Pink Floyd Atom Heart Mother Goes On The Road Rarlab

Pink Floyd:Atom Heart Mother Goes On The RoadRoIO CD: Atom Heart Mother Goes On The Road(Click cover for bigger image)Bookmark as:Format: CDCatalog: ACL 002 CD A Collectors LabelMisc.: Produced: 1995Date: 700916Matrix: CD1: ACL 001/2CD2: ACL 002/2Cover: Same as the original vinyl version though modified for CDreproduction, it looks like the manufacturer had access to theoriginal vinyl art.Front: White cover with AHM cow, looking back while standing ona hand drawn road. Hand drawn city visible is the distance, anda stand of trees is to the left. 'Atom Heart Mother' inoriginal type at top, with hand lettered 'goes on the road'cutting across it. Hand lettered 'Pink Floyd appearing at ParisTheatre, London 70-71' in lower right corner (noticeably neaterlettering than original vinyl).Back: White backdrop with hand lettered track listings, thetimes listed are incorrect. Lettering from vinyl has beentotally redone for the CD, though much neater this time. Bandpersonel are listed, and it is claimed to be a limited editionof 1500 numbered copies.

Hand drawn building sillouhettesacross the bottom.Inside: White booklet opens up to show four color shots of thestage from what looks like the DSOTM tour, back of booklet has ab&w photo from around 70-71, and the back of the tray lines haswhat looks like film strips containing various head shots of theindividual band members, also on a white background.The CDs themselves are printed with a take off of the Harvestrecord label, Yellow and green with the lettering all hand donein the same style as the cover. Claims to be 'Produced by PinkFloyd Fans'. Really nice looking.Sources: 16 Sep 1970, 12 Oct 71, Paris Theatre, LondonHires-coverscans:MP3-Soundsample:Tracks: Disc 1:1. Embryo 10:252. Green Is The Colour 4:083. Careful With That Axe, Eugene 8:344.

Atom Heart Mother 25:34Total Time: 51:45Disc 2:1. Fat Old Sun 14:262. One Of These Days 7:323.

Echoes 27:08Total Time: 48:00Band: Roger WatersDavid GilmourRick WrightNick MasonXref: Quality: Comments: Track times from cover.The sound is slightly better than the Swingin' Pig versionsof these shows. The artwork is generally the same as theoriginal vinyl, though improved.JEFFBRumoured to be taken from a fairly official source in Norway.There is a slight drop out approximately 17:00 into Atom HeartMother.I wouldn't say that the sound is overall better enough than theTSP versions to justify scrapping those titles, it seemsslightly better than 'Libest Spacement Monitor', but I am notsure about 'One of These Days'. I guess an upgrade depends onwhether or not you have both of the TSP versions.All together, an excellent packaging job, and a possible slightupgrade in sound. I picked it up simply because the originalvinyl version was one of the first Pink Floyd roios I'd everbought.ANONThere are a number of dropouts and scratches to note. There isa fade in AHM, probably the one mentioned above. Otherwise thesound is pretty good. It seems crisper sounding than One ofThese Days, though it is a bit scratchier sounding and hasdistortion every now and then.A note in the cover says:'We have used a ow generation master tape to get the bestpossible sound.

We do however apologise for the'dropout' on 'Careful w/that axe.' This was due toa fault on the original master.' -DAve.(Last update: 961206) All content in whole or in part is ©1991-8. Articles and images on this site are reproduced for reference,research and comment only. Copyrights are retained by the originalauthor, artist or publisher.

. 'Released: 10 October 1970Atom Heart Mother is the fifth studio album by the English band. It was released by on 2 October 1970 in the UK, and by on 10 October 1970 in the US.

