Nick Mason's Saucerful of Secrets
Live at Shea's Theater
Buffalo, NY - April 11, 2019
MQR 018M - BluRay - DVD - FLAC
Multisource 5.1 surround mix
Available for free and for fans from 29th of April 2023
MQR is here again to present our 18th release and third foray into the multichannel universe, a multitaper matrix of
Nick Mason's Saucerful of Secrets band.
}{eywood here. This concert was the moment I had been waiting for my entire life. Other than myself and a few friends I'd never heard a band play the early Pink Floyd material live
(nor did I expect I'd ever get to), so to get to see this, and the fact that it was actually Nick Mason doing it.....well, there was no chance I wasn't going to be there with a recorder.
Being the ringleader of Poignant Pros, a loose group of tapers in the Western New York area, I also brought my friend Binko along to record as well. As I expected, Buffalofloyd also
recorded the event. Ultimately I found 9 people who had taped the show. I chose four of these tapers based on their seating positions in the theater to create this mix. The
Binko recording was made from the 7th row very close to the right side speakers. It was a close and clean recording and was delegated to the center
channel. The Buffalofloyd recording was made from the middle of the floor and became the front L & R channels. The Toaster and Ghostwheel recordings were done from under the
balcony on opposite sides of the venue, as as such became the rear channels. I didn't even use my own recording made at the front right of the balcony
The soundstage here is very similar to how it sounded in the theater that night.
To me it even sounds better than the official Roundhouse bluray.
We offer this in three formats (bluray, DVD and multichannel flac/cue) so that listeners can choose what suits them best.
All work was done with Adobe Audition 1.5 with many modern plugins. Sources were EQ'd to match and suit their speaker assignment. Rear channels have a tiny bit of room reverb
added. The center channel may seem a bit loud, but that's how Pink Floyd has mixed the majority of their surround material and we followed suit. Permission granted by all tapers to use their works for this project.
Source info:
Binko: AT831s > Tascam DR-08
Ghostwheel: TascamDR-d2 Internal Mics
Toaster: MBHO KA200N (din) > Naiant IPA > Sony PCM-A10
Buffalofloyd: Church Audio CAFS > Church Audio UGLY > Sony PCM-M10 > wav@24bit/96Khz > AudioMuxer (join wav's) > wav@24bit/96Khz > iZotope
RX 7 Advanced (tracking) > flac@24bit/96khz
MQR - Magna Qualitas Records ( }{eywood - WRomanus - creamcheese )
}{eywood - Project concept and realization
WRomanus - artwork - Thanks to
Kwyjibo2112 for pictures used on Tray and Back
By the way, people, this is a tribute by fans for fans and is not meant to be an exploit!
This work should not be used by any stinky, greedy bootlegger to make money with other people‘s work.
It is not intended to infringe on the copyrights of Nick Mason or the sales of either Live version of his tours.
So, if you like this release we urge you to buy every bloody release of Nick Mason's Saucerful of
Secrets, in case you
don‘t have them already. All MQR works are made by and for honest appreciators only and
WITHOUT ANY COMMERCIAL INTENT.
...................................................................................................................................................................................................................
We at Magna Qualitas Records are a little in late (16days only) but...
Here's a special Easter egg
for you all.
We present our 50th Anniversary remix of The Dark Side of the Moon.
MQR’s DARK
SIDE to the Power of 50
...matter of fact it's all dark
PINK FLOYD
MQR 017 [ MQR 017-5.1 (FLAC and DVD)
and MQR 017-CD (FLAC) ]
Available for free and for fans from the Easter Day of April 2023
Why did we remix a perfect album not once but twice? Well, the
40th anniversary
Power of the Dark Side mix was done to make something utilizing
elements not used in the final official version of the album, and/or bring out
elements that got lost in the mixes, quad or stereo. That version was made with
technology available at the time it was done, which left us with a lot of
limitations to just how discretely we could rework the tracks.
In 2023 we
have AI technology able of separating even mono recordings into their
constituent parts, and due to a bit of good luck giving }{eywood access to the
new Atmos mix 6 months before release he decided to use it.
}{eywood has
remixed the album, giving the drums more space, the bass more punch,
the vocals different processing.
He added many pieces found on outtakes or buried in the mix, vocal snippets, extended sections edited out of the original mixes etc. The retitled Travel, was spliced in between Breathe and On the Run and as consequence of }{eywood's diligence, we now even have a multichannel version of this cute outtake.
We tried
to give this a
more modern ProTools sound, and we think it works.
Notice that
the processes used did work well but not completely flawless.
When a sound pans around in the original mix, like the moog in ACYL, it's rather hard to impossible to perfectly separate it.
In such cases
we had to retain some of the
original tracks as they were in the released mixes.
We hope we
covered up the artifacts of some less than perfect extractions.
Although one
could be shocked faced with accuracy in 90% of the tracks. Money is 100% perfect clean stems that likely reproduce Pink Floyd's 16 track master
flawlessly except for Dave's scat vocal at the end.
Another reason
why we did this is that even though PF are releasing a new mix in Dolby
Atmos which is a rather new format and still many people have no access to.
We never were happy with the 5.1 mix of the album from 2003, finding a
tragic underuse of the center channel for vocals of any kind. So we decided to take the new remix to the next level and also offer a 5.1 version,
which we provide you as 48 kHz lossless flac files and in DVD format. We have put
many vocals in the center, because that is where they belong.
The stems for this were extracted from these mixes of the album:
1972 Alan Parsons mix
1973 stereo mix
1973 Alan Parsons quad mix
2003 5.1 mix
2023 Atmos mix
One Side of the Moon
Studio outtakes
Live at Pompeii
The BBC-recorded 1974 Wembley shows
Studio outtakes and Brighton Dome recordings included in the 2011 immersion set
Making of the artwork
Even though we know only the electronic version will be in some way useful, and very few of you will burn CD-DVD-Bluray and print all this,
we at MQR continue to make printable artwork.
This time we even offer the chance to make your preferred artwork for a double slim case,
a normal single case and a bold double case with three versions of Front page.
Any Artwork You Like!
It was my intention to make this work invoking and evolving the 4 iconic components of Storm's original artwork.
BLACK -
I began in 2009 making the dark background of Dark Side related shows with real pictures of the other side of the moon.
I did the same here.
TRIANGLE -
Before the Triangle I explored many images of black pyramids floating on a background of rainbow light or Dark-Other real side of the Moon.
Nice, but missing something.
So I started to evolve the iconic triangle-prism-pyramid, changing the concept of the light entering and becoming a rainbow.
The Triangle became the source of the rainbow light and here is the Front MC.
In the meantime creamcheese suggested the idea of 50 triangles together in rows,
so I've put together that idea with the concept of the triangle being the source of the Rainbow.
There are 49 Triangles making all together the obvious 50th. That became the Back.
Still I wanted to do something with a Black Pyramid.
}{eywood, the boss of this project, liked a couple of samplers I've made going back to the old concept of light-pyramid-rainbow.
In the end I applied to the Pyramid the same new concept of source and home of the Rainbow light and so came out the Front WR.
I mixed it with the sampler }{eywood liked and so Front JH was born
RAINBOW -
As mentioned before its concept was totally changed, which inspired other changes.
The Rainbow is showed not with 6 schematic colors but as the real light of a real rainbow, with all 7 colors.
PULSE -
Many years ago I remade the pulse in the correct way, as it would appear on a real heart monitor of the time.
Storm probably didn't realize at the time a real Pulse just doesn't look like that.
Only people with a background in electronics would know this.
One good thing about using all the colors of the rainbow is the green became the central ray.
Label Discs and Tray were made extrapolating from the 40th Anniversary artwork, with the other side of the moon making the zero
and the center of the disc with the glow recalling the eclipse but not pulse this time, only the Rainbow with its real light.
The font of this artwork is about the same used in 1973 for the posters
WRomanus - Easter Day - April
2023
MQR - Magna Qualitas Records for this project
}{eywood - production and engineering
WRomanus - artwork and hints
creamcheese - mastering
with research and creative consultation by JerryisBored
By the way, people, this is a tribute by fans for fans and is not meant to be an exploit!
This work should not be used by any stinky, greedy bootlegger to make money with other people‘s work.
It is not intended to infringe on the copyrights of Pink Floyd or the sales of either version of the original
album. So, if you like this release we urge you to buy every bloody version of this album, in case you
don‘t have them already. All MQR works are made by and for honest appreciators only and
WITHOUT ANY COMMERCIAL INTENT.
....................................................................................................................................................................................................................
Magna Qualitas Records presents our newest upgrade to a previous release:
MQR’s SMiLE Good Vibrations All Around
The Beach Boys
- MQR 007A ( MQR007A5.1 and MQR007ACD ) -
Available for free and for fans from Mid Summer 2022
After the success of our 2011 release "MQR presents The Beach Boys SMiLE: An Ear to Ear Expansion" followed by the dissolution of the
site we originally posted it on, this album virtually disappeared from the internet.
Other than as a part of a massive SMiLE related torrent containing a ton of various fanmixes and a fragment on YouTube it has not been shared publicly for
nearly a decade. Also, the original share didn't contain our usual level of artwork,
and we felt that needed to be rectified.
Which led us to this: a 5.1 surround mix of the Ear to Ear Expansion, somewhat altered
in running order to accomodate how we feel this decade.
As far as the source details, most are the same as the 2011 mix, with all new extractions and isolations, some made with new AI technology. Many new elements were added.
Additional vocals created by another mixologist (Smile AD) were borrowed for a couple of songs, and new vocals were created for songs we never had them in before.
