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Pink floyd successful of secrets

pink floyd successful of secrets

Texas Trust CU Theatre at Grand Prairie, Grand Prairie. BUY. 18/10/ Bass Concert Hall, Austin. BUY. 20/10/ Paramount Theatre, Denver. Saucerful of Secrets: The Pink Floyd Odyssey [Schaffner, Nicholas] on The others, especially Waters, wanted to be pop stars, commercial success. Pink Floyd chronology. LAPTOP WITH RETINA LIKE DISPLAY Worse, i eventually that to whatever. The moment of just have 1. I was used egg output of Android device and seats, and panels, of tracking, templates.

What we have here is awesome and complex psychedelic music. Opening with the memorable intro chords of "Let There Be More Light", the cosmic tour begins leading to the great Rick Wright's piece "Remember A Day", showing how important this keyboardist's contributions were to the band. The latter is one of my fav Wright's works, that leads to the amazing "Set the controls I have a profound passion for this song and consider it one of the most underrated ones of the FLOYD catalogue.

It can get a bit annoying if you are still not used to the FLOYDIAN psychedelia, but then we have the title epic to put the album back to its pedestal. The whole epic according to Waters is about a battle being "Celestial Voices" the cry of the dead ones. Of course the live version from Ummagumma is much better, but i love this studio one a lot too.

Then the album goes very dreamy with "See Saw", another Wright's contribution leading to Syd's farewell on the disturbing and moving at the same time "Jugband Blues". It is the best side of pure Space Rock made by this band, and soon they would get into a more complex and crafted progressive sound on Atom Heart Mother. We have two weaker albums until then, though: "More" and "Ummagumma".

But those aren't bad and do have some great songs within them. The FLOYD is only begining to show the world why they are here for, and slowly growing and discovering their true sound. The sophomore FLOYD album has been largely dismissed as a "transitional" Barrett to Gilmour album, where the band were "searching for their sound".

Hell, the sound is already here and what a sound! Absolutely essential psychedelic album for any serious music listener. Wright provides his two excellent contributions, "Remember a Day" and "See-Saw", while Waters delivers his first masterpiece, "Set the Controls The feeling is that no step forward previous studio album "The Piper Best points are the enjoyable opening track 'Let there be light' and the mantra-like psychedelic anthem 'Set the controls to the heart of the sun', recommended for all kinds of trips.

Other songs range from weak to average and are worthy to be heard when one is interested in listening to the album as a whole. Average, stepping up to a good rating for being historically interesting. Total: 3. A really great pyschedelia album overall, but the title track kills the masterpiece appeal. Definitely worth your time though. About the way the band thought they still could work with Syd, he will say : "It was fairly obvious that I was brought in to take over from him, at least on stage.

It was impossible to gauge his feelings about it. I don't think Syd has opinions as such. The first plan was that I would join and make it a five piece so it would make it easier so that Syd could still be strange but the band would still function. And then the next idea was that Syd would stay home and do writing and be the Brian Wilson elusive character that didn't actually perform with us and the third plan was that he would do nothing at all.

And it quickly changed 'round, and it was just While "Piper" is almost Syd's album, this one contains only one song from him Jugband Blues which is the poorest of the album. Due to his addiction and slow way down to craziness, he was not able any longer to be the song-wrtiter he used to be, so the other members had to perform or Logically, there was an enormous pression on Roger's shoulders who had to write as many good tracks as he could.

Their producer Norman Smith former sound engineer of the Beatles till "Ruber Soul" wanted them to become the new Beatles! Waters signed three songs of which two are from the best one here as sole composer : "Let There Be More Light" is a great piece of psychedelic music : great bass work during the intro, some Oriental influence more to come and hypnotic vocal passages with reference to Lucie in the Sky A very good opener.

It could have come out of Syd's mind but Waters showed his ability in writing great psyche songs as well. The bass play has a major role, and the repetitive tempo is truely fascinating. Actually it is very similar to "Let There This one will be the one Floyd will choose as a highlight of their live sets instead.

Very good. It is a great psychedelic trip. His third one is "Corporal Clegg" which is a combination of psyche and hallucinating moments, Beatles type vocals and a kind of stupid chorus. Rick Wright ever said that they really did not how to write songs and that they were not quite happy with their results. A bit childish but not too bad. It was a learning process. The lyrics were appalling-terrible but so were a lot of lyrics in those days. I guess there is no better introduction to this piece of music.

The lenght will be extended to 23'45" for this occasion. Rick will say : "We all believed it was going to be one of the best things we'd ever put onto record. You have to write three-minute songs'. We were pretty cocky by now and told him, If you don't wanna produce it, just go away.

A good attitude I think. The same reason why we'd never play See Emily Play in concert. It is accordingly titled : "Something Else". It is a kind of rehearsal or fine tuning of the instruments before a concert. This part is more a "trip" to the outer world for which each listener can use his imagination to define his feelings. It lasts for 3 minutes. The third part is called "Storm Signal" and is a beautiful introduction to the grand finale called again accordingly : "Celestial Voices".

The most beautiful vocals on an instrumental track well, is this possible? It is my favorite part of the "song" : very melodious and cresendo building. What a great musical moment. The album will peak at Nr. In terms of touring, will be a quiter year for Floyd : around sixty concerts. They won't play as opening act any longer.

They will perform in some festivals together with bands like Santana, Steppenwolf and The Who. I rate this effort as a three star work. The pressure must have been on from Columbia - the band needed to get product out to the punters - and they'd sacked the ace up their sleeve. From a record company's point of view, this meant get the product out fast to maintain momentum - hence the intermediary release between the debut and this less charismatic release.

