Projection - A Pink Floyd(?) Timeline

Discussion in 'Alternate History Discussion: After 1900' started by ChargedSpaceStation, Jan 12, 2018.

  1. MatthewFirth Well-Known Member

    Mar 12, 2012
    Portsmouth, England
    Well Dan, OTL it's getting into Ziggy period, so ATL could be shaken up here....
  2. ChargedSpaceStation Well-Known Member

    Jan 11, 2017
    A tip:
    Search the facts that happened to every member of the band during 1972 and 1973 and associate the facts, and guess what happens during these years...
  3. flippikat A lot goes a little way.

    Jul 21, 2008
    New Zealand
    I'm really liking the idea of the Echoes Crew as a collective of musicians appearing on each other's albums as the "house band" or "go-to" session guys... it's a fair extensuon of the way things were in OTL with the likes of the Soft Machine helping Syd on his solo albums.

    nice touch with the name too - good tip of the hat to Hal Blaine, Carol Kaye, Glenn Campbell etc.. :)

    Can't wait to see how glam & pre-punk hit them.

    I wonder if Bowie becomes the patron to Iggy Pop/The Stooges & Lou Reed in this timeline... or whether someone else fills that role (someone takes Iggy under their wing, someone else with Lou.. heck.. maybe John Cale hits it bigger than OTL?).. or do they take on the UK/world on their own?
    Last edited: Mar 27, 2018
  4. flippikat A lot goes a little way.

    Jul 21, 2008
    New Zealand
    Cross-pollination with America? In OTL Bowie & Pink Floyd make huge inroads into the USA.

    On the other side, we see Iggy Pop and Lou Reed relaunch their careers by coming to England under the auspices of David Bowie.

    Can't wait to see how that plays out with Bowie in this timeline very much being part of a collective instead of "complete master of his own domain".
  5. ChargedSpaceStation Well-Known Member

    Jan 11, 2017
    1971/72: Ancient Concerts and the Leftovers for a Magnum Opus
    Life at Pompeii?
    The Pompeii Amphitheatre
    In late 1971, the director Adrian Maben was particularly interested on the experimental scene, mainly by people related to Projection, such as Roger Waters and The Echoes Crew. The director called Waters on the telephone and invited them to an special-experimental concert in Pompeii. Persuading the local authorities with a teacher of the University of Naples, a Projection fan, both managed to close the amphitheater for a week to record the live experiment. Another suggestion was to perform without an audience, an answer to live albums such as Woodstock and Gimme Shelter.

    Locked for a week inside the ancient place, Projection and The Echoes Crew were invited to participate, as the musician and friend Ron Geesin and producer Nick Mason. Projection's big songs were performed, as solo compositions of David Gilmour and David Bowie, a quieter version of Atom Heart Mother, and the return of an old piece for the great set, Interstellar Overdrive. Some parts were overdubbed at the studios later. The premiere of the film happened in September 1972. In 1974, an re-release included sessions of albums until the moment. In 2002, a director's cut version was released.

    A new time
    Projection's newest record, Son of Nothing, has proved the success and the new way the band was turning. Distancing of Syd's influences, the group was approaching of an art-oriented format. Besides the Progressive rock wave, there was emerging another musical genre, the Glam rock. During the early 70's, Bowie would have been an active participant of the wave, otherwise your band. Projection would flirt slightly on their next album with the new genre, but not entirely, despite their Prog-rock influences on the style (mainly by David Bowie and Kevin Ayers collaboration).

    In January 1972, the group started a short tour to promote their album in the United Kingdom, United States and Canada. Their first concert, at the Brighton Dome in 20th January 1972, was interrupted by a failure in the equipment during Wright's One Night Stand. After that, the group amended The End of an Ear, Atom Heart Mother (a Roger Waters song), and The Return of the Son of Nothing, instead of the rest of the setlist, plus the encore. The most remarkable moments of the tour were the four-consecutive night at the Rainbow Theatre during 17-20 February 1972, yielding in a lot of bootlegs.

    The 1972 tours would be the only tours to have a non-Projection member song, I'm Waiting for my Man, by Lou Reed (and The Velvet Underground), and performed by David Bowie. Money was wrote by Roger Waters to a concept album that would be offered in the future for the band. It was performed live by David Gilmour.

    One month later, the band would work in the title track of their next album, a David Bowie composition. He brought the Yes keyboardist, Rick Wakeman, to work with the group. In two weeks, the group had finished (Is There) Life on Mars?. The lyrics were originated from the occasion which Bowie wrote an English version of Comme d'habitude called Even a Fool Learns to Love. Paul Anka bought the rights of the song and re-wrote it into My Way, made into success with Frank Sinatra, prompting Bowie to wrote the song. Insisting on the great work, the group released the song as a single, an immediate hit, backed by Quicksand.

    1972 Tours (Part One)
    Winter/Spring Tours set
    "One of These Days" (David Gilmour, Roger Waters, Nick Mason, Richard Wright)
    2. "Space Oddity" (David Bowie)
    3. "Singing a Song in the Morning" (Kevin Ayers)
    4. "May I?" (Ayers)
    5. "The Man Who Sold the World" (Bowie, Gilmour)
    6. "One Night Stand" (Wright)
    7. "O Caroline" (Robert Wyatt)
    8. "The Width of a Circle" (Bowie)
    9. "I'm Waiting for My Man" (Lou Reed)
    10. "There is Loving/Among Us/There is Loving" (Ayers, Wright)
    11. "The Return of the Son of Nothing" (Wright, Bowie, Ayers, Wyatt, Gilmour, Waters)
    12. "Memory of a Free Festival" (Bowie)
    13. "All This Crazy Gift of Time" (Ayers)

    "Life on Mars?" (Bowie)
    15. "Childhood's End" (Gilmour)
    16. "Money" (Waters)

    Château d'Hérouville

    The group started to record/finish their next album in less than four weeks. With some songs already done, and isolated takes, the band decided to reuse and mix some of them. Right after the tour, Projection went to the Château d'Hérouville. Besides the old material, Roger Waters helped to wrote some songs during the sessions, making into new songs. The first sessions happened during 23-29 February 1972, with the band starting to tour again in the United States. "I think we don't had so much time to record our songs, it was a prize stipulated by EMI, so we had to confine ourselves into a studio for a lot of time.", Nick Mason.