It was recorded at in London, England, and was the band's first album to reach number 1 in the UK, while it reached number 55 in the US, eventually going there. A remastered CD was released in 1994 in the UK and the United States, and again in 2011., who had already influenced and collaborated with, contributed to the title track and received a then-rare outside songwriting credit.The cover was designed by, and was the first one to not feature the band's name on the cover, or contain any photographs of the band anywhere. This was a trend that would continue on subsequent covers throughout the 1970s and beyond.Although it was commercially successful on release, the band, particularly Waters and, have expressed several negative opinions of the album in more recent years. Nevertheless, it remained popular enough for Gilmour to perform the title track with Geesin in 2008.

Onstage at, 28 February 1970. One of the earliest live performances of the album's title track was at this show.Pink Floyd started work on the album after completing their contributions to the soundtrack for the film in Rome, which had ended somewhat acrimoniously. They headed back to London in early 1970 for rehearsals. A number of out-takes from the Rome sessions were used to assemble new material during these rehearsals, though some of it, such as 'The Violent Sequence', later to become ', would not be used for some time. Side one The to Atom Heart Mother resulted from a number of instrumental figures the band had composed during these rehearsals, including the chord progression of the main theme, which guitarist had called 'Theme from an Imaginary Western', and the earliest documented live performance was on 17 January 1970 at. The band felt that the live performances developed the piece into a manageable shape.

Recording of the track commenced at in London, and was somewhat cumbersome, as it was the first recording to use a new eight-track one-inch tape and transistorised mixing console (8-track, 20-microphone inputs) in the studio, and, as a result, insisted the band were not allowed to do any splicing of the tape to edit pieces together. Consequently, band members and had little choice but to play the bass and drums, respectively, for the entire 23-minute piece in one sitting. The other instruments the band played were later. Mason recalled the final backing track's lack of precise timekeeping would cause problems later on.By March, they had finished recording the track, but felt that it was rather unfocused and needed something else. The band had been introduced to via the tour manager, and were impressed with his composition and tape-editing capabilities, particularly Waters and Mason. Geesin was handed the completed backing tracks the band had recorded, and asked to compose an orchestral arrangement over the top of it while the band went on tour to the US. Geesin described the composing and arranging as 'a hell of a lot of work.

Nobody knew what was wanted, they couldn't read music ' According to him, Gilmour came up with some of the melodic lines, while the pair of them along with keyboardist worked on the middle section with the choir. When it came to recording his work in June with the EMI Pops Orchestra, the session musicians present were unimpressed with his tendency to favour music over established classical works, and, combined with the relative difficulty of some of the parts, harassed him during recording., whose choir were also to perform on the track, had experience in dealing with orchestral musicians, and managed to conduct the recorded performance in place of Geesin.The track was originally called 'The Amazing Pudding', though Geesin's original score referred to it as 'Untitled Epic'. A refined and improved version (with Geesin's written parts) was played at on 27 June. Its name was changed after the band were due to play an 'in concert' broadcast for on 16 July 1970, and had needed a title for to announce it. Geesin pointed to a copy of the, and suggested to Waters that he would find a title in there. The headline was: 'ATOM HEART MOTHER NAMED', a story about a woman being fitted with a nuclear-powered pacemaker.The piece as presented on the completed album is a progression from Pink Floyd's earlier instrumental pieces such as ' and even earlier, '.

The 'Atom Heart Mother' suite takes up all of side one, and is split into six parts, individually named. Geesin chose the opening section name, 'Father's Shout' after, while other names such as 'Breast Milky' and 'Funky Dung' were inspired by the album cover artwork. The orchestral arrangements feature a full, a and the 16-piece John Alldis, which take most of the lead melody lines, while Pink Floyd mainly provide the backing tracks; a reverse of the 1960s pop music practice of using orchestration as the background, and putting the rock band in front.

Side two. By 1970, had started using a on stage regularly, and it makes a prominent appearance on the album.The album's concept is similar to their previous Ummagumma album, in that it features the full band in the first half, and focuses on individual members in the second half. Side two opens with three five-minute songs: one by each of the band's three resident songwriters, and closes with a suite with sound effects primarily conceived by Mason, but credited to the whole group. Waters contributes a folk ballad called ', playing acoustic guitar. Pink Floyd rarely played the song live, but Waters often performed it at solo shows in support of his album, more than a decade later.

