A Total Zabriskie Point Of View

Pink Floyd
A Total Zabriskie Point of View - The Complete Collection

NOTES

This is The Complete Collection of all the known material recorded by Pink Floyd during the Sessions for the Zabriskie Point Soundtrack now released by MQR.

"This Complete Collection is the natural product of years and years of passionate research applied to the Zabriskie Point topic. Over the years many theories have been presented, and we all know a good researcher has to prove his theories whenever possible.
In recent years my dedication has yielded the deserved prizes.
I had the luck to get from Glenn Povey what I call simply The Document, part of the ZP recording sheets of EMI studios. I was also able to make contact with Don Hall, the Music Adviser of the movie. I'm honored to say that this contact became a real friendship. With my great satisfaction almost all my theories, even the most incredible, were confirmed.
WRomanus"

What we at MQR present here is a modular opera set in three stages.
The core of all this are clearly the eight songs of The Lost Album - 370 Roman Yards, the great find of all the research, which is the closest thing possible to the album that would have been released by MGM-Pink Floyd in 1970 if they had been sole musicians on the soundtrack of the film. The Lost Album was extended with the eight Main Outtakes, a-la Rhino Rekords release, forming the CD One of the Collection.
The CD Two is mainly made by all the Other Outtakes and the Film Versions.
The order of the songs of the different blocks follow about the order of the movie scored totally with music by Pink Floyd.

The mixes on this Collection are either the mixes made by Pink Floyd for release, or as close as we could make using the material available. We have restored and enhanced everything using the best technology and skills available to us. The quality of these tracks varies due to the sources used, but we have done our best to make it all sound as good as possible.

The History
In the summer of 1969 Michelangelo Antonioni completed the filming of his visionary and prophetic view of America and our society. All that was left was to complete the movie with a good soundtrack. Antonioni was interested in everything that was new and trendy among young people. Don Hall was on the air during his nocturnal DJ program on KPPC FM Pasadena when he was contacted personally by Antonioni at the end of the summer of 1969. Antonioni really liked Don and invited him to have some screenings of the movie. After that Don provided a list of songs he felt would work, most coming from his program. Antonioni asked MGM to hire Don as Music Advisor for the soundtrack and came back to Roma (Don still has a letter from Antonioni, sent from Rome with the list of the songs he'd like to be in the movie, all songs for the radio-desert sequences).

Still they had to find how to score all the main sequences: Beginning, Violent, Take Off, Love and Explosions (and eventually more). Antonioni wanted original music for those sequences. Many artists and bands were contacted to write original music for the movie, but none of them was asked to write the whole soundtrack of the movie.

In October '69 Don was in Rome with Antonioni trying to find a way to score the whole movie in time for Christmas. Near the end of the month it happened that Clare Peploe (co-writer of the movie and Antonioni's girlfriend at the time) brought to Rome a brand new copy of the new Pink Floyd album, Ummagumma, from London. Antonioni, Don Hall and Clare listened to the new album with a small stereo at Antonioni's house in Rome. Antonioni REALLY liked Ummagumma and listened several times to the whole album. He liked “Careful With That Axe, Eugene” very much and told Don that he'd like a new version for the final sequence of Zabriskie Point. They decided to try and hire Pink Floyd to record all the original music they needed for the movie. MGM contacted Pink Floyd. After that Steve O'Rourke came to Rome alone during the first days of November '69 to check and organize it all. All was done in few days, and Pink Floyd came on the 15th of November with Pete Watts and Alan Stiles, cancelling some shows planned for their present tour. Antonioni and Don showed the movie to them several times with some scenes already scored, highlighting those without. At that point Steve and Roger Waters had a talk and asked Antonioni to try to score the whole movie. He, been enthusiastic about Ummagumma, agreed.

Pink Floyd produced a large quantity of music, especially for the Love Scene but Antonioni was not satisfied and the sessions ran longer than planned. In the end Pink Floyd went back to London with some songs to finish. Out of all the entire production of songs, including themes and variations, Antonioni ended up using only three songs. He kept on searching for "something better" till the last days before the premiere of the movie. In London Pink Floyd completed their final versions of eight songs with the intent of them being their eventual album for the Zabriskie Point soundtrack.

