Pink Floyd - The Early Years 1965-1972 Box Set - Realiz/ation (Content, tracks, etc. ONLY!)

throwing my hat in the artwork ring here. i made a set of covers to go with the cre/ation sleeve (similar to what andrewskyDE did above). the font is an exact match. cheers to alandistro for the scans

if anyone wants them: MEGA »



600x600 jpg, two versions each (black and white text)

 

If you happen to do those covers let me know. I'd love to download the images

 

Holy Goodness! The box set is deceptively small in size when compared to the actual volume of amazing music it contains. I've been busy ripping, tagging, importing, sampling, and choosing a few to selectively enjoy early by blasting around the house, but the sheer quantity didn't hit me until all of the CDs and BDs were ripped and imported into iTunes (solely for easy naming and organization). And this list doesn't even include the three multichannel audio rips as well. Wow.

First thing on Monday I'm officially starting at the beginning and won't stop until I hit the Atmospheric Outro BD music at the end of the Continu/ation BD. Watching the BDs will have to happen over time, so it's all audio to start for me. Just...wow.

Ridiculously expensive? Absolutely.
Do I love Kraft Mac & Cheese enough to justify this purchase? Oh, absolutely.
Best self Xmas present ever? Abso-effing-lutely!



Huge thanks to andrewskyDE for the artwork (no disrespect to the others who have created artwork, I'm just partial to this style).

 

There is definitely only one guitar on some of those 1965 tracks, but is it Syd? If so, Klose may have been on his way out already when the sessions started, or maybe they were all in the car and someone said "Shall we pick up Bob", and someone else (probably Roger) said "No, let's not bother". On balance, though, my guess would be that Klose is lead guitarist on all tracks, with Syd supplying rhythm on some. To the best of my knowledge, Klose has only appeared in one of the major documentaries (I forget which one), and in that interview, he's playing a hollowbody guitar. I wouldn't be surprised if it's the very same guitar we hear on these recordings, as it has that kind of sound to me.

 

Not sure I follow which audio track you're looking for. Where exactly does it occur on the Blu-ray? If you throw it in your player does it display a Title or Chapter number while playing that audio? You should be able to extract it just like the rest of the audio. I can look for it on the BR later but if you know the location then it's easy to see if it's rippable.

 

A couple of the tracks have surface noise and the others are from tape, so these might come from different sessions. Maybe one was after Klose was gone.

 

Here's some artwork I made for the "surprise" discs of the box set. I made green inked ones so they could fit better into the other sub-boxes material. A colorful collection now.
Made two versions of each of the discs, so you can decide which one looks better...
Pictures in PNG, sized 1000x1000 px




Pompeii Audio Disc Version 1:
https://67.media.tumblr.com/cc94356193daf563ad1fc81a411c53f3/tumblr_oglxcrwL4W1r9d6kgo3_1280.png

Pompeii Audio Disc Version 2:
https://66.media.tumblr.com/aecbfaae98ee020957c090ba272f97ca/tumblr_oglxcrwL4W1r9d6kgo1_1280.png

Meddle 5.1 mix Disc Version 1:
https://67.media.tumblr.com/0917a9f9367061f3809003da824c44ca/tumblr_oglxcrwL4W1r9d6kgo4_1280.png

Meddle 5.1 mix Disc Version 2:
https://67.media.tumblr.com/bf19a928bcf579ed5266bf8c9e865154/tumblr_oglxcrwL4W1r9d6kgo2_1280.png

 

Maybe. I think the strongest clues will be in the guitar sounds and playing, so maybe someone with a better ear for these things than me could speak more authoratively on that. Or someone with more time - I'm off to bed. Will revisit mystery tomorrow

 

What's the name of the original font??? I'm searching since weeks for that!!!

 

Please do. It would be very much appreciated!

Just saw your post outlining the steps. Thank you very much!

 

Didn't want to look, wanted to find out for myself but...my box isn't here and I caved. Thanks for this! Very psyched for this disc.

Fingal's Cave!!!

 

Ok I am reporting in again. 'Scream Thy Last Scream' is easily the best of the 2010 mixes that we hadn't heard yet. I am quite fond of 'Matilda Mother' as well. The jusy for me is still out on the others. . .but I am really liking Scream!!!! Good job to the team that mixed that one.

p.s. I like that they didn't edit out the 'Oh sock it to me'

p.p.s this is how Syd's guitar should sound.

 

The wait is slowly starting to kill me! I should have the box by this week (still sitting at Amazon expected to dispatch tomorrow.) I'm very excited.

