403 of 415 people found the following review helpful
5.0 out of 5 stars The Birth Of Pink Floyd
David Gilmour himself once remarked that Meddle was Pink Floyd's first true album. Though this is their fifth post-Barrett effort, it is musically light-years ahead of any of its predecessors. Of course there are many wonderful, brilliant moments on those early records, but it is clear in those recordings that the band was anxiously searching. Meddle is Pink Floyd finding...
Published on November 1, 2002 by Philip Snyder
11 of 15 people found the following review helpful
1.0 out of 5 stars LOUD
As an Audiophile and comparison shopper, I purchased both the remaster 2011 version and very clean used 1971 version of "meddle". After extensive listening, the remaster just came out obnoxiously bright and blaring. The original recording sound very melodic and accurate when played at moderate volume levels thru tube preamp and solid state preamp. Very nice imaging and...
Published 12 months ago by Amazon Customer
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403 of 415 people found the following review helpful
5.0 out of 5 stars The Birth Of Pink Floyd,
David Gilmour himself once remarked that Meddle was Pink Floyd's first true album. Though this is their fifth post-Barrett effort, it is musically light-years ahead of any of its predecessors. Of course there are many wonderful, brilliant moments on those early records, but it is clear in those recordings that the band was anxiously searching. Meddle is Pink Floyd finding itself. It is far more focused, far more melodic, and far more cohesive then anything before it. No longer searching, Pink Floyd had finally arrived.
The album kicks into gear with the savage instrumental One Of These Days. Howling wind sets the tone as a pulsing doubled bass line (complete with tape echo) pumps along. Intensity grows with organ stabs, reversed cymbal rolls, and fierce slide guitar. After a creepy bass interlude, Nick Mason makes his (distorted) vocal debut with "One of these days I'm going to cut you into little pieces!!" and slams the song into overdrive. Pounding drums and stinging slide guitar dominate for the next two minutes until nothing but wind remains. It is here that (appropriately enough) the gorgeous ballad, A Pillow Of Winds picks up. Made up of acoustic guitars and sparse bass, this is a beautiful floating piece that takes advantage of Gilmour's tranquil vocals. This gentle mood is held through Fearless, a relaxed mid-tempo summer breeze of a song, again driven by Dave's voice. San Tropez and Seamus show off the Floyd's eclecticism as well as humor. The former invokes a bouncy cocktail lounge jazz feel, while the latter stars Steve Marriot's dog Seamus who "sings" along with Gilmour on some acoustic blues.
And then there's Echoes. 31 years later, this epic sound journey stands as one of the band's greatest achievements. Every element that would become synonymous with Pink Floyd was crystallized in this one phenomenal song. Swirling, bubbling keyboards and liquid guitar lines mix with floating vocal harmonies and a dynamic rhythm section to move the music through several dramatic and powerful moods. Truly the band's musicianship had taken a monstrous quantum leap forward from Atom Heart Mother. Of exceptional note is David Gilmour who, after years of struggling, managed to firmly define his role in Pink Floyd with complete confidence. That he asserts his unmatched talents on this track is an understatement. Fluid guitar lines; silky bends; gorgeous vibrato; subtle slide; tremolo bar antics; funky rhythms; and soaring leads abound. A significant part of his style - playing sounds and textures as well as notes - is also well represented. In the intro, he carresses the strings with a steel slide (much like an E-bow) to produce a shimmering string section-like feel. During the middle section, when darkness falls, his echo-laden feedback cries can be heard over ominous keyboards, swirling wind, and the distant screech of crows. Then, as daybreak comes in the form of a musical buildup to the final verses, the track ends with a multi-layered guitar part that sounds almost like a ghostly choir rising higher and higher. All this over the single echoing piano note that started the piece off. Fantastic.
Meddle is often dismissed as a "transitional" album due to the massive success of it's follow-up, Dark Side Of The Moon. Though it's not quite as perfectly structured as Dark Side, it can easily stand shoulder-to-shoulder with it (and any of the golden era Floyd albums). I would say that if you've digested Dark Side, Wish You Were Here, Animals, and The Wall, move on to Meddle next. This is an incredible album and should not at all be overlooked.
