Pink Floyd - Bedlam And Breakfast (1974)

Time for another guest post, and this one is from Geof Moody, who has put together a rather interesting Pink Floyd album. 

Following the release and subsequent global success of 'Dark Side Of The Moon' in 1973, Pink Floyd started to think about how they were going to follow it. During 1974, the band sketched out three new compositions, 'Raving And Drooling', 'You Gotta Be Crazy' and 'Shine On You Crazy Diamond', and these were performed during a series of concerts in France and England, culminating in a concert at Trentham Gardens, Stoke-On-Trent in November, which was recorded for the superb 'British Winter Tour 74' bootleg. This was required listening for a Floyd fan at the time, containing as it did not only brand new material which had never been heard before, but in some of the best sound quality that had been heard at that time. When the band eventually went back into the studio to start recording their next album in January 1975, the three new compositions from 1974's tour were at least a starting point, and 'Shine On You Crazy Diamond' seemed a reasonable choice as a centrepiece for the new work. Mostly an instrumental 20-minute-plus piece similar to 'Echoes', the opening four-note guitar phrase reminded Waters of the lingering ghost of former band-member Syd Barrett. He wanted to split 'Shine On You Crazy Diamond', and sandwich two new songs between its two halves, but although David Gilmour disagreed, he was outvoted three to one, and so with 'Welcome To The Machine' and 'Have A Cigar' being barely veiled attacks on the music business, their lyrics worked neatly with 'Shine On...' to provide an apt summary of the rise and fall of Barrett. 'Raving And Drooling' and 'You Gotta Be Crazy' had no place in the new concept, however, and so were set aside until they were re-worked for the 'Animals' album two years later. But what if, in another timeline, the band had decided that those two songs were good enough for their next album, and had recorded them in the studio as they had been performed onstage, then the follow-up to 'Dark Side...' would have been a very different record indeed. The recording of their gig at the Empire Pool, Wembley is such good sound quality that Geof has taken those recordings and removed as much audience noise as possible, and replaced it with a few sound effects and overheard conversations, such as was evident on 'Dark Side Of The Moon'. In a homage to 'Shine On..., he's split 'You Gotta Be Crazy' in two to bookend the album, although mostly it was to even out the running time of what would have been the two sides of a vinyl album of 28 minutes each. He's titled it 'Bedlam And Breakfast', as there is a definite theme of madness running through the three songs, even to the point of the inclusion of words like 'raving' and 'crazy' in the song titles. So here is what could have been Pink Floyd's 1974 album if they'd decided to stick with the music that they'd already written, and many thanks to Geof for putting it all together.

Track listing
  
01 You Gotta Be Crazy
02 Raving And Drooling
03 Shine On You Crazy Diamond
04 You Gotta Be Crazy (Reprise)

Additions to the music are:

Tracks 1 & 4 - general chatter and mumbling, experts from The Avengers episode 'The Hour That Never Was'.

Track 2 - extracts from a Youtube video simulation of Paranoid Schizophrenia, vocal sound and scream from 'Live In Pompeii'.

Track 3 - general thunderstorm, running water, seagulls.

Pink Floyd - Forever And Ever (Remix) (2019)

Magna Qualitas Records have updated their brilliant 2014 work 'Forever and Ever'. Due to the 2019 release of additional outtakes from the 'Division Bell' sessions and }{eywood's acquisition of the 'Colours Of Infinity' DVD bonus tracks, they felt it was time to expand some of the suites on this album and update it. Here are their notes on the update:  
'Forever and Ever', a mashup of 'The Division Bell' and 'The Endless River - Rev A' was designed to make 'The Division Bell' less radio-friendly and 'The Endless River' less...well...cobbled together. It is intended as a true final Pink Floyd record, an alternate reality version of what should have been released in 1994. When we first listened to 'The Endless River' we were sadly disappointed by the lack of any sort of actual songs on the record. Other that 'Louder Than Words', there was nothing with a traditional song structure to it or lyrics on the record. We heard  many pieces of things we had heard before, either on bootlegs or on the 'Colours Of Infinity' soundtrack, even pieces of the soundscape used as an opening act on the 1994 tour and later released on the P*U*L*S*E cassettes. Being mostly recorded in tandem with 'The Division Bell' it also contained a lot of  similar or duplicated sounds compared to what's on that album.
We see 'The Division Bell' as one of Pink Floyd's better efforts, the first record to sound like a band (rather than a solo album) since 'Animals'. It was, however, a bit heavy on the pop songs. Both albums are flawed, but after just one listen }{eywood had about 22.6 ideas that led to one big design concept: if the two were combined to form a single long album they might balance each other. So he spent a couple of days investigating the issue, and this is what he came up with. Using a couple of bootlegs, the 'Endless River' tracks from the album proper with the bluray and bonus disc extras, the 'Colour Of Infinity' isolated soundtrack, a bit of the PULSE soundscape and, of course, 'The Division Bell', he edited, resequenced and crossfaded the tracks into a new album, one that still has "songs" but is also far more floyd-y sounding, with spacey sections and a great deal of instrumental tracks, sort of like how they used to make records before Roger Waters took over the group and made it more about lyrics (and lists. Don't forget the lists) and less about music. There were several more pieces of music available on bootlegs that were not used for 'The Endless River', but the sound quality wasn't up to the standard set by these albums, and many were incomplete fragments anyway.  In case some diehards out there are wondering, we also originally intended to throw some of 'La Carerra Panamericana' in there too, but it's too hard to remove all the documentary sounds and dialogue to reveal the music. Also, it was released in 1992, a year before the TDB sessions began, and therefore doesn't technically belong with this material. 
The recent discovery of the four isolated songs on a certain version of 'The Colours Of infinity' DVD bonus features was a gift for }{eywood, who wanted to include this music from the start, but like 'La Carerra Panamericana', couldn't separate it from the dialogue. 

