Cliff Jones

Echoes: The Stories Behind Every Pink Floyd Song


Category :Books Devoted to Pink Floyd
Publication: Echoes: The Stories Behind Every Pink Floyd Song
Author: Cliff Jones
Published: 1996, Carlton Books (UK/Canadian version)
Language: English
Number of Errors/Comments: ...
Errors
Pages: [9a] [9b] [9c] [16-21] [16] [17] [18a] [18b] [24a] [24b] [25] [29a] [29b] [33] [35a] [35b] [36] [37a] [37b] [43] [44] [45] [51] [52] [53a] [53b] [54] [73] [77] [78] [87-91] [93] [97] [98] [99] [102] [104b] [104a] [162] [164]
Page 9
Book
Caption under a picture reads "Syd Barrett, Bob Klose, Chris Dennis and Roger Watts playing as The Pink Floyd in Autumn 1964."
Fact
It should read " Bob Close and Roger Waters..." Also, if the picture is from 1964, it is unlikely that the group called themselves "The Pink Floyd".

Source: Echoes FAQ 3.6a P1Q3

Category: Incorrect Dates / Oops / Unclear Statement
Analysis/Comments
There is apparently some question over the spelling of Bob Close's name -- the FAQ spells it "Klose" and "Close" alternately, while Schaffner spells it "Close". According to the FAQ, Barrett, Dennis, Close, Waters (along with Nick Mason and Rick Wright) did play together under the name "The Abdabs" for a time, but the group was not called "The Pink Floyd Sound" until late 1965, after Dennis and Close had left. Even then, they were not known as "The Pink Floyd" until 1966, when Peter Jenner suggested the band drop the "Sound". That said, the photo in Jones is probably from mid-1965, while the band was called "The Abdabs".
X-Ref
see also entry for page 8 of this book and entry for page 23 of Learning To Fly.

Page 9
Book
States "With stadiums tentatively booked for the end of 1997, and rumblings of a multimedia spectacular on the way, we can only wait with baited breath."
Fact
At the time of this writing [August/Sept 1997], there is no announced 1997 Pink Floyd tour. On 1jan98, we shall change this to read "There was no 1997 Pink Floyd tour, nor was one ever announced. Rumors abounded, but don't they always?"
Category: Factual Error
Analysis/Comments
This is not the only place Jones wishfully reports that there will be a 1997 tour. It is a gutsy move on his part, but I hardly think it will help him sell anymore books, especially since he turned out to be a poor prophet.
X-Ref
see entires for page 118 (b) and page 167 of this book.

Page 9
Book
States that "Syd Barrett lies resting in a private ward at Addenbrookes hospital in Cambridge." He also writes that Barrett is suffers from diabetes and is blind.
Fact
Category: Factual Error
Analysis/Comments
Neither Barrett's hospitalization, nor his blindness, nor his diabetes has ever been verified, though rumors of such were rampant in late 1996. And at the time of said rumors, there were counter-reports from supposed eye-witnesses who claimed that Barrett was well enough to ride a bicycle in Cambridge. There was an Italian newspaper report that Barrett had been hospitalized, but it was not clear if this was a a source of the rumor, or merely a further spreading of it.
X-Ref

Page 16 - 21
Book
The "Early Singles" section of the book deals with the following songs:
  • Arnold Layne
  • Candy and A Currant Bun
  • See Emily Play
  • Apples and Oranges
  • Paintbox
  • It Would Be So Nice
  • Julia Dream
  • Point Me at the Sky
Fact
An accurate list of early singles would be as follows:
  • Arnold Layne/Candy and A Currant Bun
  • See Emily Play/The Scarecrow
  • Apples and Oranges/Paintbox
  • It Would Be So Nice/Julia Dream
  • Point Me at the Sky/Careful With That Axe, Eugene
Category: Factual Error / Incomplete Info / Unclear Statement
Analysis/Comments
You can almost understand Jones' omissions, if you consider that The Scarecrow was released on Piper at the Gates of Dawn, and is covered in that section of the book, and if you consider that he covers the single version of Careful With That Axe, Eugene in the A Saucerful of Secrets section.
X-Ref
see also entry for page 35 (b) of this book.

Page 16
Book
...mentions that Arnold Layne single peaked at #20 on the Billboard UK charts
Fact
Category: External Contradiction
X-Ref
Shine On, page 10 claims that Arnold Layne single peaked at #19. However, Schaffner's book, page 320 also mentions Arnold Layne peak at #20.
See also page 162 of this book.
Analysis/Comments

Page 17
Book
Calls the underground happening at Queen Elizabeth Hall on 12 May 1967
"Free Games for May"
Fact
The event was called "Games for May".

Source: Schaffner page 62.

