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Pink Floyd Song Reviews - Don Ignacio's Music Reviews. Pink Floyd Song Reviews.
Piper at the Gates of Dawn (1. Read the full review: Piper at the Gates of Dawn. Astronomy Domine.
A+Ouchiewawa! And what's with this incredibly strange song? It starts out with some spaceship radio noises and Morse Code (that probably doesn't say anything) before some really out- there guitar chords come in. Barrett's tone deaf lead vocals sound like he just woke up from a really strange nightmare, and based on the lyrics, he probably did.
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Yeah, that'll probably do that to you.) The development of this song is really unusual, to say the least. Things are constantly stopping and starting again.. There's a funny psychedelic jam in the middle where the guitarists seems to be playing anything they could think of while Nick Mason pounds his drums almost as though he was playing a death march. Rick Wright's organ noodling also plays around willy nilly some of the most cosmic things he could think of. What an entertaining, weirdo song!
The lyrics don't make sense, but that's partly why this is so fun. The instrumentalists are also trying their hardest to limit the outer space trippiness of the previous song .. You know, trippiness is a relative thing in this album.. I marvel over the catchy melody, and the solid guitar groove. The first two lines about a king make sense, but after that it loses me. These are indeed the writings of a half- psychotic man.
The music itself is really fun, too. The atmosphere is very dreary this time, and nowhere near as exciting as the previous two tracks. And the melody is rather simple this time. Most notably, Wright turns in a pretty freaky organ solo, while someone whispers “cchks, aahh” in the background. I don't think it gets more freaky than that dissonant organ chord and those wolf calls at the beginning of this. The rest of this song is pretty creepy, too, with a number of trippy sound effects and noises inserted throughout.
I've counted a cuckoo clock, jangly tinkling things, whooshing sounds, clicking noises.. They just did whatever random thing came to their mind. And there's such a heavy level of weirdness that I'm sure there are a lot of people out there who tries to sort everything out.
The fact that Barrett came up with a children's melody to it just makes it creepier. Toc H. B+. Power touch? I guess that name is code for somethin' .. Geez, this is another weird one. Something that the band recorded live, apparently, which goes to show that they were both extraordinarily talented and extraordinarily freaky. The strangest bits are at the very beginning where we hear some squawking and dopey animal noises. Then, Rick Wright comes in playing a bouncy lounge piano while Mason plays a 'jungle rhythm.' Things are normal, right?
Some dissonant guitar noises come in with the expressed purpose of messing with my mind. He's trying to match Syd Barrett's creative insanity, and but you've got to be *truly* demented to come up with something quite like that. Even the lyrics don't work in that sense. He's just rhyming random things together ..
If this were Barrett, there would have at least been some sort of barely logical thread running through them. The thing that makes this song worth listening to is that jam in the middle!
It's not very trippy this time, they're going nuts. And early Pink Floyd going nuts is cool. Even if it was on purpose. I hope not, 'cos I do! This track is nine minutes long and it's a complete blast from beginning to end. It's meant to illustrate what it's like to travel in space if you're high on LSD (it's the only way to travel), and I can't imagine anything that's more appropriate.
It opens with a catchy riff, but that quickly evolves into an elaborate, psychedelic jam. These guys were just hitting crazy notes, making all sorts of dissonant sounds.
Mason's evolving drum patterns are an intricate part of this experience .. The strange synthesizers and echoey guitars also frequently come in to give their own strange ideas. The bass guitar and rhythm guitar help give the song some exciting texture..
Not only has this got to be the most original space- jam in the history of mankind, but it's also engaging from beginning to end. The good news is that the lyrics make sense for once. The bad news is, you might not want them to. This song appears to be about a little gnome going for an adventure, but the tone of the song is so weird that it seems rather sinister.
This is also a bona fide children's song, which makes it even more disturbing way like they're trying to mess with our inner child! Especially that whisper noise is prone to sending a shiver up my spine. I can't say this isn't effective! It gets a B+ for that, but the melody is a little dull. The lyrics were apparently taken from a Chinese proverbs book, and so they're not nearly as psychopathic as the others.
Also, the melody isn't very interesting and neither is the instrumentation. They're just layering on these boring, dreary sounds that never gets interesting.
