JOURNEY THROUGH TIME AND SPACE(2CD)
SCORPIO

[SONG LIST]

DISC 1:
1.RAIN IN THE COUNTRY 
2.THE VIOLENT SEQUENCE 
3.THE RED QUEEN THEME 
4.FINGAL'S CAVE (it might be 'Oneone') 
5.THEME 
6.RAIN IN THE COUNTRY 
7.LOVE SCENE#1 
8.LOVE SCENE#2 
9.BLUES SCENE 
10.FINGAL'S CAVE (it might be 'Oneone') 
11.LOVE SCENE#3 
12.LOVE SCENE#4 
13.RED QUEEN 
14.CRUMBLING LAND 
15.UNKNOWN SONG

DISC 2:
1.INTERSTELLER OVERDRIVE 
2.SET THE CONTROLS FOR THE HEART OF THE SUN 
3.GREEN IS THE COLOUR 
4.CAREFUL WITH THAT AXE, EUGENE 
5.THME FROM MORE 
6.OBSCURED BY CLOUDS - WHEN YOU'RE IN
7.CHILDHOOD'S END 
8.BRAIN DAMAGE 

[DATA]
ALL TRACKS ON DISC 1:OUTTAKES FROM THE ORIGINAL MOTION PICTURE SOUNDTRACK 'ZABRISKIE POINT'
TRACK#1 ON DISC 2:FROM THE FILM 'SAN FRANCISCO'
TRACK#2-#4 ON DISC 2:LIVE AT ACTUEL FESTIVAL, MONT DE I'ENCLUS, AMOUGIES, BELGIUM OCT.25, 1969
TRACK#5 ON DISC 2:LIVE AT TOWN HALL, BIRMINGHAM, UK FEB.11, 1970
TRACK#6 ON DISC 2:LIVE AT INTERNATIONAL AMPHITHEATRE, CHICAGO, IL MAR.7,1973
TRACK#7 ON DISC 2:LIVE AT PALAIS DES SPORTS DE L'ILE DE LA JATTE, SAINT OUEN, FRANCE , DEC.1, 1972
TRACK#8 ON DISC 2:ALTERNATE STUDIO VERSION FOR BBC DOCUMENTARY ON NASA SPACE DOCUMENTARY 1974 

[NOTE]
I figure all tracks (74min!) on Disc 1 from the original soundtrack 'Zabriskie Point' come from the original master tape. Sound quality is superb. Except for 'Fingal's cave', I think they are never released previously and are not available on the official 2 CD release from Rhino Records. You know, 'Oneone/Fingal's cave' is available on a vintage bootleg album 'Omayyad' from the TMOQ label, but this new release is Superb sound. 'Violent Sequence' by Rick's solo piano is also awesome. This CD will knock your socks off ! 


Text from the 20 pages booklet:

Pink Floyd By Rick Sanders

When we first heard the Pink FIoyd, we all of us were hooked straight away, whereas other psychedelic groups (that's a label and not a semantic definition) left us relatively cool and not really certain whether we approved or not. Again, this must have been the general order since all ofthe bands that popped up with surreal names and cerebral pretensions in the flower summer, the Pink Floyd are really the only ones who stayed the course with any consistency, plus maybe the Soft Machine - but they're rather different. 

It's weird to think that for a long time the Pink Floyd looked on a good gig as being one where they didn't get bottles hurled at them by a boozed, bored and probably bewildered audience. But then, all this horror scene was happening during a period when pop was too bothered with melody and packaged compliance with what was fondly assumed to be public taste. The dust kicked up by the bedrock groups from Liverpool, Newcastle and the Home Counties had largely settled and been directed along neat channels. Luckily, it's all changed. There is a new, exciting current; the energy seems to be pulsing back at great speed, and the Pink Floyd - Roger Waters, Rick Wright, Nicky Mason and David Gilmour - are coming into their own. As the shit is weeded out the healthy groups are getting better attention than ever. British rock is having a spring clean while the radio's spotlight is off it, since most radio pop is tired out and for the most part providing a diversion while the work is done elsewhere.