 

Ordered from Amazon US and received on Friday. Missing the "bonus" disc. Amazon customer service says: return it (who says the new one will have the disc), get a 20% (!?) refund, or buy the disc from someone else and they'll reimburse.

How about find all the missing discs and send them to the customers?

 

I should be getting my set in the next day or two, but I am curious . . . can someone tell me the dimensions of each "book" set?

 

Long time member, even rarer poster...but I have my thoughts on the audio of this new boxset.

I will say that overall, I am incredibly happy with this. Having so many unreleased songs, alternate versions, BBC sessions, live tracks, demos - this is a fans' wet dream! Nevermind all the video stuff, which probably deserves it's own thread!

I do recognize (as has been covered previously) that this set is missing some key material (i.e. Give Birth To A Smile, Free Free (alternate lyric/movie version), the real Seabirds, Sunshine, SF's Interstellar Overdrive, Reaction In G/Intramental, Nothing parts 1 & 2 [One Of These Days demo], stereo 1971 BBC session, upgraded 1967 BBC trax, Biding My Time, TLAMLIL's Interstellar Overdrive & Nick's Boogie, etc...) but what is included is a real treat.

After listening to this set a few times over, I thought I would post a significantly detailed review, along with thoughts and findings, for the CD's. Maybe others here can chime in on my findings? The first two volumes are represented below. Further reviews of the remaining volumes to follow.

VOLUME 1: 1965-1967 - Cambridge St/ation

The 1965 Recordings (CD1 tracks 1-6)

My thoughts on these particular songs is entertaining to say the least.

The performances are good, the songs are fairly standard R&B/early Rock vibes, quite similar to early Rolling Stones, Kinks, Yardbirds - but with less flash and more of a garage-band feel.

Lucy Leave is a great introduction to the bands recording history! Great tune, classic sound - could have been a hit if it was released back in the day. It shows a Beatles influence and the solo from Bob is on fire.
Double O Bo is a cute tune, with Bo Diddley beat (which Nick is quite good at playing, as told in his later, tom-filled years) and the rhythm guitars are equally quite awesome. I would think the hi-toned guitar is Syd and the lower-end rhythm is Bob - as some of the hi-toned rhythms are very much of the Syd style.
Remember Me features a keyboard solo from Rick that points to the latter psychedelic years, but in all honesty, that is the only standout thing of that particular tune.
Walk With My Sydney is a cute British pop song. Something you'd maybe hear Dusty Springfield singing (!) or maybe even The Who. It's cute and the lyrics (from Waters no less) point again towards the psychedelic years.
Butterfly is neat fast-paced blues-ish song that reminds me also of The Who until the chorus, when it clearly gets very Piper-ish. As someone else pointed out, this tune with a bit of work, could have been a Piper song no problem.
I'm A King Bee is another R&B/Blues-based number, also very Rolling Stones' inspired. One of my favorites, believe it or not! It's hard to believe this band would do Arnold Layne in just 2 years!

The sound quality is great, for the most part, considering some of these are from acetate and some from tape. There is a drop out (as reported) in the beginning of Lucy Leave that doesn't appear on previous bootlegs. The sound quality is certainly better than the nice 24/96 vinyl rip I had of the limited release from last year, which still sounded good for what it was - but I was also hoping all these songs would be from tape. Either way, it is really a small quibble. The sound is excellent for the most part, good bass and great treble. These were mono mixes, but sadly the transfer of them was obviously done with a stereo head on the tapedeck instead of a mono one and same with the acetate transfer. When opened in an audio editor you can clearly see one channel is slightly louder than the other and occasionally (as seen on almost all other "mono" tracks in the set) the supposed-to-be centered image is slightly skewed to one side. Sound Quality: A-

The 1967 Recordings (CD1 tracks 7-11)