THE SOURCES
Some songs used here were released officially, originally by MGM in 1970 and then in the extended edition by Rhino Records in 1997. Other songs come from two celebrated unofficial sources, the bootlegs Omayyad and A Journey Though Time and Space. Thanks to grolsch, recently a better transfer of the ZP outtakes portion was made from the master tape used for Omayyad just for this work. Mostly of the outtakes come from A Journey Though Time and Space. The Film versions are based on the DVD releases of the movie. The Christmas Song was aired by John Peel in 1975. The edited Violent Sequence is from the Dark Side Immersion Set.

CD1: 01-02-04*-05*-08 and CD2: 05-08-09-12-15-16 from Zabriskie Point - Extended Soundtrack 2CDs
CD2: 13 from Zabriskie Point DVD.
CD1: 03-04*-06-07 from a Tape copy of the mastertape used to make the Omayyad bootleg LP
CD1: 05*-09-10-11-12-13-14-15-16 and CD2: 01-03-04-06-07-10-14: A Journey Through Time & Space bootleg CD1
CD2: 02 from The Dark Side Immersion Set released in September 2011.
CD2: 11 from an Unknown gen. tape with the John Peel's broadcast.


TITLES & SONGS
The name of the Collection is self-explanatory; A Total view on the Zabriskie Point Sessions.
If the Lost Album had really been released in 1970 it wouldn’t have a title any different than Soundtrack For The Film Zabriskie Point. A title is needed today to highlight this one from the multitude of collections released in the intervening years.
This title is invented based on Roman Session and assonance with the title of Omayyad. All the songs’ titles are real, although “Country Song” and “Alan’s Blues” were only working titles. We knew all the working titles with the find of The Document where all are listed. The three new titles, “Fingal's Cave”, “Oenone” and “Rain in the Country”, are taken from Omayyad, and for so many years were considered the fantasy titles of bootleggers. Last year Don Hall confirmed that he aired those songs on KPPC FM Pasadena and announced them with just those names, as they were written on the tape' boxes sent to him by Pink Floyd as their final versions. Omayyad was made from a recording of that broadcasting.
For the numbering of "Love Scene" outtakes we take the MOB's study on the topic except the big difference about "Oenone".
Here is it.
From official sources we know Pink Floyd made at least 6 attempts for "Love Scene"
- #4 is the quiet piano piece
- #6 is the blues piece
On AJTT&S, tracks 7-8-9 seem to come from a continuous tape (thereis no tape cut).
Since track 7 is "Love Scene #4" and track 9 is "Love Scene #6", it is logical to assume that track 8 is "Love Scene #5".
It is also important to note that during the Interstellar Expo in Paris, late 2003, a 8-track master reel of the sessions was exposed.
The label clearly mentions Love Scene #4 as a piano/vibes track, Love Scene #6 as the "blues version", and between them, Love Scene #5, which is indicated as a "vibes version", with 2 different vibes tracks.
This definitely confirms that AJTT&S track 8 must be Love Scene #5.
On AJTT&S again, tracks 10-11-12 could be also from a continuous tape (even if track 11 fades out early). This is why it was assumed that:
- AJTT&S track 10 = "Love Scene #1"
- AJTT&S track 11 = "Love Scene #2" (intro only, the complete version is AJTT&S track 4)
- AJTT&S track 12 = "Love Scene #3"
- Oenone, the final version, is similar to #2

CD ONE

The Lost Album - 370 Roman Yards

1. Heart Beat, Pig Meat
This song is made up of the coming and going of Rick's Farfisa organ, Dave's excursions, recordings coming from televisions and talking lines by Don Hall, all over a heart beat like track created by tapping on a microphone. This is the first time Pink Floyd use a heart beat, but certainly not the last. It's the soundtrack for the opening sequence of the movie with the titles, and one of the three songs ultimately chosen by Antonioni. It was performed live sometime in early 1970 as the initial part of an experimental suite. It's the official version recorded in Nov. '69. The working title was Beginning Scene.

2. Country Song
With this song Pink Floyd meant to score some of the scenes in the desert with Daria driving her car as Don Hall confirmed. The song was adapted into several versions in different styles, all recorded with the intent of being used as “Daria's Driving Theme”. One of the two song for the movie with lyrics, which are in this case inspired by Alice in Wonderland. Sourced from the Rhino release, was recorded the 12th Dec. '69, it came to us with its working title, probably because it was rejected before the end of the work.

