| I saw Total Eclipse repackaged. It is in a white folder type
thing that looks like a fairly cheap plastic holder. I assume
it folds open and has two discs on each side (it was that sort
of size). The artwork is a faded version of the original,
sporting the Great Dane dog head on the spine but no catalogue
number or bar code on the back. No clue about the book
inside... It was retailing for $80. Looks to me like the people
that have brought us the continued Meddler and Azimuth have
added this to their stable...
TOTAL ECLIPSE was conceived in 1993, well into Great Dane's
ambitious "Pink Floyd Project." Great Dane had wanted to put
out a box set that would appeal to the fans who had been
terribly dissapointed with "Shine On," Pink Floyd's official
release. It's purpose was to attempt to bring to the fans a
comprehensive overview of the band's career, substituting rare
material and alternative tracks wherever possible. This is the
reason why many of the early singles and B-sides were included
(which many people question). Much "Top Gear" material was also
included because not only were the sound sources believed to be
the better than on any previously released RoIO, but also
because it seemed that these tracks should also be represented
in the band's history. TOTAL ECLIPSE was meant to be
chronological (although a few tracks are out of order) and
comprehensive; something that could be listened to from
beginning to end.
In retrospect, things probably could have been different.
Originally TOTAL ECLIPSE was planned to be a 5 CD set, but
Great Dane wanted to utilize it's 4 CD "Book" format,
presenting 2 CD's on the insides of the front and back covers
(this was the first of many Great Dane releases to be packaged
in this manner), with an extensive booklet sandwiched between.
Although the 5 CD set was ready to go into production (as far
as the remastered DATS were concerned), remastering had to
start all over again, and cuts had to be made.
In hindsight, the extensive "Nick's Boogie" could have been
omited, making room for a few other early tracks, as well as
some of the material from DSOTM ("Breath," "On The Run," and
"The Great Gig In The Sky"), previously issued on other RoIO's.
This might have left room for rare tracks such as "Main Theme
From More," "Obscured By Clouds" and "When You're In," and the
much requested "Childhood's End." The recent live singles an
B-sides from 1987's DSOT tour, "Run Like Hell," and "Money,"
could also have made room for these rarities. Quality was also a
major factor, this being the reason why certain desirable
rarities were omitted. Perhaps the biggest regret was the
omission of "Lucy Leave" and "King Bee", whose authenticity
were still questionable at the time. It was not worth taking
the risk of compromising the integrity of this release with a
few possibly bogus recordings.
But the efforts put forth, warts and all, seemed to have paid
off. Over three years later, it seems that the fans hold TOTAL
ECLIPSE in very high regards, and that was my intention to
Unfortunately, once all of the material (remastered tapes,
photos, text, and original artwork) were assembled and shipped
to Italy, the production and manufacturing were out of my
hands, Great Dane's releases got more elaborate, more
ambitious, and certainly more professional over the years, so
I'm glad that I wasn't asked to produce TOTAL ECLIPSE at the
start of the great "Pink Floyd Project" (which was to release
definitive CD's representing each of the band's major tours).
Not being RoLO's, these projects obviously had their
limitations. I helped to produce these CD's not only to
preserve the best of my audio collection on a (hopefully)
longer lasting and more durable format, I wanted to present
something that I would buy for myself. I also wanted to show
respect for the fans, offering them something that had some
thought behind it, making it worth their hard earned cash.
TOTAL ECLIPSE went through three pressings before Great Dane
went under due to the Gat Treaty. The second pressing had two
even columns on the back cover displaying the track listing.
The image on the cover was also sharper and closer to the color
of the original artwork. Almost ten thousand copies were
produced and undoubtedly sold.
To address other issues stated in comments concerning this
RoIO, the "barely readable articles" were included, not to be
"read," but for "artistic" purposes only. For some unknown
reason, "Murderistic Women" was omitted (although it was
included in the liner notes), and "The Massed Gadgets..." was
split into two tracks (although it plays out seamlessly). If
any tracks seem speeded up or too slow, that is unfortunately
the nature of some RoIO's, and the lack of sophisticated
equipment (at the time) on my end to make those corrections.
I'd have to say that I've been pretty happy with most of the
public's response to Total Eclipse, although I really wish I
could do it all over again....
Future comments on TOTAL ECLIPSE, good or bad, are most
welcomed to this web page
Listed times of tracks and actual times differ. The
selection of tracks is phenomenal for this important
collection. The tracks are basically in chronological
order. CD 4 is just fantastic with rare tracks not known to
be released elsewhere. Snowy White's guitar riff on Pigs On
The Wing parts 1 & 2 only before released on 8-track tape.
Mother and What Shall We Do Now? are both taken from the
digital laser disc version of the movie "The Wall".
Booklet has many great photos of the group and of album
covers and a selection of newspaper articles (barely
readable interview w/ Barrett from Melody Maker issue from
March 17 (27?) of 1971. Also various articles from "The
Artwork on cover is not anything like Gerald Scarfe's work
but none-the-less interesting.
The new Total Eclipse batch is out. The back is different.
