction)
October 2024 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 long last, 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. This upgrade changes two aspects I thought were missing from my previous versions of this reconstruction: 1) each side is more concise, spanning 20-minutes each, and 2) I have utilized and manipulated vintage-era sound effects from the EMI library to replicate the Azimuth Coordinator from the original The Man and The Journey performances, what I feel is essential for the full listening experience of these theoretical recordings. I have also used some slightly different song choices to replicate the final fourth of the album. And finally, this reconstruction is meant to co-exist and complement my previous 1969 Pink Floyd re-imagination, Vantage Point.
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 27th and the Manchester College of Commerce on May 2nd, 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 final performance in Amsterdam on September 17th 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?
For my newest iteration of “The Man & The Journey” will have several guidelines:
1) We will only use 1969-era studio recordings of Pink Floyd. 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…
2) 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. Note that this iteration once again uses slightly different songs to replicate the final fourth of the album.
3) Although my previous iterations had 24-minute side lengths, I have trimmed the sides down to a more concise 20-minutes each. This keeps the album moving and becomes a much tighter listen, something I enjoyed much more over my previous versions, which sort of dragged.
4) After a lot of soul-searching, I have decided that the Azimuth Coordinator is an essential part of this album. Here I have used a lossless rip of some of the actual EMI sound effects library. This would have been the same recordings actually used by the band to create the relevant sound effects originally heard in 1969, although often heavily manipulated.
Side A–The Man–begins with my own personal “short” edit of “Grantchester Meadows” as “Daybreak”. This edit significantly cuts the intro, solo and outro, making the song just over four minutes in length. This is followed by a train whistle from the EMI sound effects library slowed down to sound like a factory steam whistle–what I am fairly sure Pink Floyd actually did for their performances–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). In this iteration, I chose to use a fragment of “The Narrow Way I” (aka “Baby Blue Shuffle in D Major”) to represent “Tea Time”, and acting as an outro to the song. “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 a new short edit 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") and the sound effect of an alarm clock from the EMI effects library.
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). Using storm sound effects from the EMI sound library–as Pink floyd originally did–as a crossfade between the two, the pilgrim’s ship plows through a 'horrid storm' (as depicted by “The Narrow Way III” from Ummagumma). They 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 with the animal vocalizations from “Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict”). 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” (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 design of a climaxing organ phrase: “Sysyphus Part IV” from Ummagumma. Although I had previously used “Cirrus Minor”, this, I feel, creates a more inspiring and strange ending to a likewise inspiring and strange album.
Sources Used:
Relics (1996 remaster)
Soundtrack to the Film ‘More’ (2011 remaster)
Ummagumma (2011 remaster)
EMI Productions - Sound Effects (1970)
flac --> wav --> editing in SONAR and Goldwave --> flac encoding via TLH lv8
*md5, artwork and tracknotes included
