Piper At The Gates Of Dawn (moved from Yakety Yak)
Piper At The Gates Of Dawn (moved from Yakety Yak)
I know it like I know my own name, but I am amazed at how FRESH it still sounds.
Barrett's vocals have a crystalline presence, the melodies are EXTREMELY pop and catchy - and yet somehow UNLIKELY and (judging from pop music) all but impossible to imitate.
The playing (especially the guitar work) is nothing short of inspired. Seemingly improvised, but far more pointed and lyrical than such an excercise might normally be in the hands of amateur musicians (as they most assuredly were). As good an argument as any for imagination carrying the day above and beyond skill.
If these vocal and instrumental arrangements were as "slapdash" as received wisdom of the Syd-era Floyd would indicate, it's an approach which apparently yields gold in the right hands.
Lyrically (and musically) there is a playfulness which tempers any possible pretense. Subsequent Floyd whimsy ("Seamus", "Alan's Psychedelic Breakfast") often misses the mark in a most unsatisfying fashion.
Much of Pepper and Smile seems overly formal by comparison.
I know Mr. Jim (for one) has a preference for the seemingly more somber period which follows Barrett's departure and precedes DSOTM, but I'm pretty awed by how ON IT these guys were for Piper and "Emily".
An extremely picturesque record. Even it's few cliches (Rick Wright's modal organ solo on "Mathilda Mother" seems like something he would need a year to get out of his system) are dwarfed by the abundance of originality which surrounds them.
Producer Norman Smith describes the sessions as a "headache", and one certainly gets the impression that the Floyd were an undisciplined group, but.....you can't argue with the result.
I think this record was wildly ahead of it's time, and unlike the Velvet Underground, has proved far more difficult to emulate. Nearly 40 years later, and it's essence has yet to effectively surface in popular music.
One of THE great debuts, no?
Barrett's vocals have a crystalline presence, the melodies are EXTREMELY pop and catchy - and yet somehow UNLIKELY and (judging from pop music) all but impossible to imitate.
The playing (especially the guitar work) is nothing short of inspired. Seemingly improvised, but far more pointed and lyrical than such an excercise might normally be in the hands of amateur musicians (as they most assuredly were). As good an argument as any for imagination carrying the day above and beyond skill.
If these vocal and instrumental arrangements were as "slapdash" as received wisdom of the Syd-era Floyd would indicate, it's an approach which apparently yields gold in the right hands.
Lyrically (and musically) there is a playfulness which tempers any possible pretense. Subsequent Floyd whimsy ("Seamus", "Alan's Psychedelic Breakfast") often misses the mark in a most unsatisfying fashion.
Much of Pepper and Smile seems overly formal by comparison.
I know Mr. Jim (for one) has a preference for the seemingly more somber period which follows Barrett's departure and precedes DSOTM, but I'm pretty awed by how ON IT these guys were for Piper and "Emily".
An extremely picturesque record. Even it's few cliches (Rick Wright's modal organ solo on "Mathilda Mother" seems like something he would need a year to get out of his system) are dwarfed by the abundance of originality which surrounds them.
Producer Norman Smith describes the sessions as a "headache", and one certainly gets the impression that the Floyd were an undisciplined group, but.....you can't argue with the result.
I think this record was wildly ahead of it's time, and unlike the Velvet Underground, has proved far more difficult to emulate. Nearly 40 years later, and it's essence has yet to effectively surface in popular music.
One of THE great debuts, no?
- king feeb
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I love the fuck out of it. I've had it since I was 13 years old, and now 1273 years later, I still listen to it on a weekly basis.
The funny thing is, my original copy was a US version, which had "See Emily Play" but no "Bike" "Astromy Domine" or "Flaming". So when I got older, I bought a U.K. version and had the joy of "discovering" it all again.
I like the later Floyd, but I'm still very much a Syd-head.
The funny thing is, my original copy was a US version, which had "See Emily Play" but no "Bike" "Astromy Domine" or "Flaming". So when I got older, I bought a U.K. version and had the joy of "discovering" it all again.
I like the later Floyd, but I'm still very much a Syd-head.
You'd pay big bucks to know what you really think.
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- Phenomenal Cat
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It took me a while to fully get into "The Piper", mostly because I found it to sound so thin for an Abbey Road recording. It was the singles of this period that brought me back, and the rather more full sounding mono mix (at least to my ears).
I still hear Syd's deadpan vocal stylings all over the place these days (and not just Robyn Hitchcock!). On "Piper" I enjoy the fluctuations between whimsy and free-form "improvisation" (which I put in quotes because it's not really improvised, but I don't want to even suggest that they're doing anything "free form" or, erm, "jazz").
