Add Review zelik January 8, Report. My copy has made In Holland printed on CD face!! Reply Notify me Helpful. Have: Want: Avg Rating: 4. CD en DVD collection by correltje. CD Collection by mcymd. The Best Album Covers by Anesthetized. Atom Heart Mother.
Father's Shout. Breast Milky. Mother Fore. Well, for me personally, this is a wonderfully crafted composition with powerful songwriting and great performance. Listening to this track is a joy and most of the time I realized that the end of the song seemed so sudden because of full of enjoyment throughout the 23 minutes duration.
King Crimson had already released "In The Court of The crimson King" but there was no track which consumed 23 minute duration. So, this track can be considered as a pioneer of long epic in prog. The remaining space of the disc contains songs that - for my personal taste - does not stimulate something stand-out, musically. The ballad "If" can be considered as a snoozer. Half way through of "Summer '68" is something on good intro but the coda part is something off-track.
Overall, this album still has a strong appeal to me because of the title track. The other tracks are not something that please my ears which I tend to skip them. I still consider this as an excellent addition to any prog music collection. Keep on proggin'.! The orchestral arrangements were composed by the band with Ron Geessin, who previously worked with Roger Waters in an album called "The Body".
Rick Wright particularly worked more with Geesin in these arrangements. Side Two of the old L. It also has good lyrics which seems to be about waking up after spending the night with a groupie. The next song, "Fat Old Sun", If - Pink Floyd - Atom Heart Mother (CD, composed by Gilmour, is another good song. What rating can one give to albums like this which are not liked by their composers? I could give a four star rating, but, after reading their opinions about this album, I give a three star rating to it.
And the factor is: Geesin. Pink Floyd was able to write some complex melodies at timesbut only with cosmetic brass arrangements and deliciously funny chants, their music deserves to be "over-the-top", and they get away with it. It dragged for Roger Waters when they found and stayed with the formulaic style they developed later around ; but for me, this version of "The Pink Floyd Sound" as it was called with Syd's lead was the most daring and irreverent as opposed to the more conservative style of the mid'svery similar to what Deep Purple was doing a year before.
Despite that, the band's trademark sound was already present: Gilmour's calculated licks, accompanied by Mason's thumping drums, Wright's basic keyboard and Waters' complementing bass lines. Of course it's not a masterpiece; it certainly has flaws; the turn-off factor is the cheesy keyboard randomness in "Mind Your Throats Please". Then again, many things about this album is random, starting with the cover photo.
Suddenly they thought about doing a suite about how cows serve for clothing and milking. The rest of the album is highly uninteresting, or pleasant and pastoral at best, with Summer '68 being the most addictive ditty, while "If" and "Fat Old Sun" are very conservative and repetitive. So, would I change my mind in I wrote this review in December but finalize it now? I think that the best review I can refer to is the one from Roger Waters himself, telling about AHM, I quote : "I wouldn't dream of performing anything that embarassing I'm not playing that rubbish"!
I totally agree with him. If this is not sufficient, here is what Gilmour says about it : "All I've ever tried to do is play music that I like listening to. Some of it now, like Atom Heart Mother, strikes me as absolute crap". Then : "" We were at a real down point. We didn't know what on earth we were doing or trying to do at that time, none of us.
Are you convinced? These are the best review for AHM. From persons that can not be categorized as anti Floyd, right? These quotes are posted on the official Floyd's web-site, so no invention here. I do not usually read other reviews before writing mines to avoid being biased but when I looked at some ratings for this one 4 or even 5 stars - the masterpiece status! I honestly believe that there is something wrong here. Although Waters is maybe too hard with AHM. Actually, the title track is not bad; but the orchestration and choirs are so pompous.
I prefer live renditions of this track. The track is then more rock-oriented and nice to listen to, really. B-side of this album is of the caliber of their studio work? Two stars considering side one as three star and side two The "Atom Heart Mother" suite gets this progressive show on the road in a fine fashion. The first part, "Father's Shout", is a complete barrage or orchestral arrangements, whereas "Breast Milky" is a more serene and harmonious piece.
This flows right into "Mother Fore" which has an almost spooky vocal arrangement, and is closed pretty hard with some intense drumming by Mason. The organ pops back in with some odd time signature changes and "Funky Dung" beings.
