« Speak Soundtrack »(Late 1967)

John Latham is a conceptual artist who submit various works for some London events in the 1960s. He worked with his group at the « Music in Color » festival on January 17, 1967 where he made an appearance. At the end of October 1967, Syd asked to compose the definitive soundtrack for a silent film that the band often screened on stage. Once completed, it was presented to the artist who eventually refused it. The tape, produced by Norman Smith, is still archived in the Abbey Road Studios. It eventually emerged on the « Early Years boxset ». The film has emerged since too.

John A. Walker :  

« On various occasions, Latham was showing his movie « Speak » while the band was playing. (...) even if there was really no synchronization between the images and the music. Thinking of combining the film and the music more systematically, Latham asked the Floyd to provide a soundtrack. The group agreed and a recording session was organized. The artist explained that he wanted music that sticks to the powerful rhythmic pulsations of the film. The group did not arrive or did not want to offer adequate music; therefore, the association ends. A soundtrack was added later on a copy of "Speak": Latham placed a microphone on the floor to record the rhythm of a circular saw (...) ".». 

« John Latham: The incidental person - The art and Ideas », John A.Walker, 1994.

« Television Series » (Early 1967)

The group evoked a number of TV shows about the psychedelic scene of which they would be the first head.

« Games for June » (Mid 1967)

Following the critical and public success of « Games for May », the group planned to re-edit the show with a number of additional developments.

Nick Mason:

« (…) Still this was the first time we’ve tried it, and like a lot of other ideas, we used for the first time at this concert, they should be improved by the time we do our next one«

«We feel good say The Pink Floyd«, Record Mirror, 21 October 1967

«Spectacular Shows» (1967)

In the middle of 1967, the band (mainly Rick and Syd) has toyed with the idea to perform some new shows in March 1968 of all-new music backed by a classical orchestra and a 100 persons choirs. Some dates were announced in « Record Mirror » and confirmed by the management of the band. It seems the erratic behavior of Syd has compromised the project but some ideas were finally used in the 1969 shows and on « Atom Heart Mother ».

Peter Jenner

«This could be the biggest thing to happen in pop »

« Interview w/. Peter Jenner », Disc & Music Echo, August 5th 1967.

Roger Waters

« We’d like to play the major centres like Manchester, Liverpool and Glasgow doing our own two-hour show»

« Nothing nasty behind our light and colour effects », New Musical Express, 1st July 1967.

« Circus Show » (Late 1967)

The band's manager has mentioned several times his desire to mount a show articulated around a real theater show (as an extension of « 14h Technicolor Dream ») .

Peter Jenner

«This could be the biggest thing to happen in pop »

« Interview w/. Peter Jenner », Disc & Music Echo, August 5th 1967.

« Disc & Music Echo », 5 August 1967

« Ture Sjolander Shows» (Late 1967)

The band was interested by this avant-garde artist who realized some video works. At the end of 1967, They took advantage of their  Scandinavian tour to visit one of the exhibitions of the performer. Impressed , they tried to contact Sjolander to working on a new audio-visual show . Later, Andrew King sent him an informal proposal on 11 September this year.

« Having seen your interesting Stockholm exhibition of portraits of the King of Sweden made with advanced electronic techniques I have been struck by the connection between this new type of image creating and the music-and-light art presented by The Pink Floyd.

I think that your work could and should be linked with the music of The Pink Floyd in a television production, and I would like to suggest that we start arranging the practical details for such a production immedialtely. With all his experiences from filming in the USA and elsewhere I also feel that Mr. Lars Swanberg is the ideal man tp help us made the film.

Please get in touch as soon as possible.

Yours sincerely. Andrew King »

Syd Barrett (back) and Peter Wynne-Wilson (barefoot) visiting the exhibition

« Europa Giovane» (Circa 1968)

An apparition of the band in this italian TV show is stated by many music magazines.

Extract from CashBox magazine, 27 April 1968

« BBC One-Hour Show » (Circa 1968)

This project of the BBC is mentioned in the edition of magazine « Fabulous 208 » (20 April 1968). It would be a show of one hour dedicated to the group.

« Ulysseus Show» (Circa 1968)

In the beginning of 1968, Roger Waters revealed during an interview with « Melody Maker » they were working on a dance show based on Homer's Odyssey for $ 5,000.

… but the band will walk 4 years later on the Vieux Port of Marseille for a similar project ...

Source: The Stage, 20 October 1968

« Ballet Rambert Soundtrack » (Circa 1968)

Except the title Pawn to King 5 (remained unpublished) , the rest of the project was abandoned. Nick Mason has expressed its wish to integrate it in a box edition of « Immersion »

The premiere occurred on 4 December 1968. After some investigations, it seems the soundtrack was A Saucerful of Secrets.

New Musical Express, 2 July 1967

« Olympic Game - 68' Mexico Show » (Circa 1968)

The group was approached to play a show for the Mexico Olympics games in 1968. This request was made a year in advance , changes occurred in the group at the beginning of 1968 have certainly had to play a role in the withdrawal.

« Blackhill Enterprises Show » (Mid 1968)

Early 1968, Blackhill Enterprises has applied for a grant from the Arts Council of Great Britain in order  to finance a new project. Roger Waters was rather motivated by a concept of creating a musical show with the participation of groups and Blackhill (combining elements of theater too). This idea seems to be the background of the future concept-concert « The Man & the Journey ».

Waters  : 

« It would be a story, using other groups, written as a saga, like the Iliad, so that it doesn't just become a pop show with someone walking on end introducing groups. I don't want any of that scene. There would probably be a narrator, possibly John Peel, and there would be quality in the production of the material. It would be a non-profit making scene, nothing to do with selling records. I'd like Arthur Brown to play the Demon King with the Floyd providing the music. It would be telling a story, like a fairly tale. A definitive scene with good and evil »

« Pink Floyd work on a new art form », Melody Maker, May 18th 1968.

«The Tyrant King» (Circa 1968)

The TV network ITV had asked a bunch of English rock scene bands of writing songs for a series of adventures for children called « Tyrant King ». Pink Floyd was selected along to other artists like Cream , Nice, Moody Blues and Tyrannosurus Rex. Nothing has survived (although one episode was aired October 3, 1968) and it is not known if this music was used .

«U.S TV Movie» (Circa 1968)

One of the most obscure projects of the Floyd. In 1968, British television had the project to film the concert of the major British stage groups. These programs were an opportunity to make a mini-show combining interviews , performances and of course music (like this « Rock'n Roll Circus » that Rolling Stones filmed the same year and who remained long unpublished). These films were planned to be then distributed in some underground cinemas. On September 10, 1968, Floyd recorded a 45-minute show as related by this article in the « New Musical Express ». For a long time yet thought this lost film. However, Roger Waters has revealed its existence in 2005 during an interview.

