Official Discussion Forum for the works of Stephen R. Donaldson
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Wow, that's a really great version. I was interested to see how they handled the albatross section - it's way better than the original. Kinda makes me wonder how good the song could be if Pink Floyd re-recorded it later.Menolly wrote:huh...
18 minute long acoustic Spanish guitar cover of the epic.
Rodrigo y Gabriela - Echoes
Glad you enjoyed it. I found it a decent listen as well.StevieG wrote:Wow, that's a really great version. I was interested to see how they handled the albatross section - it's way better than the original. Kinda makes me wonder how good the song could be if Pink Floyd re-recorded it later.Menolly wrote:huh...
18 minute long acoustic Spanish guitar cover of the epic.
Rodrigo y Gabriela - Echoes
I actually rank "Animals" above "The Wall."StevieG wrote:Animals
Released: January 1977
StevieG rating: 8.2/10
It took me a while to get into this album. I can't remember why now, but now I think it is another great Pink Floyd contribution to the 70s. As far as I'm aware, it has been largely overlooked in general - I can't find many live recordings outside of the "In the Flesh" tour.
I think this is where Roger Waters carried the band, and the rest of the band pretty much came along for the ride. David Gilmour contributes some amazing guitar in it, but apparently he was absent quite a bit during the recording of this album due to the birth of his first child.
All songs on this album are great. The 3 main songs all have a few problems (in my view) which I'll describe below. I really like how it is structured with 2 subtly different versions of Pigs on the Wing book ending the 3 longer songs.
Pigs on the Wing (Part 1)
Written by: Roger Waters
StevieG rating: 9/10
I love this song. It's short, but introduces the album perfectly, addressing companionship as the possible way to "zigzag our way through the boredom and pain".
Dogs
Written by: Gilmour, Waters
StevieG rating: 8/10
This is a huge song. I like the guitar intro and the cutting lyrics, describing the ruthless, back-stabbing nature of a high-powered businessman. Not all goes well in the end, and it describes this in the next verse extremely effectively.
I love the change of pace at around the 4 minute mark - has a real groove to the guitar work. This song is superb up to the 8 minute mark with some fantastic inventive guitar work and then the vocals again.
And when you lose control, you'll reap the harvest you have sown.
And as the fear grows, the bad blood slows and turns to stone.
He's gaining weight and getting dragged down by the stone!
From here, it loses its way. It just drags with a "nothing" section, until we finally get back to the guitars nearly 4 minutes later.
The rest of the song is brilliant, with a signature Waters ending in a very similar style to Eclipse.
Who was born in a house full of pain
Who was trained not to spit in the fan
Who was told what to do by the man
Who was broken by trained personnel
Who was fitted with collar and chain
Who was given a pat on the back
Who was breaking away from the pack
Who was only a stranger a home
Who was ground down in the end
Who was found dead on the phone
Who was dragged down by the stone
I give it 2 demerits for the nothing section, but apart from that, it's a really great song.
Pigs (Three Different Ones)
Written by: Roger Waters
StevieG rating: 8/10
Awesome intro with the grunt and keyboard, followed by the guitar and super funky groovy beat. I love the "Ha ha, charade you are!" lyric that permeates through the song. As well as "You're nearly a laugh but you're really a cry."
Once again it goes fantastically well. Then comes the middle part, which for the most part I quite like. The guitar sounds like a squealing pig, which is cool for a while. And then, to me, it becomes just a tad irritating. The middle section goes on for a bit. It's better than Dogs, but I'm glad when the main theme comes back and has an almighty crack at Mary Whitehouse (I don't really know much of her history to be honest).
It exits with a signature Gilmour guitar solo (sans pig effects!) - it actually starts reminding me a bit of Comfortably Numb. It fades into farm sounds - birds! And Sheep...
Sheep
Written by: Roger Waters
StevieG rating: 7/10
Birds and sheep sounds, and then a soothing, jazzy keyboard for a bit. I'm not as big a fan of the main tune as Dogs and Pigs, but it still kicks it very solidly. Great description of the mindless sheep going about their business, hardly aware of the predatory dogs in their midst. I love the guitar sound as it moves to the "What a surprise!" part of the song.