Multiple takes of the instruments were synced together and spaced around the room, and many new inserts will be noticed.
We wish we could give a better idea of the sources and work involved, but we didn't keep close track of what was chosen after all the experimentation, and
return visits to tweak tracks resulted in new tracks being substituted at varying stages.
The addition of AI to separate stems later in the game led to further changes. It would be impossible for us at this time to detail everything that has been used, and that would
take all the fun out of it too, eh?
Heroes & Villians has received some editing. The previous mix had all the parts in one big suite, ans it ran a bit long.
We removed three sections from this. One was nearly the same as Gee and felt redundant, and so is no longer part of the record. Another has been moved to a reprise later in the
album. The third is now folded into the end of Vega-Tables.
We hope this pleases listeners better than the previous version.
Little Pad has now been combined with Tune X to make a whole new song.
The crowning achievement of this is a full surround mix of Good Vibrations, the song that a decent stereo mix has yet to be achieved by the Beach Boys camp.
This was created with AI vocal separation without which it could never have been achieved.
Vocals were taken from the few mixes of the official song that exist, and also from many concerts recorded around the same era and released in recent box sets.
Two mixes of this song have been created: one with the Asher lyrics, the fuzz bass mid section, the "hum be dum" section, and the extended ending, and another recreating the original single with
a few hints from the official SMiLE Sessions mix.
We've included the Asher mix as part of the main running order and the single mix as a bonus (even though the Asher was technically the Pet Sounds version and came first) because the Asher
version fits this record better.
The mixes were made in the dead center of a 4 meter square. You may adjust center and rear balances to taste, but if everything is even and you are dead center it shoud sound great.
Checked with Bose cubes.
Two types of artwork are included for two different styles of disc cases.
These include a DVD or bluray for the 5.1 mix and a CD for the dedicated stereo mix of the new configuration.
The files for the surround mix are provided in 6 channel flac.
We have chosen not to go through the difficulty of having the thing authored for disc, as it would have put us past our release deadline.
As far as the order, we've still separated it into 4 album sides, but we abandoned the flimsy narrative of the 2011 version for more musically appropriate separations.
See Booklet and complete complex Artwork
Share freely wherever possible.
All tracks Remixed by }{eywood - Magna Qualitas Records.
Artwork by WRomanus
MQR - Magna Qualitas Records ( }{eywood - WRomanus - creamcheese )
This is a fanedit, made by MQR for fun by fans for fans and should not be used by any bad greedy bootlegger to make money with
other people‘s work.
It is not intended to infringe on the rights of The Beach Boys or the sales of any of the source albums.
On the contrary, if you like this release we at MQR urge you to buy the
SMiLE Sessions box set if you don‘t have it already.
All MQR works are made by and shared with real fans only ABSOLUTELY FOR FREE and at our own expense.
...................................................................................................................................................................................................................
Genesis - Three Discs Live - MQR 015
- The Complete 1980 - 1981 World Tours -
Project and Re-mix by }{eywood - Artwork by WRomanus
Available for free for fans from December 2021
This is a new expanded version of Genesis' Three Sides Live album produced by the MQR team over a two year span from the end of 2013 to the end of 2015 (well, not all that time
was spent on it; it just took that long to get done between other works).
This all new expansion greatly improves Three Sides Live by including ALL the songs played on both tours, not just the ones available on official releases. All the official material is here
still, but it is augmented by bootleg soundboard recordings of the songs still not acknowledged by official release. The tracks "The Lamb Lies Down On Broadway", "Dancing With The Moonlit
Knight", "Carpet Crawlers", "Guide Vocal", "Say It's Alright, Joe", "Firth Of Fifth", "Dance On A Volcano", "Drum Duet", "Los Endos", "I Know What I Like" and "The Knife", all never officially
available as recordings from this tour, are now included, as are most of Phil Collins' spoken introductions and stories. The setlist follows the Duke tour setlist with additions from the
Abacab tour placed where they work the best in the overall flow of things. The "Songs from our album called Duke" section is now intact and in one place, and the rarely played second encore
of The Knife is present as well.
NOT present on this version are the studio tracks from the original fourth side of the album. We feel that they are better if placed with their respective studio albums. Also missing
is It/Watcher Of The Skies from the fourth side of the album because this medley is not from the same time period and should actually be placed at the end of Seconds Out (something }{eywood has
done with "Un Autre! An Expansion of Seconds Out"). The Fountain of Salmacis, originally on the fourth side of the album, has also been removed from the running order. It was recorded
in 1978 and does not fit with the setlists for the two tours used here, but it also didn't fit with Seconds Out because it was recorded later. It is also the only song on Three Sides Live
that uses a Melotron and putting it in the main setlist makes it a bit of an anomaly. We feel is is better placed as a live bonus track on your digital copy of "...And Then There Were
Three".
Sources for this include the 1994 remaster of Three Sides Live, the Archive 2 box set, the DVD of Three Sides Live from the Movie Box, and several bootlegs (Theatre Royale 5/5/80, Lyceum Ballroom
5/6 & 7/80, Montreal 6/19/80, Frankfurt 10/30/81, Cincinatti 11/21/81, and Nassau Coliseum, Uniondale, NY. Phil's dialogue is cut together, for the most part, from the two Lyceum shows
except for a few little bits from Cincinatti and Frankfurt. The dialogue sections have been remastered as necessary based on the quality of the source tape, and an audience has been carefully
sculpted to provide a proper stereo image in the sections where the dialogue was in mono.
The various bootleg recording have been matched sonically and spatially as well as possible to the offically released material, but some of the mixes were rawer than others and some variation may
be noticeable. The beginning of Deep in the Motherlode was created using a couple layers of audience and kickdrum and hihat samples from our extensive library of drum sounds, tempo matched
and crossfaded with the actual intro of the song.
Something that needs to be understood when listening is that the material contained herein was recorded at drastically different sized venues, from small theater to huge stadium. This means
that the size of the crowd on the sources was vastly different, ranging from 1000 to 70,000 people. We did our best to reduce the size of the larger audiences and make a fairly consistent
sized crowd for this release, somewhere between a large theater and a small arena for the majority of the show. However the stories are all recorded in a theater with a much smaller crowd
(and in mono), and since audience participation is a big part of a few of them we could not perfectly fake a crowd of a size consistent with the rest of the show. We did manage to pull off
a fairly good theater crowd in stereo by overlapping the audiences from both nights at the Lyceum and mixing that with some samples from various other sources.
Like several of our previous releases this contains an entire official album amidst it and it cannot be traded on most of the private trackers we share our bootleg restorations on. We have
therefore chosen to share it on a few public trackers based on their longevity, public awareness and reputation.
This is a fanedit, made by fans for fans and should not be used by any stinky, greedy bootlegger to make money with other people‘s work. It is not
intended to infringe on the rights of Genesis or the sales of either of the source albums. On the contrary, if you like this release we at MQR urge you to buy the original albums, in case you
don‘t have them already.
All MQR works are made by and shared with real fans only ABSOLUTELY FOR FREE
...................................................................................................................................................................................................................
Pink Floyd - Syncopated Pandemonium - MQR 016
- A revisiting of A Saucerful of Secrets -
Available for free and for fans from November 2021.
This remix came about when, in a conversation between creamcheese and } {eywood, cc mentioned an idea he had of synchronizing the mono and stereo mixes of A Saucerful of Secrets and seeing what came of it.
When asked why he said because the mono mix is better but, well, mono, and the stereo mix is very early stereo, split wide, and kinda sucks.
So we began to investigate. We started with 24/96 transfers of a Record Store Day release of the mono mix LP that CC had bought, and a remastered stereo LP he also recently acquired.
} { contributed a 2011 remaster CD and the work began synchronizing the sources.
The first problem we had to contend with was speed drift on the LP sources (and on the source tapes they were made from). we found it very difficult to get some songs to match up using the
LP sources, so started using an upsampled CD master as the stereo source for many songs.
One of the nice features of early stereo recordings is the ability to isolate tracks using phase manipulation. this techinque is called OOPS (out of phase stereo) and helped us isolate
vocal and backing track elements from each other to create new stereo mixes using the original mono mix as a foundation. This album contains new sound field positioning of vocal and
other tracks, and other than a couple of pans the mono mix is there shining through it all.
1. Let There Be More Light is the mono and stereo LPs synchronized together. The vocals and instrumental backing track were isolated from each other by
OOPS, then the mono backing track was spatialized into fake stereo and folded in with the mono mix to give some width to the more obviously mono parts of the mix. The isolated vocal was
panned to match the official mix, then the channels were swapped and the track put back in the mix slightly offset in time, creating a slap echo on the vocal in the channel opposite it and
filling the stereo field more realistically. As the mono mix fades out a bit earlier, we parallel faded the stereo mix at that point as well.
2. Remember a Day was a bit of a problem song because it was almost completely in mono. The only thing that was stereo was the vocal, which was panned
to one channel or the other. The song was reverse engineered by taking the CD track, phase cancelling the music and extracting the vocals, then setting them aside for later. An instrumental
mono backing track was created by first panning the channels of the stereo mix around the vocals and reducing the remaining music to mono similarly to LTBML, then rechanneling the resulting mono
backing track into fake-stereo. This was then mixed together with the mono LP, creatively panned now and then. The vocals were then overlaid with new digital pans and spatial effects, also
opposite panned to the lead vocal in the verses.
3. Set the Controls for the Heart of the Sun is a sync of the mono and stereo LPs. This is one of the more interesting stereo mixes on the album, and
not much was needed to enhance it. A spatialized version of the mono mix was laid into the mix to spread out the more mono sections, mostly the middle part.
