Purple had failed as would Caravan later (although un-rehearsed), Procol only doing a readaptation of their better stuff, The Nice failing miserably on Ars Longa (etc.) but Floyd managed it well enough, but had to resort to outside help in the name of Ron Geesin. On the A-side, Floyd tried more successfully what many failed to do before them: integrating classical music and the symphonic orchestra and choirs into the rock fusion. No doubt Hypgnosis' cow un-tagged pastoral artwork helped out (it was a fad that Crimson and Zep tried before they did), but that doesn't explain much, especially with the sore studio experience of Ummagumma. Despite the album's flaws and it not always ageing well, I rank in the last category of fans, even if I wonder sometimes how this album became so successful. Alan Parsons / engineer Releases informationĬD EMI United Kingdom - CDEMD 1072 (1994, Europe) Remastered by Doug Sax with James GuthrieĬD EMI - 50999 028940 2 7 (2011, Europe) Remastered by James Guthrie with Joel PlanteĪHM is a very controversial album, decried by many as boring and pretentious (this usually the Barrett unconditionals pissing on Floyd's successful convalescence of their Syd-loss), almost disowned even by some Floyd members and hailed as the first giant step to the group's ascension to perfection ? it was after their first chart topping album. Haflidi Hallgrimsson / cello (uncredited) Philip Jones Brass Ensemble / brass (1,3) Roger Waters / bass & vocals & acoustic guitar (2), tape, Fx Richard Wright / keyboards (Hammond M102), vocals (3) David Gilmour / guitars, bass, drums & vocals (4) Then Funky Dung kicks in and it’s back to fucking jam time.5. Maybe that cow is the connection between our present and our future. We’ll see something like the cover to this album and we’ll too get this tingly feeling, that maybe there’s more to it than just being a far cry from their previous album covers. Maybe one day, if our species survives, we’ll look back on this time and think to ourselves “is this really the way an intelligent species conducted their world?” Maybe then we’ll be long gone from Earth, long passed will be the days where we cultivated cows for food, or dug mines for coal, or destroyed rainforests for wood. And the wearing down of the strings symbolizes things such as famine, disease, the power hungry leaders looking for personal gain over species-wide preservation, the destruction of our planet through use of fossil fuels, and everything else trying to bring us to a fall. Food, water, energy sources, habitable land to live upon, etc. In fact, it is we that are the marionette, and Earth is the master, and the strings are these few vital resources that we supply ourselves with. Only the strings are old and thin, and some of them are already broken, and some of them were never attached to begin with. We’re so reliant on things we think we have control of, but our control is akin to the strings on a marionette. Because if things like the cow, or oil, or clean water were to disappear, our society would collapse. And that it’s the cow that is truly the master, or say the mother, to our world. Almost like all of human society is based around consuming resources, and the genetically altered cow is a symbol for those resources that we consume at alarming rates and using immoral tactics to obtain them. But if I’m ever listening to the title track at night, in the midst of the Mother Fore choir section, looking at that cow gives me this dark tingly feeling.
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