Iggy Rose was one of Syd Barrett's girlfriends in 1969.
She is most famous for being the model on the Syd Barrett album: 'The Madcap Laughs'.
Nicknamed Iggy the Eskimo, it was rumoured she was part Inuit.
One day, in 1969, she disappeared out of Syd's life and was not heard of ever since.
Almost four decades later, the Holy Church of Iggy the Inuit started to mess with things.
Its five years mission: to find Iggy and bring her back to the spotlights.
And guess what, with some invaluable help from many, many friends... we did...
Beginning 2017 Iggy Rose decided to leave social media. She died peacefully on the 13th of December 2017,
just before her seventieth birthday. Wishing you good luck, Iggy, wherever you are.
Musicians, rockers, pop artists,... - name them like you want – live in
a bi-focused, nearly schizophrenic world and need to cultivate
dissociative identities if they want to survive and stay successful.
Just like there are two distinct forms of copyright there are two quasi
contradictory sides representing the same artist. Alfa and omega, yin
and yang, art and product, band and brand.
Let's get to the point because the above intro sounds like one of those
oriental religions that were so popular in the psychedelic sixties.
What I am writing about is the difference between rock music as 'art'
and rock music as 'product'. While an artist regards his latest release
as 'art', his or her record company invariably defines it as 'product'.
For record company executives it makes no difference if they are selling
The Dark Side Of The Moon or a singing trout, as long as it keeps on
paying for their daily dose of chemical stimulants.
Pink Floyd is so big nowadays, despite being mainly in the recycling
business since the end of the last century, that it has evolved from a
band into a brand. They are now their own record label, reducing the
EMI's and CBS's of this world to mere distributors of their product.
When David Gilmour was asked by MTV (in 1987) why the Roger Waters album
and tour (Radio KAOS) was not as successful as the Pink Floyd one (A
Momentary Lapse of Reason) he came up with the following business-mogul
The reason is that we’ve all spent... well he [Nick Mason] spent over 20
years. I spent nearly 20 years working on, building up, the Pink Floyd
name. I mean, if you liken it to basic crass of advertising… You know if
someone left Coca Cola and started up his own soft-drink company with
the same recipe it wouldn’t sell as many. It’s very simple.
Unfortunately, protecting the brand can have a few disadvantages.
Sometimes these are unintentionally funny, like that one time the Pink
Floyd company deleted a video from the official David Gilmour website
for 'copyright' infringements. There is a less savoury side as well. To
fully monetise on the release of 'The Early Years' box the Pink Floyd
copyright police deleted dozens of YouTube movies, including 'Nightmare'
of psychedelic curiosity Arthur
Brown – on his own YouTube channel
– just because they legally could. Can Mr. Gilmour and his leprechaun Paul
Loasby please explain us how this marginally known performer was a
financial threat to the multi-million dollar machine that is Pink Floyd?
For the last couple of decades Pink Floyd has been recycling old stuff,
sometimes adding unreleased material to the default product. Just a
quick list of compilations and live albums since the late eighties:
Delicate Sound of Thunder (1988), Shine On (1992), Pulse (1995), The
First Three Singles (1997), Is There Anybody Out There (2000), Echoes
(2001), Oh, By The Way (2007), Discovery (2011), Dark Side Of The Moon
Immersion & Experience (2011), Wish You Were Here Immersion & Experience
(2011), A Foot in the Door (2011), The Wall Immersion & Experience
(2012), Their First Recordings (2015),…
There were also 30 and 40 years anniversary editions of The Piper At The
Gates Of Dawn and The Early Years box-set with its 33 discs, although I
have never counted them.
These editions are all of the original or classic line-up and it may
have itched a bit at the Gilmour camp that the third and final
incarnation of the band, the one without Roger Waters, has never had a
separate compilation. Well, that is soon going to change.
