David Gilmour:

“At that moment, we all had the same objectives,” says Gilmour. “As for those deeper philosophical and political differences, you just stick ’em on the side at that point in your life. The collective ambition is more important.” Until, of course, everyone reverts to type.

«in the heart of Darkness» Mojo, October 2007.

Roger Waters: 

«But in a way it was good that the judge was such a pig (...) it stretches the credibility of it all. Such an obviously put-on thing, but that seems to be the climate in England»

«Pink Floyd wanting to 'turn people on and amaze everyone’», Unknow Source, August 1971

Guy Hughes:

«The Melbourne Festival Hall is renowned for its poor sound, but the Floyd along with their quad sound were able to overcome the hall's shortcomings. The hall was only about half full owing to almost non-existant promotion. At both concerts Pink Floyd were supported by other bands, a very rare occurrence indeed! Pirana came on first and played for one hour followed by Lindsay Bourke. Both bands were well below the Floyd standard of extreme freeform improvisation.

After a ten minute break (9:30pm approx), Pink Floyd came on stage and Roger announced "Good evening. This is called Atom Heart Mother". They then went into a sixteen minute non-orchestrated performance of the piece. After a minute or so of tuning up, Roger announced, "We're just going to retune then we're going to do two things together. The first of which is a song from the soundtrack from the film More, which I hear was banned over here, and it's called Green Is The Colour. And the second is an instrumental called Careful With That Axe, Eugene". Both songs together lasted fourteen and a half minutes. This was either the last, or the penultimate, performance of Green Is The Colour (I'm not sure if it was played in Sydney). After that, Roger said "This next thing is a new piece, and it's called Echoes. And it's going to take us a minute or two to get it together because one of our lenses has burnt out". This was the first time it was announced as "Echoes" (and lasted twenty two minutes), but it still had the alternate lyrics for the first verse and chorus, and the quick ending without the multi-tracked choir as at the Montreux 1971 gig.

The band then played a twelve and a half minute Set The Controls For The Heart Of The Sun without announcing it. They then played an eleven minute Cymbaline before Roger proclaimed "Okay. This is going to be our last tune. Thank you all for coming. It's called A Saucerful Of Secrets and we'll see you again some time". Unfortunately the original tape ran out after five and a half minutes into Saucerful. The show was recorded about fifty yards from the stage using a Sony TC80 mono portable cassette recorder, smuggled in a schoolbag, and a normal position BASF cassette (chrome wasn't available in 1971)! Pink Floyd, Melbourne 1971 ticketWith the Melbourne concert out of the way, Pink Floyd made their way to Sydney for an afternoon performance at Randwick Racecourse. Before they went on stage, they were interviewed for the GTK (Get To Know) programme in one of the rooms at Randwick (see transcription in the Pink Floyd Interviews section of this site). The GTK programme was a short (five to ten minute) music show that was screened weeknights before the 6pm news. The Floyd interview lasted for nearly nine minutes. This is the only interview on film that features all four members talking together !»

«Brain Damage Magazine»

Interviewer: «Why have you dropped 'Interstellar Overdrive' from your material? Out of all Syd's songs this one seems to have the closest affinity to the present band»

Gilmour: « Well only because of age - we were getting sick of it. It was us really because the audiences were still well into it. It's no desire to leave Syd out or anything, we have been doing "Astronomy Domine" up until very recently which was a Syd song. Most of the old Syd songs are incompatible with what we do now, so there's no point»

Interviewer: «… like your’ new Piece "Echoes". Is it going to be recorded ?»

