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Dec. 22, 1970

Sheffeild City Hall, Sheffield, Yorkshire, England



First transcription by Jon Williamson. Second transcription by Phil Salathe


First transcription.

AUTHOR'S NOTE: I was going to write that the "A Psychedelic Night I" RoIO did not contain the same Alan's Psychedelic Breakfast performance on Dec 22, '70 as heard on the LP RoIO "Alan's Psychedelic Breakfast". After listening to them both closely, I realized that they are the same performance. It's just that "A Psychedelic Night I" doesn't have the interlude between "Rise and Shine" and "Sunny Side Up." You can hear the edit/cut at the 5:27 mark. Conversely, the LP version doesn't have the exchange between Waters and Gilmour after APB is finished but before "The Embryo" begins. I'll try to transcribe both sections below.

1st Interlude (lasts 4:35, and is missing from "A Psychedelic Night I").

Thuds on a table like the banging of a heavy jar. Sounds of a lid turning. laughter [lgh].

Roger: A cup.

Stirring sounds. lgh.

Roger: That's it? Is that working?

More stirring and lgh. Pause.

Roger (to audience): What do you think he's going to do with the sugar? Is he going to pour it all in the cup... or is he going to use a spoon?

lgh.

A deep voice from audience (barely audible): Spoon!

lgh.

Pause.

Roger: Or is he going to spoon it all into the cup? (lgh lgh. Pause.) No...it's just a joke, but...

Pause.

Thump thump thump. lgh.

Roger: [...] it's not going too well out here, boys.

Voice from audience: Turn it on! to which the rest of the audience moans, Aughh....

Pause.

Roger: Mmmm....AUGH! Rubbish.

lgh.

Pots/pans banging on a table. lgh. Stirring.

Roger: Oh, this is pretty disgusting, isn't it? It's hardly music.

Pause. Sound of a guitar lead being plugged in (?). Inaudible remark from audience member. lgh. Intro to "Sunny Side Up."

Exchange between songs (and is missing from the Lp RoIO "Allen's Psychedelic Breakfast"):

Roger tuning his bass (more laughter for this, too!) to Rick's organ.

When he's done...

Roger (whispers): One, two...one-- (then abruptly stops.) Are you together?

Either Nick or Rick trying to get Dave's attention: Dave!

Roger: Dave?

Dave: What?

Roger: Are you together?

Dave: Not yet....hang on a minute.

Dave starts tuning his guitar and you can hear Rick turn off the Binson Echorec channel hooked up to Dave's guitar (CLICK Click click click...). Dave's still tuning. After a while of this he plays a cord. It sounds alright, but then he stops.

Silence...

Roger: Are you together?

No response.

Roger: It's okay, Dave. I mean it's no hurry.

Offstage voice: Right [Wright?], are you ready?

Roger: And it's only five past eight. I mean we only started about half past seven. I mean we have to have one number. (lgh.) I mean you can take as much time as you want, mate. I mean that what I mean [standing it?]. Do carry on.

Voice from audience: Go ahead, Joe.

Pause.

Dave: We'll jolly well go then. [...] can you please set the volume on this mic, eh...? One, two, one, two, OONNEE TWWOOO... much better.

Roger: Are you together?

Dave: Not very, but we'll go anyway.

Roger: (to Dave) Okay then [...]

Dave: Okay [...] Great.

Roger: (to audience) It may take some time this evening because everybody's in festive mode, but we will do it all in the end. And we'll start now. And this is...ah...this song is called 'The Embryo'.

Applause.


Second transcription.

Tape cuts in a second before APB starts. Only known recording of it, so I don't much need to detail it musically. Second section of the song, i.e. 'Sunny Side Up', is in E major instead of the album's D major. On this section, Rick may be playing guitar as well, as it sounds like there's either three guitars or some very adept fingerpicking going on by Dave.

Coughing and very low chatter, while still quite quiet, increases during this section.

Then after the section is over, during the transition, some very interesting things happen. There's some quiet stage chatter, some of which is in what sure sounds like French.

It runs something like:

Stage chatter: Aha...[...] Ca va? Ahh...[...] happy. Bien. [...]

Then later:

Stage chatter: [Eh...hmmm...eggs.]

Followed by stirring sounds. The audience bursts into laughter a few times during this.

Then the tapes of Jimmy Young kick in. The tapes are slowly panned around the room, and the sound tends to get lost in a wash of delay when the tapes pan away from the taper. On top of that, Jimmy Young talks very quickly, and to add to the confusion, it sounds like the tapes they're playing are occasionally spliced together nonsensically. All that aside, here's what I can make out:

First pass near taper.