This is followed by Wright's ', which also features prominent use of brass in places. It was issued as a Japanese single in 1971, and was the only track on the album never to be played live in concert. The song was reportedly about Wright and a on tour, and had the working title of 'One Night Stand'.According to Mason, Gilmour, having had little songwriting experience at that point, was ordered to remain in Abbey Road until he had composed a song suitable for inclusion on the album. He came up with a folk-influenced tune, ', which he still cites as a personal favourite. The song was a regular part of the band's live repertoire in 1970–71, and became a staple of Gilmour's solo set in 2006.The final track, ', is divided into three segments, each with its own descriptive title, joined by dialogue and sound effects of then-roadie Alan Styles preparing, discussing, and eating breakfast. The idea for the piece came about by Waters experimenting with the rhythm of a dripping tap, which combined sound effects and dialogue recorded by Mason in his kitchen with musical pieces recorded at Abbey Road.

A slightly re-worked version was performed on stage on 22 December 1970 at, Sheffield, England with the band members pausing between pieces to eat and drink their breakfast. The original LP ends with the sound of the tap which continues into the inner groove, and thus plays on indefinitely.Original Floyd frontman recorded his album around the same time as Atom Heart Mother, with assistance from Gilmour and Wright. He occasionally visited his old band's sessions to see what they were doing. The bootleg featured a fan's attempt at copying the cover.The original album cover, designed by art collective, shows a standing in a with no text nor any other clue as to what might be on the record. Some later editions have the title and artist name added to the cover.

This concept was the group's reaction to the imagery associated with Pink Floyd at the time of the album's release; the band wanted to explore all sorts of music without being limited to a particular image or style of performance. They thus requested that their new album had 'something plain' on the cover, which ended up being the image of a cow., inspired by 's famous ', has said that he simply drove out into a rural area near and photographed the first cow he saw.

The cow's owner identified her name as 'Lulubelle III'. More cows appear on the back cover, again with no text or titles, and on the inside. Also, a pink balloon shaped like a cow udder accompanied the album as part of Capitol's marketing strategy campaign to 'break' the band in the US. The in later CD editions give a recipe for on a card labelled 'Breakfast Tips'.

Looking back on the artwork, Thorgerson remembered: 'I think the cow represents, in terms of the Pink Floyd, part of their humour, which I think is often underestimated or just unwritten about.' In the mid-1970s, a containing rare singles and B-sides entitled appeared, with a similar cover. Like Atom Heart Mother, the cover had no writing on it, although in this case it was to protect the bootlegger's anonymity rather than any artistic statement.

The album cover for 's concept album was also inspired by Atom Heart Mother. Release and reception Professional ratingsReview scoresSourceRatingD+7/102/53/5Atom Heart Mother was released on 2 October 1970 in the UK and 10 October in the US. It reached number 1 and number 55, respectively in those countries' charts. It was released in the format in the UK, Germany and Australia.

A remastered CD was released in 1994 in the UK and the US. Released a 24KT gold CD in the US in 1994, while a LP version was released in the US in the same year. As part of the campaign, a remaster was released in 2011. Then the album was re-issued again in 2016 on the band's own Pink Floyd Records label.Critical reaction to the suite has always been mixed, and all band members have expressed negativity toward it in recent times. Gilmour has said the album was 'a load of rubbish.

We were at a real down point. I think we were scraping the barrel a bit at that period' and 'a good idea but it was dreadful. Atom Heart Mother sounds like we didn't have any idea between us, but we became much more prolific after it.' Similarly, in a 1984 interview on, Waters said 'If somebody said to me now – right – here's a million pounds, go out and play Atom Heart Mother, I'd say you must be fucking joking.' In a 1970 review, Alec Dubro of appraised Atom Heart Mother negatively, stating 'if Pink Floyd is looking for some new dimensions, they haven't found them here.' In (1981), said the suite was easier to digest than the second side of songs: 'Yeah, they do leave the singing to an anonymous semi-classical chorus, and yeah, they probably did get the horns for the fanfares at the same hiring hall. But at least the suite provides a few of the hypnotic melodies that made Ummagumma such an admirable record to fall asleep to.'