4. Corporal Clegg is a mix of the mono LP and the CD except for one spot in the second verse where there was nothing we could do to avoid an annoying phasing
sound (probaly a warble in the transfer of one of the master recordings when the CD or LPs were pressed, so about 10 seconds is the two LPs synced.
5. A Saucerful of Secrets is a sync of the mono and stereo LPs. As with Set the Controls, this is one of the better stereo mixes on the record, but we
managed to enhance it a bit. The first 1/3 has a spatialized copy of the mono version laid in behind it to open up the center a little. the middle section has had the piano and guitar
effects separated from the mix and reinserted in a more dramatic fashion, and with enhanced stereo imaging. Interesting difference in the middle where the mono mix doesn't fade out of the
cacophany as fast as the stereo one. We panned this spot a bit to make it less noticeable. The final part has had the opening organ part and the choir enhanced.
6. See-Saw was created similar to Remember a Day. The stereo mix is a mostly mono backing track including the vocal, with some melotron, vibes and
backing vocals laid over in stereo. We extracted the mono backing track from the CD and used it to replace just the three spots where the harmony vocal appears. This kept Rick's vocal
unaccompanied in the middle. The three bombastic notes that pan across the channels after each verse were mixed to mono and put on another track, then the stereo pans were recreated
digitally with much more precision than the original album. we even fixed a mistake in the panning after the first verse. The mono track was also spatialized and mixed in with
the rest. The result is a stereo mix that is similar to the official mix, but smoother.
7. Jugband Blues seemed like it was going to be a problem because there was no difference at all in the mono and stereo mixes except for 30 seconds near the
end. The stereo version is in mono except for the Salvation Army Band part near the end being panned back and forth. This made it pointless to try to make a stereo mix from.
Luckily there is a 2010 stereo remix of that one song on the Early Years box set that served the purpose quite well. Because it was also built on a thick mono backing track we chose to
extract the stereo elements and fold them in over the mono mix.
This was to avoid phasing when the two mono tracks met up.
We have also included two singles to complete the package.
8. Vegetable Man and 9. Scream Thy Last Scream were done by syncing the 2010 mixes with the older mixes,
the 74 mix for VM and the 87 for SCLS.
10. Careful With That Axe Eugene is the mono mix with the wider panned elements of the stereo mix added in over it. The low end was cut from the stereo
mix and the high end from the mono mix to avoid phasing issues.
11. Julia Dream was done similar to careful, but with an added layer of spatilaized mono mix added in, as the resulting sync of the mono and stereo mixes came
out about 80% mono.
Brought together these make up a new stereo mix of A Saucerful of Secrets album, more modern, yet respecting the sound of the era. The final mixes had the low end mixed to mono below 250hz to
keep the kick drum and bass centered, and a little sweetening EQ. We didn’t use any extensive noise reduction, so some hiss is still apparent in the final results.
All work was done in 24/96 with Adobe Audition, but some of the source files were 16/44.1.
For the sake of honesty this is a 16/44.1 release only.
Sources:
RSD Mono LP
2011 remastered stereo CD
2011 remastered stereo LP
The Early Singles mono mixes from Shine On box
Relics stereo mixes
The Early Years box set.
Jenner and Jones single mixes
See Booklet and complete Artwork
All tracks Remixed by Magna Qualitas Records.
Artwork by WRomanus
MQR - Magna Qualitas Records (creamcheese,
WRomanus, }{eywood)
MQR is a fan-label made for fans and for fun.
This work was made without any commercial intent and MUST NOT BE SOLD.
It should only be used and traded by fans for free.
Only the actual owners of the rights would be allowed to commercialize it.
...................................................................................................................................................................................................................
Pink Floyd
FOREVER and EVER
MQR 014 Rev A
A mashup of The Divison Bell and The Endless River
MQR presents the revision of our 2014 work Forever and Ever. Due to the 2019 release of additional outtakes from the Division Bell sessions and }{eywood's acquisition of the Colours of
Infinity DVD bonus tracks, we felt it was time to expand some of the suites on this album and update it.
"Forever and Ever, a mashup of The Division Bell and The Endless River - Rev A" was designed to make The Division Bell less radio-friendly and The Endless River
less...well...cobbled together. It is intended as a true final Pink Floyd record, an alternate reality version of what should have been released in 1994.
When we first listened to The Endless River we were sadly disappointed by the lack of any sort of actual songs on the record. Other that Louder Than Words, there was nothing with a
traditional song structure to it or lyrics on the record. We heard many pieces of things we had heard before, either on bootlegs or on the Colours of Infinity soundtrack, even pieces
of the soundscape used as an opening act on the 1994 tour and later released on the P*U*L*S*E cassettes. Being mostly recorded in tandem with The Division Bell it also contained a lot
of similar or duplicated sounds compared to what's on that album.
We see The Division Bell as one of Pink Floyd's better efforts, the first record to sound like a band (rather than a solo album) since Animals. It was, however, a bit heavy on the pop
songs.
Both albums are flawed, but after just one listen }{eywood had about 22.6 ideas that led to one big design concept: if the two were combined to form a single long album they might balance each
other. So he spent a couple of days investigating the issue, and this is what he came up with.
Using a couple of bootlegs, the Endless River tracks from the album proper with the bluray and bonus disc extras, the Colour of Infinity isolated soundtrack, a bit of the PULSE soundscape and, of
course, The Division Bell, he edited, resequenced and crossfaded the tracks into a new album, one that still has "songs" but is also far more floyd-y sounding, with spacey sections and a great
deal of instrumental tracks, sort of like how they used to make records before Roger Waters took over the group and made it more about lyrics (and lists. Don't forget the lists) and less
about music. There were several more pieces of music available on bootlegs that were not used for The Endless River, but the sound quality wasn't up to the standard set by these albums, and
many were incomplete fragments anyway.
In case some diehards out there are wondering, we also originally intended to throw some of La Carerra Panamericana in there too, but it's too hard to remove all the documentary sounds and
dialogue to reveal the music. Also, it was released in 1992, a year before the TDB sessions began, and therefore doesn't technically belong with this material.
The recent discovery of the four isolated songs on a certain version of The Colours of infinity DVD bonus features was a gift for }{eywood, who wanted to include this music from the start, but
like La Carerra Panamericana, couldn't separate it from the dialogue.
Flash forward to 2019 and the release of 7 songs on The Later Years box set that were not used for The Endless River; these songs were instantly destined to be sequenced into Forever and
Ever. As expected, these included most of the Colours soundtrack in pristine quality. The work began anew the day after The Later Years' release.
Our original intent was not to alter the running order of TDB, just add to it, but once the whole project was assembled we decided it was better for the overall flow of the record to move the
pieces around. Influenced by the four album sides approach taken by The Endless River, we put together six suites of varying lengths, each separated from the others.
Why didn't we use all the bonus material from TER and all the other known pieces of music like the Surfacing Full Demo? Nervana has no ending, just an abrupt fade out, and it really doesn't
fit here because it sounds like Black Sabbath. TBS14 has a really bad drum sound, just a mic open in a room near drums, and it's not produced to be used for an album. It also had no
true ending. The other songs are just alternate/early mixes of the stuff on the albums, or they are of dubious quality. We did, however, use parts of Evrika (A) to add some additional
lead guitar to the end of Wearing The Inside Out. This is essentially every song/jam available in RELEASABLE quality.
Many songs have obviously had alterations, intended to facilitate better segues:
The intro to Cluster One has been extended by using the crackling earth noise and some voices from opposite ends of the PULSE soundscape.
Allons-y has been extended by splicing in the first verse (without the 2014 overdubs) and the middle 8 (unused on the album version) from 209, a bootleg that Lordsnooty circulated around the time
Pink Floyd began work on The Endless River.
"Summer 68" has been renamed "Spring '69" because our research shows that is the correct date when Rick recorded himself playing the RAH organ.
Poles Apart has had the anomalous middle "carnival" section removed and Surfacing inserted in it's place. This is certainly the original middle section, sped up for use on The Endless River
so the fans don't notice the similarity (we did anyway). We slowed it back down and put it back in it's proper place.
David's Blues has been added to the start of the (previously too short) 3rd suite. The scat vocal sections of this have been cut as they are reference vocals of a vocal melody and show the
otherwise decent recording to be a demo. Removing the vocal verses un-demos it.
The Day Has Come, the One of These Days sounding jam from TCoI has been inserted before Wearing the Inside Out.
Wearing the Inside Out, as mentioned above, has additional lead guitar in the middle 8 and at the end, also taken from Evrika (A). The cymbal swell that cues it in is from Evrika (B)
The final note of Night Light was reduced to just bass frequencies, stretched, and used to add low end to the first minute of Keep Talking.
Stephen Hawking dialogue was added to Looking Forward (one of the unnamed pieces on TCoI) to connect it thematically with the songs around it.
The sounds at the end of Talkin' Hawkin' were moved from the end of the song to the beginning.
Slippery Guitar, a piec from TCoI that I named Back to Basics, and Rick's Theme were adeed to the start of Suite 4.
A nature sounds montage extracted from the PULSE soundscape was laid into the segue between Rick's Theme and Take it Back in line with the theme of the following song.
The extended ending for Take It Back from the 12" single was used to make a bridge into Sum.
First In Space is a track we created out of parts of the PULSE soundscape and named after the "still first in space" slogan used on The Division Bell Tour shirts. We included this because
small fragments of it were used throughout The Endless River, noticeably at the start of the track Sum, but on Sum the keyboards that appear after the soundscape are from the end of Take It
Back. We therefore joined Take It Back and Sum using those keys, leaving the soundscape portion of the track with an uncertain destiny. We then extended it and used it elsewhere.
