![]() ![]() Geesin had invited Waters to collaborate with him on his soundtrack for filmmaker Roy Battersby’s extraordinary documentary The Body (cue a bewildering series of burps, farts, sighs and heavy breathing). And while side two of the album comprised three five-minute tracks, each written by one member, culminating in a final ‘suite’ of sound effects largely concocted by Nick Mason, it was the title track – co-written with the aforementioned Scottish avant-garde musician and composer Ron Geesin – that finally cemented Floyd’s burgeoning reputation as creators of both art and music. ![]() Not simple pop-psychedelia, nor mere prog showmanship, but a clearly thought-out, if occasionally wavering, attempt at something that could neither be categorised as rock, nor classical, nor indeed anything else outside of what it is: its own faltering, frustrating, enticing, fundamentally flawed yet gloriously individualistic musical form. And yet the album that Pink Floyd’s two main protagonists at the time were so quick to dismiss was a landmark on many levels: the first British ‘rock’ album to feature one track covering an entire side of vinyl the first to appear without any indication on the sleeve of who the group was or what the album was called, or indeed any information whatsoever the first Floyd album to feature an outside writer (Ron Geesin, who co-wrote the monumental 23-minute title track) the first Floyd album to be specially mixed for four-channel quadraphonic sound as well as conventional two-channel stereo and, despite all this, the first Floyd album to go to No.1 in the UK chart.Ītom Heart Mother marked the moment that Pink Floyd came in from the cold of their post-Barrett malaise and found the way forward, towards everything we now remember them best for. ![]()
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