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Although the album was well received at the time of release, and was a top five hit in the UK album charts, it has since been looked upon unfavourably by the band, who have expressed negative opinions about it in interviews. Nevertheless, the album has been reissued on CD several times, along with the rest of their catalogue. Pink Floyd friend and occasional roadie, Iain “Emo” Moore, who would say “I’m going back to the house for some ummagumma”. According to Moore, he made up the term himself. This song on the studio disc featured a variety of vocal and percussion effects sped up, slowed down, reversed, and spliced together.

LP side each to create a solo work without involvement from the others. Wright later described it as “pretentious”. Gilmour said he “just bullshitted” through the piece. He asked Waters to write some lyrics for his compositions, but he refused to do so.

Mason playing a seven-minute drum solo as part two of the piece. The album was the first album by the band released on the Harvest label. The cover of the original LP varies between the British, United States, Canadian and Australian releases. This concept was proposed by Mason, with the intention of replicating the “exploded” drawings of military aircraft and their payloads, which were popular at the time. On the US and Canadian release there are additional titles of the four sections of the song “A Saucerful of Secrets”. The inner gatefold art shows separate black-and-white photos of the band members. UK and US on 7 and 8 November 1969, respectively.

74 in the US, marking the first time the band reached the top 100 there. The album was certified gold in the US in February 1974 and platinum in March 1994. US versions of the cassette retained only “Astronomy Domine” from the live set and omitted the three other tracks. In 1987, the album was re-released on a two-CD set. A digitally remastered version was issued in 1994. In 2009, to mark the 40th anniversary of the album’s release, Thorgerson sold a limited number of autographed lithographs of the front cover. The Greatest Live Albums Ever”.

Floyd’s proclivity for atmospheric, energetic jamming, there’s nothing else like it” and the studio half “somehow transcends its fractured construction to make a full album-length statement”. However, the band have since been dismissive and critical of the work. 1995, Gilmour described the album as “horrible”. In a 1984 interview, Mason said: “I thought it was a very good and interesting little exercise, the whole business of everyone doing a bit.

Later, he described it as “a failed experiment”, adding that “the most significant thing is that we didn’t do it again”. 2011 re-release, described the album as “rock excess of the worst kind”, although the writer praised the live version of “Careful with that Axe, Eugene”. Part I” and “Part II”. Consequently, the original part two became “Part III”, while parts three and four became “Part IV”. Farmington Hills, MI: Visible Ink Press.