3. Fingal's Cave
This name referred to Irish Mythology and a place in the Scottish isle of Staffa. This energetic song was written for the first Flying Scene of the movie together with two more songs. It is rare to hear a loud, bombastic blues number like this performed by Pink Floyd, and only a couple pieces on More come even close to it stylistically. It came to us through the bootleg Omayyad. Recorded in Nov. '69, the working title was “Take Off (version I)”.

4. Crumbling Land
This is the long studio version with all the traffic noises recorded by Nick Mason in the streets of Rome. It came to us with the bootleg Omayyad.
Since the musical part is the same as the official one, a merge was made with the two. The result is a restored complete studio version. Having an unusual rhythm for a Pink Floyd song it's considered a country song, although in the end it's not. For the movie only 34 seconds were used, and those were from an early take, not from the final version. The title and some of the lyric content refer to Zabriskie Point (the place), to USA and the lyrics even include a reference to Michelangelo Antonioni. Recorded the 13th Dec. '69, the working title was “Highway Song”.

5. Alan's Blues
This song arrived to us with its strange working title, probably because, similar to Country Song, it was rejected before the end of the work. Although we have evidence that in December '69 it was still intended to score a movie scene. Alan Stiles was a roadie, present in Rome for the sessions.
When this was not released the band paid tribute to him with another number, Alan's Psychedelic Breakfast. The base for this song was recorded the 16th of Nov. '69 as an attempt to satisfy Antonioni with a Blues for the Love Scene.
Once rejected for that, it was shortened to fit the roadhouse in the desert scene or perhaps another desert scene. It was mixed from both Rhino release and AJTT&S bootleg. This kind of blues was performed live many times over the next three years.

6. Oenone
The name refers to Greek Mythology, similar to Sisyphus recorded a few weeks before. Oenone was a nymph married to Paris of Troy. He left her for Helen of Sparta. Oenone was an isle as well, connected to the Sisyphus story (!). This song came to us with the bootleg Omayyad. It was recorded in Nov. '69 for the Love Scene. Love Scene was the working title for it, as on the released tracks on the Rhino soundtrack. Pink Floyd tried four different musical styles to please Antonioni for that scene, including a blues. This is the style that worked the best, from Pink Floyd's point of view. It comes from several psychedelic approaches they tried under the direction of Antonioni.
Great psychedelic performance by Rick and Dave, using techniques they experimented with live during Set The Controls, A Saucerful of Secrets and The Man & The Journey.

7. Rain in the Country.
Along with “The Narrow Way Part 1”, this song almost certainly has it's roots in “Baby Blue Shuffle in D Major” and in the second part you can clearly hear the germination of Atom Heart Mother (in fact The Amazing Pudding was performed only one month later...). Probably another of many approaches to the Love Scene, Pink Floyd tried it for Antonioni coupled with the desert scenes as well, as Don Hall confirmed. One of Gilmour's more interesting early compositions which really showcases his acoustic playing. We aren't certain of the origins for the title but it was likely designed to create contrast with the dry locations of the movie. This was recorded the 6th Dec. '69 and the working title remains unknown. In fact a dissimilar mix was called “Unknown Song” on the 1997 Rhino Expanded Soundtrack. The final version is the one of the bootleg Omayyad.

8. Come in Number 51, Your Time Is Up.
The perfect song for the final sequence. This song is the reason Pink Floyd were called to score the important scenes of the movie by Antonioni, who was impressed by Ummagumma. It's a remake of “Careful with that Axe, Eugene”, but with some variations. There is no whispered sentence before the shout, the shout itself bursts in together with the guitar solo, long and repeated. Dave's solo is absolutely vigorous and demoniac and the song reaches high levels of intensity. The end comes suddenly without the usual gradual slowing down.
The title refers to the TV series "Q", a surreal comedy show in the vein of (and forerunner to) Monty Python's Flying Circus, and its creator, comic Steve Milligan, who spoke that line. It's the official version. Recorded in Nov. '69, the working title was Explosions, in reference to the scene that it was to be used for.

The Main Outtakes (The Extension of 370 Roman Yards)

9. The Violent Sequence.
This came from Rick Wright in Nov ’69 and was rejected, leaving the scene with no music. It was one of the few ZP songs played live sometime in early 1970. Two years later it evolved into Us and Them. Titled like that by Pink Floyd, it comes from the AJTT&S boot.

10. Take Off (Version II)
The second attempt recorded in Nov. '69 to satisfy Antonioni for the flight above LA. A 3rd unknown version was also written. It comes from AJTT&S bootleg. Wrongly believed to be a sort of rock intro for a Crumbling Land take.