Flash forward to 2019 and the release of 7 songs on 'The Later Years' box set that were not used for 'The Endless River'; these songs were instantly destined to be sequenced into 'Forever and Ever'.  As expected, these included most of the 'Colours' soundtrack in pristine quality. The work began anew the day after 'The Later Years' release. Our original intent when making this the first time around was not to alter the running order of TDB, just add to it, but once the whole project was assembled we decided it was better for the overall flow of the record to move the pieces around. Influenced by the four album sides approach taken by 'The Endless River', we put together six suites of varying lengths, each separated from the others. Why didn't we use all the bonus material from TER and all the other known pieces of music like the 'Surfacing Full Demo'? 'Nervana' has no ending, just an abrupt fade out, and it really doesn't fit here because it sounds like Black Sabbath. 'TBS14' has a really bad drum sound, just a mic open in a room near drums, and it's not produced to be used for an album.  It also had no true ending. The other songs are just alternate/early mixes of the stuff on the albums, or they are of dubious quality.  We did, however, use parts of 'Evrika (A)' to add some additional lead guitar to the end of 'Wearing The Inside Out'. This is essentially every song/jam available in RELEASABLE quality. Many songs have obviously had alterations, intended to facilitate better segues: 

The intro to Cluster One has been extended by using the crackling earth noise and some voices from opposite ends of the PULSE soundscape.  
Allons-y has been extended by splicing in the first verse (without the 2014 overdubs) and the middle 8 (unused on the album version) from 209, a bootleg that Lordsnooty circulated around the time Pink Floyd began work on 'The Endless River'.   
"Autumn 68" has been renamed "Spring '69" because our research shows that is the correct date when Rick recorded himself playing the RAH organ.
Poles Apart has had the anomalous middle "carnival" section removed and Surfacing inserted in it's place. This is certainly the original middle section, sped up for use on 'The Endless River' so the fans don't notice the similarity (we did anyway). We slowed it back down and put it back in it's proper place.  
David's Blues has been added to the start of the (previously too short) 3rd suite. The scat vocal sections of this have been cut as they are reference vocals of a vocal melody and show the otherwise decent recording to be a demo. Removing the vocal verses un-demos it.
The Day Has Come, the 'One Of These Days' sounding jam from TCoI has been inserted before Wearing the Inside Out.
Wearing The Inside Out, as mentioned above, has additional lead guitar in the middle 8 and at the end, also taken from 'Evrika (A)'. The cymbal swell that cues it in is from 'Evrika (B)'
The final note of Night Light was reduced to just bass frequencies, stretched, and used to add low end to the first minute of Keep Talking.  
Stephen Hawking dialogue was added to Looking Forward (one of the unnamed pieces on TCoI) to connect it thematically with the songs around it.
The sounds at the end of Talkin' Hawkin' were moved from the end of the song to the beginning.  
Slippery Guitar, a piece from TCoI that I named Back to Basics, and  Rick's Theme were added to the start of Suite 4. 
A nature sounds montage extracted from the PULSE soundscape was laid into the segue between Rick's Theme and Take It Back in line with the theme of the following song. 
The extended ending for Take It Back from the 12" single was used to make a bridge into Sum.  
First In Space is a track we created out of parts of the PULSE soundscape and named after the "still first in space" slogan used on 'The Division Bell' Tour shirts. We included this because small fragments of it were used throughout The Endless River, noticeably at the start of the track Sum, but on Sum the keyboards that appear after the soundscape are from the end of Take It Back. We therefore joined Take It Back and Sum using those keys, leaving the soundscape portion of the track with an uncertain destiny. We then extended it and used it elsewhere.  
Carnival Relations is the middle section that was removed from Poles Apart, given a new home...and a new pitch. 
The Colour Of Infinity is the blues jam from TCoI, named as such because (obviously) the color of infinity is blue(s).
A bonus band quote has been added to Things Left Unsaid, this time by Roger Waters (we reunited the band virtually for their final record).  
It's What We Do has been removed from in between Things Left Unsaid and Ebb & Flow and placed elsewhere.  
TBS9 has had some extraneous drum sounds removed to clean up the start a bit, and a couple of small edits to remove sloppy playing. Although not a properly produced recording, it was recorded well enough that it could be used for this album with a few little fixes.
Blues 1 was re-edited and rearranged and added to suite 6. It was an unfinished wandering jam. We kept the guitar solo verse.
And finally, the end of High Hopes fades into the crackling earth noise again as it fades out, giving the endless-loop wraparound that all the best Floyd albums have. There's also a surprise if you crank it up.
Although we weren't trying to remix the songs, we did have to address Louder Than Words.  The vocals were too loud in this song, and conspicuously lacking in reverb. This made it stand out from the rest of the vocal tracks. Using phase manipulation we separated the vocals in the verses from the rest of the mix and added some effects, then put them back.
Influenced by the way 'The Endless River' is broken into four album sides, this is made up of six suites. Each is separate from the others with the pieces making up each being interconnected. It's sort of like 6 album sides, although not as short as the ones on 'The Endless River'.
By the way, we've taken great pains to keep Wearing The Inside Out as the centerpiece of the album. It still ends the first half just like TDB and our previous version of this album. So roll up The Big Spliff and check out what we've done to improve our already amazing upgrade of Pink Floyd's final studio album.