Where on the first batch the tracklist was in two columns
(the right- most containing the first part and a smaller
leftmost one have the rest, the new batch has two equal
columns with the first half on the left and the rest on the
right. Also, the colour on the CD's itself changed, from
green to yellow. And the box itself is a bit different in
colour. Mine was very green, this one is more 'ochre'
_Murderistic Woman_ seems to be missing on Total Eclipse,
but they cut _Massed Gadgets_ into two parts so the total
track number still fits. -ANON
The version of AHM is about 8% (1/2 step) too slow, adding
about 1:30 to the piece. Also, did they really need "Arnold
Layne", "See Emily Play", "Nick's Boogie," (all common rolo
CD tracks) and so much Top Gear material? -ANON
Included in this RoIO is a 36 page booklet with a 4 page
history of Pink Floyd. Here are the last 3 paragraphs of
In 1993, Pink Floyd released Shine On, a 9 CD box
representing the band's history. It consisted of 7
previously released albums, with no alternate, rare, or live
tracks. Included as a bonus was a book, postcards, special
packaging and other bonuses.
This box set is meant to represent a comprehensive,
chronological retrospective of the band's music. Rare,
live, or alternate versions were used wherever possible.
Because this collection was designed as a 4 CD set, there
was a limit to the amount of material selected, with a great
regard to sound quality. Unfortunately, many rare
recordings were cut because of this reason.
"Total Eclipse" is for you, the fans. You deserve better
than the Shine On box set, but the powers that be are more
interested in making money than giving the fans what they
really want (and what every other major artist has done for
their fans), this is the best we could do. So for those who
delve deeper into the lyrics, feel the passion of the music,
and hold the name Pink Floyd in a very special place in
their hearts...shine on.
Track Source Information:
1. Arnold Layne (Barrett)
The Pink Floyd's first single, released in the UK March 11th, 1967,
was one of a handful of tracks that was laid down at their first
studio recording session. Produced by Joe Boyd at Sound Techniques
Studios in Chelsea on January 27th, 1967, "Arnold Layne" was chosen
because unlike the other tracks it was short enough to release as a
single. The Pink Floyd made three appearances on BBC-TV's "Top Of
The Pops" promoting its release. Of the title itself Barrett
stated, "I thought that Arnold Layne was a nice name and it fitted
very well into the music I had already written." It charted number
20 in the UK.
2. Candy and a Currant Bun (Barrett)
The B-side to "Arnold Layne" was recorded at the same session along
with an early version of "Interstellar Overdrive". Originally
titled "Let's Roll Another One" the lyrics were changed due to the
obvious drug inferences. Waters commenting on the BBC's attitude
towards the track, recalled "They didn't like that at all. Very
under the arm." The song dates back to the Floyd's Free School
3. See Emily Play (Barrett)
The Second single by the Floyd, was recorded on May 23rd, 1967, at
Sound Techniques Studios after sessions at EMI failed to capture the
essence found on Arnold Layne. Two of the Floyd's biographers,
Miles and Karl Dallas, dispute Emily's origins. Miles states
that the track is a reworking of the "Games For May" concert
performed at the Queen Elizabeth Hall on May 12th 1967, while Dallas
says that "Emily" was performed April 29th at the 14 Hour
Technicolor Dream in Aid of the International Times. Mick
Schaffner's book states that "Emily" was in real life the daughter
of Lord Kennet (Wayland Young) who was well known to the UFO club
crowd. Schaffner also reports that David Gilmour, who was
coincidentally at the session with his band Joker's Wild, first
noticed Syd's mental decline. Released on June 16th, 1967, it
charted number 6 in the UK and 134 in the US.
4. Flaming (Barrett)
Deleted from the US release of "Piper at the Gates of Dawn",
"Flaming" later appeared as a single on August 5th, 1967. Performed
live for a brief period, as well as BBC and French TV appearances.
5. The Scarecrow (Barrett)
6. The Gnome (Barrett)
7. Mathilda Mother (Barrett)
All three tracks appear on the first Floyd album "Piper at the Gates
of Dawn". These cuts were the first of many recorded for the John
Peel's "Top Gear" show on BBC radio, and was first broadcast on
September 30th, 1967.
8. Scream Thy Last Scream (Barrett)
9. Vegetable Man (Barrett)
Recorded in August, 1967, "Scream Thy Last Scream" was planned as
the Floyd's third single. The song was performed live during 1967,
and was also entitled "Scream Thy Last Scream Old Woman With A
Casket" and the shorter "Old Woman With A Casket".
Also recorded in August of 1967 was the unreleased "Vegetable Man".
Manager Pete Jenner recalls the origins of the song. "Syd was
around at my house just before he had to go to record - and because
a song was needed, he just wrote a description of what he was
wearing at the time, and threw in a chorus that went 'Vegetable Man,
where are you?'."
This is one of the last sessions featuring Syd Barrett with the Pink
Floyd. These two tracks are the actual August 9th, 1967 sessions.
10. Apples And Oranges (Barrett)
A third single that fared poorly in the charts. The track was
recorded in August of 1967 and released on November 18th. A
promotional film featured a Barrett-less Floyd, with Roger Waters
lip-syncing to Syd's vocal. Waters' recollection of the track was
that it was a "fucking good song," that "was destroyed by the
production." All around, producer Norman Smith seems to have
become the fall-guy for the failure of this single.
11. Pow R. Toc H. (Barrett/Mason/Waters/Wright)
12. Jugband Blues (Barrett)
"Pow R. Toc H." is from "Piper at the Gates of Dawn" and "Jugband
Blues" was recorded at the time of "Apples and Oranges". So
disappointing was the reaction to "Apples and Oranges" that their
manager, Pete Jenner, proposed releasing "Jugband Blues" in its
place. "Jugband Blues" was used by the Central Office of
Information for a promotional film about Britian that was
distributed in the US and Canada.
For the track Syd Barrett brought a Salvation Army band into the
studio, instructing them to "play what you want to." These tracks
are taken from the second session they did for John Peel's "Top
Gear" show, broadcast on 12/19/67.