An excellent guitar showcase for David Gilmour, it slowly starts to change shape and then eventually becomes an organ driven-chant session. Kind of creepy, but you can find yourself laughing at it eventually. A big tip for prog fans, look out for the mellotron here! It makes a rare Pink Floyd sponsored appearance, so don't pass this track up. The cheesy Pink Floyd P.
The full crowd is back for a majestic ending including the band and orchestra. It really does go out with quite a bang! The Waters ballad, "If", is a really beautiful song, even if the lyrics are sometimes of absolutely no sense what so ever. If you pay more attention to the beautiful melodies, then I'm sure you will love this song as well.
Wright's piece is next, if you couldn't already tell by the huge organ intro. Gilmour is the last batter with "Fat Old Sun", and this is once again beautiful in the beginning, but his changes near the end as he manages to sneak in a slashing guitar solo. Now that is beautiful! The band combines forces once again for the album closer named "Alan's Psychedelic Breakfast".
Most everybody I know thinks that this is a pile of rubbish, and that's exactly what I thought on first listen, but there is a ton of subtle musicianship that not many people know about. I'm sure everyone knows it was named after roadie Alan Styles, but that's a different story.
What Pink Floyd was doing was replicating a traditional English breakfast scene, complete with the striking of matches, the sizzling of bacon, and the dripping of water taps.
Although the song is far from a favorite of mine, I give it 5 stars just for concept and effort. One of the greatest concept albums to ever grace my ears pretty much sums it all up here. Excellent ideas, musicianship, and production top off this amazing musical achievement. Atom Heart Mother represents the Nebulus of the 's Floyd sound - when you hear th band, that is. The "Orchestral" read: Brass Band sections are something else entirely - a curious experiment, but one that I feel does not work particularly well, and certainly did not have enough time lavished on it, by all accounts.
I'm reviewing from the vinyl here - and unlike the CD, the sections are not clearly marked, so I've had to guess I've drawn them where I think it makes most sense of the piece as a whole - where I can make sense of such a relatively haphazard structure. Father's shout A deep organ sound introduces the piece, which leads into a quasi-avante garde brass section that reminds me of the orchestra tuning up at the beginning of "Sergeant Pepper Atthe AMH "Theme" is presented for the first time in its entirety: A lumbering behemoth of a theme that I find somewhat lugubrious.
Just over 30 seconds later, we are treated to a rather half-hearted chromatic section, with the sounds of guns and motor vehicles - obviously adding the what is intended to be a kind of warped military feel. Finally it seems at aroundwe hear Waters arpeggiated bass prelude the band entry, accompanied by keyboard and cello. Some bright modulations propel this section in a satisfactory way through a series of repetitions that are built upon until Gilmour's glissando guitar kicks in and announces the style that he would settle in for life - heralding "Echoes" and everything that followed it.
Breast milky The "orchestra" accompany this in the background, until a lonely organ introduces a new background theme around that ushers in the choir, in an architectural structure which follows the path set by "A Saucerful of Secrets". Simple, beautiful lines intensify towards more dischordant harmony and converge again.
Sadly this is more or less repeated, and begins to feel like padding, even with increasingly tense layers and breakaway motifs in various parts. It's then repeated and further intensified by the addition of the band, who jam along over two chords - the tonic and subdominant, which give a tiringly predictable feel until the new idea at Mother fore This new idea feels somewhat tacked on, and is a typical s two-chord riff over a subdominant pedal.
This is blues, and very satisfyingly played, with lots and lots of space - a real crash course in less is more Around some keyboard atmospherics are brought in, and the guitar also changes to an atmospheric texture. A new choral vocal idea is brought in at - savage and earthy, but too far down in the mix.
Brown and sounds like a bell and is funky There's a nice modulation heralding a new section around - which itself is a re- introduction to the brass, which briefly recapitulate the first theme at Mind your throats please The events are more dense now, and a new dischordant idea is introduced on a keyboard aroundwhich is filtered and layered with atmospherics that appear to be based on synth sounds and tape splicing - ideas that probably would have come from the Beatles' "Revolution 9", and certainly hearken back to the studio part of "Ummagumma".