The roots of the Pink Floyd were laid at the Regent Street Polytechnic, where Mason, Wright and Waters studied architecture in the early sixties. They were among the shifting personnel of a college band called the Ab-Dabs, who played rock and R and B in much the same way as the Yardbirds, Stones and other London groups in embryo style at the time. They played things like Louie Louie, Bo Diddley and Howlin' Wolf numbers.

Roger Waters knew Syd Barrett from Cambridge, so when Syd came down to London to go to art school he stayed with him. This meant that the four members of the original Floyd were now together in the same place (Barrett later left, to be replaced by David Gilmour on guitar and vocals), and the group started to become more stable with a fixed personnel. College gigs were performed, the band played outside dates, and an individual musical style evolved.

Roger Waters explained that they started to improvise and move beyond the blues/rock basics. To discard the twelve-bar structure and basically stick to one chord for long improvised experiments is a way to get rid of all your inhibitions and play music that is free and also highly individual; it gives you some idea of exactly what you're capable of as a musician and also wipes clean the slate of what's gone before.

It must be a pretty good method. And Waters has also observed that many of the blues groups today - the second wave - are saying exactly what the Yardbirds and the Stones and the Floyd were saying before: you've got to go beyond the blues. We can see the results from those who have.

Rick Wright said; "We realized that we were playing for the fun of it and we weren't tied to any one particular form of music. We could do exactly what we wanted; and so our own music started to come through. The emphasis was, and is, firmly on spontaneity and improvisation".

Around this time the Ab-Dabs revised their name to the Pink Floyd. Despite al. the suggestions of software, art nouveau and modern aesthetics/technology/elephants, Pink FIoyd came off the sleeve notes of a blues album. There were two sidemen named Pink Anderson and Floyd Council. The blues influence again. "Yes", said Roger. "I still like the name, Anyway, after a while a group name just becomes no more than words."

The group first achieved anything more than parochial interest when they began playing at UFO. For a long time, their music had not found much appreciation, and Roger for one had been able to spend five years at his architecture studies, But the emerging underground had their band by appointment, and the Floyd became known as the first British psychedelic group, not altogether to their pleasure. "We never thought of ourselves that way. It happened that we started playing at UFO when it was beginning and people began to identify us with the club and what they thought it stood for."

The group had been strongly fancied for some time when their first album came out on Columbia. Called The Piper At The Gates Of Dawn, it was a good seller and good music with an unsophistkated mock-trippy front cover photo and a far more powerful piece of tortured Syd Barrett graphic art on the back - suggestive of the psychedelic role imposed on them on one side and the real meat of the group on the back. ln an age of obligatory sleeve notes, they had none. They still haven't. Neither has the programme for their concerts. Roger Waters describes the record as "a catalogue of Syd's songs" - This might sound a bit bitter, but it turns out that Syd's songs were used simply because the group considered him a better writer than the rest. The only track on which he didn't have a hand was one of Roger's. Take up Thy Stethoscope and Walk. "A very bad song", says Waters today.

However, the two tracks most typical of the Floyd's stage act were group efforts. Pow R. Toc H. and Interstellar Overdrive - long, varied journeys starting from and returning to a heavy rock riff. There are outer-space noises, echoing drums, concentrating on closed-mike cymbal explosions and roaring tymps. The bass usually plays runs one step removed from the straight blues, thudding with a sound and feel for improvisation similar to Bill Wyman's work on the best of the Stones. The guitar and organ switch from smashing chords one moment to celestial-sounding continuum the next. lt's a very original sound from all the instruments, but one can tell without too much difficulty where they came from the first place.

