YEAR 1969

All the pictures shown on this page are identified with the correct date when the informations are available. All the credits are given to the original owner.

Despite the corrections, if errors exist please send me a email (you will be cited as corrector).

JANUARY 1969

January 1969, Minerva Production made a deal with the publisher Lupus Music in the name of Pink Floyd.

10 January 1969 Fishmonger's Arms Public House, Wood Green, London, England

Jimi Hendrix pulled out of a planned gig at London's Fishmonger's Arms (as a warm-up for his Royal Albert Hall shows) and was replaced by Pink Floyd.

12 January 1969 Mothers, Erdington, Birmingham, England

18.01.1969 « Middle Earth », The Roundhouse, Chalk Farm, London, England (early hours 19 .01.1969)

« The place is hot, and crowded, and it smells of joss sticks. The joss sticks are burning on a candle-lit stall. In the promenading area where you can buy pop group posters, and the « International Times », and that picture of John Lennon and Yoko Ono in the nude. (...) It took a long time to get to the Pink Floyd. Until 2.15 a.m. to be precise, not counting the time taken to fix the instrumentation. There had been an hour or more of recorded tracks before that. “We’ll have to have five minutes’ silence now, to fix all this electronics,” someone said. No one seemed in the least impatient. The pause was filled in with an announcement. « Has any lady lost a shoe? A black shoe, with a tongue, and a grey lining. We have it here ». No one made any ribald comments. When we got to the Floyd, they took a long time too. Starting with a tentative probing of an immense gong, and working their way through some echoes of Boulez, Stockhausen, and oriental temple music, they wound up in an orgiastic climax of the kind that only two banks of twin loud speakers at full amplification can manage - one hour five minutes later. By this time the devotees sitting on the central floor must have been there a good three hours.

This seemed to be the moment to jump up and shout, if only for the sake of a stretch. They didn’t. They clapped, with much less boisterousness than you get at a Prom, and they subsided into placid attention again when the second round of applause brought on the encore. Reverential, that’s the word for it. A reverential rave-in. On anybody’s decibel count you could hardly call it quiet, but reverential yes. Certainly not orgiastic. A few couples lay about, friendly and affectionate. In a less crowded corner of the promenade, half a dozen were dancing a kind of private, solo, introspective, free ballet. For the rest, no one seemed to get in the least worked up by even the most frenzied rock. I have seen more rhythmic head and shoulder jogging in Beethoven’s Seventh at the Albert Hall.

I don’t know what the Floyd made of it. Some intermittent by-play seemed to fall pretty flat.  Breaking a milk bottle in a rubbish bin (helped along by the amplifiers, of course) stirred a murmur of interest; the amplified sound of a frying egg less so. Still, it was all so relaxed that it would have been out of character to be demonstrative. Perhaps that’s why Floyd number one, after a violent gong-beating episode, covered his face with his hands in seeming despair, and took a drink from a glass of water. It was certainly a cool audience, and the main part of it was showing every sign of coolly seeing the thing through. When I left at 3.30 there was still a film to come. After all, they had paid 26s to get in - 26s for non-members that is. Non-members of what? I’m not sure, but a non-member of the Middle Earth is, I think, what I was. And a middle-aged one at that (…) »

« A reverential rave-in with the Pink Floyd », The Guardian, 20 January 1969.


Rick Wright:

« Alan's Psychedelic Breakfast we tried on our English tour and it didn't work at all, so we had to give it up. None of us liked doing it anyway and we didn't like it on the album — it's rather pretentious, it doesn't do anything. Quite honestly, it's a bad number. A similar idea in that idiom we did at Roundhouse another time I thought was much better. Practically on the spot we decided to improvise a number where we fried eggs on stage and Roger threw potatoes about and it was spontaneous and it was really good. Alan's Psychedelic Breakfast was a weak number »

22 January 1969, before their shooting at the ORTF French TV, the band is photographed on the streets of Saint-Germain with a stop to the famous café « Les deux magots ».

First row: Photographies by Philippe CONSTANTIN. Second and third rows: Photographies by Christian ROSE

25 January 1969 Sixty Nine Club, Royal York Hotel, Ryde, Isle of Wight, England

29 January 1969. The band is invited to the premiere of you are what you eat de Tay Tim au Windill theater of london

FEBRUARY 1969

1 February 1969 Winter Gardens, Malvern, England

From 3 to 7 February 1969 Pink Floyd commenced work at London's Pye Studios on the soundtrack of « More ».

Nick Mason:

« We were brought down by the whole film. The whole thing was done in a week for $10,000, which is a small budget, and we paid for our own studio time »


Roger Waters:

« We didn’t have the material for one song when we started. Dave, Nick and Richard put down the backing track in the studio, while I was writing the first verse in the corner. They would come in and say: « What’s this word ? », « That’s skylight ». « Oh, right » and I’d get on with the the next one »

« Pink Floyd interview posed some problems », Calgary herald, 2 January 1971

12 February 1969 Top Rank Suite, Cardiff, Wales

14 February1969 « Valentines Ball », Edward Herbert Building, University of Loughborough, Loughborough, England

16 February 1969 Students Union, St Andrews University, St Andrews, Scotland

17 February 1969 The Ballroom, Bay Hotel, Whitburn, Sunderland, England

18 February 1969 « Manchester & Salford Students' Shrove Rag Ball », Manchester University, Manchester, England

21 February 1969 « Le Festival Sigma de Bordeaux », Théâtre de l'Alhambra, Bordeaux, France

According Sud Ouest, the audience was 310 for this gig (« Sigma 14: entre théatre et musique la fête à Bordeaux », Sud Ouest, 8 November 1978


« La salle est obscure, les spectateurs plongés dans un gigantesque local sonore. Sur ses parois, projections ininterrompues de drôles d'images mouvantes : on dirait un essai de citologie picturale.

Quatre hommes sur scène, entourés d'ombres eux aussi. Et puis, tout d'un coup quelque chose s'élève, s'amplifie, jusqu'à la limite de la résistance, quelque chose comme un chant obstiné, obsédé, fou, sur le rythme d'une sorte de bouillie verbale... On pense que cela ne peut durer que quelques secondes, et on sent confusément qu'il n'y a aucune raison pour que cela s'arrête, qu'il ne faut surtout pas que cela s'arrête, que ce qu'on reçoit est comme une drague et que l'on percevra le retour à la vie, aux bruits du monde, à la rue, comme autant d'anachronismes, de scandales esthétiques grossiers, indiscrets, choquants.

Cette douche sonore sa haute dose, qui fustige plus qu'elle ne vivifie, est, paradoxalement, agréable. L'homme se sent, dans cette mer de bruit, comme un poisson dans l'eau. Ajoutez à cela que le temps passe sans qu'on s'en rende compte. Des flashes vous aveuglent, vous envoûtent, vous submergent: les cellules qui croissent et meurent .sur les murs prennent sans cesse de nouvelles couleurs, indéfiniment renouvelées. Parfois, cela jure épouvantablement avec la musique. Parfois c'est merveilleux, comme un accord parfait. On cherche un système de références: on baptise ce qu'on écoute « chromologie», « chromophilie », « syndrochomie ».

Bref, on ressent une impression extraordinaire, stupéfiante, au-delà dît bien et du mal, du plaisir et de la douleur, La musique est non-signifiante. Elle n'exprime rigoureusement rien que soi-même. Elle est inhumaine, comme parfois certaines pièces de Stockhausen, et cependant nous concerne, je dirais presque viscéralement.

Et puis, il semble tout à coup que l'on n'entend, plus rien, que l'on s'est retranché, dédoublé. Les bravos vous parviennent, mais vous n'en comprenez pas la raison. On souhaite, simplement, que le vertige continue, s'accélère ... Tout cela, vous le ressentez en cinq minutes ou en une heure, je n'en sais même plus rien. Et puis, c'est fini ... La lumière s'allume.

C'est un peu comme si vous étiez ivre. Vous ne reconnaissez rien, on se demande quelle langue on va parler, à l'entracte, de quelles onomatopées on pourra se servir ...

Hébété, éberlué, stupéfait, vous quittez votre place. Vous êtes bien incapable de proférer un son, tant vous êtes encore tout plongé dans cet univers inouï. Vous vous sentez devenir automate. Vous entendez dans un brouillard des gens qui s'exclament: « C'est merveilleux ». « C'est très mauvais », « C'est... ». En ce qui me concerne, j'ai eu l'impression d'un voyage extraordinaire, d'un voyage au bout de l'actuel, de la nuit, de moi-même ... »

« Pink Floyd à l’Alhambra – Méga … sons et maxi … lumières », Sud Ouest, 24 February 1969.