We all know the these songs very well, and if you don't know them - you are in for a treat!
Arnold Layne - the first single. And what a single it is. Coming right after I'm A King Bee is a bit of shock! It's like a totally different band! I remember when I first heard this song when I was 10, after being quite familiar with the classic Floyd from the 70's What a shock. Same as when I discovered pre-Space Oddity Bowie, but I digress.
See Emily Play - the second single. Wow. I forgot just how good this is! (speaking of Bowie, I always loved his much-derided cover).
Apples & Oranges - this, their 3rd single, has always been a strange song for me. I like it, but I also find the changes between the verses and chorus to be quite jarring. The verses are quite clever and remind me of Vegetable Man in it's odd-meter lyrics. There is a reason why this song never took off as a follow up to the first 2 singles.
Candy And A Currant Bun (the remade Let's Roll Another One - too bad a good sounding version of this demo doesn't exist!) is a fun summery song. I can see why it was a B-Side and left off Piper. Still a great song, if not a bit creepy. Awesome guitar break that gets me every time. Syd was amazing! The organ solo is another slice of face-melting Rick-isms that then morph into two Syd guitar tracks that lose their mind (rhythm & solo) - one of my favorite Syd songs.
Paintbox is one of my top 3 favorite Rick songs. Beautiful. I can hear a bit of Summer '68 and Remember A Day in this. In fact, the drumming is amazing in this song. For those who think Nick didn't play on Remember A Day, just listen to this song. His fills & rolls are very unique and they are the same here as they are on Remember A Day. I bet Norman Smith actually played on See-Saw. That's more of a straight beat that Nick would have trouble with, me thinks. Again, I digress.... a beautiful song. This should have been a hit. Catchy as all heck and Rick sounds wonderful and confident here. Shame it was also left as a B-Side. Double shame the stereo mix wasn't included.

The sound quality is amazing on these tracks! I will also mention the same thing I noticed with the 1965 sessions, and that is these transfers are not 100% mono. There is a slight variance between channels (less than .5 dB) but it does not distract from the listening experience. I would say these are all fresh transfers and masters. I have never heard Arnold Layne & See Emily Play sound so strong. Paintbox has never sounded so crystal clear before. In fact, at one point it almost sounded 3-dimensional, just like the Beatles in mono! I also noticed in See Emily Play around 0:30-0:50, there is a weird static buzz that appears. I never have noticed this before. Has this existed in the past releases? Maybe I should check - but I am just too lazy. Either way, it's all amazing sound quality. Nothing too bright or bassy here. Lots of dynamics (which is something to say for mono mixes!) Sound Quality: A+

The 1967 Recordings (2010 Mixes) (CD1 tracks 12-16)

Matilda Mother's 2010 mix was featured previously on the Syd Barret comp, An Introduction To Syd Barret, albeit this particular version is the extended, full length version with a jam at the end. If I recall, this version is also an alternate version than the Piper version with alternate lyrics, isn't it? My memory is failing me...
Jugband Blues in this mix, really shines and shows the production effort that was laid into Syd-era Floyd in a new light. You can hear all the elements with more clarity - but indeed it does lose the schizophrenic feel of the version found on ASFOS. It makes me wonder what AFSOS would sound like with a modern remix done in this fashion. Is that even possible? Do all the tapes survive? I do like this mix, but it seems anti-climactic now with the way the ending is mixed. It is not claustrophobic anymore. That can be both a good and bad thing. Still amazing though!
In The Beechwoods - WOW! Words can not express hearing this for the first time. At first, I was quite shocked at Syd's guitar tone. Way too clean and "perfect" compared to what I am used to. Here he was apparently going mad, yet he wrote this? I can only imagine the lyrics and melody he would have laid over top. Or maybe Rick would have sung this one? It does feature some great piano playing from Rick and I wonder if he had a bigger hand in writing this tune, than what is lead to believe.
Vegetable Man - growing up, I was familiar with the Jesus And Mary Chain's cover of this song - and never really knew the origins. When I got older and discovered Syd-era Floyd, I found both mixes (1974 & 1987) on a boot along with Scream Thy Last Scream. They both floored me. But the sound quality for both mixes of this song just sounded like crap. I hated that "whooshing" sound on every snare hit. In the Napster days I found better version, but with the MP3 artifacts it really made the song unlistenable for me. I literally "gave up" on this gem, until now. The modern mix is still kinda odd, especially compared to the 3 preceding tracks, as the guitar is vastly buried in reverb (maybe this effect actually recorded to tape, and not added in the mix then?) and the vocals are quite buried as well. Overall, the mix is good, for what is there. And if I am correct - this was Floyd as a 3 piece with Richard not participating in the recording. I wonder what he would have done?
In this clarity, I think I can put my finger on the "whooshing" sound that bothered me so much - it is a reverse snare & hi-hat hit timed and recorded backwards as an overdub. After listening on headphones, I can hear it clear as a bell - it's their take on Tomorrow Never Knows! Still makes the drums sound wimpy - but at least they are more significant than the previous 2 bootlegged mixes. I can also hear how this song "predicted" grunge from the late 80's/early 90's (the garage grunge, not the commercial grunge) The lyrics are great too! Typical Syd story/wordplay.
Scream Thy Last Scream - WOW! Another home run, in my opinion. The sound in this remix is so pristine, and the clarity so clear that you can literally feel yourself in the soundstage on a decent setup. The chipmunk vocals are mixed lower than the previous 2 bootlegged mixes, but I think it works better overall now. It also sounds like they fixed timing issues with the chipmunk voice, so it better matches Nick's lead vocals. Speaking of which, is it me, or does it sound like Nick is actually in-tune here? On previous mixes, his vocals always sounded quite, off. Here they now sound in pitch. Did Pink Floyd use a hair bit of auto-tune to fix him up? I also noticed Syd's regular vocal line "counting bubbles on all fours" is more in time than it was previously. So it looks like some digital editing may have been done here. The jam at the end is really quite groovy and almost gets into a motorik-style beat for a moment. This should have been the final Syd-era single. Still sad that we don't get official versions of the 1974 & 1987 mixes. I would love to have ones that sound good!