Alright, alright, I hear you coming. It is not that the band was very
productive in their third incarnation. The classic line-up of Floyd made
eleven albums in fifteen years, Diet Floyd just three in 27, not
counting the two live ones. On top of that The Endless River could be
considered as just another compilation or out-takes album. Basically,
Diet Pink Floyd has been in a state of hibernation after 1995 and for
nearly two decades only recycled material from the classic heydays has
been re-released. The box-sets Oh,
By The Way (2007) and Discovery
(2011) for instance contain the same 14 albums, and only people with a
high-end stereo installation will pretend to hear the difference. How
many times can you remaster an album, anyway? It’s not bloody washing
Back to basics. It doesn’t matter if Diet Floyd existed for 8 (1995, Pulse),
19 (2006, On
An Island) or 27 years. What does matter is that David Gilmour wants
to replenish his pension fund now that he has given a small fortune away
by selling his guitars for charity.
What is more of importance, what is still lying in the vaults that
hasn’t already been (officially) leaked, one way or another.
Let’s have a small history lesson, shall we?
A New Machine
Around 1985 David Gilmour was thinking of resuscitating Pink Floyd with
Nick Mason. There are two main reasons for this, one was the public’s
disinterest in Gilmour’s solo-career, a second reason was that
contractually Pink Floyd still had to make an album with important
financial consequences if they didn’t.
As Waters refused to work any longer with the two others he was –
legally and financially – obliged to hand over the Pink Floyd brand to
the drummer and the new boy, although it took a while for this bad news
to sip in.
Previously Gilmour had been jamming with Jon
Carin for a third solo album but when the call for Floyd product
became louder, he contacted Phil
Manzanera (Roxy Music) and super-producer Bob
Ezrin. Not all collaborators brought in suitable material, Eric
Stewart (10CC) and writer and poet Roger
McGough, who had worked on the Yellow Submarine movie with The
Beatles, were invited, but their input didn’t lead to a valid concept
(although some demos do exist).
Record executives weren’t that happy either and when David Gilmour sent
four tracks over to CBS he was informed that ‘this music doesn’t sound a
fucking thing like Pink Floyd’, something that made Roger Waters
chuckle. Apparently, Gilmour’s New Coke didn’t taste at all like Waters’
Classic Coca Cola.
David Gilmour understood the message and he and his collaborators had
the difficult task to give the existent material a much needed Floydian
treatment. One possibility was to forcibly turn these tracks into a
Pope (from the somewhat underrated band Rough Trade) was flown over
from Canada and at least one song was tried out, Peace Be With You,
‘a nice, mid-tempo thing about Roger Waters’. When this experiment
failed (again) David Gilmour gave up looking for a portmanteau.
It would be a regular album without a storyline, like in the pre-Dark
Side Of The Moon days. Anthony
Moore (Slapp Happy, Henry Cow) was called in, co-writing the lyrics
on three songs. One of those, Learning
To Fly, was the much needed turning point. The sound effects,
provided by Nick Mason, the guitar, keyboards and vocals felt like a
real Pink Floyd song (although one set in the eighties and still without
A Momentary Lapse of Reason was the Diet Floyd’s showcase that they
could exist without Roger Waters, although – in retrospect – it wasn’t a
band’s album at all. Co-director Nick Mason had given the drum parts to Carmine
Appice and Jim
Keltner and the list of keyboard players shows that Rick Wright’s
name had been added for legal and public relations reasons, not for his
musical input. David Gilmour, talking about Lapse in a 1994 Mojo:
We went out last time with the intention of showing the world. ‘Look
we’re still here’, which is why we were so loud and crash-bangy. Echoes,
Crash-bangy indeed. The Lapse-album suffered from a digital eighties
production, David Gilmour admitted. Nick Mason was unhappy that he had
been made redundant by a drum computer and a couple of session players
and planned to re-record the drum parts. The same can be said about Rick
Wright’s input, who only entered the studio when the album was nearly
finished and after his wife's plea to take him back aboard. Keyboard
parts from live shows were inserted to replace the 80’s synths.
Although the above rumours started in 2011 the revised album was never
released, but this will change in November 2019 when it will be an
exclusive part of The Later Years boxset.
