• ' Released: 10 October 1970 Atom Heart Mother is the fifth studio album by the English band. It was released by on 2 October 1970 in the UK, and by on 10 October 1970 in the US. It was recorded at in London, England, and was the band's first album to reach number 1 in the UK, while it reached number 55 in the US, eventually going there. A remastered CD was released in 1994 in the UK and the United States, and again in 2011., who had already influenced and collaborated with, contributed to the title track and received a then-rare outside songwriting credit. The cover was designed by, and was the first one to not feature the band's name on the cover, or contain any photographs of the band anywhere.

Virus Jwgkvsq Vmx Removal Tool. This was a trend that would continue on subsequent covers throughout the 1970s and beyond. Although it was commercially successful on release, the band, particularly Waters and, have expressed several negative opinions of the album in more recent years. Nevertheless, it remained popular enough for Gilmour to perform the title track with Geesin in 2008.

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Onstage at, 28 February 1970. One of the earliest live performances of the album's title track was at this show. Started work on the album after completing their contributions to the soundtrack for the film in Rome, which had ended somewhat acrimoniously. They headed back to London in early 1970 for rehearsals. A number of out-takes from the Rome sessions were used to assemble new material during these rehearsals, though some of it, such as 'The Violent Sequence', later to become ', would not be used for some time.

Side one [ ] The to Atom Heart Mother resulted from a number of instrumental figures the band had composed during these rehearsals, including the chord progression of the main theme, which guitarist had called 'Theme from an Imaginary Western', and the earliest documented live performance was on 17 January 1970. The band felt that the live performances developed the piece into a manageable shape. Recording of the track commenced at in London, and was somewhat cumbersome, as it was the first recording to use a new eight-track one-inch tape and transistorised mixing console (8 track 20 microphone inputs) in the studio, and, as a result, insisted the band were not allowed to do any splicing of the tape to edit pieces together.

Consequently, band members and had little choice but to play the bass and drums, respectively, for the entire 23 minute piece in one sitting. The other instruments the band played were later.

Mason recalled the final backing track's lack of precise timekeeping would cause problems later on. By March, they had finished recording the track, but felt that it was rather unfocused and needed something else. The band had been introduced to via the tour manager,, and were impressed with his composition and tape editing capabilities, particularly Waters and Mason. Geesin was handed the completed backing tracks the band had recorded, and asked to compose an orchestral arrangement over the top of it while the band went on tour to the US.

Geesin described the composing and arranging as 'a hell of a lot of work. Nobody knew what was wanted, they couldn't read music ' According to him, Gilmour came up with some of the melodic lines, while the pair of them along with keyboardist worked on the middle section with the choir. When it came to recording his work in June with the EMI Pops Orchestra, the session musicians present were unimpressed with his tendency to favour music over established classical works, and, combined with the relative difficulty of some of the parts, harassed him during recording., whose choir were also to perform on the track, had experience in dealing with orchestral musicians, and managed to conduct the recorded performance in place of Geesin. The track was originally called 'The Amazing Pudding', though Geesin's original score referred to it as 'Untitled Epic'.

A refined and improved version (with Geesin's written parts) was played at on 27 June. Its name was changed after the band were due to play an 'in concert' broadcast for on 16 July 1970, and had needed a title for to announce it. Geesin pointed to a copy of the, and suggested to Waters that he would find a title in there. The headline was: 'ATOM HEART MOTHER NAMED', a story about a woman being fitted with a nuclear-powered pacemaker. The piece as presented on the completed album is a progression from Pink Floyd's earlier instrumental pieces such as ' and even earlier, '. The 'Atom Heart Mother' suite takes up all of side one, and is split into six parts, individually named. Geesin chose the opening section name, 'Father's Shout' after, while other names such as 'Breast Milky' and 'Funky Dung' were inspired by the album cover artwork.