Category: Factual Error / External Contradiction/ Internal Contradiction
Analysis/Comments
Schaffner calls the event "Games for May", going so far as to quote an advertisement. It seems likely that Jones made a mistake and borrowed the "Free" from the lyric of See Emily Play. On the next page (see Jones 18 (b) he uses the correct name.
X-Ref
See also entries for page 18 (a) and page 18 (b) of this book.

Page 18
Book
Caption under a picture reads "Free Games for May", and the photo is of Roger Waters, Syd Barrett (?), and someone else tuning a set of tympanis.
Fact
The event was called Games for May. And the photo was probably not taken at the event, but at a pre-show warm-up.
Category: Factual Error / Unclear Statement / External Contradiction / Internal Contradiction
Analysis/Comments
For a discussion of the name of the event of 12may67, see Jones 17. As for the exact time the photo was taken, we can't even be certain that photo was taken on that day, or even at that particular venue. It seems fairly certain, however, that the photo was not taken during a show-- The lighting isn't right, the people shown aren't decked out in their stage costumes, and all three are engrossed in the tuning of the drums. Nowhere are Syd's guitar or Roger's bass to be seen.
X-Ref
See entries for page 17 and page 18 (b) of this book

Page 18
Book
calls the event "Games for May" (finally !)
Fact
This is correct. But elsewhere (even on the same page) Jones can't seem to get the event's name correct.
Category: Internal Contradiction
Analysis/Comments
Elsewhere (even on the same page) Jones can't seem to get the event's name correct.
X-Ref
See entries for page 17 and page 18 (a) of this book

Page 24
Book
Caption under a picture reads "The Beatles, a huge influence on Syd Barrett, next door finishing Sergeant Pepper while the Floyd were recording their debut album."
Fact
The picture is of the Beatles standing around at some sort of party, posing for a photo. They are most certainly not recording anything, as the caption implies.
Category: Factual Error / Unclear Statement
Analysis/Comments
A more accurate caption might read "The Beatles, a huge influence on Syd Barrett, WERE next door finishing Sergeant Pepper"..."
X-Ref

Page 24
Book
States that Pink Floyd was taken by Peter Bown to meet the Beatles on March 21, 1967.
Fact
???
Source: Schaffner pp. 68-69.
Category: Factual Error / Incorrect Dates/External Contradiction
Analysis/Comments
Schaffner states that it was the Beatles (minus John Lennon) who were brought by Miles to meet the Floyd, and this happened in late April, "during one of the final Pepper sessions". The problem with this is that the last of the Sgt. Pepper sessions was 1apr67, while other recordings were being made in late April.
X-Ref
see Schaffner pp. 68-69.

Page 25
Book
"It has always been supposed that it was Lennon and Barrett who got together and recorded the rambling "What's the New Mary Jane," but there is no solid evidence that such a session ever occurred.
Fact
Rumors to this effect have been spreading for years, but recent evidence has surfaced to discount this story entirely.
Source: The Beatles, Anthology 3
Category: Update
Analysis/Comments
It is now believed that the one and only meeting between the Beatles and Pink Floyd took place while the Beatles were recording Sgt. Pepper and Pink Floyd was recording Piper. Paul McCartney has said so himself. What's the New Mary Jane (also mistakenly called What a Shame Mary Jane) was a John Lennon composition recorded by Lennon, Yoko Ono, George Harrison, and Mal Evans in August 1968 for the Beatles' self-titled album (AKA The White Album). It was not released until 1996 on the Anthology 3, and the packaging makes no mention of Syd Barrett's presence.
X-Ref
see also entry for page 24 (b) of this book.

Page 29
Book
The caption under a picture reads "A young Dave Gilmour."
Fact
The picture is obviously of Roger Waters.
Category: Oops
Analysis/Comments
This photo is in the Piper section of the book, when Dave Gilmour was not at all affiliated with Pink Floyd, so we can presume that Jones simply mislabelled it.
X-Ref

Page 29
Book
Credits Barrett and Wright on lead vocals for Interstellar Overdrive.
Fact
Interstellar Overdrive is an instrumental, so there are no lead vocals.
Category: Oops
Analysis/Comments
X-Ref

Page 33
Book
States that David Gilmour was asked to join Pink Floyd in January 1968, following a late December 1967 show in which he filled in for Syd.
Fact

Source:Scahffner, page 105.
Category: Factual Error / Incorrect Dates / External Contradiction
Analysis/Comments
Schaffner states that Gilmour was asked to join the band around Christmas of 1967, and that his first performance with the group was on January 12, 1968, at which the band played as a five-piece (Barrett, Gilmour, Mason, Waters, Wright)
X-Ref
see Schaffner, page 105.