13. Nick's Boogie (Barrett/Mason/Waters/Wright)
A studio outtake that was recorded in April of 1967 for the
soundtrack to the film "Tonite Let's All Make Love In London".
"Nick's Boogie" has only been officially available as a CD bonus
track since the soundtrack album was released in 1990. This
extended instrumental is a variation of "Interstellar Overdrive."
14. It Would Be So Nice (Wright)
The Floyd's fourth single released on April 12th, 1968. "Fucking
awful that record, wasn't it?" recalls Nick Mason about the track.
There was a general feeling at the time that the band needed a
commercial hit and this single was an attempt at that. The version
released to the stores mentions the London evening newspaper The
Evening Standard, but the BBC, fearful of advertising, made the Floyd
change the Lyric to The Daily Standard. "At that period we had no
clear direction," stated Mason.
15. Julia Dream (Wright)
16. Let There Be More Light (Waters)
17. Murderistic Women (Waters)
18. Massed Gadgets of Hercules (Gilmour/Mason/Waters/Wright)
Taken from the June 25th, 1968 Top Gear session, these tracks are
some of the first recorded performances of Pink Floyd with David
Gilmour (there had been a brief period with both Barrett and Gilmour in
the line-up). Julia Dream had been the B-side to "It Would Be So Nice"
and featured David Gilmour on vocals.
"Let There Be More Light" was released in the US as a B-side to
"Remember A Day", and the 1981 release of the remixed "Money".
"Murderistic Women" was an earlier, shorter version of "Careful
With That Axe, Eugene". Up until the "In The Flesh" tour of 1977,
Pink Floyd regularly tried out new tracks in front of live audiences,
often with very different titles from the finished piece. "Careful
With That Axe, Eugene" was also the B-side to their next single.
19. Point Me At The Sky (Waters)
Their fifth single, released on December 17th, 1968 was produced by
Norman Smith. It failed so badly in the charts that the Floyd did
not release another single until "Another Brick In The Wall - Part
II" in 1979. The promotional film for "Point Me At The Sky"
features the Floyd flying in a yellow biplane, and photos from this
promo film appear on the double compilation album "A Nice Pair".
As he did with "Apples and Oranges", Roger Waters defended the
song, blaming its failure on the poor production.
20. Baby Blue Shuffle in D Minor (Gilmour)
"Baby Blue Shuffle in D Minor" was the working title for what would
later become "The Narrow Way - Part 1" on "Ummagumma". This was
written by David Gilmour as his contribution to the solo section of
1. Embryo (Waters)
"Embryo" was originally recorded for the album "Ummagumma" but was
dropped in favor of the individually written tracks concept. The
unfinished track was chosen as Pink Floyd's entry on the Harvest
(the Floyd's UK publisher) label's sampler album "Picnic". The
album cover features a typical Hipgnosis design that actually
foreshadowed some of the images from "The Wall", with a family
sitting on a sparse beach, wearing gas masks. The Floyd themselves
were dismayed by the songs appearance, and have prevented the album
being reissued. David Gilmour recalls that "For some reason we
never actually finished the recording of it... EMI got Norman
Smith, I think, to mix it, and they released it without our okay."
Nonetheless, the Floyd played the track on John Peel's show in
January of 1969, and on tours throughout 1970 and 1971. The song
was also performed with free-form sections against a background of
pretaped sound effects (most notably that of children playing),
extending the 3 minute song up to as long as 30 minutes. The track
was also issued in the US on the "Works" compilation album. These
two tracks are from the "Top Gear" recording session of January
2. Green Is The Colour (Waters)
3. Careful With That Axe, Eugene (Gilmour/Mason/Waters/Wright)
4. The Narrow Way - Part 1 (Gilmour)
Three tracks taken from the BBC "Top Gear" broadcast of July 25th,
1969. The first, "Green Is The Colour", was originally titled "The
Beginning", the opening sequence of the concept suite "The
Journey". The song appeared on the soundtrack album "More", which
was also released in July of 1969 and stayed in the Floyd
repertoire through 1971.
"Careful With That Axe, Eugene" was originally titled "Keep Smiling
People",then "Murderistic Women" before being included in "The
Journey" entitled "Beset By The Creatures Of The Deep". "Axe" also
turned up as part of the "Committee" soundtrack, and on "Zabriskie
Point" as "Come In Number 51, Your Time Is Up". The song appeared
as a B-side to "Point Me At The Sky" on the compilation album
"Relics", and a live version was released on the double album
"Ummagumma" in 1970. It was filmed live on a number of occasions,
once for "Live At Pompeii" and again in 1973 as a promo film
available on the "Superstars In Concert" video.
"The Narrow Way", originally titled "Baby Blue Shuffle In D Minor",
was David Gilmour's solo composition for the album "Ummagumma".
Gilmour confessed to a certain amount of desperation in trying to
compose a track by himself.
5. Biding My Time (Waters)
Originally titled "Work and Afternoon", this track originated from
the concept piece "The Man", and the track has only been released
officially on the compilation album "Relics". This version is
taken from the Concert Gebow, Amsterdam show of August 17th, 1969.
6. Oenone/Fingal's Cave (Gilmour/Mason/Waters/Wright)
7. Rain In The Country (Gilmour/Mason/Waters/Wright)
Recorded for the movie "Zabriskie Point", but never used in the
film or on the soundtrack album. These two outtakes are from the
studio sessions in Rome, December 1969. Track 7 is now available on
the official Zabriskie Point 2 CD re-release.