Overall, the music lacks the innocent charm of "Piper", and even though there are some absolute belters on here that would go on to provide momentum for a certain burgeoning music scene in Germany, there is also much filler, and what seems to be an unsuccessful attempt to imitate Syd's inimitable style.

The outstanding tracks don't make this album a compulsory purchase, great as they undeniably are, as there are better live versions of these tracks on later releases - notably the outstanding "Live at Pompeii" video soudtrack, but also on "Ummagumma".

It is probably Wright's keyboards with majestic Hammond sweeps and harmonic minor embellishments that really save this piece from the cosmic dustbin - although the coda loses it more than a bit, Gilmour joining in the general fracas of mindless noodle.

The lyrics seem a little autobiographical on this point, and the melancholic feeling of this song is something that would remain with the Floyd for many years. Perfect ambience is built up with primaeval drums; Washes of ringing Vibraphone and haunting drifts of Mellotron and other keyboards create a texture that was unique at the time and is still perfectly identifiable back to Floyd to this day. The seagulls would later be re-used in "Echoes". Admittedly, there is considerably more darkness than the Beatles - and Hendrix style 11ths and 13ths crop up in all the verse riffs.

A bit of an oddity, really. The title track, which follows, is one of my all-time favourite Floyd pieces - and a four- part suite to boot. The first part is called Something Else, and is essentially a sound collage that grows in intensity until Syncopated Pandemonium [], another sound collage, led by Mason - but less intense, and more rhythm focussed, such that piano rhythms cross over drum rhythms wild keyboards scream and guitars squeal and wail over the top.

This is beatifully shaped noise with all manner of suggestive gestures and a clear display of tight interplay between the band members - it seems random, and is probably supposed to, but indicates a very clear compositional structure. At [] comes Storm Signal, in which a sinister rumble is topped by slowly drifing, ominous keyboards and rattly percussion that suggests rain.

Celestial Voices allegedly starts at [], but there is a distinct change in the keyboard at [] that more than hints strongly at things to come, by playing the Celestial Voices chord progression which acts as a kind of slow ostinato from here to the end of the piece. The vocals themselves start at [], as promised - a heavenly harmonised choir of angels that are too low in the mix for my tastes, although it's clear that the Floyd intended them as part of the texture rather than the focal point.

This was later fixed :o Sound effects don't really fix the lazy, but mildly progressive pop song that is See-Saw - enjoyable enough for what it is, and a welcome break after the insanity of "Saucerful.. But we round off the album with the only Barrett-penned and I believe performed number: "Jugband Blues".

This, unfortunately in terms of Progressive Rock , sounds like most of Barrett's solo material - quirky and imaginative songs that you could either think of as experimental, the product of a mind addled by drugs, or the most innocent and spontaneous expression of a song that it's possible to create. It sports a kind of warped codetta that leads to a final verse section - but, unhappily for Barrett this is probably the worst swansong he could have had, and it's just as well he recorded "The Madcap Laughs".

In summary, then, a patchy album with some really good bits, some filler, and one most excellent we-are-not-worthy, carefully constructed work of art in "Saucerful of Secrets". Which you can get superb performances of elsewhere. The nearly minute title track is probably the most interesting piece of music on the album. However, it takes some getting used to as parts of it just seem like noodling around.

The non-noodling sections are quite interesting with some haunting atmospherics. Remember this is , so Pink Floyd were already proving how "way ahead of their time" they were this far back. I still quite enjoy this album after having listened to it for more than 20 years now.

Although many consider their debut a groundbreaking album, I personally think this one should get those accolades. It's not perfect enough to merit a five-star rating, but is well deserving of four stars. Essential for Pink Floyd fans and highly recommended to all others. It opens with Waters great bass lines as drums and synths come in.

I really like the first part of this song. The song then changes as we get more of a sixties sounding vibe with vocals leading the way. The instrument work is powerful for the last minute and a half. Gilmour and Wright share vocal duties on this one, the latter is heard on the verses. Almost sad lyrics like "Why can't we play today? Why can't we stay that way? This is a hazy and dreamy psychedelic tune.

Great song. The vocals Waters on this one are almost whispered as synths, organ, drums and vibes are played. You can hear the seagulls at times. The guitar is aggressive and sharp sounding. It also has some silly moments that recall the first record. The dark, haunting and eerie atmosphere with organ drones, synths and mellotron and experimental sounds continue for 4 minutes.

Then a change as drums roll in. Dissonant sounds come and go. Very freaky low rumbling sounds take over before the scary vibe is back. Organ, vocal melodies and mellotron to end it. This is a dreamy, psychedelic tune with some mellotron. I like this one. It could have fit well on the future "Meddle" album. As Finnforest mentioned to me, the lyrics are to be studied.

The first two lines are poignant "It's awfully considerate of you to think of me here. And i'm almost obliged to you for making it clear that i'm not here. Acoustic guitar and vocals lead the way in this unmistakeable Syd song. For me this is a step up from their debut. I know i'm in the minority with those feelings, but I love the variety and the direction they are now going. So while this may be a transitional album it's an important step for the band. Richard Wright certainly stepped up to the plate here along with Waters of course.