Waters :                                                                                                                                                                                         

« (…)  I have always put theatrical elements in our concerts, from the early beginning (…) Recently a movie has emerged of a Pink Floyd show in 1968, at the Royal Festival Hall. You see me building a table. Literally: while the others play on, I get to work with hammer and saw (…)»

« Interview with Serge Simonart », Humo, 4 October 2005.

« The Massed Gadgets of Auximenes » (Circa 1969)

We can not really speak of aborted project because the group seems to have never had the urge to record it. This is however not so clear if we look at the recording process of « Ummagumma ».


« It was something called « the man » first and then (...) « The Journey ». I do not really remember that because there were pieces of other records. So we could not save it».  

« Libre antenne aux Pink Floyd », Europe 1, Mai 1982.

« Mit einen neuer Beat Soundtracks » (Circa 1969)

The group would have recorded exclusive tracks for broadcast on April 19th on German television but this was never confirmed. Nevertheless the musical press of this era had noticed it.

« Rollo »(Circa 1970)

After the Amougies’ gig on October 25, 1969, the band return in studio to working on the music dedicated to a TV pilot. This project is a 17-hour series scheduled to be aired on US TV (26 episodes of 30 minutes). This project created by Alan Aldridge (originally later know for the famous « Butterfly Ball ») is based o the story of a boy, named Rollo, lost in his dreams. The bed where Rollo is lied to life when two eyes appear. The bed starts shaking in order to wake up the hero. Then a teacher takes her through space to meet unknown animal species. 

We hear about this project for the first time in an article of the « Melody Maker » dated November 1st 1969. According to « Best » magazine (in the special « Pink Floyd Story », March 1977), they have worked on old titles but also written new ones ..

Wright :

« It'll be a lot of work, but we'll give them a stock of music to draw from for each episode (...) ».  

« Floyd - in the Pink! », Melody Maker, 11 April 1970. 

Interviewer : « And Rollo ? »

Waters : « They wouldn’t pay for it. We stuck some old stuff on a pilot that they made but when they figured out the way that they were going to animate it they realised that the cost would be very high ; now the only people with the money to back something like that is the Americans. But the Americans can sell Johnny Wonder goint at ten frames a second or something, real rubbish, and people will sit and watch it and the sponsors will buy it, so why should they pay for Rollo, because they can sell their cornflakes with Johnny Wonder. They don’t give a shit about the quality of the thing »

Mason: « It made us aware of what crap there is what we’ll accept as cartoons now. Compared to Felix the Cat, or Mickey Mouse even, it’s all such crap »

Waters : « They wouldn’t pay for it. We stuck some old stuff on a pilot that they made but when they figured out the way that they were going to animate it they realised that the cost would be very high ; now the only people with the money to back something like that is the Americans. But the Americans can sell Johnny Wonder goint at ten frames a second or something, real rubbish, and people will sit and watch it and the sponsors will buy it, so why should they pay for Rollo, because they can sell their cornflakes with Johnny Wonder. They don’t give a shit about the quality of the thing »

« Interview with Roger Waters and Nick Mason », Zigzag 33, July 1973.

« Amougies Jazz & Pop Festival official Live» (Circa 1970)

A film project like « Woodstock » was released including the Floyd set with the participation of Frank Zappa on Interstellar Overdrive. The group gave its agreement to director Jerome Laperrousaz but with the poor audio quality, they asked to be removed from the project « Music Power 1969 ».

Mason : 

« Frank Zappa is certainly one of the very few musicians to play with us. The little contribution that he did  in Amougies was terribly right. But that was an exception. Our music and setting are so typical that it was very difficult to come jam with us ».

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

Gilmour :  

 « We didn’t  like the sound. Before the event, officials were told that if they did a good recording and if we did the mixing process, that would be okay. We saw the film, it was not bad. But you could not hear the music. They released the movie with us, but without our agreement; we have pursued the producers »

« Pink Floyd », Jean-Marie Leduc, 1977.

« National Theatre soundtrack» (Late 1970)

Rick Sanders, friend of the band (he wrote the first full biography of the Floyd in 1978), suggested Pink Floyd will be doing a music for the National Theater in the Royal Albert Hall programm edited for the show.

Interviewer: « Was gibt es in den nächsten Monaten neues bei Pink Floyd ? »

Roger Waters: « Wir wollen in London ein Theaterstück starten, womit wir dann auf Tournee gehen. Die Aufführung hat nichts gemeinsam mit der Rock-Oper «Tommy» von den Who, Bei welcher eben nur diese Gruppe auf der Bühne steht und singt. Wir wollen bei unserem Stück nicht nur Musik machen - es werden Schauspieler dabeisein und alles, was sonst zu einem Theaterstück gehört. Ausserdem komponieren wir die Musik für ein Ballett, das im Juni dieses Jahres in Paris unter Mitwirkung von Rudolf Nurejew uraufgeführt wird. Natürlich bestreiten wir dabei auch gleich selber den musikalischen Rahmen »

« Atom-Kühe und Nurejev », Pop Magazine, February 1971

« Canaries Islands Movie soundtrack » (Late 1970)

According to the magazine « Disc and Music Echo », dated July 18th 1970, the band was approached by a director to complete the soundtrack of a film (or a documentary?) about the Canary Islands. This information was confirmed again in the same magazine's the next month of that year.

« Pink Floyd's Original Movie » (Late 1970)

Rick Wright said many times that the group plans to make their own film. The « Sounds » magazine will confirm this project in October of this same year.


« We also want to make our own film. We have done three or four film scores in the past. We have turned as many offers down, in fact, but there was some definite talk about us doing a film and then writing the music around it » 

« Interview with Pink Floyd », Melody Maker, September 12th 1970.

« Nureyev's Ballet » (Late 1970)

The meeting between the classical ballets and the music of Pink Floyd has been a long time process. So, the are several stages of development of that ambitious project (original music, broadcast live concert ... ) who became ultimately modest. The start of the project depends on the demand of Rudolf Nureyev. The group was  particularly interested by the idea  of playing with an expanded orchestra and by a broadcast of the live from the Parisian Grand Palais in Eurovision.