What should be the best part of the song is the variation on Psalm 23, where the sheep rise up to defeat the dogs. Unfortunately it's mixed too low and is too hard to hear:
The Lord is my shepherd, I shall not want
He makes me down to lie
Through pastures green He leadeth me the silent waters by
With bright knives he releaseth my soul
He maketh me to hang on hooks in high places
He converteth me to lamb cutlets
For lo, He hath great power, and great hunger
When cometh the day we lowly ones
Through quiet reflection, and great dedication
Master the art of karate
Lo, we shall rise up
And then we'll make the bugger's eyes water
Still a great song though.
Pigs on the Wing (Part 2)
Written by: Roger Waters
StevieG rating: 9/10
Great ending to the album. I love the change in the lyrics, reflecting a more hopeful future.
WYWH is my favorite PF album, and in my opinion it's absolutely perfect, even Harper's vocals on "Have A Cigar." I wouldn't change a thing.StevieG wrote:Wish you Were Here
Released: September 1975
StevieG rating: 8.6/10
This album is influenced strongly by David Gilmour's desire to focus more on the music than Dark Side of the Moon. He is quoted saying:
I had some criticisms of Dark Side of the Moon... ...One or two of the vehicles carrying the ideas were not as strong as the ideas that they carried. I thought we should try and work harder on marrying the idea and the vehicle that carried it, so that they both had an equal magic... It's something I was personally pushing when we made Wish You Were Here.
In this case, it was a winner. I personally have zero criticisms of Dark Side of the Moon, but I also have very few criticism of this album. I think it was a good idea to split Shine On into the beginning and the end.
The recording sessions were interrupted by a visit from an unrecognisable Syd Barrett, while they were recording Shine On - a song about Syd.
Barrett in 1967
Barrett in 1975 during the Wish you were here recordings
https://en.wikipedia.org/wiki/Shine_On_ ... zy_Diamond
Shine On You Crazy Diamond Parts 1-5
Written by: Gilmour, Wright, Waters
StevieG rating: 10/10
This is parts 1-5 but I don't feel the need to split it since it's a 10/10 song. Part 1 introduces the song with lush keyboard chords, followed by some iconic guitar intro in Part 2. Part 3 starts with the familiar 4-note guitar (something the David came up with accidentally, and Roger encouraged him to develop it further). These 3 parts are around 8 and a half minutes before the singing starts. In this case, I just want to listen to more of it! It's such a pleasure to listen to.
Part 4 comes in: Remember when you were young, you shone like the sun. Awesome. Now there's a look in your eyes like black holes in the skies. And they just get better. It's an iconic section.
Part 5 starts with a sax solo. It's appropriate for the song. I have to say that I'm not the biggest fan of too much saxophone. Fortunately for this album and the previous one, they are perfectly timed.
Welcome to the Machine
Written by: Roger Waters
StevieG rating: 7/10
The concept is brilliant. Probably a little heavy on the synths for my liking but I understand why they did it. Also I can hardly recognise Gilmour singing this song - is it really him? It should have been lower in my opinion. The lyrics are spot on.
Have a Cigar
Written by: Roger Waters
StevieG rating: 9/10
Great intro! The music industry takes a huge hit in this song. Waters and Gilmour disagreed about quite a bit in this song. Roy Harper does a good job, but I give it one demerit as I think either Roger or David should have sung it. It sounds like a Roger song. Interesting that Roger wasn't completely happy with Harper's delivery, whereas David thought it was perfect. David also refused to sing it as he had a different opinion of the music industry at that time. And Roger struggled to sing it. The rift is developing...
Wish You Were Here
Written by: Gilmour, Waters
StevieG rating: 10/10
One of the Floyd's best songs. It's one that Waters and Gilmour agree on - that it is a great song.
Shine On You Crazy Diamond Parts 6-9
Written by: Wright, Gilmour, Waters
StevieG rating: 7/10
Starts with wind! And a keyboard solo of sorts. Meanders along pleasantly with nice chord progressions, and then moves into the guitar solo which is also pleasant without being spectacular. This part differs from the first 5 in that I'm keen to get to the singing. When the singing does come, it's awesome again but is all too brief. After the singing section, it drifts in limbo for a while with some keyboard parts and a nice bass line, for a bit too long in my opinion, before moving into the final part. The final part is a nice way to finish it, it gives me a drifting away feeling, but it works as an ending.