Track listing 

Suite One:
Cluster One
Allons-y 1 
Spring '69
Allons-y 2
What Do You Want From Me?
Unsung
Anisina
Poles Apart / Surfacing

Suite Two:
The Lost Art Of Conversation
On Noodle Street
Night Light
Keep Talking
Looking Forward
Talkin' Hawkin'
Lost For Words

Suite Three:
David's Blues
Calling
Eyes To Pearls
The Day Has Come
Wearing The Inside Out

Suite Four:
Slippery
Slush
Rick's Theme
Take It Back
Sum
Skins
Coming Back To Life

Suite Five:
First In Space
Carnival Relations
The Colour Of Infinity
Louder Than Words
Things Left Unsaid
Ebb & Flow
A Great Day For Freedom

Suite Six:
TBS9
Blues 1
It's What We Do
Marooned
High Hopes

Various Artists - Remembering 1968 - A Tribute To Pink Floyd

1968 was a pivotal year for Pink Floyd. Syd Barrett had become increasingly unpredictable during the band's 1967 tour, and by the end of the year the band had added guitarist David Gilmour as the fifth member. Gilmour already knew Barrett, having studied with him at Cambridge Tech in the early 1960's, and the two had performed at lunchtimes together with guitars and harmonicas, and later hitch-hiked and busked their way around the south of France. In January 1968, Blackhill Enterprises announced Gilmour as the band's newest member, intending to continue with Barrett as a non-performing songwriter. The plan was that Barrett would write additional hit singles to follow up 'Arnold Layne' and 'See Emily Play', but in a pique of frustration at the situation he instead introduced 'Have You Got It Yet?' to the band, intentionally changing the structure on each performance so as to make the song impossible to follow and learn. Working with Barrett eventually proved too difficult, and matters came to a conclusion in January, while en route to a performance in Southampton, when a band member asked if they should collect Barrett, and according to Gilmour, the answer was "Nah, let's not bother", signalling the end of Barrett's tenure with Pink Floyd. After Barrett's departure, the burden of lyrical composition and creative direction fell mostly on Roger Waters, and while playing on the university circuit, they avoided Barrett songs in favour of Waters' and Richard Wright's material such as 'It Would Be So Nice' and 'Careful with That Axe, Eugene'. In 1968, Pink Floyd returned to Abbey Road Studios to record their second album, 'A Saucerful Of Secrets', which included Barrett's final contribution to their discography with his 'Jugband Blues' closing the record. Waters began to develop his own songwriting, contributing 'Set The Controls For The Heart Of The Sun', 'Let There Be More Light' and 'Corporal Clegg', while Wright composed 'See-Saw' and 'Remember A Day'. Released in June 1968, the album featured a psychedelic cover designed by Storm Thorgerson and Aubrey Powell of Hipgnosis, and it peaked at number 9, spending 11 weeks on the UK album chart. In December of that year, they released 'Point Me At The Sky' as a single, but it was no more successful than the two singles they had released since 'See Emily Play', with neither 1967's 'Apples And Oranges' or 1968's 'It Would Be So Nice' making any impression on the charts, while Barrett's 'Scream Thy Last Scream' was abandoned completely as a single after recording finished in January 1968. Despite the moderate success of the album, it paved the way for a change in direction, from the psychedelic pop of 'See Emily Play', 'Arnold Layne', and the 'Piper At The Gates Of Dawn' album into a much darker, more cosmic entity, with spacey tracks like 'Set The Controls For The Heart Of The Sun' foreshadowing what was to come from them in the next few years. Because this was a transitional time for the band, the music that they produced in 1968 has been picked apart by numerous bands over the years, and covered on albums, single b-sides and tribute albums, and so I've collected the best of them as an alternate overview of a significant year in the life of Pink Floyd. 