Jimmy Young: [...] And then...umm...[...] ah yes, Yorkshire, [I said], didn't I. Lovely greenwood. And that's ah, a Yorkshire, hence the expression 'Get [??nottingly].' Ha ha!

Crowd laughs.

Jimmy Young: Anyway, had you heard, hmmm, [can't get words!] Or 'worse'. To my husband, unfortunately Uncle William was out of the room and he missed all that. Anyway! Oh dear, oh dear, he says 'Never mind about all that stuff.' She says [and I say] in a French accent. con-gratulations, [...] [do you] [?Donnelly?] Uh, [???wich] [green], of course. Uh, happily a [...] ah, addict. Ah yes. [...] That's, um, unusual, quite my sort of program actually. As they say, here's a memory to take with you, which will make you very glad you ever [lived]. Anyway! [...]

Tapes pan away. Second pass:

Jimmy Young: [...] good for you! Well, I can if you write me a postcard --[kindly, don't] [...] crowd laughs. But anyway! Um, ha...the thing is, I -- ay, ah. Nearly forgot to say, didn't I? If you would like me to, uh, phone you on the show, numero dut -- [hello, hoy-o], that's for me, ah, but this'll take [you like a] [...] whack one, ah -- whack, whack one off to me, ah, we'll whack it on the show to you! And...[...]

Tapes pan away again. Crowd laughs a lot during this pan off.

Third pass:

Jimmy Young: This is for you! Yes, well, [...] for you, and him, and, uh, (--splice?--) [and then he say], Froggie says, 'Monkey doo!' And I say, 'Well, I very much hope so, cause that's what I'm here for. So, hope I will help you both to get better, out and about very soon.' Meanwhile on, and from, um, monkey doo, to Steven Trew! Uh, actually, it's rather nice, it's not one of those kinds that don't trust me, you see. They (--splice?--) your funny phonetics again. Steven T-R-E-W. [...] It's pronounced T-R-O-O-O, Jim. [...] Anyway, T-T-R-O-O...[...]

A couple seconds later part 3, Morning Glory, kicks in, to applause.

Enthusiastic applause at end.

Tuning, stage noise, coughing in audience.

Roger: One, two...one.

Pause.

Roger: (off-mic) Are you together?

Dave: What?

Roger: Dave?

Dave: What?

Roger: Are you together?

Dave: [...]

Roger: Yeah. (in mic) Hang on a minute.

More tuning.

Roger: You together?

Crowd laughs a bit.

Roger: Okay, Dave, I mean, there's no hurry. (pause, a couple chuckles in crowd.) And it's only five past eight, I mean we only started at half past seven, I mean we have [to have one.] (or, "We have till one then" or "till Monday") I mean, you can take as much time as you want, really, I mean that's what I mean standing here. You carry on.

Incomprehensible shout in crowd.

Long pause.

Dave?: (in thick, maybe Cockney accent.) [??Good job all day, then. Pink could've??] [...]

Tongue clicks in mic.

Dave?: One, two. One, two! (exaggerated, affected voice.) Ooone! Twooo! [...] [little bit] better.

Roger: off mic. Are you together?

Dave?: Don't worry, we'll go anyway.

Roger: Okay, [then?]...okay...great. (in mic) It may take some time this evening, 'cause everybody's in a festive mood, but we will do it all, in the end. And we'll start now, and this is -- um, this song is called the Embryo.

Applause, Embryo follows. Applause at end, tape fades as...

Roger?: Thank you.

Tape cuts into very start of FOS. Applause at end, tape cuts into very end of some applause, then CWTAE starts right up. Sounds like there's a little edit mid-scream in CWTAE. Applause at end, tape fades.

StCftHotS cuts in a bit into song, right before the entrance of the theme.

Applause when the audience recognizes the song. My tape cuts before last verse.

Tape cuts to faint applause fading out, then fades in on applause, followed by incomprehensible shouts in crowd -- something like "Come on, Dale!" Very shortly AHM with brass and choir kicks in. Horn misses a few notes on the first solo. Enthusiastic applause at end.

Dave: Thank you very much, good night!

Tape fades, then comes back in a split-second before the start of the mysterious "AHM Reprise". A second of venue silence can be heard before Dave's slide guitar kicks it off. I can definitely hear brass on this, and probably choir too. At the end, applause begins during the last chord, and the tape fades just before the song ends.

aSoS fades in at the very beginning. A burst of applause midway through Storm Signals. In Celestial Voices, immediately after DG starts singing, all instruments cut out as the power fails, leaving only Nick, who stops after a moment. Applause starts up, and the keyboard reenters before it subsides, restarting CV from the top. Applause after CV, fades immediately.