I love this album. While 'Piper At The Gates of Dawn' featured concise and interesting psychedelic music that captured the spirit of the times, this album simply meanders without direction. The band's numerous critics claim that this characterises their entire post-BARRETT output, and to a degree one is forced to agree with them, no matter how much one personally loves their music, given this record as an example. The live version on 'Ummagumma' is far superior. What a pity they didn't think to bolster this largely empty album with some of the better work they had done.

Unlike 'Interstellar Overdrive' it is totally unsupported by a riff or melody to give it any legitimacy. There is certainly nothing on this album to contradict him, and the next two albums simply serve to reinforce his argument. I prefer enjoying an excellent song to trying to get excited about freaky noises. This album lacks the direction, the energy, the charm and the relevance of their debut, and is an album for collectors and fans only.

Nothing could be further from the truth. They would go on to produce at least four or five true five-star albums, introducing compositional credibility to their array of sound effects and drawn-out, atmospheric noodling. This album simply goes to show by its absence that at the heart of music is the ability to write songs. They would start the year with a freshly inked record deal and end the year with a leader in shambles. The first official Piper session with producer Norman Smith took place the evening of February 21 and the first track recorded was "Matilda Mother.

Sometime in late spring friends began to note changes in Syd. In early August Piper was released and the band began the first sessions for their second album. The next few months would see Barrett become disillusioned with the thought of having to repeat what they just did and deal with the increasing publicity.

His drug use was both active and passive. Everyone knows Syd took legendary quantities of acid, what they may not realize is that he was also constantly being dosed by the people around him. These "hangers-on" around Barrett were taking advantage of him and helping fuel his destructive behaviour. I recall reading that they were dosing everything from the tap water to the afternoon tea so that Syd never came down from one trip before the next one started.

The Floyd were unable to intervene and some admitted they really didn't try very hard, it was easier to look the other way according to Mason. One wonders if things could have been different had they called for a break and had an intervention to get Syd out of destructive living arrangements but instead they forged ahead.

By the end of the year he had become largely useless to the aspirations of the other members. Conventional wisdom calls Syd an acid casualty or mentally ill and there is evidence that supports those assertions. But that is only one piece of the puzzle. The other piece of the puzzle that doesn't get mentioned because the "acid casualty" angle sells more magazines is that Barrett forced the end consciously because he hated the direction they wanted to take it. This was at least a part of the reason along with the other issues.

But he was conflicted of course: Syd liked the idea of being in a band but he wanted it to stay low-key and underground, he wanted things to be ever weirder and more avant-garde in direction. The others naturally wanted success in the more conventional sense and this meant singles, albums, interviews, and TV.

Syd wanted no part of this and so he began to "act up" in ways that were no doubt magnified by his drug use and mental condition. They also admit to putting relentless pressure on him to come up with new material per manager Andrew King and being nasty to him when he couldn't do it. I have read other accounts as well stating that the band were unnecessarily mean, not just indifferent, but mean to him in a sort of bullying, mocking way that could not have been helpful.

Of course they were quite young too and under pressure so some slack has to be cut. By early '68 Gilmour had been brought aboard as the back-up plan and Syd knew his tenure was about finished. He actually knew earlier than that when the problems began to escalate in the fall of '67 and he began to butt heads with Waters regularly, the legendary "Have You Got It Yet?

More on his farewell middle-finger to Roger later. Syd would play his last date with the boys January 20th at Hastings Pier, the last of a handful of gigs that included both Barrett and Gilmour. Gilmour would sympathize with Waters' decision to sack Barrett as he would again concur with firing Wright about a dozen years later.

I wanted to provide this account of the Barrett to Gilmour transition because I get tired of the simple, degrading accounts in magazines-if you dig deeper into the many accounts in books of Syd's closest friends, family, and management, you eventually discover his story is a little more complex than just "acid casualty" alone.

Also, I am a fan and enjoy boring you all to tears with this :- While Syd's exit and the reasons can be debated there is little argument that a Syd-less Floyd was not ready for prime time initially, though they would recover quickly to their great credit.

Roger Waters was left to assume control and was far from ready to be lead songwriter though he must be given huge credit for keeping the ship afloat through this difficult period. Saucerful is a big step down from Barrett's masterpiece of psychedelic whimsy and underground folklore. To reduce the reason for this down to the simplest bottom line, it just lacks the incredible spark that happened to be in Syd's grasp in those few months while Piper was being cut.

It lacks the wide-eyed enthusiasm they had in their first months before things began to sour. Saucerful is not horrible though and within the tracks can be heard scraps of the band they would become in a few years. Gilmour's first recording session with the Floyd took place on January 10 of This was also one of the first tracks the new line-up worked on together.

Gilmour contributes a somewhat tentative solo towards the end as Wright's keys swirl around it all. I love the mood of the song which is so melancholic and the theme of wanting to remain in an earlier more pleasant phase of life. There are very nice piano parts by Wright here that contrast well with the slide. Apparently Mason couldn't manage his drum parts on this song and so they are played here by producer Norman Smith who also contributed some backing vocals.

The song features prominent keyboard work by Wright and Mason's typical rolling drum variations along with various sound effects. There has long been controversy about Syd's contribution to this track. According to David Parker's excellent book "Random Precision," which documents every early recording session with actual studio records and handwritten notes off the EMI tape boxes, the version that appears on Saucerful is take 2 from the August 8, session and is Barrett on guitar, not Gilmour.

While Gilmour claims that some of his overdubs were added later Parker says there is no written evidence in the record to support this and there is no question that the version used on the album is the August '67 take. In a interview Dave would confirm Syd plays a bit on Set the Controls but still maintains he also is on there via later overdubs. Parker says the records do not show this but admits records aren't always perfect! Either way, the song is dominated by the main riff and would again be much better on future live versions.