    Projection returned to the studio exactly one month later, expending one week more than the first sessions. Roger Waters also wrote and recorded with Projection the song Free Four, which was released as a single by both, with Roger in the lead vocals. After the recording sessions were finished, the album was handed to Roger and Nick Mason to mix it at the Morgan Studios, accompanied by the new hired engineer Alan Parsons, while Projection wanted to stop touring for a while. "We were very tired, we hadn't stopped to tour since 1971! That was a lot of time!", recalls Gilmour.

    Iggy Pop and The Stooges

    Iggy Pop met Projection during Projection's leg in the United States, at Max's Kansas City. During that time, he and his old band, The Stooges, had broken up, and Iggy, was without a signed label. In early 1972, David Bowie offered to record an album of The Stooges (though he was only with Iggy Pop and guitarist James Williamson). In February, the reunited Stooges signed with EMI/Harvest Records after the fulfillment with Elektra Records.

    The set of 1971 was used to be recorded by the group. Iggy and Williamson went with Projection to the Château d'Hérouville to record their return. Unsatisfied with the first sessions (which comprehended with Iggy and Williamson with Projection as session members), both members decided to reform the line-up calling back the brothers Ron, moved to bass guitar, and the drummer Scott Asheton. Richard Wright made some appearances with the keyboard sections. After Projection getting into the roads again, The Stooges backed them with classic and new songs. "Iggy and the Stooges remembered me from Projection's early days, particularly 1966 and their debut album. Pretty punky stuff there.", reports from the 1972 tour.

    Both bands entered again at the Château, and Stooges remained there for a week, where they have finished their songs. David Bowie mixed the songs when the band returned to England. The band's return was reportedly as another band fallen into Projection's sphere of influence, with their album being announced as I Got a Right!, with the title track released as the promotional single.

    An announcement from Mars

    The EMI Records and Capitol Records wanted to 'hyper-promote' the album. The album was finally announced as Life on Mars, the same name as the title track. Instead of normally release a track of the album as a single, suggested by Wright and Bowie, EMI decided to don't release any song of the album, in favour of the hype around the album. Instead of it, Free Four, a pastoral song composed by Roger Waters was released, and credited as "Roger Waters featuring Projection". The title track finally opened the eyes of the people in the other side of the world (United States), and finally their were hyping for the album.
    Last edited: Apr 9, 2018
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  6. Threadmarks: Life on Mars

    ChargedSpaceStation Well-Known Member

    Jan 11, 2017

    Life on Mars is the seventh studio album by the British rock band, Projection. It was released in 2 June 1972 by Harvest Records in the United Kingdom and Europe, and by Capitol Records in the United States. The album was produced by Roger Waters and Nick Mason. Life on Mars would be Projection's last album before the hiatus of the group until 1975 (and the then so-called Psychedelic era), and last album released under the Capitol label. The cover of the album was originally made by Aubrey Powell and Storm Thorgerson to The Nice, but with their album remaining unreleased at the time, it was given to Projection. As the title of the album says, the album features the hit song, Life on Mars?.

    Projection recorded the tracks at the same time as the newly-reformed The Stooges, which backed them during the first 1972 tour. Originally, some songs and excerpts of the album were recorded during the recording sessions of Son of Nothing. Some songs, such as Wot's... Uh the Deal, Burning Bridges, and Lullaby were recorded at the Château d'Hérouville. Disregarding those excerpts, Life on Mars was the first studio album by Projection fully recorded outside the Abbey Road Studios. The album was recorded periodically in two sessions in less than four weeks, one in late February 1972, and the other in late March-early April 1972, being mixed in one month by Waters and Mason at the Morgan Studios in London with engineer Alan Parsons.

    In April, the EMI and Capitol Records financed a mass advertising (similar to Religious Experience) of the album in both parts of the world, despite not releasing any songs as singles, but some excerpts as commercials of the album. Some fans received that as a sell-out, but many others has got hyped for the newest record under a year. The album was well-received by the critics and even more by the fans, and newer fans in the US. Childhood's End was released as a single, topping the UK Singles Charts and Billboard Mainstream Rock Charts, with a live version of May I? as B-side. Life on Mars was the first album by the group to top the US Billboard 200 for three weeks, but reaching #2 at the UK Album Charts.

    The album has shown a new step of the band in the musical world. Abandoning the Psychedelic-pop influences, since Syd has gone, the band flirted with the Glam-progressive aesthetics in the album, mainly with David Bowie compositions, and experimented other genres such as the Acoustic music, art rock, and blues rock, by David Gilmour-Richard Wright-Roger Waters trinity, and Kevin Ayers, experimentalism. Despite the new genres, and the new step, the group would enter into a hiatus in the next year, with a few reunions and tours, and a comeback in 1975.

    It remains as the best-selling album by Projection. The legacy of Life on Mars is a connection between the Progressive-Glam rock genres, also shown in Bowie/Ayers collaboration Ziggy Stardust, called the glam rock magnum opus, and the emergence of the Progressive rock of the underground as a mainstream genre. Life on Mars is cited as an massive influence by T. Rex's Marc Bolan, by Linda and Paul McCartney's Wings, Kevin Parker (declaring that he's a big fan of Projection), by Indie music bands in general, and even by Syd Barrett. The album was ranked at #42 in Rolling Stone magazine's 500 Greatest Albums of All Time.