A Day At The Races
David Gilmour was a busy bee in the early nineties, he made four
(unreleased) soundtracks, with or without the help of Rick and Nick:
Ruby Takes A Trip (1991), The Art Of Tripping (1993), Colours of
Infinity (1995) and La Carrera Panamericana (1992). That last one
contained the first Rick Wright and Nick Mason co-compositions since
Dark Side Of The Moon / Wish You Were Here. The Colours of Infinity
soundtrack has the complete band jamming, lends several themes from Ruby
and Art of Tripping and has been partially recycled for The Endless
La Carrera Panamericana is an oddball in the Pink Floyd canon. It has
been well documented that Nick Mason and the Pink Floyd manager Steve
O’Rourke were (are) historic car racing enthusiasts, a hobby
for multimillionaires with too much time and money on their hands. In
1991 they could cajole David Gilmour into entering the 7-day Carrera
Panamericana race that ran over 2800 km in Mexico. (Rick Wright,
according to Nick, was asked as well but preferred sailing the seven
Not only did they plan to have some fun racing cars, but an inventive
Steve O’Rourke, always the hustler, managed to pre-sell the rights for a
documentary about the race, with Pink Floyd music, recouping the costs
of the expedition. (A side effect is that Gilmour, Mason and O'Rourke
look like walking billboards, pretending to be cool.)
Disaster struck on the third day when the C-type Jaguar of the Gilmour /
O’Rourke team missed a bend near the city of San Luis Potisi. Gilmour
was relatively unharmed but O’Rourke had broken his legs and their race
was over. Both were extremely lucky, the band could have literally died
that day. But, business is business and the promised movie had to be
made with two protagonists out of the race and only the least flamboyant
member left to save the furniture.
The movie is not one that will be remembered for its ingenuity, but if
you like vintage cars and flimsy interviews it might be worth checking
it out, once. The (new) music isn’t that spectacular either, but as one
of only four original products Pink Floyd produced in their later career
many fans feel this should be a required item in the box set. Yet it
will not be included, not as a DVD / Blu-ray, nor as audio.
Keleven at Yeeshkul put it this way:
Omitting La Carrera Panamericana is really disappointing because this
seemed like the absolute last opportunity ever to get that music out,
and there are some really nice tunes on it unavailable in any format
that doesn't have people talking over it from the movie. And this is a
set covering a 30-year period that had a total of four releases of new
material, yet they decided to skip one of them.
Probably Gilmour is afraid that we will all laugh with his driving
skills, nearly killing his manager in the process. A scenario even Roger
Waters didn't dare to dream of.
Video killed the radio stars
But what is in this ruddy box then? It will be mainly focused on video
material and live concerts, claiming to have six hours of unreleased
audio and seven hours of unreleased video, including the mythical Venice
1990 concert. Also included is the Knebworth Silver Clef show with guest
star Candy Dulfer. Those two shows are nice to have obviously, but they
are not particularly rare amongst collectors. I have them both in legal
and less legal releases.
It’s all a bit random actually. There will be a revised Pulse
movie, with added and re-edited content, but not the Pulse CD. For that
other live album Delicate Sound Of Thunder, both movie and audio
versions will be present, remixed and with added material. But, and I
will try not to be too overtly cynical, it will not have Welcome To The
Machine (on video) for the only reason that this would give more
copyrights to… Roger Waters. I kid you not, the Gilmour Waters feud is
still alive and kicking. Just imagine these two slightly demented rock
stars mud wrestling about a song about being nobody’s fool.
Calling it an 18-disc set is of course not wrong, but it needs to be
said that the 5 DVDs in the set duplicate the videos on the Blu-rays,
and those Blu-rays more or less duplicate the audio that are on the CDs.
Weird as well is that there is no regular Division Bell CD, but
the 2014 5.1 mix will be included on Blu-ray. The same goes for The
Endless River that has been turned into a movie experience, like The
Wall or The Final Cut video EP. I seriously wonder what will be the
added value of that.
Love In The Woods
There is also a bunch of music and ‘mister screen’ movies included, but
as far as I can remember the Pink Floyd phenomenon mainly turned around
music, not around video clips. One thing I would like to see is the Pink
Floyd documentary that was shown before the Knebworth concert,
containing the Syd Barrett and Iggy the Eskimo home movies that have
been reviewed here over a decade ago. I can only hope these will turn
up, in one form or another. (See: Love
in the Woods (Pt. 1) & Love
In The Woods (Pt. 2))
Outtakes, demos and alternative versions
Probably there was a plan to include a CD with ‘later years’ outtakes,
demos and alternative versions, but this has been reduced to 6 tracks (4
‘new’ ones and early versions of Marooned and Nervana). Several tracks
that were originally intended to be in the box have been removed at a
later stage, presumably by Mr. Gilmour himself, including the already
mentioned Peace Be With You and early versions of One Slip and Signs Of
Life. And unless something drastically changes the ambient suite The
Big Spliff will forever reside in one of the Pink Floyd dungeons.