Page 35
Book
Sidebar states that Let There Be More Light was recorded on November 2, 1968
Fact
The song must have been recorded prior to the album's June 1968 release date.
Category: Factual Error / Incorrect Dates / Internal Contradiction
Analysis/Comments
The text states that the song was recorded in March 1968. The sidebar for Careful With That Axe, Eugene (page 35) states its recording date as 2nov68, so it is reasonable to assume that Jones mistakenly copied this date down twice.
X-Ref

Page 35
Book
Careful With That Axe, Eugene is listed and discussed in the A Saucerful of Secrets section.
Fact
The song is not on the album A Saucerful of Secrets.
Category: Factual Error/Unclear Statement
Analysis/Comments
There is no telling how Jones made this error. The version of Careful With That Axe, Eugene he is writing about is apparently the single version which was only released as the B-side of Point Me at the Sky (and then in the Shine On boxed set in 1992). The only other official version (under this title) is a live performance released on Ummagumma. So why did Jones include the song in the ASOS section, between Let There Be More Light and Remember A Day? The world may never know.
X-Ref
see entry for pages 16-21 of this book.

Page 36
Book
In the Careful With That Axe, Eugene section, Jones claims that the name Eugene is mentioned in Point Me at the Sky and that this is the origin of the song's title.
Fact
The exact origin of the title Careful With That Axe, Eugene is unknown to the general public.
Category: Misc.
Analysis/Comments
The lyrics to Point Me at the Sky have never been published, and the line in question is not entirely clear, leading to disputes over whether or not the name Eugene is mentioned at all. As to the lyric, some people hear "Hey, Eugene/This is Henry McClean...", while others hear "Hey, Jean/This is...". Of course, it could also be "Hey, Gene/This is...", Gene being a nickname for Eugene.

So until Waters or Gilmour (or one of the others) tells us exactly what they were trying to sing, we shall never know. Likewise for the origins of Careful With That Axe, Eugene.

X-Ref
See Echoes FAQ v. 3.6., P2Q8

Page 37
Book
States that the five-piece Pink Floyd lineup performed Set the Controls at least six times.
Fact
The five-piece Floyd only performed four shows.
Source: Echoes FAQ version 3.6, P2Q7.
Pink Floyd Archives Concert Dates list for 1968
Category: Factual Error
Analysis/Comments
According to the FAQ, the five-piece Floyd performed on January 12, 13, 19, and 20 (all dates 1968). The next gig, on January 26, was the band's first without Syd, and Barrett never played with them again. Of course, it is possible that the band performed Set the Controls multiple times at these shows, giving 6 performances of the same song within a span of 4 shows, but this is highly unlikely.
X-Ref

Page 37
Book
There is a picture of a poster for a horror film called Night Creatures , and a caption which reads "Night Creatures - a source for Clegg?"
Fact
Neither Jones' text nor the lyrics to the song Corporal Clegg explain why Roger Waters might have been thinking of this particular film when writing the song.
Category: Unclear Statement
Analysis/Comments
X-Ref

Page 43
Book
States that The Nile Song provided the inspiration for Young Lust.
Fact
Category: Incomplete Info / Unclear Statement
Analysis/Comments
To the best of our knowledge, there is no evidence at all which supports this assertion, or even suggests it. Perhaps both songs share a similar rhythm guitar style and vocal style, but the similarities end there; a few other early Pink Floyd songs have the same degree of similarity.
X-Ref
see also entry for page 127 (b) of this book

Page 44
Book
The sidebars for Green is the Colour and Cymbaline have reversed the credits.
Fact
The proper credits should list Gilmour, Wright, and Lindy Mason for Green is the Colour, and the four Floyds for Cymbaline.

Source: Jones, page 44.

Category: Oops / Internal Contradiction
Analysis/Comments
In the text Jones correctly notes Lindy Mason's flute work on Green is the Colour.
X-Ref

Page 45
Book
The sidebar for Party Sequence credits an unidentified musician with playing the Ibizan flute.
Fact
Category: Incomplete Info
Analysis/Comments
In all likelihood, the flute should be attributed to Lindy Mason. If Lindy Mason played the Ibizan flute for Green is the Colour, it seems highly reasonable that she might do the same on another track. It is also known that Lindy (Nick's wife) played flutes on The Grand Vizier's Garden Party for Ummagumma.
X-Ref
see entry for page 44 of this book.

Page 51
Book
The listing for A Saucerful of Secrets (the track) on Ummagumma states "All Four Parts Instrumental".
Fact
David Gilmour provides some vocals in the last part of the piece; therefore it is not entirely accurate to call the tune an instrumental.
Category: Factual Error / Unclear Statement / Internal Contradiction
Analysis/Comments
The sidebar on page 51 does list Gilmour's vocals for the piece. The "All Four Parts Instrumental" title, however, may have come from the inital pressings of the album, which would excuse Jones' error.
X-Ref

Page 52
Book
The sidebar for Grantchester Meadows credits Waters only.
Fact
Category: Incomplete Info / Internal Contradiction
Analysis/Comments
The text on page 53 claims that Storm Thorgerson provided the footsteps which close out the track. If this is true, Thorgerson should have been credited in the sidebar.
X-Ref