Track listing

01 Remember A Day - Crystal Jacqueline And The Honey Pot
02 It Would Be So Nice - Captain Sensible
03 Let There Be More Light - Flying Circus
04 Careful With That Axe, Eugene - Vespero
05 Point Me At The Sky - Mandra Gora Lightshow Society
06 Julia Dream - Us And Them
07 Corporal Clegg - Samarin, Morgan And Hull Llp
08 Scream Thy Last Scream - The Green Telescopes
09 Jugband Blues (If The Sun Don't Shine) - Opal
10 Set The Controls For The Heart Of The Sun - Psychic TV

Marvin Gaye & Pink Floyd - Requiem For A Dream (1981)

American soul star Marvin Gaye lived in Ostend in Belgium during 1981/1982, spending 18 months there during one of the lowest points in his life, trying to overcome his drugs and alcohol addiction, and attempting to regain his inspiration. This was partially successful, as he penned one of his biggest hits 'Sexual Healing' during this period, but generally it wasn't a great time for him. During his stay he would frequently hop across the pond to the UK, and on one of these jaunts in London, he attended a Pink Floyd concert at Earl's Court, and was invited to join them on stage for a rendition of 'Let’s Get It On', sung over Floyd's 'Shine On You Crazy Diamond', and a rare piece of audio footage of this performance has recently been located. After the chemistry of this impromptu performance, Waters and Gaye discussed the possibility of recording these collaborations for a possible release, in what would be considered an early version of what people now refer to as a mash-up record. In late 1981, before returning back to the States, Gaye recorded eight renditions of his songs alongside Waters' and Pink Floyd's released material. Coming off a recent departure from Motown, and upset with the rush-job of the Motown-released 'In Our Lifetime' album, Gaye felt the need to move on to other label prospects, and to encourage his creative urge to push into new musical directions. As he was now a free agent, Harvest Heritage was interested in putting out this collaborative effort with Gaye and Pink Floyd, following their release of Floyd's 'A Collection Of Great Dance Songs', but they couldn't clear the rights with Motown to use Gaye's likeness or vocals from his Motown recordings. Reworking an unused Roger Waters album title, the record was named 'Requiem For A Dream', and a limited number of copies were pressed using existing pictures, in the hope that it would see a release date at some point in the future, but it all came to nothing and so the album was shelved. However, one of those limited pressings of the album has recently been unearthed, and so we can now hear this collaboration of musical giants, with Gaye performing some of his best-loved songs, backed by the music of Pink Floyd. The live audio footage of 'Let's Get It On' is believed to have either come from the original Floyd bootleg entitled 'The Wall Came Tumbling Down' or from Waters' unreleased The Wall Tour footage, but this is currently unconfirmed.

Track listing

01 If This World Were Mine 
02 Ain't No Mountain High Enough
03 Stubborn Kinda Fellow 
04 What's Going On? 
05 Ain't That Peculiar 
06 If I Could Build The Whole World 
07 A Wonderful One  
08 Let's Get It On 
09 Let's Get it On (Live from Earl's Court)

Pink Floyd - Yet Another Lost Album (2012)

Yet another album from Magna Qualitas Recordings, this one started off as a fun project by creamcheese in 2012, experimenting with different snippets from many early Pink Floyd songs and trying to separate single instruments from those pieces. These are his notes on the project:
The original idea was to make a LP-side long suite from Embryo.
This idea was dropped later when someone (god bless him) suggested the 'Birmingham Suite' to reconstruct as a studio recording.
Obviously the Floyd had been working on two suites at the beginning of 1970, which both contained rejected material from the Zabriskie Point sessions, one being what later became 'Atom Heart Mother', the other one being the 'Birmingham Suite'. This second one was dropped from the setlist after a few shows because it obviously was not strong enough to become an early Floyd classic (but even more obviously became an early Floyd collectors' classic because it was played so rarely and even never was properly taped). But what could it have sounded like, if Pink Floyd had not dropped it and had recorded it in studio?
A few words on song titles: The work title of 'In The Sky' was 'Vibes/Organ/Birds'. After having completed this album we at MQR thought it might be nice to rename it. 'In The Sky' sounded very nice and was kept for this reason. Absolutely no idea if Pink Floyd would have given it a similar title. In the end they didn't even play it that way...
We knew about the 'Birmingham Suite' being referred to as 'Halcyon Piano in Niagara Dellof' but we didn't like that title and there is no evidence for this title being an original band idea. So we sought after a title that referred to something to eat just as the other suite's working title 'The Amazing Pudding', that would later become the almost equally stupid titled 'Atom Heart Mother'.
After a few attempts like 'Zabriskie Stew' and 'Zabriskie Soup' WRomanus came up with the fantastic and inimitably stupid 'Zabriskie Roastbeef'...

The samples used for the tracks are:
In The Sky
Organ Loop: Love Scene 1 from MQR'sZPoV
Vibes: 1 Channel of Love Scene 5 from  MQR's Zabriskie Point of View - The Complete Collection
Birds: Cirrus Minor from 'More' 2011 Remaster CD
Embryo
Song: Studio Rec. from 'Picnic - A Breath of Fresh Air' Vinyl restored by creamcheese & wromanus
Percussion: Nick's Boogie from original TLMALIL-EP
Playground Athmo and Seagull Guitar: 'Embryo' from 'Since we were Teenagers', Santa Monica 1970-05-01
Gong: 'STCFTHOTS' from 'Since we were Teenagers', Santa Monica 1970-05-01
Cymbaline
Sleep Section: Amsterdam 1969-09-17
Song: Studio Recording from 'More' 2011 Remaster with Center Channel extracted and Oilcan-Echo-treated to achieve a similar effect as heard on many live recordings
Bass: 'Sleep/Nightmare' from Amsterdam 1969-09-17
Organ Improvisation Section: 'Sleep/Nightmare' from Amsterdam 1969-09-17
Foot Steps: 'Cymbaline' from 'Since we were Teenagers', Santa Monica 1970-05-01
Birds: Cirrus Minor
Zabriskie Roastbeef
a) Heart Beat, Pig Meat
Loop: Heart Beat, Pig Meat Original Studio Recording from ATZPoV
Pictish Noises: Pink Room Corrosion from French TV 1970-12-04/05
Piano: 'Sysphus' Studio Recording from non-remastered CD.
Gong: 'STCFTHOTS' from 'Since we were Teenagers', Santa Monica 1970-05-01
b) Oenone:
Restored Oenone Studio Recording from MQR'sZPoV
Love Scene 3 Studio Recording from MQR'sZPoV
c) Cleaned, Restored and Stereoized Moonhead from 'What if it's just green cheese' 1969
d) Violent Sequence:
Piano: The Violent Sequence Studio Recording from MQR'sZPoV
Bass: The Violent Sequence Live Recording from Paris 1970-01-23
Windchimes and Gong: A Saucerful of Secrets Studio Recording from 'ASOS' 2011 Remaster
Organ Loop: Interstellar Overdrive: Unreleased Ummagumma Live Recording
Slide Guitars: Atom Heart Mother Quad Mix from Quad-Reel DVD-A
Ride Cymbals: 'Come In Number 51, Your Time Is Up' Studio Recording from MQR'sZPoV
Percussion: Nick's Boogie from original TLMALIL-EP

Track listing

01 In The Sky

02 Embryo

03 Cymbaline

04 Zabriskie Roastbeef

Pink Floyd - Wish You Were Here (1975)

After posting the Pink Floyd mash-up album 'Forever And Ever' I checked out the Magna Qualita Records website to see what else they had on offer, and I found that in 2012 the same chap had put together an alternate version of 'Wish You Were Here', with 'Shine On You Crazy Diamond' as one single track, a longer 'Have A Cigar' with a vocal by Roger Waters and Dave Gilmour instead of Roy Harper, and 'Welcome To The Machine' with drums from the AMLOR tour of 1987-1989. Try as I might I couldn't find a copy, so I decided to make my own, and as well as the above alterations, I've also included an alternate take of the title track, with legendary violinist Stephan Grapelli providing the solo instead of Dave Gilmour. I've enhanced the machine noises at the beginning and end of the QMS live take of 'Welcome To The Machine' to give it a bit more bite, and this means that every track is now different to that on the original issue. While obviously you can't improve on a classic album like WYWH - so I'm not saying that this is a better version - it's certainly different enough to make it worth a listen. The cover has a homage to the original, where the burning man caused a scorch to the picture frame, and the man on the sand dune had sand running out of holes below the picture, so my picture of the diver is leaking.    