The song titles give many clues to what the group were about at this time: Astronomy Dominie, Lucifer Sam, Matilda Mother, Flaming, Pow R. Toc H., Take Up Thy Stethoscope And Walk on side one, Interstellar Overdrive, The Gnome, Chapier 24, The Scarecrow and Bike on the other evoke science fition, Metaphysics, inexorability, power, fantasies. The vastness of the universe, working to a system that could never be knocked off course by the workings of mere people. The vocals are cryptic, fragmentary, and for the most part placed further back than the instrumental work. There are shades of ritualism and the supernatural - "Young man, do you want to know the secrets that had to power?"

A hit single by the group around this time was Arnold Layne, about a man who stole ladies' undergarments from the clothes line.

The feeling is of strangeness, of other worlds, and I suppose one has to say of acid too. A line in Matilda Mother runs "wandering when dreaming, words have different meanings". The Floyd were probably the first group to work so effectively in terms of pure atmosphere and sound rather than in structures, though they did more formal songs as well.

The second album. A Soucerful Of Secrets, got rave write-ups in the heavy sunday papers, for it was about the time that quality papers began to take any sort of decent interest in pop, in particular the sort of intelligent pop produced by groups like the Floyd. And the record is certainly a very good piece of work.

Again, the title of the record is important. Just as Piper At The Gates Of Down referred to the mystic odd-chapter-out in The Wind In The Willows of the same name in which the little animals meet the Cod Pan, so Saucer is rich in associations. A flying saucer, a saucer for witch's cats' milk, and all secret too? Powerful.

The music is mostly a development of the group songs on Piper, with more depth and abstraction. lt's a much more mature, premeditated sort of sound, the tracks are longer, the effects more subtle and the sleeve this time is complex - the colours are rich but muted and the total effect of the photography and artwork is a series of bizarre recurring images in a shifting cosmos. I can't think of any other sleeve that sets off as many reactions in me, at any rate, and to create precise images in such profusion is really masterly.

The most impressive song is probably Set The Controls For The Heart Of The Sun, a chillingly olympian mini-epic by Roger Waters, and there's a song by Syd Barrett, Jugband Blues, which doesn't sound in the least bit like a jugband. By this time, David Gilmour had joined the group. It's interesting to note that when a new guitarist had to be found, he wasn't a rated instrumentalist on the pop scene; he came straight from an unknown Cambridge blues band called the Jokers Wild, and more importantly, he was a friend from way back. The latest record from the group is a soundtrack album from Barrett Schroeder's film More, and though it doesn't seem to be radically different from the previous records, it's a fine record that stands completely without the film context. I've not seen More, but Roger summarized the story as being about a boy who meets a girl who turns him on, takes him to lbiza, gets him hooked on heroin, and he eventually dies of an overdose. Doubtless it's better than it sounds, but even the group haven't seen the film yet.

They wrote and recorded the music, thirteen tracks in all, within the space of a week, enjoying the total involvement in the project and then getting it off their chests. They were shown the film in short snippets and composed for each segment as necessary. Some of the music is straight background atmosphere, other pieces arise directly from the action. "We were told one bit had to be coming out of a radio in a Spanish bar so we had to do something that suggested that. In the middle ofit David tried to make the sort of speech noises you'd expect to hear". ln fact it doesn't sound anything like Spanish radio on a real level; but emotionally and intuitively it's dead right. Everything the group does on the record has this sureness of touch; there's even a twelve-bar blues, but it's been worked on. The guitar sound in the opening bars is distorted; what is basically a pretty straight tune ends up as something very original. It is possible to see the track More Blues, as a simplified history of the group. You take the best of the compulsive blue/rock riffs, open your head, dig in, see what comes out.

