Pink Floyd - Stone Rust Oil Well CD 107 RSC

Pink Floyd - Stone Rust
Oil Well CD 107 RSC

1. Stoned Alone    5:57
2. Arnold Layne      3:04
3. Rush In A Million     5:35
4. Matilda Mother       5:37
5. Scream Thy Last Scream   5:00
6. Astronomy Domine  7:11
7. Interstellar Overdrive   16:49
8. Interview (Barrett/Waters/Mason)                 
9. Interview (Jenner/Mason/Gilmour)  14:24
Total Time:  69:34

Note:
All songs by Barrett/ Mason/ Wright/ Waters
Live In Copenhagen, Denmark -September 13, 1967.

Tracks 1 to 6: Recorded live on September 13rd, 1967 at the Star Club, Copenhagen, Denmark.
Track 7:  Recorded live in studio in January 1967
Track 8: Interview with part of Interstellar Overdrive for Cabadian Radio CBC 1/67 broadcasted in February 1967
Track 9: Jenner, Mason, Gilmour interviews from 1970s FM.

Lineup:
Syd Barrett – guitars, vocals
Roger Waters – bass guitar, percussion, vocals
Richard Wright – piano, keyboards, vocals
Nick Mason – drums, percussion

This album is a digital clone of: "Stoned Alone" - A Night Tripper Production – AST-552, Gold Standard.
Oil Well version has a fine cover, fine quality.  Limited to 200 copies only.
Front cover has a coloured picture of Gilmour (with beard), playing slide guitar, and wearing the Animals Tour's T-shirt (with the pig) but this concert is from 1967 when David wasn't in the band.
Due to its rarity and good quality, this disc is recommended.

Track 1: Stoned Alone is also known as Reaction in G; Track 3: Rush In A Million is also known as One In A Million.
Track 7 is the official track that can be found on the "Tonite Let's All Make Love In London" soundtrack. The very first studio version of "Interstellar Overdrive", in fact.
Tracks 8-9 seem to be taken from a single long broadcast that included several older broadcasts. The different interviews are cut with Pink Floyd's music, and the beginning note of "Time" appears several times. So I guess this documentary was broadcasted after the release of "Dark Side Of The Moon". The interviews themselves are much older: they seem to be from 1967 and 1969.

This is a very good release for any Barrett's fan: a concert with Syd, the first "Interstellar Overdrive", and about 20 minutes of interviews about the early Pink Floyd
The first six  tracks are taken from a mono audience recording. The sound quality is the same as for the X-refs. Vocals are inaudible, except for "Mathilda Mother". As far as I know, it's the only concert with Barrett that's available (if one excepts the few broadcasts from UFO Club).
The 9/13/67 gig is slightly longer and much better quality here than its prior appearances on vinyl (a la Mystery Tracks) and CD (a la Starclub Psycho). If you want to hear an early Floydian gig, this would be one of the better disks you could find. One other thing worth notice is that the vocals are (of course) very difficult to hear for the first few songs. As the gig progresses, things get (slightly) better

Audio quality: 
Quality content: 

 © Official released material:
Track 7 has been released officially on Tonite Lets All Make Love in London soundtrack album in 1968.

_____________________________________________________________________

Tonite Lets All Make Love in London
Tonite Lets All Make Love in London is a soundtrack album released on LP in 1968, for the 1967 semi-documentary film made by Peter Whitehead about the "swinging London" scene of the sixties. The film consists of a series of psychedelic performances and interviews and features live performance by Pink Floyd, together with footage of John Lennon, Yoko Ono, Mick Jagger, Vanessa Redgrave, Lee Marvin, Julie Christie, Allen Ginsberg, Eric Burdon, Michael Caine and many others attending one of the band's concerts.