Track listing

01 Welcome To The Machine
02 Wish You Were Here
03 Have A Cigar
04 Shine On You Crazy Diamond

Pink Floyd - Some Of Our Parts (2014)

After I posted the 'Division Bell'/'Endless River' mash-up 'Forever And Ever', I received a few queries about the other album along the same lines that I mentioned in that post, 'Some Of Our Parts'. This prompted me to give it another listen, and I'm now torn between which one I prefer, so I thought I'd post 'Some Of Our Parts' so that you can compare and contrast yourself. Like 'Forever And Ever', this version is also split into five sections, but it's actually one long 105 minute mix, so give it a listen and see which one you think works the best.  

Track listing 

01 Clusterscape
02 Things Left Unsaid
03 What Do You Want From Me
04 It's What We Do
05 Ebb And Flow

06 Poles Apart
07 Sum
08 Coming Back To Life
09 Unsung
10 Marooned

11 Anisina
12 A Great Day For Freedom
13 The Lost Art Of Conversation
14 Evrika / Wearing The Inside Out (Live)
15 Night Light

16 Take It Back
17 Allons-Y (1)
18 Autumn '68
19 Allons-Y (2)
20 Keep Hawkin'

21 Lost For Words
22 Surfacing
23 High Hopes
24 Louder Than Words

Pink Floyd - Forever And Ever (2015)

In 2015 Magna Qualitas Records presented us with 'Forever and Ever', a mashup of 'The Division Bell' and 'The Endless River' albums, designed to make 'The Division Bell' less radio-friendly and 'The Endless River' less avant garde. It was intended as a true final Pink Floyd record, an alternate reality version of what should have been released in 1994. On first listening to 'The Endless River' they were disappointed by the lack of any sort of actual songs on the record - other that 'Louder Than Words' there was nothing with a traditional song structure to it or lyrics on the record. They heard many pieces of things they'd heard before, either on bootlegs or on the 'Colours Of Infinity' soundtrack, even a piece of the soundscape used as an opening act on the 1994 tour and later released on the 'P*U*L*SE' cassettes, and being mostly recorded in tandem with 'The Division Bell', it also contained a lot of similar themes or reprises of what's on that album. Considering 'The Division Bell' as one of Pink Floyd's better efforts, the first record to sound like a band (rather than a solo album) since 'Animals', they still felt it was a bit heavy on the pop songs, and while both albums are flawed, they decided that if the two were combined to form a single long album they might balance each other. So that's what they did. Influenced by the way 'The Endless River' is broken into four album sides, this is made up of six suites. Each is separate from the others with the pieces making it up all connected, and I've included a full review of the album from Rob's Wall Of Music in the file, citing sources of all the recordings. There is another similar album from 2014 combining these two records, entitled 'Some Of Our Parts', which was the first of these that I heard, and although the basic idea is the same, it uses different recordings in a different order, so is also worth searching out.

Track listing

Suite 1
01 Cluster One
02 Allons-y 1
03 Spring '69
04 Allons-y 2
05 What Do You Want From Me?
06 Unsung
07 Anisina
08 Poles Apart

Suite 2
09 The Lost Art Of Conversation
10 On Noodle Street
11 Night Light
12 Keep Talking
13 Talkin' Hawkin'
14 Lost For Words

Suite 3
15 Calling
16 Eyes To Pearls
17 Wearing The Inside Out

Suite 4
18 Take It Back
19 Sum
20 Skins
21 Coming Back To Life

Suite 5
22 First In Space
23 Carnival Relations
24 Louder Than Words
25 Things Left Unsaid
26 Ebb & Flow
27 A Great Day For Freedom

Suite 6
28 TBS9
29 It's What We Do
30 Marooned
31 High Hopes

Pink Floyd - Passage (2009)

In the reply that Ray Kolling posted on the Steve Hoffman site about his mix of 'Dark Side Of A Dream' he said During the 5 years after the release, it got about 1,000,000 downloads on torrent sites. I never expected that but I did produce a second mix 'Passage' shortly thereafter. Personally, I don't think it was quite as good and I didn't put much effort into it, but it did have limited success. 
This one is much easier to find, and there is a Youtube video of it with some nice visuals attached, but the visitor who gave us the good copy of '...Dream' has sent a high quality copy of 'Passage', and as I'd already made the cover I'm able to post it straight away. I think Ray is being modest in his appraisal of it, as it sounds great to me, and concentrates more on the 'Dark Side..'/'Wish You Were Here' period, with some interesting versions of the songs used in the mix. If anyone feels like breaking it down and identifying the songs used, like toptentwist did with the first one, then feel free, and I can add that to the post later. 