The album without which we wouldn't be having this discussion.StevieG wrote:Dark Side of the Moon
Released: March 1973
StevieG rating: 8.9/10
WARNING: Wax lyrical alert
Here we are, Pink Floyd's eighth studio album. The album that propelled them to stardom and wealth.
- Critically acclaimed.
- On the US Billboard 200 for 950 weeks.
- Estimated sales of 45 million copies, making it one of the best selling albums of all time.
But is it really THAT good? The answer, of course, is: YES! This album changed my perception of music forever. I grew up on great artists like Elton John, Billy Joel, Eagles, Midnight Oil, AC/DC and countless others. When I first heard this album in my vulnerable teens, I could not believe its power and accessibility. The idea of the 'concept' album, the songs that are instantly relatable, the incredible power of the words, music, composition - all tied together with a heartbeat at each end - almost all songs transitioning into the next one, it really did blow my mind.
There's a long history to this album. Some of the interesting parts for me include:
- Roger Waters floated the idea of the album at a band meeting at Nick Mason's house.
- The concept was: things that 'make people mad', the pressures of everyday living.
- Early versions of the album were taken on tour over a year before its actual release.
- Most of the spoken dialogue on the album came about from a series of interviews with a set of questions. The answers that seemed most relevant or interesting were used on the album.
- The laughter on Brain Damage and Speak to Me was from Peter Watts, father of actress Naomi Watts. Peter Watts died of a heroin overdose aged 30.
- Paul McCartney was one of the interviewees, but they didn't use his answers on the album.
- The album's cover art seemed to come out of Richard Wright's request that it should be "simple and bold".
- Some of the profits were invested in the production of Monty Python and the Holy Grail.
The lyrics come back to reality and are instantly relatable. This quote from Waters is interesting:
When the record was finished I took a reel-to-reel copy home with me and I remember playing it for my wife then, and I remember her bursting into tears when it was finished. And I thought, "This has obviously struck a chord somewhere", and I was kinda pleased by that. You know when you've done something, certainly if you create a piece of music, you then hear it with fresh ears when you play it for somebody else. And at that point I thought to myself, "Wow, this is a pretty complete piece of work", and I had every confidence that people would respond to it.
One of the major emotional impacts of this album is the inclusion of backing vocals. Some of the songs soar to new heights when the backing vocals swell in unison. There is hardly any padding - most of the songs are the length they should be, and it has one of the most high-impact endings to any album I've ever heard.
It's also one of Richard Wright's career highlights. Overall, I think the contribution of all members is reaching, or has reached, its peak with this album.
Speak to Me
Written by: Nick Mason
StevieG rating: 6/10
It is described as an overture. It starts with a heartbeat, and builds other parts of the whole album together: Clare Torry's scream, clocks ticking, Peter Watts' laughter, cash register and so on. It introduces the album effectively, and without outstaying its welcome. It's too hard to separate this one and Breathe, so the link contains both songs.
Breathe
Written by: Waters, Gilmour, Wright
StevieG rating: 9/10
"Don't be afraid to care". This song is written by Wright and Gilmour, with lyrics by Waters. It sets the scene and feel of the album with the distinctive keyboard / organ sound. I love its richness - it's a wave of sound blended together.
On the Run
Written by: Waters, Gilmour
StevieG rating: 6/10
This is a tense, synth-based song with many sound effects moving from speaker to speaker - it is intended to portray the pressures of travel. It successfully creates that tension and urgency, and once again, it doesn't overstay its welcome.