Page 53
Book
Says that Several Species "supposedly contains hidden messages, which are revealed when the record is played at different speeds."
Fact
There are voices that can be heard at various speeds. At 16rpm you can hear Gilmour say "This is pretty avant-garde, isn't it?", and at 78rm you can hear someone (Gilmour?) say "Bring back my guitar."
Source Echoes FAQ V 3.6 P2Q16; The Amazing Pudding Magazine
Category: Incomplete Info/ Unclear Statement
Analysis/Comments
Jones' use of the phrase "hidden messages" implies that the Floyds planted some kind of cryptic messages for the astute listener. In light of what is actually heard, it seems more likely that Gilmour and others were simply in the studio at the time and made some offhand comments while Waters was recording at different speeds, and these were just left in.
X-Ref
see the next [page 53 (b)] entry for this book.

Page 53
Book
Sidebar for Several Species credits Waters with "double-tracked vocals, all instruments, tape loops and effects", while crediting no one else at all.
Fact
There are no instruments heard in the track, and others appear on the track doing miscellaneous vocals.
Source Echoes FAQ V 3.6 P2Q16; The Amazing Pudding Magazine
Category: Factual Error / Unclear Statement / Incomplete Info
Analysis/Comments
The track is basically a series of intricately-timed vocal tracks and tape loops, so the "double"-tracked credit is misleading-- Waters probably did 20 or more vocal tracks. Furthermore, as noted elsewhere Gilmour and others make a few various comments which are recognizable only at high and low speeds.
X-Ref
see the previous [page 53 (a)] entry for this book.

Page 54
Book
States that the basis for The Narrow Way part 1 was "an instrumental written for the suite The Journey, a pleasant acoustic blues guitar piece, Baby Blue Shuffle in D Major.
Fact
Neither The Narrow Way nor Baby Blue Shuffle are blues pieces, but they do feature acoustic guitar. And according to the Echoes FAQ and several audience tapes from The Man and The Journey shows, Baby Blue Shuffle was not played in this concert concept piece.
Source: Echoes FAQ V. 3.6., P2Q12
Category: Factual Error
Analysis/Comments
Perhaps Jones was thrown off by the "Baby Blue" in the original title, but the piece is clearly not blues. And while a track called The Narrow Way was played in The Journey suite, it would go on to provide the basis for The Narrow Way part 3, being much heavier in nature, and with a vocal.
X-Ref

Page 73
Book
Sidebar for If credits Waters, Gilmour, and Wright, but not Mason.
Fact
Category: Incomplete Info
Analysis/Comments
Mason most likely played the sparse drums on the song.
X-Ref

Page 77
Book
Both the text and the sidebar for Biding My Time claim that Roger Waters played a trumpet in the song.
Fact
The song features a trombone, not trumpet, which is played by Rick Wright, not Roger Waters.
Source: Echoes FAQ V. 3.6., P2Q18
Category: Factual Error
Analysis/Comments
The rumor that the song features Waters on trumpet probably stems from a mistake published in The Amazing Pudding some time ago (although the rumor may have been around before TAP published it). Early versions of the Echoes FAQ even perpetuate the story. But in both studio and live versions, the horn played is clearly a trombone (see also trombone in the photo of the Floyd's tour gear on the back cover of Ummagumma).
X-Ref

Page 78
Book
Sidebar states that Echoes was "routinely played in the Floyd's live set into 1974", and that it "became the highpoint of the 1st half of the Eclipse performances".
Fact
Echoes was performed regularly through 1975, and was revived briefly as an opener for a few 1987 shows. In 1972 and 1973, Echoes was part of the first set in shows which featured Dark Side of the Moon as the second set (and only during a few of these shows was the piece known as "Eclipse"). But in 1974 and 1975, Echoes was the encore.
Category: Incomplete Info / Incorrect Dates
Analysis/Comments
X-Ref

Pages 87-91
Book
The sidebar on page 87 states that Obscured by Clouds was recorded February 23-29 and March 22-27, 1972. Yet on the following pages, the listing for each song has these same dates as the recording dates.
Fact
The exact recording dates are unknown, although Schaffner claims the album was completed in a little over a week.
Category:
Incomplete Info / Incorrect Dates / Unclear Statement / Internal Contradiction
Analysis/Comments
Besides the dispute with Schaffner on how long the album took to record, Jones contradicts his own text. On page 89, Jones states that The Gold It's In The... was recorded and mastered in a single day, although the sidebar on this same page lists the 13 days in February and March. It seems that Jones' research unearthed two sets of dates and he simply used them for each and every song on the album (which suggests that the band worked on every song on every day of the session-- a preposterous idea).
X-Ref
See Schaffner, page 167.