    Genre: Progressive rock, art rock, glam rock, folk rock, experimental
    Total: 51:20
    Produced by: Nick Mason, Roger Waters and Alan Parsons
    UK Album Charts: #2
    Billboard 200: #1

    Side A - 27:27
    "Life on Mars?" (David Bowie) - 3:53
    2. "Burning Bridges" (Richard Wright, Roger Waters) - 3:29
    3. "Whatevershebringswesing" (Kevin Ayers, David Gilmour, Wright) - 8:13
    4. "Changes" (Bowie) - 3:37
    5. "The Gold It's in the..." (Gilmour, Waters) - 3:07
    6. "Wot's... Uh the Deal?" (Gilmour, Bowie, Waters) - 5:08

    Side B - 23:53
    "Medley: Lullaby/Stranger in the Blue Suede Shoes" (Ayers) - 5:35
    8. "Childhood's End" (Gilmour) - 4:31
    9. "Mudmen" (Wright, Gilmour) - 4:20
    10. "Stay" (Wright, Waters) - 4:05
    11. "The Bewlay Brothers" (Bowie) - 5:22
    Richard Wright -
    lead vocals [2, 3, 10], backing vocals, Hammond organ, Farfisa organ, piano, EMS VCS 3 synthesizer, Mellotron [1]
    David Bowie - lead vocals [1, 4, 6, 11], backing vocals, piano [11], electric guitar
    David Gilmour - lead vocals [2, 5, 6, 8], backing vocals, lead guitar, pedal steel guitar, EMS VCS 3 synthesizer
    Kevin Ayers - lead vocals [3, 7], backing vocals, bass guitar, electric guitar
    Robert Wyatt - backing vocals, drums, percussion

    Additional personnel
    Roger Waters - songwriting, producer
    Nick Mason - executive producer
    Alan Parsons - engineer, producer
    Bruce Malamut - incidental brass [3]
    Mike Oldfield - electric guitars [1, 3, 8, 9]
    Rick Wakeman - piano [1]
    Mick Ronson - arrangements
    Storm Thorgerson and Aubrey Powell (Hipgnosis) - cover art
    Last edited: Apr 9, 2018
  7. flippikat A lot goes a little way.

    Jul 21, 2008
    New Zealand
    Hmm... quality tunes here.. quite a mellowed-out album.

    I just get a feeling though that something (or someone) is going to push them into a heavier sound with their next release.
  8. ChargedSpaceStation Well-Known Member

    Jan 11, 2017
    1972/73: Together We Stand, Divided We Fall

    Kevin Ayers and Echoes Crew member Mike Oldfield at the Hyde Park, 1972.

    Finally, after a couple of years, the other side of the world was opened to Projection. If the group was known just as the band that did Space Oddity, now their music was finally being appreciated by the United States. The album brought financial benefices to the members and producers involved (Roger Waters and Nick Mason particularly) and nothing could stop them to rise the fame in the world. A perfect scenario right? Well... almost.

    After the release of Life on Mars, and a two-month vacation, Projection returned to the roads with the part two of their tour. After a big and successful tour in the United States, the group returned to the Old World, and finally, the United Kingdom, where they've recorded a live album in Santa Monica. In early 1973, an unexpected note: Projection enters into hiatus. "We have decided to do this due to our exhaustion of touring and producing albums all these years passed, so I think we need a pause to may take care with our lives, don't you think?", answers Kevin Ayers during an interview at the time.

    1972 Tours (Part Two)
    Summer/Fall Tours set
    "One of These Days" (David Gilmour, Roger Waters, Nick Mason, Richard Wright)
    2. "There is Loving/Among Us/There is Loving" (Kevin Ayers, Wright)
    3. "Life on Mars?" (Bowie)
    4. "May I?" (Ayers)
    5. "Changes" (Bowie)
    6. "Childhood's End" (Gilmour)
    7. "Space Oddity" (Bowie)
    8. "Why Are We Sleeping?" (Ayers, Wright, Wyatt)
    9. "Astronomy Domine" (Syd Barrett)
    10. "Whatevershebringswesing" (Ayers)
    11. "Waiting for the Man" (Lou Reed)
    12. "All This Crazy Gift of Time" (Ayers)

    Encore (solo numbers)
    "The Width of a Circle" (Bowie)
    14. "Fat Old Sun" (Gilmour)
    15. "Colores para Dolores" (Ayers)
    16. "The Return of the Son of Nothing" (Wright, Bowie, Ayers, Wyatt, Gilmour, Waters)

    The Hiatus

    As said, in January 1973, Projection entered on a 'short hiatus', according to the group. Some members dedicated the free time on their personal life, such as Richard Wright, who embarked to Lindos, Greece with his then-wife Juliette Gale and his children. He also would produce albums with Lou Reed. David would visit Rick in Lindos sporadicly, since he was almost free also. Sometimes, David would also work sometimes as before joining Projection: as session musician. As Wright, Robert Wyatt also dedicated some free time to make some tours in the UK with New Soft Machine backing Caravan.

    Kevin Ayers released Caribbean Moon as a single, and made some sporadic appearances on television, mainly in interviews about Projection, and even joining Robert Wyatt in Caravan/New Soft Machine's tours. David Bowie still remained active on music industry. With some unreleased songs, Bowie released two solo albums in four months: Aladdin Sane, and Pin Ups (featuring covers, unreleased songs, and live songs). He would tour also in the United Kingdom, and some small-to-medium venues in the United States. "[David] Bowie was a lot more, uhm, hyper-active *sic* than the rest of the band.", remembers Robert Wyatt.

    A letter to Lou Reed
    Lou Reed during the Transformer tour, 1972.
    In November 1972, Lou Reed released his second solo album, Transformer. The album was produced in the United States with session musicians, and like his previous album, Transformer was a commercial disappointment, although performed better than his debut album, and had memorable songs, such as the lead single [and hit in the United Kingdom], Vicious, and Walk on the Wild Side. Addicted to methamphetamine and alcohol, Reed was seeing his life vanishing away in every show. A miracle came in a surprise call from his former bandmate John Cale: "Hey, Lou.. you should stop hanging out with all those session hacks and come to England.. they have some really creative people here!".

    And then, Reed moved back to England. "Yes, I've heard about Projection when they released Space Oddity, then Son of Nothing. I actually met them in 1972 when Iggy [Pop] indicated them to me. They were horrendously creative, I thought.", reminds John Cale. At the time, Reed was seeking to produce his third album, although he was considering the album his last chance. Bob Ezrin, the producer of Alice Cooper, listened to Transformer and, "Well, I said to myself, 'he has a great potential to rise up again'.". With John Cale and Bob Ezrin, Reed fulfilled his contract with RCA and signed with EMI.