8. The Violence Sequence (Wright)
This track, originally composed for the film "Zabriskie Point"
would later become "Us And Them" on "Dark Side Of The Moon" two
years later. Of the film sequence itself, Nick Mason recalls that
"there was a lot of news film, of cops and students fighting it
out, all with no soundtrack apart from this very lyrical piano
thing which Rick played as a solo." This version comes from the
Theatre Champs D'Elyses show, January 23rd, 1970.
9. If (Waters)
Recorded for the album "Atom Heart Mother", released in 1970, "If"
clearly indicates the future direction of Waters' songwriting.
With a pleasantly disarming acoustic guitar line, Waters delivers
some stark and disturbing lyrics about being insane. The track was
essentially a filler on the album, and was not widely performed,
although Roger Waters did revive it for his solo tours of 1984 and
1987. This recording is taken from the Paris Theatre, London,
September 16th, 1970.
10. Cymbaline (Waters)
11. Atom Heart Mother (Gilmour/Mason/Waters/Wright)
Recorded at Pepperland, San Rafael on October 17th, 1970,
"Cymbaline" appeared on the soundtrack to "More" and was performed
throughout the 70/71 era.It has been suggested that the song, about
dreams and dreaming, was a reference to Shakespeare's "Cymbaline",
but given the Floyd's failure to read Proust's "Remembrance of
Things Past" for the aborted 1972 Roland Petit Ballet project, this
"Atom Heart Mother" was a landmark for the Floyd as it devoted the
entire side of an album to one piece, paving the way for "Echoes"
and ultimately "Dark Side of the Moon". The track also brought
together many of the sound effects that Waters had been interested
in, along with an orchestra. The Floyd briefly toured with "Atom
Heart Mother" accompanied by a live orchestra but had to rework the
composition when played as a quartet. This version, performed
without the orchestra, was also played during a 1970 TV broadcast
from KQED studios in San Francisco.
1. Blues (Gilmour/Mason/Waters/Wright)
A generic blues number from the Paris Theatre show of September
30th, 1971. These jams were a frequent, yet undocumented part of
the Floyd shows of the early 70s. They were usually short
free-form departures from the band's standard repertoire, and would
occasionally appear on bootlegs with titles such as "Pink's Blues",
2. Breathe (Gilmour/Waters/Wright)
3. On The Run (Gilmour/Waters)
Taken from the Rainbow Theatre concert of February 17th, 1972, this
was the first official performance of "Dark Side Of The Moon".
"Breathe" is slightly different from its incarnation on the album,
and "On The Run" features a powerful, driving riff by Gilmour with
a bluesy accent. This was eventually dropped and replaced by the
now familiar sound effects/VCS3 synthesizer track.
4. The Great Gig In The Sky (Wright)
This version of "The Great Gig In The Sky" was taken from the
Hollywood Bowl concert of September 22nd, 1972.
5. Money (Waters)
A snippet of the demo performed by Waters, playing an acoustic
guitar. It is important as it shows the difference between the
original demo and the finished product, and indicates just how much
influence the whole band has in shaping the final piece, despite
what the credits say.
6. Brain Damage/Eclipse - Alternate Mix (Waters)
The climax to "Dark Side Of The Moon". This mix was made some
weeks after the initial release of the album, which differs from
the quadraphonic release. It contains some alternate guitar
overdubs, some of which can be seen being laid down in the film
"Live At Pompeii". "Too much feedback?" remarks Gilmour during the
session. "Don't worry about that. Where would rock and roll be
7. Shine On You Crazy Diamond (Gilmour/Waters/Wright)
Taken from the Empire Pool Wembley show of November 14th, 1974,
this version predates the release of the album "Wish You Were
Here". "Shine On" saw the first use of the revolving mirror disc
that was to become a staple of their shows for the rest of the
decade. 32,000 people saw the Floyd those four night sat the
Empire Pool, indicating the success of "Dark Side", yet ironically
the band were unhappy with their performances. In particular,
David Gilmour recalled this show with a sour note, describing it as
"the worst we've done on the whole tour." The technical side of
the show had some major hitches, although the audiences didn't seem
"Shine On You Crazy Diamond" was Waters tribute to Syd Barrett, who
said of the track "I wrote that song, above all, to see the
reaction of people who reckon they know and understand Syd
Barrett. I wrote and rewrote and rewrote that lyric because I
wanted it to be as close as possible to what I felt... and even
then it hasn't altogether worked out right for me." The
inspiration for the song was Gilmour's guitar riff. "I think it
was a guitar line of Dave's that sparked me off," recalls Waters.
"It's actually the signature tune from a radio show 'Take if from
The track was performed through the 1977 tour and again for the
1987 World Tour, ending at a rain soaked Knebworth in 1990.
8. Raving And Drooling (Waters)
9. You've Gotta Be Crazy (Gilmour/Waters)
Along with "Shine On," these two tracks made their debut during the
French tour of 1974. Ultimately, they would become "Sheep" and
"Dogs", forming the core of 1977's "Animals" album. In this
earlier version the lyrics do not have the animal motifs that would
become so familiar, but instead are about the stresses and strains
of everyday work.
"Raving And Drooling" features a thunderous bass line by Waters and
finishes with the blistering guitar solo from Gilmour.
"You've Gotta Be Crazy" also shows off Dave's virtuosity and has
both Waters and Gilmour sharing the vocals. This recording is from
the Nassau Coliseum, New York, June 16th, 1975. The 1975 tour also
marked the last time that Pink Floyd previewed their new material,
as the shows became more elaborate in terms of staging.