Pink Floyd Atom Heart Mother Goes On The Road Rarlabs

The album is ranked number 990 in. Live performances The band were initially enthusiastic about performing the suite. An early performance was taped for the television station, featuring just the band, on 28 April 1970. Two major performances were at the on 27 June and the 'Blackhills Garden Party' in on 18 July. On both occasions the band were accompanied by the John Alldis Choir and the. Later, the band took a full and choir on tour just for the purpose of performing this piece.

However, this caused the tour to lose money, and the band found problems with the hired musicians, which changed from gig to gig as they simply took who was available, which, combined with lack of rehearsal and problems miking up the whole ensemble, made a full live performance more problematic. Reflecting on this, Gilmour said 'some of the brass players have been really hopeless'. According to Mason, the band arrived at one gig in, only to discover they had left the sheet music behind, forcing tour manager Tony Howard to go back to London and get it.A later arrangement without brass or choir, and pared down from 25 minutes to fifteen by omitting the 'collage' sections and closing reprise of the main theme, remained in their live repertoire into 1972.

The first live performance of suite in was abandoned partway through; after a break, the band played Atom Heart Mother instead. Pink Floyd's last live performance of the suite took place on 22 May 1972 at the Olympisch Stadion,. Legacy wanted to use the album's title track in.

The group refused permission, primarily because Kubrick was unsure of exactly which pieces of music he wanted and what he wished to do with them. In retrospect, Waters said 'maybe it's just as well it wasn't used after all'. Nevertheless, the album is visible behind the counter in the record store scene of the film.On 14 and 15 June 2008, Geesin performed 'Atom Heart Mother' with Italian tribute band Mun Floyd over two nights as part of the Chelsea Festival. Geesin introduced it with a history and slide show. The performances featured the chamber choir Canticum, brass and cellist Caroline Dale, who has worked with Gilmour. The second night saw Gilmour join Geesin on stage for the performance, which was extended to 30 minutes.In 2013, Geesin produced a book, The Flaming Cow, which documented his experience with working with Pink Floyd, including the making of this album from his point of view. Track listing Side oneNo.TitleWriter(s)Lead vocalsLength1.'

'Father's Shout'. II. 'Breast Milky'. III. 'Mother Fore'. IV. 'Funky Dung'.

V. 'Mind Your Throats Please'. VI. 'Remergence',wordless vocals by the23:44. 2:50.

2:33. 4:50. 5:15. 2:28.

5:48Total length:23:44Side twoNo.TitleWriter(s)Lead vocalsLength1.' 'Rise and Shine'. II. 'Sunny Side Up'. III.

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Select '2018' in the 'Anno' drop-down menu. Select 'Atom Heart Mother' in the 'Filtra' field. Select 'Album e Compilation' under 'Sezione'. Select albums in the Format field. Select Gold in the Certification field. Type Atom Heart Mother in the 'Search BPI Awards' field and then press Enter. Retrieved 24 April 2013.

If necessary, click Advanced, then click Format, then select Album, then click SEARCH.Sources. Blake, Mark (2006). De Capo Press. Geesin, Ron (2013). The Flaming Cow: The Making of Pink Floyd's Atom Heart Mother. The History Press. Mabbett, Andy (2010).

Omnibus Press. Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. Mason, Nick (2004).

Inside Out: A Personal History of Pink Floyd (New ed.). Widenfeld & Nicolson. Povey, Glenn (2006).

Echoes: The Complete History of Pink Floyd (New ed.). Mind Head Publishing. Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter.External links Wikiquote has quotations related to. ' / '. ' / '.

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