You’ll want to poke around through these different sources. Some of them have different tracks than listed here.
I have posted some additional Zabriskie Point Sessions here.
01. Heart Beat, Pig Meat
02. Country Song
03. Fingalís Cave
04. Crumbling Land
05. Alanís Blues
07. Rain in the Country
08. Come In Number 51, Your Time Is Up
09. The Violent Sequence
10. Country Song Theme (band)
11. Country Song Theme (acoustic)
12. Take Off (version II)
13. Love Scene 1 (organ & guitar)
14. Love Scene 3 (band)
15. Love Scene 4 (piano & vibes)
16. Love Scene 5 (double vibes)
In the summer of 1969 Michelangelo Antonioni completed the filming of his visionary and prophetic view of America and our society. All that was left was to complete the movie with a good soundtrack. Antonioni was interested in everything that was new and trendy among young people. Don Hall was on the air during his nocturnal DJ program on KPPC FM Pasadena when he was contacted personally by Antonioni at the end of the summer of 1969. Antonioni really liked Don and invited him to have some screenings of the movie. After that Don provided a list of songs he felt would work, most coming from his program. Antonioni asked MGM to hire Don as Music Advisor for the soundtrack and came back to Roma (Don still has a letter from Antonioni, sent from Rome with the list of the songs he’d like to be in the movie, all songs for the radio-desert sequences).
Still they had to find how to score all the main sequences: Beginning, Violent, Take Off, Love and Explosions sequences (and eventually more). Antonioni wanted original music for those sequences. Many artists and bands were contacted to write original music for the movie, but none of them was asked to write the whole soundtrack of the movie.
In October ’69 Don was in Rome with Antonioni trying to find a way to score the whole movie in time for Christmas. Near the end of the month it happened that Clare Peploe (cowriter of the movie and Antonioni’s girlfriend at the time) brought to Rome a brand new copy of the new Pink Floyd album, Ummagumma, from London. Antonioni, Don Hall and Clare listened to the new album with a small stereo at Antonioni’s house in Rome. Antonioni REALLY liked Ummagumma and listened several times to the whole album. He liked ìCareful With That Axe, Eugeneî very much and told Don that he’d like a new version for the final sequence of Zabriskie Point. They decided to try and hire Pink Floyd to record all the original music they needed for the movie. MGM contacted Pink Floyd. After that Steve O’Rourke came to Rome alone during the first days of November ’69 to check and organize it all. All was done in few days, and Pink Floyd came on the 15th of November with Pete Watts and Alan Stiles, cancelling some shows planned for their present tour. Antonioni and Don showed the movie to them several times with some scenes already scored, highlighting those without. At that point Steve and Roger Waters had a talk and asked Antonioni to try to score the whole movie. He, been enthusiastic about Ummagumma, agreed.
Pink Floyd produced a large quantity of music, especially for the Love Scene but Antonioni was not satisfied and the sessions ran longer than planned. In the end Pink Floyd went back to London with some songs to finish. Out of all the entire production of songs, including themes and variations, Antonioni ended up using only three songs. He kept on searching for “something better” till the last days before the premiere of the movie. In London Pink Floyd completed their final versions of eight songs with the intent of them being their eventual album for the Zabriskie Point soundtrack.