Gilmour: « It's the whole of one side on our new album. We have three or four weeks free after we get back to England so we hope to get it out about mid-September in America and England»

«Alan's Psychedelic Breakfast», Daily Planet, 15 September 1971

Nick Mason:

«A highlight of this trip was that we got to meet the film director George Greenough I Ie showed us some footage from a film he was making called Crystal Voyager, a documentary celebration of surfing. Using a camera strapped onto a surfer’s body, he had been able to shoot film within the tubes formed by breaking waves, further enhanced by sunrises and sunsets It was stunning. We gave George permission to use our music for his film and in return have enjoyed a reciprocal arrangement where we have used his film - updated from time to lime - at virtually all our subsequent shows. For the 1994 Division Bell tour he supplied some new footage of even better quality to project during ‘Great Gig In The Sky’.»

«Inside Out: A Personal History of Pink Floyd», Nick Mason, 2005

Peter Calcroft

I, too, attended the Sydney show in question, in 1971. Unfortunately it was a very poor show, and the author above is right in blaming the organisers... it was not at all the fault of the band.

There was a gale force wind blowing across the audience and the band was huddled together on a small, makeshift stage that barely contained their equipment. The sound, that we the audience heard, was just a loud din, barely recognisable as music. I can still remember the look of frustration and distress on David Gilmour and Roger Waters faces as they tried to make the best of the appalling conditions. I made up for it, however, by seeing them again, under ideal circumstances this time, whilst visiting the UK some years later. This later show remains one of the main highlights of my more than thirty years of concert going.

Please understand, though, I was only thirteen years old at the time, and had not yet developed any sense of the importance of what I was witnessing on that day in 1971. However, even as a boy, I was quite perceptive and able to recognise the fact that the problems of that afternoon were not of the bands' making. What also surprised me was the small size of the crowd. I don't know the exact numbers but it couldn't have been more than four or five thousand people. That, and the "host", "on-stage announcer", call him what you will, pleading with the crowd, "Please, people, The Pink Floyd are perfectionists!". This, in response to the moans and groans from the audience about the delays in getting the show started».

«Brain Damage Magazine»

« The Pink Floyd concert at Randwick Racecourse on Sunday, August 15 was probably the most miserable and unpleasant overseas pop show yet staged in Sydney (…) The beauty of Pink Floyd’s music weren’t enough to make up the impossible conditions (…) When the Floyd began, we were surprised to find that we could now catch occasional glimpses of the lead guitarist and organist, due to the shifting of the speakers. And the music made me think that maybe everything would be alright. It was a lovely instrumental with lingering, mournful guitar notes and high moaning from the singers. (…) The Floyd’s numbers, though all much allike, featured a variety of atmosphere effects - whispering, screaming, explosions, hurricanes and the most hysterical and terrifying electronic noises I have heard. The Floyd bought a giant gong on stage, and I imagine it was quite an experience to see it being bashed, for those who were in the right position.

After the classics, Set the controls for the heart of the sun and Sauerful of secrets, the Floyd left, to let us get «back to our warn firesides» as the lead guitarist said. But enought of the audience had seen and heard the full show to start a loud clamour for more and the Floyd returned and obliged with a long freak-out»

«Pink Floyd flattered», Soundblast, September 1971

«Quel merveilleux week-end que celui de samedi et dimanche durant lequel, dons le cadre du festival du septembre musical de Vavey-Montreux, Pink Floyd s’est produit deux fois consécutivement ! Le premier concert était divisé en deux parties : les quatre musiciens du groupe débutèrent discrètement par une nouvelle composition qui donna une impression d’évolution de leur musique vers un côté plus rythmé, sans toutefois omettre cette fameuse recherche de vibrations sonores si bien maîtrisée par toute la machine que représentent Gilmour, Wright, Mason, Waters, les régisseurs du son et leur impressionnant matériel. Les autres interprétations, plus connues déjà, telles que Set the controls for the heart of the sun ou Cymbaline, nous mirent sur orbite avant l’événement de la soirée Atom Heart Mother. Cette seconde partie réunissait des chœurs et des solistes d’instruments à vent d’un orchestre symphonique londonien. Cette suite musicale prouve qu’une liaison entre deux styles différents pouvait se réaliser; et chacune des formations le fit à merveille, d’une manière si décontractée qu’on aurait pu croire à de la supercherie. Mais le son était utilisé de telle façon qu’une trompette en valait dix et quelques voix (environ vingt personnes des deux sexes) une chorale. De cet Atom Heart Mother, nous en garderons un exemple pour celui qui doute de la valeur musicale decertaines formations dites « Pop » et s’il fallait chercher « l’erreur », nous reprocherions un manque de sûreté et quelques bavures des cuivres de l’orchestre symphonique. Le final imposant laisse l’auditoire dans l'enchantement, si bien que le «bis» bruyant nous permit de goûter un génial Saucerful of Secrets achèvent un rêve que certains retrouvèrent au concert du lendemain».

«Pink Floyd : génie de la technique et de l'imagination», Nouvelliste, 25 September 1971.

«Samedi 18 septembre, le Pavillon de Montreux accueillait le groupe anglais des Pink Floyd et ses nombreux admirateurs. Depuis quelques semaines, plus aucune place n’était libre ; la raison de cet engouement était la venue d’une partie des musiciens de l'Orchestre philharmonique de Londres. C’est cependant un Pink Floyd tout simple qui s’est présenté sur scène. Son répertoire alors laisse toujours un envoûtement différent au spectateur. D’un même talent irréprochable, sa musique, ambassadrice d’un style unique, conquit la salle comble. Si d’habitude cette « musique » est le propre de la jeunesse, samedi, tous les âges étaient représentés. Cette réunion heureuse s’accordait au rythme d’un concert pop mêlé de classique. Avec les chœurs et les musiciens présents pour la circonstance.

Pink Floyd a tracé en deuxième partie un ineffaçable souvenir de sa technique. Mêlé à un orchestre symphonique, sa musique distillait un agréable paradoxe. Doublée par les chœurs, cette suite a trouvé le chemin de son succès. Un délirant rappel sur scène venait récompenser Pink Floyd. Ainsi après sa venue, il nous est possible de tirer des conclusions. Pink Floyd fut certes aussi talentueux que par le passé. Le choix de la salle cependant nous laisse étonné. La place était diminuée par les rangées de chaises et la scène continuellement baignée d’un éclairage fixe peu propice à la réception d’un tel concert. Chacun pensait découvrir Pink Floyd avec un orchestre philharmonique et des des chœurs, beaucoup n’ont retrouvé que Pink Floyd avec son incontestable verve musicale»

«Après un concert …», Nouvelliste, 23 September 1971

«Pink Floyd, ensemble « pop» qui se présentait au digne Festival de Montreux avec un ensemble de cuivres et un choeur venus tout exprès de Londres, a manifesté que la musique était de nouveau en marche. Oubliés, les querelles de chapelles, les tâtonnements minutieux, les recherches ésotériques. Quatre solides gaillards, assistés en coulisses par quelques Merlins de l'électronique, ont rappelé quelques vérités à une salle enthousiaste (étrangement, il semble que le public habituel du Festival avait été effarouché par l'étiquette « pop » du concert)... la première, que la musique n'est pas un divertissement précieux pour mélomanes avertis... la seconde. que la musique n’a que faire des genre* et des étiquettes. Bousculés, les grands principes ! Finis, les cérémonials 1 Pulvérisées, les subtiles distinctions entre la musique sérieuse et celle qui ne l’est pas I La musique, pour Pink Floyd. c’est avant tout une fête de l'oreille, une brassée de sons, une « masse d'harmonie » comme on rêvait Berlioz. Tout leur est bon pour inviter les gens à cette fête. Même les hurlements démesurés d'une « sono» géante, qui violentent les tympans en procurant une subtile jouissance ... On connaît Pink Floyd. et sa musique. Essentiellement fondée sur un rythme très marqué. sur des contrastes très accentués, sur un art fulgurant du mélange des timbres. Parmi les ensembles * pop •, c'est sans doute Pink Floyd qui est le plus proche des musiciens « contemporains » (que ces étiquettes sont inadéquates !... mais si on se comprend...). Perpétuellement à la recherche de nouveaux timbres, il s'est tourné très tôt vers les ressources de la musique dite « électro-acoustique ». utilisant des synthétiseurs, un orgue spécialement « bricolé », des bandes magnétiques.

