Imagine playing Pink Floyd songs with an actual member of Pink Floyd. Lee Harris is living his dream from one of his formative gigs, aged 7.

Lee discusses playing onstage with each of Nick Mason, David Gilmour and Roger Waters, talks through how to approach a pivotal career meeting with someone you idolise and pays tribute to former Blockheads bandmate Derek Hussey.

You can find details of the full episode by Clicking Here.

For this edition of Brain Damage, its an excellent audience recording from the beginning of the “In The Flesh Tour’, 27 January, 1977 in Frankfurt Germany at the Festhalle.

This bootleg is titled “From The Masters” and is noted as one of the best sounding shows from the European leg of the tour. The band’s performance is solid throughout the show and it’s now all doctored for supersound!

To listen to this edition of the podcast you can do so by heading to floydpodcast.com or by alternatively clicking here or the image above.

Charles Beterams, Ian Priston, and Phil Salathé, authors and collectors, have just announced two new limited edition publications. The first publication documents Pink Floyd’s BBC radio sessions between 1967 and 1971, bridging the gap between their meticulously crafted studio albums and the ferocious improvisations of their live performances.

The 2nd publication documents Monday, July 10, 1989, when Pink Floyd played the immense Goffertpark. The concert had an audience of 60 thousand, which was to be the band’s biggest concert to date in the Netherlands.

Ian Priston & Phil Salathé – BBC RADIO 1967-1971

English, 240 pages in full-colour print, printed on heavyweight 170gms paper (22x22cm).
Published 3 June 2022.
Available as a hardcover and paperback edition.
Hardcover edition (signed, numbered and limited to 400 copies only) exclusively available from FLOYDSTUFF.com

Pink Floyd’s BBC radio sessions bridge the gap between their meticulously crafted studio albums and the ferocious improvisations of their live performances.

Each recording documents a band constantly evolving, dealing in turn with the collapse of their leader Syd Barrett, their unsuccessful attempts to recapture the pop charts, and their eventual self-reinvention as providers of multimedia extravaganzas.

In the crucible offered by BBC programmes like Top Gear, Pink Floyd forged a musical approach that would serve them for years to come. As high-profile advertisements for a young and hungry group, the role of these appearances in furthering the band’s career cannot be overestimated.

The collaboration of an English researcher and an American composer, Pink Floyd – BBC Radio 1967-1971 combines the authors’ extensive research into the details of each session with a thoughtful analysis of its contents. Every chapter contains new additions to the historical record and sheds fresh light upon the band’s creative process, which combined rigorous structure with spontaneous expression – and astonishing bursts of inspiration with unabashed recycling of existing work.

Inside are firsthand recollections from audience members and BBC engineers, and coverage of unpublished recordings, including one session that only survives in a private collection and is here described in detail for the first time. The authors delineate the best sources for all the recordings discussed, and provide up-to-date information on Pink Floyd’s other radio broadcasts.

The text additionally speaks to the unsung heroes: home tapers and engineers who preserved Pink Floyd’s legacy when the BBC did not; DJs like John Peel who advocated ceaselessly for their music and offered them a platform from their earliest days; and even the band’s own members and collaborators, whose contributions are often underrepresented.
Pink Floyd – BBC Radio 1967-1971 covers its subject in unprecedented depth, while telling a story of triumph and loss, interspersed with wit and pathos.

If you are keen to explore the early history of Pink Floyd, this is undoubtedly a book for you.

Charles Beterams – Pink Floyd In De Goffert

Dutch, 112 pages in full-colour print, printed on heavyweight 170gms paper (22x22cm).
Published 3 June 2022.
Available as a hardcover edition, limited to 500 signed and numbered copies exclusively available from FLOYDSTUFF.com

As if it was meant to be, Pink Floyd put up their tents in Nijmegen in the summer of 1989. Twenty years before that, the group is in town for the first time for a disastrously poorly attended gig at the Kolpinghuis. Things will be different now.

On Monday 10 July, the immense Goffertpark will be populated by no less than sixty thousand visitors. Never before has Pink Floyd played for so many people in the Netherlands as on that night. In little more than a day, the whole circus has come over from London after the last of six concerts. There is no hint of fatigue. The group led by David Gilmour is in top form that night.

The story begins two months earlier with a concert in Werchter, first stop of the tour. It is uncertain for a long time whether there is any room for a second concert in the low countries. Competing concert promoters, a logistical nightmare and a very special encore in the Venice lagoon – broadcast worldwide thanks to Dutch television pioneers IDTV and the Cinevideogroup – are the ingredients of a memorable summer.

Above all, it is the warm memories and unique, mostly never-before-used visual material of these concerts that make Pink Floyd In De Goffert a timeless document.

Although written in Dutch, the whole lay-out will certainly appeal to anyone not speaking Dutch.

Just announced is a Special edition (Ultimate Companion) Collectable magazine from the makers of Uncut.

“ From the very beginning, Pink Floyd were thinking about how to make a show something more than a band simply playing songs. It was a mission that began with stroboscopic light experiments in the company of their landlord Mike Leonard, and concluded with the band erecting an enormous wall between themselves and the audience.

In between there were experiments. An enormous jelly. Frying bacon. Murmuring priests. An octopus, slowly inflating. Animated films. Oil lights and projections. A circular screen. Flying pigs. Flying sheep. As they explored ways to continue as a working band after the retirement of their singer and songwriter Syd Barrett, they moved beyond psychedelic songs into a place almost beyond songs – something more like a film soundtrack, designed to paint a mood on an epic scale.

In this struggle to find a way forward and to keep working, Pink Floyd made their live performances a laboratory for their grandest and most successful music. Songs from the classic albums Wish You Were Here, Animals and the whole suite of The Dark Side Of The Moon (performed live first just over 50 years ago) were first presented (sometimes falteringly; sometimes beset with “technical difficulties”) on stages in the British provinces.

It’s this creative evolution that is being celebrated in this latest Ultimate Companion, one of Uncuts quarterly Special editions, designed to bring you closer to music you love. You might choose to think about the music being talked about here as rough prototypes for more streamlined studio version. Or you may, come to think of them all as a noisy celebration of the creative process. If you dig them out, you’ll find astonishing versions of compositions you thought you knew.

That’s where Uncut come in. Floyd spent a lot of time thinking about how they were going to present a show: the music, the show, the pyro and inflatables, even the placing of the intermission. So much so they don’t seem to have spent a lot of time curating hi-fi recordings of their performances.

So Uncut have waded in among the live recordings from official to unofficial, to help guide you on Pink Floyd’s historic creative path – the tapes, the rarest songs, the thoughts of the eyewitnesses now they’ve had time to reflect. We’ve pulled back from the stage to bring put this all in the context of Pink Floyd’s imperial phase. From the archives, they have curated a selection of interviews illustrating what the band thought they were doing then, whether planning the perfect freakout, soundtracking a ballet that seems indefinitely postponed, or battling the “wankers” from the council who won’t let them turn all the lights out when they play.

As you will learn from this publication with comments from their inner circle, the band’s reluctance to stay in one place is the keynote of this secret history. “Roger was thinking ‘how can we better this?’,” Floyd creative director Aubrey Powell told Uncut. “It started way back at that Crystal Palace gig with that inflatable octopus. I think he realised that the audience appreciated something more than just the band.”

You can buy the new edition worldwide for a modest £8.99 by Clicking Here