First rough ideas for « The Man and The Journey » came from a Roger’s observation 


Waters:

« (…) I used to travel on the tube from Goldhawk Road to Paddington a lot, back in the late ‘60s when I lived in Shepherd’s Bush. And there was this terrific piece of art I passed every day, graffitied on this very long kind of concrete wall. So as you pulled out of Goldhawk Road tube station and headed for the darkness, while you’re still up in the light, somebody had written, SAME THING DAY AFTER DAY. It was about 30 yards long. The whole thing read something like this, HAVE A CUP OF COFFEE, GO DOWN THE STATION, GET ON THE TRAIN, GO TO WORK, COME HOME, WATCH TV, GO TO BED – SAME THING DAY AFTER DAY. And it was repeated again and again, going faster and faster as you accelerated into the blackness of the tunnel. And I was thinking, « Who did that ? » This was 1968 or whatever (…) ».

« No Pain, No Gain », Word Magazine, May 2008.

24 February 1969 The Dome, Brighton, England

25 February 1969 Marlowe Theater, Canterbury, England

« The Marlowe Theatre, Canterbury, breaks new ground on Tuesday. 25 February. with a concert featuring the Pink Floyd. one of Britain's most interesting progressive pop groups. The Pink Floyd at tempt to create a total environ ment through a relation of sound, light and happenings.

There is more scope for this in the concert atmosphere than in dances and clubs and they are keen to play at the Marlowe and bring the sort of adventurous programme they have presented so successfully at the Festival Hall and at Middle Earth outside London Whether !his kind or serious pop music will a recognised pail the Marlowe's programme or not will depend on how this first concert Ls receivi.sl. says he management. The seat prices are high but the quality of work is higher » 

«’ Serious pop music ' at the Marlowe », Thanet Times, 4 February 1969

The band photographed backstage

26 February 1969 New Cavendish Ballroom, Edinburgh, Scotland

A benefit concert for the shelter charity. £250 raised

27 February 1969 Glasgow Arts Lab Benefit, Maryland Ballroom, Glasgow, Scotland

28 February 1969 Commemoration Ball, Queen Elizabeth College, Kensington, London, England

MARCH 1969

March 1969 release of Nile Song for the French Market. The cover uses one of the photos taken by Christian Rose two months earlier.

1 March 1969 University College London, Bloomsbury, London, England

3 March 1969 Vic Rooms Dance, Victoria Rooms, University Of Bristol, Clifton, Bristol, England

Photographies by Tony BYERS

8 March 1969 Reading University Rag Ball, New Union, Reading University, Reading, England

10 March 1969 Syd Barrett returns to EMI Studios in London for the recordings of his first solo album.

11 March 1969 Lawns Centre, Cottingham, England

14 March 1969 Van Dike Club, Devonport, Plymouth, England

15 March 1969 Kee Club, Bridgend, Wales


Allan Jones:

« (…) Le plus mémorable de tous fut un passage de Pink Floyd le 15 mars 1969, une visite miraculeuse. On s’est rassemblés devant la scène, occupée par la double batterie de NickMason, sa double grosse caisse dépassant tant qu’il y reste très peu de place entre eux et le bord de la scène, un gros gong pendant derrière le tabouret vide. Les claviers de Rick Wright se trouvent à gauche, les fils pendant. On se demande comment le groupe va tenir dans si peu d’espace, ce qu’il réussit à faire, Roger Waters légèrement à la gauche de la batterie, Gilmour à droite, Rick Wright coincé derrière eux.

Pour prouver notre sérieux, nous avons regardé le show assis en tailleur parterre, le groupe au-dessus de nous, Waters droit devant moi, assez près pour que je voie les veines de ses bras, les biceps saillants sous les manches d'un t-shirt noir. 

Gilmour est aussi imposant, en gilet de papy et pantalon de velours. De là où je me trouve, je distingue le haut du chapeau de Nick Mason, ces grosses caisses le cachant en bonne partie. Nous passons tout le set bouche bée devant ce qui se déroule et quand la musique s’emballe, comme souvent, on secoue sauvagement la tête, comme des épileptiques, ce qui nous laisse étourdis et un peu nauséeux.

Dans l’espace confiné, ce qui suit est affreusement fort, un barrage de batterie et de basse martelées, de guitare hurlante et d’orgue. Il s’agit d’une version dopée d'“Astronomy Domine", première des cinq longues chansons qu’ils jouent en une heure, un terrifiant "Careful WithThatAxe, Eugene” vient ensuite, suivi par “Set The Controls...", “InterstellarOverdrive” et, en rappel, “A Saucerful Of Secrets”. Mon souvenir le plusnet, pourtant, est de Roger Waters, sans doute la présence la plus intimidante que j'ai vue sur scène, qui me domine, tout en intensité émaciée. Je sais que lorsque “Careful WithThatAxe, Eugene” atteint son apogée frénétique, il va se mettre à crier et il sera sans doute impossible de l’arrêter. Je m’y prépare, comme quelqu’un qui va dévaler une cascade dans un tonneau, juste avant la chute. 

Mais quand les cris commencent, je suis terrifié, le rugissement maniaque de Waters me laissant tremblant

Deux soirs plus tard, dans une salle miteuse à Swansea University, il le refait, la tête rejetée en arrière, ayant l’air d’un homme au bout du monde, exprimant une terreur cauchemardesque à laquelle je n’ose même pas penser. Mais quel bon moment pour les avoir vus »

« Hors-Série Special Pink Floyd », Rock & Folk, September 2018

19 March 1969 Going Down Ball, The Refectory, University College, Swansea, Wales

20 March 1969 Dunelm House, University of Durham, Durham, England

21.03.1969 « Blackpool Technical College & School of Art and St. Anne’s College of Further Education Arts Ball », Empress Ballroom, Winter Gardens, Blackpool, England

Photographies by Gion


Gion:

« They had a very simple set, just the house velvet curtains as a backdrop and a couple of coloured spotlights. Their PA would be considered tiny by today's standards. Musically it was amazing, so fresh and different, transporting you to another zone. We were hooked »

https://geon-history.blogspot.com/2011/11/pink-floyd-blackpool-1969.html?m=1


An interview was made after this show

22 March 1969 Easter Endsville, Refectory Hall, University Union, Leeds University, Leeds, England

27 March 1969 St. James' Church Hall, Chesterfield, England

APRIL 1969

13 April 1969 Ron, Frances meet Nick and Lindy Mason.

14 April 1969 Royal Festival Hall, London, England

« The Pink Floyd gave a remarkable concert recently at the Royal Festival Hall. They had written an opera-oratorio called The Journey, which, together with a prologue titled ‘Man,’ they are now taking on tour throughout England. Disorganized and slapdash, it might easily have been written off ag the incoherent mumbo-jumbo of a group of sparkler-waving trendies. Fortunately, the idea which had inspired this adventure into sound was sufficiently startling so that even an indifferent performance could not diminish its power. A storm of electric violence was unleashed on an unsuspecting, trustful and finally amazed audience. It seemed as if the Festival Hall had rocked and rolled to a new age of music-making.

The story, like that of much opera, is confusing, irrelevant and banal. A man awakes, works, sleeps, suffers the most awesome nightmare and awakes again—full of that strange hope that has persecuted him from the very first time he awoke. The story is then retold in a series of allegorical dreams. Man is lost in a labyrinth, is beset by the creatures of the deep, beholds the temples of light and sinks into a semi-mystical reverie which he knows is only an illusion. 

But, he asks, what alternative does he have ? The story is cruel and paranoic and laced with despair. It is the method by which this despair is translated into sound that jangles the imagination, The work begins with the simplest of songs—almost folk song. quiet, unassuming, delicate, distant, apologetic. The singer tells of the strange moments between night and daybreak, shadow moments when the witches and evil spirits sorry away into the heflholes from where they came. Almost imperceptibly, we hear a wind and a sighing: the sound seems to be all around us. As the sun comes up, the noise increases in fever, swinging from side to side ia the concert hall.

One’s ears become monstrous organs; ane ceases to notice what is happening on the stage. One is desperately trying to escape from the anguished screams which seem to be coming from the man next door, under the seat, the ceiling, the mind itself. Suddenly the full force of electronic guitars and ai tremendous battery of drums, grasping, arrogant, harsh and overwhelming, smashes one’s remaining sensibilities into a pulp. Then—almost imperceptibly— the sounds gradually recede into a distance that has no perspective, no source of origin, that has no focus and no definition. The mind is bewildered and uncomprehending. It has suffered an unmistakable terror, has been caught off its guard and led into a wonderland of vivid, painful sound pictures.