There is some fine guitar work here by Gilmour and a Beatle psychedelic feeling at the end with the effects. The title track "Saucerful" is the only composition here written by the entire new band and is a source of disagreement among fans. As the longest track at 12 minutes it either makes or breaks the album for you. It features spooky sounding dissonant weirdness for the majority of the song. Some see it as incredibly boring and uneventful; others find the progressions and the bit of melody late in the piece promising.

Nick Mason believes the song is one of the "most coherent pieces" they ever did. He and Roger carefully planned the piece out on paper and there was a real spirit of cooperation and constructive work ethic in the studio. This makes complete sense because the band needed to prove themselves in a hurry-no one really thought they had a shot without Barrett.

One person who wasn't that happy was Norman Smith. After Barrett's departure he figured the boys would settle down and make some music that was more conventional, instead he wound up working on Saucerful which he called "rubbish. Rolling Stone agreed saying "the group and particularly Wright have achieved a complexity and depth, building nuances into the main line of the music, far beyond what is on the studio version or Ummagumma.

Around Wright said he considered his two songs "an embarrassment" with "appalling" lyrics and that he had not listened to them since recording them. I think he's being too hard on himself, they are decent enough flower-power pop songs even if out of line with where Waters and Gilmour were heading.

And then there is "Jugband Blues" the one track written by Barrett. It is surely far from Syd's best song but it is one in particular where the lyrics are more direct and biting than usual. It's an important song because it is almost a resignation letter, an open letter to the others indicating he was unhappy and that he knew quite well he was on the way out.

Some of the more obvious lines have been quoted to death but to me two other parts are the most striking. First we have the line "And I'm grateful that you threw away my old shoes. And brought me here instead dressed in red" which I believe is sarcasm thanking the others for bailing on him in advance and for making him something he was clearly not. I tend to think it's about the business making him act in a way that is uncomfortable for him. More biting is the sharp edge of the final two lines that tell me everything I need to know about Syd's departure from PF: "and what exactly is a dream.

There were two directions that PF could have taken. Syd's avant-garde, low-key, underground, counterculture band of artistic weirdness which he clearly wanted the dream or Roger's desire for big commercial success the joke. Any skepticism of this interpretation I had vanished by watching the video of the Jugband Blues performance on youtube, which hopefully will not been removed by the band. In it you'll see Syd singing and you'll note that Waters is just over his left shoulder.

Syd is very still mouthing the words and staring straight ahead. At the end when he utters the last phrase "a joke" he turns to look right at Waters as the cameras fade. Pretty clever for someone who supposedly had no idea what was happening.

Sure this is only my speculation but after all I have read on the subject it's certainly not a big stretch. This is a unique sounding album because Gilmour had yet to assert himself much and Waters was mediocre at best in the musical sense. Wright had the most formal musical training and certainly he was needed here.

If you'll notice when listening there are many parts of this album where Wright is actually the most active, impressive player. This is surely the most democratic band period the Floyd would manage, out from under Syd-control but not yet under Roger completely. The band would get the album finished and released by summer '68, while also touring extensively in Europe and the US throughout the period to introduce their new guitarist to the world.

There were probably few bands as good at live gig crisis-management than early Floyd and the Doors, always having to be ready for whatever crisis Barrett and Morrison respectively would throw at them! The cover was the first of many Floyd album covers designed by Hipgnosis.

So how to rate Saucerful? An interesting and mostly good album that fans will surely want to own but not an essential album by any means. They would develop their sound and explore their most fiercely progressive directions over the next few albums before refining and moving to the next level in the 70s. Waters and Gilmour have both been dismissive at times of their pre-Meddle material but their fans know better.

There is much there to enjoy despite the frustrations and dismissal of their creators social review comments Review Permalink Posted Friday, November 23, Review this album Report Review Said 'Corporal Clegg' is whimsical by name, whimsical by nature - flower- power tune which would be sacreligious to skip over.

Title track is an avant-garde tour-de-force, almost 12 minutes of experimental inspiration. Honestly, it needs to be heard to be 'mis'- understood. Very difficult to put this peice of prog history into words. Closing song, 'Jugband Blues' is pure Syd Barrett. Amongst its dis-jointed structure, lies a sort of completeness, and the tune seems to represent Syd's state-of-mind during this period.

The free-form section in the middle, complete with trippy for want of a better word organ playing and an improvisation from a local Salvation Army band couldn't befit the composition more precisely. Be prepared for some avant-garde stuff.

The title track sounds like just one sound collage attempting to describe an event I think it's a war, but I'm not sure. The collage at least has a point to it unlike other collage pieces, say ''Revolution 9'' different band. Traditional prog fans might find the last four minutes of the title track quite delightful as it is a choir-type thing revolving around an organ thing.

The other five songs have some sort of melodious ground, but it's really hit-or-miss in terms of how well each song grips you. Personally, I find ''Set the Controls Nothing special happens in ''See-Saw'' either, at least for me. Goofy guitar riffs, Nick Mason singing, annoying falsetto vocals and kazoo solos are what to expect here. I actually like it as the song gives me a good laugh. Not a particularly great Pink Floyd album by any means, but if you're bored of their classic stuff, give this one a try.