    When Richard Wright returned to England, coincidently met John Cale again, and became friends with him. Cale offered to Wright to produce an album with Lou Reed, which accepted to 'don't lose the habit'. Wright called the members of The Echoes Crew, with the exception of Karl Jenkins, to help with the production. Informed that Wright was producing an album for his all-time idol, David Bowie offered his help, and indicated Mick Ronson to. The sessions started in early May with a re-recording of Berlin, song of Reed's debut solo album, and finished with Caroline Says II, in early July 1973.

    Projection's sphere of influence

    Projection's sphere of influence is a term used to show the influence on artists by the group. For most of the members of Projection, the slang is a pejorative term. It was used for the first time at Rolling Stone magazine. "I think this thing, Sphere of influence, it's something bad actually, y'know? It's like we are a worldwide empire and we want to dominate everything. Bulls**t, am I right?", David Bowie. Offended with the slang, Projection sued the magazine, obligated to remove the stretch. Reed and Cale also repudiated the magazine, claiming that both weren't influenced by the group.

    List of artists at Projection's influence in 1973, published by the Rolling Stone magazine:
    • Caravan
    • The Echoes Crew
    • Roger Waters & Nick Mason
    • Tony Visconti
    • The New Soft Machine
    • Iggy Pop and The Stooges
    • Lou Reed & John Cale [former Velvet Underground members/founders]

    The Decision from Mars... or the Moon?/Accident/The End(?)

    Pink Floyd Sound in 1973.
    In May, with new energies, the group was about to decide their new album. And two options of concept albums were given to the band, which discussed fervently between the members. The first of them, written by David Bowie, it is a story about an androgynous bisexual rockstar called Ziggy Stardust and their band, the Spiders from Mars. In the other side, written by Roger Waters, Eclipse: A Piece for Assorted Lunatics, also alternatively known as Dark Side of the Moon. Decided by a democratic way (Richard Wright, David Gilmour and Robert Wyatt voted for Roger's concept; David Bowie and Kevin Ayers voted for Ziggy Stardust), and a lot of discussions, Dark Side of the Moon was chosen to be recorded.

    Projection started to record the songs for the album, starting with Money and Breathe, but something happened. During Gong's Gilli Smyth and Lady June's birthday party, Robert Wyatt, inebriated, fell from the fourth-floor window. He became paralyzed from the waist down. Three days later, Projection released a press note via EMI and Capitol. At the first height of the career, the band goes into hiatus due to Wyatt's accident. The production of Projection's next album was canceled.

    Roger Waters still wanted to produce the album. "I saw potential on the concept of the album. It was great, I couldn't believe that the album would not see the light of day.", recalls Waters. In mid July of that year, Roger Waters, Nick Mason, Richard Wright, and David Gilmour prepared themselves, and started to make their European tour, to promote the to-be-recorded album. The Pink Floyd Sound was reformed, and the tour promoted by EMI and Columbia, the new label that the band signed instead of Capitol. "I think Life on Mars helped us to promote our tour... the tour was a success in both parts of the world, incredibly.", Richard Wright.

    David Bowie and Kevin Ayers decided to put the idea of Ziggy Stardust on the desk. As Pink Floyd Sound, both signed with Columbia, and started to tour in the US to also promote their album. In the studio, both decided to not pick up with The Echoes Crew, and instead, both has chosen standard session musicians. In November, Pink Floyd Sound reunited with David Bowie and Kevin Ayers at the Rainbow Theatre to perform live both albums, to raise money to Wyatt's treatment. The concert was transmitted by BBC.

    Not to leave the fans with nothing in 1973, Projection released a compilation album called Relics with singles and songs omitted from the first releases in the US, a triple live album recorded in Santa Monica in previous year, called Santa Monica '72, and reissued their first three albums on the compilation A Nice Trio.
    Last edited: Apr 28, 2018
  9. ChargedSpaceStation Well-Known Member

    Jan 11, 2017
    [Ah yes, sorry for the delayed post, I'm now during exam/tests and et cetera]
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  10. ChargedSpaceStation Well-Known Member

    Jan 11, 2017

    I Got a Right! is the third studio album by American rock band, The Stooges (credited as Iggy & The Stooges). The album was released in 10 October 1972 by Harvest Records, first album after fulfilling with Elektra. The album was produced by Iggy Pop and David Bowie.

    The recording sessions of the album happened at the Château d'Hérouville, at the same time which Projection was recording their seventh album, Life on Mars. They were brought by David Bowie to the studio. The same offered an opportunity to the frontman Iggy record an album, extending to his band, The Stooges, which were reformed without bassist Jimmy Recca. In three weeks, the group recorded the album, with a similar set as their tours in 1971, and early 1972, backing Projection. In next months, David Bowie mixed with the help of Nick Mason at the Morgan Studios.

    Stooges' album wasn't initially commercially successful, but after the release of the single, bumped into the Billboard Pop Albums in #166, and eventually became a cult following-album, and influential to various punk artists, and the punk music, as well. The song You Don't Want My Name was released as a single, a worldwide hit, peaking at #7 in Billboard Hot 100, and #3 in UK Singles Charts, with becoming a part of a lot of soundtracks.

    Genre: Proto-punk, hard rock
    Total: 42:43
    Produced by: David Bowie, Iggy Pop
    All tracks written by Iggy Pop and James Williamson.

    Side A - 21:47
    "I Got a Right!" - 3:24
    2. "You Don't Want My Name" - 5:50
    3. "The Shadow of Your Smile" - 1:20
    4. "Fresh Rag" - 4:00
    5. "Over My Dead Body" - 7:13

    Side B - 20:56
    What 'Ya Gonna Do? - 5:22
    7. Do You Want My Love?/Asthma Attack - 15:34
    Iggy and the Stooges
    Iggy Pop - lead vocals, producer
    James Williamson - lead guitar
    Ron Asheton - bass guitar, backing vocals
    Scott Asheton - drums

    Additional personnel
    Richard Wright - keyboards, piano
    David Bowie - producer, mixing
    Nick Mason - engineer (uncredited)
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  11. ChargedSpaceStation Well-Known Member

    Jan 11, 2017
    (also, credits for flippikat, he's helping me with The Stooges' scenario)
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  12. flippikat A lot goes a little way.