The technique employed to achieve this effect is simple. The group has devised a seven-way stereo system into which all kinds of sound can be fed live performance, pre-recorded music, sound effects, feed-back — and then transmitted to multiple speakers placed strategically around the concert hall. The total noise Is swung relentlessly from one speaker to another, quickly increasing and diminishing in volume. ;

Of course it is all instant, tatty and }insubstantial as Art. Of course it would not stand up to close scrutiny. But who could have failed to have been startled by the successful moments of this galactic explosion ? At the end, for example, a chorale, which had begun from the simplest of chord progressions, is pitched against the full _ paraphernalia of stereophonic excitement, punctuated by gongs, bells and cannon bursting in every direction, and dominated by the grand organ, building sound cluster upon sound cluster. After this there was about two minutes’ total silence. Everyone looked embarrassed, not sure what to do. But we had also been moved.

« Pop by Tony Palmer - A galactic uproar », The Observer, 1st june 1969


John Baxter:

« Gradually as the time approached the crowd began to gather. Here were truly the 'Beautiful People'. We were dressed in very conservative fashion; I think I was even wearing a tie and a brown cardigan. Now we saw such sights as never before. Crushed velvet, trench coats, John Lennon style 'granny glasses' proliferated.

Then the doors were opened and were admitted. The whole space was full of the sound of bird song to set the mood. On stage, two stools were set in front of four mic stands. We were sat on the side of the stage, on the balcony that offers a side view. As the lights dimmed and the band emerged we could finally see just who was who. Our only pictures up to now had been from the cover of 'Piper' and, although we had worked out which one was Syd(!), the identity of the others was still a mystery.

Roger Waters was dressed in a pink vest like shirt; David Gilmour, Rick Wright and Nick Mason were all dressed in tie-die shirts so beloved at the time. David Gilmourís guitar seemed connected to a whole train of effects pedals, which trailed around behind him as he moved around the stage. They began with 'Daybreak' aka 'Grantchester Meadows'. From then on the music flowed unceasingly from piece to piece as they went through 'The Man' suite, footsteps resounding around the hall as the 'Azimuth Co-Ordinator' did its stuff. Nothing in the first section was familiar to us: 'Biding My Time', 'Quicksilver', and the other tracks hadn't been released yet, and it did seem to us as if there was an over reliance on the pre-recorded effects.

After the interval we were back and the first bit we recognised was 'Careful with that Axe Eugene', which had been released on the 'B' side of 'Point Me At The Sky', although now it had become 'Beset by Creatures of the Deep'. Other familiar tunes began to appear, such as 'Pow R Toc H', and then Rick climbed up to the Festival Hall organ to begin the closing organ theme from 'Saucerful of Secrets' to bring the half to a close. This was much better we felt. Here the band were really playing and creating a magical atmosphere. After a few moments they were back as Roger Waters approached the mic to announce the encore. A strong cockney voice called out, "Do Interstellar Overdrive!" Whether Waters had sensed that the show had been slightly sub-standard (in an interview later he had confessed that a friend had commented to him that it was like paying 15 bob to watch them rehearse) and felt they had to do something to make amends or not I can't say but he responded very quickly, and announced, "This is called Interstellar Overdrive".

Then it was back on the underground to Euston and the 11.45pm 'milk train' home. We arrived back at 5.30am.

Later, in June 1969, we saw the Floyd at The Manchester Free Trade Hall, sat on row C in front of Rick. In fact, the bootleg tape that now does the rounds of that show, was recorded by us. By now more of the material embedded in the suite was familiar to us through the release of 'More' and through performances on John Peel's 'Top Gear' lovingly recorded by holding a mic up to the speaker of the radio.

This show still remains the best show I ever saw the Floyd do. The suite performance went really well and was truly polished by now; the pieces segued from one to the other seamlessly. An abiding memory is the link from 'Sleep' (Quicksilver) into 'Nightmare' (Cymbaline). It seemed we could hear the tune emerge minutes before it finally arrived. Rick played trombone on 'Afternoon' (Biding My Time), then xylophone during 'Teatime' and for part of 'Sleep'. At the time we were all members of The Pink Floyd Fan Club, which was run by somebody called Carol Oliver, address Randall Drive, Hornchurch. The only missive we had ever received from this fan club included the news that the band had all been to see "2001 - A Space Odyssey" and declared it to be "a groovy movie". Now here was Roger Waters breathing heavily into the mic at the start of 'Sleep': was this a rip off from the sequence when Dave enters the space ship through the airlock to turn HAL, the super-computer, off? Next time you watch the film have a listen to his tortured breathing and you'll see what I mean. The encore of 'Set the Controls' was a wonderful charge through the song. Finally Waters said, "Thank you, thank you. Bye bye", and they were gone » 

« Brain Damage website - Review », 12 March 2009.


Aubrey Po Powell:

« I saw Pink Floyd at the Royal Festival Hall in 1969. They spent 20 minutes building a table, boiling a kettle and making cups of tea on-stage. In retrospect, It was the beginning of what Roger Waters has described as 'electric theatre'. Even with Syd Barrett, Floyd were never obvious pop stars, so I think they were always, but particularly Roger, subconsciously looking for something else to make up for certain Insecurities after Syd left. I remember sitting there, seeing them build this table. It was incredibly avant-garde and shocking, but the longer it went on I started. feel slightly embarrassed and awkward.. not sure they felt totally comfortable either, especially David Gilmour. David had come from a covers band doing the hits- he played Hey Joe better than And Hendrix. Now here he was Involved in some theatrical event. In those early days, he often faced away from Me audience and hovered by his amps, doing a lot of twiddling. When they went back into 'Pink Floyd' mode, the audience looked relieve; I could feel the tension. I'm not saying the experiment didn't work, but it was like the time fart student Pete Dockley terrorized Me audience dressed up as a « Mr monster ». it was all a bit unsettling and rather Intimidating. These 1969 shows were a stepping stone to something else and that something else was Me flying pig and inflatable, on the 1977 tour and, eventually, The Wall. It was all part of Roger's big idea to Wing exciting visual elements to a Pink Floyd show »

« The 50 Greatest Pink Floyd songs », Mojo, July 2018


Aubrey Powell:

« The audience for 20 minutes sat there thinking, "Hang on, I've come to see Pink Floyd and what getting is a lesson in carpentry. It was so avant-garde, it really was - I mean, there wasn't another band that was doing that stuff »

« To Infinity... And Beyond! », Uncut, May 2019


« I’d always been quite jealous of the people living in London who had been able to see the Floyd on a regular basis so, when the Royal Festival Hall show was announced, my friend and I decided we’d try and get to it. We wrote off for tickets (no internet!) and had an anxious wait for a couple of weeks until an envelope finally arrived with the tickets. He was already going to be in London (for some reason I now forget) but I was faced with the return trip from Lancashire to London on my own. This may not sound like a big deal but I’d only ever been to London once, years earlier on a family holiday so, just turned 17, it was quite daunting. We didn’t know London particularly well – we looked at a map to find the location of the Hall and agreed to meet in the middle of Waterloo Bridge at a particular time (sounds like a wartime romance!). The train journey down was uneventful and we duly met up and went to the Hall. First impressions from the outside were “a bit of a shithole” – that whole Southbank area of London is/was a 1960’s concrete jungle. Inside I bought 2 programmes - the reason being that I could break one up to put in my scrapbook, and keep the other in pristine condition – as it was, both ended up in the scrapbook and lost to (my) history when I gave it away in 1980. The programme promised lots of new songs. Our seats were just over halfway back from the stage and almost dead centre (great position as it turned out for the quad effects). The first thing we noticed was the f*cking birds…..”tweet tweet tweet” they went on and on for about an hour before the show started. We assumed that they must be nesting in the pipes of the enormous church organ that dominated the back wall of the Hall and worried that they’d spoil the show – they were so loud. (Don’t forget we’d never heard Grantchester Meadows or Cirrus Minor at this point!). Anyway, Dave and Roger ambled on and started to play and the birds gradually seemed settle down (ha!)