Track listing

01 Passage

Pink Floyd - Dark Side Of A Dream (2003)

I found a very strange post the other day, purporting to be a one and half hour mix of Pink Floyd music, but unfortunately it had a dead link. Some investigation revealed that it appeared in 2005, and either at that time or shortly afterwards was added to the soundtrack of a short 1969 film by Jim Henson (yes, the Muppet man) called 'The Cube'. There's been much discussion on the net about who or what it was, with some people claiming that it was by the band Dream Theater, and others claiming parts of it could be by Signal Hill (not the L.A. progressive metallers, but another band of the same name), but it was generally believed to be music by Pink Floyd pieced together by someone called Ray Kolling, and it was later added to 'The Cube' by someone else, but having to lose around 20 minutes of music in order to fit the running time of the film. Then suddenly Ray Kolling himself turned up on the Steve Hoffman site with this to say:

Hi fellow Floyd fans..... 
I am the creator of this mix you are talking about, Dark Side Of A Dream....
I started it as a personal project in the summer of 2001 just to experiment with different ideas I had concerning digital mixing...
I was a DJ a few decades before and I always had a love for the Floyd so I decided to try a mix using the Floyd music and style...
It was originally released around 2003 on some file sharing sites that were popular at the time and released on bit torrent a few years later.
Its kinda cool having people still listening to this mix some 10 years on, as it was a brief moment in my life that needed to be filled by a burst of creativity.
During the 5 years after release, it got about 1,000,000 downloads on torrent sites. I never expected that but I did produce a second mix 'Passage' shortly thereafter.
Personally, I don't think it was quite as good and I didn't put much effort into it, but it did have limited success.
The description above by 'toptentwist' is fairly accurate, and I dont recall all of the source material. But 14 and 15 are from a 'Signal Hill melody'. (referring to the track list put together by toptentwist - see below)
Some of the cuts were from less known bootleg releases with a bit of 'eq' to compensate for the poor quality of the track; some live, less known cuts from other official releases; and some cuts from 'a tree full of secrets'. Most everything else was from studio discs and the whole thing was done with Sony Acid Pro and a few other programs.
I never thought this would be popular and I never wanted any money or recognition. It was just something I needed to do to find myself, and thankfully, it worked.
Ray Kolling

Try as I might I couldn't locate a live link anywhere, but I wanted to hear it so badly that I eventually tracked down a copy of the film, and by running the soundtrack through Audacity I managed to remove most of the dialogue, leaving just a rumble here and there where it was a bit loud. Less than a week after I posted that admittedly not great quality copy, an anonymous visitor has sent me a file of the original sixty-nine minute mix, so many, many thanks to them, and we can now finally hear what the fuss was all about.  

Track breakdown of the 69 minute mix by toptentwist

01 Gunner's Dream (2:12) - Starts with the heartbeat from 'Dark Side Of The Moon', the bell from 'Division Bell', the rowing sounds from 'Momentary Lapse Of Reason' - and seems to be the the real Floyd track.
02 Goodbye Blue Sky (2:31) - seems to be the real Floyd track (with some mix effects)
03 The Post War Dream (2:13) - seems to the real Floyd track but fades out with the heart beat from 'Dark Side...' and then flows into a keyboard quote from 'Sheep' from the 'Animals' album
04 Sheep (excerpt) (2:10) - transitions into the next song that quietly fades in for about the last 30 seconds
05 Dogs (excerpt) (not sure how to call the time - since it starts before the other song finishes - at some point I hear the "mad for years" bit from 'Dark Side...' and the airplane from 'Dark Side...' as well.... seems like the idea was to blend the two songs from 'Animals')... the whole bit (both songs - lasts about 3:30)... and transitions into
06 The Thin Ice (3:30) - starts with some crowd noise and some background vocals flown in from god knows where but seems to be the Pink Floyd album track from 'The Wall'
07 Another Brick In the Wall (Part 1) (excerpt) (0:54) transitions into girl talking from 'The Wall' ("Are all these your guitars?")
08 On the Run (4:40) - starts with various album effects - 'Dark Side...' heartbeat and laugh, some stuff from 'The Wall' - eventually transitions into the synth song from 'Dark Side...' and ends with something I think is from 'The Wall'... again somewhat hard to say the time - but I stopped it after 4:40
09 Is There Anybody Out There (1:35 ) - definitely live acoustic guitar - not sure who it is playing - lots of Pink Floyd sound effects (it's getting clearer to me what someone did when they created this odd hodge podge)
10 In The Flesh (4:47 ) - starts with a very long introduction I'll call "Welcome To Nassau Coliseum" - this really confused me at first - I think its from an actual stage announcement before a live 1980 Floyd performance on Long Island - transitions into first song from 'The Wall'. Reading about the double live CD of the 'The Wall' released in 2000 - that seems to be from that... the guy announces his name at the start ("Gary Yudman")... the actual band performance sounds like a different band than Floyd... Did Floyd really use a surrogate band for those original shows??? I seem to remember reading they did - but it seems a little over the top (ha ha ha - of course it was - ha ha ha)
11 What Do You Want From Me (5:05) This one took me a while to identify - because its from the non-Waters era
12 Sorrow (1:50) - Almost missed noticing this one... leaves with a heartbeat segue into
13 Empty Spaces -> What Shall We Do Now? (5:15 ) seems to be from two CD 'The Wall' live album
14 Don't Leave Me Now (3:55) - transitions into audience noise at the end - seems to just be 'The Wall' studio recording - not much effects
15 Wish You Were Here (3:42) - I think this is someone else covering Floyd - not sure who...
16 Comfortably Numb (7:20) - another recording of someone doing a cover of Floyd... no electric guitar... interesting to hear acoustic guitar attempt to mimic Gilmour's famous solo at the end
17 Marooned (4:50) - includes sound effects of guy rowing - sounds like live Floyd to me - but not sure what release it would be from because that song isn't on 'Pulse' or 'Delicate Sound Of Thunder' (read that its on the 'Pulse' DVD - so its probably from there)
18 Pigs on the Wing (3:15) - seems to be Part 1 and Part 2 from the 'Animals' album joined by a middle flown in from somewhere else - middle seems to be Gilmour on electric guitar
19 High Hopes (8:30) seems to be Floyd live from the 'Pulse' album... ends with a segue that is a combination of various Floyd sounds... one of them seems to be 'Small Furry Animals' from the 'Ummagumma' album

Pink Floyd - ...It's All Dark (1972)

I thought that I'd heard just about every version of the classic 'Dark Side Of The Moon' that I'd ever want o hear - the original vinyl, the CD, the live Wembley concert from 1974, remastered, remixed, and so on - but this album caught my eye when I stumbled on it last week. I know that Floyd spent a considerable time in the studio, and also toured working versions of the songs throughout 1972, and this disc collects the best of them to imagine what the album could have sounded like in it's earliest incarnation. These are the notes from the CD:
'Dark Side Of The Moon', like most of Pink Floyd's 70's works, underwent a lot of transformations from its initial inception as a concept album early in 1972. After initially laying down demos for their future masterwork the band set out for their first British tour of 1972 in January and February. Fans were treated to the unveiling of the work at the opening night of the tour at Brighton Dome on January 20, heralding the debut performance of the album.
'Dark Side...' in those days was much more of a bluesy concept than the lush, layered career defining work that it became, and as the tour progressed solos changed and the piece began to be knocked into shape. The press were invited down to the first of four consecutive nights at the Rainbow on February 17 and a world buzz began that the Floyd were working on an epic.
The band continued to tour in the Spring, playing dates in Japan, Australia, America, and Europe, before going back into the studio in the summer to record the bulk of the album, with the final recording being completed in January 1973. What's been assembled on this disc is a hybrid of the album in its embryonic state, from the earliest demos to the legendary and until now never circulated 'One Side Of The Moon' tape which has only ever been heard by a handful of Floyd devotees. Legend has it that when the album was remastered in the 90's the engineers broke for lunch leaving the tape on. One employee realised that he had only 30 minutes before they returned, and ran off a copy of side 2 with all the faders pushed to the max, to leave an unedited version complete with instrumental passages, second guitars and sax solos that had been removed from the final version.
It's startlingly different in places, and one can only surmise what the first side would have sounded like before being edited. We have demos for most of the songs on side one with the exception of 'Speak To Me/Breathe' and 'The Great Gig In The Sky', and so to fill in the gaps we used a version of 'Speak To Me/Breathe' from one of the Rainbow concerts in February '72, and from the same gig we've replaced 'The Great Gig In The Sky' with its predecessor 'The Mortality Sequence'. 
I've done a bit of editing, fading and crossfading to make it a smoother listen, as in their original state the tracks didn't blend into each other as in the final mix of the album, and even if, like me, you've heard this album a thousand times, then you still need to hear this early version at least once.

Track listing
  
01 Speak To Me (Mason) London, Rainbow Theatre 20 Feb 1972
02 Breathe (Waters/Gilmour/Wright) London, Rainbow Theatre 20 Feb 1972
03 On The Run (Gilmour/Waters) Studio Outtake Nov 1972
04 Time (Waters/Wright/Gilmour/Mason)/
     Breathe (Reprise) (Waters/Gilmour/Wright) Demo Jun 1972
05 The Mortality Sequence (Waters/Gilmour/Wright) London, Rainbow Theatre 20 Feb 1972
06 Money (Waters) Alternate Mix 1972
07 Us And Them (Waters/Wright) Alternate Mix 1972
08 Any Colour You Like (Gilmour/Mason/Wright) Alternate Mix 1972
09 Brain Damage (Waters) Alternate Mix 1972
10 Eclipse (Waters) Alternate Mix 1972