During my conversation with Roger, he said that he is all for cliches in music if they work, and the Floyd aren't afraid of using them. The record begins with birdsong - the dawn chorus from the EMl tape library - which could well have been ultra-corny. But the group use it; they play around the bird noises, with some happy effects. Three random elements contributed to this track; Rick Wright put down two organ tracks independently, one on Hammond and one on Farfisa, and these were wedded to the birds. At one point a nightingale completely by chance comes in at exactly the right musical moments with his tweets. This gives me a chance to write serendipitous; but the whole of the Floyd's music is the result of a tremendous empathy between the four members, each one improvising with extreme emotional exactness,

I once read a Picasso quote that said you can't paint an abstract picture unless you have a starting point of some concrete object. Roger said that the group tried to paint as precise a literal picture as they could with music. In my view, it's pretty near impossible to use music as a medium for straightforward communication of this sort. But having the target in front of a musician is certain to bring a unity to his music if he's any good at all. And this is one reason why the Floyd are such an excellent band. All four of them get on very well. I would have thought that the longer a group stays together, the more they would understand each other, but Roger thinks that familiarity in a group "definitely does lead to contempt. lt's so easy to see why groups do break up... you're in a state of considerable strain and this throws up all the weaknesses and conflicts". But despite this, there is little disagreement over musical decisions within the group, whereas the situation, according to Roger, was impossible before Syd finally left. "He just couldn't get used to making any compromise at all." Barrett is at present making his own album away from the group, though David and Roger are lending a hand.

As far as the Pink Floyd's recording is concerned, the long-planned album with the four individual sections by each member of the group is being held up by the trouble they are having in getting time in the overcrowded EMI studio to do the reductions. lt's all actually down on tape though, so the album should be forthcoming before too long, lt is also planned to use some live material on it.

This four-piece album will be another in a series of firsts by the group. They were also the first group to use a lightshow. which was suggested by working on a project with a teacher from the notorious Hornsey art school. They were the first group to play in a free open-air concert in Britain, an experience which they enjoyed but were unable to repeat for a number of reasons. They were the first to use the 360 stereo sound which is having such an impact on their present series of concerts all over the country. They were also the first people to play down at the All Saints Church Hall in Powis Gardens, a little hall which later became a centre for underground experiments in music, drama and poetry under the aegis of Blackhill. "At one time we were Blackhill - there was Andrew King and Peter Jenner and the Pink FIoyd", said Roger. The group have now moved on to the sIightly more opulent NEMS agency.

They have also moved on to the stage where their work is beginning to attract attention from "serious" musicians - which isn't to say that they don't consider themselves serious, however, They do; but they see no reason to be glum and sombre about it. Plans are afoot for the group to work in collaboration with the Royal Philharmonic Orchestra on writing and performing, and they are going to be doing the music for a forthcoming production of the National Theatre.

And so the group progress. Unlike many of our bands who cut down on the club gig circuit to concentrate on recording, concerts and a wide variety of pie-in-the-sky ideas, they are doing something concrete. Their music is continually advancing, their popularity has never been greater, the rewards are coming in. "A lot of people come up and tell us that they thought of such-and-such an idea long before we did. The fact is that we probably thought about it ages ago too. But we actually get up off our asses and did it. We translated the thought into action."

FLOYD: TRACK BY TRACK

The Floyd were a pivotal force in a tight, vibrant English network of underground bands (including thc Soft Machine, Hawkwind and the Deviants) that was both inspired by, and an inspiration to, the students uprisings in Europe during the late 1960s, Antonioni was in London in October 1966, filming Blow-Up, when he first saw Pink Floyd at a launch party for Britain's first underground paper, IT (lntenational Times), By the time he contacted them about working on Zobriskie Point, the Floyd already had substantial film experience. With founding singer and guitarist Syd Barrett, the group appeared in Peter Whitehead's Britain-gone-psychedelic documentary Tonite Let's All Make Love In London. A realigned Floyd with guitarist David Gilmour replacing Barrett had contributed an embryonic version of "Careful With That Axe, Eugene" to Peter Sykes' 1968 movie The Committee and provided the entire soundtrack for director Barbet Schroeder's 1969 release, More. According to Gilmour, Pink Floyd wrote and recorded all of the More music in eight days. The Floyd spent at least a month in Rome, working 12-hour days unsuccessfully trying to please Antonioni. In Nicholas Schaffner's 1991 biography of the band, Saucerful of Secrets: The Pink Floyd Odyssey, the group's bassist Roger Waters is quoted on the experience: "We could have finished the whole thing in about five days.." "But Antonioni"...would listen and go - and I remember he had this terrible twitch - 'Eet's very beautiful, but eet's too sad,' or 'Eet's too Stroong.' It was always something that stopped it being perfect. You'd change whatever was wrong and he'd still be unhappy. lt was hell, sheer hell."