Page 93
Book
Claims that Dark Side of the Moon was on the charts for 760 weeks.
Fact
Category: External Contradiction
Analysis/Comments
Shine On claims it was 724 weeks, while Schaffner claims it was 736.
X-Ref
see entry for Shine On,pages 17 and 48;see also Schaffner, page 183.

Page 97
Book
Sidebar for On the Run credits Gilmour with guitar effects, Synthi-A, and Leslie cabinet; Waters is credited for the bass drone, and Roger the Hat is credited with the vocal. The text for this song also refers to the track as Gilmour's piece.
Fact
On the Run is correctly identified as being composed by Gilmour and Waters jointly. And in the Capitol remaster CD booklet all of the Floyds other than Nick Mason are credited with playing/programming the VCS3 (which Jones calls the Synthi-A, an updated version of the VCS3 synthesizer). There are also numerous tape effects used throughout the track, and these were most likely compiled by Roger Waters, Nick Mason, and engineer Alan Parsons.
Source: Dark Side of the Moon - Capitol remaster CD booklet
Category: Factual Error / Incomplete Info/ Multiple
Analysis/Comments
It is likely that Waters and Wright also contributed to the many VCS3 tracks on this piece (the Pompeii film even shows Roger Waters behind the console, asking if he can "lay this down"- recording parlance for committing a performance to tape). Also, while it is well known that a Floyd roadie called Roger the Hat provided snippets of vocals, it would have been more appropriate to find his true name, rather than credit him by a nickname.
X-Ref

Page 98
Book
The sidebar for Time fails to credit Richard Wright with vocals.
Fact
Wright sang the vocals on the verses beginning "Tired of lying..." and "Every year..." both in live performances and on the record.
Category: Incomplete Info
Analysis/Comments
X-Ref

Page 99
Book
The sidebar for Money credits David Gilmour (along with Nick Mason and Roger Waters) with tape effects.
Fact
???
Category: Misc.
Analysis/Comments
Mason and Waters are generally known as the Floyd's tape effects gurus, but it is entirely possible that Gilmour provided inspiration or guidance on the track. It is also likely that engineer Alan Parsons helped out with the complex task of sequencing the track's famous cash-registers-and-coins intro.
X-Ref

Page :102
Book
Recording dates for Wish You Were Here listed as (the year is 1975):
  • January 6-9
  • February 3-6
  • Msrch 3-12
  • March 24-27
  • May 5-9
  • June 5
  • July 2-5
  • July 7-11
  • July 14-19
Fact
Category: External Contradiction/Incorrect Dates
Analysis/Comments
Shine On, page 63 lists the following dates:
  • January 6-9
  • February 3-6
  • Msrch 3-12
  • March 24-27
  • May 5-9
  • July 2-5
  • July 7-19
X-Ref
see Shine On, page 63 entry. See also page 104 (b) of this book.

Page 104
Book
Refers to "the soundtrack to Tony Garnett's film The Body".
Fact
Garnett was the writer of the film. The director was Roy Battersby.
Source: Schaffner, page 146.
Category: Oops
Analysis/Comments
Generally, films are referred to by the director (e.g. Alfred Hitchcock's Pyscho- Hitchcock was the director, but not the writer).
X-Ref

Page 104
Book
States that the sessions for Wish You Were Here went on for nine months.
Fact
According to Jones himself, the sessions began in January 1975 and ran through July 1975, a span of only seven months.
Category: Oops/Incorrect Dates / Internal Contradiction
Analysis/Comments
X-Refsee entries for page 102 of this book, Shine On, page 63

Page 104
Book
Near the bottom of the first column, Jones writes "The original plan... was to make Shine On You Crazy Diamond the first side of the album, Raving and Drooling and You Gotta Be Crazy the other". In the second column, at about the same distance from the bottom of the page, Jones writes "...the plan for the next album had always been to simply put Shine On on one side of the album, and the other new songs (Raving and Drooling and You Gotta Be Crazy) on the other".
Fact
This statement is correct.
Category: Oops
Analysis/Comments
This repeated information is probably attributable to poor copy editing.
X-Ref

Page 105
Book
The quotation from Storm Thorgerson about the Wish You Were Here cover (beginning "We had, in fact, to get him to turn the other way..." and ending with "Art by misadventure" is directly copied from the text of the Shine On book.
Fact

Source: Shine On book, page 61.