1. Echoes (Gilmour/Mason/Waters/Wright)
Recorded at A.I.R. (EMI) studios, the Floyd finally shrugged off
the legacy of Syd Barrett and confidently found their own
direction, paving the was for "Dark Side of the Moon". Released in
November 1971 on the album "Meddle", the track proved to be a
milestone in the history of the band, and like "Atom Heart Mother"
took up the entire side of an album.
Originally "Echoes" was recorded in January of '71 as a series of
individual pieces that were collectively known as "Nothing - Parts
1-24". Gilmour explained that "We never know what an album will be
called or what it will sound like right up until the finish." Nick
Mason added that "By the end of January we had thirty-six different
bits that sometimes cross-related and sometimes didn't. 'Echoes'
was made up from that." The piece was first performed at Norwich
University on April 22nd, 1971 and at this stage was called "The
Return of the Son of Nothing", although Roger Waters would later
introduce the piece as "The March of the Dambusters", "Looking
Through The Hole in Granny's Wooden Leg" and We Won The Double".
2. Pigs on the Wing - Parts 1 & 2 (Waters)
Taken from the 8-track release of "Animals". To accommodate the
8-track repeat feature this version has an added bridging guitar
sequence between the two tracks. The riff was performed by Snowy
White, who was the Floyd's back-up guitarist during the 1977 tour.
This version has not been released on any other format, although the
bridge was added to "Pigs on the Wing - Part 2" when performed
live, as a coda.
3. Comfortably Numb (Gilmour/Waters)
Originally the riff was written by Gilmour and recorded at the Bear
Les Alps studios for his first solo album. It was resurrected for
"The Wall", when Waters was searching for musical ideas to
accompany his lyrics, inspired by his own experiences of being
forced on stage when very sick.
Performed live the song is perhaps the crowning moment in the
history of Pink Floyd, as all the elements came together
perfectly. At this stage of the show the Wall is already complete,
as Waters, dressed in a white doctors coat, tries to coax his
patient in. Back lit by an orange arc light, Gilmour, his shadow
cast wide across the audience, performed a searing guitar solo from
the top of the wall.
Recognizing the importance of the track, Gilmour performed the song
on his 1984 "About Face" tour, and was climax to Pink Floyd's
1987/90 World Tour where the mirror-ball made a welcome reprise.
This track is a snippet of Gilmour's demo from 1978.
4. When The Tigers Broke Free (Waters)
A track that was specially written for the film "Pink Floyd - The
Wall". Released as a single in the US and the UK (where it charted
at number 39). It was to have been a part of the upcoming album
"Spare Bricks", a collection of new material from the film. When
that project was dropped for "The Final Cut", so did an album
release for the song. The track was also released on a promotional
CD for Roger Waters' Berlin 1990 concert.
5. Mother (Waters)
6. What Shall We Do Now? (Waters)
The film version of "The Wall" reworked some of the familiar tracks
of the album, and the most radically changed track was "Mother".
The flow of the song was broken up to accommodate the linear story
telling, and the acoustic guitar was replaced by an orchestra.
This version of the song has previously been unreleased and is
taken from the digital laser disc version.
"What Shall We Do Now?" was left off of the original album at the
last minute, although the lyrics were printed on the record
sleeve. The song, a lis of obsessions that Pink is faced with to
compensate for the "Empty Spaces" in his life, was however
performed live to great effect. This version is again from the
film, where it was reinstated with brilliant animation of Gerald
Scarfe's sexually provocative flowers.
7. Bring The Boys Back Home (Special Version) (Waters)
Released as a B-side to "When The Tigers Broke Free" this
promotional 12-inch mix is different from the film and the more
common 7-inch release.
8. Outside The Wall (Waters)
This version of the track was used as the epilogue and end title
sequence of the film. What is different about this version is that
the back-up vocals that repeat Waters' vocal is missing, and a
Salvation Army-like orchestration is added. The music for the film
was produced by David Gilmour, although technically only Waters
appears on this track.
9. The Hero's Return - Parts 1 & 2 (Waters)
"The Hero's Return" was written for the album "The Final Cut" and
was released as a B-side to the single re-dubbed version of "Not
Now John". The 12-inch and 7-inch versions feature "The Hero's Return
- Part 2", an extra verse of the song performed by Waters. "Part 2"
could possibly be a demo version since the sound is distinctly
different from that of "Part 1".
10. On The Turning Away (Gilmour/Moore)
11. Run Like Hell (Gilmour/Waters)
"On The Turning Away" was the third single released from "AMLoR"
marking the new Gilmour-lead era of the band. A video of this live
cut was produced, recorded at the Omni, in Atlanta, Georgia.
"Run Like Hell", from "The Wall", was released as a single in the
US and Europe, backed by "Don't Leave Me Now". Like "Comfortably
Numb", "Run Like Hell" was originally intended for Gilmour's first
solo album and was played during both his 1984 tour and the Pink
Floyd 87/90 tour, in which it was the show stopper. The song in
context of "The Wall" illustrates Pink turning into a fascist,
manipulating racially oriented hate crimes in the name of fascism.
Out of context "Run Like Hell" is a great rock number that really
Both these performances are from the Omni Atlanta, November 5th,
1987, and appeared as a bonus cut on the release of the "On The
Turning Away" CD single.
12. Money - From Knebworth. The sax-player on Money is Candy dulfer
(and is announced by Gilmour).