My official take on the sound quality of these particular songs is above top notch. They hit it out of the park, especially considering they were only working with 4 & 8 tracks on the multis. From my understanding, these were all transferred digitally, edited digitally but mixed through an Analog Console. It sounds like it. My ears are familiar with API desks and gear and I swear I can hear API treble in these mixes. Silky smooth. Very warm and analog. Wow. Sound Quality: A+

Live In Stockholm 1967 (CD2 tracks 1-8)

Introduction
Reaction In G
Matilda Mother
Pow R. Toc. H
Scream Thy Last Scream
Set The Controls For The Heart Of The Sun
See Emily Play
Interstellar Overdrive

I won't get into a track-by-track detail here, as I will treat this show as one review. The playing right from the get go is amazing. I can't imagine what it would have been like to have seen Syd-era Floyd live in 66/67. This show proves (despite the lack of audible vocals) that they were a powerhouse rocking band that you could trip out to or dance to. Syd's playing is freakin' off the charts here and this should help establish Syd as a virtuoso guitarist. Despite there being very little audible vocals, it is not missed. This is a grooving setlist, and the sound is freaking pristine for an audience recording. It sounds like a soundboard, and considering its source, and the time this was recorded, it is amazing we have such a document of a legendary show, at a legendary time.

My only quibbles are that they track starts could have been edited better (only off by a half second or two on a few of the tracks) and there is a weird transition between Matilda Mother & Pow R. Toc. H - when listening to the very beginning of the latter, you can hear the trailing end from the previous track (applause) and then the start of the song begins for a brief moment and then cuts again for about 2 seconds. Then you hear the sound of a note decaying, the sound of a guitar string (being tuned?) and then the start of the track. This is VERY abrupt - but also odd. The hiss from the original source disappears in that missing 2 seconds and by listening as well as looking in an audio editor, you can see all sorts of weirdness going on - so to my eyes and ears (and years of working in studios) it appears that either A) a section was accidentally edited out or B) that section was recorded over on the master (but why would the hiss disappear too?). The fact that there is a different way the song starts after the gap than previous to the gap suggests something similar to the latter theory (i.e. PF started the song, quickly abondoned and tuned a guitar all in a span of 2 seconds.) For my own sake, I have edited out the first second previoust to the gap, the gap itself and the guitar strings and gone straight into the beginning of the song. What was given to us here in the set, is very odd and abrupt. I highly doubt it was a mastering/pressing error. Sound Quality: A-

John Latham Soundtrack (CD2 tracks 9-17)

John Latham (versions 1-9)

Again, no need to get into individual reviews for this. In fact, this is really one LONG 30+ minute "song" divided up into "sections" on the CD. In my library I have actually just put them altogether as one song. Each of the "versions" really have no individuality to them and the track changes just seem random and arbitrary. From my understanding of royalties, etc. - it would make sense to split them up (like Mars Volta did with Frances The Mute) into multiple tracks. This is a cash grab (hahaha) - but in all honesty, this "song" is just weird experimentation and improvisation. At times it reminds me of early Kraftwerk, Can or Neu! (minus the motorik rhythms) and is quite atonal. Another reference is Lou Reed's Metal Machine Music. Let's put it this way, the meanderings in Interstellar Overdrive (all versions) are more listenable and functional as music than this is. I can see why it was rejected for the soundtrack.

