IN THE PINK UNRELEASED BOOK
The group decides to capitalize on his huge success ( the lack of albums and or singles) by the publication of a biography produced by the first circle of the group: Storm Thorgerson (for the concept and the visual side) and Nick Sedgwick for the words.
After hiring the young photographer Jill Furmanovsky, the both men follow the group during his « British Winter Tour » 1974 and the following US tour in 1975.
« 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.
But this book became soon a Sedgwick project
« 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 Nick stayed on for a while, then wrote a fascinating book, which remains unpublished (…)»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.
British Winter tour: Jill, Nick and Dave photographed by Storm
It result a draft entitled « In the Pink », the first real biography on the band (it will eventually released in an altered dorm many years later). Tensions appearing in the group, its exit became compromised
« 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 »
« The show must go on », Rock Classic, January 2000.
« (...) 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.
«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.
Rick, Roger, storm and Nick Sedgwick in studio
The project developed by the two men and submitted for group approval was initially as follows:
« The book will comprise a cover, a front piece, a preface, twelve chapters and three appendices
Cover: A new art work.
Frontpiece: A ‘live’ shot. A recent and definitive live picture who show the Floyd in their whole gestalt, musically and visually.
Throughout book will be illustrations, drawn and photographic.
Book Format: We would advocate a large book, at least as big as Penguin Comix to show illustrations clearly.
Intention Psychological, sociological and political connections will be made, when appropriate, and included through-out the book. These will not involve individuals but rather deal with the ‘scene’ in general: its mythologies, mystificationns, dupes, spectacles and blind allies.
Short comments from the fans will be interspersed throughout the book … amusing … intellectual … confused etc … and together will represent the complete spectrum of class and culture found in a Floyd audience »
The first synopsis was structured as follows:
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
A second developpment was proposed later (with more details)
Preface: Short (one page), a blend of surreality, humour, and insight, vaguely connected to the Floyd, by some contemporary luminary e.g. Pete Towsend, Frank Zappa, Ron Geesin …
Chapter I - ‘’This is True’’
An anecdotal, reflective introduction to the whole Floyd ethos arrived at by the authors, from the experience of writing the book. Should be naturalistic and about people: thus immediately entertaining and interesting. Composed mainly from interview extracts.
Chapter II - ‘’Birth’’
The group’s inception covering te period up to U.F.O gig and the association with Blackhill (LATER REMOVED). To be concerned with backgrounds; schooldays; friendship patterns; individual directions and vocations; places (Cambridge, Rickmansworth, Architectural college, London, Sheperds Bush Tottenham Street, Earlham Street), early music (Architectural Dabs, changing personnel (Bob Close), Tea set - first important gigs (e.g. Essex).
First U.F.O gigs to the success of the singles and the first album. the emergence of the ‘underground’ and ‘head’ culture: the era and the Floyd’s place at its (then) centre; the acid/light show/legalization of pot/Hoppy … syndrome. First contract, important gigs, singles + album, Powis Square, Bryan Morrison, Top of the Pops, British tour … Blackhill
Not boring information nor a sociological study, but, rather direct humorous stuff geared towards individual personalities. An effort to trace the various patterns of energy and lines of force that converged to produce THIS GROUP at THIS TIME
Chapter III - ‘’The Piper at the Gates of dusk’’
‘Flower Power’ and the first drug trips .. the psychedelic era. Syd as its representative: from gnome to demon; flower child to mad dog.
Syd embodying the era’s confusion with its success and ultimate failure (Mysticism/false optimism - Manson/Altamont). The collapse of the dream manifestation and simultaneously in the breakdown of head culture. Syd’s fragmentation and personnel changes in the Floyd. The effect of Syd’s breakdown on the band (its corporate ’spirit’ s well as gig/tour disasters); arrival of Dave Gilmour and the break with Blackhill.
(This chapter will be an amalgam of analysis, anecdote from various sources) and interview).
Chapter IV - ‘’Space Music’’
from the break with Blackhill to ‘Meddle’. Continuance without Syd. European success, acceptance of Floyd by liberal intellectuals (Observer, Financial Times etc …) The albums, film music (Schroeder and Antonioni); tours (japan, U.S.A., Europe). Development of and concentration on ‘sound’, and the development of a sophisticated
light show. Sound in the round, wonder P.A. Musical and financial consolidation.
Chapter V - ‘’The Chaps’’
In depth interviews with individual members of the group. Old and new. Tales of outrageous fun and high decadence (N.B excerpts/ quotes from old interviews will be included elsewhere when appropriates).
Chapter VI - ‘’The structure’’
An examination and evaluation of the power structure: the relationship (as it exists at all levels) between the group and the management vis. structure; the legal and financial structure; and the pragmatics of gigging/touring … The chapter will include radical perspectives on ‘the business’: notions of hype, salesmanship, power (and its delegation) responsibility and the passivity of ‘the fan’, and how individuals in the Floyd network relate to the above, it at all,. Interviews with Steve, Tony, Arthur, Pete, Accountant, Roy F etc …
Chapter VII - ‘’Everything under the Sun’’
The present and the future. The American market cracked with ‘Dark Side of the Moon. How and why now in ’73, with this album ? Plans, projects and new possibilities. Life styles and visions of group members: What does this all mean to them; responses to this success … joy ? … staysfaction … complications . anxieties ? etc ..
Chapter VIII - ‘’Technology’’
Pete Watts, Arthur Max. Quadraphonic sound; the ballet. The equipment. interviews with roadies … The joy and the pains of ‘backroom work’:photos, diagrams and maps. An attempt to demystify the ‘machinery’
Chapter 12 (Short chapter)
Short interviews with parents and friends … the idea being that the opinion and reflections of those not involved in the business (either directly, or indirectly as hard core fans) and yet close to the individuals for a number of years may prove revealing in terms of the whole trip.
Chapter 13 ‘’The œuvre’’
Music - the work - the pieces themselves - a look at how some of the music gets and how some doesn’t - the composing - Syds poetry and melody - group compositions - individual contributions - Roger’s lyrics - Spontanely improvisations and group rehearsal. The recording of albums. The film music. Bad songs and bad gigs - treatment skills & limitations The dynamics of the band
Appendix i Musical reviews. old and new, good and bad, dealing with all the albums
Appendix ii Glossary of terms a) Electrical b) ‘In - group’
Appendix iii index - Name and Places
The project eventually evolved into a more personal book by Nick which will take up many elements from his observation of Floyd during the 1974 and 1975 tours. A second part focused on his relationships with Roger (and his wife Judy) will be added over the years.
This book will finally be released by Waters in 2017 in a limited edition on the occasion of the London exhibition « Their Mortal remains ».
There are only scattered elements of this read. The numerous photos of Storm and Jill which will be used and re-used on various occasions as well as the interview of Roger with Nick which will be partly added to the « Wish you were here » songbook.
It should be noted that the first version of Nick's book (1995), labelled as the « official history », will meet the same opposition from Gilmour. The book will be shelved for ten years
Unreleased first version of the Nick’s book
« The only difficult thing was getting started because of the endless deliberation on whether the book should be done by the band or by an individual. And trying to reach an agreement on any story – it became obvious it wasn’t going to happen. So I thought, well, I’m going to do my own version. You You guys can all write your own books ».
« Sounds Investments », Drummers, 2014.