« It's pretty amazing. It's something we have never done before and no one from our field of music has ever done. It poses a whole a lot of problems but opens up a lot of scope. We have got quite a lot of ideas, but we can't discuss them at the moment. We are still very much at the beginning of things. None of us have met Nureyev before, but we have met the producer. We will be discussing ideas with him next week » 

« Interview with Pink Floyd », Melody Maker, September 12th 1970.


« It was all a complete joke. Nobody had any idea what they wanted to do. We all sat around until somebody thumped the table and said: « What’s the idea then ? ». Everyone just sat there getting more and more pissed, with more and more poovery going on around the table, until somebody suggested « Frankenstein », and Nureyev started getting a bit worried. They talked about Frankenstein for a bit. I was just sitting there enjoying the meat and the vibes, saying nothing. When Polanski was drunk enough he started to suggest that we all make a blue movie to end all blue movies, and then it all petered out into Cognac and coffee and then we jumped into our cars and split. God knows what happened after we left » 

« Interview with Roger Waters and Nick Mason », Zigzag 33, July 1973. 

Steve O' Rourke

« He (Roland Petit) has contacted Nureyev and wants the Floyd to write the music. It will be performed over a period of ten days from June 1st to June 10th and on the last night it will be televised throughout over Europe, including England. The group have a 108-piece orchestra at their disposal and Nureyev will have 60 dancers with him. It is a big step for the group to be working with musicians of this caliber and a big step for the ballet people to approach a group to write their music. We are meeting Petit newt week to discuss the details. The group will actually play with the orchestra » 

« Interview with Pink Floyd », Melody Maker, September 12th 1970.


« I think the idea is to broadcast it on Eurovision one night. On that evening, there will be an another ballet with music by Xenakis, who is well known as an avant-garde composer in France. We shan't be in an orchestra pit or anything. We'll be on stage somewhere, probably on a different level from the dancers (...) When we get back from the States, we'll have to start working out what we want to do, and rehearse it quite a lot, then go into a studio and record it with no overdubbing, and send the tape over so that he can choreograph the ballet from our music. But we can use anything we want, really. It's almost a "money is no object" scene. So if we wanted to use an orchestra for a bit of it, we could. It's going to be about a 40 minutes piece »

« Floyd, Petit and the ballet », Sounds, October 1970.


« We're writing a ballet for Roland Petit which will be on Paris next June, and the sky's the limit for that. They're spending so much money on that that they'd be quite willing to pay for an orchestra. But it might take it out of our hands to a certain extent if the stuff had to all be written down, because we can't write it down ourselves, and there's always a communication gap involved between what you can sing or play on a piano and what gets written down as music. And then you never hear it until you've got the orchestra there at the first rehearsal, and you probably only get two rehearsals anyway, so by the time you hear it, it's too late to change it; whereas our stuff is all based on doing something and then throwing out and using something else (…) it's going to be on for about ten days. Nureyev is dancing the male lead. On the program we're doing, we're doing one ballet and Xenakis is writing the other »

« Interview with Pink Floyd », Georgia Straight, October 14-21th 1970.

The Floyd’s participation to a special Roland Petit’s show on French TV, December 1970 (by by Alain Liennard).

Interviewer : « What’s up about the  Roland Petit’s Ballet ? »

Waters : « We haven't started work on it yet (...) No, none at all. I'm madly reading all Proust, because that's the basic idea, so they tell me. That Roland's idea, the choreographer and producer of the thing. It's based on the twenty volumes of his « Remembrances of  … ». Roland thinks there's some good gear in that, which is undoubtedIy is. So very loosely, the ballet will be based on certain episodes »

« Troubled Waters », Melody Maker, December 5th 1970.

An Advert published by Harvest on CashBox, 22 November 1970

«  Live in Montreux1970 »(Late 1970)

In order to correct the bad impression left by the live part of « Ummagumma », it was decided to recording their participation at the Montreux Festival on 21 and 22 November 1970. Nevertheless, some mic  problems (mainly on Cymbaline) made the project unsustainable. An acetate was however released.

« This made-in-Switzerland live album reached white-label acetate stage only to be withdrawn from the release schedule in favor of « Ummagumma » »

« The Great Lost Albums », Vox Magazine, October 1990.

« Meddle Quadraphonic Mix » (Late 1971)

Satisfied with the Quadraphonic mix done for « Atom Heart Mother », the band did the same thing for « Meddle » for the Roundhouse exhibtion in London. It would have made four albums in this format. Eventually, only Echoes was actually mixed in Quad.

« Paintings Movie » (Circa 1971)

Before to have the idea of concert without audience on the site of Pompeii, the French director Adrian Maben had another idea about the group.

Adrian Maben :

 « (…) So I came back to London, and on this particular occasion (meeting with Steve O’Rourke), David Gilmour was there. David was very nice and sweet. He said, "What do you want to do?" I said I wanted to make this film. "Where do you want to do it?" I said, "I don't know yet." Then I had this idea that we should do a film which would be kind of a marriage of art and the Pink Floyd. So I talked to David, and to Steve O'Rourke, about paintings by Magritte, by De Chirico, and contemporary painters like Christo, or even Jean Tinguely. I said maybe we could do something which would be a marriage between their music and the paintings of these painters or sculptors. In retrospect, I think that was an embarrassingly bad idea and would have been terrible. David Gilmour was kind and said, "Yes, how interesting. We'll think about it." And then we each went our own way » 

« Interview with Adrian Maben — Director of Live At Pompeii », Website, 2000.

However, Maben will come back to see the band several times (until 1978) to working on several documentaries about the artists with the help of Roger Waters, Nick Mason or Ron Geesin.

An extract from « Melody Maker », 13 February 1970.

«The Road to Salina » (Circa 1971)

At the end of 1970, french director George Lautner turned a movie with music by Christophe (a famous french singer). However, the director wanted a little more rock songs and has approached Pink Floyd. The latter entered into negotiations which, in advanced stages, aborted.

Alan Reeves (Musician, former frontmen of Clinic) :

« (…) Albane, who was a girl friend of George Lautner, asked me if i could compose a film score. « Yes, of course » came the reply (…) The next thing we had to do was meet him, and get a idea what he wanted for his film. He turned out to be a real nice man, and explained that he wanted Pink Floyd to score his film but they were not avalaible (…) Also at one point David Gilmore (sic) was there and it was good to see him again, he told me that Pink Floyd had indeed been asked to do the score for « The Road to Salina », but they weren’t able to because of other commitments ».

« Sex, Booze & Blues », Alan Reeves, 2014.

« Ray Bradbury's Movie » (Late 1971)

An another movie’s project: the soundtrack of a film based on a story by Ray Bradbury (Seen in « The Robesonian » Journal of 4 November 1971 ).