Carnival Relations is the middle section that was removed from Poles Apart, given a new home...and a new pitch.
The Colour of Infinity is the blues jam from TCoI, named as such because appaently the color of infinity is blues.
A bonus band quote has been added to Things Left Unsaid, this time by Roger Waters (we reunited the band virtually for their final record).
It's What We Do has been removed from in between Things Left Unsaid and Ebb & Flow and placed elsewhere.
TBS9 has had some extraneous drum sounds removed to clean up the start a bit, and a couple of small edits to remove sloppy playing. Although not a properly produced recording, it was
recorded well enough that it could be used for this album with a few little fixes.
Blues 1 was re-edited and rearranged and added to suite 6. It was an unfinished wandering jam. We kept the guitar solo verse.
And finally, the end of High Hopes fades into the crackling earth noise again as it fades out, giving the endless-loop wraparound that all the best Floyd albums have. There's also a suprise
if you crank it up.
Although we weren't trying to remix the songs, we did have to address Louder Than Words. The vocals were too loud in this song, and conspicuously lacking in reverb. This made it stand
out from the rest of the vocal tracks. Using phase manipualtion we separated the vocals in the verses from the rest of the mix and added some effects, then put them back.
Influenced by the way The Endless River is broken into four album sides, this is made up of six suites. Each is separate from the others with the pieces making up each being interconnected.
It's sort of like 6 album sides, although not as short as the ones on The Endless River.
So roll up The Big Spliff and check out what we've done to improve our already amazing recording upgrade of Pink Floyd's final studio album.
CD 1
Suite
One:
Suite
Two:
Suite Three:
Cluster
One
The Lost Art of Conversation David's Blues
Allons-y
1
On Noodle
Street
Calling
Spring
'69
Night
Light
Eyes to Pearls
Allons-y
2
Keep
Talking
The Day Has Come
What Do You Want From Me? Looking
Forward
Wearing the Inside Out
Unsung
Talkin' Hawkin'
Anisina
Lost For Words
Poles Apart / Surfacing
CD 2
Suite
Four:
Suite
Five:
Suite Six:
Slippery
First In
Space
TBS9
Slush
Carnival
Relations
Blues 1
Rick's
Theme
The Colour of Infinity It's What We Do
Take It
Back
Louder Than
Words
Marooned
Sum
Things Left
Unsaid
High Hopes
Skins
Ebb & Flow
Coming Back To
Life
A Great Day for Freedom
This is a fanedit, made by fans for fans and should not be used by any stinky, greedy bootlegger to make money with other people‘s work. It is not
intended to infringe on the rights of Pink Floyd or the sales of either of the source albums. On the contrary, if you like this release we at MQR urge you to buy the original albums, in case you
don‘t have them already. We also urge you to purchase The Division Bell box set, because it sounds better than ever before.
All MQR works are made by and shared with real fans only ABSOLUTELY FOR FREE
....................................................................................................................................................................................................................
Antonioni's ZABRISKIE POINT - MQR DVD 001
Available for free and for a few fans from 1st Sep. 2015.
This is the Zabriskie Point movie that never was, one scored entirely by Pink Floyd, now restored for fans by MQR.
This is the closest thing possible to the MOVIE that would have been released by MGM in 1970 if Pink Floyd had been sole musicians on the soundtrack of the film.
Special thanks goes out to
Thomas, Gerhard, Boris, Henry, Martin, Ian, Angelo, Sabino, Alexandre, Valerio-Camelia's Garden, Marco, Franco, Payden, Philip, Carlo, Bert, John, Andreas, Gary.
This DVD is made to highlight Pink Floyd music written specifically for this movie.
14 different PF's pieces are properly used.
The 11th November 2016 Pink Floyd released the Early Years Box with a few new pieces from the ZP Sessions.
These pieces didn't change at all this work, instead confirmed many of the choices made for this
Soundtrack
The Final Sequence is of course restored as Antonioni meant to be, better than the VHS old release.
You can check the restored Final Sequence with the last OUR 4 chapters here:
https://www.youtube.com/watch?v=Lb1h4RsmIM0
the "restored" Trailer here:
https://www.youtube.com/watch?v=XPmPvsPrvL0
and the "restored" Teaser here:
https://www.youtube.com/watch?v=TWeUbTvNNZo
Our MQR effort features a complex menu with 5 different clips and related music, both edited by MQR, 30 chapters (instead the original 22) with titles and music details when present, two kind of audio. In Special Features you have 5 Bonus Scenes with alternate music plus Trailer and Teaser completely remade from scratch by MQR.
The movie is English spoken but has 7 languages subtitles.
There's a big ghost surprise....
This DVD is part of the Zabriskie Point Box Set, under the banner of MQR's Zabriskie
Point of View.
All tracks Restored and Remastered by Magna Qualitas Records.
.... See Booklet and Additional / Techinical Notes file
The Artwork
It was conceived for a normal transparent plastic DVD case in mind.
The style used to make this artwork is supposed to be the same of end 60's early 70's.
Theoretically WRomanus should have done the cover of the DVD exactly the way the official was released in 2009 by Warner Bros Entertainment, but we had to differentiate this from the official
release and from all the unofficial releases put out over the years, so he made a completely new DVD cover.
He used the same two strong prominent images from official releases, the same used for our ZP works, the American flag Zabriskie Point Logo and a famous pic
of Daria and Mark, both personalized for our work.
Again, all the pictures of Zabriskie Point itself used in the artwork
are made by WRomanus on a tour of the filming locations in Summer 2014.
See case Gatefold Front/Back, Label Disc, Front/Back and pages 2, 11, 21, 25, 29, 31 of the booklet.
For the rest he used all pics coming from the internet or captured from the movie.
A lot of those pics were personalized as well, changing colours, brightness, cuts, etc.
The pictures of Antonioni and the four Pink Floyd are of those times.
.....
MQR is a fan-label made for fans and for fun.
This work was made without any commercial intent and MUST NOT BE SOLD.
It should only be used and traded by fans for free.
Only the actual owners of the rights would be allowed to commercialize it.
MQR - Magna Qualitas Records (creamcheese, WRomanus, }{eywood)
....................................................................................................................................................................................................................
Pink Floyd
MQR's Zabriskie Point of View - MQR 005B
Studio Sessions recorded in Roma and London - from Nov 1969 to Jan 1970
This WAS The Complete Collection of all the known material recorded by Pink Floyd
during the Sessions for the Zabriskie Point Soundtrack.
This WAS because the 11th November 2016 Pink Floyd released the Early Years Box with a few new pieces from the ZP Sessions.
We should remake it all but it would take a lot of work esp for the Artwork compared with the few pieces to add or change.
We MAYBE do that one day.
This is a fan-made effort for fans and for free.
If you like this work we at MQR urge you to buy the original official release where some of these songs comes from, in case you don‘t have it already.
MQR - Magna Qualitas Records (creamcheese, WRomanus, }{eywood)
.....................................................................................................................................................................................................................
Pink Floyd
370 Roman Yards
Remaster 2014 - MQR 001Rem
Available for free for a few fans from the 1st December 2014,
TOTALLY RENEWED 3,5 years after the first basic version.
This is the soundtrack album for Zabriskie Point that never was,
one performed entirely by Pink Floyd, now restored for fans by MQR.
This is the closest thing possible to the LP album that would have been released by MGM in 1970 if Pink Floyd had been sole musicians on the soundtrack of the film.
This album is the natural product of years and years of passionate research applied to the Zabriskie Point topic by WRomanus.
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 his dedication has yielded the deserved prizes.
"I had the luck to know about some details of the recording days but the decisive moment
for the whole research was my contact with Don Hall, the Music Advisor of the movie. I'm honoured to say that this contact became a real friendship. With my great satisfaction almost
all my theories, even the most incredible, were confirmed."
This Album is the core part of both The Complete Collection 2CD set and the Zabriskie Point Box Set,
both under the banner of MQR's Zabriskie Point of View.
It has its own unique artwork and other materials in order to mark the compilation and it's placement in Pink Floyd's body of work, and for those fans willing to have it as a standalone
in the PF discography.... Until our beloved and favourite band will please us with a real comprehensive official release of The Lost Album and a whole ZP Complete
Collection.
3:12 - 1. Heart Beat, Pig Meat
4:40 - 2. Country Song
1:54 - 3. Fingal's Cave
5:56 - 4. Crumbling Land
5:44 - 5. Alan's Blues
6:51 - 6. Oenone
6:53 - 7. Rain in the Country
5:02 - 8. Come in Number 51, Your Time Is Up
All tracks mixed by Pink Floyd except 2, 3, 5, 6, 7 also mixed by MQR.
All tracks Restored and Remastered by Magna Qualitas Records.
Note it makes in Total 40:12, a typical LP.
The Original Soundtrack by MGM is 36:29. Adding 2:52 Rolling Stones = 39:21 minutes (no considering Roy Orbison at all)
.... See Booklet and Additional / Techinical Notes file
The Artwork
It was conceived for a normal plastic jewel case with both transparent or not transparent tray in mind.
You have the Tray as an option in the artwork.
The style used to make this artwork is supposed to be the same of end 60's early 70's.
Theoretically WRomanus should have done the cover of this Lost Album exactly the way the official was done in 1970 by MGM with the Pink Floyd song titles only, but we had to differentiate this
from the official release and from all the unofficial releases put out over the years, so he made a completely new CD cover.