93 of 97 people found the following review helpful
5.0 out of 5 stars A Nearly Symphonic Magnum Opus,
Before The Wall, before Dark Side of the Moon, Pink Floyd created a very different kind of masterpiece. While their later albums were a triumph of concept, it is on Meddle where one can hear the *musical* peak of Pink Floyd's career. This is not a concept album--it is a musical journey showing off a variety of musical styles. The lyrics do not demand--they suggest, and allow the music to do the rest of the talking. Perhaps the most wonderful thing about Meddle is the fact that the band was truly functioning as a *band* here. Everyone's talents can be clearly heard, and no one shouts anybody else down.
There is no such thing as filler, on Meddle. Bookended by the mindblowing tracks "One of These Days" and "Echoes", the four "interior" tracks are severely underrated. "A Pillow of Winds" and "Fearless" are both pleasant, leisurely guitar-driven songs, and seem fairly well appreciated by fans. However, I believe that the much-maligned "San Tropez" and "Seamus" are also deserving of appreciation. "San Tropez" is particularly notable for some very unique Roger Waters vocals--rather optimistic and even a touch bluesy...a style he unfortunately never pursued after that point. "Seamus" gives a rare glimpse of the fun side of Pink Floyd, as well as a flashback to the band's origins as a blues cover band. This was never a song meant to be taken so seriously as some do. "One of These Days" is an explosive, energetic instrumental that perhaps foreshadows the angry, driven rock of Animals, but with only one lyric--a rare appearance by Nick Mason, whose processed vocals growl menacingly, "One of these days, I'm going to cut you into little pieces!"
The album's final piece, "Echoes", may be Pink Floyd's greatest work ever. From first to last "ping", this brilliant near-symphony is fantastic. Each bandsman's talents are clearly audible, even the simple-yet-effective contributions of Nick Mason and Roger Waters. The vocal harmony of David Gilmour and Richard Wright is mesmerising. Without question, this song contains the best verse Mr. Waters ever wrote: "Strangers passing in the street, by chance two separate glances meet, and I am you and what I see is me. And do I take you by the hand, and lead you through the land, and help me understand the best I can?"
Unfortunately, this reminder to walk a mile in the other man's shoes was a lesson Mr. Waters forgot in later years, at the price of devastating consequences to the band's output and to the members themselves. This moment in Pink Floyd's history is therefore one-of-a-kind, completely irreplaceable. The entire album can be summed up by the "jam" sequence in "Echoes". Never before, never again do the pieces fit together so seamlessly, each a joy on its own and in combination.
130 of 146 people found the following review helpful
5.0 out of 5 stars Soundtrack to Surrealism,
Meddle, from the openening pounding of One Of These Days to the Falsetto choir of Echoes, it provides the perfect soundtrack to surrealism. Have you ever been in that state where your almost asleep but still a bit awake. That's the best description of this album. The music is so layered that at times the Four man Floyd sound like a 100 piece orchestra, souring up and down musical peaks and troughs.
David Gilmour said that Meddle was when it all started to come together. In a sense he was right. It started to bring them out of avante garde compositions. Meddle, is and essential piece in the Floyd cannon, surpassed only by Dark Side oF The Moon.
One of These Days opens a pulse pounding rythmic barrage of bass, organ, guitar, and drums. Mason's pounding drums particulary stand out proving his underrated talent. It is also one of his few vocals on a Pink Floyd record.
Pillow Of Winds is a gentle dreamlike song mixing great accoustic guitar from Gilmour, along with good lyrics from Waters.
Fearless, is the albums rocker, with a catchy opening riff and great vocals from Wright/Gilmour.
San Tropez is one of Floyd's most versital songs. The Hawaiian guitar by Gilmour is superb and Waters vocals are light and Dreamy. Also present is Wright's jazzy piano.
Seamus is a standard accoustic blues number with delicate vocals by Gilmour and then blues by Wright.
Echoes is the albums finale. At 23 minutes, it is one of Floyds greatest achievements. The music is dense, almost orchestral, and the lyrics are both depressing and surreal. Gilmour and Wright share lyric duty while the band themselves show each of their talents respectivly. The climax of the song is truly awesome and Gilmours guitar solo is second to none. Possibly Floyds greatest song.
Once again another superb entry for the band that defines emotion, lyrically, and musically.