The Man section of the show seemed a little ‘shambolic’ and disjointed - they gave the appearance of making it up as they went along. This was particularly so around the hammering/sawing wood and during the tea break – the audaciousness of doing that, actually stopping the show and sitting down on the stage to drink a cup of tea….very English! Unbelievable moment when Rick suddenly stood up and started playing a trombone…..WTF did that come from? The Azimuth Co-ordinator was amazing. Back then I didn’t even have a home stereo so to hear the sound coming from all round the Hall was indescribable. The two sections that I particularly remember were the very very loud sound of a train coming straight through the Hall from front to back, and the footsteps walking in circles around the perimeter of the Hall. Rick also sent music to different parts of the Hall but I don’t remember any specific details of this. The second set, The Journey, was the better part although a little disappointing too if I’m honest. It was much more coherent and more ‘musical’ than the first set as everything was run together as a suite. They made great use of the quad system and I recall at least one ‘merman’ wandering around the auditorium, climbing onto the backs of seats. The only reason that I felt a slight disappointment was that a lot of the songs were old numbers which had been renamed (and sounded a lot more exciting) in the programme. (I seem to remember writing their more familiar names in the programme on the journey home). It was quite something to see Rick as a tiny figure playing the church organ at the end of ASOS – the sound was rich and ‘thick’. I know that they did Interstellar Overdrive as an encore which I was chuffed about. It was a very interesting, very enjoyable show and I remember feeling that I’d actually been present at one of the London ‘happenings’ that I’d read about in the music press. What amazes me now is that, after the show, I managed to get back across London to Euston Station and catch the last train back to Lancashire. I have absolutely no recollection of what I’d have done if I’d missed it although they had what was called the ‘Milk Train’ which ran at about 04.00 in the morning – I don’t know if it took passengers or not. On the train I could see half a dozen other people dotted around looking through programmes from the show. I couldn’t believe it when many years later I came across a recording of it – what a shame they didn’t record it themselves (ditto Games For May) »

« Recollections of Early Floyd Shows » (Simond), Yeeshkul Website, 8 March 2015


Roger Waters:

« It was a nerve cracking experience for us, and probably the audience. A friend of mine who comes to see our normal stage act was very disappointed and felt cheated. He thought it was like paying fifteen bob to see us rehearsing. He was right in a way because we were watching a happening. I was unhappy with the performance. In the first half we didn't get into anything. We just didn't have time to balance the sound. I would say twenty per cent of it worked, really well »

« Chris Welch finds out what Britain's top 'overground' group are planning », Melody Maker, 3 May 1969


« Undoubtedly the major event of the pop music world last week was the concert given by the Pink Floyd at the Royal Festival Hall. The group, who have firmly established themselves as one of the principal innovating influences on the progressive side of pop music, gave a three-hour performance of sounds and miscellaneous musical items, introducing to the public their latest sonic toy known as the Azimuth Co-ordinator. This they did. Alternately bombarding the audience with hysterical cataclysms of sound and soothing their shattered ears with gentle, semi-mystical melodies they filled the evening with a constantly-changing compendium of musical moods.

British pop music fans have come to regard the Pink Floyd almost at father-figures of the present scene and their occasional appearances are keenly followed by the vast core of post-bubble gum fans.

All tickets for the concert were sold only days after the original announcement, several months ago. The group, three of whom live la Chelsea, have aa un of horror story add science fiction about them. Their best-known numbers, for ex-ample Interstellar Overdrive, Saucerful of Secrets, Behold the Temples of Light and Astronomy Domine, conjure visions of sea monsters, whirling planets and strange witchcraft.

Pink Floyd sprang from obscurity in 1967 with the original U.F.O. club in Tottenham Court Road, just as American “psychedelia" was beginning to make its influence felt in England. The group managed to adapt the obviously drug-influenced noise anarchy of the new music to their own highly individual style.

« Sweet discord from the Pink Floyd », Kensington Post, 25 April 1969


Nick Mason:

« Basically, I was pleased with last night’s show; it was definitely a very important step for us as a group. I remember our show two years ago in the Queen Elizabeth Hall, when we demonstrated our first ’fantastic’ sound system and we ail thought that was exactly what we wanted to do. But things change, and this concert was just as vital as that one was, and since then a lot of our ideas have changed about the kind of music we want to play. One thing I felt was that perhaps we were over-elaborate. For instance, the Azimuth Co-ordinator system might have been improved if we had simplified it by having, say, four speakers round the hall, instead of six. I am sure a lot of the audience couldn’t really differentiate between each speaker. The footsteps scene was perfect. If we can develop this kind of thing into an even bigger and better stage, without getting too technically involved, we will be going in the right direction »

« Drummer surprised at popularity », Kensington Post, 25 April 1969


David Gilmour:

« I remember sitting on the stage for two hours feeling totally embarrassed. None of us had any idea what we were doing »

Cited in « Pink Floyd », Rick Sanders, 1976.


During the concert, Dave was shocked by a surge of electricity

Some clues about the future of the band 


Nick Mason:

« We hope to bring out a double album scan, with, hopefully, one of the L.P.’s recorded live. (…) We are also hoping to do a concert, maybe at the Albert Hall, with the Royal Philharmonic Orchestra »

« Drummer surprised at the popularity », Kensington Post, 25 April 1969


Roger Waters:

« We want to do other things. In June, we'll be doing another concert at The Albert Hall (...) Amont the other things we want to do is use an orchestra. We've already had preliminary discussions with the Royal Philharmonic and they are really keen. They really want to do it - huge buzz. We're also in contact with the Boston Philharmonic (...) What a strange thing for a 90 piece orchestra into Berlioz to want to work with us. It's a gas ! »

« Chris Welch finds out what Britain's top 'overground' group are planning », Melody Maker, 3 May 1969

26 April 1969 « Light & Sound Concert », Main Hall, Bromley Technical College, Bromley, England

27 April 1969 Mothers, Erdington, Birmingham, England 

Recorded for « Ummagumma » Live side. DJ John Peel's review of the gig was rewarded with a mention in the 'Pseud's Corner' column of the satirical Private Eye magazine.


John Peel:

« This gig sounded like dying galaxies lost in sheer corridors of time and space »

Cited in « This Day in Pink Floyd »

MAY 1969

Early May 1969 The NEMS enterprise take-over the Bryan Morrison agency

2 May 1969 Student Union Building, College of Commerce, Manchester, England (Ummagumma recording)

3 May 1969 Sports Hall, Queen Mary College, Mile End, London, England

9 May 1969 « Camden Fringe Festival Free Concert », Parliament Hill Fields, Hampstead, London, England

Performing in the afternoon at the Camden Fringe Festival Free Concert, Parliament Hill Fields, Hampstead, London, on 9 May 1969. Pink Floyd are using the Festival’s Orange Amps instead of their own WEM System which was making its way to Southampton for a show that evening.

The band, backstage.

10 May 1969 « Nottingham's Pop & Blues Festival », Notts County Football Ground, Nottingham, England

On 12 May, a bad road accident occurred at the Fairport Convention leaves Martin Lamble and Richard Thompson's partner on the asphalt. Pink Floyd also takes part in the concert organized by John Peel at the Roundhouse in London to raise funds for the families of the victims.


Roger Waters:

« We want to do other things. In June, we'll be doing another concert at The Albert Hall (...) Among the other things we want to do is use an orchestra. We've already had preliminary discussions with the Royal Philharmonic and they are really keen. They really want to do it - huge buzz. We're also in contact with the Boston Philharmonic (...) What a strange thing for a 90 piece orchestra into Berlioz to want to work with us. It's a gas! »

« Chris Welch finds out what Britain's top 'overground' group are planning », Melody Maker, 3 May 1969

15 May 1969 « It’s A Drag - City of Coventry College of Art Ball », Locarno Ballroom, Coventry, England

16 May 1969 Town Hall, Leeds, England

Photography by Tony GAVINS

24 May 1969 City Hall, Sheffield, England

25 May 1969 « A Benefit for Fairport Convention », The Roundhouse, Chalk Farm, London, England

30 May 1969 Fairfield Halls, Croydon, England

31 May 1969 « Eights Week Ball », Pembroke College, Oxford, England

31 May 1969, Premiere of « More » at the Festival de Cannes

Première of the film More at the Cannes Film Festival. The film, which achieved great success in France, will not be distributed in England, while in 1970 it arrives in Italy with the double title titled « Dipiù ».


Gilmour:

« (…) The film had rather a bad reception - they were saying things like « Groovy man, let’s get high », Schroeder was a foreign director and though he spoke English he didn’t know the subtle difference between what slang was acceptable and hip and what wasn’t » 

« Outside the Rock Machine », Music Now!, 28 November 1970


Jim Farber, who has first seen the band in London two years earlier is hired in KQED, a west coast TV station.