Category: Incomplete Info
Analysis/Comments
While there is little doubt that Thorgerson provided the text for the Shine On book, Jones' style of quotation implies that this statement was made in an interview, not in a copywrited book. Furthermore, much of Jones' entire paragraph is paraphrased from Thorgerson's mini-essay in Shine On book; for example, Thorgerson's "burning his moustache severely" become s "severely burning his moustache" in Jones' text.
X-Ref

Page 106
Book
Both the text and sidebar list the first track on the album Wish You Were Here as Shine On You Crazy Diamond Part I.
Fact
Technically speaking, Shine On You Crazy Diamond is divided into 9 parts, with parts 1 - 5 opening the album and parts 6 - 9 closing it. Jones is presumably describing parts 1 - 5 in this section of the book.
Source: Echoes FAQ v.3.6. P3Q12.
Category: Factual Error / Unclear Statement
Analysis/Comments
This breakdown of the different parts of SOYCD is somewhat up for debate, as no "official" breakdown has ever been given, although many fans have decided upon seemingly reasonable breaks between the sections, and David Gilmour has discussed it in interviews. On vinyl pressings, the parts were not banded separately, and CD releases index the first 5 parts together and the last 4 parts together. To further confuse the issue, both Delicate Sound of Thunder and PULSE have tracks called Shine On You Crazy Diamond, but neither is the complete 9-part piece, which has not been performed as a single piece since 1974.
X-Ref see also entry for page 111 (a) of this book and a Shine On, page 57 entry.

Page 107
Book
In the UK/Canada editions, a large portion of the text is covered by a sticker, thus replacing the text.
Fact
Category:
Analysis/Comments
BOTH STICKER AND ORIGINAL TEXTS ARE COMING UP
X-Ref

Page 107
Book
Quotes lyrics from SOYCD as
"You reached for the secret too young
Black, black holes in the sun
Shine on you crazy diamond".
Fact
The second verse of SOYCD begins "You reached for the secret too soon".
There is a piece of a line in the first verse which says "like black holes in the sky".
And the first line of lyrics in the first verse features a "young/sun" rhyme, but the lyrics Jones quotes are completely fabricated and inaccurate.
Category: Factual Error/Oops
Analysis/Comments
It would be one thing to have misheard the lyrics, but Jones went so far as to say that Roger Waters wrote that line (and, I'd like to reiterate, the misquoted lyrics don't even come from the same verse) as a "direct reference to Syd's destructive LSD use". Since Roger Waters never wrote the lyric as quoted, it could not have been a direct reference to anything.
X-Ref

Page 108
Book
Credits Venetta Fields and Carlena William with backing vocals for Welcome to the Machine
Fact
No backing vocals are audible on this track
Category: Oops
Analysis/Comments
X-Ref
See entry for page 109 of this book.

Page 109
Book
Credits Venetta Fields and Carlena William with backing vocals for Have a Cigar
Fact
No backing vocals are audible on this track
Category: Oops
Analysis/Comments
X-Ref
See entry for page 108 of this book.

Page 111
Book
Both the text and sidebar list the last track on the album Wish You Were Here as Shine On You Crazy Diamond Part 2.
Fact
Technically speaking, Shine On You Crazy Diamond is divided into 9 parts, with parts 1 - 5 opening the album and parts 6 - 9 closing it. Jones is presumably describing parts 6 - 9 in this section of the book.
Source : Echoes FAQ V.3.6 P3Q12.
Category: Factual Error / Unclear Statement
Analysis/Comments
This breakdown of the different parts of SOYCD is somewhat up for debate, as no "official" breakdown has ever been given, although many fans have decided upon seemingly reasonable breaks between the sections, and David Gilmour has discussed it in interviews. On vinyl pressings, the parts were not banded separately, and CD releases index the first 5 parts together and the last 4 parts together. To further confuse the issue, both Delicate Sound of Thunder and P.U.L.S.E have tracks called Shine On You Crazy Diamond, but neither is the complete 9-part piece, which has not been performed as a single piece since 1974.
X-Refsee also entry for page 106 of this book and Shine On, page 57 entry.

Page 111
Book
The sidebar for Shine On You Crazy Diamond "part 2" (meaning parts 6 - 9) claims it is an instrumental, and credits no singer.
Fact
Parts 6, 8, and 9 are instrumental, but part 7 features Roger Waters on lead vocal and female backing vocals.
Category: Oops/ Incomplete Info
Analysis/Comments
X-Ref see also entry for page 111 (c) (next entry) of this book.

Page 111
Book
The text for Shine On You Crazy Diamond "part 2" (meaning parts 6 - 9) again mistakenly refers to parts 6 - 9 as an instrumental. Jones then writes that there is a refrain of Syd's Theme, and a "consciously optimistic major chord progression" to close the album.
Fact
Shine On You Crazy Diamond part 7 features a vocal. The four-note phrase known as Syd's Theme (Bb - F - G - E), which is featured prominently in SOYCD part 2, is not played at all in parts 6 - 9. SOYCD part 9 is predominantly minor in nature, until it finally resolves into a major chord.
Category: Factual Error/Multiple
Analysis/Comments
Perhaps Jones' mistakes here stem from his misunderstanding of how the parts of SOYCD are broken down (cf. Jones 106 and Jones 111a). Or perhaps he mistakenly thinks that "Syd's Theme" refers to the main melody of the vocal section, which does indeed appear in parts 6 - 9 (part 7, to be precise).
X-Ref X-Ref see also entry for page 111 (b) (previous entry) of this book.

