Floyd 67-72

[JJ88]

There was another good pastoral track on Zabriskie Point, with a Gilmour vocal- the name escapes me!

[at least 100 dead]

There was another good pastoral track on Zabriskie Point, with a Gilmour vocal- the name escapes me!

Could be 'Country Song' (the one about the red queen)?

[Mister Triscuits]

^"Crumbling Land," lovely song, sort of a more uptempo "Grantchester Meadows," and one of the first Floyd songs I ever heard.

[at least 100 dead]

^
Love that tune. A classic.

[JKL2000]

Footsteps/Doors (3’12): Did Floyd have a foot fetish or what? Useless FX of some bloke walking back and forth

Yeah, I'm surprised they didn't also have him walk back and forth on gravel, and also have a group of soldiers marching past. Gotta love the Azimuth Coordinator! Not actually sure this is when they were using "it."

[walt]

From 1969 Dramatis/ation.Cymbaline from the May '69 BBC radio session.Mother of pearl, this is stunning.

[chalkpie]

From 1969 Dramatis/ation.Cymbaline from the May '69 BBC radio session.Mother of pearl, this is stunning.

Yes sir. I listened to this during the week.

[Udi Koomran]

PF's quite secret weapon Rick Wright
Rick Wright's presence and contribution in the early days was a major factor to that sound and vibe
Wright's contributions to the band diminished later in the 1970s and so did their appeal
a few lines from wiki :
While Barrett was a dominant member, writing most material, singing most lead vocals and playing lead guitar, he played a supportive role, playing keyboards and singing, with occasional lead, and writing his own material.
Following Barrett's departure and replacement by David Gilmour, Wright took over writing duties with Waters but gradually became less involved as a singer and songwriter as the band's career progressed
Wright's main influence was jazz, particularly Miles Davis and John Coltrane.
He played solos in the early part of Floyd's career, frequently using Egyptian scales, such as on "Matilda Mother" or "Set the Controls for the Heart of the Sun" His jazz background led to him being interested in free form music, with adherence to tempo being less important
Wright was a proficient multi-instrumentalist who, in addition to keyboards, also played guitar, flute, cello, trombone, violin, drums, saxophone and bass. Other keyboards that he used in the studio were tack piano, harpsichord, celesta and harmonium, notably on Syd Barrett's solo song "Love Song" and "Chapter 24"
n the early days of the band, Wright dabbled with brass before settling on Farfisa electric organs as his main instrument onstage. He originally owned a single-manual Combo Compact model, which was used for early recordings of "Interstellar Overdrive", and later upgraded to a dual-manual Compact Duo. During the 1960s, Wright relied heavily on his Farfisa fed through a Binson Echorec platter echo, as heard on the Ummagumma live album.[66] On later tours, the instrument was fed through a joystick control allowing the signal to be sent through up to six speakers in an auditorium, which was called the "Azimuth Coordinator". Wright stopped using the Farfisa after The Dark Side of the Moon,
Wright played the piano and Hammond organ in the studio from the start of Pink Floyd's recording career; using the Hammond's bass pedals for the closing section of "A Saucerful of Secrets". He used a Mellotron in the studio for some tracks, including Ummagumma's "Sysyphus" and on the "Atom Heart Mother" suite. For a brief period in 1969, Wright played vibraphone on several of the band's songs and in some live shows, and reintroduced the trombone on "Biding My Time". He started using a Hammond organ regularly on stage alongside the Farfisa around 1970 and a grand piano became part of his usual live concert setup when "Echoes" was added to Pink Floyd's regular set list. All three keyboards are used in the concert film Pink Floyd: Live at Pompeii.
In the 1970s, Wright began using synthesizers such as the VCS 3, ARP String Ensemble and Minimoog, which were featured on "Shine on You Crazy Diamond". Wright wrote the closing part of the track alone, and included a brief extract of the band's early single "See Emily Play" on the Minimoog towards the end

[Trane]

Wright was a proficient multi-instrumentalist who, in addition to keyboards, also played guitar, flute, cello, trombone, violin, drums, saxophone and bass. Other keyboards that he used in the studio were tack piano, harpsichord, celesta and harmonium, notably on Syd Barrett's solo song "Love Song" and "Chapter 24"

I didn't know this, thx for pointing it out.

Yup, indeed, Wright was a very important link in the Floyd Chain

[Udi Koomran]

I didn't know this, thx for pointing it out.

Yup, indeed, Wright was a very important link in the Floyd Chain

More Wright trivia :
Wright's position in the band was tenuous to begin with, as he did not choose a definitive instrument, playing piano if a pub had one, otherwise settling on the trombone or rhythm guitar.
While not credited for vocals on The Piper at the Gates of Dawn, he sang lead on Barrett-penned songs like "Astronomy Domine" and "Matilda Mother"
Wright was close friends with Barrett, and at one point the pair shared a flat in Richmond. After Barrett left the group in 1968 owing to mental health issues, Wright considered leaving and forming a group with him, but realised it would not have been practical

[Halmyre]

Did Rick use the Farfisa as late as DSOTM?

Even if he's not given songwriting credits on the later albums, he deserves credits for being *there*; you might not always notice his presence but you would surely notice his absence.

[Casey]

I've always though RWs keyboard playing very recognizeable: notes going up in scale & then descending with little back & forth florishes. Is this the "Egyptian scale" referred to by wiki? DG once called RWs playing style as "Turkish".

[chalkpie]

. He used a Mellotron in the studio for some tracks, including Ummagumma's "Sysyphus" and on the "Atom Heart Mother" suite.

I Love the demented carnival/circusy section in the middle of this, played on 'Tron of course. Nobody can say that its overdone because back then when he did , it wasn't!

[MYSTERIOUS TRAVELLER]

Did Rick use the Farfisa as late as DSOTM?

Even if he's not given songwriting credits on the later albums, he deserves credits for being *there*; you might not always notice his presence but you would surely notice his absence.

<cough> the final cut <cough>

[JJ88]

Talking of Rick Wright, I'm quite fond of the drowsy psych of 'See Saw'...an oft-overlooked gem.

[Mister Triscuits]

drowsy

Good word for that song.

[JJ88]

^'The most boring song I've ever heard' was its nickname amongst the band!

[Mister Triscuits]

Aww!

[chalkpie]

[Halmyre]

^'The most boring song I've ever heard' was its nickname amongst the band!

From Wikipedia "On the recording sheet, the song is listed as "The Most Boring Song I've Ever Heard Bar Two"."

So what were the other two, one wonders?

[Udi Koomran]

The sheer power of this Interstellar Overdrive wow

[Frankh]

"...the first reaction is gonna be, ya know, one of fear..."

Unused I am to the thought of Paul as prophet.

[Tangram]

Talking of Rick Wright, I'm quite fond of the drowsy psych of 'See Saw'...an oft-overlooked gem.

Completely agree. Leave it to Rog to call it 'The most boring song I ever heard bar two.' There are a handful of Wright's songs that should have been played live (See Saw might not be one of them) but they didn't.

[bill g]

Always liked Richard Wright's songs. Every one of them. I understand he even wrote the main vocal melody in 'Echoes'? But by 'The Wall' he wasn't writing at all, and I was no longer interested.

[Paulrus]

Always liked Richard Wright's songs. Every one of them.

Hear hear. IMO he was hands down the best melody writer in the group, at least early on. Even his late stuff like "Wearing The Inside Out" has tons of charm.