« When I went to work at KQED June of 1969, I proposed the idea that we do a program with them. John Coney, the other producer [who also directed the special], really liked their music. So we decided we might as well make a proposal to them »

« Unseen Footage of Pink Floyd Playing in 1970 », KQED Arts Website, 14 November 2017

The same moth, Nick Mason produces the songs Banks Of The River and Devil’s Hour by the London psychedelic quintet Screw. They are only published on 17 December 2007 in a limited edition on 10 "vinyl.

JUNE 1969

13 June 1969, « More » is released


Interviewer: « Comment vous est venue l’idée de prendre les Pink Floyd pour la musique ? »

Barbet Schroeder: « Il fallait un groupe qui ne se trouve ' pas trop loin de l’endroit où je montais le film, pour pouvoir collaborer avec eux sur les images mêmes. J’en suis très vite venu au Pink Floyd, qui représente pour moi. le meilleur groupe anglais actuel. De plus, leur musique possède un sens de l'espace qui s’allie parfaitement au cinéma, qui est lui-même art de l'espace »

Interviewer: « Ont-ils assisté au tournage du film ? »

Barbet Schroeder: « Non. Préoccupe par d’autres problèmes, je n'ai pas eu le temps d’organiser cela à l'avance. Mais, ils sont venus à Paris pour voir le premier montage, puis je leur ai envoyé une liste avec les durées et diverses indications; je suis parti à Londres avec une copie du film, cl nous avons travaillé à l’enregistrement pendant une semaine, tous les - jours - de minuit à neuf heures du matin. On se levait en fin d'après-midi pour voir le travail effectué la veille sur les séquences du film. Le soir. les images bien en tête, ils se remettaient à composer; je surveillais les durées au chronomètre. C'était époustouflant, car ils n'ont pas l’habitude de travailler aussi vite (ils sortent généralement un album tous les six mois). Ils ont eu là une période d’inspiration extraordinaire. dont ils étaient eux-mêmes stupéfaits. Au niveau des acteurs et des techniciens. nous avons eu la même chance tout au long du film, ils se sont donnés à fond »

Interviewer: « Du point de vue de mixage, il me semble que la musique passe souvent très faiblement ? »

Barbet Schroeder: « Oui. il est très ennuyeux que les salles de cinéma ne mettent pas le son plus fort, je n’arrête pas de passer les voir, pour qu'ils corrigent ce défaut. En fait, j'ai réalisé un mixage très étudié, avec des parties chuchotées et d’autres au contraire, plus fortes (le générique en particulier). Je n’ai pas toujours employé la musique à un très haut niveau, par exemple dans la séquence où Stéphane rentre chez lui de mauvaise humeur. On serait trop pris par le charme de la musique, j’ai donc diminué son intensité. pour que l’image regagne de son importance »

Interviewer: « Quelles sont pour vous les qualités musicales des Pink Floyd ? »

Barbet Schroeder: « On entend beaucoup de musique psychédélique, délirante, mais jamais très achevée. Chez eux. ce qui me fascine, c’est leur maîtrise absolument fabuleuse dans l’invention et le délire, et une entente depuis longtemps établie. Il y a une recherche extraordinaire. sans aucune concession, qui s’annonce de plus en plus riche, et toujours un immense goût de la beauté, des sonorités qui font rêver »

Interviewer: « Avez-vous des projets ? Pensez-vous travailler encore avec les Pink Floyd ? »

Barbet Schroeder: « Oui. je prépare un film, mais je ne sais pas encore comment cela va se passer musicalement. puisqu'il y a des séquences en son direct et d’autres non »

« La tête de « More » », Actuel, March 1970

AUGUST 1969

Roger Waters marriage with his girlfriend Judy Trim

Roger and Judy Waters

A Pink Floyd fan club newsletter

In August 1969 Syd was back in Formentera (two years after his forced vacation. He joined by his friends Ian « Emo » Moore, Aubrey Powell and John Davies

Left: Syd and Ian Moore, Center: Ian Moore and John Davies. Right: Mary Wing, Marc and Syd Barrett

1 August 1969 Van Dike Club, Devonport, Plymouth, England

Photographies by Stephen JOHNSON

8 August 1969 « 9th National Jazz Pop Ballads & Blues Festival », Plumpton Racecourse, Plumpton, England

Photographies by Robert ELLIS (left) and Bruno DUCOURANT (right)

This open-air concert, initially scheduled at Horton Road in Middlessex, had to be moved due to the turnaround of local authorities. At the Plumpton Racecourse, the organizers encountered power supply difficulties which caused an hour-long interruption in the middle of the Soft Machine passage. Pink Floyd, who was passing by, played in the middle of the night before a half-asleep audience.


« The last day of the Ninth National Jazz and Pop Festival at Plumpton racecourse, Sussex, ended quietly yesterday. Many of the 50,000 people attending the festival went into the village for refreshment after the water supply failed for two hours. Mr Brian Somerville said that the villagers provided crates of milk bottles full of water, and canisters of water. « This helpful act by the villagers is a complete reversal of what last week they thought would be happening to the village during the festival », he said. The villagers and parish council had been mesmerized by the smooth running and orderliness of the three days, « If there are any objections to us coming here next year I am sure they will not be from the village »

Many of the audience had slept overnight in the hedgerows. Many carried sleeping-bags, rucksacks, and guitars. Yesterday’s performance started at 2 pm, after thousands of long-haired, suntanned girls and youths had congregated in the field which sloped downhill towards the stage. The atmosphere was similar to that of the free concert given in Hyde Park a month ago by the Rolling Stones.

The Pentangle were the afternoon stars, among half a dozen groups, and the big-name artists of Friday and Saturday were the Pink Floyd, Soft Machine, Bonzo Dog Band, and The Who. It was the first time the festival had moved out of London. The usual volunteer security force of 200 was in operation, but Mr Somerville said they had not been needed to act in any physical way.

Most of their time had been taken up with administrative jobs such as ticket and money collecting, and running various bars and stalls. For those who did not want to pay the 2s mightly camping fee, the hedgerows and fields were their beds. « I drove to Lewes this morning and the hedges and ditches on the approach roads to the festival were full of people in sleeping bags and blankets », Mr Somerville said. Before yesterday’s concerts people wandered around the festival buying anything from joss sticks to “cokes ” and ice-cream, to books, and records.

Mr Somerville said that without doubt the festival would make a profit, but it must do so to support other events organised every year by the National Jazz Federation »

« Villagers 'mesmerized' by pop concert organisation », The guardian, 11 August 1969


Bruno Ducourant (photographer):

«Friday 8th August 1969, 10:30 p.m. The first evening of the three Plumpton Festival shows. Keith Tippett, The Blossom Toes and Soft Machine have opened, putting up with stage problems and power failures, it’s now time for «Floyd». The band - with already four albums behind them - are to perform (for a fee of £600 of those days) tracks from «Ummagumma»»

«My generation, only rock and roll ?», Bruno Ducourant, October 2014

9 August 1969 Pink Floyd's Soundtrack From The Film More was released in the US, but failed to chart.

9 August 1969 Paradiso, Amsterdam, The Netherland

29 August 1969, Jack Bruce releases his song « Theme from an imaginary Western ». This title will be an inspiration for the future Atom Heart Mother (song).

SEPTEMBER 1969

13 September 1969 Sam Cutler Stage Show, Rainsbrook, Ashlawn Road, Rugby, England

« The festival itself ran over three days and featured a different form of music on each day, a similar format used on the early National Jazz and Blues festivals. The Friday, headlined by Alexis Korner and also included The Groundhogs, was the blues day. Saturday was progressive rock day and included The Pink Floyd, The Nice, Free, Taste, King Crimson and The Edgar Broughton Band. Sunday saw folk rock bands like The Eclection and The Strawbs and also included Roy Harper and Coventry's own New Modern Idiot Grunt Band. 

Cost of entry was 12 shillings and sixpence (65p) for day one, a pound for day two and 17 shillings and sixpence (87.5p) for day three. Alternatively, a weekend ticket was available for £2. Among the ticket outlets were Disci on the High Street in Rugby and Fennells on the Lower Precinct in Coventry. 

However, to put the whole thing into a little perspective this was late 1969 and some of these bands were still in their infancy. The Nice were fairly well established having just released their third album during September. The Pink Floyd's then current release was 'Ummagumma' and I am guessing that their set list would have been similar to the live disc from that set. King Crimson had yet to release their eponymous debut album. In fact they had been playing live since April » 

« The £2 ticket for 3-day festival featuring Free and Pink Floyd », The Telegraph, 4 March 2003

Rick at home, 1969. Photography by Storm THORGERSON

Wright gives some news about the band projects


Wright:

« We start recording again in December—the idea for the album will probably come out of our next concert tour, we haven’t released all that many albums — we’ve only done four since we started. We’d like to try and release four by year from now on — and I think we shall Probably be able to — we should have a lot of free time from now on.

