The Cavern
Rock & Words
UMMAGUMMA (Pink Floyd, 1969)
Artist: Pink Floyd (B+)
Recording Dates: Apr - May ‘69
Release Date: October 25th, 1969. UK
Record Label: Harvest / EMI
Producer: Pink Floyd y Norman Smith
Rating: 8
Era: Progressive (1968-???)
Subgenre: Art Rock/Live Album
Best Song: Careful With That Axe Eugene or Astronomy Domine.
Tracklist: LIVE ALBUM: 1) Astronomy Domine; 2) Careful With That Axe, Eugene; 3) Set The Controls For The Heart Of The Sun; 4) A Saucerful Of Secrets.
STUDIO ALBUM: 5) Sysyphus Part One; 6) Sysyphus Part Two; 7) Sysyphus Part Three; 8) Sysyphus Part 4; 9) Grantchester Meadows; 10) Several Species Of Small Furry Animals Gathered Together In A Cave And Grooving With A Pict; 11) The Narrow Way Part One; 12) The Narrow Way Part Two; 13) The Narrow Way Part Three; 14) The Grand Vizier's Garden Party (Entrance); 15) The Grand Vizier's Garden Party (Entertainment); 16) The Grand Vizier's Garden Party (Exit)
Wow! With this album, you can spend almost as much time reading the song titles and their sections as you do listening to the music itself. Hahaha. Well, almost.
Ummagumma is like night and day. The first album, a live recording, is almost perfect. It's proof of the band's tremendous live energy, and they manage to convey that kind of musical trip with its hypnotic, rarefied atmospheres, reproducing, who knows, every sound effect imaginable for 1969, creating tension and explosions, and basically surpassing, by far, the three studio versions. But they also present "Careful With That Axe Eugene," an epic instrumental of more than eight minutes whose studio version, which will only appear on Relics, also lacks the power of this impressive live performance. In that respect, Ummagumma's first album is gigantic, contrasting somewhat with the more diffuse sounds they had achieved in the studio.
The second album is the complete opposite. It showcases Pink Floyd at their most lost, headless, and devoid of ideas in their entire discography. The second album is a horrifying and soporific collage, in which the band tries to look or sound avant-garde or progressive rock, or whatever, but frankly, the result is utterly sad and pathetic. The intention was to make a “democratic” album, since evidently no one had emerged as a leader since Barrett's departure. And in this democracy, each member contributed a track or suite of their own composition where their instrument shines: Wright with “Sysyphus”; Waters with the collage of wild trills “Grantchester Meadows” and the even worse “Several Species etc, etc, etc, etc…” which sounds like a rehearsal for the most unhinged parts of The Wall; Gilmour contributes the “Narrow Ways” which have the most salvageable fragments; And Mason with "The Grand Vizier's Garden Party," which is almost worse than Roger's part, with choppy drums, pastoral flutes, and a Mellotron, played with as much grace as a drummer can muster on such instruments. Horrible! So horrible that I have a theory it could cause mass suicides.
That's why it took me so long to continue with this album. It's very strange and shocking how a single band can display such opposite extremes in one work. On the one hand, a totally inspired sound that conveys all the energy they were capable of creating live. The first album is proof of why Pink Floyd managed to survive Barrett's departure, as they undoubtedly became the quintessential astral band. Disc 1 demonstrates that Floyd, despite not having much of a studio sound, survived thanks to their monumental stage presence, and this must be the best live recording from their early period. While Live in Pompeii is close in quality, it's a deceptive "live" recording, since there's no real audience. And it's not that you hear crowds cheering or chanting; they hadn't yet become a stadium-filling band, but you feel the tension of the crowd, the intensity, the emotion, and above all, the honesty of the timid applause at the end of the songs. One can almost see the cathartic state and the stunned faces of the audience during Floyd's breathtaking, astral performance, and be transported back to what must have been many nights at the UFO Club. Furthermore, "Careful With That Axe Eugene" is irrefutable proof that they were capable of creating genius when they wanted to. This suite contains the seeds of later, tremendous works: Atom Heart Mother, Echoes, and Obscured by Clouds, from their transitional period. The problem is that they didn't always want to (or could) demonstrate this level of skill, and without clear leadership, they often went around in circles, chasing their own tails and drifting aimlessly.
The second album is proof of this. Perhaps Pink Floyd's worst album as a classic quartet, barely tolerable, and at times unlistenable. It has its moments, of course, but they are few and far between, and not interesting enough to offset the rest of the garbage. This is the lost side of a Floyd trying to fill the void left by Syd Barrett. Except that Syd's genuine madness is far superior to the feigned madness of the remaining four.
The live portion was recorded at two performances: one on the night of April 27, 1969, at the Mother's Club, and the other on May 2 at the Manchester Commercial College. Originally, the album was going to feature "Interstellar Overdrive" on the A-side and an extended version of the "Embryo" suite, which was never released as a studio album. Ultimately, they removed "Embryo" and decided to add compositions from each of the band members. "Embryo" would eventually become a legendary work available only on live bootlegs, leaving us with a lot of useless filler. Finally, seeing that an entire disc would be filled with all that garbage, they decided to make it a double album and added more live tracks to complete the LP, including the aforementioned "Careful With That Axe Eugene."
