On this track, Gilmour proved to be an excellent substitute for Syd even in one of his best songs, which (although it was almost 30 years old then) appeared on the 1994 tour practically unchanged.
Careful With that Axe, Eugene
An excellent revival of a popular live concert song, which had only been available as the B-side of the single Point Me At The Sky before. Although the live version of the song is clearly always better, this one is one of the very daring and Waters' screaming reminds us of the most hard core horror films.
Set The Controls For The Heart Of The Sun
Although this version is almost twice as long, the difference between this one and the one on Saucerful Of Secrets is not great. The lyrics differ very slightly and the song features more of Rick's "Turkish Delight." The length is due to the slower tempo.
A Saucerful Of Secrets
On the American edition of Ummagumma, this song is divided into four parts (Something Else, Syncopated Pandemonium, Storm Signal and Celestial Voices), although the names of the individual parts are omitted on the later editions, including that on CD (in the booklet it only reads "A Saucerful Of Secrets, Parts 1-4"). For information about these parts, see Saucerful Of Secrets.
Sysyphus (Parts 1 - 4)
Rick Wright's instrumental contribution to the second half of the album was named after a Greek mythology figure, better known as Sisyphus. Sisyphus was a king who established the Corinth. He was punished by having to roll a heavy boulder up a hill just to watch it roll back down few steps before the peak over and over again. His crime was the incarceration of Thanatos, the god of the dead, because of which nobody could die.
The first part featues a mystically sounding synthesizer and timpani, while the second one sounds as if Pink Floyd borrowed it from a romantic classicist piano sonata, although the sound is soon overlapped by Wright's very different organ solo. The third part is largely experimental. The final part, which begins with birdsong is Mellotron-based and features reprises of the motifs from part 1.
Very few listeners were allowed to hear the song live. It famously happened at an important 1970 gig in Birmingham, when one of the pick-ups with equipment did not make it to the show venue for some reason and Pink Floyd had to perform a unique, largely improvised show, which made the evening an unorthodox experience.
Starting with birdsong again, the first out of two Waters' contributions is a simple song about the beautiful, undamaged landscape that surrounds Cambridge, where both he and the rest of Pink Floyd spent most of their youth. (Gilmour, for example, used to go swimming to the river Cam).
Waters' story about foxes, king-fishers and the beauty of a sunny afternoon perfectly grasps the atmosphere of the British country in the summer. The song gradually merges into the next song, in which we can hear a fly flying "between the speakers" and Waters kills it with something that could easily be an unflattering criticism of his work.
The song was performed as Daybreak, a part of The Man. Wright's organ was later cut out.
Several Species Of Small Furry Animals Gathered Together In A
Cave And Grooving With A Pict
Another Waters' contribution, later mocked in To Roger Waters Wherever You Are by Ron Geesin from his album As He Stands.
The song contains various synth-generated animal-like sounds, which were played at different speeds or even backwards, edited and mixed.
In the age of the vinyl LPs, often having to destroy the record, one could listen to the first Waters' secret message (later he would include such messages quite frequently), by playing the vinyl backwards. The first message is "Bring back my guitar," the one at the end is "It was pretty avant-garde, wasn't it?" Waters says that tapping his fingers on the desk. At the very end, we can hear a barely audible "Thank you" from the left speaker.
When the record is played at a certain speed and in the right direction, we can hear badly recited poetry, mixed into the animal sounds and pronounced with a Scottish accent. Unfortunately, one of the disadvantages of the CD is that for vast majority of the listeners (unless they posess professional equipment that allows them to change the speed or the direction of the playback of a CD), this "easter egg" is unavailable.
The song has never been performed live (perhaps luckily for the fans), although Waters' crazy-Scot-style singing could be heard during the occasional performances that included Embryo.
The Narrow Way (Parts 1 - 3)
The parts 1 and 2 are both instrumental. Part 1 is played on acoustic guitar with overdubbed glissandos and slight hints of electric guitar. Part 2 relies more on the electric guitar, which is edited electronically and merges gradually into part 3, a much more pleasant song in which Gilmour could prove himself to be a good lyricist as well as a drummer.
Gilmour always saw a great difference between penning his own lyrics and collaborating with Waters, whose help he rejcted this time.
Part 1 was originally recorded for BBC as Baby Blue Shuffle in D Major in the December of 1968. Under its later name it was performed as a part of The Journey.
The Grand Vizier´s Garden Party (Part 1 - Entrance;
Part 2 - Entertainment; Part 3 - Exit)
It is probable that Mason "cheated," asking his ex-wife Lindy, a professional musician, to record the flute (by the way, Ron Geesin, who collaborated with Waters on his Music From The Body, wrote music for Lindy).
Part 2 is a series of electronically edited percussion experiments, which (like most electronic songs) last very, very long, even though not as long as the Turkish empire, where the Grand Vizier was just a puppet in the name.
|English version by:|
Vít Benešovský, Jan "Johnny" Petrus