The good news is this is the only uninteresting song of the album.. Syd Barret's vocal melody is OK, but not one of his better ones obviously. This is a partly engaging song, but it leaves something to be desired.
And when I say “delightful,” I mean it's the sort of song I'd listen to willingly while it tries to rewire my brain. The central melody is another one of Barret's childish affairs and it's also carnival- like. It's as though Pink Floyd was the mad ringleader of our minds. The lyrics about mice, gingerbread men and rooms full of musical tunes also fits that bill.
The overall pace of the song is very menacing and it's quite wicked. The second half of the song is more of a sound effects medley filled with funny duck squeaks, clanky noises and whistles. It's a real musical freak show. Ah yes, this was the psychedelic era, and it was awesome indeed.
Sort of groovy in a space- man sort of way. A creepy organ starts to play quasi- dissonant noodles in the background, and a tinkly cymbal plays around. Not too terrible, but not exactly mindblowing either. For whatever reason, they decide to bring in a pop melody. That's all fine, you know, but it sounds exactly like that playground nursery rhyme that goes “Miss Mary Mack, all dressed in black..” Not that I mind being reminded of the music from my childhood, but that was kind of a dumb melody wasn't it?
They bring in a more fuller and satisfying chorus with more dynamic singing and the guitars going nuts.. But it's nothing spectacular. It doesn't smack you in the face like the Barrett compositions did in Piper at the Gates of Dawn. But all the same, they come up with enough funny ideas to generally keep the thing interesting.. Particularly a really detached guitar solo in the final third with these nutty rumbling organ noises in the background. Certainly I could understand if this song has its fans as I'm sure it does. This seems so freaking detached.
It's like it knows it can't have any effect on the world, and it doesn't even try. The vocals are dreary and weary, and they get a little bit lost in that heavy orchestration. The drums are very loud, making almost tribal proclamations throughout. And then there are all sorts of watery, rubbery, beeping synthesizers whooshing in and out of the speakers. This song also sounds extremely detached like the previous one, but this has more of a dead- ahead, solid structure to it.
Part of that is because it's extremely repetitive with just a single bass riff repeating all the time. In the background, xylophones are twinking around and, once again, the keyboards are playing some of the spaciest stuff it could come up with. This does as good of a job as anything dragging you into a hypnotic- like state and then messing with your brain.
Nonetheless, it's an altogether decent song. The disjointed vocal melody sort of works, but again, I wonder why they buried their vocals so much behind the squeaky, sirenesque guitars. The chorus is OK, but kinda flat. There's even a goofy, Monty- Python- esque part with a bunch of crazed kazoos. Sort of funny, but also a little bit off- putting. Again, I sort of like the song, but I'm not very wild about it.
It's an instrumental that runs nearly 1. Personally, I find this extremely creepy and dissonant epic to be quite the crazy experience. It's much less exciting and bracing than “Interstellar Overdrive” was on the previous album, but this one tries to turn our heads inside out. The first four minutes are basically a series of squeaky notes and what I gathered were light, tormented screams in the background. The drums are introduced after that, but they prove to be only part of the sound effects as a number of whooshing sounds, random piano chords and backwards tapes zip in and out of the speakers. In the final third, things get considerably calmer as the instrumentation is briefly reduced to a simple organ chord progression.. This calmer part, I suppose, is the earliest hint that their brazen psychedelic tendencies were going to turn into the cool way they'd do things in their classic era!
Overall, I guess this is what they call avant- garde. Not for everyone's taste, of course, but I find it difficult to tear my attention away from it. So, I guess that means it's successful.
But at the same time, I can't quite bring myself to hating it. He almost seemed uncomfortable singing.. I can barely even hear him! The melody again is strange and detached like a Barrett, but it's missing that maniacal energy. The instrumentation is something else, as it usually is on these early Pink Floyd records.
Somewhat coherent bubbly, twinkly and whooshy sounds provide the backdrop as well as a prominent array of mellotrons and plompy guitars. It's not uninteresting, but it's also not too exciting. There are reports that he would never perform a song the same way twice. I get the feeling that the rest of the band was trying to catch up with him, but had no idea where he was going with it.
Either that, or they were intentionally sounding this completely disjointed.