It's interesting that you mention The Velvet Underground, because the deliberate contrasting of well-structured songs and more open-ended tunes gives this album, like "VU & Nico", a more contemporary feel than something like "Pepper". I admire Syd's songwriting and his guitar playing throughout. I can't say the same for Lou Reed and "V.U. & N", and the fact that Syd could score commercially and artisitically puts him in the company of some of my favorite songwriters. I heard he did some solo albums, too.
Pink Floyd never made a better album. So there.
I still hear Syd's deadpan vocal stylings all over the place these days (and not just Robyn Hitchcock!). On "Piper" I enjoy the fluctuations between whimsy and free-form "improvisation" (which I put in quotes because it's not really improvised, but I don't want to even suggest that they're doing anything "free form" or, erm, "jazz").
It's interesting that you mention The Velvet Underground, because the deliberate contrasting of well-structured songs and more open-ended tunes gives this album, like "VU & Nico", a more contemporary feel than something like "Pepper". I admire Syd's songwriting and his guitar playing throughout. I can't say the same for Lou Reed and "V.U. & N", and the fact that Syd could score commercially and artisitically puts him in the company of some of my favorite songwriters. I heard he did some solo albums, too.
Pink Floyd never made a better album. So there.
kath wrote:i will make it my mission to nail you.
But somehow when you smile, I can brave bad weather.
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Oh, and thank you for giving me something music related to post about. I tried to stir up some shit regarding "Sister Lovers", but either only one person noticed, or everything I said was absolutely correct.
Syd Barrett = Tortured Genius
Alex Chilton = Opportunist Bum
Syd Barrett = Tortured Genius
Alex Chilton = Opportunist Bum
kath wrote:i will make it my mission to nail you.
But somehow when you smile, I can brave bad weather.
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- Snarfyguy
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Phenomenal Cat wrote:snarfyguy wrote:Phenomenal Cat wrote:I heard he did some solo albums, too.
Are you being facetious or are you actually not familiar with them?
Consider me "in the know". Always.
Facetious? Often.
Sorry, just that you haven't posted so much yet, so I'm still getting acquainted with your style and tastes.
Cheers!
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snarfyguy wrote:Phenomenal Cat wrote:snarfyguy wrote:Phenomenal Cat wrote:I heard he did some solo albums, too.
Are you being facetious or are you actually not familiar with them?
Consider me "in the know". Always.
Facetious? Often.
Sorry, just that you haven't posted so much yet, so I'm still getting acquainted with your style and tastes.
Cheers!
Thank you! I'm just a music fanatic, so I jump at the chance to discuss an album I like, whether it's "Plastic Ono Band" or "Piper at the Gates of Dawn".
The Pink Floyd-Syd and the solo-Syd are very separate entities in my mind, that's all. I listen to the Floyd stuff regularly; the solo stuff maybe every few months or so. He kind of "snapped", if you know what I mean. I listen to The Small Faces all the time and love Steve Marriott, but would never think to mention Humble Pie in the same breath as The Small Faces. Two different birds, really. Same with Floyd-Syd and post-Floyd-Syd.
But enough of my yapping: Someone really should be discussing this great album some more.
kath wrote:i will make it my mission to nail you.
But somehow when you smile, I can brave bad weather.
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Would I be naive or perhaps plain stupid to admit I've never heard this album? I know the singles (Emily & Arnold Layne), but that's as far as it goes with Syd-era Floyd.
I bought The Madcap Laughs after several BCB recommendations a year or so ago. Let's just say that's it's unlikely to ever be played again.
The only PF I've ever owned is DSOTM. I've heard WYWH, but never owned it.
Am I sad?
I bought The Madcap Laughs after several BCB recommendations a year or so ago. Let's just say that's it's unlikely to ever be played again.
The only PF I've ever owned is DSOTM. I've heard WYWH, but never owned it.
Am I sad?
"I've been reduced to thruppence!"
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Charlie O. wrote:nathan wrote:But if you didn't like his solo stuff, you might not be to keen on Piper.
That's always possible... but there are loads of folks who cherish Piper who can't get with the solo stuff (the members of Pink Floyd who produced the solo stuff, among them).
True, but if he never feels compelled to ever play Madcap again, it's not looking too good.
nathan wrote:Charlie O. wrote:nathan wrote:But if you didn't like his solo stuff, you might not be to keen on Piper.
That's always possible... but there are loads of folks who cherish Piper who can't get with the solo stuff (the members of Pink Floyd who produced the solo stuff, among them).
True, but if he never feels compelled to ever play Madcap again, it's not looking too good.
Honestly, I couldn't tell you the last time I bothered to play Madcap.
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Charlie O. wrote:Billybob Dylan wrote:Am I sad?
(though those singles are clues, at least)
But those singles didn't make me leap up and think "Wow! Fucking amazing! I want to hear more stuff like that!" like The Monochrome Set's Alphaville or Subway Sect's Ambition or... (I could go on). When I hear 'em I think "Meh - it's OK in a twee, idealistic '60s pastoral pop kind of way."
"I've been reduced to thruppence!"