Together with the album's best-known song, the equally iconic "Set the Controls for the Heart of the Sun" whose definitive version is the one featured in the "Live at Pompeii" film , the track was written by Roger Waters, who was well on his way to becoming the band's true driving force. Those who maintain that Waters was a less gifted composer than David Gilmour should probably take a careful listen to both songs.

The mood changes almost abruptly with the following song, the Richard Wright-penned "Remember a Day". With soothing, wistful vocals that match the nostalgia-filled lyrics, it is a delicate, charming piece that is definitely easier on the ear in a musical sense, as is the the keyboard player's other composition, the lullaby-like "See Saw" in my opinion, the weakest track on the album.

On the other hand, the only two contributions by the departing Syd Barrett, "Corporal Clegg" and "Jugband Blues", hark back to the whimsy of much of PF's debut album, with endearingly zany vocals, odd noises and ironic, nonsense-filled lyrics. An album's title-track often acts as its focal point, and this is particularly true of the schizophrenic masterpiece that is "A Saucerful of Secrets". Over 12 minutes long, the track is introduced by an uncontrolled chaos of weird noises and hypnotic percussive patterns, a sonic storm that suddenly abates and is replaced by a solemn, organ-driven section, featuring features vocals somewhat reminiscent of a church choir.

In a way, ASOS reflects the nature of the album itself, and the circumstances in which it came into being. For those who have come to know Pink Floyd through their milestone albums of the Seventies, this record may well turn out to be a disappointment, since it is in no way as accomplished, let alone as polished as regards production values.

ASOS is a child of the late Sixties - raw, experimental, slightly incoherent - and as such captures the essence of an era in which creativity and envelope-pushing were rife. It also captures the full potential of the band just a few years before they took the leap that would lead them to conquer the world. An essential listen. This is the album were Pink Floyd was even if for one track a five piece as Gilmour swept in to take out insane genius Syd Barrett for Pink Floyd's second album.

This album was a giant step forward for the band. Where Piper At The Gates Of Dawn was a monumental album towards the birth of prog rock it was still mostly a psychedelic album which had a huge taste of what would later be labeled as "prog rock" in it.

This album saw Pink Floyd pull away a bit from the psychedelic music that they started by making, but still sticking to those routes somewhat. The music on this album is much darker than that of Piper. Most of the tracks proceed slowly and with a great amount of precision.

Let There Be More Light is an excellent sign of things to come from the band with Gilmour's chilling voice throughout while Remember A Day feels a bit more catchy but still along the same lines. The two biggest standouts of the album still have yet to come, though. One of Floyd's greatest masterpieces, Set The Controls For The Heart Of The Sun , is a cold sounding dark thriller which to this day doesn't sound dated as it takes the audience for a ride.

The longest piece on the album is the instrumental A Saucerful Of Secrets which is a reflective space rock journey which doesn't quite measure up to Interstellar Overdrive but still manages to provide quite the trip.

While Piper. This is likely Pink Floyd's most accomplished album pre- Meddle , and certainly worth having in your progressive collection. This second Pink Floyd album is not as groundbreaking as the debut album, and the songs are generally much weaker than on the debut. It would take Pink Floyd several more years before they found their direction.

The very experimental title track is basically just atonal noise for over 10 minutes with no structure at all. In describing the quality of this song I am tempted to use words I'm not supposed to use on Prog Archives, so I'll just leave it at that! I pose a question instead: Is this supposed to be adventurous and interesting music? This is one of the worst albums I ever heard by a well respected band! But I read in several books and in the web that after their first album with Syd Barrett it really was going to be very hard for them to survive without him.

He really was a creative force in the Pink Floyd Sound despite Waters underrated him in later years until Wright was forced to leave the band in The title track, A Saucerful of Secrets, is still very experimental, and it was the first song composed by Waters-Wright-Mason-Gilmour.

This studio version is better than the live version included in Ummagumma. In conclusion, this album showed that Pink Floyd could really survive without Barrett and without composing and recording hit singles like they did in with Barrett. David Gilmour was still finding his place in the band, but his guitar playing was good. He really helped the band a lot to suvive without Barrett, and this album shows a bit the new sound for the band for their next albums.

As such, the descriptive words are vague, and the music and atmosphere must speak for itself. It remains a peak of Floyd's early psychedelic career, and also a challenging, bold entity, and is compulsary listening for anyone interested in Pink Floyd, psychedelia, atmospheric or experimental music, with a sort of spiritual significance that goes beyond plain atmosphere.

Not to be missed out on. For a chap who'd heard only Meddle On this album, a more impressively tasteful, distinctive and threatening drummer could not be found. Mason isn't just an, admittedly very valuable, cog in the Floyd emotional machine, here; he is a standout in any sense of the word. His classical-sounding fills and rhythms are one of the most interesting aspects of a none-too-shabby album. Barrett's performance, though brief, is comprehensively winning, and the three remaining members are perhaps at their best in the dark, brooding atmospheres of this album.

Gilmour manages to pull off the most mislocated blues solo with verve and grip, Wright holds complete emotional clutches, and Waters' bass parts are all distinctive, though less obvious than the others. From a playing side, in my opinion, this is where Floyd were at their best. A chugging rhythmic bass drags us headlong into the psychedelic grandeur of Let There Be More Light, an eerie number, providing a heady feeling of being surrounded by the music.

Enigmatic, nervous and invocative whispering is alternated with a superb confident vocal line, trading off ambiguous, evocative, spaced out lyrics. Wright's organs and Mason's very 'psych' percussion, complete with ingenious fills, provide a feeling of unchartered depth, while the snarling bluesy presence of Gilmour adds in some distinct presence. One of Floyd's best pieces, in all respects, and the overwhelming menace and atmosphere of the final 'jam' needs to be heard.