The title is supposedly part of Cambridge slang for sex. Something like, “I’m going with my girl for Ummagumma.” The cover is one of Pink Floyd’s earliest gems. It’s a scene with the four musicians outside a room, shot from inside. On the wall is a painting of the same scene, but with the guys swapping positions, and then another painting, and so on, until four scenes are complete, culminating in the cover of Saucerful of Secrets. The Umagumma cover alone is more ingenious and worth more on its own than the entire second album.
First up is a superb live version of “Astronomy Domine”, which opens the album. The track retains all the majestic characteristics of the studio version, but it's even better. Only they know how they managed to reproduce the multitude of strange and psychedelic effects of the original: the spectacular intro with the drums sounding like a Luftwaffe bombing raid, the cosmic echo, the guitar effects, the apocalyptic riffs, the soaring descents accompanied by the vocals, the affected vocals… Here, David impersonates Syd, not quite as terrifyingly as the original, but he does it well, with Rick providing backing vocals. We can also hear Roger occasionally whispering the same lyrics, creating a truly delightful three-part harmony (or two and a half, haha). Mason sounds bombastic, relentlessly pounding his drums, slowing the tempo to let Wright launch into a great keyboard solo at the 4-minute mark. This solo gradually fades to a whisper, devoid of any other instrumentation, before building again and exploding at 6:20, when we literally hear one of those glorious moments in music: all four members of Pink Floyd playing four solos simultaneously. In this extended version, they double the first verse, making it more progressive, but without losing its psychedelic and astral undertones, clearly still Pink Floyd's strongest track to date. The ending is similar to the original, with the tempo and intensity dropping as they approach the "Icy waters, underground" section, featuring a tremolo-laden guitar. Impressive. I must say I like it much more than the live version from Pulse. The key detail, especially at the end, is the vocals, which are definitely not Syd's, but they don't sound out of place at all. Finally, the applause reminds us that this marvel was being performed live, and we emerge from that spell of more than eight minutes, and we feel like standing up and applauding too. They deserve it.
Next up is “Careful With That Axe Eugene”, a live version of a previously unreleased song. It’s a gem of experimental tension, perfectly driven over almost nine minutes. It’s a kind of jam in its structure, but it feels like every note is perfectly calculated, with that almost mathematical Gilmour-esque quality. The song begins at a slow, hypnotic pace, with a keyboard improvisation, that ancient, Egyptian sound Rick loved so much at the time. Waters plays a rhythmic riff, octaving up a tone, while the cymbals subtly sound; at times these instruments fade away and the keyboard becomes more ethereal, almost angelic, like whale song. It's a dream, warm, peaceful, a walk in heaven… At the 3-minute mark, the tension seems to increase; they accelerate slightly, the crescendo is swift and without warning, barely a whisper of Waters menacingly uttering the single line: “Careful With That Axe Eugene,” before immediately, at 3:10, unleashing a heart-wrenching scream that shatters the tension and commands everyone else to create an orgasmic climax, with Mason turning the drums around, Gilmour delivering a fuzz-laden solo, and Rick maintaining the rhythm section, before improvising under the guitar. Then, again, we have four solos simultaneously, or interweaving at times. After the 6-minute mark, the intensity has eased somewhat, and the song returns to Wright's Eastern-influenced sounds. The enchantment returns; by this point, one is practically drooling. At 7:10 the song seems to fade away, dissolving into a deliciously lethargic state, almost dying, until only the plucked ride cymbals remain. The applause, once again, brings us back to reality, ending just as it began. What a trip! One of Floyd's best songs, without a doubt. I think it's a clear example of how Floyd's music—not all of it, but masterpieces like this one—can transport you far, far away without the need for any substances. A gem.
Next comes “Set The Controls For The Heart Of The Sun”, subtle, hypnotic, with that remote, feverish feel I love. I adore live versions, and while I think Pompeii's is superior, this one is also an improvement over the studio version. The drumming sounds wilder, the crescendo less controlled, and overall, much more intense. From the 3-minute mark, they start to accelerate, and it's impressive how they build the tension, especially the cymbals, using a trick with the hi-hats for a gong effect, and finally sustaining the explosion for so long, until 4:50. What Nick and Rick do in this section is incredible. Then the song calms down a bit, the legendary bass riff returns, and it seems like the song is going to fade away. Even the bass falls silent, but David starts toying with his guitar and effects unit, making a bunch of strange noises for a while. The rest of the group gradually joins in the improvisation, the almost mantra-like melody returns, the drums become more understated (is it hand-drawn???), until the song itself fades away, after 9 minutes. There isn't even applause this time. So imposing, hahaha.