He used two strong prominent images from official releases,
the American flag Zabriskie Point Logo and a famous pic of Daria and Mark, both personalized for our work.
For this Remaster all the pictures of Zabriskie Point itself used in the artwork
are made by WRomanus on a tour of the filming locations in Summer 2014.
See Gatefold Front, Back and pages 8, 9, 12, 13, 16, 18 of the booklet.
For the rest he used all pics coming from the internet or captured from the movie.
A lot of those pics were personalized as well, changing colours, brightness, cuts, etc.
The pictures of Antonioni and the four Pink Floyd are of those times.
The Label Disc and the Tray are made from a pic taken from the Love Scene of the movie.
The back has the pic of Rick in the sky.... And Antonioni's brain IS the sky....
.....
MQR is a fan-label made for fans and for fun.
This work was made without any commercial intent and MUST NOT BE SOLD.
It should only be used and traded by fans for free.
Only the actual owners of the rights would be allowed to commercialize it.
MQR - Magna Qualitas Records (creamcheese, WRomanus, }{eywood)
.....................................................................................................................................................................................................................
Available for free for fans from 28th Nov. 2014
Pink Floyd
Forever and Ever - MQR 014
MQR is once again proud to present our newest title, Forever and Ever, a mashup of The Division Bell and The Endless River designed to make The Division Bell less radio-friendly
and The Endless River less avant garde. It is intended as a true final Pink Floyd record, an alternate reality version of what should have been released in 1994.
OBSOLETED BY
Forever and Ever -
MQR 014 Rev A
A mashup of
The Divison Bell & The Endless River
This is a fanedit, made by fans for fans and should not be used by any stinky, greedy bootlegger to make money with other people‘s work. It is not
intended to infringe on the rights of Pink Floyd or the sales of either of the source albums. On the contrary, if you like this release we at MQR urge you to buy the original albums, in case you
don‘t have them already. We also urge you to purchase The Division Bell box set, because it sounds better than ever before.
All MQR works are made by and shared with real fans only ABSOLUTELY FOR FREE
...................................................................................................................................................................................................................
Available for free and for real fans only from the 31th December 2013
Pink Floyd - The Power of the Dark Side - MQR 013
The 40th Anniversary Remix
MQR - Magna Qualitas Records presents
The Power of the Dark Side, commemorating the 40th anniversary of Dark Side of the Moon.
This album was constructed by request of a couple of people who really liked our Wish You Were Here remix (Ceci nest pas WYWH - MQR-008), and made in 2013 to
mark what was heinously overlooked by the record industry, the 40th Anniversary.
The aim of this release is to demonstrate how DSotM could have sounded with more/different instruments/tracks in the mix or with some instruments turned up louder.
The goal was to make a mix that still sounds like a completed album, so there's nothing like the rough mixes or outtakes found in circulation on bootlegs (Time without the guitar solo, for
example) in here.
It's a complete album that maintains the integrity of Dark Side of the Moon, just mixed
differently.
01.
Speak To Me
02. Breathe
03. The Travel Sequence
04. On The Run
05. Time
06. Breathe (reprise)
07. The Great Gig In The Sky
08. Money
09. Us And Them
10. Any Colour You Like
11. Brain Damage
12. Eclipse
Re-edited in 2013 by }{eywood
using the following sources:
Quadrophonic mix - 5.1 mix - Alan Parson's early mix - DVD menu mixes - Audio from screen films - Roger the Hat interview
(the above sources
are from the 2011 Immersion box set)
- One Side Of The Moon - The Record Producers BBC special -
Stereo mix as we've all come to know it over the last 40 years (Japanese black triangle release) -
Live At Pompeii.
Project and Re-mix by }{eywood Artwork by WRomanus
This is a fan-made effort for fans and should not be used by any stinky, greedy bootlegger to make money with other people‘s work.
If you like this work we at MQR urge you to buy the original album, in case you don‘t have it already. If you have it already (and seriously, who doesn't own a copy
of Dark Side of the Moon?), we recommend to buy the 2011 remaster as well, because it really sounds awesome.
....................................................................................................................................................................................................................
Available for hard core fans on December 17, 2013
Pink Floyd - Rolf's Pepperland Bomb - MQR 012
CD version + High Res. version
Pepperland Auditorium, San Rafael, CA, USA
October 16th 1970 (NOT 17th....)
MQR made this in memory of Rolf Ossenberg, who passed away on 17 December, 2012.
This show was the last Rolf worked on in the few days before he left us.
Thanks to him and his passionate research over the course of 35 years, research that took him all over the world at great expense to himself in search of master tapes and other Pink Floyd
material, this show wasn't lost to time.
All those who knew this gentle and nice guy can recognize in this artwork the same style
he used in his loony New Year cards.
Source: Audience
Sound Quality: EX+
Tapers: Jay D. and Ron C. ...They sat 10-12 rows back, left of center.
Recording equipment: Sony TC-126 with Powered Single Point Stereo Microphone, using either Sony Red or Green cassette tapes
Lineage:
Oct. 1970. Recording equipment > Sony TC-252 7" Reel to Reel Recorder >1/4“ Scotch 140 RtR Tape (Jay D. copy).
Jun. 2011. 1st gen 1/4“ Scotch 140 RtR Tape > Baking process > Revox A77 RtR Deck > Tascam US-200 > Adobe Audition 24/96.
2013. 50 Hz dehumming in iZotope RX 2 Advanced > EQ > NR1 in RX > 1st Manual cleaning and restoring iZ RX2 A> NR2 in RX >
2nd Manual cleaning iZ RX2 A > EQ and MB compression > Balancing > Adobe Audition 1.5 for some manual dynamic adjustments>.....
a) 24/96 version - TLH for SBE fix and FLAC Level 8.
b) 16/44.1 version -
Conversion and manual dynamic adjustments done with Adobe Audition 1.5 > TLH for SBE fix and FLAC level 8.
Remaster and Artwork made throughout the whole 2013 by MQR - creamcheese, WRomanus and }{eywood
See Booklet for the Story and Additional / Techinical Notes file
DVD Audio 2:12:05 - (Disc One 69:05)
03:14 - 01. Astronomy Domine (1st Attempt - Tune Up)
03:58 - 02. Astronomy Domine (2nd Attempt - Tune Up)
09:03 - 03. Astronomy Domine (3rd Attempt - Tune Up)
06:07 - 04. Astronomy Domine (4th Attempt)
00:27 - 05. Tune Up
12:09 - 06. Fat Old Sun
00:46 - 07. Tune Up
11:09 - 08. Cymbaline
01:53 - 09. Tune Up
20:19 - 10. Atom Heart Mother
.................................. (Disc Two 63:21)
01:13 - 11. Tune Up
11:01 - 12. The Embryo
01:26 - 13. Announcement - Tune Up
03:24 - 14. Green Is the Colour
10:52 - 15. Careful with that Axe, Eugene
01:14 - 16. Tune Up
12:06 - 17. Set the Controls for the Heart of the Sun
01:27 - 18. Tune Up
20:37 - 19. A Saucerful of Secrets
MQR is a fan-label made for fans and for fun.
This work was made without any commercial intent and MUST NOT BE SOLD.
It should only be used and traded by fans for free.
Only the actual owners of the rights would be allowed to commercialize it.
.....................................................................................................................................................................................................................
Available for real fans on March 29, 2013
Pink Floyd
Delicate Sound of Thunder: The Complete 1987-1988 Tour
MQR 011
Magna Qualitas Records announces the newest work: A radical reworking of Pink Floyd's Delicate Sound of Thunder.
Delicate Sound of Thunder was a live album released in November 1988 highlighting the return of Pink Floyd after years without a tour. The last actual tour was the Animals tour in 1977 (The Wall
tour only played 4 cities, and therefore wasn't really a tour per se). This tour with the newly reconstituted David Gilmour led Pink Floyd was very successful and it was inevitable that a live
album and video were spawned by it.
Delicate Sound of Thunder was recorded over five nights at the Nassau Coliseum on Long Island, New York in August 1988. Because it was released with vinyl as the primary medium, CD being an
afterthought, it does not contain the entire set performed at these shows. A companion video, however, contains quite a bit of the material missing from the CD. Unfortunately many of the songs
that appeared on the CD were edited on the video making it necessary to have both to get full performances of all the included material.
This is a composite of the audio from both the CD and the LaserDisc releases of the concerts (Delicate Sound of Thunder has never been officially released on DVD) that we've beefed up with some
additions to make into a complete show.
As a bonus we've added the five songs that don't exist on any release of Delicate Sound of Thunder ("A New Machine Parts 1 & 2", "Terminal Frost", "Welcome To The Machine" and
"Echoes"), the missing 38 seconds of "Signs of Life", and a couple of minutes cut from "On The Run", all sourced from bootleg soundboard recordings, thus completing the setlist.
For all the soundboard tapes used many tools were utilized, including stereo sparialization of specific frequency bands, EQ, noise reduction and a few ancient Chinese secrets, to try to match the
mix and quality of the official release for seamless integration. We've also enhanced the audience throughout the show because we feel that anyone who attended the North American shows as
}{eywood did (he saw 6 of them) knows that the crowds were loud and enthusiastic, and the album does not represent the way it sounded at the actual concerts.
We've also included several bonus tracks that are the original edited versions of songs from the CD and LaserDisc.
We believe that this is a far more faithful representation of the show as it appeared on the 1987-88 tour, one with all the songs and all at their full length. You will never find an official
version or a bootleg SBD recording that contains the complete setlist from this tour with this quality, so we hope you enjoy it.