The third Floyd song (in addition to "Heart Beat, Pig Meat" and "Come ln Number 51") to make the soundtrack was "Crumbling Land," which Gllmour described in an interview as "a kind of country & western number which he (Antonioni) could have gotten done better by any number of American bands. But he chose ours - very strange."

At least 50 minutes of other, presumably unfinished Floyd material, mostly instrumental sketches, were left in the vault. It's hard to understand what fault Antonioni found in them. The previously unissued pieces in this deluxe edition of the Zabriskie Polnt soundtrack are not only a vital addition to the official Pink Floyd discography; they are also quite good, even in this early blueprint form. The liquid grace of the band's melodic ideas and performances are a revelatory preview of the lush, refined soundscape on the next two Floyd LPs, Atom Heart Mother and Meddle. "Country Song" in particular, is cut from the classic Floyd-ballad mold : a potent Waters vocal, the stately pacing of drummer Nick Mason, Gilmour's meaty guitar outbursts. A nice extra touch is the fit of uncharacteristic honky-tonk piano by Rick Wright under Gilmour's long, climactic solo.

"Unknown Song" (the makeshift titles of the unissued tracks hint at the state in which the band left the music after splitting with Antonioni) is characteristic of the instrumental fantasias that typified Floyd's turn-of-the-'70s shift from the burnt-nerve-ending psychedelia of Syd Barrett to a lusher melodicism. ln fact, "Unknown Song" is hardly a song at all. It is a shimmering blend of acoustic strumming, skittish electric picking and the metallic skidding of Gilmour's slide guitar. Note, however, the slight country-funk undertow of the piano and congas and the way the track goes a bit atonal at the end, as if the guitars and Wright's piano are working at cross purposes.

Apparently, the Floyd tried damn near everything to come to grips with Antonioni's vision for the desert sex sequence. At over seven minutes, the Floyd's "Love Scene - Version 6" is an atypically straightforward - for the Floyd anyway - blues jam, albeit with plenty of room for David Gilmour to show off his silvery, stabbing attack and taut phrasing.

"Love Scene - Version 4" is an entirely diffrerent approach, a languid exercise in galactic lounge jazz performed on piano and what sounds like a vibraphone - closer to the Modern Jazz Quartet than A Soucerful Of Secrets. An even earlier take, included here, is a tone blue-water stretch of humming keyboards and guitar dreaming, marked at points by the tidal wash of Mason's cymbals and moments when Gilmour's gultar sounds like a flock of agitated seagulls.

ln the greater context of Pink Floyd's long career, these newly discovered pieces are transition music. But if they are incomplete, they are certainly not inconsequential. Antonioni's quality-control instincts definitely failed him when he overlookcd one ravishing piece of music from the Floyd's Rome sessions, a six minute piano hymn played by Rick Wright for, of all things, the campus riot scene. It's fascinating to think of how the Floyd were trying to upset, in their way, conventional notions of soundtrack scoring (action equals frantic music; love scenes equals soft music). Even more, interesting is the fact that the Floyd didn't waste the piece themselves. "Riot Scene" was later transformed by the band to superbly enriched effect in the song "Us And Them" on 1973's The Dark Side Of The Moon.


THE PINK FLOYD

Under different names and at times with different members the Pink Floyd have been playing together for nearly three years, but it is only since the spring of 1966 that the Pink Floyd as it is known today has been operating.