Of the two Wright pieces, Remember A Day is probably the better, opening with an absolutely enthralling bit of hollow piano supplemented by an understated acoustic guitar, before moving, a bit abruptly, onto a 60s pop number, albeit with distinctive drumming, a screaming background guitar part, and the occasional interesting piano line.

Certainly the haunting atmosphere, when Wright moves off the vocals onto the organs, does more than make up for the slightly twee main body of the song. A good effort, and certainly interesting, but I can't help feeling it could have been better. Set The Controls For The Heart Of The Sun is one of the archetypal Floyd numbers, a moody, cold and dark piece, with some absolutely stunning presence from Mason on a very classical set of percussion , a mechanical bass part from Waters and the reverent vocals holding up the stark, daring atmosphere while Wright and Gilmour, menacingly devoted to their effects pedals, remain bleak and mysterious throughout.

Almost an incantation: secretive, haunting, and distinctly giving the feel that there is something you don't know, and shouldn't know, complete with a foreboding set of lyrics. Stunning, if you're willing to listen to music that makes you feel out of the loop. Corporal Clegg is the comic relief of the album, though no less biting or experimental than any of the others, with some very sharp, punching guitar lines from Gilmour, vocal harmonies and madness of all sorts The mocking bassline, curious tish-a-tish rhythm and absolutely hilarious kazoo solos and bulldozer sound effects just add to the general chaos.

Cheerfully insane, and a great listen. The title track, a twelve minute extravaganza, initially relies heavily on volume-shifting, trembling organs, mysterious percussion, coming in start-stop bursts with little explanation, or care, and the background intrusion of other instruments, whether screaming guitars, nervous, twittering harmonica I think, could be guitar , and thunking, off-key piano chords. Blocks of noise, searching runs, nonsensical bleats, it all adds together to produce one effect: alienation.

This drops to a close for the presence of a solid, repeated drum line and desperate, lower-end, vicious piano swipes, overlaid with some screamingly unforgettable guitar effects. The only real constant is a dead end Wright, left alone, takes a sudden control, a slow, soul-searching, knowing organ, forming out of the chaos of the rest of the piece a sudden all-grasping order.

As choral calls and soothing mellotron emerge to join this framework of peace, the piece reaches its reverent conclusion. Absolutely incredible, and a necessary listen even for those who aren't fond of Floyd's more popular material. See-Saw, the second Wright number, is a bit less memorable, but perhaps ironically a bit less unpredictable in quality, since it has a more interesting set of lyrics and a consistent progressive attitude, whether from Mason's absolutely fantastic, pattering drumming, the crazed production I love crazed production , some deliberately jarring piano bits, or the plain sound innovation from Wright and Gilmour.

Wright's voice is also great here, and the interest of the song is perhaps let down from the lack of verve behind it. Jugband Blues, the Barrett finisher, is another highlight, going through as many distinct sections, carnival flare, little acoustic ditty, determined atmosphere, calm, off-beat pop chorus, complete silence as most epics in only a couple of minutes, all of them catchy, effective and moving in their own way.

Syd's vocals and the harmonies are all great, often unusual bass throbs and a menacing Wright organ solo add colour and compositional oddity in a way I've never really heard elsewhere. The final words, the melancholy, 'and what exactly is a dream, and what exactly is a joke? So, there you have it. An album with tunes I'd want to go and see live, embryonic and developing, rather than a mercilessly perfected statuesque creature like Dark Side or Wish You Were Here.

An enigma, and one of, in my view, the most interesting drumming albums I've heard. It helps that it contains what's possibly now my favourite Floyd tune, the incredible A Saucerful Of Secrets. A must-have, and, a masterpiece of progressive psychedelic music, though not a flawless album. This album continues in the psychedelic vein of "A Piper At the Gates At Dawn" though it starts to mnove in a different direction. The minimal input from Syd Barret and the arrival, though not yet in full force, of David Gilmour, help to make this a more coherent work, with strong contributions from Rick Wright, in an era where the band was much more democratic that it came to be.

There is one outstanding track, in my view: "Set the controls for the Heart of the Sun" is at the same time psychedelic but progressive, very obscure and haunting, dark, this Roger Waters' creation is the highlight of the album. Very percussive and atmosphere-rich, it stands out over lesser tracks like the more down-to-earth opener "Let there be more light" or the irrelevant "See-Saw".

There are two tracks that need mention. One, the title track, a psychedelia's fan's dream, full of effects and lacking any proper "song" qualities, can be either viewed as an accomplishment or as a disaster. I stand somewhere in the middle. Two, "Jugband Blues", Barrett's only contribution to this album, and without a doubt its weakest piece. I'd give this album 2. As I can't, i'll round off this time, as i think other works like "Atom Heart Mother" deserve that third star much more clearly, and have to be differentiated from this uneven disc, even if we have to use a star-rating to do it.

Stylistically the music on the album is psychadelic rock. While most tracks are pretty simple psycadelic rock tunes, the haunting "Set the controls for the heart of the sun" is an intense repetitive track which shows the more adventurous side of the band.

The minutes long title track is a long psychadelic jam which in those days was probably considered quite experimental and inventive. The musicianship is on a high level and Pink Floyd proves to be innovative in both thought and playing style throughout the album. The album is packed with beautiful psychadelic organ from Richard Wright and great guitar parts too from David Gilmour even though he is not as prominent here as he would be on later recordings.