Page 112
Book
states that recording for the Animals album began in March of 1976
Fact
???
Category: External Contradiction
Analysis/Comments
Shine On states that studio work for Animals began in April of that year.
X-Ref see Shine On, page 13 (d)

Page 115
Book
The caption under a picture "Replica pigs were used to promote the In the Flesh tour" is placed under a photo of an inflatable pig hoisted by a crane above a banner that reads "KLOS 95.5 Welcomes Pink Floyd".
Fact
he caption may be accurate, but it is extremely unlikely that the photo in question dates from 1977. Following the legal actions by Roger Waters, Pink Floyd 1987 was forced to add testicles to their pigs. Since the pig in the photo quite obviously has testicles, it seems likely that this pig (and the photo thereof) dates from 1987 or later.
Category: Incomplete Info / Unclear Statement
Analysis/Comments
It is also possible (albeit unlikely) that KLOS (a Los Angeles area radio station) provided its own inflatable pig, complete with testicles, to promote the 1977 tour (a notion supported by the "KLOS 95.5" label on the side of the pig in the photo).
X-Ref

Page 115
Book
States that You Got To Be Crazy was performed during July and August of 1974.
Fact
The song title was You Gotta Be Crazy, according to tour programs and Jones himself (cf. Jones 104). The song may have been played during these dates, but it was also played during the British Winter Tour of November 1974 and the American tours of April and June 1975.
Category: Incomplete Info / Incorrect Dates
Analysis/Comments
X-Ref

Page 118
Book
Speaking of Raving and Drooling, Jones says is was at one point called I Fell on His Neck With a Scream, a line from the second verse.
Fact
The line in question appeared in the first verse of Raving and Drooling, and the third verse of Sheep.
Category: Oops
Analysis/Comments
X-Ref

Page 118
Book
States that Pink Floyd may perform Sheep as part of the setlist in the 1997 tour.
Fact
At the time of this writing, there is no announced 1997 Pink Floyd tour. On 1jan98, we shall change this to read "There was no 1997 Pink Floyd tour, nor was one ever announced. Rumors abounded, but don't they always?"
Category: Factual Error
Analysis/Comments
This is not the only place Jones wishfully reports that there will be a 1997 tour. It is a gutsy move on his part, but I hardly think it will help him sell anymore books, especially since he turned out to be a poor prophet.
X-Ref see entries for page 9 (b) and page 167 of this book.

Page 119
Book
States that the point of the Snowy White's guitar solo on the 8-track version of Animals was to use the 8-track feature that starts the cartirdge over again automatically, "creating a continuous version of the album that could, in theory, go on forever".
Fact
Jones misunderstood the way the 8-track version worked. Rather than having the songs in their usual album order, with a bit of Snowy's guitar solo tacked on at the end of Pigs on the Wing part 2 (as Jones suggests), the album's order was rearranged, so that after Pigs on the Wind part 1 there was a solo, then Pigs on the Wind part 2.
Source : Echoes FAQ V.3.6. P3Q15.
Category: Factual Error / Unclear Statement
Analysis/Comments
X-Ref

Pages 123-137
Book
Sidebar credits for every song on the Wall include Waters, Gilmour, Mason, Wright and Freddie Mandell on organ.
Fact
It is known that Wright's keyboard work suffered during this period, leading to his being ousted from the group. Presumably Freddie Mandell filled in on some of the keyboard parts, but it is also known that Bob Ezrin helped out in this capacity as well. But since The Wall features many uncredited performances, it is impossible to know who played what with any degree of certianty. There is no proof that Mandell played on each and every track of the album, and several known conrtibutors are omitted here and there.
Category: Factual Error / Unclear Statement/ Rumor
Analysis/Comments
X-Ref see also entry for page 123 (a) of this book.

Page 123
Book
Sidebar for In the Flesh? credits Bob Ezrin with keyboards, but he is not credited with keyboards on any other song.
Fact
There is much mystery as to who played what on much of The Wall.
Category: Misc. / Rumor
Analysis/Comments
It is entirely likely that Ezrin played keyboards on multiple tracks, but was never credited with such. Jones presumes to state authoritatively who played what on each song, but since he received no input from Gilmour or Waters, it is likely that he can only make educated guesses.
X-Ref see entry for pages 123 - 137 of this book.