Time
Written by: Waters, Gilmour, Wright, Mason
StevieG rating: 10/10
Opens with a bunch of clocks and timepieces which all ring at once, and then this heartbeat and rushing tick-tock, before the opening chords come in accompanied by some appropriate drumming (the perfect sound on roto-toms). This section builds to the main thrust of the song and we're away. Gilmour's singing on this is just excellent. Wright sings lead in the bridge, which is also perfect, as it has a softer, more mournful tone accompanied by the backing vocals. The lyrics are so perfect:
Ticking away the moments that make up a dull day
Fritter and waste the hours in an offhand way
Kicking around on a piece of ground in your home town
Waiting for someone or something to show you the way
Tired of lying in the sunshine staying home to watch the rain
You are young and life is long and there is time to kill today
And then one day you find ten years have got behind you
No one told you when to run, you missed the starting gun
So you run and you run to catch up with the sun but it's sinking
Racing around to come up behind you again
The sun is the same in a relative way but you're older,
Shorter of breath and one day closer to death
Every year is getting shorter never seem to find the time
Plans that either come to naught or half a page of scribbled lines
Hanging on in quiet desperation is the English way
The time is gone, the song is over,
Thought I'd something more to say
Home
Home again
I like to be here
When I can
When I come home
Cold and tired
It's good to warm my bones
Beside the fire
Far away
Across the field
Tolling on the iron bell
Calls the faithful to their knees
To hear the softly spoken magic spell
This songs contains probably one of my favourite guitar solos ever. It's not that it's the most outrageous solo ever, but it is soooooo appropriate to the song and is delivered with such feeling and soul. I spent a long time in my youth perfecting this solo on the guitar. Unfortunately time moves onand I couldn't play it to save myself now.
Near the end of it, we get the backing vocals to give it immense power and then the heartfelt singing comes back in. The backing vocals continue to add depth and beauty to this incredible song.
Then it segues into "Breathe" reprise seamlessly. A flawless song.
The Great Gig in the Sky
Written by: Richard Wright, Clare Torry
StevieG rating: 10/10
One of Richard Wright's great achievements, sung with incredible feeling and skill by Clare Torry. Throw in a few poignant words from Gerry O'Driscoll and Patricia Watts, and you have a masterpiece.
Money
Written by: Roger Waters
StevieG rating: 10/10
Once again, sound effects are used to great effect. The money sounds, cash register and so on, combine in a very satisfying way to introduce the song. Direct, relevant lyrics accompany this great song. It moves nicely from the 7/4 time signature, with the inclusion of Dick Parry's saxophone solo, into a 4/4 extended solo, Gilmour SMOKING guitar magic, and a stripped-back section followed by a BIG Gimour solo once again. It extends satisfyingly and then morphs back into the verse, and then into some spoken words that are actually interesting. The main song slowly fades (I love how you can hear Dave in the background singing to his own guitar work) and the keyboards of "Us and Them" fade in.
Us and Them
Written by: Wright, Waters
StevieG rating: 10/10
Another of Richard Wright's great achievements. The lyrics are also amazing, contributing to a wonderful song about various conflicts. Waters explains each of the verses:
The first verse is about going to war, how on the front line we don't get much chance to communicate with one another, because someone else has decided that we shouldn't. The second verse is about civil liberties, racism and colour prejudice. The last verse is about passing a tramp in the street and not helping.
I particularly appreciate:
"Forward!" he cried, from the rear
And the front rank died
The chorus is musical splendour. Rick's piano solo encapsulates Rick in its beauty, followed by a snippet of spoken word and sax solo:
Well I mean, they're not gonna kill ya, so like, if you give 'em a quick sh ... short, sharp shock, they don't do it again. Dig it? I mean 'e got off light, 'cause I coulda given 'im a thrashin' but I only hit 'im once. It's only the difference between right and wrong innit? I mean good manners don't cost nothin' do they, eh?
It all contributes to a towering achievement, ending with the chorus again and going straight into "Any Colour You Like".
Any Colour You Like
Written by: Gimour, Mason, Wright
StevieG rating: 8/10
This, to me, serves as the intro to the final two songs. It ties off Us and Them and moves into the final stage of the album. Effective synthesizer work moves nicely into a great guitar solo. The way the guitar accompanies the backing vocals, and then almost duels with itself in each speaker is really cool. It jams on for a bit and then gives a final guitar intro to Brain Damage.