Eventually we’d like to build our own studio — at the moment we have to record everything in the EMI studios, and that does tend to restrict us a bit. Not that the studios aren’t good — but the record company sets aside a period of time, say two weeks, in which we have to record. 

It can quite easily happen that we aren’t feeling our best over some of this time, or we can’t really work out all our ideas  as we’d like to. It’s impossible for us to phone up and say we’d like to do some recording. Anyway, we’re all going to build our-own little studios where we can work out our ideas and record them »

« Pink Floyd », Top Pop & Music Now, 15 September 1969

17.09.1969 Concertgebouw, Amsterdam, The Netherlands

Photographies by Nico VAN DER STAM (left) and Kee BAARS (right)

19 September 1969 Grote Zaal, De Doelen, Rotterdam, The Netherlands

« De vier man sterke formatie is terecht befaamd om haar bestudeerde muziek: vaak zangerig en melodieus ais aanzet tot forse klank-executie. Op zijn terrein heeft The Floyd baanbrekend werk verricht.

Maar gisteravond was inderdaad de neiging te constateren om vormen uit de modem-klassieke muziek te gebruiken. In dit geval met weinig uitwerking: het steriliseert en het klinkt gewild.

Het Floyd concert bestond uit twee delen, die bij elkaar horen: „24 Uur uit», het leven van een man en de reis die hij maakt. De gewraakte tendens zit in het laatste deel: de reiseen collage van fragmenten die het alledaagse bestaan verbeelden. De compositie is helder, de arrangering is vindingrijk, het geheel heeft allure.

Tn deel twee gaat dat allemaal mis. De „reis" eindigt heel literair (en dus loodzwaar) in het niets. Het abstract gegeven verzandt in fraai klinkende elektronische geluidenreeksen. En ook de stereo-apparatuur moet zo nodig uitgebreld worden gedemonstreerd. Het optreden van The Dream uit Tiel, waarmee het programma begon, maakte een conventionele en vervlakte indruk. De Kaphalous Lightshow die hen drie kwartier begeleidde, was armoedig van technische afwerking en leek nog het meest op een stuntje voor een h.bs. »

« Concert Pink Floyd eerste deel raak, tweede deel », Het Vrije Volk, 20 September 1969


Aubrey Powell:

«(…) I always remeber one night when their manager Steve O'Rourke collected cash from a venue in Holland, and he went upstairs to his hotel room on the top floor but didn't know where to put the cash. So he opened the window, put the money into the drain. Then he went out with the guys to dinner, and while he was out it pourred with rain. When he came back, the money had washed away»

«To Infinity... And Beyond!», Uncut, May 2019

Picture by Rotterdam Nieuwsblad

20 September 1969 Concertzaal de Jong, Groningen, The Netherlands (two shows)


« Twee concerten van ruim een uur Pink Floyd waarin ze vjif nummers speelden van hun drie elpee’s "The Piper at the gates of dawn". "Saucerful of secrets" en "More" (een soundtrack van de nog niet uitgebrachte film). Hoogtepunten waren voor my het lyrische, bijna poëtische Green is the Colour, waar je als je je ogen sluit je op de trillende orgel fluittonen en de tweestemmige zang van David en Roger voelt wegzweven naar ergens waar het heel fijn moet zijn. Hun veelzijdigheid toont Pink Floyd dan weer in Interstellar Overdrive, waar ze met keiharde zeer ritmische monotone geluiden en schril orgelgegil het lopende handwerk in een fabriek heel suggestief en indringend uitbeeldt. Naast het podium toveren de Amerikanen een wolfabriek op de wand: mensen werken met machines op podium en fabriek.

Dan "Set the Controls for the heart of the sun". Een grote gong op het oneel zorgt voor een sterk Oosterse rfeer. Zeer muzikaal is de vleiende dank van de akoustische gitaren, af-gewisseld door onnavolgbare klanken, iie Richard aan zyn orgeltoestand veet te ontlokken. Langzaam ebt het Jeluid weg in een grootse donkere stil. e. Het publiek klapt opgelucht, staat n het duister op van nun stoeltjes en erlaat opmerkelijk rustig de zaal ammer  dat er in de Concertzaal niet iet zo als in Amsterdam een kerkor-:el is. waar Richard Wright toen ach-er ging zitten. Die machtige klank ou het geheel hier vervolmaakt heben »

« Nachtconcert Pink Floyd in Groningen een belevenis », Nieuwsblad van het Noorden, 22 September 1969

21.09.1969 Het Kolpinghuis, Nijmegen, The Netherlands

While some gigs are cancelled or rescheduled, The Floyd tay in Holland where a photo session is planned

24 September 1969 Stadgehoorzaal, Leiden, The Netherlands

25 September 1969 Staargebouw, Maastricht, The Netherlands

With the many cancelled concert, the band is asked to play an extra gig on afternoon the same day in an underground Club of Maastricht called « Staar Monstrum »


Jan Smeets (Promoter):

« De tour was georganiseerd door Cyriel van den Hemel, die later naar Londen is verhuisd. In de begintijd van Pinkpop heeft hij me nog wel eens wat artiesten aan de hand gedaan, zoals Colin Blunstone (...) De zaal  was lelijk en kaal en ademde een Oost-Duitse sfeer, maar de akoestiek was goed. Pink Floyd was nog een echte undergroundgroep die in het decor gebruik maakte van vloeistofdia’s, door cabaretgroep Neerlands Hoop plastische kankergezwellen genoemd. Ik vermoed dat dit het eerste popconcert van betekenis in Maastricht was. Tot op de dag van vandaag vertel ik nog wel eens dat ik ooit Pink Floyd naar Maastricht heb gehaald, en dan kijken ze me met grote, ongelovige ogen aan »

«Pink Floyd, live in... Maastricht», Zuiderlucht Website, 3 March 2011


Roger Waters:

« Op een dag vroeg hij ons of we wat extra geld wilden verdienen door ook ’s middags te spelen. Hij gaf ons een adres waar een school bleek te zijn. We speelden in de gymzaal voor lagere schoolkinderen die hun 

vingers in de oren hielden en begonnen te huilen. Een paar minuten later kwam Cyriel het ‘podium’ op en fluisterde in mijn oor: « Wie ave ze money, go now! » »

« Pink Floyd, live in... Maastricht » , Zuiderlucht Website, 3 March 2011

25 September, the « Paris Festival », now sponsored by « Ricard », is moved to the Parc de Saint-Cloud (near Paris).

26 September 1969 Theatre 140, Brussels, Belgium

Photographies by Charles BETERHAM

« Au pays des rêves avec le Pink Floyd. Ça commence par des chants d'oiseaux. Puis un musicien entre en scène et entame, à la guitare, l'interprétation d'une douce mélodie.

Un deuxième guitariste rejoint le premier et ils chantent avec toujours, en fond sonore, le pépiement des oiseaux. On croit rêver : c'est l'éden, un univers où tout est beau et calme. Tout à coup, c'est le réveil brutal : un sifflement strident retentit ; un train est lancé à toute allure dans une chambre d'écho. De la démence. Le contraste est saisissant, mais pas désagréable. Au contraire. Ainsi débute le spectacle du Pink Floyd, présenté en pré-ouverture de la saison 69-70 du Théâtre 140.

La suite est à l'image du début : contrastée, surprenante et haletante. Le principe de base respecté par les membres du Pink Floyd est simple. Il consiste, lors de l'interprétation de chaque thème, à recréer une ambiance particulière. C'est ainsi que, tour à tour, on se retrouve au milieu de la jungle avec des singes qui jacassent, au bord de la mer avec le bruit des vagues et le cri des mouettes, dans un village africain en fête avec le bruit des tambours, timbales et autres percussions, communiant avec des religieux d'Extrême-Orient aux sons du gong. etc. Avec l'aide d'instruments les plus divers et les plus inattendus (gong, scie, marteau, etc.), et bien sur avec l'aide des effets de l'électronique, ils composent de véritables petites fresques musicales. Cela n'a rien de commun avec du travail bâclé ; c'est élaboré, bien construit, solide et original ; un réel ouvrage de création. Mais ce qu'il y a de plus merveilleux dans l'univers du Pink Floyd, c'est qu'il incite au rêve. C'est une véritable drogue : une drogue à conseiller, car elle procure des plaisirs immenses sans être nocive. Un regret, peut-être : le "light show" annoncé n'a pas été présenté »

« Première au 140 », La Dernière Heure, 29 September 1969

27 September 1969 Theatre 140, Brussels, Belgium

After this show, the Belgian DJ made an exclusive interview of David Gilmour. You can read it here

28 September 1969 Theatre 140, Brussels, Belgium

«S’il est vrai que notre civilisation est celle du bruit, les Pink Floyd en sont un des plus dignes représentants. Ces cinq jeunes, reconnaissons-le, y mettent tout leur cœur pour faire déferler sur la salle - jusqu'à dimanche soir celle du Théâtre 140 - des ondes sonores qui semblent d'ailleurs parfois naître de la mer : ricanements de mouettes, impacts de vagues.

