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Track Listings
| 1. One Of These Days |
| 2. Pillow Of Winds |
| 3. Fearless |
| 4. San Tropez |
| 5. Seamus |
| 6. Echoes |
Product Description
Amazon.co.uk Review
For all that menacing, hatchet-happy growl at the beginning of Meddle's opener, "One of These Days", Pink Floyd really weren't about to "cut you into little pieces". Meddle did, however, show that the reigning British monarchs of 1970s-era psychedelia could rip into galloping jams. It also showed what its predecessor, Atom Heart Mother, promised--that the band could excel in long, breathtaking suites that revealed strains of late-classical music, Sun Ra-inspired space explorations, and a patchwork approach to colliding sounds that together took on acid-drenched proportions. And if all that isn't enough, "San Tropez" revealed a playful side of the band, playing footsy with loungy jazz and having good fun in the process. --Andrew Bartlett
Description
MEDDLE was the first album to hint at the musical identity that would define Pink Floyd in the mid to late '70s. Whereas prior releases like UMMAGUMMA and ATOM HEART MOTHER announced the presence of new singer/guitarist/songwriter David Gilmour, MEDDLE represents the band's Gilmour-influenced evolution toward a sleek, epic, spacey sound. In "Echoes", an ambitious 23-minute soundscape, the pinging of a synthesizer greets the listener before Gilmour's warm, open guitar and gentle crooning gives way to a repetitious, workmanlike rhythm.From here, the music fades into an abyss of whale calls andeerie sonic reverberations.
Elsewhere, Floyd dabbles with straightforward cocktail-hour jazz ("San Tropez") and a twisted slow blues ("Seamus"). But it is "One Of These Days", MEDDLE's opening track and lone radio staple, that truly previews things to come. Roger Waters's bass, played through a Binson echo unit, establishes the song's manically hypnotic groove, as Richard Wright's synthesizer bursts in and out, Nick Mason's off-kilter drum fills get tossed around, and Gilmour's guitar dive-bombs through it all. These varied sound effects, packaged in a song that clocked in at less than sixminutes, were a precedent for the masterpiece that was two years away: DARK SIDE OF THE MOON.
For all that menacing, hatchet-happy growl at the beginning of Meddle's opener, "One of These Days", Pink Floyd really weren't about to "cut you into little pieces". Meddle did, however, show that the reigning British monarchs of 1970s-era psychedelia could rip into galloping jams. It also showed what its predecessor, Atom Heart Mother, promised--that the band could excel in long, breathtaking suites that revealed strains of late-classical music, Sun Ra-inspired space explorations, and a patchwork approach to colliding sounds that together took on acid-drenched proportions. And if all that isn't enough, "San Tropez" revealed a playful side of the band, playing footsy with loungy jazz and having good fun in the process. --Andrew Bartlett
Description
MEDDLE was the first album to hint at the musical identity that would define Pink Floyd in the mid to late '70s. Whereas prior releases like UMMAGUMMA and ATOM HEART MOTHER announced the presence of new singer/guitarist/songwriter David Gilmour, MEDDLE represents the band's Gilmour-influenced evolution toward a sleek, epic, spacey sound. In "Echoes", an ambitious 23-minute soundscape, the pinging of a synthesizer greets the listener before Gilmour's warm, open guitar and gentle crooning gives way to a repetitious, workmanlike rhythm.From here, the music fades into an abyss of whale calls andeerie sonic reverberations.
Elsewhere, Floyd dabbles with straightforward cocktail-hour jazz ("San Tropez") and a twisted slow blues ("Seamus"). But it is "One Of These Days", MEDDLE's opening track and lone radio staple, that truly previews things to come. Roger Waters's bass, played through a Binson echo unit, establishes the song's manically hypnotic groove, as Richard Wright's synthesizer bursts in and out, Nick Mason's off-kilter drum fills get tossed around, and Gilmour's guitar dive-bombs through it all. These varied sound effects, packaged in a song that clocked in at less than sixminutes, were a precedent for the masterpiece that was two years away: DARK SIDE OF THE MOON.
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