Brain Damage
Written by: Roger Waters
StevieG rating: 10/10
I can't possibly separate these next 2 songs so the link has both. These songs transformed my thinking towards making music forever. I still tear up listening to this masterpiece. Waters' singing is dripping with empathy. The start of the song is reasonably quiet. Then it swells into the refrain with the background vocals - it's like opening your soul:
And if the dam breaks open many years too soon
And then it opens more with the backing vocals going from "ooooooh" to "aaaaah"... this is where the lump in the throat starts:
And if there is no room upon the hill
And if your head explodes with dark forbodings too
And then the tears start welling as it opens even more with all singers singing the line:
I'll see you on the dark side of the moon
The second verse is sad, so sad. And we have the iconic laughter from the late Peter Watts, perfectly inserted into this part. Prepare yourself again, as Rick's keyboard prefaces the chorus again:
And if the cloud bursts, thunder in your ear
You shout and no-one seems to hear
Followed by a perfect wail - not really a wail, a beautiful, soulful expression from a beautiful singer. The next part must be about Syd:
And if the band you're in starts playing different tunes
I'll see you on the dark side of the moon
These two songs are easily my favourites in terms of emotional impact, in their entire catalogue.
Eclipse
Written by: Roger Waters
StevieG rating: 10/10
Same link as Brain Damage. It starts big, but then quietens to start the lyrics:
All that you touch
And all that you see
All that you taste
All you feel
Enter the backing vocals:
And all that you love
And all that you hate
All you distrust
All you save
It builds, and adds some backing vocal parts. "All you give!"
And all that you give
And all that you deal
And all that you buy
Beg, borrow or steal
And then it explodes with a drum fill, and fills the speakers with the harmonies and power:
And all you create
And all you destroy
And all that you do
And all that you say
And all that you eat
And everyone you meet (everyone you meet)
And all that you slight
And everyone you fight
The pinnacle has been reached, and continues for the final lyrics:
And all that is now
And all that is gone
And all that's to come
And everything under the sun is in tune
But the sun is eclipsed by the moon
It ends with some final spoken word, and the heartbeat to tie the album from start to finish.
Roger Waters explained the song in general:
I don't see it as a riddle. The album uses the sun and the moon as symbols; the light and the dark; the good and the bad; the life force as opposed to the death force. I think it's a very simple statement saying that all the good things life can offer are there for us to grasp, but that the influence of some dark force in our natures prevents us from seizing them. The song addresses the listener and says that if you, the listener, are affected by that force, and if that force is a worry to you, well I feel exactly the same too. The line 'I'll see you on the dark side of the moon' is me speaking to the listener, saying, 'I know you have these bad feelings and impulses because I do too, and one of the ways I can make direct contact with you is to share with you the fact that I feel bad sometimes.
Yes, this album is alright
I don't listen to "Meddle" often. I love "One of these days," that an awesome track to hear live.StevieG wrote:Ok, I'm going to keep going while I'm on a roll
Meddle
Released: October 1971
StevieG rating: 7/10
I'm not sure I can adequately describe the vast leap Pink Floyd made from ALL their previous work to this album. Their 6th studio album was released in the year of my birth. The thing that interests me in reading about the making of the album is that they really struggled to find any material, they devised a series of (failed) experiments to try and come up with something worthy to put on the album. And somehow they came up with a bunch of great tracks.
Once again, we have one side filled with a single 23-minute song, and the other with shorter works. Thankfully, they ditched the idea of continuing with the solo songs by each band member.
One of these Days
Written by: Gilmour, Waters, Wright, Mason
StevieG rating: 9/10
What a greater opener! We start with wind! Wind is a sound effect that features highly on this album. Then the double-tracked bass comes in, and you feel like there's something special brewing. The bass, played by Gilmour and Waters, has a delay that reverberates through the song - it echoes! It builds really well with some keyboard input, and then the awesome drumming intro, and upright steel guitar (which is spectacular live) before Mason chimes in with "One of these days, I'm going to cut you into little pieces!"
I read a quote from Mason: Possibly the most interesting thing about "One of These Days" is that it actually stars myself as vocalist, for the first time on any of our records that actually got to the public. It's a rather startling performance involving the use of a high voice and slowed down tape.