11 & 12. Country Song Themes
Two variations of Country Song probably recorded in Nov. '69 used to score some desert scenes.
One is palyed by the band with Dave' scat. The other is an acoustic couple guitar and harpsichord.
Both coming from the AJTT&S Bootleg.

13 to 16. Love Song Variations
In this disc we have the various attempts at scoring the Love Scene. Pink Floyd clearly preferred the psychedelic angle for this scene like the Love Scene 1 and 3. We have testimony that Antonioni was interested by the effect of vibes and Pink Floyd recorded Love Scene 3 and 4. All written in Nov. '69 and coming from the AJTT&S bootleg.

CD TWO

The Other Outtakes

1. Country Song (full mix)
A full mix with some tries and a longer guitar solo.

2. The Violent Sequence ((Us & Them demo)
From the Dark Side Immersion Set, it’s the same of CD ONE but edited shorter.
No properly called Us and Them Rick’s demo.

3. Take Off (Version II) and Crumbling Land (film version)
We decided to include this couple as a document, cleaned and restored, since is what was used to cover a couple of sequences. This Crumbling Land is the same used in the movie. Misnamed for years as one song called something like Crumbling Land - Rock Intro.

4. Crumbling Land (full mix)
The "full mix" version comes from AJTT&S and is from the same take as the soundtrack
version with all the tracks in the mix.

5 & 6. Love Scene 6 (The Blues and full mix)
They source from Rhino Release and AJTT&S boot. Once rejected as Love Scene, it was recycled as a desert scene song and called temporarly Alan's Blues. Recorded the 16 Nov. '69.

7. Love Scene 2 (full mix - Oenone)
This "full mix" version generated the final version Oenone. Here we can hear even
a sex performance mimed with vocals by Roger and David. It comes from AJTT&S.

8. Love Scene 4 (piano only)
It comes from the Rhino Record release. Antonioni liked and considered this beautiful piece from Rick asking to add vibes.

9 & 10. Rain in the Country (Unknown Song - alternate version and full mix)
The alternate comes from the Rhino Release and the full mix from AJTT&S.
Rain in the Country, the final version, came from the full mix.

A Special Outtake
11. The Christmas Song
We have evidence this was recorded in Roma during a pause. Probably they recorded this after a request by John Peel. Once again Alan Stiles is involved. Nick Mason is singing for the first and unique time of his Pink Foyd career. Nick is calling the song with this title in an interview of 1971.

Official Soundtrack Version
12. Crumbling Land (soundtrack Edited version)
This became only a document once was discovered that MGM edited in this way the real final version by Pink Floyd.

Film Versions
13. Heart Beat, Pig Meat (film version)
It's the only song of the whole Collection coming from the DVD release of the movie since some different mix are present in this version.

14. Crumbling Land (film version)
Different from the final version of the song, it's an acoustic mix of the third track of this CD. To restore this piece the AJTT&S source was used.

15. Come In Number 51, Your Time Is Up (film version)
The source for this was actually our restored version from the official Soundtrack, but only the right channel was used. This was exactly the same mix as used in the film. The edit just before the scream was recreated, and the sounds from the film inserted into the break. The song then resumes until the end.

16. Come In Number 51, Your Time Is Up (movie Trailer version)
We liked to restore this short version invented by the filmakers to make the Trailer. We used the official version since the rips of VHS and DVD had a bad quality. We offer it like a bonus here without the dialogue it has on the trailer.

THE SONGS - Technical Information

The Lost Album : 370 Roman Yards

Heart Beat Pig Meat.
Sourced from the Rhino expanded soundtrack. The official mix created by Pink Floyd for the album. A few flaws (pops and tics) in the recording have been removed, as well as a good bit of the hiss. EQ has been enhanced a bit to bring the tonal range more into alignment with today's standards. These measures were taken with all the official Rhino material.