Pink Floyd n'est donc « pop » (nu sens commun du terme) que par instants. Certains passages d'« Echoes >. premier morceau inscrit au programme, auraient pu être signés par Stockhausen. d'autres par Xénakis ou Pierre Henry. 11 était donc normal que Pink Floyd poursuive sa recherche en repassant par où d'autres s’étaient essayés : en tentant une collaboration avec des musiciens « classiques ». D'où « Atom Mother Heart Suite »... Là encore, on retrouve les préoccupations d'un Stockhausen. qui mêle les voix et les bruits. Pourtant, l'œuvre signée par « l’équipe » Pink Floyd a une allure autrement plus naturelle que toutes les productions des chercheurs en col blanc. La musique de Pink Floyd a cette rare qualité, à la première audition. de paraître couler de source. Elle est déjà intégrée par notre époque, elle parle â ceux qui ressentent le plus les espoirs et les interrogations de notre temps. « Atom Mother Heart Suite ». dans ses fulgurances, ses dissonances. ses mélodies tour 6 tour délicates et fuligineuses, ses accords violents et ses chants «l'espoir, c’est toutes les contradictions, les contrastes, les anxiétés d'une époque où tout change, tout bouge. Pink Floyd, grâce à son art quasi instinct il de la musique, parvient h une véritable harmonie avec ces « corps étrangers » que sont le chœur et l'ensemble symphonique. C'est étonnant... et très beau»

«Une brassée de sons étonnante … et très belle», 24 Heures, 21 September 1971

«Det började med den halvtimmes försening, som tycks vara obligatoriskt för alla popband p& besök. Under tiden hann en yngling i ljusblå tröja -och ballong i handen bli s& pass påtänd att han för upp p& scenen. Men då kom ett uppbåd poliser och kastade ut killen från hans 40 kronorsplats. Tumult och buanden. Men så kunde konserten med Pink Floyd börja och den började bra. En 20 minuter lång låt i släpande tempo. Ordlös sång som med ekoeffekter lät som en änglakör. Så en stegrad intensitet till en effekfull avslutning, medtre ton watt. Det var bra ocjh man kände sig nöjd. Men när det andra, numret och tredje numret också Ver 20 njjnuter långa och uppbyggda på samma sätt som det första blev det för mycket äv de vackra gitarr-ackorden och den ordlösa sangen. Det var ingen hejd på hur vackert allt kunde bli.

Jag klarade det inte. Jag gick i pausen liksom många, många andra. Sån här musik aka man inte sitte och höra i en konsertsal. Den ska. mart höra på skiva hemma i myshörnan och sätta på när man känner sig i stämning för den»

«Ingen hejd på det vackra», Aftonbladet, 23 Septembre 1971

«I disse for koncertlivet sá strenge tider er det kun megetsjaeldent, at hallerne er fyldte. Derfor er det dobbelt gladeligt, at netop en udpraget eksperimenterende gruppe som Pink Floyd i aftes var i stand til at stoppe KB-Hallen. Koncertens begyndelse blev forsinket tre kvarter pâ grund af brandvasenets betankeligheder.

Selve koncerten blev som ventet. Det mest velartikulerede publikum, man 1 lang tid har set, modtog Pink Floyds science fiction musik med entusiasme og forbloffende fá applaus'er pá de forkerte steder.

Gruppens tekniske apparat (velnok det mest imponerende i verden) fungerede perfekt ligesom samarbejdet mellem de fire musikere. Mest imponerende var deres udgave af ›Atom Heart Mother«, der blev gennemfort uden at virke markbart forringet trods manglende baggrundskor og orke-ster.