Page 123
Book
States that The Wall opens with some "plaintive Yiddish fiddle playing".
Fact
The music is played not by a fiddle, but by an accordion and a clarinet.
Category: Factual Error/ Incomplete Info
Analysis/Comments
The "astute listener" will realize that the opening strains of music are those of Outside the Wall, which closes the album. This fact seems to have gone unnoticed by Jones, even though it serves to support his ramblings on the cyclic nature of the album.
X-Ref

Page 124
Book
States that the line
"the thin ice of modern life"
may have been inspired by Jethro Tull's
"Skating Away on the Thin Ice of a New Day"
from the 1974 Minstrel in the Gallery album.
Fact
"Skating Away on the Thin Ice of a New Day" appeared on the 1974 Warchild album.
Category: non-Floyd
Analysis/Comments
X-Ref

Pages 124, 126, 132, 134, 136, 137
Book
These pages in the section on The Wall bear concert photos from the 1990 performance of The Wall in Berlin, although only the caption on page 137 makes this clear.
Fact
Category: Unclear Statement
Analysis/Comments
X-Ref see also entry for page 132 of this book.

Page 127
Book
States that "Empty Spaces was intended simply as a reprise of What Shall We Do Now at the end of the second side, and it echoes the first four lines of the original song."
Fact
While it is true that Empty Spaces is very similar to the first four lines of What Shall We Do Now, the lines are not identical.
Category: Unclear Statement
Analysis/Comments
X-Ref

Page 132
Book
A photo from The Wall in Berlin shows Thomas Dolby as the schoolmaster suspended in front of the massive wall by wires. The caption, however, reads "Pink as marionette, no longer in control, in Comfortably Numb". This picture appears on the same page as the text for Comfortably Numb.
Fact
The caption is completely wrong. The character in question is the schoolmaster, not Pink, and the photo is from the Trial, not Comfortably Numb.
Category: Factual Error
Analysis/Comments
The marionette comment probably stems from the fact that visible in the picture is the animated projection of an arm (Pink's naked arm as he spins and tumbles into oblivion), the fingers of which come very close to the visible wires of the schoolmaster's harness. It does looks somewhat like the schoolmaster is meant to be a marionette dangling from the animated fingers, but this is not the case at all.
X-Ref

Page 135
Book
States that the Run Like Hell riff comes from Dave Gilmour's demos for his 1978 About Face solo album.
Fact
The riffs are from demos for Gilmour's self-titled solo album of 1978. About Face was released in 1984.
Category: Oops
Analysis/Comments
X-Ref

Page 137a
Book
States that the words "Isn't this..." at the end of The Wall are meant to match up with the words "where we came in?" from the beginning.
Fact
The last words on the album are "Isn't this where", are the first are "we came in?"
Category: Oops
Analysis/Comments
X-Ref

Page 137b
Book
States "The very last sounds heard on [The Wall] are those of a dive-bombing Stuka..."
Fact
This is not true. The sounds of a dive-bombing plane are heard at the end of In the Flesh?, but the last sounds heard on the album are the words "Isn't this where..."
Category: Oops
Analysis/Comments
X-Ref

Page 144
Book
Sidebar for Not Now John credits the Blackberries with backing vocals.
Fact
The album cover does not credit the Blackberries at all.
Category: External Contradiction/Factual Error ?
Analysis/Comments
It is possible that the Blackberries, a vocal duo who did back Pink Floyd in 1973 concerts, did provide backing vocals on The Final Cut, but this seems to be the only reference to such an event.
X-Ref

Page 146
Book
States in giant bold letters the year "1994" for A Momentary Lapse of Reason.
Fact
A Momentary Lapse Of Reason was released in 1987.
Category: Oops/Incorrect Dates
Analysis/Comments
X-Ref

Page 156
Book
States that Cluster One "was a perfect as an atmospheric intro piece for when the band would arrive on stage", thus implying that Cluster One was performed onstage during the 1994 tour.
Fact
Cluster One was played of the PA during the pre-show sound effects, but was never performed live.
Category: Unclear Statement
Analysis/Comments
X-Ref

Page:162
Book
...mentions that Arnold Layne single peaked at #20 on the Billboard UK charts
Fact
Category: External Contradiction /Factual Error / Internal Contradiction
X-Ref
Shine On, page 10 claims that Arnold Layne single peaked at #19. However, Schaffner's book, page 320 also mentions Arnold Layne peak at #20.
See also page 16 of this book.
Analysis/Comments
X-Ref

Page: 164
Book
The band delivered tapes of The Wall to EMI on June 1, 1979, but no one could decide whether to make it a double or single album, so work continued until November.
Fact
Category: Unclear Statement/Incorrect Dates ?
Analysis/Comments
If recording of The Wall began in April 1979, it is extremely unlikely (read: impossible) that they tapes were finished by June 1. Of course, Jones does not claim that the tapes presented to EMI were finished masters, but this is implied. There was, at some point, some debate over the albums eventual length, but the nature of this is not entriely clear. It is known that the album was not completed until November, and even then it was only released because the band had promised the record executives a November release date.
X-Ref
see also Shine On, page 79.

Page
Book
Fact
Category:
Analysis/Comments
X-Ref

Errorlist compiled by Michael McInnis

HTML version - Alex Dekhtyar

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