Country Song.
Also sourced from the Rhino expanded soundtrack. This mix does not sound to us like what Pink Floyd would have produced at the time. Dave Gilmour was not confident with his singing ability yet, choosing to bury his vocals in the mixes or use a lot of reverb on them, and because of this we think the vocals were mixed too loud and too dry on the Rhino release. We isolated the vocal track from the mix and added a reverb sonically close to the Abbey Road reverb chamber to it and also a bit of that reverb on the drums. By taking a close listen one can now possibly hear the sonic similarities to "The Narrow Way Pt. 3" as found on the Ummagumma album, which was finished only weeks before this recording. A wrinkled spot in the master tape caused a dropout in the drum track on both the Rhino mix and the one on the A Journey Through Time and Space CD, and we have corrected that by dubbing in a portion of the drum track from the following verse. Channels were swapped to match the instruments' pannings on the other tracks on the album (piano on the right, guitar on the left).

Fingal's Cave.
Sourced from the master reel used to make Omayyad, this is Pink Floyd's unused official mix. We have cleaned and remastered it to sound as good as possible, removing as much of the distortion and noise as we could, corrected the stereo imaging flutter and EQd it to sound as much like the rest of the material as we were able to. The fluttery sound of the drums was also repaired by isolating specific frequency bands and manipulating the stereo field of them.

Crumbling Land.
Sourced from the Rhino expanded soundtrack with extended ending from Omayyad. This song was the least damaged of the official releases but it contained the MGM mandated edit of the sound effects at the end. The mix on Omayyad, however, contained the complete version and we spliced in the missing portion from this version. As the missing parts were 'only' street noises, these were carefully noise filtered and EQd to match the sound of those street noises present on the official edit version.

Alan's Blues.
Sourced from the AJTTaS CD of ZP outtakes and the Rhino expanded soundtrack. The mixes on the AJTTaS CD were done on the sly when the Rhino was being prepared and most of them are not very well done. It’s our belief that these were taken from a multitrack master set for use in the film (the tracks are all edited to the length of the film scenes they were intended for and sped up to match the PAL version of the film) and not really mixed but rather the faders were all put to level and the tape let roll. Mistakes, bad tracks and other anomalies that would not have been on a proper mix all got through to these recordings, and therefore do not represent what Pink Floyd would have intended. Although Alan's Blues is represented on Rhino, it has reverb added to the drum tracks that is totally not in keeping with the time period of the recording. We therefore chose to use the outtake version but this required some manipulation before it was ready for this album. According to the EMI Document the song is supposed to be 5:42 in length. The version used on both Rhino and AJTTaS is over seven minutes, so some editing was necessary to make it the length it was meant to be released as. A verse was cut out near the start because it contained a mistake in the drum track and another very obvious guitar flub. We think Pink Floyd would have made the same edit. Then the ending was faded out at the correct length. In order to preserve the sound of the drums without the bad reverb, the piano and guitar were isolated from the Rhino CD through phase manipulation and used to correct the panning issue at the start of the outtake mix (the piano starts off in the same channel as the guitar, then moves to the other channel part way through when the engineer noticed the problem). So for the first minute what you have is the extreme high and low frequencies from the outtake source, and the middle frequencies from the Rhino CD. We then added the more period-friendly reverb mentioned above to the final mix that is more like what Pink Floyd might have used if they had done a final mix. Finally we mono-ed the low frequency range of the track up to around 200 Hz to get the bass guitar more to the center. On the AJTTaS mix the bass guitar is in the right channel, which was not an unusual way to mix tracks in the late 60s (stereo was even more exciting then!) but to us it would not have been the way Pink Floyd would have mixed it in 1969.

Oenone.
Sourced from the Omayyad tape again, and therefore Pink Floyd's official mix, this went through months of rigorous work to remove the noise without leaving serious artifacts, then get the final EQ and levels to sound correct. We cleaned all the blips and tics manually and did extensive cleaning and restoring work to all the tracks used here at several stages in the work and particularly after the main mastering work was done. The EMI document stated the final length of this track to be 6:50, but the Omayyad version was a little short.
We believe that this is because the material on Omayyad was originally sourced from a radio broadcast, and that the ending was cut off by either the broadcaster himself or by the taper, who cut it to remove DJ (Don Hall) banter. We created an extension for the ending by looping a few portions, allowing us a more realistic fadeout and bringing the track back to its proper length. The main task was the noise reduction. Large parts of this tune are very gentle and due to the condition the source tape was in, these parts were drowning in hiss. After trying many different strategies of hiss removal, roughly the following workflow was chosen. There were 2 different kinds of hiss evident on the source coming from different generation transfers, so these different "hisses" could be removed separately. Another issue was the right channel of the source being very muffled. So it had to be EQd to match the sound of the left channel. This changed the sound of the hiss on the right channel noticeably. Listening to both stereo channels (right channel EQd) was an unpleasant experience as the music sounded equal on both channels while the hiss on the right had become very penetrating due to EQ. So the channels were noise filtered separately with the aim to have approximately equal hiss-level and hiss-sound on both channels in the end. After about 147.289 attempts we finally reached the goal. It was possible to isolate the vibes in some places, so we decided to lift them up a little to make them more evident. To get a better tonal quality the dynamic range of the whole song was compressed carefully to make the gentle parts a little louder while preserving the power of the loud cluster parts. This would not have been necessary for an LP (maybe that's why it was mixed that way) but considering the rather small dynamic range of the CD-DA medium it was the way to go for best possible reproduction quality.