    Jul 21, 2008
    New Zealand
    Thanks for the opportunity to contribute! It's a fine line in this sort of thing to offer ideas, without trying to hijack the timeline.

    I hope I've helped dealing with some of the 'loose ends' of this timeline.

    The Bowie & Iggy partnership is a huge part both of their careers in OTL - especially when they go to Berlin in 1976 - after the Stooges breakup & Iggy's subsequent rehab.. any changes there could cause a few interesting ripples... ;-)
  13. Threadmarks: Santa Monica '72

    ChargedSpaceStation Well-Known Member

    Jan 11, 2017

    Santa Monica '72 is the first and a triple live album recorded by English rock band Projection. The album was recorded at the Santa Monica Civic Auditorium in California during the 1972 tours which promoted Life on Mars. The album was released in 20 June 1973 in the UK by Harvest Records and in 28 October 1973 in the US by Columbia Records (due to the fulfilled contract with Capitol Records).

    Due to high tensions in the band and particularly Robert Wyatt's accident, the group cancelled the production of Life on Mars follow-up, which became Dark Side of the Moon, and released other compilations (such as the re-issue A Nice Trio and Relics), including the live album. The album rose up to the #20 position at Billboard 200, and to #9 at the UK Album Charts. In other countries, the album remained at the Top 15. No singles were released.

    Total: 143:51
    Genre: Progressive rock, rock
    Recorded: Santa Monica Civic Auditorium, 20-21 October 1972

    Disc One - 48:36
    Side A - 26:20
    "Introduction/One of These Days" (David Gilmour, Roger Waters, Nick Mason, Richard Wright) - (1:08/9:04; 10:12) ¹/²
    2. "There is Loving/Among Us/There is Loving" (Kevin Ayers, Richard Wright) - 6:55 ³
    3. "Life on Mars?" (David Bowie) - 3:28 ¹
    4. "Powerloss Blues" (Bowie, Wright, Ayers, Robert Wyatt, Gilmour) - 5:45 ²

    Side B - 22:16
    "May I?" (Ayers) - 4:01 ³
    6. "Changes" (Bowie) - 3:27 ¹
    7. "Childhood's End" (Gilmour) - 9:43 ²
    8. "Space Oddity" (Bowie) - 5:05 ¹

    Disc Two - 50:04
    Side C - 22:51
    "Why Are We Sleeping?" (Ayers, Wright, Wyatt) - 12:07 ³
    10. "Astronomy Domine" (Syd Barrett) - 10:06 ²

    Side D - 27:13
    "Whatevershebringswesing" (Ayers) - 6:40 ³
    12. "Waiting for the Man" (Lou Reed) - 5:45 ¹
    13. "All This Crazy Gift of Time" (Ayers) - 4:42 ³
    14. "The Width of a Circle" (Bowie) - 10:44 ¹

    Disc Three - 45:11
    Side E - 22:06
    "Fat Old Sun" (Gilmour) - 15:33 ²
    16. "Colores para Dolores" (Ayers) - 6:33 ³

    Side F - 23:05
    "The Return of the Son of Nothing" (Wright, Bowie, Ayers, Wyatt, Gilmour, Waters) - 23:05 ²
    David Bowie -
    lead vocals [1, 3, 6, 8, 12, 14, 17], acoustic guitar
    Kevin Ayers - lead vocals [2, 5, 9, 11, 13, 16], bass guitar, electric guitar
    David Gilmour - lead vocals [7, 10, 15, 17], electric guitar
    Richard Wright - lead vocals, [2, 10, 11, 17], Hammond organ, Farfisa organ, piano
    Robert Wyatt - lead vocals [9], drums, percussion

    [1] David Bowie's Live Santa Monica '72 in 20 October 1972
    [2] Pink Floyd bootleg, Live at Wembley Empire Pool in 21 October 1972 (and assorted bootlegs)
    [3] Kevin Ayers And The Whole World - BBC Radio 1 - Live In Concert
  14. flippikat A lot goes a little way.

    Jul 21, 2008
    New Zealand
    Whoa.. Santa Monica '72 sounds like a real contender for best live album ever. :)
  15. flippikat A lot goes a little way.

    Jul 21, 2008
    New Zealand
    In our timeline, most ofthese songs were never recorded in a studio by the Stooges - they only played them in their 1971 shows with the short-lived 5-man lineup.

    Some of them were recorded (with guest vocalists instead of Iggy) for James Williamson's "Re-Licked" solo album just a few years ago.

    HOWEVER, an interesting side note is that a Detroit band actually covered 2 of these (then ultra-rare unreleased) songs in 1979! Full story...
  16. ChargedSpaceStation Well-Known Member

    Jan 11, 2017
    1973/74: The Pink Floyd Sound, Bowie & Ayers, Syd's Coming Back(?)
    Searching for the Dark Side of the Moon

    The Pink Floyd Sound in 1974. (L-R: Richard Wright, Nick Mason, Roger Waters and David Gilmour)
    The sessions finally started in August 1973, at the Abbey Road Studios. The successful tour promoting the still-unreleased album caught the Projection fans and other people from surprise, getting hyped for the newest thing that the Pink Floyd Sound was doing inside, stuck at the studios. The band hired the engineer Alan Parsons which worked on Projection's Life on Mars, Beatles' Across the Universe, and Roger Waters' Atom Heart Mother. Using some of the advanced techniques at the time, such as the 16-track mixer, the band started to record the album with Us and Them, followed by Money. Waters used looping sound effects related to money, such as coins being thrown on a can and papers being torn.

    On a non-stop cycle, the band recorded several takes of The Travel Sequence, which besides of using conventional musical instruments, the exaggerated using of synthesizers, followed by sessions of Time and The Great Gig in the Sky. In September, the band spent sometimes with their families and preparing themselves to another tour in the United States during October-November. In December, the reunited Projection appeared, with Nick Mason replacing Robert Wyatt, and Roger Waters, to a Benefit Concert for Wyatt for his treatment. Including a three-set, the group performed Pink Floyd Sound's Dark Side of the Moon, Bowie & Ayers' Ziggy Stardust, and some Projection classic songs.