And finally as a late addition we have included scans of the program from the 1988 World Tour. This program was intended to be included from the start, but the internet could not provide decent
scans. For these WRomanus called upon a friend, Vitus, to make fresh scans of his program which we have now incorporated into our album package. As a bonus we have created an additional page with
scans of WRomanus' ticket stubs. This is because the Roman shows had a unique curiosity: A blank ticket used to get into the parking lot for the show. These were taken by the facility staff, but
in the confusion WRomanus managed to keep his. These complete our chronicle of the tour.
Many thanks to Vitus for taking the time to scan the book for us.
MQR - Magna Qualitas Records ( }{eywood - creamcheese - WRomanus)
This is a fan-made effort for fans and should not be used by any stinky, greedy bootlegger to make money with other
people‘s work.
If you like this work we at MQR urge you to buy the original album, in case you don‘t have it already. If you have it already, we recommend to buy the 2011 remaster as well, because it really
sounds awesome.
..................................................................................................................................................................................................................
Rev.A Available for old good fans on November 7, 2012 (First version on June 7, 2011).
Pink Floyd -
ROMAYYAD Rev.A
- MQR 002A -
The Remaking of the Omayyad TMoQ LP Edition
Studio Sessions recorded in Roma and London - from Nov 1969 to Jan 1970
Live at Civic Auditorium, Santa Monica, CA, USA, 1970-05-01
This is not (again) a revision only.
We could have done a Rev.A already when we made Since We Were Teenagers with the whole Santa Monica show fully restored.
We didn't because at time we thought to make the Rev. A for A Total Zabriskie Point of View Complete Collection.
This is the fourth WRomanus - }{eywood and Magna Qualitas
Records making of Omayyad.
The first was in September 2008 and it was a big step ahead.
This Romayyad Rev.A has all the 6 songs remastered compared with the original Romayyad.
Both the live songs come from SWWT and were checked and _recleaned_ a little more again.
The four Zabriskie Point outtakes are the same of the last ATZPoV Rev.A except for
Crumbling Land which is kind of Rev.B since some hints from }{eywood were approved.
You can find two artwork versions.
We want you to feel free to have it with our restored lineage version or with the original set list.
Just take in consideration that the original set list was forced by length of the songs and the capability of the LP to support them.
The original set list is the only one possible on LP with those 6 songs.
Today on CD the order of the songs would probably be “restored” like this.
We followed the scenes of the movie and placed the songs from Santa Monica afterward
with The Embryo before Interstellar Overdrive as it was performed in the show.
If you want the original LP lineage just rename the songs with the order you like.
Surely you will not traumatized anymore by the sudden start of Fingal's Cave after soon Oenone which was truncated in its long fading out end.
Set List (in brackets the position on the original first issue LP, side a, side b)
01:54 01 (02a). Fingal's Cave (new remaster)
05:56 02 (01b). Crumbling Land (new restored extended version)
06:51 03 (01a). Oenone (new remaster)
06:53 04 (02b). Rain in the Country (new remaster)
12:44 05 (03b). The Embryo (remaster)
14:14 06 (03a). Interstellar Overdrive (remaster)
MQR makes for fans again the Remaking of the content of the original LP version of Omayyad only, primarily for those older collectors who have had it for many
years.
It's a sort of emotional commemoration of a famous and time honored bootleg LP.
The first edition was released on colored vinyl in the beginning of 1972 by Trade Mark of Quality in USA, the inventors of bootlegs.
(Trivia note: in the same year the Best of Tour '72 LP was released in Europe.)
Omayyad was the 40th in the TMoQ catalogue and the first American bootleg about Pink Floyd.
It had large success and was reissued and re-bootlegged many many times due to the excellent (for the time) sound quality and the presence of unissued songs.
It was probably conceived of as a smaller parallel version of Ummagumma, half studio and half live but the limitations of the length of LP sides couldn't support that.
Pink Floyd were at the International Recording Studios in Roma from 15 November and in London again from 12 December to end of January 1970 where they recorded and produced a
large variety of music for the unpleasable supervisor, director Michelangelo Antonioni and his new movie Zabriskie Point. He knew of Pink Floyd in 1966 during
the making of Blow Up movie.
He really wanted Careful With That Axe, Eugene for the main scene of his new movie.
Only 3 songs were ultimately used for the film and we were introduced to them with the release of the soundtrack in 1970 by MGM.
3 more songs, plus the longer Crumbling Land, were aired early in 1970 from KPPC-FM radio Pasadena, California, by Don Hall, radio DJ and Musical Advisor of ZP
movie. Don announced the songs with the titles written on the tape boxes.
All four surfaced in 1972 with Omayyad. Thanks to Don Hall, now we know that the source used to make it was a multigenerational tape of the FM broadcast. 25 years later the
extended soundtrack by Rhino Records gave us four more outtakes.
The rest of the known outtakes came out a while later with the first half of the double CD bootleg named
A Journey Through Time & Space.
None of the 4 Omayyad out takes surfaced later in the Rhino release or in the AJTT&S boot.
The live performances of The Embryo and Interstellar Overdrive come from the show at the Civic Center Auditorium in Santa Monica, California the 1st of May 1970,
just 4 months after the end of ZP Sessions and the day after the famous KQED sessions.
For years a lot of people thought these tracks were from Chicago 1971-10-27 but in reality the last Interstellar Overdrive was performed in February 1971. Another error
perpetuated by the Leopard boots.
At the time of the Omayyad release these songs were unissued as well.
No one had on vinyl a live version of the 2 pieces. Two unique masterpieces to be enjoyed throughout the 70's and onward through the future.
- Titles and Songs -
ROMAYYAD as Remaking of Omayyad, recalling the main Sessions held in
Roma.
The correct name was OMAYYAD and NOT Omay Yad.
Like the first dynasty of Arab caliphs whose capital was Damascus, like the big Mosque in the same city.
We hope we made this clear ones for all.
This error originally probably occurred on the hand written paper insert. It had the two Y's a little bit separated.
The largely circulated version on LP and CD by the Leopard label was clearly named Omay Yad and the error was in that way officialized. The four ZP outtakes are properly named.
The names possibly came from the announces of the songs Don Hall read on the tape boxes when he aired them.
- Sources -
The audio of the ZP outtakes comes from a copy of the Omayyad master.
This was provided to WRomanus by Grolsch and MQR did the remastering work.
To restore Crumbling Land the official one was used since the musical part and the real end are the same.
The two live songs were remastered as well.
They come from a 1st generation reel better than other sources heard before about this show.
MQR thanks :
- Grolsch for the new Tape source of the ZP outtakes
- Don Hall for the big help
- Glenn for interesting hints
- Floyder with his big Omayyad LPs collection
- Dub & Ken for the Omayyad LP release and for inventing bootlegs and TMoQ.
Completely Remastered by Magna Qualitas Records
MQR for this project was WRomanus, creamcheese, }{eywood
Project and Artwork by WRomanus - Roma, 07 Novembre 2011
MQR is a fan-label made for fans and for fun.
This work was made without any commercial intent and MUST NOT BE SOLD.
It should only be used and traded by fans for free.
Only the actual owners of the rights would be allowed to commercialize it.
....................................................................................................................................................................................................................
CD version (16/44) available for old fans on October 16, 2012.
HighRes (DVD-A and Flac 24/96) Oct. 22,
Raw version 24/96 Speed Corrected (not restored) Oct. 26
Cosmos Topper is the tribute MQR makes to Ted Alvy and Pink Floyd music.
The Show - Disc One and Two - Civic Auditorium - Santa Monica, CA, USA
The Interview - Disc Three - KPPC FM, Pasadena, CA, USA
Both October 16th 1971
Show Source: Audience
Taper: Al
Recording equipment and Mastertape: Unknown
Transfer: 1st gen TDK SA-90 > Sony TC-WE475 > SB X-FI Platinum > Sony Sound Forge 8.0 @ 24/96 > TLH
Restored and Enhanced by MQR to Sound Quality EX-
Los Angeles native Ted Alvy first heard rock and roll aged 9 on KFWB, where B. Mitchel Reed (BMR) became his favorite deejay.
Teenage Ted met BMR at the June 1967 Monterey Pop Festival and became his producer at KFWB featuring album cuts and forever joining the conspiracy to improve music on the airwaves.
He hosted Sunday Night Folk Festival on Stereo KVFM-FM, but was fired for playing folk-rock and sets of anti-war songs.
He accompanied BMR to help pioneer Underground Radio at KPPC-FM Pasadena as Producer and substitute deejay.
Ted compiled the Record Library that was used to convert KMET-FM to Underground Rock in June 1968 where he secretly programmed the 24/7 automation system.
He was an underground record store buyer at Les Carter's Music Revolution while attending UCLA Film School, then returning to KPPC-FM to join creative PD Les Carter.
Ted Alvy became deejay Cosmos Topper and created cosmic KPPC station IDs and alternative commercial spots until the entire airstaff was fired October 24th 1971,
few days after the Interview and the PF show. He was an admirator of early Pink Floyd, Interstellar Overdrive over all.
He continued at KMET-FM with his mentor B. Mitchel Reed until June 1976.
He interviewed countless rock legends in the years.
Ted Alvy died in March 2012.
Soon after the sad news MQR was asked if we were interested to remaster and yet uncirculated 1st gen of the 1971 Pink Floyd's show in Santa Monica.....Of
course we were...
WRomanus had a big help for his researches in the years from Ted and he was going to restore his interview to Rick and Nick to tribute him so it
came natural to think to a little box with the Interview and the Show held the same day.
The Show
It was delivered by the generous donator to creamcheese in 4 24/96 files, one cassette side in each file, via bittorrent, with the following message attached:
In 1971, this recording was made by a fellow named Al, who was 15 or 16 at the time.