The first disc closes with “A Saucerful of Secrets”, and the cover art features its four fragments: “Something Else,” “Syncopated Pandemonium,” “Storm Signal,” and “Celestial Voices.” It remains quite similar to the studio version, even in length, as other versions stretched to 20 minutes. In short, the song retains the bizarre and rarefied aura of the original, especially the first part. My favorite is “Syncopated Pandemonium,” with Nick's magnificent solo, almost the best of his life. The song sounds more alive, less manic, and more real, so to speak. David's reproduction of the strange effects from the original is remarkable. In “Storm Signal,” Rick plays that almost ecclesiastical keyboard and guides the crescendo to the grand, unforgettable finale, with David providing backing vocals and showing slight hesitation as he enters. Hehe, I love that little imperfection amidst so much perfection. This time there's applause. A standing ovation. Whistles.
The second album doesn't fare so well.
It begins with “Sysyphus” Parts I, II, and III, which corresponds to Rick's contribution. “Sysyphus Part I” is bombastic and sounds like Caesar's entrance after subduing the Celts, very solemn and majestic, with magnificent drumming. “Sysyphus Part II” is a piano improvisation trying to sound... I don't know, like Bach? Beethoven? I don't doubt Wright's ability, but here he's just showing off, improvising classical music. It starts well, but after a while you realize it has no direction and is just drifting aimlessly to see what comes out, especially after the two-minute mark. From then on, I could play more effectively. Blindfolded. With my back to the piano. And maybe drunk. It continues with “Sysyphus Part III”. Riddled with keyboards, with Gilmour's guitar screeching (he's killing it! Literally!!!) and Mason banging his cymbals like crazy. That's not music, someone have mercy on them! No, on us! The closing track is "Sysyphus Part IV", a kind of ambient piece with a very velvety synthesizer and strange sounds, like a collage. You hear birds chirping, children, (a cow???), running water, a cat… WTF??? Wasn't it clear with "Revolution #9" that this avant-garde stuff is useless??? You can't even call it a relaxing track, because just when you're nodding your head and squinting, a deafening keyboard jolts you half to death at 3:15. Forward!!!!
Roger's first contribution is "Grantchester Meadows", with a minute-long intro of birdsong before he comes in with his guitar. It's a pleasant ballad—gentle, sunny, and fresh. It's not a "Whish You Were Here"—not particularly memorable, but it's like a breath of fresh air. The problem is that it drags on; the birdsong keeps going, and suddenly other sounds enter the background: barking, flapping wings...
“Several Species Of Small Furry Animals Gathered Together In A Cave And Grooving With A Pict” is a collage as horrifying as its name, created by Waters using various voice manipulation techniques. It's actually a prelude to what the Minions would sound like in 2010's “Despicable Me.” Although the Minions probably had more musical sense. It's awful, and it's almost 5 minutes long. Don't even try it, for your own sanity. Skip to the next track.
“The Narrow Way” Parts I, II, and III are David's contributions, the most decent thing here. “The Narrow Way Part I” is an acoustic, very folk-oriented track with some background slide guitar. Nothing extraordinary, but at least it's music. “The Narrow Way Part II” is more bizarre, with a dark, distorted riff that repeats endlessly, while David throws in all sorts of comical guitar effects, reminding me of the “Space” effects in 1960s movies. It's a shame the others caught on. Next! “The Narrow Way Part III” is the only noteworthy track on this album. The only proper song, with lyrics and everything. Very calm at the beginning, with a good keyboard arrangement, slide bass, and a melody as beautiful as it is haunting. The instrumental section from the 4-minute mark onward is particularly striking, where Gilmour delivers an impressive guitar performance, maintaining that cosmic spirit, but this time in an intelligent way.
“The Grand Vizier's Garden Party” is Nick Mason's part. I don't know what “Entrance” has to do with his instrument. It's a flute fragment played with the same flair I had in seventh grade. Almost at random. And then a long drum roll. Like it's a joke. The “Entertainment” section is a serious contender for the most awful part of the album. The only thing worse than a drummer doing a 7-minute solo is a drummer making a collage of every imaginable drum sound for 7 minutes. When the sounds start to cut out, I really lose it. It's one of the most suffocating tracks I've ever heard, and that's what I mean when I say there are tracks that can induce mass suicide. Onward! The closing track, “Exit”, is a 40-second medley of pastoral flute lines. And that's it, the torture is over.
Uff! We finished the album. Listening to the second album all the way through is pure torture, and I can't hear it without ending up with a headache like someone's drilled into each ear. Out of 12 tracks, only one actually stands out. That's how awful this second album is. And the worst part is, they took it way too seriously. At least Zappa has a cynicism and a sense of humor that make him great.
Even so, I hold Ummagumma in high regard. If I were to average both albums, I'd have to give it a 6 (10 for the first album and 1.5 for the second + 0.5 for the brilliant cover art), but honestly, the live portion is so monumental that I don't care what my objective inner critic might say about the second album. That's why I give it an 8.
If you haven't heard it... what the hell are you waiting for?! Run to your nearest record store, buy Ummagumma, and reach heaven with the first disc blasting in the dark. The energy and vibe of Pink Floyd live is unmatched. Afterward, you can descend into hell with the second disc, or you can simply play Frisbee with it and your dog... it's the healthiest thing to do. Otherwise, you run the risk of ending up like Syd Barrett.
Don't say I didn't warn you.
By Corvan
Feb/11/2011