Mais quand l'océan semble submerger le public il est bon d'avoir les tympans bien protégés. Il n'est pas question de gouttelettes debussystes d'un jardin sous la pluie mais de paquets de notes, de lames de sons préenregistrés, de raz de marées nés d'explosions nucléaires sous-marines.Le programme affirme que le groupe est le porte-parole musical d'une nouvelle vague. Pour demeurer sans doute dans la métaphore maritime. Le programme parlait aussi d'un « groupe musical composé de lumière et de son ». La première formation, parait-il, à tirer des effets du mélange son-images. « A leur étrange musique répondait tout au jeu de colorations ». Force nous est de dire qu'en dehors d'un écran de fond rose -  « Pink » oblige - pour la première partie et vert pour la seconde, l'appareillage électrique semblait plus concentré sur le secteur « son »,

que sur celui de la lumière. Mais il parait que les bariolages a coups de projecteurs psychédéliques sont dépassés, remises au grenier où peut-être

la nouvelle vague de 1990 les découvriront pour nous les resservir à quelque sauce lunaire. Tous les groupes « pop » utilisent les effets lumineux, c'est pourquoi les Pink Floyd les abandonnent. Cette politique d'originalité pourrait évidemment les amener à redécouvrir le silence... Et la musique dans tout cela? Reconnaissons une volonté et même une incontestable réussite dans la recherche d'effets nouveaux. L'électronique peut beaucoup et nos cinq musiciens savent s'en servir. Comme de leurs guitares, de l'orgue, du mélotron aux sons révolutionnaires, de la batterie assiégée en règle, de timbales attaquée à bon escient, d'un spectaculaire gong oriental et même d'un bon vieux trombone qui permit une plaisante évocation de l'évolution du blues vers le « pop ». Il parait que les Pink Floyd fabriquent la musique de demain. Espérons quand même que ce n'est pas de cette manière que chanteront nos lendemains»

« Beaucoup de sons et peu de lumière … », Le Soir, 29 September 1969

OCTOBER 1969

3 October 1969 Debating Hall, Birmingham University, Edgbaston, Birmingham, England

4 October 1969 New Union, Reading University, Reading, England

10 October 1969 Edward Herbert Building, University of Loughborough, Loughborough, England

11 October 1969 « Internationales Essener Pop & Blues Festival '69 », Gruga Halle, Essen, West Germany

18 October 1969 University College London, Bloomsbury, London, England

24 October 1969 Fillmore North, Locarno Ballroom, Sunderland, England

25 October1969 « Actuel Festival », Mont-de-l’enclus, Kluisbergbos, Belgique

Left photography by Guy LEQUERREC

« Plongés que nous étions dans cet univers, nous fûmes transportés dans un autre monde, celui, onirique et multi-dimensionnel, du Pink Floyd : frissons, flou ombrageux qui pénètre les sens. Cette musique qu’en un temps on appela psychédélique, faite non de performances de solistes, mais grâce à la richesse et la maîtrise instrumentale, la possibilité de création en groupe. Cette musique immatérielle que l’on croyait difficilement reproduisible sur une scène, ils surent le faire revivre, emplissant d’une nuit brisée d’éclairs cet îlot à la dérive. Oui, le voyage. Pas de science-fiction, un climat où les sensations s’interpénètrent, où le tourbillon des notes susurrées, puis amplifiées, puis magnifiées, s’étale, matelas de formes, en zébrures infinies. Astronomy Dominé, Saucerful of Secrets, puis les thèmes de « More ». Un grand moment, lorsque Zappa vint se joindre au Pink Floyd: pris dans une suite de vertiges, les sons arrachés s’étalent, se désintègrent, reprennent leur course. Ce fut une partie libre, totalement libre, détours, contours, retours, les sons devenant de plus en plus tendus, vers la fusion dans l’extase. Ce fut une partie de free musique, au sens jazz du terme. Rapprochements, contacts, de nouveau retours, cavalcade effrénée de notes fabuleuses. une grande leçon d’intégrité par les membres du Pink Floyd, musiciens accomplis, pouvant facilement dériver, mais qui savent fondre leur propre voix vers la cohésion, vers l’oeuvre »

« Les folles nuits d’Amougies », Rock & Folk, December 1969.


« Pink Floyd ne donna pas la version 70 de son show, comme il l’avait fait quelques semaines auparavant au 140. Ils pratiquèrent une musique inventive, brutale tout en nuances en en couleur, extrêmement captivante. Zappa tenta la bœuf avec eux. Je l’ai senti gêné »

« Amougies interdit », Best, December 1969


« Les plus attendus de la soirée ... se font attendre: il s'agit du "Pink Floyd", groupe de premier plan à qui nous devons déjà d'excellents disques (souvenez-vous de Intersteller Overdrive (sic)) et la musique du film « More » (Barbet Schroeder, le réalisateur de "More", est aujourd'hui un spectateur parmi les autres). Le Pink Floyd, démontre sa suprématie: agressivité, jeux de lumières, saturations savantes, suraigus contrôlés, technique sûre à tous les degrés.  La musique prend ici une autre dimension envoûtante. Personne ne peut résister à cette magie ... et surtout pas Frank Zappa qui bondit sur la scène pour improviser avec ses copains".

« Amougies, festival maudit », Salut Les Copains, January 1970.


Interviewer: « Au festival d’Amougies, en novembre 1969, vous avez fait un bœuf avec Frank Zappa ? »

Gilmour: « Bouf ! ... Il a joué une chanson avec nous parce qu’il était employé -‘par les organisateurs. Il devait jouer un morceau avec chaque orchestre ».

Interviewer: « Quel morceau avez-vous interprété ? »

Gilmour: « « Interstellar Overdrive ». Il a joué au moment de l’improvisation sur un accord pendant 20 minutes ».

« Les Pink Floyd en studio », PopMusic Superhebdo, April 1972


Mason :

« Franck Zappa est certainement l’un des très rares musiciens à pouvoir jouer avec nous. Le peu qu’il fît à Amougies était terriblement juste. Mais c’était une exception. Notre musique et notre mise en place sont telles qu’il était très difficile de venir jammer avec nous ».

« Interview avec Nick Mason », Rock & Folk, Mars 1973.

27 October 1969 Electric Garden, Glasgow, Scotland

30 October 1969 Fly to USA


« The Pink Floyd have been booked for a one night gig. A Space-age gig. In Detroit. Journey there and back 7,450 miles and it'. home the next morning. But then the Floyd are playing to the American science - fiction writers' convention »

« Pop Circular », Daily Mirror, 11 October 1969

31 October 1969 « Black Magic & Rock & Roll », Olympia Stadium, Detroit, MI, USA (cancelled)

« The Detroit promoter of a 'Black Arts Festival' at Olympia Stadium Halloween night falsely advertised four major rock acts he never had under contract for the event. None of the four acts - The Crazy World of Arthur Brown, Pink Floyd, Kim Fowley and the MC5 - appeared at the Friday night show that 12,300 persons paid $5 each to see. Seven other acts that were advertised also did not appear for various reasons. They were the Detroit Amboy Dukes and the Bob Seeger System, the California group Alice Cooper, the English Bonzo-Dog Band, drug advocate Dr. Timothy Leary, occultist Anton Levey and the Frost of Saginaw »

« Acts billed, didn't appear », Free Press, 7 November 1969


Wright

« While we were in America, we were asked to play at a voodoo convention. Sadly, we couldn’t make it because the American Musicians’ Union wouldn’t let us play. It would have been marvelous. All the voodoo cults from all over the world meeting up with all the science fiction writers »

Beat Instrumental, January 1970

21 October 1969, « More » is released in France


Interviewer: « Comment vous est venue l’idée de prendre les Pink Floyd pour la musique ? »