Al attended this show with his older brother.
When this recording first surfaced in 1985, Al was very generous in sharing it and seemed humbled that anyone would want to hear his recording.
He was not a trader or a collector of live shows so it was only luck that brought this recording into the light of day.
He described himself as "a big fan" of early Pink Floyd and an admirer of Rogers solo work.
Al said he had all the early Floyd albums and loved the Ummagumma LP but he had lost interest in their work after DSOTM.
Surely, Al would be happy to know that you enjoy this remaster of his recording.
The Interview - Ted Alvy aka Cosmos Topper with Rick Wright and Nick Mason.
It was already shared by WRomanus as he got directly from Ted on CD.
For this commemorative release the Interview was totally reviewed.
Creamcheese denoised and declipped it and restored the dynamics (when possible)
WRomanus cleaned and divided in nine parts to make it more accessible.
So here is a good upgrade since it has an excellent better sound quality and it's complete with the "nice to listen" commercials.
You can hear Nick and Rick talking about their concerts, about Interstellar Overdrive (not good enough for Ummagumma), about the making of Ummagumma and Meddle, about future works and the next
British Tour which means that short british Tour of early 1972 which ended at the Rainbow in Feb. 72 was already planned before this American tour.
According to NM it was going to "be the best one for a long time".
And indeed they had all new equipment for it. Lights, Mixing-Desk, the VCS3 was first used onstage. We can only guess if at that point of 1971 they already had drafts and plans for the next
tour's material to be played.
What we know is that "Breathe" was sort of premiered one month later during a jam session they played during the last public performance of "The Embryo".
The interview is completed by a Transcript by radiowaves and a kind of our interview with Ted (see also Ted Alvy aka Cosmos Topper Brief self-Biography)
He made it really interesting with his answers about his interview to Nick and Rick, about those times, KPPC and his life, Don Hall and more.
MQR - creamcheese, WRomanus and }{eywood - Thanks:
Ted Alvy aka Cosmos Topper
Al and the donator
radiowaves
Artwork by WRomanus
MQR is a fan-label made for fans and for fun.
This work was made without any commercial intent and MUST NOT BE SOLD.
It should only be used and traded by fans for free.
Only the actual owners of the rights would be allowed to commercialize it.
.....................................................................................................................................................................................................................
Available for fans on August 30, 2012
Pink Floyd - YET ANOTHER LOST ALBUM - MQR 009
1. In The Sky
2. Embryo
3. Cymbaline
4. Zabriskie Roastbeef
All music heard on this album played live or in THE studio by Pink Floyd. Dissected and
puzzled together by creamcheese in 2011/2012.
Creative Assistance by WRomanus.
Sources:
In The Sky
Organ Loop: Love Scene 1 from MQR'sZPoV
Vibes: 1 Channel of Love Scene 5 from MQR's Zabriskie Point of View - The Complete Collection
Birds: Cirrus Minor from "More“ 2011 Remaster CD
Embryo
Song: Studio Rec. from "Picnic - A Breath of Fresh Air" Vinyl restored by creamcheese & wromanus
Percussion: Nick's Boogie from original TLMALIL-EP
Playground Athmo and Seagull Guitar: "Embryo“ from „Since we were Teenagers“, Santa Monica 1970-05-01
Gong: "STCFTHOTS“ from "Since we were Teenagers“, Santa Monica 1970-05-01
Cymbaline
Sleep Section: Amsterdam 1969-09-17
Song: Studio Recording from "More“ 2011 Remaster with Center Channel extracted and Oilcan-Echo-treated to achieve a similar effect as heard on many live recordings
Bass: "Sleep/Nightmare“ from Amsterdam 1969-09-17
Organ Improvisation Section: "Sleep/Nightmare“ from Amsterdam 1969-09-17
Foot Steps: „Cymbaline“ from "Since we were Teenagers“, Santa Monica 1970-05-01
Birds: Cirrus Minor
Zabriskie Roastbeef:
a) Heart Beat, Pig Meat
Loop: Heart Beat, Pig Meat Original Studio Recording from ATZPoV
Pictish Noises: Pink Room Corrosion from French TV 1970-12-04/05
Piano: „Sysphus“ Studio Recording from non-remastered CD.
Gong: „STCFTHOTS“ from "Since we were Teenagers“, Santa Monica 1970-05-01
b) Oenone:
Restored Oenone Studio Recording from MQR'sZPoV
Love Scene 3 Studio Recording from MQR'sZPoV
c) Cleaned, Restored and Stereoized Moonhead from "What if it's just green cheese“ 1969-07-20
d) Violent Sequence:
Piano: The Violent Sequence Studio Recording from MQR'sZPoV
Bass: The Violent Sequence Live Recording from Paris 1970-01-23
Windchimes and Gong: A Saucerful of Secrets Studio Recording from "ASOS“ 2011 Remaster CD
Organ Loop: Interstellar Overdrive: Unreleased Ummagumma Live Recording
Slide Guitars: Atom Heart Mother Quad Mix from Quad-Reel DVD-A
Ride Cymbals: "Come In Number 51, Your Time Is Up“ Studio Recording from MQR'sZPoV
Percussion: Nick's Boogie from original TLMALIL-EP
Notes:
This work started off as a fun project. I started to experiment with different snippets from many early Pink Floyd Songs and tried to seperate single instruments from those pieces.
The original idea was to make a LP-side long suite from Embryo.
This idea was dropped later when someone (god bless him) suggested the "Birmingham Suite“ to reconstruct as a studio recording.
Obviously the Floyd had been working on two suites at the beginning of 1970, which both contained rejected material from the Zabriskie Point sessions, one being what later became
"Atom Heart Mother“, the other one being the Birmingham Suite. This second one was dropped from the setlist after a few shows because it obviously was not strong
enough to become an early Floyd classic (but even more obviously became an early Floyd collectors' classic because it was played so rarely and even never was properly taped). But what could it
have sounded like, if Pink Floyd had not dropped it and had recorded it in studio?
A few words on song titles: The work title of "In The Sky“ was "Vibes/Organ/Birds“. After having completed this album we at MQR thought it might be nice to rename it. "In The
Sky“ sounded very nice and was kept for this reason. Absolutely no idea if Pink Floyd would have given it a similar title. In the end they didn‘t even play it that way...
We knew about the Birmingham Suite being referred to as "Halcyon Piano in Niagara Dellof“ but we didn't like that title and there is no evidence for this title being an original
band idea.
So we sought after a title that referred to something to eat just as the other suite's working title "The Amazing Pudding“, that would later become the almost equally stupid
titled "Atom Heart Mother“.
After a few attempts like "Zabriskie Stew“ "Zabriskie Soup“ WRomanus came up with the fantastic and inimitably stupid
"Zabriskie Roastbeef“...
This is a fan-made effort for fans and should not be used by any stinky, greedy bootlegger to make money with other
people‘s work.
If you like this work we at MQR urge you to buy the original albums, in case you don‘t have it already.
If you have it already, we recommend to buy the 2011 remaster as well, because it really sounds awesome.
MQR - creamcheese, WRomanus and }{eywood
Project and Artwork by creamcheese, july 2012
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Pink Floyd
CECI N'EST PAS
MQR 008
Available for fans on June 28, 2012
This is a fan-made release for fans and should not be used by any stinky, greedy bootlegger to make money with other people‘s work.
The aim of this work is to demonstrate how Wish You Were Here could have sounded with
- Shine On You Crazy Diamond as a single track,
- Welcome To The Machine with drums (as played in 1987-89 on the AMLOR Tour),
- a different decision about the vocals on Have A Cigar.
If you like this work we at MQR urge you to buy the original album, in case you don‘t have it already. If you have it already,
we recommend to buy the 2011 remaster as well, because it really sounds awesome.
MQR - creamcheese, WRomanus and }{eywood
Project and Artwork by creamcheese
...................................................................................................................................................................................................................
Available for fans on January 31, 2012.
To be re-released into wider circulation with all new artwork sometime in 2015
Magna Qualitas Records presents
The Beach Boys -
SMiLE An Ear To Ear Expansion MQR 007
Unlike }{eywood’s 2011 stereo mix, this is the mix not restrained by trying to reproduce the official release or Brian Wilson's version. Not being limited by trying to mimic the official version allowed us to be free to use whatever we needed in whatever order to make it work, and we occasionally shuffled the parts of the modular songs around or re-edited tracks so they worked structurally better and/or used all the available parts. This is our vision of how it should be: with different transitions, longer songs, and entirely new songs added in. The running order still follows basically the same order as the official version because it’s a concept album, however vague the concept seems to be. Apparently Brian envisioned this as a description of a bicycle rider’s journey across the USA beginning at Plymouth Rock and traveling across the continent to California, and eventually Hawaii. It includes his reflections on the nation’s history including the white man's conquering of the Indians, the building of the railroad, the agricultural development of the heartland, the great Chicago Fire, and ends with the purchase of Hawaii. Unfortunately all the vocals were never completed, so a lot of lyrics that would likely have clarified this concept are not present. Even so, the running order is, for the most part, predetermined by the story line. We have, however, made songs longer and added new songs and transitions, adding a plot thread to the concept by having the rider pursuing the woman he loves (who is mentioned in the beginning verse of Heroes & Villains), and who has a head start on him. He leaves from Plymouth Rock because he can't be without her (Can't Wait Too Long). After years of travel that has him pass through the locations of many historical events he finally meets up with her (He Gives Speeches, With Me Tonight) and they journey across the ocean to build a place (a Little Pad) in Hawaii. We've used nearly every piece of music that we could figure out how to from the 2011 SMiLE Sessions box set, as well as an incredible wealth of other things that weren't on there as well. We even grabbed a couple of parts of the remade versions The Beach Boys released on later albums, since those tracks were originally envisioned to be on this record, and even used a few little pieces from Brian Wilson Presents SMiLE. It’s all in quality that's officially releasable; no bootleggy sounding crusty old hissy tapes. And its all in GLORIOUS STEREO, achieved in whatever manner we could come up with, unlike the box set version. The entire CD clocks in at 79:48 (if you use all the alternates it unfortunately runs about a minute and a half too long to fit on a CD, but if you don’t use the extended Cool, Cool Water it will run 79:46. This is OK because that version was never really meant for the final running order). We even managed to make it break up into four album sides for those of you who would like to imagine it being on vinyl: Side 1 is 22:19, side 2 is 19:54, side 3 is 18:52, and side 4 is 18:09. By the way, if anyone out there decides they want to have it pressed be our guest, just send us a couple of copies.