15 of 15 people found the following review helpful
4.0 out of 5 stars "...I'll Climb That Hill In My Own Way...",
This review is from: Meddle (Audio CD)
*** THIS REVIEW IS FOR THE 2011 VERSION ***
I've just come from reviewing the 2011 remaster of Pink Floyd's "Obscured By Clouds" (the album that followed "Meddle" in June 1972) - which is sonically amazing - but is also disappointingly skimpy on the packaging front (a miniscule 8-page booklet). It's pretty much an identical story here. But to the details first...
Released 30 October 1971 on Harvest Records SMAS-832 in the USA and 13 November 1971 in the UK on Harvest Records SHVL 795 - original UK copies of the vinyl LP came in an untitled textured gatefold sleeve. American issues were titled and featured reversed artwork on a hard-card sleeve - the back of the UK cover put on the front. This 26 September 2011 version (27 Sep 2011 in the USA) on EMI 50999 028942 2 5 is a straightforward 6-track remaster of that studio album and comes in a gatefold card sleeve (using UK artwork) with a 12-page colour inlay inside (total playing time 48:51 minutes).
Like all the other albums in this 14-title reissue series - "Meddle" has been mastered by JAMES GUTHRIE and JOEL PLANTE at the Das Boot Recording Studios in Tahoe in California (Guthrie is a Sound Engineer associated with the band since 1978). The original 1st generation master tapes have obviously been given a thorough going over because it truly feels like each song has had a staggering amount of time spent on them worrying out every single nuance possible. The audio result is truly impressive.
On the 1995 remaster the six-minute opener "One Of These Days" took ages to arrive and even when it did it was somehow dull and lacklustre. How things have changed - when the huge synth riff kicks in about 2:50 on this 2011 version - the sound is incredibly clear - allowing you to hear crashes and bangs going on in the background that I've never heard before. Then the sort of Piltdown Man voice says "One Of These Days I'm Gonna Cut You Into Little Pieces..." and all Hell breaks loose - Gilmour's guitar indeed sounding like a musical chainsaw. It's revelatory genius and in that uniquely peculiar Pink Floyd kind of a way.
But even that is trumped by the awesome clarity of the forgotten and hugely underrated "A Pillow Of Winds". Put simply - it sounds 'beautiful'. The jaunty "San Tropez" and the rather pointless ditty that is "Seamus" are both the same - so clear and renewed. The 23:25 minute Side 2 opus "Echoes" has hiss as it opens on sonar pings - but luckily Guthrie and Plante have allowed it to breath instead of using some no-noise dampening technique. So when the funky break takes place at about seven minutes (now being used by Dance DJs in the UK as a mix in sets) it sounds just HUGE. It's impressive stuff, it really is.
But on this album my heart has always been with "Fearless" - issued as a B-side to "One Of These Days" in the USA and other European territories. It seems like I've waited literally 40 whole years to hear this fabulous song in such clarity (lyrics above). It's a genuine wow - and reminds me of a club I used to go to in Dublin called The Grove in the Seventies when they actually used this song as a 'lurch' (a slow tune in Ireland). As it fades out to the Liverpool Football Club fans singing "You'll Never Walk Alone" (a no.1 UK hit for Gerry & The Pacemakers in 1963 and adopted by them as an anthem) - I'm in floods...
I wish I could say the same for the staggeringly unimaginative packaging. The 'Pink Floyd' logo you see in all the photos advertising these new reissues turns out to be a sticker on the outer shrink-wrap that gets lost the second you unpeel it. The card sleeves are like The Beatles 09/09/09 EMI reissues - glossy and flimsy - so they smudge with finger prints the second you open them and are easy to bend and crease. The CD itself has new generic artwork that's repeated in different colour variations throughout the series - a sort of Turquoise and Pale Green for "Meddle", a garish Red and Pink for "Obscured By Clouds" etc. It has no relevance to the original albums whatsoever (where's the original Harvest label they've used on other reissues or the colourful inner bag?) but also has no protective gauze sleeve so it will scuff on repeated plays.
But the skimpy booklet is the biggest disappointment. Although it has the lyrics (like this is a major improvement) it seems little different to the 1995 issue. It has no history of the album, pictures of European and Worldwide 7" sleeves, the different US artwork etc. Ok - it does look nice and does the job adequately - but that's all. It's a lazy-assed approach on behalf of EMI and undermines the sterling work done on the sound front. I hate to come across like some nick-picking fan boy here, but it would have been nice to actually 'discover' something on this so-called 'Discovery' version (docked a star for that). And there are no outtakes either...and man would they have been worth a listen.