However, I am deeply amused by this and I actually like it quite a bit. The sound quality is also clear as a bell and is very pristine with a wide stereo image. Were these modern, 2016 mixes? Must be. There is no way this can be from '67!
Sound Quality: A+


VOLUME 2: 1968 - Germin/ation

The 1968 Recordings (tracks 1-6)

Point Me At The Sky is such an odd song for a single, IMO. I like the chorus, but it is so weird to hear Dave in the verses. It doesn't even sound like him. But when the guitar kicks in, you know it's Dave with that tone and the slide. Cute song but with a great rhythm pounding away. I am glad there finally has been a re-release of this as its only CD appearance has been on The Early Singles, and you can't buy that easily anymore.
It Would Be So Nice - Another Rick song, but it's the first one I don't really like! The song starts off strong enough but once the verse starts, I find myself twinging over the twee-ness of it all (!) - good choice for a B-Side. But paired with Point Me At The Sky as their 4th single was maybe not a wise choice. This is why they stopped making singles in my opinion. I would rank this single as a period of transition.
Julia Dream is gorgeous. Period. Lyrics by Waters and you can hear his confidence growing. This is the start of the acoustic "folky" phase that lasts until Meddle/OBC. The mellotron here from Rick is sublime. Gorgeous melodies from Dave and the first real sign of his potential as a singer. strange choice for a 5th single and again I can see why it tanked - not because the song wasn't good - but because the band was known for songs like See Emily Play. Not this. Shame the stereo mix wasn't included.
Careful With That Axe, Eugene is one of my favorite "space rock" songs of theirs. I have enjoyed every incarnation of this, and live - this song would propel their sets. It is the first real foray into space rock for them, finally losing the psychedelic feel of their earlier material. In my mind, up until this point, the band made extended pieces of music but it was usually more experimental. While this isn't as long as many of their epics, it contains many trademarks used initially for latter-day Floyd: the rhythmic, hypnotic and simplistic bassline, the motorik/trance-like drumming, the eerie keyboards and organ, the jazz drumming meets Animal from the Muppets (!) and of course Roger discovering his weird caterwaul that would see major usage during Animals, The Wall and the Final Cut. Shame the stereo mix wasn't included.
Song 1 - WOW! This is a stunner, and one no one has seen or heard. Where did they find this? This is quite an interesting instrumental. It starts off pretty unassuming but then goes into typical Floyd territory thanks to Dave's monstrous guitar. I hear themes of other songs they later recorded too. Brief, but there. Very good song and definitely could have used some lyrics and been finished. Is this Dave's In The Beechwoods?
Roger's Boogie - wow! (notice the lowercase?) - This one is flat-out weird. It's terrible per-se, but it is an unfinished song where you can hear Roger harmonizing with himself (no actual lyrics) and at times, he gets quite of tune. The idea is grand but the execution leaves a lot to be desired. As someone else has mentioned, it reminds me of something the Moody Blues would do and wouldn't be out of place on one of their albums. I can hear Justin Hayward singing the parts already! It's an interesting find, but not essential.

My thoughts on the sound: The first 4 songs are in mono, and yet again it is the same mono issue as reported on CD1. Other than that, These songs have never sounded so good. Excellent dynamics and Point Me At The Sky has now seen the best mastering it likely will ever have. It now has some treble to it and sounds at least one, if not two, generations higher than what was on The Early Singles. This song has never had very good production, nor a good mix and has always sounded really bad (especially that shaker!) but now it actually has some clarity. I heard things here I never have before. Same goes for It Would Be So Nice. Julia Dream and Careful With That Axe, Eugene sound crisp, clear and clean, obviously showing the benefits of better production and recording techniques. Very good recordings and excellent 2016 masterings! The final two songs (Song 1 & Roger's Boogie) sound amazing and pristine. I highly doubt these are period (1968) mixes. They sound too clear. And again, I swear I hear that API signature sound in the treble. They sound fabulous. However, at approx. 0:03 seconds into Roger's Boogie, I hear what sounds like a digital glitch/skip. I have looked at the file itself and there is definitely something odd there...can anyone else confirm or deny? Maybe my copy or my rip was faulty?
Sound Quality: A+

BBC Radio Session, 25 June 1968 (tracks 7-10)

Murderotic Woman (Careful with That Axe, Eugene)
The Massed Gadgets of Hercules (A Saucerful Of Secrets)
Let There Be More Light
Julia Dream