Barbet Schroeder: « Il fallait un groupe qui ne se trouve ' pas trop loin de l’endroit où je montais le film, pour pouvoir collaborer avec eux sur les images mêmes. J’en suis très vite venu au Pink Floyd, qui représente pour moi. le meilleur groupe anglais actuel. De plus, leur musique possède un sens de l'espace qui s’allie parfaitement au cinéma, qui est lui-même art de l'espace »

Interviewer: « Ont-ils assisté au tournage du film ? »

Barbet Schroeder: « Non. Préoccupé par d’autres problèmes, je n'ai pas eu le temps d’organiser cela à l'avance. Mais, ils sont venus à Paris pour voir le premier montage, puis je leur ai envoyé une liste avec les durées et diverses indications; je suis parti à Londres avec une copie du film, cl nous avons travaillé à l’enregistrement pendant une semaine, tous les - jours - de minuit à neuf heures du matin. On se levait en fin d'après-midi pour voir le travail effectué la veille sur les séquences du film. Le soir. les images bien en tête, ils se remettaient à composer; je surveillais les durées au chronomètre. C'était époustouflant, car ils n'ont pas l’habitude de travailler aussi vite (ils sortent généralement un album tous les six mois). Ils ont eu là une période d’inspiration extraordinaire. dont ils étaient eux-mêmes stupéfaits. Au niveau des acteurs et des techniciens. nous avons eu la même chance tout au long du film, ils se sont donnés à fond »

Interviewer: « Du point de vue de mixage, il me semble que la musique passe souvent très faiblement ? »

Barbet Schroeder: « Oui. il est très ennuyeux que les salles de cinéma ne mettent pas le son plus fort, je n’arrête pas de passer les voir, pour qu'ils corrigent ce défaut. En fait, j'ai réalisé un mixage très étudié, avec des parties chuchotées et d’autres au contraire, plus fortes (le générique en particulier). Je n’ai pas toujours employé la musique à un très haut niveau, par exemple dans la séquence où Stéphane rentre chez lui de mauvaise humeur. On serait trop pris par le charme de la musique, j’ai donc diminué son intensité. pour que l’image regagne de son importance »

Interviewer: « Quelles sont pour vous les qualités musicales des Pink Floyd ? »

Barbet Schroeder: « On entend beaucoup de musique psychédélique, délirante, mais jamais très achevée. Chez eux. ce qui me fascine, c’est leur maîtrise absolument fabuleuse dans l’invention et le délire, et une entente depuis longtemps établie. Il y a une recherche extraordinaire. sans aucune concession, qui s’annonce de plus en plus riche, et toujours un immense goût de la beauté, des sonorités qui font rêver »

« La tête de « More » », Actuel, March 1970



Nick Mason:

«We'd done little bits of working with film, and it was one of those things that we were quite good at. The fact that we didn't always work to songs formats meant that we could devise stuff that could be made to fit, with crossfades. More was three weeks of work or less. There wasn't much sense of worrying about it, we just got on with it. The fact there were tunes being put together for More must have given us more confidence for the next thing»

«To Infinity... And Beyond!», Uncut, May 1969

NOVEMBER 1969

1 November 1969 Main Debating Hall, Manchester University, Manchester, England

« First term at university and the list of bands up to Christmas was published…..big (at the time) names, every Saturday night ..….. Blossom Toes, Chicken Shack, Duster Bennett, Soft Machine, Ten Years After, Fairport Convention, Pink Floyd, Family (being the ones I remember) and possibly Colosseum and Keef Hartley too. The Main Debating Hall was on the top floor of the student union building, about 4 or 5 floors up. It was rectangular, about 120-150 feet long, with quite a high stage at one end. The support band was always set up to play on a low stage either at the back of the room or on the right-hand wall. The support band that night was Stone The Crows with Maggie Bell on vocals and Les Harvey on guitar (sadly he was killed a couple of years later, whilst she went on to bigger, but not necessarily better, things).

Whilst I don’t particularly recall details of many individual songs that night, I remember thinking it was the first ‘proper’ concert I’d been to by the Floyd. It was a relatively small, intimate venue (as well as the bands listed above, I also saw Led Zeppelin there a year or two later). It was standing only and, not being packed, it was fairly easy to get from the bar out the back to a position about 20 feet from the stage. First time I’d been close enough, and with a good straight-on view, to see all the WEM amps and speakers with their little red lights in the darkness (‘we’re ready’), and then being close enough to see everything that they did. The one song that does stick out in my mind is Set The Controls a) because it was the first time I’d seen Roger go ape-shit with his gong and b) because the quiet spacey passage in the middle was so ethereal. I don’t think they had a light show but they played this in near darkness with just the Hall’s stage lights sweeping around. Also, they’d ditched the surround-sound quad system and the Azimuth Co-ordinator just controlled left/right from the PA on the stage. A great show……. »

« Recollections of Early Floyd Shows » (Simond), Yeeshkul Website, 8 March 2015

2 November 1969 London College of Printing, London, England

7 November 1969 Main Hall, Waltham Forest Technical College, Walthamstow, London, England

7 November 1969 « Ummagumma » was released in the UK and reached No. 4 in the UK charts. The album was released a day later in the US and reached No. 74.

The German date was cancelled because the recording sessions in Roma for the « Zabriskie Point »

Photo session by Ray STEVENSON

26 November 1969 Friars Club, Queensway Hall, Civic Center, Dunstable, England

« A colossal version of astronomy dominé, left the audience breathless from the onset and it provef to be quite an evening for Floydian favorites with Interstella (sic) Overdrive, Green is the Colour and Careful with that Axe, Eugène following in quick succession. Richard Wright is an outstanding organist who really shone on Dominé and the inevitable Saucerful of Secrets with which they concluded their set.

Nevers has a piece of music been guaranteed to have such a devastating effect on an audience as the dramatic climax of Saucerful and the resultant

ovation brought the group back to play an encore. 

They obliged with the beautiful Cymbaline from the album « More » (…). An incredible evening, with incredible music from a truly incredible group »

« Quite an evening for Floydian favourites », Saturday Telegraph, 6 December 1969

27 November 1969 Mountford Hall, Liverpool University, Liverpool, England

« …..and three weeks later we went over to Liverpool to stay with an old school friend who was at university there and who’d thoughtfully got us all tickets to see the Floyd…….happy days!! I can only vaguely remember the Hall where the show took place. I seem to think it was a fairly modern building with a square hall with a large low(ish) stage at one end. I don’t recall whether or not it was seating or standing. I assumed that they’d just do the same songs as 3 weeks earlier in Manchester and it started out that way. Then (and I don’t recall any announcement) they went into The Man. Our friend hadn’t seen the tour earlier in the year so was unfamiliar with some of the songs. I’m pretty sure they didn’t bother with a tea-break, and the hammering wood section was dropped for something more percussive (I can picture Roger playing timpani/kettle-drums which may, or may not, have been here) – so it was a more ‘restrained’, more ‘musical’, rendition of The Man – possibly done on the spur of the moment hence no ‘props’? I recognised a new piece as coming from their new LP Ummagumma but couldn’t place what it was (sorry if you were hoping for a vivid memory of Sysyphus but I just don’t have one). My overall feeling was that this was a less relaxed performance than 3 weeks earlier – maybe it was the hall, maybe the audience, maybe the material – but I enjoyed Manchester slightly more than Liverpool (despite the historically rarer material played) »

« Recollections of Early Floyd Shows » (Simond), Yeeshkul Website, 8 March 2015

28 November 1969 « Brunel University Arts Festival Weekend », Refectory Hall, Brunel University, Uxbridge, England

30 November 1969 The Lyceum, Strand, London, England

DECEMBER 1969

Another clue about the desire the band want to work with an orchestra


Rick Wright:

« We want to write a complet work for the orchestra and ourselves so that the group is another part of the orchestra »

« Pink Floyd have the last laugh », New Musical Express, 13 December 1969

6 December 1969 « Afan Festival of Progressive Music », Afan Lido Indoor Sports Centre, Port Talbot, Wales

From 12 to 15 December 1969 Recording sessions for the « Zabriskie Point » soundtrack at the  EMI Studios, Londres, Angleterre

17 December 1969 Kevin Ayers turned up at Barrett’s flat in order to tempt him out to a session at the EMI studios. The track, titled at the early stage Religious Experience (the definitve title will be Singing a song in the morning, is the Syd’s only know guest appareance.


Kevin Ayers:

« It was totally chaotic, as I remember, Indon’t think it was together at all. We couldn’t use any of the stuff because it was all over the place »


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