To sum up - five-star sound with 3-star presentation - but with an opening salvo price of less than a tenner in most stores - and the truly beautiful sonic upgrade thrown in - the casual listener is advised to dig in, rediscover and enjoy.
Die-hard fans however might want to wait for the Japanese Editions that will inevitably arrive in 2012 on the far superior SHM-CD format (a better make of CD playable on all players). With their faithfully reproduced artwork and audiophile reproduction - they may give your bank manager a cold sweat - but they will absolutely be the ones to get if the best is all you'll accept.
"Meddle" is a gem in the Pink Floyd canon and on the strength of this remaster alone - I'm going to have to buy the new "Dark Side Of The Moon " and "Wish You Were Here" versions too. I suspect many will feel exactly the same...
17 of 18 people found the following review helpful
5.0 out of 5 stars Pre-Dark Side Floyd; Most Refined of These,
I may be in a minority when I say: as good as "Dark Side of The Moon" and the other albums that followed were, it was the material that Floyd made before that major juggernaut of an album which rings the more special to me. I really think that when "Dark Side of The Moon" was made and released, Floyd gained something spectacular with it, particularly in their intelligent, profound lyrical concepts, and they obviously had won a larger following than they ever would have anticipated. However, I also believe that they lost something just as big, if not even bigger in the process. They seemed to lose their whimsical edge, as well as their uncompromising and superfluous ethereality. They just seemed to lose a bit of their natural 'flow' and intensity in their creativity, mostly found in their psychedelic and minimalist experiments, and as a result, I mostly view their creativity & progression on a musical (excluding lyrical) level as something which slipped down into drier areas. There are pros and cons with everything, and anytime you gain something in progress, more than likely something will be lost as a result of that - for better or for worse. But, other than that, I say all of this because I'm a bit worn out of DSOTM and it's other popular successors, and feel that everything from their '67-'72 period deserves a bit more recognition, especially when people (mostly of this generation) say they're Floyd fans, and the sum total of their knowledge of Floyd is no more than DSOTM, "Wish You Were Here" and/or "The Wall."
Which brings us to 1971's _Meddle_, the second to last album before the "big one" was released. This is the pre-DSOTM album which possibly shows Floyd at their most polished and refined in execution and production, and when hearing this album, and coming to that conclusion, you would think this was the very last album released before DSOTM. But, that isn't the case. Also, the refinement, the trimming of minimalist experiments, added with the fact that many of the tracks on here are not extended helps to make this arguably the most accessible album in the pre-DSOTM period. But, this isn't to say that _Meddle_ lacks any kind of surreal, psychedelic atmospheres, as those can clearly be found here as well, but in controlled proportions. "One of These Days" is a definite rocker: sort of the antithesis of the lengthy, drawn-out Floyd we all know. Roger Waters' driving basslines and Rick Wright's calling synth lines are the standouts, which are somewhat overshadowed later on by David Gilmour's screechy guitar lines, while Nick Mason keeps a steady, but no less menacing drum beat. "A Pillow of Winds" is definitely my personal favorite track on the album. An ethereal, wispy, breezy, mellow track, David Gilmour's calm, soothing voice, the gentle acoustic arpeggios, and other such subtleties help to create a dreamy, tranquil atmosphere of the mind and soul, which can be comparable to experiencing a gentle breeze on a summer morning, while calmly reflecting on pleasant memories or wishes.
Elsewhere, "Fearless" is a mid-tempo track featuring David Gilmour playing an ascending diatonic lick based in G major, which gives a slight symphonic atmosphere to an otherwise summery track, and "San Tropez" is a short, playful, elegant jazz-tinged track, with Roger Waters on lead vocals. It's quite interesting hearing Roger in a more playful mood, as opposed to the morbid tendencies found in the majority of his later writings. "Seamus" features dogs barking in the background to an otherwise bluesy track, and "Echoes" is the 23-minute head-trip of the album. Ethereal, melodic and airy in the beginning, until that long, creepy "echo" section comes in. Can't really explain it all - needs to be heard. The vocal rhythmics and rhythms in general call to mind "Breathe" and the ending of "Time" from the following album after the following album, DSOTM.
If you're reading this, and are a Pink Floyd fan, and you haven't heard anything before _Dark Side of The Moon_, please do yourself a favor and start exploring that era of the band. You'd really be doing yourself an injustice if you don't. _Meddle_ would be a great place to start.