Det ville vare forkert at fremhave nogen bestemt i gruppen men i KB-Hallen var guitaristen Roger Gillmour mere i forgrunden end ved tidligere lejligheder. Der er folk, som har udtrykt en negativ holdning over for Pink Floyd, begrundet med, at gruppen er kold. Det er den mäske ogsa, men i sa fald er det som et stortglas isafkolet hvidvin pá en varm, ter sommerdag»

«Pink Floyd stoppede KB-Hallen», Aalborg Stiftstidende, 24 September 1971

Nick Mason:

«it turned out to be a very useful and, I think, a very good film. It was a controlled environment, as there was no audience, so we could cut, stop and reshoot. But the open air and the dust and everything else made it feel like a real live show. There was a bit of grit to it»

« Interview: Pink Floyd's Nick Mason, Engineer John Leckie Discuss the Making of 'Meddle'», Tommy Udo, April 2012

«Pink Floyd’s concert at Birmingham Town Hall on Monday — their first major British gig since May — was intended to be a warm-up for their latest American tour. But they were unable to have a full dress rehearsal because new equipment they were expecting failed to arrive.

The result was a 25-minute delay in starting the first set and long gaps between numbers while they sorted out problems with the gear. Apart from the opening number, “ Careful With That Axe, Eugene,” Pink Floyd confined their material before the interval to items from the “ Atom Heart Mother ” album. They were accompanied by choir and orchestra when they last played this music In Birmingham, but their quadraphonic system still enabled them to produce a remarkably full sound for a four-piece unit.

A sample of the stuff to be heard on their next album, “ Meddle,” was provided with the inclusion of “ echoes ” and “ One Of These Days ” in the second set. Strangely, both numbers incorporated the same howling wind effects. “ Echoes ” proved the more ambitious work, lasting some 30 minutes, while the funkier “ One Of These Days ” is obviously still very much in the formative stage. Pink Floyd also performed the familiar “ Set The Controls For The Heart Of The Sun” and “ Saucerful Of Secrets,” finishing off with some impromptu blues». 

«Live - Pink Floyd», Melody Maker, 16 October 1971

« (…) « Meddle » had just been released and was quickly becoming a popular album among lots of hairy students. All this was doubly exciting for me, for not only was this the first opportunity for me to see the Floyd, who'd recently become my favorite band (the Beatles having broken up not long before, to my great sorrow), but one of my first concerts of any stripe.The day of the show I skipped classes so I could ride the bus down to Seattle to meet a friend. We arrived at the Paramount mid-afternoon to find a short line of acid-head types waiting for the doors to open (these were the days before assigned seating was common place), including, as I recall, a tall, Gandalf-like character with a staff, long graying hair, and English accent and many unlikely stories about the cosmos. When the doors opened, we scrambled in and got seats about ten rows back and center to the stage. Unfortunately for my long-term memory (and the factual accuracy of this article) we took some of Dr. Leary's medicine, so what follows is approximate ...