And then, BAM! A lot of future elements are crammed into the next section. This is a great song.
A Pillow of Winds
Written by: Gilmour, Waters
StevieG rating: 7/10
The wind of the previous song starts this one off. Signature acoustic guitars start this one, and it continues with a quiet melody modulating between major and minor sounding parts. I like the lyrics of this one.
Fearless
Written by: Gilmour, Waters
StevieG rating: 7/10
The inclusion of "You'll never walk alone" is a nice touch to this pleasant song. I really like the guitar sound and the singing on this one. It cruises along and I find myself singing along to it.
San Tropez
Written by: Roger Waters
StevieG rating: 7/10
This a groovy, jazzy, breezy number composed by Roger Waters. It's another one you can trip to along quite happily. The lyrics roll gracefully off the tongue. Throw in an appropriate slide guitar solo, and a nice piano solo near the end in a typical Rick Wright jazz style, and you have another winner. I'll ignore the fade out!
Seamus
Written by: Gilmour, Waters, Wright, Mason
StevieG rating: 6/10
I guess this is their "novelty" song. It's a real blues based track, with a dog "singing" along. I think it's pretty funny, and it has some nice guitar work. Apparently it was voted one the worst Floyd songs in Classic Rock Review, which is rubbish - they should read our review so far - there are far worse songs than this out there.
Echoes
Written by: Gilmour, Waters, Wright, Mason
StevieG rating: 6/10
They're improving with every attempt at a long epic song. I'm going to split this song up because it does have some changes. I'm not sure if there are specific "Parts" to it so I'm splitting up according to my subjective opinion.
Part 1 - from 0m --> 7m:01s (10/10): The first 7 minutes of this are sublime. It begins with the famous "ping" and builds nicely to the vocal part. The lyrics are great. The main theme of the song is really impressive, and then it moves into a cool guitar solo. I can't fault it, and I couldn't think of any changes that would improve it.
Part 2 - 7:01--> 11ish (4/10): Ok, so now we get into a new rhythm, a repeating drum, keyboard and bass line. Some guitar noodling. It goes on and on. I'm ok with it as a general section, but I prefer music the builds to something significant. A lot of their previous work builds to nothing. This section doesn't really build, it just moves along and then fades into the next section (uh oh).
Part 3 - 11ish --> 15ish(1/10): Here we are at the "filler" section. Albatrosses (I think we established
Part 4 - 15ish --> 23:31(9/10): The ping comes back, followed by a very lengthy build up to the grand finale. In this case, I'm happy for the long build up, because it's building up to something special. It starts with the ping, and keyboard comes in with some cool chords, followed by a Wall sounding guitar, slowly followed by drums, and up it builds to a great sounding guitar explosion, before seguing into the refrain once again.
Cloudless every day you fall upon my waking eyes
Inviting and inciting me to rise
And through the window in the wall
Come streaming in on sunlight wings
A million bright ambassadors of morning
And no one sings me lullabies
And no one makes me close my eyes
So I throw the windows wide
And call to you across the sky
And on goes the music in a triumphant way, before moving into the wind once again. I said before starting this review that the middle section stops it from being a great song. I thought I might be retracting my previous statement, as parts of it are absolutely great. But I haven't changed my opinion based on this latest listen - if only the middle section was more interesting.
). I watched the live "Echoes" that was linked in here somewhere with Dave and Rick playing to each other. That was amazing. My best guess is that it's a variation on the "Sh*t hits the fan" in the if they spit in the fan it will fly back in their face, so they're trained not to spit where they shouldn't.Sgt.Null wrote:except I've never understood the line "who was trained to not spit in the fan."
Punk rockers were spitting on their fans back then.StevieG wrote:My best guess is that it's a variation on the "Sh*t hits the fan" in the if they spit in the fan it will fly back in their face, so they're trained not to spit where they shouldn't.Sgt.Null wrote:except I've never understood the line "who was trained to not spit in the fan."
Hell if it does, hell if it doesn't!sgt.null wrote:Or maybe it just rhymes. Lll.
You've gotta be crazy gotta have a real need ...