11 of 11 people found the following review helpful
5.0 out of 5 stars I'm astonished how underrated this one is,
Sure, most people would prefer Dark Side or The Wall over this. Others would rather cite Animals, Wish You Were Here or even Piper as their best. But as far as I'm concerned, this is as perfect as they were ever gonna get. You see, this is the one & only album they ever did that encompasses every side of the musical phases they went through. There's a mammoth, heavy MONSTER truck of a hard-rocking instrumental in "One Of These Days", probably their greatest album opener ever. Ambient, acoustic folk stuff follows with "A Pillow Of Winds", which features some of the best, most beautiful acoustic picking(and slide playing) David Gilmour ever did, especially in the middle "when night comes down you lock the door" section. Next we get the country-tinged "Fearless", which has a wonderful ascending guitar line that sounds just like a bunch of stoned English hippies climbing up a hill, smiling. Trust me, you'd have no idea they were capable of pulling off such an amazingly uplifting & soul-soothing song if all you know by them is their two hit albums. I used to hate the Liverpool football team's chants at the end, but now I think they fit in just right; and they set the stage for the next song quite well.
And I really, really hated "San Tropez" when I first sat through it, but it's just so goofy, I can't help but love it now! Seriously, you must not have a sense of humor, musically, if you don't start cracking up by the time the first line "As I reach for a peach" comes in. Delightful song. Well-placed. GREAT simple guitar and piano solos. Next song gets even sillier, a standard blues improv with a howling dog holding down the fort on vocals. I'll tell you something; most people tend to rave about the wailing female vocalist in "Great Gig In The Sky": I just say to them "She sure weren't no Seamus, though. That dawg's got ROCKNROLL in the SOUL!" Now sure, on any other Pink Floyd album, or placed anywhere else on this album this dumb joke surely would've failed miserably. But because of it's placement on the album(end of side 1), you get a clear, cohesive picture of the thorough listening experience; a band starting off with the most serious, foreboding song imaginable, and gradually getting lighter, less gloomy, and much more FUN with each subsequent song. With NO unifying concept and hardly any depressing lyrics that this band is known so well for! Just a concise overview of their entire musical journey: their "acid-folk" period, the darker hypnotic repetition stuff, dabblings in Barrett-esque naive humor, and avant-gardeist sonic experimentation(which shows up, to great effect in the next song).
Then how to finish off the rest of the album(side 2)?? Only one way....ECHOES!!!!! The magnum opus of the band's entire career. You can have your "Shine On You Crazy Diamond", your "Dogs", your "Interstellar Overdrive" and your "Atom Heart Mother Suite" any time of the day... this will always be my very favorite of all of their extended epics for years & eons to come. I won't waste my time describing it to you, since words could never do justice to how I feel about it, but it's such an immensely satisfying song for me...every time I listen to it it's like I'm being transcended into another world...where everything is beautiful and magnificent to behold. Needless to say, I love every second of it, and all 46 minutes and 46 seconds of this album. The most perfect album closer to the most perfect Pink Floyd release ever. I'm astonished. Pick this up now, and listen to it a good 25 or 26 times, and you just might be too. And if you do love it anywhere near as much as I do, pick up the "Live At Pompeii" video right away...it's the perfect document of the post-Syd, pre-superstardom Floyd.
9 of 9 people found the following review helpful
5.0 out of 5 stars Obscure, but great,
Meddle may be my favorite Pink Floyd album. Of course that changes from day to day, but Meddle is one of the regular contenders. This album is so musical and not stale. Each track stands completely independent from the other.
It starts off with One of These Days, which begins quiet, with different sound effects and builds. Then it builds and builds and builds until it explodes into a full on assualt of your senses. This is a great song to turn up and get surrounded in the sound.
The other tracks are good too, but I like Echoes so much that I almost always go straight to it. San Tropez is very interesting. It's a light, up tempo song. Seamus is an interesting, bluesy song and Fearless is a nice, downtempo song.
But now, for the best part of the album. Echoes is a little over 23 minutes long, and every time I listen to it, I want it to be longer. Staring out with a simple, sonar-like ping, it slowly builds to a very full sound. The voice blends so well witht he instrumentation, that it becomes another instrument. After the first set of vocals you are taken on a trip. This song is amazing to turn up and listen to in complete darkness. After a while, the song turns to wind and then slowly stars adding different elements in again. From there till the end is such an amazing use of blended sounds building upon eachother, that I cannot describe how good it is.