In 1990 See for Miles Records released an expanded version of the soundtrack on CD under the title Tonite Let's All Make Love in London ...Plus (Catalog Number: SEEK 258). The album included most of the tracks from Tonite Let's All Make Love in London. Have You Seen Your Mother, Baby, Standing in the Shadow? and Lady Jane by the Rolling Stones is featured in the movie but not on any version of the soundtrack album."Interstellar Overdrive" which had only appeared in a 3.02 edited form on the original release was replaced by the previously unreleased 16:46 full-length version. Another long and previously unreleased instrumental track by Pink Floyd, the 11:50 "Nick's Boogie", was also included in this release, together with the interviews that appear in the film.

Other versions of this soundtrack have also been released. In 2001, Power House Records released a CD under the name, Pink Floyd & Friends – Interstellar Overdrive that included the full 16:49 "Interstellar Overdrive" and "Nick's Boogie" (at 11:47) by Pink Floyd, plus an interview with Mick Jagger and an introductory reading by Allen Ginsberg called "Tonight Let's All Make Love in
London".

Interviews for CBC Canadian Radio.
The broadcast begins with an extract of an obscure live performance of "Interstellar Overdrive", and soon one can hear an announcer who speaks about CBC radio, Syd Barrett, Roger Waters and Nick Mason. At 0:32, the "first" interview begins, with a female host talking about Pink Floyd ("new concept of music...") for about one minute. Then, Syd and Roger speak. This interview is the very first interview for CBC, and was broadcast for the first time on February 1967. This interview can be found on other RoIOs, but only the beginning (on "Antiques", "The Sights And Sounds Of Syd Barrett's Pink Floyd" and "Rare", there's an abrupt edit after 3:36).

Here, we have the whole '67 broadcast. Syd and Roger talk about their music ("different from academic rock, different from jazz", "we play loudly"), about them ("we don't really look upon ourselves as musicians, as such") and about the visual aspect of the music ("lights, spotlights, movies"). At the end, Nick Mason say some words. At 5:54, the female interviewer introduces the "Pink Floyd managers". It continues with Pete Jenner, on track 9, for about 4 minutes. At 4:04, one can hear the first announcer saying "the voice of Pete Jenner, one of the Floyd's early managers". Then we have the real first cut, that makes me think that the '67 broadcast is in fact track 8 and the first 4 minutes of track 9. After that, someone's talking about Syd's departure. On the background, the studio version of "Careful With That Axe, Eugene" can be heard.

At 7:10, a speaker introduces Nick Mason and David Gilmour, saying that they'll speak about the "new" Pink Floyd, right after Syd's departure. Nick Mason speaks first. Then there's an extract from "Bike", and Gilmour continues. It seems that he was very _shy_ at that time. On the background, one can hear the beginning and the end of "Cirrus Minor". I think these interviews of Mason and Gilmour happened in 1969, according to the background music, and the very _young_ Gilmour.

Copenhagen, Denmark -September 13, 1967.
The almost total absence of the vocal in this tape recorded by the public, which has a rough but dynamic character, has a strange symbolic value. In the summer of '67, Syd Barrett had shown signs of abating, between the damage caused by acids and his emotional isolation: he was unkempt, catatonic and on stage remained paralyzed. But in this show - the final stage of a short tour in Scandinavia - Barrett had re-emerged on the best shore of madness, playing a pungent and incisive guitar in Matilda Mother and a surprising version of Floyd's debut single, Arnold Layne.

The tape of a concert held on September 10 at the Golden Circle in Stockholm, discovered a couple of years ago, immortalizes the Pink Floyd of the Barrett era in their late and flamboyant flowering, with the formidable trip of Set the Controls for the Heart of the Sun announcing the emergence of Waters - in the absence of Barrett - as the group's main author.

Copenhagen 1967 3rd Night (Sigma 241)
Copenhagen 1967 is the second circulating audience recording of Pink Floyd and one of just three amateur recordings from the Syd Barrett period. Audience recordings from this period for most bands, not just the Floyd, are of average quality for two reasons. First off, concert sound systems were not that advanced and secondly, recording equipment was limited, the fact that there are early recordings at all is something to be applauded. This new release from Sigma explores one of these early audience recordings from the Barrett days, a recording that has been in circulation for some time and is really getting an upgrade thanks to the Yeeshkul group, whose goal to preserve the live history of Pink Floyd provides source material for many of the bootleg titles on the market.

First off lets get some history on the recording itself. It was made by a local musician Casrsten V who recorded on an unknown recording device. His master tape was copied by a fellow Michael K on reel to reel. Martin Balsam made a cassette copy of this reel and came into circulation by the famous Pink Floyd collector Rolf Ossenburg, the Martin B tape would thus be a third generation from the master and considered the best that circulates. Like many recordings, there are several versions of the tape and the Master audio technician Jimfisheye was provided the Martin B tape and another that is only referred to as Low Gen for use on this project. Both recordings had slightly different sound characteristics, so both were used, one in one channel, one in the other. While both recordings are mono it gives an almost stereo effect to the sound, add some mastering into the project and JFE was able to get, in most opinion, the best sounding version of this tape in circulation.

There have been other releases of this show on bootleg, Star Club Psycho (Black Panther BPCD 032), Stone Rust (Oil Well RSC 107), and the copy I have had in my collection for years, Stoned Alone (Night Tripper AST-552). These old silver titles are all quite old by now, for years one of the most popular versions of this recording circulated in fan sites as What Syd Wants (Harvested HRV CDR 032). Just for old times sake I’ll compare this new Sigma to Stoned Alone. Wow, no comparison, this new title is stunning. The sound is much cleaner, less muddled and has wonderful instrument separation, a major upgrade, so much that you don’t need to try hard to discern what is going on. As most know Syd’s vocals are extremely low in the mix, no fault of the recording, more to the fact that the onstage vocal PA was not loud enough to compete with the instrumental power of Pink Floyd. There is the occasion sound fluctuation and just a very small amount of tape hiss as one would expect. Having never ventured passed Stoned Alone I am blown away by the sound on this title and can now not only enjoy this recording, but can also listen and take in this historic performance.

The recording begins with Reaction In G, guitar, bass, and drums are all audible, it is difficult to pick out Richard Wright until the three minute area you can begin to pick up his organ. The playing is quite furious, Syd is playing very well and delivers some really great lead type runs, these are being accentuated by Roger’s wonderful bass lines. Syd’s vocals can be heard rather nicely during Arnold Layne, so much that I did not have an issue making out the lyrics, Richard Wright plays a nice yet short organ lead on the song as well.

One In A Million features vocals by Roger, the count in to the song is clear and the song is quite heavy and pondering. He would later use a variation of this for the song Corpral Clegg on the A Saucerful Of Secrets album. Matilda Mother features Richard Wright’s organ very clear in the mix and leads the band, Syd and Roger seem to pick up the pace pushing the song and making for some really nice improvisation. Scream Thy Last Scream was one of the aborted Syd songs that was played at all three known live Syd recordings, very heavy sounding with the band hammering the audience’s ears, the then unknown song gets mild applause. The last song of the set is Astronomy Domine, it is what I would call a standard version capping off a very good performance that shows how good the Syd Barrett Pink Floyd were as a live act.

The packaging is typical Sigma, live and posed shots of the band that are coloured to give a psychedelic light show effect. First off this is a very short disc, Sigma have elected not to include any filler, after listening to the 36 minutes of music in this quality, what could they have put on here to follow this? All marks go to Jimfisheye for his incredible work on this project. Let’s hope Sigma decides to delve into the Floyd recordings from the late 60’s more as the 67-69 years have largely been ignored by the label. Until then, for the Pink Floyd collector this is an essential title to own.
https://www.collectorsmusicreviews.com/pink-floyd/pink-floyd-copenhagen-1967-3rd-night-sigma-241/

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