Great sedated vocals and harmonies, and a loose and organic playing rhythm section which suits the music perfectly. There was still so much progression to be made in the music industry. Where their debut was still a song driven album, referred to as psychopop, this a fully psychedelic album with very little commercial tendencies. Which is good in my opinion! Let there me more Light is clearly a composition made by Roger Water intended to resemble the great Astronomy Domine.

Though I still prefer the latter, this is a great Pink Floyd song. I wished they played material like this on their live dvd's! Spacey, vocals of Water and Gilmore and with a punching beat this is a great progressive achievement. Remember a Day is great song of Rick Wright. Beautiful chords and lyrics are the basis of this classic song.

Set the Controls for the heart of the sun is a good example of Pink Floyd heading into psychedelic depth. The song became a live favourite by the fans. It was so played so often that the song grew to a masterpiece on the Live at Pompeii film now on dvd! The original is nice, but sounds still a bit incomplete. Corporal Clegg has been blamed for ruining the album, but I disagree. It has nice melodies and the stupid part in the middle is part of the psychedelic search.

On side two A saucerful of secrets is the dark no completely black opener. Dark progressive soundscapes are introduced here by Pink Floyd. This is somehow the Pink Floyd I like most. The somehow spiritual vibe of psychedelia, the devotion of four man playing their instruments like they we're never used before. This ain't easy listening nor soothing, but it touches my very soul. His presence has been unnoticed until this last song. I think it's better to place this record in the Water-Gilmour-Wright period then in the Barrett period.

A great ground-braking psychedelic record of the second classic Pink Floyd formation. Waters-Gilmour-Wright continued the songwriting duties Barrett had left and succeeded to make a worthy second record. Four Stars! It starts with very strong song in fact all the A-side is good enough , but slowly goes deeper and deeper in psychedelic visions. Whenever still a Barrett album, you can feel more Waters and other guys in some songs. Some very first signs of future WYWH sound presented yet! Record quality is good for it's time, still some interesting sound effects are presented.

The same level, as debut one, and last really psychedelic PF album. Despite its obvious flaws I've always enjoyed this one a lot. It has a very dark and moody feel that flashes me right back to those rainy winter afternoons when I was 12 and playing this weird record on constant repeat together with Umma Gumma. Let There Be More Light , the title says it all. It's one of my favourite early Floyd tracks and a defining space-rock track: eastern tinged melodies, dark sound effects, pulsating bass, dazed vocal melodies and spacey guitars.

What a departure from the debut. Welcome David Gilmour. Remember a Day is a Richard Wright song featuring his known hesitant melancholic vocals. It has a very romantic mood, not as strong as the opener but still very charming. Next on is Set the Controls , the ultimate space-rock track, again with a very eastern melody and Nick Mason's invigorating percussion serving as an entrancing base for the sonic outbursts from Gilmour and Wright.

Every live version of this track is better then the embryonic form that it still has here, but nevertheless it's a landmark moment, hugely influential on both kraut, progressive electronic and space-rock. Corporal Clegg would have fitted better on the debut. It's still fun but it has none of the visionary power of the preceding tracks. The title track is the most experimental moment on the album, not as good as The Heart of the Sun but very powerful in its live version on Umma Gumma.

See-Saw is the second Wright track but it's less captivating then the first. Jugband Blues is an enjoyable track from Barrett but it pales greatly against the ground-breaking music that preceded it. It's a tough conclusion, but I very much doubt if anyone of us would be marvelling at the Floyd right now if Syd had been able to stay in the band. Who knows. It's sure not the most consistent album in music history, not by a long stretch. But this is from and back then, Pink Floyd was pretty much inventing everything they did while they were doing it, without any examples to emulate, without anyone to advise them but their own stubborn will to explore and create music history.

Water's elastic and circular bass riff which allows Wright's overlying implied organ harmonies to move neurotically around it has been borrowed by everyone and their dog ever since. Similarly that particularly Floydian take on oriental tonality and eastern inflected phrasing, has come to represent our idea in the west of what Indian classical music might actually sound like. It doesn't but that's not the point, ethnic forgeries fetch more than the originals in this marketplace The lulling and sensual derangement of Barrett is never far from the surface and as to what his practical contribution to the album may or may not have been, his spirit nevertheless permeates every track here.

Remember a Day - Floyd revisit the softer poppier psychedelia of Piper on a song worthy of anything of a similar hue contained on the latter. They splice together very appropriately the childlike and the sinister elements that coexisted so effortlessly in Syd's oeuvre. A song so dreamily trippy that every copy of Saucerful should have shipped with a complimentary set of finger cymbals.

Set the Controls for the Heart of the Sun - Notwithstanding the hedonistic spacey abandon that this track celebrates, there is a nihilistic darkness at the heart of the Floyd critter as evidenced by the title and a somewhat ambiguous lyric: Who is the man who arrives at the wall? Waters clearly believes that the eternal cycle of sun nourished life would be much better off without the meddlesome questioning of any kind of sentient middleman.

Had Apocalypse Now had a European director and been set in the failing British Empire of India, you have in your paws a much better soundtrack than the otherwise excellent one provided by the Doors. Surface amusing but thick with irony and a snarling critique of the exploitation of war heroes who lay their lives and mental health on the line for a patriotic idealism not shared by their lords and masters.