    Modeling Ziggy

    Bowie as Ziggy Stardust.
    David Bowie and Kevin Ayers started the recording sessions at the AIR Studios with conventional session musicians instead of the classic Echoes Crew. Instead of The Echoes Crew, they've hired up Mick Ronson, Mike Ratledge, David Bedford, Archie Legget, and Mick Woody, with Ken Scott and sometimes Nick Mason supervising the project. Ziggy was already known by the people, appearing during the late 1972 tours with Projection, and in 1973 during Bowie's solo shows and during Bowie & Ayers tours. Some of the material recorded was written by Bowie during 1971 for a unfinished side project.

    Picking up the project, which was initially rejected by Projection members (which instead preferred Roger's idea), Ayers also had some lyrics which combined with the concept of Bowie's album. "I was supposed to record them on when I was free of Projection, but I saw that a lot of these songs combined with Bowie's lyrics, so I wanted to introduce it to him.", recalls Kevin Ayers. "He [Kevin Ayers] came to me with his lyrics and they somehow fit with the album. I approved that and the album eventually became a double album.", David Bowie.

    Knowing that they hadn't a lot of time on their hands with a double album, Bowie and Ayers locked themselves in the studio, to record the so-called magnum opus of the glam rock, Ziggy Stardust. Incredibly, the duo finished the recording sessions before Pink Floyd's Dark Side of the Moon, and started to promote their upcoming album in the United Kingdom and continental Europe.

    What about a comeback?

    Syd's psychological treatments were almost finishing when he was approached of Malcolm Jones, begging to record a second album, an eventual comeback. Syd's life was quite stable, despite recluse. His relationship with Gala Pinion was very good in terms, and he was finally waiting for his first child. Reluctant, Syd accepted to record his second album, but keeping on secret, even from his former bandmates.

    Barrett moved with his wife to an apartment in London, and accepted the risky task to record the album during the midnight/dawn of the day. The sessions happened within two weeks, and was basically mixed by Malcolm Jones. On the next week, his old bandmates and friends knew about the sessions by the Abbey Road's doorman Gerry O'Driscoll, which during being interviewed for Dark Side of the Moon, accidentally revealed the information to Roger Waters and David Gilmour. After that, Syd talked for a few days with both, before his second reclusion. "We didn't know what was passing through his head, but after a while Gala wasn't letting us to talk to Syd.", Roger Waters.

    Finishing the Dark Side of the Moon; Announcements

    In January 1974, Pink Floyd returned to the Abbey Road studios to finish the album. The band continued to record, and this time, David Gilmour and Roger Waters fully-recorded On the Run with synthesizers. The song became one of the first examples of Electronic music. After that, the band finished Us and Them, and the resting songs, Breathe, Home Again, Any Colour You Like, and the Dark Side of the Moon medley (Brain Damage and Eclipse). This time, the band hired Dick Parry, which appeared previously on Life on Mars appeared again on Money and Us and Them, female backing vocalists on the songs, Time, Brain Damage and Eclipse, and especially Clare Torry on The Great Gig in the Sky.

    Hipgnosis was hired to create the cover, following Rick Wright's request of a simple and bold design. Nick Mason was charged of mix both albums. While he supervised the mixing process of Ken Scott of Ziggy Stardust, he had to mix with Alan Parsons the Dark Side of the Moon. "It was a quite tiring process. Since I've also played the drums in the album, *laughs*", Nick Mason.

    Still in November 1973, EMI and Columbia announced, by Projection members David Bowie and Kevin Ayers, the conceptual album Ziggy Stardust. The album became hyped by Projection fans and the most of underground people, seeing the album remarking the influences of the old British psychedelic underground movement of 1966/67, and by the developing Punk culture. Starman was released as a promotional single with Beware of the Dog as B-side, marking a hit in the United Kingdom, and a minor hit in the United States.

    In the end of January 1974, the public became surprised with the announcement of Syd Barrett's second album. Syd released any promotional singles, and the fans of the classic Projection became confused, but at the same time, curious with the new record of the image of the British underground after his short reclusion.

    In February, finally, Dark Side of the Moon was announced. The album was aggressively promoted by EMI and Columbia, and both sides of the world wanted to know about the album of the predecessor/successor of Projection. The hype for the album was insane, mainly by the most approached Projection fans, which were waiting since the last year for the studio version of the already-performed live album. The most known song by the fans was Money, and also the most pop-ish, and it was released as single with Any Colour You Like backing the song. Money was a hit in the United States. Pink Floyd Sound was consolidated on Projection's history.
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  17. ChargedSpaceStation Well-Known Member

    Jan 11, 2017

    The Dark Side of the Moon is the only studio album by the English supergroup, Pink Floyd Sound. It was released in 1 March 1974 in the United States by Columbia Records, and in 14 March 1974 in the United Kingdom and Europe by EMI Records. The album was produced by the Pink Floyd Sound, and engineered by Alan Parsons. The album is considered a consolidation of Projection in the New World, because of the relation of the members of the group with Projection. The album was produced during the hiatus of Projection by the former members of the reformed Pink Floyd Sound (Roger Waters, Richard Wright and Nick Mason), and David Gilmour (despite not being member at the time, was included by his early close relationship with the members).

    Originally, Dark Side of the Moon was supposed to be a Projection album, since the majority members preferred Roger Waters idea than David Bowie idea (which developed to his partnership with Kevin Ayers on Ziggy Stardust). The band even recorded some demos, but after the accident of drummer Robert Wyatt, the project was canceled, and the band extended their hiatus. Roger Waters, not wanting to give up on your idea, reformed the Pink Floyd Sound with David Gilmour instead of the original frontman Syd Barrett, signed with Columbia instead of Capitol, and started to tour in the United States, being promoted by Columbia.

    Pink Floyd Sound started to record Dark Side of the Moon in August 1973 at the Abbey Road Studios. The band used advanced techniques for the time, such as multitrack recording, tape loops, and the quadraphonic mix system. The band recorded the entire album in two sessions with a month and a half each (one in August, and the other in January/February) entirely at the Abbey Road Studios. The usage of an amount of synthesizers, such as EMS VCS 3 and Synthi A, and the use of unconventional sounds, such as the heartbeat with the Bass drum, and the assistant engineer running throughout the studio during The Travel's Interlude.

