They learned the lesson from Ummagumma of monitoring each other’s work, and on the second half this album the contributions of individual members as composers and vocalists are clearly improved by the group participation clearly missing on the studio side of Ummagumma. It happened after their decision to make a wholly studio-bound record, like this one.Īlan’s psychedelic breakfast, from the sleeve. It didn’t happen when Syd left, as there was (as we’ve seen in the reviews thus far) a bleed-through their music for several albums after his departure, where his lyrics, his temperament and his loss haunted the band. I think, for the most part, it’s because they were far more abstract and because they were, unlike King Crimson who are forever associated with their earliest, Proggiest statement, allowed a Year Zero, a chance to reset everything. It’s usually termed space rock or something like that, but while Yes and Genesis were accurately called Prog, while Emerson, Lake and Palmer only had to use manuscript paper to be called Prog, and while King Crimson had to go through years of inaccurate pigeonholing to escape the genre, Pink Floyd used concepts, extended suites and miked frying pans and dogs, crashing planes into the sun and mentioning ancient English kings, yet avoided that most unfashionable term. I’ve been listening to the title piece, a 23-odd minute suite complete with orchestra and choir, for about two hours now, and it can’t escape the label, except that Pink Floyd always seem to have done exactly that. While there’s nothing wrong with being so, it’s a Prog record. You can’t even air guitar to it.įrom Prog magazine, courtesy of. Coming to it now, it’s not much of a surprise that it wasn’t played on the radio much. The cover is famous, in that it features a large cow but the music inside doesn’t seem to have made it to the outside world. In America, where I had access to tons of music, this one didn’t seem to be around at all even now it’s a record I’ve never owned. There were a few of these records I never saw at all-when A Saucerful of Secrets was featured on a Marillion album cover, I didn’t recognise it, and I didn’t know anything about Animals until much later-and Atom Heart Mother was one of the ones I didn’t know anything at all about. The albums before that were merely prologue. A slightly older friend was into the band much more, but that was confined to Meddle onwards, so Meddle formed the basis of my interest, at least until I got my hands on the full Dark Side. My first listen to Dark Side of the Moon had an interesting context I’ll save for another day (it’s looking like Thursday when I ascend that particular Kilimanjaro). They were all very expensive to buy, I seem to remember. Sheen, wrecking a needle on someone’s turntable in the process. The Wall was famous, of course, but nobody I knew owned a copy until around 1986 when someone spilt Home Brew over one and I took it on myself to clean it with Mr. About this time came the release of The Final Cut but I don’t remember hearing that until much later (the single, Not Now John, was played occasionally, but not too much). A friend’s older brother had a really cool Wish You Were Here album with blue translucent vinyl, but we were never allowed play it we used to look at it a great deal. While some of it was interesting and Bike was mad, it hardly allowed me in to the more expansive sounds of the band. There were always a few Pink Floyd albums knocking around when I was growing up: the first one I remember hearing all the way through would have been Relics, a singles compilation that had been rereleased on some MPF type of discount label in the early 80s.
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