The Pink Floyd originated within London's Polytechnic School of Architecture where Rick, Nick and Roger first met. After a time Syd Barrett, a friend of Roger's from Cambridge joined them.

Gradually the group was refined down to the four existing members and it was then that the Floyd first became involved with combining light and sound, working with the experimental light-sound workshop at Hornsea College Of Art. At the same time the group was working on schemes to use pre-recorded tapes with their music, and also using stage lighting and film projection to work with their music. ln the autumn The Pink Floyd played at a series of concerts off the Portobello Road in London organized by the London Free School. As a result of these concerts two things happened. The Floyd became nationally well-known, and UFO, London's hippie concert centre, was started, at which the Floyd were, at first, the resident group (as well as providing the light-show, by now using much more sophisticated methods). After this, the publicity surrounding the group grew and grew, and soon the previously patronizing commercial world of pop was hanging its tongue out for the group,

WHAT IS THE PINK FLOYD SHOW LIKE?

The music varies from melodic fairy-tales to totally abstract free-form sound. Syd Barrett's guitar style is unique, sometimes gently melodic and peaceful, sometimes using the instrument as a sound machine. He involved echo units, steel picks, metal rulers and a variety of electronic gadgetry, to obtain the sound he requires. Rick Wright's organ playing changes from gentle trills, single sustained notes, and melodic runs to mounting barrages of chords and dischords. Roger Waters and Nick Mason provide a rhythm backing of terrific strength, which at times breaks into handfuls of rhythmic accentuation rather than steady time-keeping.

There is also the lights, a permanent and integral part of the Pink Floyd show. Developed and operated by Peter Wynn-Wilson, the lights continually grow more sophisticated and powerful. Peter works full-time on inventing and constructing new machines, and in England is firmly established as a leader in this field. The Pink Floyd remain today both within and yet distinct from the pop scene. A top-five record and a top-three LP have not altered the basic purpose of the group which, on stage is to air a comptetely free expression of their personalities through the use of light and sound. There are no barriers, there can be no predictions.

SYD BARRETT
21 years old, black hair, ebony eyes, born and educated in Carnbridge, one of a family of three brothers and four sisters. Went to local schools in Cambridge and then to Camberwell Art School in London, where he studied as a painter. Plays lead guitar on stage, Syd is the author of both Pink Floyd singles (Arnold Layne and See Emily Play) as well as the majority of the tracks on their first LP, Piper at the Gates of Dawn. He has already established a reputation as an important and individual new songwriter. Listen to 'Scarecrow' the flip side of 'Emily' for another example of a Barrett song.

RICK WRIGHT
Age 2l, gold hair, blue eyes. born and brought up in London. Studied both architecture and music, during which time he met Roger and Nick. On stage he plays organ. It is an indication of the Pink Floyd's musical orientation that an organist who sounds more like Cecil Taylor than Jimmy Smith should be so at home in the group. On records he plays harpsichord, piano, harmonium and cello. Says his chief musical influence is Stockhausen, listens to a lot of modern classical music, and is also a songwriter, though so far none have been released by Pink Floyd.

ROGER WATERS
22 years old. gold hair, grey eyes. Born and brought up in Cambridge. Went to school with Syd Barrett. before going to the Regent Street Polytechnic in London, where he studied architecture for four years. Plays bass guitar on stage. plus various electronic sideshows. He's the author of 'Take Up Thy Stethoscope And Walk' on the group's first L.P., and has several other numbers - 'Set The Controls For The Heart Of The Sun' which the group perform on stage.

NICK MASON
22 years old, black hair, brown eyes, born and brought up in London and Sussex, where he went to school with Andrew Long Oldham. Studied architecture at the Polytechnic where he met Roger and Rick. Plays drums and, when he's got them, tympani. Nick is a maniac for tuned percussion and finds time to tune and practice, even when the group are playng six nights a week. He is at present designing and building his own house - including a large storage room for his toys.