Around the perimeter of the Paramount's interior were WEM speaker columns, the early Floyd sound system. Just after the lights went down to start the show, the sound of footsteps circled the theatre, giving the willies to a few folks whose dosage was beginning to kick in. The Pink Floyd shuffled on stage dressed in their usual jeans and dark-colored T-Shirt. Astronomy Domine was the first tune, rendered with great power; the band took us all out on a psychedelic limb, with only Rick's frail organ holding the music together. I remember being surprised by Roger having Rick re-tune his bass after a few songs. I guess the rumors of Rog not having the greatest sense of pitch has some validity, or at least was the case then. A somewhat abbreviated Atom Heart Mother was performed. I recall it being much heavier in concert than on the album. Set The Controls featured Roger bashing an enormous gong which exploded in fireworks at the climax. Also played were A Saucerful of Secrets, Careful With That Axe Eugene (terrifying scream from Rog), then Dave and Roger sat down with acoustic guitars for Green is the Colour and Grantchester Meadows. An aspect of attending rock shows in those days that is different than today was the attentiveness of the audience. However, one crazed individual at this show kept yelling «Boogie!» at quieter moments. Roger finally had enough of this guy, approached the microphone and said «Excuse me. This is not a boogie... we don't do boogies!» Everyone applauded and cheered! Electric again, the band performed Cymbaline (with Roger singing lead!) and One of These Days. Echoes was the encore num-ber I believe, although I'd welcome some confirmation from any BD readers who may have attended this show (Echoes may have been the encore as well as A Saucerful of Secrets - ed) My impression of Pink Floyd was one of quiet power and mystique; I recall chatting later with someone about how it was too bad they were only a cult band («Dark Side» was still nearly two years in the future)!

I feel privileged to have seen the Floyd play live as a growing force and as pop cultural icons, but this 1971 concert has a special place in my heart as an experience of wonderment, space and potentiality that I haven't had since. Viva la Floyd !»

« A parting of the mists of memory », Bruce Hazen, Brain Damage #35

«Pink Floyd invaded Hill Auditorium. Thursday night with extra-terrestial music. Their influence on other groups is impossible to discern because nobody can approach their grasp of psychedelic music. Pink Floyd's first albums appeared in the States sometime in 1967, on the heels of the other vital but undiscovered British group, the Yardbirds. But whereas the Yardbirds' innovations in electric - instrument sound clearly showed up as influences on later groups, no group has been able to follow up on the wizardry of Floyd.

The standard rock-group set up: lead guitar, bass, organ, and drums. Plus a few magic and moogic boxes which this group can wield to get sound effects you cannot believe could be heard off record. Sure, they in effect bring a whole studio into the auditorium with them, but even though some sounds are on tape, watching the guitarist slide up the neck and knowing the final tones started there, five filters previously, is still damned exciting because these guys have mastered what they are doing.

People unfamiliar with the group may have heard the FM favorite "See Emily Play," or remember the soundtrack from "Zabriskie Point." They played the latter; i.e. "Careful With That Axe, Eugene," earlier stuff from "Saucerful of Secrets" album, and a version of "Atom Heart Mother," which you can't believe four people with I-don't-care-how-many boxes could pull off.

Dealing with cosmic and magical themes as does Pink Floyd, it is difficult at times not to slide toward the punkishness of Black Sabbath, or the soppiness of T-Rex. Floyd rarely slips from a genius level, having made an art of molding and virtually curving sound, based on negative space, a frequent use of reverb, and projecting speakers. Their music is closest to hymn, an elegiac quality flows through the perfectly paced crescendos and interludes; even screams fit into the continuum. The first half of their set had music flowing out of the roots of the earth. It was light years from jazz in structure, but reached with tendrils that would have made Dean Moriarity of On The Road jump up and down screaming YES! YES!

More of the same music the second half; while you were wondering how four dudes in levis could pull themselves into a group and radiate the same concept out to an audience as coming from a single entity, at the same time they were convincing you that all music was the same in the ecstatic sense of sameness. 

But the pre-encore cut from their new album was a bittedious and by the end the people who were too foolish to go out in the hall while Guardian Angel wasted time and ears with blaring rock probably could not pay the attention Pink Floyd requires»

«Pink Floyd: showing that ecstatic unity of all that's music», The Michigan Daily, 30 October 1971

«Pink Floyd and Gong and an assortment of sound gadgets to meddle your mind hidden about the Central Theater stage Nov. 3.

Pink Floyd music is more hallucination than imagery; ideal trippy music full of enigmatic mazes to get lost in and audial balls to bounce with. PF music is a hypnotic "Echoe" and literally of a different dimension.

