10 and everthig after
Sorry pottel, but when speaking of Echoes, I don't get it with this part, 10min. and after that
- 2,5 mins of "sounds", what in the world??
Yeah MK could have done that just to make Telegraph Road not 14:15 but 18min long!
Don't get it... Sounds to me as if they had to make an "art rock song", which of course cannot be short, so they recorded 2,5 mins of sounds just to be on the safe side. The solos and other parts are good, but if I wanna listen to "sounds" I can switch on a discovery channel whale documentary...
I like Shine on much much better, now that is a song!
Meddle, (the album from which original "Echoes" come from), was a transition album. Many things have been written about it, but fact is that the sound in this album has as much to do with their previous recordings, but even more and for the first time there are obvious hints for the sound of the future, "Dark side of the moon" onwards. The heavy shadow of Syd was almost out of the picture, and the dominance of Waters was yet to come. What's more, it was a time when the band after having recorded experimental records, with admittedly great unexpected success (I guess albums like Ummagumma or even Atom heart mother, are "hard nuts to break" even with today's standards) and away from their heart's desire, to make music more to the point, even "pop", were free to define their future moves without fear. Anyway, they went back to the studio with no new compositions, just a riff or two and a couple of ideas-each member (those days all members were contributing equally, well Mason less) . The pressure to record something quickly was obvious, and like a boiling pot, all the ingredients went in and something completely new and magical came out. Echoes must be 20 or so ideas stitched together to make this opus. And believe me it is an epic song that works. Even the peculiar sounds (one of the ideas, it is more obvious how and why it works at the "live in Pompeii"), are fantastic, but should be heard in the context, like a classical piece of music, and not dissected and examined separately. You should also take into account that at the same time, most of their recorded output was for films, and that might explain many of the "sound-scape".
(I would certainly recommend listening to the "More" OST. Fantastic! Contains Cympaline, the Nile song and Cirrus minor, all top notch songs that work even without the film, a thing I can say about the "Zabriskie point" compositions. )
As for WHALES, you should give a try to this Judy Collins song. It is magical!
