There was another good pastoral track on Zabriskie Point, with a Gilmour vocal- the name escapes me!
There was another good pastoral track on Zabriskie Point, with a Gilmour vocal- the name escapes me!
^"Crumbling Land," lovely song, sort of a more uptempo "Grantchester Meadows," and one of the first Floyd songs I ever heard.
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
^
Love that tune. A classic.
"Dem Glücklichen legt auch der Hahn ein Ei."
From 1969 Dramatis/ation.Cymbaline from the May '69 BBC radio session.Mother of pearl, this is stunning.
"please do not understand me too quickly"-andre gide
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
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
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.
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".
I've got a bike you can ride it if you like
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
Talking of Rick Wright, I'm quite fond of the drowsy psych of 'See Saw'...an oft-overlooked gem.
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
^'The most boring song I've ever heard' was its nickname amongst the band!
Last edited by JJ88; 10-02-2017 at 02:01 PM.
Aww!
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
"...the first reaction is gonna be, ya know, one of fear..."
Unused I am to the thought of Paul as prophet.
Perhaps finding the happy medium is harder than we know.
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.
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