As the flagship RoIO box set, and a sizable investment for
those of you that can afford to buy it (legally, that is),
I've felt for a while that Total Eclipse needs a
track-by-track review, since so many newbies use it as their
guidepost (myself included), and it's also a valuable point
of departure for X-referencing some of the more convoluted
RoIOs out there...so, in my foolishness, I've ventured to
dissect the whole thing (and try and clear up some errors).
Overall I'd have to say I'm quite happy with Total Eclipse,
though at times I wish they'd concentrated a bit more on the
live rarities and a bit less on Arnold Layne and other
easily available tracks. Also the presence of as many as
three tracks from the 16 Sep 1970 is a little displeasing;
it would have been nice to have some material from Hokkaido
or Montreux (not to mention, say, Boeblingen 1972). But
it's absolutely gorgeous -- Great Dane's reputation for
class is well-deserved -- and the tracks (especially the
later ones) seem to be taken from excellent sources. The
below is, of course, basically a VERY subjective collection
of my opinions on TE, so feel free to disagree, and please
correct me when I'm wrong -- but please double-Czech your
facts before you do, to ensure that no more misinformation
is spread. -MT
1. Arnold Layne, 2. Candy and a Currant Bun, 3. See Emily
Play: all Sup. The sound is perhaps not the best I've heard
for tracks 1 and 3, but is still pretty much flawless, if
somewhat lacking in punch.
4. Flaming: Ex+. Something about this track bothers me a
bit; there's a sort of crackly, brittle quality to it,
especially in the first verse vocals, that gets on my nerves
(it sounds like less than pristine No-Noised vinyl) and
there are shifts in level and high-frequency response
towards the end of the song. It would be fine were this a
rare track, but it's not...
5. The Scarecrow: Ex-/VG+. Little treble at times, and
clearly variable HF response that gets a little annoying,
especially in the vocals. But quite listenable, if not that
6. The Gnome: Ex-/VG+. More hiss than 5., with similar HF
problems (especially in the beginning).
7. Mathilda Mother: Ex-/VG+. Similar to 5. & 6., with odd
bass response towards the end as well.
8. Scream Thy Last Scream: Sup. A touch murky, but who
knows how much of that is native to the original
material...and a song that all people who claim to be Syd
buffs should know, of course.
9. Vegetable Man: Ex-. Much murkier than 8., though plenty
10. Apples And Oranges: Sup. Standard RoLO sound.
11. Pow R. Toc H.: Ex-/VG+. The recording isn't as good
perhaps as the source for 5.-7., but it doesn't have the
"wow" variability that makes them less enjoyable. On the
other hand it's faded a bit early.
12. Jugband Blues: VG-. Pretty murky, though still very
listenable, but many a generation (or refrigerator magnet?)
has this tape source seen.
13. Nick's Boogie: Sup. RoLO sound. Nothing to complain
about here, and a treat after "Jugband Blues" if you're
listening to the tracks in order.
14. It Would Be So Nice: Sup. As above. And IMHO Nick
Mason was right...pretty kitschy.
15. Julia Dream: Sup/Sup-. Far better than the preceding
"Top Gear" tracks. Clear, solid sound, maybe a bit lacking
in body but quite good nonetheless.
16. Let There Be More Light: Sup-. Slightly the inferior
of Julia Dream, but still very good.
17. Murderistic Women: Not to be found, it's indexed as the
first half (3:50) of --
18. Massed Gadgets of Hercules: Ex-. Of definitely lower
quality than 15.-16., with a little distortion (but not of
objectionable sort). I find it hard to listen to this
through headphones because of the timbre of the recording --
at times it takes on a somewhat strident quality...but it's
early aSoS, and as such, is certainly interesting.
19. Point Me At the Sky: Sup. As the other RoLO tracks.
20. Baby Blue Shuffle in D Minor: VG-. Rather
stereotypical "No-Noised bad (vinyl?) source sound", and
IMHO not all that interesting musically, but certainly not
unpleasant to listen to. There may be a half-step speed
problem, depending on whether Gilmour was tuned down. By
the way, the title of this one has always befuddled me --
sure sounds like D major (or in this case D-flat major ;-)
1. The Embryo: Ex+. Clear, though not without murkiness.
2. Green Is The Colour, 3. Careful With That Axe, Eugene:
Sup. These tracks are *not* taken from the BBC "Top Gear"
broadcast of July 25th, 1969 (as listed in the liner notes),
but, based on an A-B of these tracks and the RoIO "Focus"
(which IMHO has slightly better sound), are rather from the
"Libest Spacement Monitor" BBC broadcast of September 16,
1970. (cf. "The Complete Top Gear Sessions" for how this
mislabeling may have begun.) Regardless, nearly flawless
sound (one or two nearly imperceptible bits of noise), and
great vocals and playing, make these tracks a joy, as
4. The Narrow Way part 3 (*not* part 1): Ex. Normal Top
Gear quality. Relatively typical performance and sound.
Again, pretty straightforward/unremarkable.
5. Biding My Time (Work): VG+-. The sound is rather murky
(little treble), and a little "distant" (though the sound
effect at the beginning is crystal clear), so technically I
have to give it an VG+-...but I find that for this
particular track I don't mind its shortcomings at all -- it
gives it a certain ambience. A nice version, bluesy and
mellow, that sounds great played quietly, late at night.
6. Oenone/Fingal's Cave: Ex-/VG+. As above, I believe that
the murky sound on this track is actually fairly
atmospheric, particularly on Oenone (*not* "Oneone").