« Mycenes » (Circa 1972)

Co-written by the science-fiction writer Stefan WUL, this story narrated the adventures of an alien robot who ran into incomprehension humans. This series was intented to have 13 episodes. Unfortunately, before the public and critical failure, and means to face shortages of ORTF at that time, only two episodes were filmed and broadcast. The group was approached by the producers while he was in the Château d’Hérouville in January for the soundtrack to « La Vallée ». 

They wanted the Floyd give few new songs but no agreement was reached. One can legitimately think that Pink Floyd wanted to devote more forward to their new album which he foresaw potentially masterpiece status. Nevertheless the group members gave their consent to the use of some old songs and excerpts from their recent « Meddle ».

« William Blake's Ballet » (Mid 1972)

Following various development for the « Ballet project », Floyd had the idea of making a ballet based on the work of William Blake (as shown in the October 1971 interview with the « Georgia Straight ».

« French Movie » (Late 1972)

Following the success of the « Ballet Pink Floyd », the authors are thought to make a film with the band.


« The aftermath to all this was an extraordinary lunch at Rudolf Nurcyev’s house in Richmond Marcel Proust had reared his head again, but this lime in film formal Nureyev. Roland Petit and Roman Polanski were there along with Roger. Steve and myself. Feeling slightly self-conscious in a truly exotic atmosphere of fine art and lavish decor, we were astonished at the rather louche youth who greeted us and then left us to amuse ourselves until the others arrived and Nureyev made an appearance, which of course he did in style - swathed in Oriental drapery »

« Pink Floyd, l'histoire selon Nick Mason », Nick Mason, 2006.

«Household Objects» (Circa 1971-1973)

THE major project of Floyd. In fact, the one to whom the group was the longest attached; and the most fantasized by the fans. The band, with the huge success of « The Dark Side of the Moon » is in a state of shock! For the first time, members of the group are not in possession of sufficient material to give birth to a successor of their flagship album. While in their early years, the Floyd was constantly developing new tracks, in particular by relying on their stage performances, the band has been entirely devoted (for at least two years) to « The Dark Side of the Moon ». 

No longer supporting their old repertoire and therefore the unreleased tracks developed at that time, the musicians find themselves in the studio without any joint project. Nick Mason suggested that this project represented an avoidance strategy in the absence of new titles. The project was carried by Waters who has always been interested in using different sounds of the common rock


« I’ve always felt that the differentiation between a sound effect and music is all a load of shit. Whether you make a sound on a guitar or a water tap is irrelevant »

« Speak to Me », ZigZag Magazine #32, 1973.


« (...) « The Household Objects » album would have been the wittiest thing to do next, and it would have been if we could have knocked it out. But I think what we'll do is what we've always done in the past, which is to struggle away at whatever we've got and see how it comes out ».

« A Pre-Season report on Pink Floyd », Sounds, August 17th 1974.


« Strategically, our best thing to do next would be something weird, far out that nobody could possibly understand ».

« A Pre-Season report on Pink Floyd », Sounds, August 17th 1974.


« There are things like sixteen tracks of glasses tuned to a scale across the 16-track: it can be played across the faders, but what it really needs is each one going through a VCS3 or something, and then coming in to a keyboard. I suppose really it's a very, very, very, very crude Mellotron. There's a whole load of things we've done --some of them just down as sounds that work, others as bass lines, tunes ».

« A Pre-Season report on Pink Floyd », Sounds, August 17th 1974.

Nick Sedgewick:

« I remember I went to E.M.I. studios in the winter of '74, and the band were recording stuff with bottles and rubber bands ... ».

« Interview w/. Roger Waters », October 1975.


« No, we haven't made a new record because « Dark Side » is still selling a lot, so EMI isn't pressing for a new product. Finally we have worked with care, stopping ourselves on some things and excluding some pieces, which we would record if we were under pressure ».

« Article on Pink Floyd », Ciao 2001, May 25th 1975.

Interviewer: « What were the Household Objects sessions like ? »

Alan Parson: « I figure it was a great shame that they didn't go on with to because it had the makings of becoming a tremendous album. At the time we were doing it, four or five months after Dark Side, it was literally all experimentation. While we were recording the rubber band, for example, we were encountering some problems in that, when you record it, you're dealing with a fixed-pitch. We discovered, almost by accident, thefts way of getting the rubber band right was to sort of prop it uo on matchsticks on a table. Then we found it you put your finger in-between, it would change pitch, of course. And then you found you got an even better sound by sticking matchsticks in the middle, which was the re-discovery of the fret. The mic was literally about 1/8 inch away from the rubber band. The rubber band was about a foot long to get a low note. Eventually, we ended up with a riff that had been played, with this rubber band, made a tape-loop of that, and dubbed on a sweeping-up brush banged on a floor as a high hat. Amazing hi hat sound. Really quite authentic (...) The snare drum was done with aerosol spray, shhh-shhh-shhh, but you couldn't get it short enough by pressing it, si i had to record a long spray and then cut it to 1/2 inch lengths of tape between white leader into a loop to sh-sh-sh. It was a really good snare drum sound »

« Interview w/. Alan Parson », Recording Engineer/Producer, October 1976.

Alan Parson

« We made the bass loop, then i dubbed on the brush, then each individual beat of the snare had to be dubbed in after that, and then another loop was made on the 24-track. SO it went, click track on the 24-track, then the brush, then a couple beats of the snare individually keyed-in, then a bass drum which was just footsteps on the floor using a lot of EQ »

« Interview w/. Alan Parson », Recording Engineer/Producer, October 1976.

Interviewer: « How much material did you end up with ? »

Alan Parson: « Very little. A lot of it was also compelling tapes of wine glasses vary-speeded at different pitches so you could make up different chords by combining different tracks on the 24-track (...) It was a matter of scraping your finger on the edge and then vary-speeding it from a loop.

In order to make the edit not jump in a loop, you have to make a very long cut. The splice would have to be about 2 1/2 inches »

« Interview w/. Alan Parson », Recording Engineer/Producer, October 1976.

