INSIDE PINK FLOYD

This is one of the better "Inside" documentaries produced by Bob Carruthers. Here, he has gathered together a number of worthy contributors including interviews by all the band members plus Ron Geesin (who worked with the band on "Atom Heart Mother"). The interviews are not always exclusive to this production and even those which are have appeared on other critical reviews, but they are relevant and interesting nonetheless.

A number of hangers on also make up the numbers, including several members of Mostly Autumn. The main justification for their inclusion (apart from possible commercial overlap) seems to be that they are fans of Pink Floyd. Heather Findlay's contribution is largely superficial and based around simply listening to the albums and reading the sleeves. She is clearly far too young to have any personal recollections to offer. Keyboard player Iain Jenkins offers a painstaking note by note analysis of some of the music, which shows off his musical pedigree but is dull as ditch-water. The bonus section contains a 17 minute version of "Echoes" performed by Mostly Autumn.

The array of journalists and music experts who comment on and assess all the albums from "Piper at the gates of dawn" through to "Dark side of the moon" are the same guys who appear on pretty much all of these productions. As usual, I find Michael Heatley's to be the least considered, but much of the rest is informed if hardly incisive.

Each album, including those made for films, is given a roughly equal share of the limelight, although the Barrett era is dwelt upon a little too long. "Dark side of the moon", where this story stops, is of course hailed as the defining moment of the band, but for the definitive analysis of that album the "Classic albums" production is the one to go for.

In terms of visual content, the usual copyright concerns preclude the producers from offering any extended video of the band. That said, there are plenty of rare clips including the band performing an "improvisation" on the BBC's "Tomorrow's world" and playing a without orchestra version of "Atom heart mother".

The band's subsequent rejection of much of their early work is covered well, as is the evolving notion that Syd Barrett's relevance to the band has been overstated with the passing of time.

Overall, a worthwhile effort which will be of particular interest for those seeking a snapshot summary of the early days of this legendary band.

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