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Reviews (3)
06 Sep, 2006
Floyd's Piper At The Gates
1 of 1 found this helpful "The Piper At The Gates Of Dawn" is the only Pink Floyd album dominated by founder member Syd Barrett. Barrett, who died recently, was already drifting away into his own private world by the time of the album's release in summer 1967, and so the recording sessions caught him at the height of his powers.
Pink Floyd had recently enjoyed 2 hit singles: "Arnold Layne", a bizarre ditty about a man stealing women's clothes from washing lines, and the thoroughly commercial games-for-May romp of "See Emily Play". The "Piper" album brought everything together and epitomised the summer of '67 as powerfully as the Beatles' "Sgt Pepper" or Procul Harum's "Whiter Shade of Pale".
I was too young to hear the album in 1967, but caught up with it in 1974 and it's been a part of my life ever since; ebay was an ideal place to find it on CD.
"The Piper At The Gates Of Dawn" has eleven tracks, eight of them Barrett songs. Syd was also the lead singer and lead guitarist - very much the "main man". Roger Waters also contributed vocals and played bass guitar, Rick Wright was on organ and piano, and Nick Mason played the drums. Dave Gilmour wasn't in the band just yet.
"Astronomy Domine" is one of the most thrilling opening tracks on any album, ever. The lyrics, when viewed on a page, give no hint as to the enormous strength the song acquired once the Floyd added music: the fade-in, intercom chatter, swooshy space effects, and guitar, bass, organ and drums playing in total harmony and sympathy - the listener really does get a feeling of leaving this Earth and orbiting the planets above. The instrumental track "Interstellar Overdrive" does the same trick on side 2, although it's a more drawn-out affair.
Tracks 2, 3 and 4 are also Barrett songs: "Lucifer Sam", "Matilda Mother" and "Flaming". Fast, slow and mid-tempo, they complement each other brilliantly. Barrett's lyrics range from the evocative ("Aross the stream with wooden shoes Bells to tell the King the news" etc) to the downright playful ("Sleeping on a dandelion too much I won't touch you but then I might").
Next up is an instrumental, "Pow R. Toc H." It's arguably the weakest track on the album, but is still a fine example of "The Pink Floyd Sound", the band's unique selling point that would propel them to greater heights after Barrett's departure.
Side one ends with Roger Waters's no-nonsense "Take Up Thy Stethoscope & Walk". Its "Doctor Doctor" refrain and high-energy instrumental break is a million miles away from Barrett's more poetical and melodic output.
After "Interstellar Overdrive", Barrett takes over again and the final four tracks on the album are his: "The Gnome" and "Scarecrow" are almost childlike in their charm and simple observations, whereas "Chapter 24" is a mystical ode to the virtues of change, action and movement. The final track, "Bike", has many admirers, but I've always found its eccentricity rather uncomfortable. Some of the lyrics are hilarious ("I know a mouse and he hasn't got a house I don't know why I call him Gerald"), but when Syd enters his "room of musical tunes" at the end, you know that in real life he's retreating into his own private world and his days with Pink Floyd are numbered. Sad.
After this album Syd left the band, Dave Gilmour joined and Pink Floyd went global. But "Piper..." remains an astonishing record. It could only have been released in 1967, and is the sound of a young band making brilliant music.
07 Jun, 2006
Talking Heads - True Stories CD
1 of 1 found this helpful "Remain In Light" and "Stop Making Sense" are what most 1980s music fans probably remember about Talking Heads . But "True Stories" from 1986 is arguably the band's most accessible album. In the film of the same name, the songs are performed by the characters shown in it. So this CD isn't a soundtrack, but instead Talking Heads' versions of the film's songs.
There are 10 tracks, including two versions of the hit single "Wild Wild Life". Throughout the album the band's playing is tight and disciplined, and good use is made of guitars, electronic percussion and synthesisers.
"Love For Sale" is a rousing declaration of intent, and "Puzzlin' Evidence" immediately follows: it conveys a sense of urgency and there is excellent gospel-type backing. "Hey Now" and "Papa Legba" introduce chanting and African rhythms, and might - just might - have inspired Paul Simon's "Graceland", which was released in the same year. "Radio Head" and "Dream Operator" are both good songs which could easily have been released as singles, and "People Like Us" is thoughtful, homely and the nearest Talking Heads ever got to a country and western song. (Normally I can't stand C&W, but I'll make an exception here!) "City of Dreams" is slower and reflective, but like the other tracks is also optimistic and humane.
The film was made in Texas, as was much of this album. The music successfully complements David Byrne's observations of smalltown America, and the overall effect is benign and enjoyable. The band's members are in total harmony with each other and clearly enjoyed making this album. Not everyone will like "True Stories" of course, but even people who normally consider Talking Heads to be outlandish, or even downright weird, might like this record. It makes absolutely no concessions to mid-80s overproduction and schmaltz, and as such it sounds far less dated than so many other albums from that decade. Try it: you might be pleasantly surprised.
24 Nov, 2024
Carbon monoxide alarm
Simple to install and easy to test. It comes with 2 batteries provided - another plus. Hopefully good for the next 10 years!