A new section starts aroundagain, based on atmospherics that predict "Echoes", but also uses more If - Pink Floyd - Atom Heart Mother (CD splicing that recapitulates the earlier ideas in the piece - it's a bit of a shambles in execution really, but the idea is a good one, as the listener tries to work out which musical idea is going to take over and dominate. Gilmour's guitar idea the 3rd section, if you will returns, with Gilmour harmonising against what seems to be a copy and paste version of himself.
The layers are all increased - in a valiant but somewhat doomed attempt to maintain interest, before the choir return over a clumsily variated brass section for some directionless sludge that drives us to the dischordant mess that preludes the triumphant final chord that ends side 1. It seems very much the predecessor of "Brain Damage".
Oddly enough, the overall flavour ends up being slightly proggy, despite, or possibly because of the film music inspired brass section that's crowbarred in before and after the piano-driven coda. The arrangement is a bit Motown though.
I can't bring myself to say it's good, as I think it's just OK - but it is definitely worth checking out from a historical point of view, and not just by Floyd fans. It's also worth checking out as an example of how not to put together a side-long track ;o social review comments Review Permalink Posted Monday, May 14, Review this album Report Review It would be difficult to even know this was them most of the time.
Kind of an Oldfield flavour to this one but more symphonic really. Lots of orchestration to open the first minute and a half before drums and brass come in. Synths, guitar, organ and female vocal melodies create a beautiful sound. Drums are back 9 minutes in as Gilmour fires off some rounds of guitar as the organ plays on. This is one of my favourite passages of the album.
Vocal melodies are back and brass. There is a great full sound 15 minutes in followed by some experimental noises. We get the melody back after 19 minutes and some strings. Gilmour lays down some scorching guitar as horns play to end the song. For me the choir and orchestration really works well on the title track, especially the vocal melodies.
I really like the next three songs that all remind me of the "Meddle" album. It's kind of cool that each of these three tunes were each written and sung by a different member of the band. A nice reflective tune. Piano, drums, horns and vocals in this fun and at times sixties sounding song.
The drums and guitar take on a greater role towards the end of the song. On "Alan's Psychedelic Breakfast" the actual human "noises" are done by Alan their roadie as you can hear him in the kitchen making breakfast. This goes on throughout the song in intervals. Later guitar, and then later still organ. I like this record a lot cows and all and give it a solid 4 stars. If and Fat Old Sun are slow acoustic, pastoral pieces.
Very nicely done with lovely melodies. Waters' If has the most profound lyrics on the album and is a precursor of Waters being the main writer in their future. Wright's Summer '68 has a nice Beatlesque feel to it and the horn sections during the chorus are very nicely done. The last song seems like a waste of time and is the weakest track on the album.
Alan's Psychedelic Breakfast is basically three sections of an instrumental with sound effects of breakfast preparation between them. It's a sort of simple jam that seems like it was just thrown together to fill out the album. I don't mind the sound effects. It's the music that needs a good kick in the rear, making for an uneventful, boring ending to what otherwise could have been considered a masterpiece. Still, this is a worthwhile album well deserving of four stars.
The opener is the epic "Atom Heart Mother", which starts with an outstanding piece of Orchestral Neo Classical or Avant Garde piece of music, very complex and elaborate, not what I could expect of the band, specially when I had heard most of their albums before this one. Ron Geesin does an outstanding job with orchestra and choirs, very pompous and I would dare to say close to Symphonic, but about the middle of the song when Gilmour and Wright enter we can listen for the first time in the album the sound that made them famous, pure Psychedelic jamming in the best style you can get, but again the orchestra joins more pompous than before, until the weird stuff begins, sound effects, noises, spooky choirs, now we are before PINK FLOYD, even when more adventurous than ever just to end with the full orchestra.
The weirdest song I would have ever expected of a normally atmospheric band, really nice stuff that may be more appreciated by Symphonic fans than by the real followers of the band.
Too long for what they pretend, if a band wants to be experimental for the first time in a big project, 13 minutes is too much, not bad but nothing special either. It is unlikely many people share my opinion of both albums, but I will attempt to justify my opinion. First, a comment about the cover. Gentleness and beauty are the keys here, not harshness and experimentation. The minute title track is a radical departure for the band. Up until this point their music was primarily psychedelic in nature: however, this track is full-blown symphonic prog.
Yes, it has choirs and an orchestra, mellotron and all, but the thing that makes it symphonic is the recurring theme, restated and expanded, in the way of classical symphonic music. The twinset of four falling notes denotes the main theme, for those wondering.
Actually, 'symphonic' rock is something of a misnomer in genera for this type of music: the form is closer to 'concerto' rock, with this piece, 's 'Echoes' and YES's 'Close to the Edge' all having a typical concerto shape. An opening theme, variations on the theme, then a solo section featuring the main instrument, followed by a closing triumphant restatement of the main theme.
Yes, the sounds are those of 'Ummagumma', but the shape of those sounds is symphonic, not psychedelic, and that makes all the difference. It wouldn't have mattered what musical direction they chose - they could have been a good punk band had they been at this crossroads in rather than That they chose the symphonic route is a bonus for all lovers progressive rock.
One other thing needs mentioning before I look more closely at this masterpiece. Thus 'Atom Heart Mother' might be straight-down-the-line symphonic prog, but it sounds unique. This is no reason to reject the music: in fact, there's more depth to this so-called 'flawed' piece than in any single composition in their subsequent stellar career.
It begins with the opening theme, right enough, which follows a seemingly unstructured brass intro. By we have heard the theme of the piece, and what follows is an elaboration and extension of the idea. A stirring violin and organ piece interrupts for a moment, leading us to the next variation of the theme, focusing on the band members.
Here we get the first hint that WATERS is an excellent bass player: it is his work more than anything else on the album that integrates the piece. And for the first time we hear MASON's characteristic drum fills, the roll and play-out sound he made famous in the albums to follow. A precursor to 'The Great Gig In The Sky' without this album that sublime track would not have existedthe choral sections impart a pastoral and contemplative beauty to the track.
Here we have melodies to burn, one after the other, chilling in their sheer beauty, the soaring organ-backed female voices counterpointed with the slightly dissonant male voices to create such a pleasing effect. A splendidly understated funk, indeed, a gentle battle between keyboard and guitar. One of the hundred highlights of this track is when WRIGHT brings in the mellotron after 12 minutes, signalling the return of the choir to do their own brand of funk over the bands' playing.
The song lifts still further with the bridge back to the main theme, which in turn presages the 'freak-out' section, 'Mind Your Throats Please'. Here the sound is directly comparable to 'Sysyphus' on 'Ummagumma', but it works in context: the breakdown, the crazy keyboard and tape effect stuff preparing us for the finale.
OK, the finale is a little over the top, cheesy in fact, but they've won the right to break out the classical music cliches by what they've done before. Choir, orchestra and band join together in creating a stunning climax. Side 2 isn't as strong, of course, but does just fine.
WATERS proves he writes great stuff, thoughtful lyrics and reflective music, as long as nobody mentions the war. Particularly strong is the third piece, a finale to the album worthy of the title track. Don't make the mistake of considering this album in any way related to its predecessor. Musically it is quite dissimilar, save the small psychedelic section in the title track and the idea but not execution of three individual member's tracks.
I'm staggered that enough people liked this album that it reached No. How was that possible? There's nothing remotely commercial on this disc. People were mad back then. Mad, I tell you. And they had surprisingly good judgement. This is a great, original work, an exposition upon order and chaos from Pink Floyd.
Atom Heart Mother is the epic on the vinyl. It's not quite up there with Echoes, but it's close. A brash brass section, an ethereal chorus, atmospheric keyboards, and Gilmour finally developing his mature style on guitar all lead to an enjoyable composition. But what's really interesting about it is how all of these bold statements devolve into a chaotic melange in the last 5 minutes or so of the piece.
They are of course saved in the end by an obligatory summation, but it is still a bold and original piece of music. If hearkens back to Pink Floyd's early days. Syd Barrett was a wonderful lyricist and later Floyd was never able to match his understated, almost pedestrian, lyrics If - Pink Floyd - Atom Heart Mother (CD nonetheless were evocative and disturbing.
On this song, though, they come closer than at any other time. Add in a gentle guitar and some restrained keys and you get a piece that would have been a highlight on Piper. Summer of '68 starts out with a plaintive piano part and some wistful singing about a one night stand. And then things go nuts. Beach Boy-esque harmonies and scat, brass parts, and vocal break that would not sound out of place on mid-career Beatles albums. This song weaves together much of the musical zeitgeist of the time in an entertaining way.
Fat Old Sun is probably the track that I like listening to the least, which is a strong statement about how strong this album is. It's a quieter piece with some nice bass and Gilmour's slide guitar work popping up fairly often. Alan's Psychedelic Breakfast is the other epic. While it isn't as good as Atom Heart Mother, it doesn't deserve the hate that is sometimes focused at it.
As Atom Heart Mother is all about music devolving into chaos, this is about chaos the sounds of a person waking and making breakfast evolving into music. Floyd would revisist this idea on DSOTM in the track Money, but here the relationship is much more subtle and you need to be listening closely to appreciate it. The actual musical parts are nice, but the breakfast parts do indeed get a bit tiring. Anyhow, I'm giving this one 4 stars. It's Floyd's most innovative album possibly excepting Piperand it is the monolithic landmark that marks the end of Floyd's days of lack of popular recognition.
After a couple of very improvisational and mostly instrumental albums Pink Floyd finally hit a chord. This is the true beginnings of the band that would later put out masterpieces like Dark Side Of The Moon. Not to say that this album is as tight or well played as those later albums, but the ideas are all there and they're all falling into place.
Stylistically this album follows very closely to the previous two albums. Spacey, long instrumental freakouts that are honed in live performance still dominate the album. But the difference here is that the Floyd seem to have found how to play these very tightly as the album comes off as something probably more planned sounding than it actually was.
There's a certain amount of delight to this because anyone who enjoyed elements of their very strange Ummagumma album will find that the good points have been fine tuned and the bad points left out.
There's only five compositions on the album. Two of which are the long freakouts that we're used to from the band. The title track, Atom Heart Mother is a long divided side long suite that goes though just about every kind of motion that you can think of capturing a very nice side of space rock with a kind of lulling music that at points stabs and demands attention with sharp raises in volume and an almost victorious sound with the chorus of voices. A sometimes overlooked Floyd masterpiece, this is the first time that the band would create a side long venture.
Alan's Psychedelic Breakfast is much shorter and much less demanding of the listener, this one more dealing with ambiance, but it remains a pleasant voyage none the less. The sounds of someone cooking themselves breakfast in the morning at the beginning of the song can be somewhat annoying the first couple of listens through, but one gets used to it with repeated spins.
The rest of the songs on the album are just short little songs more in the traditional manner of progressive rock. If is a very slow and reflective track which is a welcome addition after the very crazy opening epic, which is a soothing track perhaps made entirely for the purpose of bringing the audience back down to earth.
A lo-key guitar and vocal track make this one pleasant but nothing to write home about. Fat Old Sun is much in the same except with this one having the guitar pick up into a very nice solo from Gilmour at the end. Indeed the most notable song from the shorter ones falls right in the center.
Summer Album) opens with an almost 'Peanuts'-esque piano track and soon leads into more of the lo-key insturmentation and vocals before exploding into a surprisingly up tempo ride for the whole family. Pleasant harmonizing of vocals and a very catchy and simple acoustic guitar make for a very triumphant sound as the song makes it's way.
One of Floyd's very best short songs. This album is not really essential if you don't enjoy the beginning period of the band, but it certainly is the turning point from the more psychedelic Floyd to a more progressive Floyd later expanded on Meddle. Very ''trippy'' and pleasant with the shorter songs this one makes for an excellent addition to any progressive music library. This was the last album I purchased of the Pink Floyd Machine - perhaps the greatest prog band in history. I will admit that it is definitely the most proggiest album of PF, however it did not have the same impact for me as the other Floyd albums.
There are no really catchy hooks or memorable tracks, it just all blurs together seamlessly but forgettably. Atom Heart Mother is the epic that takes up side 1 and it starts out well enough but becomes rather dull, unlike other epics for PF such as Echoes, it does not go anywhere and meanders around on one idea before fading into obscurity.
I was struggling to come to terms with the sound, it was so unlike the brilliant PF I was used to. Side 2 was an improvement with the rather strange 'If', and the cool 'Summer '68' and 'Fat old sun'. But the sleeper and best track on the album is 'Alan's psychedelic breakfast'. At it encompasses all that is great about PF and prog in general. It begins with an hilarious episodic sound montage of Alan eating rice bubbles I think and then greeting the day in his unusual way. It is mesmirizing!
Perhaps he is eating psychedelic bread and acid. He launches into an acid trip and the song goes into a freak-out bizarre riff that grips you and is quite chilling in parts, amidst the dark humour. A very different side of PF and a welcome change for this album. It is a pity the other tracks are so dreary in places and overall the album does not live up to PF's other repertoire which makes this look quite mediocre in comparison.
Perhaps the album taken on its own works well as a curio piece, but I was not impressed. This album could scare off newcomers, but it is OK as something different with a darker edge than the usual uplifting symphonic Floyd sound.
By now only people living in complete isolation of the rest of the world could not know what this legendary band sounds like. Suffice it to say, "Atom Heart Mother" is a transitional point for the group, where the complete mastery of their art hadn't yet been reached, and actually it had just started to be defined. The title-track hints at the spacey-atmospheric future that the British would travel starting with their next release, but most of the rest of the songs lack that particular magic.
Psychedelia is here, but it's not sure if it's to stay. The addition of an orchestra is an example of this uncertainty. The album, ultimately, fails because it's uneven from a musical point of view. After a first brilliant track, the epic "Atom Heart Mother", the remainder of the disc is made of fairly average songs, going all the way down to the mediocre ending number "Alan's psychedelic breakfast", which is poor on any element of interest and sounds more like a failed experiment.
The album has still its moments, though, and as such 3 stars sounds like the correct rating. Review for Prog Archives needed a special subject that allows discussion of the sweet and the melancholy of life, of music as metaphor for appreciating simple moments long gone as a good friend here and I discussed recently and as the catalyst for change.
I'd like to try to make the case that this album is very strong, under-appreciated, and in my view a more solid progressive work than the acclaimed Meddle or the wild Ummagumma, its two closest siblings. A challenge to Meddle is unthinkable to some but to a few of us, it's not even close.
Floyd started off with the masterpiece Piper and after Barrett left the group proceeded to wallow for a few years in search of their way. Barrett was the man, the only able songwriter, the sound revolutionary, the charismatic jester that brought fans to Pink Floyd and the spark that enabled them to ever be discovered.
The others owe their careers to Barrett. I'm not slamming Saucerful, More, or Ummagumma as all three have some very fine moments. But by their own admission the band were somewhat adrift in these years, learning to compose and getting understandably tired of playing Barrett's material. In the band left some notes and ideas with Ron Geesin as they took off for some American dates. He was left with only a backing demo and sketchy info and asked to pull some arrangements together for when the band returned.
The group returned and things soon turned to panic as the material remained in some disarray even as recording needed to continue. The orchestral musicians were not seeing eye to eye with Geesin to put it mildly. After an admirable attempt and a near physical altercation with a mouthy horn player he was replaced by John Aldiss.
With the working title of "The Amazing Pudding" the track began to take shape. The ideas and the music were very interesting though the album would ultimately suffer from being an extremely rushed affair which led to less than desirable recording and production. The band would comment later that they could have done much better with more time and at one point considered re-recording it.
Mason notes that poorly positioned microphones picked up some monitor sound and that this will not be able to be repaired. But the remastered version sounds good enough not to distract the listener from the joy of the music. In fact to me the album's sound warts actually add a certain swampiness that adds more than it detracts as it works with the feel of the composition.
It was well received by the many critics, one reviewer of the time calling it "the most successful integration of rock and formal music I've heard.
The band was still trying some radical things at this point which should be something to admire. The fact is they knew these were great albums when they created them. While I understand they might feel a little funny as older men discussing something they did as kids, for what I'm looking for out of music, I concur with the comments they made at the time: "This one is much simpler to listen to.
It's more emotional, a sort of epic music in fact, because we have added brass and a choir. I think it's by far the best, the most human thing we've done. It has a very strange feel to it. Parts of it, like the ending, are real ham, which I like. What these guys fail to realize is that there is a certain spark and magic that comes from naivety, youthful exuberance, fearlessness and lack of musical cynicism. Music fans can still look at something like Atom Heart and feel the same excitement for the material that the band felt in Atom Heart captures a snapshot in time and place of this band and these friendships, a point I need to stress.
Sometimes capturing the simple moments of your life are as important to your story as are the planned spectacles and big events-this goes for life and art. You shouldn't assume your big planned event is any more important than that beautiful anyday Sunday morning waking next to your loved one, having a coffee and the paper with the sun coming in the window. Nor should the Floyd assume their later masterpieces must render their own simple breakfast of eggs, high-minded humor, and music with a friend regrettable.
Both are valid moments that color one's life or one's artistic career with great authenticity. On your death bed it is quite likely that memories of your life's simple joys will bring you more comfort than recalling some big planned event or goal that you felt you had to achieve. And thus what Atom Heart represents for the lads and captures for the listener should not be under-estimated simply because more critics and fans bought The Wall, or because Roger thinks Radio Kaos was more substantive.
The misgivings the bandmembers have with the material of this period have become all the more amusing and ironic to me as a music lover. They say this album is "rubbish" and that they had no idea what they were doing, and yet it is this material ' that remains the most intriguing for the long-time Floyd fans who have heard the later, safer stuff to death and wish to hear the band at their most reaching and curious.
I would argue that the post-period pronouncements of the band members miss the point entirely and are driven by factors not important to music lovers. Furthermore, the two long tracks are gloriously free of lyrical content and prove that music done properly can convey feeling without words, another feather in the cap of this particular album. An interesting comment I noted by Gilmour was that Waters would not become lyrically strong until "Obscured by Clouds," noting that his lyrics before that, and on Echoes specifically, were merely "words to hang the music on.
The album's strength lies in the two long pieces Atom Heart Mother and Alan's Psychedelic Breakfast which comprise 36 of the album's 52 minutes. This is pure musical exploration and progressive nirvana, taking the raw adventurism of Ummagumma's studio material in a much more listener-friendly direction. AHM is "out there" but it is not dissonant, difficult to enjoy, or lacking warm melody. It is the best of their transitional albums because it does improve over Ummagumma and yet retains the interesting progressive side better than Meddle would.
The horns, effects, and choirs-as well as the free-spirited material itself-satisfy this listener over time in a way that Echoes has ceased to. Echoes is a very pretty track that begins well, with gorgeous frailty, but bogs down in the middle and becomes quite easily assimilated in the way that AHM and APB do not.
The title track is a feast of emotions and feelings from the soaring grandiosity of the main theme propelled by horns and guitar, to the fragile melancholy of the violin over Wright's beautiful keyboard, to the baroque feel in places. From there we will experience some of Gilmour's fine lead guitar, gorgeous, haunting, and searching. The piece continues by moving into dark territory with desolate wordless vocals building to dramatic, frightening-at-times chants by the full choir.
There are gorgeous operatic vocals here that bring chills. It will revisit the various sections and twist beautifully back into the main theme before charting off again leaving you feeling uneasy, but with hope. That is what AHM leaves me with: a musical overview of the human condition. Mason would talk about the cover being intentionally plain and wanting to make a connection with the "earth mother" and if that includes pondering human emotions they succeed smashingly.
Another track Album) too many listeners mistake as "filler" material because they don't have their ears on apparently. This is pure sound beauty, pure progressive delight, or "sound poems" as someone described them. When the fat old sun in the sky is falling summer evening birds are calling Summer's thunder time of year The sound of music in my ears Distant bells New mown grass smells so sweet By the river holding hands Roll me up and lay me down Sit, don't make a sound Pick your feet up off the ground And if you hear as the warm night falls the silver sound from a time so strange sing to me, sing to me.
When the fat old sun in the sky is falling summer evening birds are calling Children's laughter in my ears The last sunlight disappears. Atom Heart Mother Pink Floyd album. Released: October 10, Atom Heart Mother Live in Gdansk.
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