These performances are all outstanding, in my opinion. The performance of Let There Be More Light, in particular, stands out with confidence. The sound quality isn't terrible but there is some audible tape damage at points and also what sounds like overcompression from the original broadcast. However, slightly better versions exist elsewhere (such as Let There Beeb More Light) and these tracks are again in mono, so the same previous channel issue reported exists. Sound Quality: B

BBC Radio Session, 2 December 1968 (tracks 11-13)

Point Me At The Sky
Embryo
Interstellar Overdrive

Well then! More BBC tracks! And these are actually mislabeled in the set: they are actually from December 2nd, NOT the 20th! I really like the version of Point Me At The Sky that is included here. I think it packs the "oomph" that the single version was missing. This also makes the first performance of Embryo on the BBC and this version is much more similar to the demo version (later released on the Picnic sampler) not the later rocking live versions. The performance included of Interstellar Overdrive is fantastic! They really start to veer off into no man's land in this version. Almost somewhat John Latham inspired!
The quality of the 1st two tracks here is quite good but again, better versions exist out there but it's not as massive as of an improvement as the previous BBC session or the 1967 ones for that matter! There are some clicks and noise on Embryo (almost sounds like a transcription disc to be honest) and it is strange that at least these clicks weren't removed. It would take me all of 5 minutes! The final track, Interstellar Overdrive, is the odd one out here. When I first heard it, it was significantly lower in volume. I could barely hear it. When I examined the rip, it isn't a very loud track at all (a few high peaks but its average level was fairly low) and the track itself sounds like an off-air cassette recording, whereas the 1st 2 songs are similar to the previous BBC session. Why would such an awful sounding version be placed here and not on the Continu/ation set? This is THAT bad. I like the performance but doesn't a better source exist for this track? These tracks also all appear in mono, so the same previous channel issue reported exists. Sound Quality: B+ (1st two songs) / Sound Quality: F (3rd song)





More to come...this took a while...

 

Now I'm getting really worried about my Amazon US order.

 

You'll be fine. Mine arrived with the bonus disc intact.

 

Bump

 

I was astonished at how great Mother and Jugband sound. It's really a shame that more multis didn't survive

 

Here's hoping everything is smoothed out by the time '70, '71, and '72 are up for individual sales.

 

Thank you for your review. Normally when I listen to music I'm always doing something else (surfing the web, etc) and sometimes my attention wanders. With this set, since I've never heard any of these songs/versions before (besides the early singles and 1965 tracks) I'm really going to sit there and LISTEN and take in the moment...this is all magical stuff.

 

Maybe your case was an exception.
I'd never experienced someting like this when buying a box set before. This is so un-Floydian!

 

Welcome back!
First of all, a great review! And glad you like most of the material.

Well, Candy (along with 'Arnold Layne' and some other tunes recorded at Sound Techniques) were actually demo recordings.
Reportedly the band wanted to record a proper version of 'Arnold Layne' a bit later but EMI chose Joe Boyd's (independent) production tapes. Besides that, both (demo) songs were finished long before a first album was even planned.

I, too, wish that was a single on it's own. But I guess Syd was the main vocalist and no one would've chosen a song for an a-side sung by another member of the group because it would confuse the listener back in the day...

One of my favorite Syd/Early Floyd songs, always a joy to listen. There's a little tape click/issue I noticed on all previous released (re)masters of the song, including on the recent released Cre/ation double CD.
I think this cannot be restored because (we know) all multitracks are lost forever and guess that click/buzz thing happened during the mono mixing transfer to mastertape back in 1967. I could be wrong but that's a plausible reason for me.^^

Well, yes. This is a hybrid mix of both the Piper original album version and the alternate lyrics/early take version. I love the long outro! Listened to it on Cre/ation. Never heard that mix/version before. Superb mix!

Wow, even Kraftwerk/Neu! similar? Unfortunately I have to wait for the box set (maybe) till christmas. I know some people don't like the Latham session so much, and I should start to doubt but though I'm still excited about how it would sound!

I love the song, unfortunately it was mixed badly back in 1968. Probably made in a rush as hope for some cash in for EMI.^^
You can't hear Roger singing clearly in the later half of the song. What a mess. The remaster though is very well done. Finally a wider release!!

I like the song! Wish this was mixed in stereo back in 1968 or later. It would've fit better as an album track somewhere on 'Saucerful' maybe.

Ah, the Capitol Studios session(s)! From what I read I must be worried a bit.^^

Anyway, great review! Can't wait to hear the audio stuff myself.

 

I hear that click on mine too but to me it sounds more like some noise in the studio; it seems to have an acoustic presence or reverb that a digital click doesn't.