Interviewer: « What else was used ? »

Alan Parson: « Blowing into bottles (...) It's sort of like an organ if you have lots of them and use VSO. We also had electric razor and egg slicer, using the wires for plucking »

Interviewer: « Did any of these recordings turn into a song ? »

Alan Parson: « They kind of tries, but there were never vocals of it. Oh, another thing was footsteps. We overdubbed footsteps to simulate footsteps. Rick was holding the mic by his feet while we walked around the studio. Each group member tried it, and it turned out that Rick had the most suitable shoes. But it really is a shame that album didn't surface. It could have benne really something »

Interviewer: « How much came out of the sessions ? »

Alan Parson: « Well, that's the thing. We ended with virtually zero. And it's a shame because there was a lot of time spent on it, but to do that, some of it became very tedious. We probably spent in excess of a week doing it, and the majority of that was spent going. Later the Floyd wanted me to set up their studio and continue to go on the road. I had done three American tours with them ans it was they that brought me to America » 

« Interview w/. Alan Parson », Recording Engineer/Producer, October 1976.


« We actually did get something out of it that we used on « Wish You Were Here ». We did actually use some of the « Household Objects » - the wine glasses were in some of the music at the beginning of the « Wish You Were Here » album »

« 90 Years of EMI Radio Special », hosted by Klef Richard, November 26th 1988.

Nick Sedgewick: « I remember I went to E.M.I. studios in the winter of ‘74, and the band were recording stuff with bottles and rubber bands… the period I’m talking about is the before your French tour in June ‘74 »

Waters:  « Ah! Right, yeah. Answer starts here… (great intake of breath)... Well, Nick… there was an abortive attempt to make an album not using any musical instruments. It seemed like a good idea at the time, but it didn’t come together. Probably because we needed to stop for a bit ».

Nick Sedgewick: « Why ? »

Waters: « Oh, just tired and bored … »

« A Rambling Conversation with Roger Waters Concerning All This and That », Wish you were here Songbook, 1975.


« Almost everything we’ve ever recorded in a studio has been extracted by someone at some point and subsequently bootlegged. However, no such recordings exist of the « Household Objects » tapes for the simple reason that we never managed to produce any actual music. All the time we devoted to the project was spent exploring the non-musical sounds, and the most we ever achieved was a small number of tentative rhythm tracks »

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


« I think it was Roger who said, « let’s make an album without using any of our instruments, but (using) household objects. So we’d spend days getting a pencil and a rubber band till it sounded like a bass… spend weeks and weeks doing this. Nick would find old sauce pans and stuff, and then deaden them to try and make them sound exactly like a snare drum. I remember sitting down with Roger and saying, « Roger, this is insane! » ».

«Which One’s Pink ? », BBC TV, 2007.

« In the Pink Book » (Circa 1973-1974)

Following the group during the « British Winter Tour », in the fall of 1974, Nick Sedgwick and Storm Thorgerson present their manuscript entitled « In the Pink », the first real biography on the band whose first idea is dated from 1973. Waters is satisfied by the work, Gilmour much less ...When Nick Sedgwick is deceased, Waters has published a lighter version in 2017.


« We all sat down and read it, and it was fascinating. Dave read it and said « yeah » and then just a couple of days later, he just exploded. He started saying things like « if this is true then i might as well not be in the band » because it didn't fit with how he talk of himself and his role in the band. It described me as the leader. So, the whole book was suppressed » 

Jill Furmanovsky:

« My brief from Storm was to shoot documentary stills on Pink Floyd's 1974 Dark Side of the Moon tour for a possible book to be written by a friend of Roger's, Nick Sedgewick (...) the pictures (and words from Storm and Nick Segdwick) were a revealling insight into the band, but the planned book was never published. Perhaps it gave too much away » 

« Moment », Jill Furmanosky, 1996.

Jill with Nick and David (photo by Storm Thorgerson).

Aubrey Powell:

« Storm and an old Cambridge chum, Nick Sedgwick wanted to write a book about being on the road with Pink Floyd in the USA. The band reluctantly agreed to let the book go ahead, although they were naturally anxious when the two writers insisted that nothing was sacred and they should have access to everything - I mean everything. However, it was arranged that the duo would report about their individual experiences and Storm would take some photos to back up the writing. Things began well enough, but as the tour progressed the two writers fell out, ant the band grumbled about the constant intrusion.A halt was called to the project and Storm came home. Nick stayed on for a while, then wrote a fascinating book, which remains unpublished (…)»

«Hipgnosis - Portraits », Aubrey Powell, 2014.

Storm Thorgerson:

« (...) it does display the dynamic in the group at that time. I had tapes of certain discussions, some arguments. At times, people perharps said things they wished they hadn't »

« Pigs might fly », Mark Blake, 2006.

Mark Blake:

« Backstage, Waters accuses the band of being lethargic ans David Gilmour accuses Waters of « sounding patronising ». Meanwhile, their wives bicker and their roadies complain about the lack of sex. Nobody, especially Pink Floyd, seems to be having a good time. This might have been considered schoking in the mid'-70's, but not after Gilmour and Waters' subsequent, very public falling-out »

« Special Animals », Mojo, April 2017.


« I didn't think it portrayed us accurately and certainly not kindly, but i haven't read it forever »

« Special Animals », Mojo, April 2017.

Chapter 1: « This Is true »

Extracts of  Interviews introducing the Floyd phenomenon.

Chapter 2: « Birth »

The group inception. The school days, the differents places. The changing personnel. The first UFO gigs. The success of the singles and the making of the first album. The emergence of the underground scene. The genesis of the light show. The British tour and the « Top of the Pops » appearances ; the first american tour with the syd’s troubles.

Chapter 3: « The Piper at the Gates of Dusk »

The Flower Power and the psychedelic era. The end of the 60’s dream with the Altamont and Manson events. The effects of Syd’s breakdown and the arrival of David The personnel changes, and the beginning of an era of confusion for the Floyd.

Chapter 4: « Rough history of the Space Music »

This chapter span from the collapse of the Blackhill management to the recording of « Meddle ». The successful tour in Europe and US, the new tour in Japan. The soundtracks for « More » and « Zabriskie Point ».

Chapter 5: « The Chaps »

A collection of old and new interviews with the group. The relationship between the members

Chapter 6: « The Structure »

Relationship between the band member and with the outside. The financial aspects.

Chapter 7: « Everything under the sun »

The « Dark Side of the Moon » phenomenal success mainly on the american market. The consequences on the band (joy or stress ?) The future projects after this album

Chapter 8: « The œuvre »

A study about the lyrics and music of Floyd : the musical improvisations, the meanings of Roger’s lyrics. The poetry of Syd. The individual contributions in each album … The film music. Instruments skills and limitations. A recollection of bad gigs and bad songs played by the band. The dynamic in the band. A look on how some music gets and how some doesn’t.

Chapter 9: « Technology »

A look on the technology used by the band, the quadraphonic sound, the ballet with pictures and diagramme. Interviews with Peters Watts and Arthur Max.