This is an amazing CD that takes the symphonic sounds of Atom Heart Mother another step further. Don't expect Dark Side or The Wall. You'll be disappointed if you do. But if you like the instrumental sounds glimpsed on these two CD's, you will love this album.
15 of 17 people found the following review helpful
5.0 out of 5 stars My Favorite Floyd Work, In Near Perfect Quality,
By A Customer
Verified Purchase(What's this?)
First off, Echoes is one of my favorite songs of all time. It's a slowly starting and medium paced song (drawn out to the 23 minute mark) that is just amazing. It starts out with quietly sounding sonar piano sounds and guitar, going through the introduction, then the guitar tears through the song and just takes off, but in perfect coordination with the rest of the instruments. It's almost as if the guitar starts playing something different from what the other instruments are playing, but listen to the song a few more times and you'll see that it fits so well. You will definitely feel a need to listen to "Echoes" many times, it's something that just doesn't get old. The lyrics are kind of sparse given the song's length (like most Floyd songs, this is an instrumental with lyrics, not a pop-song with a refrain), but there is one line that just sticks to my mind "Strangers passing in the street/ By chance two separate glances meet/ And I am you and what I see is me." It always makes me wonder what were they thinking when they wrote that. There is a point before the ending that slows down to really creepy sea-bird sounds. Sounds like an insane albatross in heat. If the band left this 4 minute section out, the song wouldn't be any worse off and I sometimes fast-forward through it if I've got someone else (a non-Floyd enthusiast) in my car listening (they usually are a little scared by this part of the song). However, after a while, it sort of grew on me to the point where I have come to appreciate this part as an essential part of "Echoes." The ending is fantastic, with the guitar slowly gearing up to sear through your head one triumphant time with the sonar piano backing at just the right places. At the end of the track, there's an overlayed wind sound and the instruments slow to a halt. Always leaves me wanting more. The songs "One of These Days," "Fearless" and "Pillow of Winds" are all great songs too. Cool chord work in "Fearless." Almost blues, more country-like guitar picking in "Pillow of Winds." "One of These Days" really rocks at the end. "Seamus" and "San Tropez" are bearable, that's all. The good news it that the bad moments total less than six minutes of the album. "Seamus" (2:12 minutes) is an uninspired number that merely showcases Rick Wright's "talking" dog that punctuates every other own-beat with a shrill bark. "San Tropez" (3:40 min) is kind of like an effortless country romp that sounds as though it was conceived as a transition between the beautiful acoustic strumming of "Fearless" and the yipping dog sounds of "Seamus." I can't, for all I listen to Meddle, come to like either "San Tropez" or "Seamus."
A word on MFSL gold discs: The issue of Meddle that you find stocked in stores under the Capitol label comes from a machine that reads from tapes that are copied from copies of the copy of the master tape. Actually, I have no idea about the specifics, but the end result is the same: the characteristic hiss from an old, decomposed tape that overlays every minute of the CD. It's on all the standard aluminum CDs out there and it's more pronounced the older the album is. What Mobil Fidelity Sound Labs did was to make a copy from the original master tape. They proceeded to remaster this and make it even better until they put it on a gold CD and called it an ultradisc. New, they run in the hundreds (yes I said triple digits) of dollars. Some believe that they are worth this. I will not say that I would pay $200 for a CD. However, I would pay the $30-60 they go for used. Keep in mind that they sold for $200 new, so the original owner isn't likely to have spilled soda on this CD or dropped it on gravel or something.
When I first got mine (used), I was blown away. The tape-hiss is GONE. Turn it up all the way and all you hear are the instruments, no accompanying "Ssssssss" AT ALL!!! The highs are more defined and much crisper for this reason. The experience is like listening to music in a car with the sunroof open for all your life and suddenly the sunroof is closed. The lows, while not lower, are less mushy (not that they were very mushy at all to begin with, but there is a slight improvement nonetheless). This CD is worth the $30-60 you pay for it used, especially if you hate the tape-hiss as much as I do.