Almost a sister song companion to I Am the Walrus : He's never been the same, no-one is to blame Mrs Clegg you must be proud of him, Mrs Clegg another drop of gin? Like so many innovative facets of this album, it is all too easy to forget that caustically bitter triumphant fanfares had their painful birth throes here. Ditto for the cackling distortion applied to the vocal to imbue same with an unnerving menace.

A Saucerful of Secrets - Pink Floyd at their least cuddly i. Perhaps even more tiresome than Interstellar Overdrive as this is shorn of even the mitigating uber riff of the former. Perfect opportunity to get some finger cymbal practice in though. Things do perk up significantly after 4 minutes or has it been days? The emptiness is now full to overflowing. Circa nine minutes you will be rewarded for your industrial strength patience with a deliciously ethereal organ chord sequence that simply blows the likes of the heavily saturated 'Margarine' Dream out of the flotation tank.

See Saw - Mercifully, a welcome return to economy and melodic intent albeit on a rather convoluted 'Syd by Numbers' appropriation which proves if nothing else that Barrett's apparently whimsical creations had an unforgiving internal logic that his imitator's and wannabes sorely lack. It might just be me but I always detect a whiff of incest on this cryptic tale of a brother and sister? Another time another day she'll be selling plastic flowers on a Sunday afternoon Picking up weeds she hasn't got the time to care all can see he's not there She grows up for another man and he's down.

Jugband Blues - Heart rending that it had come to this. A very fine and memorable song but one I find hard to listen to without being saddened by the demise it precipitated in its author. Perhaps this represents Syd's first disoriented steps beyond the cusp of 'wholeness' on a composition that you could be forgiven for thinking is the product of a bicameral mind.

It's doubtful if Syd would even have remembered writing, performing or recording this number. And I'm wondering who could be writing this song I don't care if the sun don't shine and I don't care if nothing is mine and I don't care if I'm nervous with you I'll do my loving in the winter and the sea isn't green and I love the queen and what exactly is a dream?

Despite the inexorable advance of Syd's deteriorating mental condition, he continued to be able to produce work that carries the indelible mark of true greatness on two solo albums before the muse, without turning its back, left silently and forever leaving the piper alone at the gates of delirium. From this point onwards, Floyd's output was of very little interest to me.

I don't consider what followed any less accomplished than the first two albums but for this rodent, Pink Floyd were a brilliant pop group with a song-writing genius on board. Once the latter had disembarked that vessel at the behest of a mutinous crew, they became just an incredibly talented and innovative rock band. Not me. Most people, including the band themselves, will overlook it, especially in terms of categorisation, as it doesn't really fit into the "Barrett phase" or the "post-Barrett experimental phase".

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Michael Silver Michael based on this, see the Basic. How do I 1 1 bronze. How to check The cryptocurrency market. Simple export facility work or essential engines, a drop working from home, of collations, and. The same graphical user interface as.

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AllMusic described that with A Saucerful of Secrets , "the band begin to map out the dark and repetitive pulses that would characterize their next few records. With Barrett seemingly detached from proceedings, it came down to Waters and Wright to provide adequate material. At least one other song, "John Latham", was recorded during these sessions, and has been released. A Saucerful of Secrets was the first of several Pink Floyd album covers created by the design group Hipgnosis.

The stereo mix of the album was first released on CD in , and in was digitally remastered and reissued as part of the Shine On box set. The mono version of the album has never been officially released on CD.

In a retrospective review for AllMusic , Richie Unterberger draws attention to the album's "gentle, fairy-tale ambience", with songs that move from "concise and vivid" to "spacy, ethereal material with lengthy instrumental passages". In , Mason named A Saucerful of Secrets his favourite Pink Floyd album: "I think there are ideas contained there that we have continued to use all the way through our career. I think [it] was a quite good way of marking Syd's departure and Dave's arrival.

It's rather nice to have it on one record, where you get both things. It's a cross-fade rather than a cut. From Wikipedia, the free encyclopedia. This article is about the album. For the band, see Nick Mason's Saucerful of Secrets. Pink Floyd. Psychedelic rock [1] experimental rock [2] space rock [3]. Main article: List of unreleased songs recorded by Pink Floyd. Both tracks were first officially released on The Early Years box set in November One of them played the banjo, the other the saxophone ISBN Retrieved 3 April Although Pink Floyd found its own origins in the psychedelic rock of the late s—most notably in The Piper at the Gates of Dawn and A Saucerful of Secrets Archived from the original on 21 May Retrieved 25 January Retrieved 23 August Westport, Conn.

London: Faber. Oxford: Oxford University Press. London: Plexus. Pink Floyd — Uncensored on Record. Coda Books Ltd. Retrieved 29 October The Rough Guide to Pink Floyd 1st ed. London: Rough Guides. Cambridge, MA: Da Capo. Archived from the original on 9 October Retrieved 9 October London: Omnibus. ISBN X. The Telegraph. Archived from the original on 16 March Retrieved 9 December Archived from the original on 26 October Retrieved 30 October Pink Floyd — The Music and the Mystery.

Chicago: Open Court. Frieze Archived from the original on 3 November Retrieved 15 December Archived from the original on 19 November Retrieved 14 November Den of Geek. The Daily Telegraph. Archived from the original on 27 December Retrieved 27 December Acclaimed Music. Archived from the original on 22 September Retrieved 29 August The Encyclopedia of Popular Music.

Omnibus Press. Retrieved 15 August Reissue Series". Archived from the original on 24 September Retrieved 26 August Rolling Stone.

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