Chapter 10: « The Women »

The rock scene and the women in a general view and the Floyd’s women. Interviews with wags of the band

Chapter 11: « Hernia Hernia »

A look on the life on tour. The travels, the gigs, hotels, events …

Chapter 12: « Appendix »

Short interviews with friends and parents. The opinion from the outsider of the band

« The Rose-Tintled Monocle » (Circa 1973)

Anthony Stern produced an abstract film based on an original idea that Syd Barrett and Stern had developed since 1968. For this later project, it took « The Dark Side of the Moon » in order to synchronize the soundtrack. And then went to show the result to all Floyd members who approved the idea. This movie who should be released could be used by the band as backdrop films for the French tour in 1974. Finally, Steve O'Rourke refused this one for money reasons.

Anthony Stern:

« The film was composed of diary footage over several years. I was trying to find the right music to go with it, but it was very difficult. Finally, when « Dark Side Of The Moon » came out, I thought that was it, especially as I had used Interstellar Overdrive as the soundtrack to my successful short film « San Francisco ». I set about approaching each member of the Pink Floyd to show them “Wheel", in order to get their approval. This was readily given although the proviso was that I had to run it past their manager, Steve O 'Rourke. When Steve saw the film he went fairly ballistic and totally refused permission to use the music. It was obviously far too experimental and in his view crazy »

« Purple records 1971-1978 », Neil Priddey, 2014

« Electronic Sounds » (Circa 1973)

Before tackling the project « Household Objects », the band had the idea to recording an electronic album digging the path cleared by the recording of « Obscured by Clouds », who used samplers and VSC3 for the first time and mainly with the title On the Run .

Waters :  

« Since the end of 1973, we had set up several record projects without being really satisfied. At first, we wanted to do something very electronic, but it seemed very artificial. Then we went to another record, it was finished, and then we realized that there was no soul, that we played like machines. So we gave it up and we went back to work on something else ».

« Dune's Soundtrack » (Circa 1974)

A movie based on the Frank Herbert's masterpiece was planned when Floyd bought the copyright. However, the band let this idea in stand-by to finally release the rights in the seventies. The Director Alexandro Jodorowsky set a coproduction structure with the famous french producer Michel Seydoux. The main idea was to get some famous people as Orson Welles, Alain Delon, Mick Jagger, Salvador Dali to play the characters. For the musical side, Virgin records drop some names as the young Mike Oldfield, Gong, Tangerine Dream, Henry Cow and Magma.

 But the director wanted to get Pink Floyd. Roger Waters, who has appreciated his movie « El Topo » agreed to meet Jodorowsky.

Jodorowsky : 

« I was lucky, thank to my movie « El Topo » to be knew by this musicians. They accepted our visit in the London Abbey Road Studios where the Beatles recorded their success. I wanted real artists who had respect for this « oeuvre », so important for the human conscience ». 

« Jodorowsky's Dune », Documentary, 2013.

According to the director, the group having lunch recently received a very feverish Jodorowsky about this pharaonic project, the interview turned short and the Chilean director left with losses and noise. Gilmour ran to catch him by the sleeve and bring him to his senses. This version is nevertheless denied by Mason.

Jodorowsky : 

« We wouldn't treat someone we admired in such a cavalier fashion »

« The Greatest Albums you'll never hear », Bruno Mac Donald, 2013.

Brian Humphries (sound engineer) : 

« It's just at the talking stages at present. Jodorowsky's next film will be « Dune », and he came to London to meet and hear the band in the studio. If we do it, it will mean at least a month in the Sahara with a mobile unit, because that's where Jodorowsky is shooting the film. He wants to film to the Floyd's music, so we'll be marooned for a while doing that, but it is an exciting challenge »

« Pink Floyd: more gritty, less giddy », Circus magazine, September 1975.

Alejandro Jodorowky

« (...)They happily agreed to meet us in London at Abbey Road Studios where the Beatles had recorded their success. Jean-Paul Gibon was very pleasantly surprised that the group would see us. At that time, I had already almost lost my individual consciousness. I was the instrument of my sacred, miraculous work where everything could happen. Dune wasn't at my service, I was like the samurai that I had found, at the service of the work. They were in the middle of recording Dark Side of the Moon. Upon arriving, I didn't see a group of musicians in the middle of making their masterpiece, but four young guys eating fried steaks. Jean-Paul and I, standing in front of them, had to wait for their voraciousness be to satisfied. In the name of Dune I was taken by an anger and I left slamming the door. I wanted some artists who knew how to respect a work of such importance for human consciousness. I think that they didn't expect that. Surprised, David Gilmour ran behind us giving excuses  and made us attend the final mixing of their record. What ecstasy... After, we attended their last public concert where thousands of fanatics cheered. They wanted to see The Holy Mountain. They watched it in Canada. They decided to participate in the film by producing a double album which was going to be called Dune. They came to Paris to discuss the financial part and after an intense discussion, we came to an agreement. Pink Floyd would do almost all the music of the film »

Interviewer: «You will shoot a movie, at leats you’ll be doing the soundtrack of the Alejandra Jodorowsky movie which will be called « Dune », and you have planned almost a year for composing and an another year to record it … we speak of a space-opera with a huge budget. What will be ? Will it be a new step in the bombastic Pink Floyd enterprise again ?» 

Waters: « In fact, we don’t specifically dedicate time to do it, we just do not anything else to do. We have not set aside a year for this composition, we do not have anything else to do. Since the end of July until Christmas, we had no project anyway, nothing at all … we were going to split » 

Interviewer: « In fact, you have the feeling of not really choose what you need to do? What you say is rough »

Waters: « No, the fact is « Dune », " is a novel that we all read and we much appreciated and loved. In addition, we also loved the film that was shot and actually there about a year we thought to buy the rights to this film who made round trips in the show business for 5 or 6 years. And when Philip (NDR: Constantin) called us and said that Jodo. going to be producer of this film is that we would like, we said yes. And since it is he who will direct the film we are interested»

« Radio Campus », Europe 1, First September 1975.

Mason :

« There was even a moment when we decided to take a year of freedom and do things on our own because we really were bored us. And as always, it happened something that we all want to do. That was the case for the music of « Dune ». The project is not likely to happen now, but at the moment, we are all input, preferring to do it together rather than solo albums ».

« Your Mother didn’t like this », Capital Radio, December 1976.

Mœbius was hired to create a storyboard and H.R Giger and Dan O'Bannon (designers of the future « Alien »). With regard to this material, the Floyd of committed to deliver a double album with the group Magma in support of certain scenes. Nevertheless the cost of production ($ 30 million at the time, $ 130 million in 2013) forced the French to request a co-production with an American studio. Unfortunately, no studio wanted to commit to such a budget on a Science Fiction movie at that time (it was before the breakthrough « Star Wars »).

« Deep Red » (Circa 1974)

At the beginning, Dario Argento has met the jazz player Giorgio Gallini to write the score. However, the relationship between both men had been quickly degraded. Then, he has called the italian prog band Goblin who turned down the offer. Finally, he tried to get Pink Floyd without success.

Claudio Simonetti : 

« When Dario Argento came to do the soundtrack for Profondo Rosso, he asked the producer to call bands like Pink Floyd, Emerson, Lake and Palmer and Deep Purple. At the same time, we had signed a contract with the same label that was also the publisher of Dario Argento’s films. We were lucky, because we were in the right place at the right time. The producer said to Dario, « Before we call these big bands from England, I would like you to listen to this band that I am recording now in Rome » »

« Film Review: Interview: Goblin's Claudio Simonetti discusses music and film », Supajam Magazine, 16 February 2015.

« The Dark Side of the Moon's Movie » (Circa 1974)

The director Peter Medac met the band backstage during the 74' British Winter Tour (during the last shows in December) to talking about a project of film based on « The Dark side of the Moon ». This movie would have been a feature film mixed with some live footages.

« Alienation’s Tapes » (Circa 1975)

Like what was done for « The dark Side of the Moon », the group recorded interviews of various stakeholders reacting on the theme of alienation. This tape was supposed to be used on « Wish you were here » but the idea was abandoned in the end.

« Live at Pittsburgh » (1975)

Afin de capitaliser sur le succès de « The Dark side of the Moon », le Floyd aurait vaguement envisagé de sortir un album live du concert au Three Rivers Stadium .

Three Rivers Stadium, Pittsburgh, 20 June 1975.

« Gerald Scarfe Animals' backscreen movies » (Late 1976)

Gerald Scarfe began to work on the backfilms for the 1977 tour to complete those already made (Shine on you Crazy Diamond Part 1 & 2 and 9 and Welcome to the Machine). The elements were recorded in a storyboard but Roger didn’t want to use the works of the designer. According to Gerald, the divorce  of the bass player led him to reject considered as too depressing.

Original concepts from Scarfe

« In the Flesh Live Tour » (1977)

A live album of the 1977 tour was considered. That's why Waters was screaming different numbers every night to identify the recorded tapes (and not to track the bootlegs tapes).

These tapes were also used during the rehearsals of the gigs. An article in the 27th March 1977 issue of « Melody Maker » relates the band broadcasting the recordings of the Dortmund concerts (in January) as a test tape for the synchronization of the special effects.

The Show must go on (Beach Boys version) (Circa 1979)

A session with the Beach Boys was organized at the end of the sessions of « The Wall » but canceled at the last moment. Only Mick Love made an appareance.

« Animals Remake » (Circa 1979)

Given the technical problems the band faced while recording their 1977 album, Floyd's idea was to re-record parts of the album after working on « The Wall ». This project was evoked many times in the life of the group and, recently by Nick Mason, during the release of « The Endless River ».

Harvest's Label communiqué:

« (...) We haven't heard any of their work yet, but they have been re-recording some stuff that wad done last years »

« Reactivated Floyd », Melody Maker, 31 March 1979.

Mason :

« I know both Roger and David have at times mentioned they'd like to have a remix of Animals, which technically is perhaps one of our less well-recorded records (…) I think we'd just probably clean up some of the tapes and just sort of review it and see whether it can be enhanced. And if one was doing that, one might have a look at whether there's anything else to be done on it. But no one's got that down on their work schedule at the moment »

« Pink Floyd: More Unreleased Music May Be Coming », Bilboard Magazine, 10 November 2014.

« The Spare Bricks » (Circa 1982)

The project of a soundtrack to support the film « Pink Floyd The Wall » was initiated in 1982 but abandoned with lack of interest in the thing (Waters considered that some titles such as Mother was too boring to listen on disc). First, the bassist decided to keep only the most interesting songs and to add some unreleased songs from « The Wall » sessions such as You possible Past, Teach (The future of One of the few), Teacher, The Hero's return. But the musician decided to burry it to work on a new album who kept the title « The Final Cut » ...

«  Final Cut Support TV Show » (Circa 1983)

While asked the question of making a tour to support the release of « The Final Cut », David was ok but not Roger.

Nevertheless, for financial reasons, Roger conceded the possibility of playing a concert live on television. But this idea came to an end too.


« We were never going to tour anyway. We might have done one gig for a TV simulcast. But i got involved with « The Pros & Cons of Hitch-Hiking »».

« Bricks in the Wall », Karl Dallas.

« A momentary Lapse Props » (Circa 1987)

ANother avatar in the group's long list of special effects, after the infatuated astronaut of 1973, the inflatable pyramid of 1975, the sheep-teacup gun of 1977 or the flying saucer of 1987, the group proposed in 1988 a strange character: Icarus.

Nick Mason:

« One of the fattest files in the touring department is ‘The Ones That Got Away’. Much time is expended on effects that promise a great deal but always seem to end up being bloody dangerous, fabulously expensive and only work once in fifty attempts. Sometimes (viz the inflatable pyramid), despite fulfilling all these characteristics, they still slip through the net. This time we decided mid-tour to ditch Icarus, an apparently airbom figure who sprang forth in ‘Teaming To Fly’ and flittered across the stage. He never quite worked, ending up looking like oversized washing on a line.

One idea - the flying saucer - sounded perfect. A large helium-filled device, it could be radio-controlled to hover over the auditorium, dripping with lights and effects. No wires or rigging were required. The problem was that it was a fantasy. To carry sufficient power for the proposed lighting rig it would have been about the same size, cost and approximately as safe as the Graf Zeppelin...»

« Pink Floyd, l'histoire selon Nick Mason » , Nick Mason, 2006.

« The Big Spliff » aka « The Satellite Album » (Circa 1995)

Nick Mason, in his book unveiled the information that Pink Floyd could have released an album composed of different jams and electronic effects from the recording sessions of « The Bell Division ». The process of composition initiated in 1993 had indeed led the three members to jam for weeks in order to write a maximum of music.

According to David, the group would have been in presence of sixty unfinished pieces.

Andy Jackson:

« It was just a mash-up of some of the psychedelic noodling from the Division Bell jams (…) It could have happened if there had been more time. But there was a time limit, a tour was booked. And work expands to fill the available time. We just got the album done. It never got thought about again, really »

« Coming back to Life », Uncut, October 2014.