    Columbia and EMI had promoted aggressively the album, without any association of Pink Floyd Sound's name with Projection. Money was released as the promotional single, being the major worldwide hit of the band. The song peaked in #3 the Billboard Hot 100 and topped the Billboard Hot Rock Mainstream Songs, and also topped the UK Singles Charts. Any Colour You Like backed the song. Dark Side of the Moon topped the Billboard 200, and reached the #2 position in UK Album Charts. One month after the release, Time was released as single, reaching the top ten in the US and UK, backed by Breathe.

    The album has shown another move of Projection, avoiding completely Syd's shadow (what they had been trying previous years), the band advanced on a emergent status of Progressive rock. Dark Side of the Moon's success was so big, that the album became one of the best-selling albums of all-time, and remained in the charts for 741 weeks from 1973 to 1988, a record that even Projection couldn't beat. The success also brought wealth to the involved members, eventually dividing it with the other members of Projection. It is ranked #38 at Rolling Stone's 500 Greatest Albums of All Time.

    Genre: Progressive rock
    Total: 47:50
    Produced by: Pink Floyd Sound, Alan Parsons
    US Billboard 200: #1
    UK Album Charts: #2

    Side A - 22:16
    "Speak to Me" (Nick Mason) - 1:30
    2. "Breathe (In the Air)" (Roger Waters, David Gilmour) - 2:43
    3. "Travel's Interlude" (Waters, Gilmour, Richard Wright, Mason) - 5:51
    a) "On the Run" (Waters, Gilmour) - 3:30
    b) "The Travel Sequence" (Gilmour, Wright, Mason) - 2:21¹
    4. "Time" (Waters, Gilmour, Wright, Mason) - 5:43
    5. "Home Again" (Waters, Gilmour) - 2:14²
    6. "The Great Gig in the Sky" (Wright) - 4:15

    Side B - 25:34
    "Money" (Waters, Gilmour) - 6:30
    8. "Us and Them" (Waters, Wright) - 9:47³
    9. "Any Colour You Like" (Gilmour, Wright, Mason) - 3:24
    10. "The Dark Side of the Moon" (Waters) - 5:534
    a) "Brain Damage" - 3:50
    b) "Eclipse" - 2:03
    Pink Floyd
    David Gilmour -
    lead vocals [2, 4, 5, 7-8, 10], lead guitar, Synthi AKS
    Roger Waters - lead vocals [10], bass guitar, EMS VCS 3, tape effects
    Richard Wright - lead vocals [4, 8], harmony vocals, Hammond organ, Farfisa organ, Rhodes piano, Wurlitzer piano, piano, EMS VCS 3, Synthi AKS
    Nick Mason - drums, percussion, tape effects, producer

    Additional personnel
    Alan Parsons -
    Dick Parry - saxophone [7-8]
    Clare Torry - lead vocals [6]
    Doris Troy - backing vocals
    Lesley Duncan - backing vocals
    Liza Strike - backing vocals
    Barry St. John - backing vocals
    Peter James - assistant
    Chris Tomas - mix supervisor
    Hipgnosis - sleeve design, photography

    [1] Studio recording of Dark Side of the Moon's Immersion set.
    [2] A version of Breathe (Reprise) with a solo (I made a mixed version, later I'll upload on YouTube)
    [3] Us and Them 12-inch extended version (found on YouTube)
    [4] Organized as a medley.
    Last edited: May 10, 2018
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  18. ChargedSpaceStation Well-Known Member

    Jan 11, 2017

    Ziggy Stardust is the collaborated double studio album by the British duo Kevin Ayers and David Bowie. The album was released in 12 December 1973 in the United States by Columbia Records and 19 December 1973 in the United Kingdom and Continental Europe by EMI Records. Ziggy Stardust was produced by Nick Mason (supervising and mixing) and Ken Scott. The iconic cover of the album was photographed by Mick Rock at the Heddon Street, and as Dark Side of the Moon, the album was produced during Projection hiatus by the duo members.

    As Dark Side of the Moon, Ziggy Stardust was proposed to be a Projection's album, but the group preferred the concept of Dark Side instead of Ziggy. Although, the production of the upcoming album was canceled due to Robert Wyatt's accident. After all, David Bowie decided to record his conceptual album, and Kevin Ayers asked to help, since he loved the concept of Bowie's album. Ayers was indeed seeking to produce his second album (after Shooting at the Moon), and after comparing his lyrics and David lyrics, he reached a conclusion of merge both projects into a bigger concept.

    Instead of the classic The Echoes Crew, Bowie & Ayers preferred to use other session musicians, as Mick Ronson, Mike Ratledge, David Bedford, Archie Legget, and Mick Woody, and sometimes Yes' keyboardist, Rick Wakeman. The group passed three months confined into the AIR and Wessex Sound Studios to produce their album, instead of touring during the recording sessions as Pink Floyd Sound was doing. Besides of being a double album, the group finished the recordings before Pink Floyd Sound, which was touring at the time, promoting the upcoming album. After all, the duo also started to tour in continental Europe and United Kingdom.

    The album was widely promoted by Columbia and EMI, and some of Projection fans became hyped for the album, as some former British Underground fans. The promotional single released was Starman, by David Bowie, backed by Beware of the Dog. The song reached the #4 position at the United Kingdom and #12 at the United States. After the release, boosted by Christmas sales, the album ended up topping the UK Album Charts and reaching the #5 position at the US Billboard 200. At the same time, Kevin Ayers's Shouting in a Bucket Blues was released making it a minor hit in the United States and continental Europe (although a big hit in France), backed by Rock'n'Roll Suicide.

    The legacy of the album was the so-called magnum opus of the British glam rock, and the progressive influences mainly by the collaboration of Kevin Ayers and the Canterbury scene's culture. Controversies about Ayers and Bowie's sexuality rose up during the period. Ziggy Stardust is also remembered by a back-to-roots by the fans, mainly by the classic Projection fans, some of them considering the album better than Pink Floyd Sound's Dark Side of the Moon. The album is considered very influential by contemporary people, such as Marc Bolan, Kiss, Alice Cooper, John Lennon, Rolling Stones' Mick Jagger and Keith Richards and et cetera.