7. Rain in the Country: VG+. The sound quality here is not
really to my taste, it's got a somewhat "bad vinyl" sound to
it...but certainly it's unobjectionable. Not really my cup
of tea, the song strikes me as a bit uninspired, mostly an
amalgam of Baby Blue/Narrow Way Part 1 and the second part
of Alan's Psychedelic Breakfast.
8. The Violence Sequence: G-. Easily the worst sound on
Total Eclipse. It's got a whine in the 1000-1500 hz range
(I've not pinpointed it exactly) that is nearly as loud as
the music; when I first put the track on I thought there
were some VERY loud crickets that night. Even besides that,
the sound is pretty bad in its own right. But actually,
once you get used to it, it's not really that obnoxious.
(And, it's a historic performance, right?) Interestingly
(and understandably -- I'm *still* not sure if I hear drums
on this track ;-) I've heard of no CD RoIOs of this concert
(Theatre Champs D'Elysees, 23 Jan 70 -- "Water's Gate", on
the LP database, claims that date as its origin).
9. If: Sup. More 16 Sep 70 (LSM) material, and though it's
a tiny bit inferior to Tracks 2-3 (a slight "vinyl roar")
it's still perfectly dandy.
10. Cymbaline, 11. Atom Heart Mother: Ex-/VG+. From
Pepperland. First of all, AHM has *no* speed problems (a
typo for SOYCD on the part of ANON?). A pretty good
audience recording, everything's reasonably clear, with less
hiss than you might expect. Perhaps for me, the "footsteps"
sequence gets a little lengthy in "Cymbaline" (and the
audience seems to agree, getting slightly restless -- cf.
the wag at 6:41, "I'm scared!" :-) He's a good way to ID
this track, by the way), but this is a nice, intimate
performance at what sounds like a small venue. Not PF's
most exciting show, but plenty good nonetheless, and the
boys sound like they're having fun.
1. Blues: Sup. For reasons similar to those given above
under GitC/CwTAE, I think that this is actually from the 30
Sep 71 "One of These Days" sessions (its particular "color"
strongly resembles TSP's "One of These Days", which has 3 of
the tracks from the 5-song concert). Great stuff, with one
tiny query -- it *might* have a speed problem. On a fairly
impromptu track like this, there's no way of really knowing,
but usually when they do a blues jam of this sort (cf.
"More", for one) it's in G, whereas this one's a half-step
down, in F-sharp (or G-flat). On the other hand, they may
have been tuned down 1/2 step; this would make sense had
they played "Echoes" immediately before or afterward (for
which I think they tune down) -- but the FAQ (#20, part 2)
indicates otherwise. But this is all academic: whether
they played it in F-sharp or G, it sounds great, with only
the slightest rasp/buzz to the sound.
2. Breathe, 3. On The Run: Sup. Taken from the famous 17
Feb 72 DSOTM set at the Rainbow. Great sound, perhaps a
soundboard recording (though admittedly half a notch below
the sound on the previous track and the LSM material).
Energetic, driving OtR jam.
4. The Great Gig in the Sky: Ex-. Good, not great sound --
a solid audience recording. Rick's synth has, er,
"interesting" intonation, to say the least...;-)
5. Money: Sup. The demo. Amusing, but how often are you
going to listen to this?
6. Brain Damage/Eclipse: Sup-. A basically clean copy of
the quadraphonic mix, but a touch of treblelessness makes it
a tiny bit "off" to my ears, though that might just be from
being used to DSotM.
7. Shine On You Crazy Diamond Parts 1-9 (not 1-5):
VG+(SP). In sharp contrast to Track 1 on this disc, here
the speed issue is very definite, and a problem. It's still
only a half-step, but it drags the song down: the tempo
crosses the line from slow to plodding, and the vocals are
burdened in terms of tone color -- the slow speed
accentuates that "off-night heaviness". But all this aside,
it's still very listenable, and a good, clear audience
recording not unlike tracks 8-9 on this disc. I'm a bit
unsure about the Empire Pool Wembley, 14 (apparently
actually15) Nov 1974 date; on the one hand it correlates
with the "Black Holes in the Sky" entry, wrong speed and all
-- but unless I'm missing something, I don't hear any of
Gilmour's oft-cited "guitar trouble"...thoughts?
Addendum -- I fed this track into my computer and using a
digital signal processing program boosted it up a half-step,
thus correcting the pitch problem. It's really surprising
what a difference it makes -- if you manage to get a
pitch-corrected copy of this material, you'll notice a much
crisper, more energetic "feel" to the track. It's a great
audience recording, actually, and with the pitch corrected
is one of the better ones I've heard by far--this track
would earn an Ex, certainly (I haven't heard the others from
this date, though). Perhaps someday some RoIO maker could
take it upon themselves to do a little work and reissue this
concert with the pitch corrected...
8. Raving and Drooling, 9. You've Gotta Be Crazy: Ex. From
Nassau Coliseum, in New York, 16 June 75. The crowd is
quiet, and though it's very definitely an audience
recording, it's a great one: everything is captured
clearly, with steady, crisp sound (when I turn the treble
way up, I get this sudden feeling of being there -- to me,
it makes the recording sound fifteen years more recent) and
both songs *rock*, especially Raving and Drooling which has
a great intro that could go on forever (but was dropped when
the song became Sheep). Out of everything on TE, I probably
listen most to these tracks and Biding My Time.
