Oil Well – RSC 048 CD
1. Introduction 0:42
2. Julia Dream 2:28
3. Let There Be More Light 3:54
4. Murderistic Women2:23
5. Rain In The Country 7:01
6. A Saucerful Of Secrets 6:40
7. If 4:28
8. Interstellar Overdrive 13:21
Total duration: 40:57
Note:
All songs by Roger Waters unless noted
Tracks 2/3/4/6: recorded live for BBC Broadcast, London, June 25th, 1968
Track 5: recorded in Rome, September 1969
Track 7: recorded live for "Peel Sunday Concert", 16, 1970.
Track 8: recorded live in Santa Monica, May 1, 1970
Lineup:
Roger Waters – bass, vocals, rhythm guitar
David Gilmour – lead and rhythm guitars, vocals, bass, keyboards
Nick Mason – drums, percussion, vocals
Richard Wright – keyboards, piano, organ, vocals
This album is a digital clone of: Ultra Rare Trax Vol. 1 CD by the label The Genuine Pig.
Sound is excellent and clear, but with some vinyl scratches (sound quality Ex+). There are better sounding versions (Sup) of that song on many other RoIOs.
So, an excellent CD to have, for the two rarities "Rain In The Country" and "Interstellar Overdrive" from Santa Monica, and also for the exceptional sound quality of the June 1968 BBC session.
This packaging claims this is a Wolverhampton 1967 concert performance, but it is actually a collection of 1968 BBC recordings along with a couple songs from the Ommayad RoIO. On the cover: David Gilmour singing into a microphone.
Please note that this CD is one of the most rare from this italian bootleg label!
Quality content:
Tracks 2/3/4/6 have been released officially on: The Early Years 1965–1972 - Volume 2: 1968: Germin/ation - Disc one (CD)
Track 5 has been released officially on: Zabriskie Point Soundtrack (Deluxe Edition)
Track 7 has been released officially on: The Early Years 1965–1972 - Volume 4: 1970: Devi/ation - Disc One
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The Genuine Pig's "Ultra Rare Trax" series give a fair smattering of the available BBC sessions and unreleased material that is out there. They're generally rather good, particularly if you're only an occasional collector of Roios looking for a taste of late 60's material. Everything on this CD can be found in other places (like the Complete Top Gear) with two exceptions: The live version of 'Interstellar Overdrive' and the rare 'Rain in the Country.' Those two tracks alone make this CD something of a treat. The sound quality on all three of these disks is excellent. On the first two volumes there is a short DJ commentary about the BBC broadcasts before several of the songs. It does not hurt the CD overall in any way. It sounds like it is taken from a recent broadcast by BBC intended to be an anthology of early Pink Floyd songs. "Green is the Colour" is very beautifully done, as well as the rare tracks such as "Labyrinth" and Oneone/Fingal's Cave.
The source for these tracks seem to be the same as for a lot of X-refs (with the common distorted bass drum at 0:56 on "Let There Be More Light"), but the sound quality is far better here.
I never found on any other RoIO such a clear and clean sound for these four tracks! This superior quality can be explained if one considers these tracks were taken from a recent BBC re-broadcast (this is certainly the case for tracks 2, 3 and 4, introduced by DJ's commentary). "Rain In The Country" is an outtake from the Zabriskie Point sessions, in stereo. It's an instrumental piece of music by Gilmour, based on his experimentation on Ummagumma's "The Narrow Way (part 1)". This outtake only contains several guitar tracks played by Gilmour. In fact, during these sessions, the Floyd completed this "demo", adding drums and bass (very similar to the bass in the bluesy part of "Atom Heart Mother").
The completed outtake is now officially available, since the 1997 release of the Zabriskie Point extended soundtrack, under the name "Unknown Song". The three other common outtakes from these sessions can be found on "Ultra Rare Trax Vol.2". Sound quality here is VG+.
"If" comes from the "Peel Sunday Concert" broadcast, recorded on July 16, 1970.
Zabriskie Point
Released on February 9, 1970, the Zabriskie Point soundtrack contains tracks by Jerry Garcia from Grateful Dead, Kaleidoscope, The Youngbloods, Patti Page, Roscoe Holcomb, John Fahey. For copyright reasons, two pieces are missing from the tracklist: You got the silver by the Rolling Stones and So young by Roy Orbison, who accompanied Daria's departure after the explosion (the piece was inserted at the last moment under strong pressure from the production company, MGM, who wanted an artist from his team).
On the other hand, however, there are three songs of what is perhaps the psychedelic group par excellence: Pink Floyd. The tracks are Heart beat, pig meat, Crumbling land and Come in # 51, your time is up (the latter a remake of Careful with that ax, Eugene, mounted on the famous explosion sequence). In fact, the contribution of Pink Floyd had to be more massive: the English band had to make the entire soundtrack. However, Antonioni eventually discarded much of the material produced by Roger Waters, David Gilmour, Richard Wright and Nick Mason.
This was how things went. In 1969, after the shooting of the film, Antonioni was looking for the tracks for the soundtrack. The Ferrara director was very busy with an American DJ, Don Hall, who was conducting a broadcast on KPPC FM Pasadena, one of the Californian radio stations most followed by young people. Small parenthesis: Antonioni was already 57 in 1969, but he was an extremely attentive person to changes in costume, so it should come as no surprise that he tried to intercept the best counterculture representatives of the time. The director then contacted Hall, invited him to a screening of the film and asked him to show him songs that, in his opinion, could function as Zabriskie Point's soundtrack.
Hall provided Antonioni with a list of pieces (mostly songs he played in his transmission): he was therefore hired as a music consultant for Zabriskie Point and invited to Rome. However Antonioni wanted some sequences (the beginning and the final explosion, for example) to be accompanied by original music. The idea of contacting Pink Floyd came when Clare Peploe, at the time companion of the director and co-writer of the film, brought a copy of Pink Floyd's latest album, Ummagumma, to Rome. Antonioni appreciated it very much; in particular, he appreciated Careful with that ax, Eugene, and Hall launched the idea of a new version of the piece as a sound commentary of the explosion sequence. Among other things, the streets of Antonioni and Pink Floyd had already intertwined once: in 1966, during a wild London night, the filmmaker and his girlfriend at the time, Monica Vitti, had attended a concert by the band at Roundhouse . Through MGM, a meeting was organized with Pink Floyd and the manager of the time, Steve O’Rourke, on November 16, 1969. Pink Floyd watched the film several times. Some of the sequences already had a soundtrack, but Roger Waters asked to write the scores for the entire film. Antonioni accepted.
The enthusiasm that the director had felt for Ummagumma gradually diminished. The recordings lasted too long. The band produced a lot of music, recording, as usual, every smallest sound fragment, while perhaps Antonioni (accustomed to maintaining a very tight control also on the production of music for his films) expected more complete, defined ideas. After the sessions in Rome, the band moved to London to complete the work: in the meantime, however, Antonioni began to look around for "something better". It ended up that of the eight pieces recorded by Pink Floyd for Zabriskie Point only three were used. Among the discarded ones (which fans have renamed The Zabriskie Point lost album) also a piano theme, written by Richard Wright to accompany the clash between demonstrators and police (The violent sequence: later it was reused as a base for Us and them).
The genesis of the Zabriskie Point soundtrack was, in general, complex. Antonioni also contacted the Rolling Stones (without too much conviction): Mick Jagger and Keith Richards would have liked to compose the entire soundtrack, but the management's overly demanding requests made the hypothesis go down. In the end only You got the silver was included, one of the songs suggested by Hall in his list. Even with the Doors there was not too much feeling. Antonioni joined them in the studio in 1968: Jim Morrison made the director America listen (song later inserted in L.A. Woman, 1971), but Antonioni was not impressed. Legendary, then, the fight between the teacher and John Fahey: during a meeting in a restaurant in Rome, Antonioni and the musician gave it right because of the different political views (Antonioni was a communist, Fahey definitely not). We can only hear a fragment of Dance of death from the brilliant guitarist from Maryland.
Despite the pressures, the second thoughts, the mistakes, Antonioni still managed to achieve his goal: to make a film without sociological pretensions but with a high "ethical and poetic value". And this also thanks to the skilful mix of images and music, which has its peaks in the love sequence in the desert (accompanied by Jerry Garcia's Love scenes) and in the final one, an immortal kaleidoscope on the notes of Come in # 51, your time is up.
Surely, if Pink Floyd had signed the entire soundtrack we would have had a different film. Impossible to say which, exactly: try to imagine it by listening, through the player below, to all the tracks of The Zabriskie Point lost album, released in recent years in various bootlegs, in the reissue of the 1997 soundtrack and in the A total Zabriskie collection Point of view.
In 1970 and 1971 Pink Floyd played at John Peels BBC show. The exacts dates and performance details for these shows have been shrouded in confusion for years, and has been given wrongly in numerous publications (including the BBC – In Session Tonight and earlier versions of this document.). These shows include some of the best and most popular “live” performances of early Floyd material. Recently some Floyd fans have done a lot of effort resulting in 2 CD-R RoIOs (Mooed music, and Meddled) which contain the best and most complete recordings of these shows
16 July, 1970. BBC’s Paris Theatre, London UK. Sounds of the Seventies: John Peel Show, BBC 1 Radio. Recorded on the 16th Broadcasted on 19july70 at 4:00 PM and rebroadcasted on 22jul70 at 6:00 PM: “The Embryo” – 10:30/ “Fat Old Sun” – 5:00/ “Green Is The Colour”/”Careful with that Axe, Eugene” – 11:30/ “If” – 4:30/ “Atom Heart Mother” – 26:00
This is the only live performance of “If” by Pink Floyd, with Roger on acoustic guitar and Rick on bass and organ simultaneously (Roger did perform it numerous times on his solo tours). “Atom Heart Mother” was performed with the accompaniment of The Philip Jones Brass Ensemble.
The Fat Old Sun is missing from the BBC transcription discs, and is only available because Floyd fans recorded the radio show all those years ago. The quality of this track is therefore less on the Mooed music ROIO. Most common RoIOs omit this song altogether.
Downloadhttps://mega.nz/#F!pKRXlQIJ!_Wydp4xO_hlRss-azOWV4g
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