Nevertheless, Gilmour would have opposed to this project. As for Wright, he re-used some compositions for his solo album « Broken China », including the future title BreakThrough that the guitarist particularly liked and that he later regretted not being able to include it in the last Floyd album (he will add it to his 2002 solo tour with the pianist). Other elements were taken up in 1995 by David for the « Color of Infinity » soundtrack.

It should be noted that some of these songs were released some time ago on the bootleg « 1987-94 - Late Floyd Outtakes ». Contrary to the fans' belief for a while, this band is not the core of the band's ultimate album « The Endless River » released in 2014.

« Pink Floyd - The BBC Sessions » (Circa 1999)

The band planned to release an album with the recording sessions at the BBC (the elected recording era is unknown), following the success of the Beatles albums and Led Zeppelin. Waters opposed it.

Mason : 

« It's very difficult to find things from the vaults. A while back the BBC wanted to release some « Top Gear tapes and they really weren't good enough. These tapes were almost a surprise, because i didn't realize they even existed »

« Interview w/. Nick Mason », Classic Rock, January 2000.  

Interviewer: « There's been a rumor floating around for some time now that a Pink Floyd BBC sessions album would be released. Is there any truth to this rumor ? »  

Waters : « Yeah I've heard that rumour. In fact there have been moves from some of my ex-colleagues I think to release something. And they sent me a cassette of those sessions and my vote was no, don't release it. i just didn't like it, it was not well played and I don't think it would have added anything to anything really ».

« A Roger Waters Interview by his fans », Website, July 1999 

Interviewer: « Roger described your recording for the BBC as awful. Have you heard the recordings, and what is your opinion ?  Would you be opposed to releasing them as a CD ? »  

Gilmour : « I haven't heard them in so long. My memories of them were the same of Roger's, that they were not great. I don't remember our performances being particulary good and the technology as used by the BBC at that time was already antiquated ».

« Chat w/. David Gilmour », MSN WebChat, March 17th 2000.

« The Wall Original Live Footage » (Circa 2004)

in 2003, all the Wall films in Roger Waters' possession were documented and archived for Waters by Nick Thompson, a film editor who worked with Waters on his solo live shows.

Roger Waters:

« (A release) could happen. I've been looking at some of the material over the last couple of weeks. It finally appeared out of the midsts of time from a mixing and editing suite in Los Angeles and it doesn't look too bad. I think it's quite an interesting historical document, so yeah, I think it wil definitely become available at some point quite soon »

« Pigs might Fly », Mark Blake, 2004.

« A Momentary Lapse of Reason Stripped Version » (Circa 2011)

In recent years, Gilmour has been telling anyone who wants to hear that the first album of the post-Waters era sounds a bit too 80's. In this sense, Gilmour, Mason and Andy Jackson started working on a remake of the album by replacing the electronic drum parts with new tracks replayed by Mason. The most difficult work yet is to extract Wright's keyboard parts from the live tracks of the 1987-89 tour and re-insert them into studio tracks. This project is on track but was stopped midway probably for other projects.

Interviewer: « Will « A Momentary Lapse of Reason » be remixed for an Immersion box set? David Gilmour has mentioned before his interest in “mixing the 80s out of it” » 

Andy Jackson: « Interesting point. « A Momentary Lapse of Reason » is an odd one out inasmuch as it’s the only album that was trying to be ‘of the time’, which now means it sounds dated, rather than timeless. We have started this process a while ago, doing new drums with Nick with a much more “Pink Floyd classic” approach. If & when we’ll pick it up I don’t know » 

Interviewer: « (…) Very interesting…. one assumes that if there was to be an Immersion Edition of A Momentary Lapse of Reason then this process would probably be completed. Is it just the drums that have been redone so far? » 

Andy Jackson: « Yes and yes. It was our intention to remove some of the 80s synths and get more Rick hammond on it. Obviously not possible for him to do it now, but we started the process of pulling some of his playing from gigs of those songs. Just a lot of editing/syncing to do on that, but it should work» 

« Andy Jackson Q&A on Immersion Editions », Paul Sainclair, SuperdeluxeEdition Website

Andy Jackson:

« We did talk about it at one time. Unfortunately, that’s where the bean counters come in, to see if it’s worth it. There was at one point a Momentary Lapse project, to rethink it a bit. We did a little bit of work on it, but it fell by the wayside. And, of course, we had relied on having Rick [Wright] with us »

« Louder Than Words: Producer Andy Jackson Takes Us Exclusively Inside the Making of the Final Pink Floyd Album … », Mike METTLER, October 22th 2014. 


« We will consider everything! And actually the Drum parts were redone. I did actually do them but we never released them. Ah .. I actually forgotten about them .. thank you (lacht). That’s an interesting example that we will look at. And the other thing that we did talk about is doing an remix of Animals. Because I think that it’s the one Album that we thing, could maybe technical benefit from a revisit the mixing desk »

« Build Series»,, September 2016.

« Wachowski’s movie Soundtrack » (Circa 2012)


« A little less than two years ago, Phil [Manzanera] and I met to go meet with the Wachowski siblings (…)They are working on a new movie and it seemed like that might be a place where the music could wind up. We’ve always liked the idea of film music. Maybe fortuitously, it didn’t work out and it was back to the drawing board »

« Nick Mason: “I'm Not Entirely Sure Pink Floyd Is Over” », Rolling Stone, 31 October 2014.

« Pink Floyd’s Anthology book » (Circa 2019)



« Pretty Avant-Garde, isn’t it ? » (1969)

When we hear Small Furry Animals gathered in a Cave and Grooving with a Pict at half-speed, we can hear an inaudible dialog between David and Roger which ends with this sentence ....

Merry Christmas Song (1969)

For a long time, many thought it was an 'impromptu' sung by Nick Mason and Alan Styles during a broadcast in December 1975.

In fact, this is a typical piece of the English tradition of Christmas songs recorded by the drummer during recording sessions of the soundtrack of Antonioni's film.

« Eclipse mysterious ending tiny music » (1973)

At the very end of « The Dark Side of the Moon », we can hear a piece of music (in a very very low). This seems to be a Beatles title according to some (I wanna hold your Hand apparently). We can think that it was voluntary since all the versions released so far (and even the Super Audio CD version) contain this extract.

«Paul & Linda Tapes» (1973)

The McCartney's were among those interviewed to appear on « The Dark Side of the Moon »

« Empty spaces backward message » (1979)

A reversed message recorded under Empty Spaces.

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