    Genre: Glam rock, proto-punk, progressive rock
    Total: 75:10
    Produced by: Ken Scott, Nick Mason
    US Billboard 200: #5
    UK Album Charts: #1

    Act I - Rising Up (Disc One) - 41:01
    Side A - 23:16
    "Prelude: When Your Parents Go to Sleep" (Kevin Ayers) - 5:46
    2. "Five Years" (David Bowie) - 4:42
    3. "Soul Love" (Bowie) - 3:34
    4. "Hymn" (Ayers) - 4:34
    5. "Moonage Daydream" (Bowie) - 4:40

    Side B - 17:45
    "Take Me to Haiti" (Ayers) - 3:37
    7. "Starman" (Bowie) - 4:10
    8. "Beware of the Dog" (Ayers) - 1:20
    9. "Velvet Goldmine" (Bowie) - 3:14
    10. "Interview/Internotional Anthem" (Ayers) - 5:24

    Act II - The Downfall (Disc Two) - 34:09
    Side C - 16:31
    "Lady Stardust" (Bowie) - 3:22
    12. "Don't Let It Get You Down" (Ayers) - 3:58
    13. "Star" (Bowie) - 2:47
    14. "Hang Onto Yourself" (Bowie) - 2:40
    15. "Shouting In A Bucket Blues" (Ayers) - 3:44

    Side D - 17:38
    "Ziggy Stardust" (Bowie) - 3:13
    17. "Decadence" (Ayers) - 8:02
    18. "Suffragette City" (Bowie) - 3:25
    19. "Rock'n'Roll Suicide" (Bowie) - 2:58
    David Bowie - lead vocals [2-3, 5, 7, 9, 11, 13-14, 16, 18-19], acoustic guitar, saxophone, piano
    Kevin Ayers - lead vocals [4, 6, 8, 10, 12, 15, 17], backing vocals, bass guitar, electric guitar
    Mick Ronson - backing vocals, string arrangements, keyboards, piano
    Mike Ratledge - organ, piano
    David Bedford - orchestral arrangement
    Archie Legget - lead vocal [1], bass guitar, harmony vocals
    Mick Woodmansey - drums, percussion
    Rick Wakeman - hapsichord, piano
    Doris Troy - backing vocals
    Liza Strike - backing vocals
    Barry St. John - backing vocals
    Nick Mason - supervisor producer, mixing
    Ken Scott - producer
    Last edited: May 10, 2018
  19. ChargedSpaceStation Well-Known Member

    Jan 11, 2017

    (The Journey of) John Lee Hooker, also known simply as John Lee Hooker, is the second studio album by the English singer-songwriter, Syd Barrett. The album was released in the United Kingdom and continental Europe by EMI Records in 14 February 1974. Eventually, after the second reclusion of Syd, the album would receive a re-issue by Columbia Records in the United States in early 1977, with a few more success converged in the developing punk culture. The album has a concept of an adventure by a man between his memories and the real life.

    Syd Barrett, recovered of his psychological problems, but still in reclusion (spending time with his wife, Gala Pinion) is approached by Malcolm Jones persuading him to record a second album. Agreeing with Jones, Barrett moves to London, and starts to record the second album in secret, mostly during midnight/dawn of the day within two weeks. The Projection members would know about the new album after the Abbey Road's doorman leak the information to David Gilmour and Roger Waters. After the release of the album, Syd Barrett would enter into his second reclusion, broke in 1975 after an exposition of his paintings.

    The album aroused the curiosity of the confused fans of Projection, which weren't hoping for an album of the symbol of the British Underground. The album charted in the United States into the #151 position in 1977, and in #49 in the UK Album Charts in 1974 for a week, later falling out. John Lee Hooker didn't reached the success at the time, although being a Syd Barrett record. The album has a cult following, mainly by people interested on Outsider music and the British underground history. No Man's Land was released as a single, and one month later, Two of a Kind was also released. The album is claimed as influential in the Punk culture.

    Genre: Psychedelic folk, lo-fi music, proto-punk
    Total: 46:53
    Produced by: Syd Barrett, Malcolm Jones
    US Billboard 200: #151 (1977)
    UK Albums Chart: #49 (1974)

    Side A - 22:02
    "Race's Against Time" - 1:35¹
    2. "Dolly Rocker" - 3:01²
    3. "Evening's Instrumental" - 1:29¹
    4. "If You Go (Part One)" - 2:31¹
    5. "Swan Lee (Silas Lang)" - 3:13²
    6. "Walking Boogie" - 1:29¹
    7. "Birdie Hop" - 2:30²
    8. "Night's Instrumental" - 2:55¹
    9. "Word Song" - 3:19²

    Side B - 24:51
    "John Lee Hooker" - 3:55¹
    11. "Milky Way" - 3:07²
    12. "Day's Instrumental" - 1:33¹
    13. "Two of a Kind" - 2:35²
    14. "Chooka-Chooka-Chug-Chug" - 0:35¹
    15. "Let's Split" - 2:23²
    16. "John Lee Hooker II" - 1:22¹
    17. "No Man's Land" - 3:03²
    18. "Ballad" - 1:00¹
    19. "Love Song" - 3:03²
    20. "If You Go (Part Two)" - 1:54¹
    Syd Barrett - lead vocals [2, 5, 7, 9, 11, 13, 15, 17, 19], acoustic guitar, electric guitar, bass guitar, producer
    Malcolm Jones - keyboards, drums, producer

    [1] Outtakes of Syd Barrett's last recording session
    [2] Opel outtakes, Barrett's John Peel radio session, The Madcap Laughs, Barrett
    Last edited: May 10, 2018
  20. ChargedSpaceStation Well-Known Member

    Jan 11, 2017
    I'm thinking right now...
    Should Blackstar/The Next Day, Endless River and Rattle that Lock be Projection's final album?

    I mean, we have David Gilmour's Rattle That Lock, some stuff of Pink Floyd's Endless River, and also Bowie's Blackstar (or The Next Day).
    Should we really have that 'truest' goodbye from the members?
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