Rain In The Country.
Sourced primarily from the Omayyad tape and also Pink Floyd's official mix, this was probably the song with the most work done to it or at least tied with Oenone. Even the low generation master we used was still pretty rough sounding on all the tracks taken from it, partly because it was from a radio broadcast, which introduced its own problems and partly because the tape was several generations away from the actual broadcast. This may be explained partly because of the need to edit the songs out of the broadcast but beyond that generation we'll never really know. The good thing is that we had two other good sounding mixes, one on Rhino and another on AJTTaS. The bad thing is that these mixes were not that good. The band parts of the song came in randomly and the two different parts (acoustic and band) played simultaneously, creating a dissonance that was not at all like how the song should sound. Because of the excellent quality of these mixes we used portions of them to improve the sound of the Omayyad tape. It took us six months to get this song to sound the way it does here. A great deal of cleaning work was done to remove the noise, hiss and tape flaws.
For the acoustic parts of the song the acoustic guitar and hi-hat were isolated from the Rhino version through phase manipulation and overdubbed onto the Omayyad tape to make it sound clear again. This approach was used for the first two acoustic parts of the song, but, alas, the Rhino and AJTTaS tapes faded out early and we didn’t have a guitar piece to sync up for the final part. That part has the hi-hat enhanced, and the rest mastered to match the earlier parts as best we could. Many attempts at the correct noise reduction were tried here, as well as isolating certain frequency bands and manipulating the stereo field on them in order to eliminate the fluttery panning that the drums had. We feel that this is the best possible presentation of this song available, one that does justice to Pink Floyd's original intent.

Come In Number 51, Your Time Is Up.
Sourced from the Rhino soundtrack. We fixed 23 flaws in this track beginning with the missing bar at the beginning of the song. The official release was always missing this part, which made it sound odd to anyone familiar with “Careful With That Axe, Eugene” and how it was always played. Another flaw in the song was a slight increase in pitch in the bass line beginning at 2:34 and going until the loud part started at 2:57. We think that this was caused by one of two possible things. Either the song was cut together from two different performances or the master was damaged and this piece was patched in. If you listen to the original very carefully you'll notice that the patch is in the bass and drum tracks, but not in the guitar, organ or voices. This shows us that it was done during the recording of the song and is not because of something that happened to the tape later. We have corrected this flaw as well as removed some static and other noises that were likely caused by a badly aging master tape. During this patch the overall level also dropped a bit. This flaw was also fixed. If listening closely to the original version one can hear another bad edit at the drum fill that introduces the loud part. In fact you can hear the attack of the first snare hit twice. This was carefully removed as well.

The Bonus Tracks : The Extension of 370 Roman Yards

The bonus tracks for this disc were all sourced from the A Journey Through Time and Space CD, and were therefore treated in much the same way. Rather than list each song individually and therefore create a great deal of redundancy, we will detail them in chunks instead.

The Violent Sequence.
As with all the AJTTaS material the first step was speed correction. The song was then noise reduced, manually cleaned of anomalies and processed into stereo. This is the complete take with all the flubs and the studio tails on it.

Take Off (Version II)
The same steps were taken on this as on “The Violent Sequence” (all the outtakes received similar treatment), but this one presented a special problem. It was spliced (badly) onto the version of “Crumbling Land” used in the movie. Because of the way it way the two were attached we assume it was an early attempt at joining the two to see how they would fit the film footage, but the fit is not that good. We decided to present the two songs separate from each other. The ending of this was created by manually patching a bass drum/crash cymbal hit from another track of these sessions, with the cymbal tail lengthened by manual editing. The in-tune guitar chord over this cymbal was extracted through phase manipulation and manual cleaning from the middle of the Crumbling Land full mix outtake, and the bass note was taken from the very end of that same outtake and extended ridiculously from a little “dum” to a long doooooooooong” with digital stretching.

