Guide The Poetics of Rock: Cutting Tracks, Making Records

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It mutates, rather schizophrenically, from there into a clattering piano number Part 2 , a tangle of percussive noises Part 3 and an ambient drone Part 4 before somehow finding its way back to the opening theme in the 13th minute. It sounds like a piece written to impress a college music professor. Gilmour — the only Floyd member on this song — turns in a nifty guitar solo niftier in concert , but mostly overcompensates by snarling the words.

Syd Barrett makes his first appearance on this list courtesy of the lesser of two Piper instrumentals. The latter is more interesting than the former. The penultimate Division Bell track has an appealing rootsiness, sauntering pace and acoustic guitar work from Gilmour. I tried.

The Poetics of Rock: Cutting Tracks, Making Records by Albin J Zak (2001-11-07) by Albin J Zak

Blame him. But with Gilmour, Wright and Mason present, it counts as an overlooked — but not particularly amazing — Floyd track. Another Final Cut song, another ballad that lacks dynamism as well as the participation of any other member of Pink Floyd. This tuneful Piper track about a wine-swilling gnome named Grimble Gromble burrows into the latter end, failing to add extra layers to this barely-a-fairy-tale. They keep things interesting. Could a recording sound any more like ? But does the tin whistle have to be there? The song highlights the manic depression of main character Pink by moving from a blurry drone to a full rock track as if switching on a light.

The extra orchestration — brass, cello, choir — adds grandeur, but not style. The members of Floyd can rumble along when it suits them, but this chunk of boogie rock sounds as stilted as a suburban middle-school choir trying to sing gospel.

This b-side is the least compelling of the trio, a fluffy love fantasy written by Waters, influenced by Barrett why is there an armadillo in this dream? This is the kind of psych-folk that the band could turn out without thinking. As such, it became the foundation for a harder-edged jam at concerts, which expanded the dour tune past 12 minutes. But if you just want to hear David stretch out guitar, that half of the song is solid, too.


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Before he meets his end, he wishes for a more peaceful, open world, one that the songwriter sings about sensitively and sadly — as if it may never be realized. When it turns out old Syd is doing better than a inanimate object, Pink Floyd celebrate with a baroque finale. The uncertainty and sadness is all the more potent for being set amid gentle orchestration. The song gets by on the exuberance of young musicians bashing it out in the studio.

Pink Floyd were nothing if not masters of the slow build, the tantalizing pace of instrumental anticipation. A breathy vocal performance, some terrific guitar sounds, a set of gasp!

The subject matter — the power balance between a brother and sister — is curious but not captivating. One niggling regret: Rick should have played an actual piano on the track. Far out. At the time, Waters was fascinated with making something rhythmic or musical with non-traditional sounds.


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The lyrics about sand, waves and champagne are almost superfluous. The result is halfway between dreamy and nightmarish. Is there any band more obsessed with their former members than Pink Floyd? But even 25 years after he replaced Barrett in the Floyd, Gilmour was still singing about Syd not to mention Roger, in verse two. The sweet-and-sour vocal interplay between Gilmour and Waters is disconcertingly effective, with each of them delivering dark ideas in completely different tones.

Of anyone in the band, Gilmour had the most trepidation about creating an individual experimental piece for the studio disc of Ummagumma. And he ended up with the best thing on that half of the project. Waters grabs an idea from Rudyard Kipling and delivers a pleasant bit of pastoral introspection. Some mind-altering psychedelic soundtrack work from Floyd, back in the days where the experiments could go one way or the other.

Every so often, Pink Floyd let their hard-rock flag fly. Gilmour gives voice to artistic creations that come to life and beg their artists for a friendly setting and a happy ending. Meanwhile, Mason combines two separate beats into a highway rhythm and Gilmour plays mirror games in the left and right channels, stringing along telephone wires of acidic guitar on the way. Pink Floyd have more folk and country in their bones than some might expect.

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His reverberating, multi-tracked and muted parts create a schizophrenic environment as the sounds pile on top of one another and a different guitar keeps trotting along. Yet this nightmare with bongos! A bunch of drug-induced nonsense from Barrett. Early Floyd owes a fair share to another band that was making famous music on Abbey Road. Hey, maybe it actually is.

A folksy gait, some warm instrumentation, a winning chorus and lyrics that suggest Moses was one weary hippie. Phase three for Waits has been a marriage of the hard-boiled narrative and the simply hard-to-fathom. Those who know his ways are game for the perplexing twists. Curious newcomers are advised to dip in slowly. Four albums in, Waits ups his ante. Rod Stewart covered this.

For The Record: Making "The Tidal Track" Part 1/8

View Deal. Quite an intro. His seven chapters cover every aspect of recording and offer both deft technical descriptions and imaginative writing about the meaning of music and the sonic qualities of recordings. Some truly evocative prose makes much of this book pleasurable reading. Talking about particular artists and their work can have the sedative effect of a jargon-laden monograph to those who do not possess the shared language Zak locates at the nexus between records and rhetoric, orality and literacy.

In his final chapter Zak turns from the empirical examples of record making to a more theoretical approach to his other aim, exploring the meaning of records. This is true with any art form that must be perceived through senses other than sight and through languages other than words. APRIL The problem, probably unavoidable, with writing about music is not just that it is, in the well-worn adage, like dancing about architecture, but that VOL.

This is a rich, textured study, like the recordings it analyzes, and Zak illustrates the overarching influence of recordings on the practice of record making, not only through cross fertilization but as historical tributes to individual artists. She is working on a book about the history of recording studios. By Herbert H.

Small Change (Asylum, 1976)

Harwood Jr. Bloomington: Indiana University Press, If the Van Swer- ingen name does not ring a bell, perhaps it is due to the nature of these intensely private, reclusive bachelor brothers, who shunned Cleveland soci- ety and considered their public relations man to be doing his job when their names did not make the papers. Working in adjoining offices they also lived together , they assembled railroad and real estate empires that transformed Cleveland into a showcase of visionary urban and suburban planning and a national economic power.

Herbert H.

The Poetics of Rock: Cutting Tracks, Making Records

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