Why Pink Floyd Rearranged the 'More' Soundtrack for the Standalone Album

Pink Floyd’s More (1969) is their first foray into film scoring, but the album isn’t a straight translation of the movie’s sound. The band deliberately shuffled the track order for the standalone release, sacrificing scene-by-scene fidelity for a better home-listening flow. In the film, songs like “Cymbaline” and “Green Is the Colour” appear in different contexts—some cues play over dialogue, others extend into long instrumental passages. On the LP, they grouped the more atmospheric pieces (e.g., “Quicksilver,” “A Spanish Piece”) together and placed the vocal tracks earlier, creating a cleaner arc than the film’s fragmented clip-reel structure.

Why the rearrangement? Because the film’s soundtrack cues were often short or interrupted by dialogue, and the band felt the album should stand on its own as a coherent Pink Floyd record—not just a souvenir of the movie. For example, “The Nile Song” was cut from the film entirely, while “Seabirds” (a prominent underscore) was left off the album. That selectivity let them treat the album as a separate work, not a score-by-numbers. The order still echoes the film’s mood—hippie bliss turning