Country Song Themes
Both of these received the typical speed correction, NR and manual artifact cleaning, but were also balanced more properly so as to not have them lean to one side or the other as they originally did.

Love Scene Variations
All of these were treated pretty much the same as the “Country Song Themes” with the exception of “Love Scene #5 (double vibes version)” which was additionally manually balanced to cure the song from leaning to one channel in the first half while leaning to the other channel in the second half.


The 2nd CD

Songs not mentioned here were only denoised slightly, cleaned and eventually speed corrected.

The Violent Sequence (Us & Them Demo)
Recently surfaced as a previously unreleased track on the 2011 Immersion Set of Dark Side of the Moon, this is the same recording as TVS known from AJTTAS but in a different edit.
Probably it even comes from the same source, as this one is noticeably denoised. The overall level is higher than our job, so it may appear "breathier" to some, but due to the unpleasant high frequency saturated hiss and the artifacts we still think, we did a better job in NR.
One should always leave the hard work in the hands of professionals...
However, this version has more presence in the ultra low bass range than our remaster, so pedal noises of rick's piano are more evident. We left as it is.

Take Off II>Crumbling Land (film version)
These songs were offered as a single track on AJTTaS. We separated the two through clever editing in order to put Take Off II on the main album, but in the interest of giving them to fans the way they are used to hearing them we here have rejoined the two. The difference between this and the AJTTaS version is that theirs was a hastily thrown together composite cut to fit the film and see if it worked, but since it was rejected the final proper edit was never made. Add to that the typical quality of all the faders being pushed up for the mix, allowing things never meant to be in the final mix through, and the AJTTaS version was flawed. We have here reconstructed the edit using the crash cymbal we added to the last note of Take Off II for the separated version, but not the added guitar and bass notes. We have also removed the whistle from the beginning of Crumbling Land, as will be detailed later. What results is the songs edited together with the proper timing, balance and chording.

Love Scene 6 (The Blues - full mix)
Basically processed in the same way as Alan's Blues, but not edited to 05:42. The fixed piano pan issue was patched to it afterwards from Alan's Blues itself because we did the piano pan fix on the edited Alan's Blues Master.

The Christmas Song
Noise reduced and EQd for a better mix with the rest of the songs. But the quality of the source, and its rather off the cuff recording conditions, still leave it a bit poor sounding compared to the rest of the material. A speed fluctuation 27 seconds in was repaired as well as possible. Stereoized.

Heart Beat, Pig Meat (film version)
The mix taken from the film, with the missing parts that I believe stemmed from the use of only one channel of the stereo mix. EQd as well as possible to match the album version. This contains some different editing than the soundtrack version. We’ve stereo processed this mono recording so it fits better with the rest of the package.

Crumbling Land (film version)
This is the other half of the separated track taken from AJTTaS. The beginning was restored so that the opening chords could be heard rather than be obscured by Take Off II, and the whistle that was an obvious mix mistake was removed as well. The first few notes were painstakingly reassembled with notes taken from a little later in the song.

Come In #51, Your Time is Up (film version)
The source for this was actually our restored version from the Rhino Expanded Soundtrack, but only the right channel was used. This was exactly the same mix as used in the film, and since there were no editing differences as in Heart Beat Pig Meat, we were able to use a cleaner source than the actual film source. The edit just before the scream was recreated, and the sounds from the film inserted into the break. The song then resumes until the end. This mono mix was also stereo processed to fit in better with the rest of the package.

Come In #51, Your Time is Up (trailer edit)
If you pay close attention to the trailer, you will see that not only does it have terrible sound quality, but the edit of this song is a bit sloppy and random. We laboriously compared the snips of music used in the trailer with the full song, found the parts used, and re-edited a version that, although very similar, is not exactly the same. The edits in this version are more properly on the beats of the song, and rather than sloppy hard cuts decent crossfades were done. The wind sound from the trailer was added to the ends. This edit was fashioned when we decided to restore the audio for the trailer, but we decided to offer it here since it a unique edit of the song that the filmmakers invented. If you watch the trailer on the DVD in this box you will hear this edit, but with the dialogue isolated and lifted from the trailer superimposed on it.

Dodano:  29.10.2011