Rounding off the live disc is an even longer version of the fantastically mad title track from A Saucerful Of Secrets, sounding more musical in its form here without reigning in the zaniness one bit. Again, Pink Floyd extend its length by a lot, taking the song from the original five to nine minutes and, again, making it better in the process. You can’t beat the lovely weirdness of Set The Controls For The Heart Of The Sun, here taken in a subtly different direction to the original by sounding like a Nile interlude with eastern melodies wrapped around percussion, getting louder and then quieter, leaving you guessing but never less than captivated. Instrumental Careful With That Axe Eugene follows with an almost jazzy laid-back nature at first, building up quickly and ominously with uncanny screams and discordant prog rocking that’s frightening and gripping at once. Of course, the rest of the live material is pretty darn good, too. From the ahead-of-its-time guitarwork, Gilmour flawlessly outperforming Barrett with the varied and technical playing shown here, to the additional material, this is a perfect example of a band outdoing themselves, and is reason enough to buy this alone if you’re a fan of the band’s pre-70s material. It’s a beautiful song, strangely ominous and with a sci-fi atmosphere that’s dated but never sounds less than awesome. Opening with the classic Astronomy Domine, the opening track from the debut full-length, here doubled to eight minutes in length, inserting a carefully guided instrumental section that’s almost ambient, but never allowed to collapse into silence completely. But what songs they are! Each is performed better than the studio version, each being longer, harder, and sharper, the band audibly being able to afford better equipment than they originally had. As a live band, the Syd Barrett-less line-up of Floyd then was quite an extraordinary set of musicians, something clearly audible from the first CD featuring just four live songs. The edition of "Ummagumma" we play on "Floydian Slip" is the remastered EMI UK import CD from 1994, in the deep green box.Pink Floyd saw out the 60s with this double-album, half live, half studio, and whilst like most of their pre- Dark Side Of The Moon output it does tend to get buried in the sands of time, it is more than worth a listen for fans of the band. Because of a copyright snafu, the "Gigi" design had to be removed from the album cover in the States, leaving a plain, white cover in its place. edition, shown here, features the soundtrack album to the musical "Gigi" propped up against the wall, beneath the picture frame. The American version of the album cover, one of many Floyd covers designed by Hipgnosis, differed slightly from the U.K. Judging from our interview with Floyd designer Storm Thorgerson, Brits seem to pronounce it OOH-ma GOO-ma, while Americans seem to favor UH-ma GUH-ma. Its choice for the album's title apparently had no literal significance. The album's title is a euphemism for the sex act that band members picked up from their early days in Cambridge. According to the Echoes FAQ, a pict is "a member of a possibly non-Celtic people who once occupied Great Britain, carried on continual border wars with the Romans, and about the 9th century became amalgamated with the Scots." The album also holds the distinction of containing one of the strangest titled Floyd songs: Roger Waters' "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving With a Pict." There's been much debate on what, in fact, a pict is. "Ummagumma" was also the first Floyd album to break the top 100 album chart in the United States. "Pulse," released in late-spring 1995, was the group's third live work, followed by "Is There Anybody Out There? The Wall Live" released April 18, 2000. It would be nearly 20 years before the band would put out its second live album, 1988's "Delicate Sound of Thunder," after Roger Waters' exodus. Secondly, the live disc constituted the group's first live album. For the studio work, Floyd turned to Norman Smith, who had produced the group's first and second albums. The other platter was a studio work, intended to allow each member of the band to shine in his own light, a result of keyboardist Rick Wright's concern that individual group members were confined by writing and playing in a strict "rock group" format. One disc was composed of live material recorded at Mother's Club in Birmingham, England, and at the Manchester College of Commerce. To begin with, it was the group's first double-album. "Ummagumma" marked several firsts for Pink Floyd: