“It’s one of those songs where the whole thing fell together very easily,” he told Uncut. Gilmour was convinced this Atom Heart Mother highlight had already been written, but he was wrong – it just felt like you’d known it all your life. When performed live, backing musicians made to look like Floyd performed the song, as the “surrogate band” mentioned in the lyrics. The original riff was taken from what would become Waters’ solo album The Pros And Cons Of HitchHiking, which he had written concurrently with The Wall. It’s certainly an explosive start to the album, all crashing keyboard power chords and blazing guitars. The opening track from the epic double concept album The Wall, and named after the 1977 Animals tour on which, at the final show in Montreal Waters legendarily spat at a member of the audience, an event that sparked the alienated rock star concept. Waters’s lyrics are suitably damaged too, the song’s protagonist caught under the spell of a dark sorceress: ‘She is calling from the deep/Summoning my soul to endless sleep/She is bound to drag me down.’ It’s bracing to remember Floyd this way, savaging the amps like a petulant garage band. It was released as single in France, Japan and New Zealand, and was covered by Floyd fans Voivod on their 1993 album The Outer Limits. Written by Waters and sung by David Gilmour, The Nile Song is one of the heaviest songs Pink Floyd ever recorded, almost a proto-version of Not Now John. If the music was ripe with sorrow and solitude, the lyric was even more so, seemingly nodding to every rock star burn-out cliché in the book – and surely referencing the departed Barrett with its vision of a lost soul with “ wild staring eyes” and “ the obligatory Hendrix perm”.įrom the soundtrack to Barbet Schroeder’s psychedelic drug-fest More, which was the first full-length Pink Floyd album not to have any involvement from founder member Syd Barrett. Late in the Wall sessions, a fuming Waters penned this bruised piano ballad in a single evening, having risen to Gilmour’s challenge to write “something fantastic”. The second track from The Wall is almost a segue of the opener, telling the story of the central Pink character growing up (opening with the closing crying child from In The Flesh).Īll runs relatively smoothly, lyrically and musically, until Roger Waters takes over from David Gilmour on vocals, warning of “the thin ice of modern life…”, and soon all hell breaks loose with a huge heavy rolling riff reminiscent of In The Flesh. It certainly has to ability to give you the sweats, and is probably best left alone if you’re in an advanced state of paranoia. An instrumental that builds on a sequenced synth pattern, it’s allegedly a musical interpretation of keyboardist Richard Wright’s acknowledged fear of flying.
In complete contrast to preceding track, Breathe, this is Pink Floyd getting sonically way out there. Waters’s questioning lyric continues over the song’s near hypnotic, seesawing rhythm and David Gilmour’s spitting guitar solos. ‘Y ou shuffle in gloom to the sickroom/And talk to yourself ’til you die,’ offers the final pay-off line in a song whose lyrics are as despondent as its music is upbeat. Eric Fletcher Waters was a soldier in the 8th Royal Fusiliers, killed during the Second World War when his son was just five months old. ‘ I am the dead man’s son,’ sings Waters, ‘ And he was buried like a mole in a fox hole.’
#PINK PINK PINK PINK SONG FREE#
The lyrics to Free Four were thoroughly bleak, but disguised in a brisk, almost country rock song, released as a single in the US, and included on Obscured By Clouds, Floyd’s 1972 soundtrack to the French art-house film La Vallée.įree Four is the first Pink Floyd song to reference Waters’s father. Pink Floyd’s 1975 song Welcome To The Machine has always been the moment listeners first realised how disenfranchised Roger Waters had become.
0 kommentar(er)