8 of 8 people found the following review helpful
5.0 out of 5 stars Awesome Pink Floyd,
A Kid's Review
When someone mentions Pink Floyd nowadays, all anyone thinks of is "Dark Side of the Moon" or "The Wall", and once in a while, "Wish You Were Here". Those are great albums, but there is one album missing from that group and that is "Meddle". I am 14 years old and have listened to many Pink Floyd albums but "Meddle" has to be one of my favorites. It kicks off with some wind effects before plunging into the bass-driven "One of These Days". I can definately say that "One of These Days" is one of my favorite Pink Floyd songs. From the opening bass lines to Nick Mason growling "One of these days I'm going to cut you into little pieces" and then the all out rocking end, this song stays strong the whole way through. Next comes "A Pillow of Winds", which is much softer then the opening track or almost anything else before it. It is very melodic and slow, but it's very good. Then we have "Fearless", which is an excellent accoustic song. It is more up-tempo then "A Pillow of Winds" but not nearly as up-tempo as "One of These Days", but all in all a good example of accoustic Floyd. After "Fearless" comes "San Tropez" which sort of has a blusey feel to it and is a great song. The blues theme continues with a slow, accoustic blusey song called "Seamus" which is pretty good, possibly the weakest song on the album, but that doesn't mean it's not good, it's just not as good as the excellent songs that come before it (on a 1 to 10 scale I'd give it a 7). Closing out the album is an experimental song called "Echoes". It runs at 23 minutes in length and took a whole album side upon "Meddle"s vinyl release. "Echoes" is a great experimental song and if you have the patience, I would reccomend giving it a listen.
So if you have "Dark Side of the Moon", "The Wall", or "Wish You Were Here" and your looking for some more Pink Floyd but don't know where to look, look here! This album is full of great songs from the opening of "One of These Days" until the end of "Echoes". I strongly reccomend this album to anyone who is looking for more Pink Floyd or someone who's just starting to listen to them.
One of These Days - 10/10
A Pillow of Winds - 9/10
Fearless - 10/10
San Tropez - 10/10
Seamus - 7/10
Echoes - 10/10
8 of 8 people found the following review helpful
5.0 out of 5 stars An underrated Floyd classic.,
This review is from: Meddle (Audio Cassette)
For many people, Pink Floyd starts with Dark Side of the Moon, some people acknowledge Piper At the Gates of Dawn, but overlook excellent pre-DSOTM albums like Atom Heart Mother and this one, Meddle. This is the album that shows the first true example of the "Pink Floyd sound," and that comes through on the album's epic closer "Echoes." As a fairly new but educated Floydhead, I can safely say that Meddle is an album not to be ignored.
The album's opener, "One of These Days," is arguably the heaviest track in the Floyd catalogue. The song, opening with the sound of wind blowing, is driven by a repetetive but entertaining bassline. This song also features the only vocal performance by drummer Nick Mason (the only Floyd to appear on every single one of their albums, BTW) as he growls "One of these day's I'm going to cut you into little pieces," then the track kicks into full blown high gear. As the final winds of this track fade out, the gear shifts from high into low, with the lush, beautiful "A Pillow of Winds." This incredible track is driven by acoustic picking, clearly influenced by John Lennon compositions "Julia" and "Look At Me." This one is great to put on when you cuddle with your girlfriend on a cold night by a roaring fire. David Gilmour's vocals here are excellent, and the song itself is just pure bliss. The track that follows is a mid-tempo poppy acoustic number that is very singable. "Fearless" is a catchy tune that serves as a great centerpiece for the album. The next track, the jazzy "San Tropez," shows a playful side of Floyd that the so-called "radio fans" would not have thought of. This is Roger Waters' only vocal performance on the album, but he would take over in future years, but that's a whole other story. Closing the first side is the hilarious "Seamus," a blues about a dog of that name. As the dog barks throughout, the Floyds show that they can play the blues as can anyone else. The next track, "Echoes," takes up all of side two, clocking in at over 23 minutes. The entire track is pure bliss, with poetic lyrics and heavenly music, this is without question one of the top 5 tracks in the Floyd catalogue. The sound of blowing winds ends the album just as it began.
To those who know this album I cannot tell you anything you don't already know. To those who don't, this album is highly recommended. Any Pink Floyd fan will no doubt enjoy this album. One will not believe why this album is so often overlooked. This album is excellent and very enjoyable. Especially if you are a Floyd fan, buy the album and give them you money. They deserve it.
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