PF music doesn't create an atmosphere so much as it becomes one, like a sandstorm on the moon whirlpooling in quadrophonic fury around you. PF music almost makes sound a visual, painted, possibly filmed with noises. "Several Species of Small Furry Animals Grooving in the Forest with a Piet" or "Careful With that Axe, Eugene."

And like the ad says, Pink Floyd music is "like throwing a party for your ears when all your ears were expecting were a few friends over for pinochle* But it*s when Pink Floyd encores at the Central with a straight blues number that you really start to wonder »

«Pink Foyd and the Beach Boys», The Free Aquarian, 15 November 1971

Reanne Rubinstein:

«They had no entourage, make up or publicists. It was just them and me»

«David Gilmour, my life in Pink Floyd», Mojo, April 2006

Nick Mason:

«Nous ne sommes pas encore très grands en Amérique du Nord. Mais ça augmente lentement. Notre vrai territoire, c'est l'Europe, la France en particulier. Je ne crois pas que cela tient à une différence de genre de musique. Au fond, nous sommes un groupe expérimental et nous aimons bien faire ce que nous voulons avec chaque album. Si nous aimons bien plaire quand nous composons, nous essayons pas de plaire. Je crois que nous faisons depuis longtemps un genre de musique bien particulier qui commencent, d'ailleurs, à faire école. La plupart des groupes actuels sont modelés sur le canevas de Cream ... pas nous.

Nos concerts sont généralement très structurés. Avant de présenter une pièce, elle est solidement travaillée; quand nous en sommes satisfaits, nous la jouons. 

Les idées qui y sont exprimées viennent d'un peu tout le monde. Quand nous travaillons ensemble, un d'entre nous arrive avec une idÈe qu'il expose; elle accroche ou non. Bien sûr, nous pourrions improviser aussi, jammer. On croit que c'est très difficile. Ca ne l'est pas tellement car on peut toujours faire des erreurs qui passent généralement inaperçues; puis quand ça ne va plus du tour, on en revient à la structure prévue.

Interviewer:« Quelle est la situation du rock en Angleterre ?»

«Elle est bonne et elle s’améliore. L'ouverture d'un nouveau théâtre exclusivement consacré au rock, un peu comme les ex-Filmore, est excellente. La musique rock devient beaucoup plus sophistiquée en Europe, musicalement parlant et en ce qui concerne la présentation. Nous ne sommes pas de grands showman comme les Who, par exemple, mais nous essayons aussi d’améliorer notre présentation au niveau des éclairages des lightshow"

Interviewer: «Quel est votre guitariste préféré ?»

«C’est incontestablement Hendrix»

«Les Pink Floyd à Montréal», Main Mise, December 1971

«Soyons francs, soyons brefs: le concert de Pink Floyd au magnifique stade de l’université de Montréal a été un triomphe éclatant pour tous ceux qui étaient sur la mescaline, le LSD-25 (et autres) , les cookies au hash ... il n'a été qu'un succès pour ceux qui étaient sur le bon vieux pot de grand' mère. Ça se comprend: on est dans l'espace total ou on ne l'est pas. Ce qui est sûr, c'est que le groupe fait une musique fascinante, de près ou de loin, que leur mixage est certainement le meilleur existant actuellement, que leur son quadriphonique vous fait passer des frissons dans le dos"

«Les Pink Floyd à Montréal», Main Mise, December 1971

« Il y a quelques années, j'avais eu le privilège de voir et d'entendre ces Grands Pink Floyd au centre sportif de l'U.M. J'avoue qu’ils n'avaient déçu personne; le light show était un peu moins spectaculaire mais, la MUSIQUE, wow! cloué à mon siège, je croyais pas en re- venir. Meilleurs? non, différents: une sorte de musique de chambre-rock pour freaks avertis... la petite salle de l'U.M. se prêtait mieux à cet- te grande Musique. Les Fans étaient tous d'accord»

«Six impressions d’un show à l’Autostade», Main Mise, August 1975.