Giving none away
That some product is missing in this box is one thing. That the initial
selling price is well over 500 dollar another. This means that each disc
in the set, not counting the doubles, costs over 40 dollar. I wouldn’t
mind paying 40 dollar for the revised Momentary Lapse Of Reason record,
but in this case you have to come up with 500 dollars for the one record
you really want and some extra discs that each contain 80% of easy
obtainable material. It is like selling yesterday’s lunch at a higher
price than the day before. Or if we may use David Gilmour's comparison:
it is like selling New Coke at double the price than the classic one.
Of course Pink Floyd may ask whatever it wants for its music. At least
they have always released product of the highest quality, right?
Recently it has been found out that Blu-rays from The Early Years suffer
from bit rot. Bubbles appear on its surface making them unplayable.
People who were trying to have them replaced, as a matter of fact this
box set only dates from 2016, have been politely advised by the record
company to go fuck themselves. I'm lost for words.
This is not the first time that Pink Floyd doesn’t deliver. Many
Immersion sets had quality problems, the Shine On box had a book that
ended its last page in mid-sentence and a few decades ago Pink Floyd
even issued 'remastered' CDs that weren't remastered at all. That was –
to use another Floydian term – a pretty fair forgery.
As a Floyd fan since the mid seventies a part of me screams, take my
money and give me the box, but – and that is a first for me - another
part is sincerely doubting if it is really worth it. Perhaps this is the
time to seriously reconsider my lifelong relationship with the Floyd.
To quote RonToon, that Jedi master of all things pink:
Gilmour is very generous when it comes to charities but there is no
charity for his fans.
Pink Floyd may be a great band, but has turned into an unreliable brand.
Some pros and cons of The Later Years:
PROS: A Momentary Lapse of Reason remix (stereo and 5.1) - Delicate
Sound of Thunder concert on audio and video, remixed and complete - A
few Division Bell demos and outtakes - Knebworth 1990, full concert, on
audio and video - Previously unreleased documentaries and other material
- Previously unreleased Venice 1989 on video - Restored Pulse on video -
Screen films, music videos. Arnold Layne, live at The Barbican on 10 May
2007, the Floyd's last performance ever (not on CD unfortunately).
CONS: The price per disc is outrageous, plus there are a lot of doubles.
Missing: Live 8, remember Live8? - The Knebworth pre-show documentary,
starring Langley Iddens and Iggy the Eskimo - A Momentary Lapse of
Reason demos (present on ‘early’ track listings, but removed afterwards)
- Alternate single and promo mixes, from A Momentary Lapse of Reason and
The Division Bell (enough to fill a CD on its own) - Echoes (and a few
other songs performed live) - La Carrera Panamericana - Peace Be With
You - Pre-show Soundscape track (issued as a 22 minutes extra track on
the Pulse audio cassette) - Professionally filmed Omni shows in Atlanta,
3-5 November 1987 (although, who needs another live performance by the
Floyd?) - The Big Spliff - The Division Bell stereo remix or remaster -
Venice 1989 on CD - Welcome To The Machine on Delicate Sound of Thunder
The Church wishes to thank: Keleven, Rocco Moliterno, RonToon, the many
collaborators on Steve Hoffman Music Forums and Yeeshkul. ♥ Libby ♥
Sources (other than the above mentioned links): Blake, Mark: Pigs
Might Fly, Aurum Press Limited, London, 2013, p. 311-321. Povey,
Glenn: Echoes, the complete history of Pink Floyd, 3C Publishing, 2008,
p. 260. Steve Hoffman Forum Thread: Pink
Floyd The Later Years Box Set Yeeshkul Forum Thread: Pink
Floyd - The Later Years
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