Yes, the album stretches its six-part title track across an entire LP side, and yes, that suite meanders wildly and seemingly without purpose, as though they’re making it up as they go along but getting distracted almost constantly. They’re not exactly wrong, but they’re not exactly right either. Hard to believe fewer than 2000 views on this.Roger Waters and David Gilmour have spent 40 years playing this 1970 album down, labeling it pompous, overblown, embarrassing-a low point in the band’s creative history. Starts a little shaky, if not out of tune, but stick with it. This would have been the technological height of pro-am video gear at that time, believe it or not. And no, this wasn’t shot with a Fisher-Price PixelVision camera (they weren’t on the market at that time) it was most likely recorded on Sony half-inch tape that was looped up on a reel to reel style stationary deck. This is certainly the most immediate record of a live “Atom Heart Mother” we have due to it being shot on video and not film to be sync’d up later. Geesin showed Roger Waters an article in the Evening Standard with the headline “Atom Heart Mother Named,” about a woman with a nuclear-powered pacemaker and they had their album title. They finally settled on a title on July 27th, 1970, the date of a BBC radio broadcast with John Peel who needed to call it something. This Jperformance at the Bath Festival of Blues and Progressive Music isn’t the only live record of Pink Floyd playing their 1970 opus with a brass section and choir-they did this a few times-but it’s the first, when the suite was still apparently being called “Epic.” When they were composing what was ultimately to be called the “Atom Heart Mother” suite with Ron Geesin, Pink Floyd had several working titles, among them “Epic,” “The Amazing Pudding” and David Gilmour’s preferred name, “Theme From an Imaginary Western.”
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