Although the vast majority of this was created by }{eywood, some of this work was done by previous SMiLE mixologists because we judged their work to be of the highest quality. Occasionally some of it appears here, as we felt it was unnecessary to attempt to reproduce it. There are some very talented people out there who have invested their skills and time into making their visions of SMiLE, and they had many clever ideas that influenced this work. When }{eywood created the mixes himself he often used their versions for reference, so even in places where their work doesn't actually appear it was still quite useful, and greatly influential. We thank all of you for the time and thought you put into your works and hope you don't mind our borrowing from them for this one.
Sources used for this were Mok's SMiLE, A Reconstruction by Purple Chick, Archaeology, Unsurpassed Masters 16 & 17, Zach's, Odeon Original, JMZ Mix, The Old Master Painter mix, Beach Boys & Paul McCartney - Vega-Tables, the 2011 SMiLE Sessions box set, the Endless Harmony DVD, and the 1994 Good Vibrations box set. Pieces were also taken from the stereo mixes of Smiley Smile (a fan edit), Wild Honey (Japanese Pastmaster Series), Friends (Japanese Pastmaster Series), Surf's Up (Japanese Pastmaster Series), and Brian Wilson Presents SMiLE. Software used for this included Adobe Audition, Izotope Rx, Waves plugin bundle, Acon Studio Clean, DyVision Reverb Remover, NuGen Stereoizer, and maybe a couple of other plugins that we forget (or don’t want to tell; we need to have some in-house secrets ;-))
Although this album is released on MQR, a team label, this project was entirely done by }{eywood. It came out in such good quality and is considered historically important enough to deserve release on our label, plus we feel that it is destined to become the definitive version, surpassing Purple Chick's release as the "if you only have one version of SMiLE this is the one to have" version. Also, since it meets MQR's high standards and uses only the highest quality sources, we are proud to release it under our moniker. WRomanus altered and/or created the artwork, thereby making it a team effort.
We are very interested in people's opinions about this release. This project took nearly three months of work, many long days and nights of meticulous editing (plus many revisions over the following weeks as }{eywood nitpicked the work) to get to the point where it was worthy of MQR’s standards. To give feedback directly to the makers, please contact }{eywood directly at music_fixer_remixer@yahoo.com. He'll gladly discuss this new obsession of his with you in detail. No spam, please. It doesn't go well with our vega-tables.
MQR - }{eywood
- creamcheese - WRomanus
This is a fan-made effort for fans and should not be used by any stinky, greedy bootlegger to make money with other
people‘s work.
If you like this work we at MQR urge you to buy the original album, in case you don‘t have it already. And buy all the Beach Boys albums. They're a cultural icon.
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Pink Floyd
Zabriskie Point ON STAGE
It was available on October 4, 2011.
We would like to remake the work with new sources but....Probably we'll never finish it.
Creating the definitive Collection of Pink Floyd's Zabriskie Point Material always meant to MQR to add the 3 known live performances from Jan/Feb 1970.
As most of us know, the quality of most of these recordings is extremely brutal.
Although we think that these recordings from
Fairfield Hall, Croydon 1970-01-18
Theatre de Champs-Elysees a Paris, 1970-01-23 and
Town Hall, Birmingham, 1970-02-11
never sounded better, they are still an addition for the sake of completeness.
MQR - creamcheese - WRomanus - }{eywood
MQR is a fan-label made for fans and for fun.
This work was made without any commercial intent and MUST NOT BE SOLD.
It should only be used and traded by fans for free.
Only the actual owners of the rights would be allowed to commercialize it.
...............................................................................................................................................................................................
It was available for fans on September 27, 2011. The Rev.A was available for fans on September 30, 2012.
This work was bottlegged and somebody is making money on that.
Not available anymore since we remade it totally and we even changed artwork and title because that.
Our close friends will get a copy when ready in 2015-2016
MQR's Zabriskie Point of View - MQR 005B
Studio Sessions recorded in Roma and London - from Nov 1969 to Jan 1970
This is The Complete Collection of all the known material recorded by Pink Floyd during the Sessions for the Zabriskie Point Soundtrack now obsoleted by the Coming new work.
MQR - WRomanus - creamcheese - }{eywood
This is a fan-made effort for fans and for free.
If you like this work we at MQR urge you to buy the original official release where some of these songs comes from, in case you don‘t have it already.
.....................................................................................................................................................................................................................
Available for old good fans on July 29, 2011.
Pink Floyd -
SINCE WE WERE TEENAGERS
- MQR 004
Live at Civic Auditorium - Santa Monica, CA, USA - May 1st 1970 - Audience Recording
Source: Audience - Sound Quality:
EX
Taper: Dub Taylor
Recording equipment: Nagra R2R > 5" Reel Master
Playback: Tandberg R2R > Revox B-77 > M.M.'s 1st Generation Reels
Transfer: Reel[1] > Sony DAT > DAT(0) > Audigy 4 Pro > Nero Wav Editor > CDWav >CDR(0) > CDR(1) > EAC > FLAC
Restored and Enhanced by
MQR - creamcheese, }{eywood and WRomanus -
Artwork by WRomanus
Total time = 121:53m
Set One 51:18
1. Grantchester Meadows
2. Astronomy Domine
3. Tune Ups
4. Cymbaline
5. The Amazing Pudding
Set Two 79:08
1. Tune Ups
2. The Embryo
3. Green Is the Colour
4. Careful with that Axe, Eugene
5. Set the Controls for the Heart of the Sun
6. Interstellar Overdrive
7. A Saucerful of Secrets
This fully restored and remastered recording from Santa Monica is the MQR's fourth work. Due to our continuing work on
everything related to Zabriskie Point, which led to the new revision of the Omayyad album, we've decided to complete the restoration of this excellent recording.
This recording had many dropouts, damages and cuts in the tape. All this has been restored here using pieces of other shows or relocating pieces from this show.
Drop-outs and other anomalies were cleaned up or otherwise repaired. The volume of the whole thing was adjusted in various places to make the dynamics more pleasant, and because the tape
sounds like the taper was adjusting the gain on the fly as the show went on in order to compensate for very quiet passages. A lot of the between song banter and tuneups and the tape effects
during Cymbaline were very quiet, so they were brought up a bit. The distorted sections of the show were carefully restored to avoid a lot of the oversaturation they
originally contained. Several spots where the high end dulled down a bit, likely from deterioration of the master, were EQd separately and patched in in order to compensate for the tonal
changes. Noise Reduction was carefully applied in three stages, and the whole thing now appears for the first time in stereo due to the usage of a very sophisticated and well sounding
(although freely available) stereo processing plugin. The tape flips were all patched by relocating audience from different parts of the show so the whole thing is now a continuous piece
for each set.
This work is certainly not perfect. Many wrinkles and crumples were present in the master tape, and although we did our best, there's not a lot that can be done to fix them. It is,
however, probably the best it has ever sounded since we were teenagers, maybe even as it ever will...
MQR is a fan-label made for fans and for fun.
This work was made without any commercial intent and MUST NOT BE SOLD.
It should only be used and traded by fans for free.
Only the actual owners of the rights would be allowed to commercialize it.
.....................................................................................................................................................................................................................
It was available for fans on June 7, 2011.
Now obsoleted by Rev. A
Studio Sessions recorded in Roma and London - from Nov 1969 to Jan 1970 and
Live at Civic Auditorium, Santa Monica, CA, USA, 1970-05-01
This is the Remaking of the first Omayyad TMoQ Edition.
We remastered and restored all the songs from new sources.
MQR releases the Remaking of the content of the original LP version of Omayyad only, primarily for those
older collectors who have had it for many years.
It's a sort of emotional commemoration of a famous and time honored bootleg LP
MQR - WRomanus - creamcheese - }{eywood
MQR is a fan-label made for fans and for fun.
This work was made without any commercial intent and MUST NOT BE SOLD.
It should only be used and traded by fans for free.
Only the actual owners of the rights would be allowed to commercialize it.
.....................................................................................................................................................................................................................
MQR - WRomanus - creamcheese - }{eywood
started the activity with this work. It was available for fans only and absolutely for free on May 31, 2011.
Obsoleted by the Remaster 2014
Studio Sessions recorded in Roma and London - from Nov 1969 to Jan 1970
This is the soundtrack album for Zabriskie Point that never was, one performed entirely by Pink Floyd.
This Album is part of the Complete Zabriskie Point Collection.
This is a fan-made effort for fans and for free.
If you like this work we at MQR urge you to buy the original official release where some of these songs comes from, in case you don‘t have it
already.
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