1. Echoes: Ex+. 18 June 75, Boston Gardens. At times
(especially the quiet parts), the somewhat whistle-happy
crowd gets on my nerves (who would have thought a New York
crowd would be better behaved than a Boston one?) and I find
the performance somewhat disappointing (particularly the
vocals, which are kind of sloppy and strangely remind me of
Barney from "The Simpsons"...). On the other hand, the
sound is VERY clear, distinctly better than the last two
tracks on disc 3, with great stereo (cf. 0:19, right channel
-- "I hope they play the whole thing." :-) Another great
track ID for you X-referencers.) The bottom line is that I
don't enjoy this track nearly as much as other versions I
have (though over time I've gotten used to it -- at first I
hated it, now I can enjoy it to a certain extent,
particularly the "jam", which is good); the band sounds
tired and uninspired, though the playing is competent. I
think the sax is somewhat out of place on this song ("Us and
Echoes"?). Moreover, it just doesn't have the atmosphere
present on earlier recordings -- that special, transcendent
"Echoes vibe" just ain't there for the majority of the
song. Then again, TSP's "One of These Days" has kind of
spoiled me ;-). Supposedly, a poll taken concerning
preferences between the Nassau date and this one, with
Boston emerging the winner -- I recall one comment on the
Nassau date about the band sounding "tired and sloppy" (!?)
-- but if these tracks are any indication, I feel the
opposite is true.
2. Pigs on the Wing parts 1 & 2: Ex-(SP). A half-step
flat, and besides that there are some problems with high-end
dropout. A little silly that this was put out with a speed
problem, which admittedly is not that big a deal, but
3. Comfortably Numb: Ex+. Demo, with a WEIRD initial
couple seconds -- an almost sinister sort of ...wwwwWAAAAHHH
before the song really starts. Like the Money demo, amusing,
but not really something you listen to more than two or
4. When the Tigers Broke Free, 5. Mother, 6. What Shall We
Do Now?, 7. Bring The Boys Back Home, 8. Outside The Wall:
all Sup+. Laserdisc (or maybe vinyl for WtTBF, but if so
then utterly pristine vinyl indeed), digital, flawless.
After listening to the three other discs while writing this
review, the wonderful sound on WtTBF was an absolute
joy...but why *five* tracks of movie material?
9. The Hero's Return parts 1 & 2: Sup. Same comments that
apply for all the other RoLO releases, and pretty
interesting as well. However, IMHO Roger made the right
choice in leaving that extra verse out...
10. Run Like Hell, 11. On the Turning Away: Sup+. Live
RoLO. Nuff said. Some of you who spend their life savings
on pricey RoIOs of Momentary and Bell tour stuff should
Czech out these EPs; I didn't think I really liked the
post-Waters Floyd, but I really get into RLH.
12. Money: Sup/Sup-. The sound is great, though not as
well-blended as the above tracks (you'll really hear the
difference in clarity, from tracks 10-11, when playing
straight through). I *really* don't like Candy Dulfer's
playing ;) but that aside, your standard live Knebworth
Just wanted to let the word out that the edition of the Total
Eclipse RoIO that's currently being sold is a pale copy of the
original. Be warned!!! This is not the original set put out by
Great Dane records...they are long gone.
Someone took one of the original sets and copied the 4 CD's
(unlike the AzCO single sets which used the original pressing).
I don't know how well they were remastered or if they went from
the original disks to a new "glass master" for the factory to
reproduce. I know they're not the original disks because they
are missing all of the track listings (the originals have all
the tracks screened on them).
Also, the cover and liner notes are much more contrasty, and
washed out. The type appears much thinner in the new
booklets...a copy was definately made from the original, and
some quality was lost in reproducing it.
Other than that, it might be okay to buy, as long as you know
what you're getting. Alot of folks are still looking for this
treasure, it's one of the highest rated RoIO's of all time.
And, at least the new edition tried to keep the integrity of
But until anyone can compare the new CD's with the
As of early 1997, there are new green versions of TE available,
and I briefly compared a new one with an old green one. They
look the same to me. In 1994 there were gold ones which aren't
identical to the new or old green ones. IMO, the gold ones are
TE originals and the green ones are copies. Piet's notes
suggest the opposite, but I've had them side by side and I'm
sure of my conclusion.
The artwork of the green one is fuzzier and contrastier, as a
photographic copy would be -- intentionally out of focus to
reduce the telltale moiree effect of interference patterns
caused by making a halftone of a halftoned photograph for the
lithographic process. However, the copies look sharp enough if
you don't have the originals to compare them to. The green TE
is missing a small illustration that is in the original gold
one but you wouldn't notice the omission except by comparing
the two versions page by page.
The text is on toned colored backgrounds, so it would have been
obviously out of focus if it had been copied photographically.
On the green TE version the typesetting had to be done over.
Whoever did it tried to match the original but didn't have
identical fonts, so the text is slightly less attractive. The
typographical errors are different in the two versions. On
green ones the book is bound with two staples, and the gold
ones used four staples. Overall I'd say that the green ones
were copied as carefully as they could be by whoever did it,
and they're of good quality (as roios go). The green version is
just fine if you need TE.
- DEEP TROUT.
Just finished listening to my copy of the new set of Total
Eclipse pressings. I don't know where they come from, whether
they really are GDR, and I know there have been concerns over
Overall, I would say the quality was pretty good. The comments
in the database are on the mark. My additional comments:
There _are_ drums on The Violence Sequence.
Pigs On the Wing has some tape speed variation problems, and
definitely does not warrant the Ex- because of this, I would
have said a VG. But this just shows that different people find
different things objectionable - I was less bothered by some of
the "murkiness" on earlier tracks.