Vlad The Impaler wrote:... Roger Waters has gone on record as saying it took him 16 years to get anywhere near the humanity he found in Syd's music.
Im curious about the math and what it implies
is it 1967 + 16 = 1983? or starting from some other year?
because it could mean Roger thinks The Final Cut is where he finally managed to express humanity as well as Syd
it's certainly more humane than his previous two albums, I'll agree
His words...not mine...perhaps an exaggeration (or a mildly faulty memory on my part), but since the semantics are at issue here and not the sentiment...let me re-direct you back to Roger basically saying it took him one long damn time to get anywhere near the humanity he found in Syd's music.
Vlad The Impaler wrote:Other than "getting the appeal" of Syd I will add that Roger Waters has gone on record as saying it took him 16 years to get anywhere near the humanity he found in Syd's music. If anyone wants to argue that point contact Roger Waters and take it up with him.
If he said that it doesn't really mean a whole lot considering Roger also feels that ATD is among the best work he has ever produced
awayandbeyond wrote:In fairness to Roger, he was the one who stated that Syd was a genius in an interview regarding the recording of 'Madcap'. Q: Terrapin?" RW: (laughing) That was done in one take. Syd's a genius".
There's also a filmed interview where Gilmour, rather astonished, remembers how Syd recorded the guitar solo in Dominoes while listening to the song rolling backwards, in just one take.
J Ed wrote:
Vlad The Impaler wrote:... Roger Waters has gone on record as saying it took him 16 years to get anywhere near the humanity he found in Syd's music.
Im curious about the math and what it implies
is it 1967 + 16 = 1983? or starting from some other year?
Yes, that seems that something Roger would think, that TFC is the beginning of his "humanist" phase. Perhaps he finds too much cynicism, sarcasm and pessimism in his earlier work.
Vlad The Impaler wrote:Other than "getting the appeal" of Syd I will add that Roger Waters has gone on record as saying it took him 16 years to get anywhere near the humanity he found in Syd's music. If anyone wants to argue that point contact Roger Waters and take it up with him.
.
I understand what Waters is saying, but that didn't stop him from exploiting Barrett for his own monetary gain did it? I'm just saying, you know. Waters is brilliant in his own right.
I guess a lot of people find The Madcap Laughs too erratic an album. I for one particulary enjoy a lot of the songs, but have never get a satisfying experience while trying to listen to the whole thing from begining to end, it totally lacks rhythm and flow and jumps from one mood to another, the songs are all over the place. I guess that was the producers intention, to represent the collapsing and unorganized nature of Syd's mind at that moment, or how they perceive it, but it doesn't help the listening experience. Guess that's why they included the extremly out of tune false start in "If It's In You" (a song that is not THAT bad once you edit out that false start) and the mumbling at the beginnig and end of "Feel".
Anyway, I think some of the difficulties people encounter in the album can be mitigated in a way with a different sequencing of the songs; so I worked this little new one, and I feel that the album really sounds better with it, especially Side B. I particulary like how "Feel", "Golden Hair" and "Late Night" seem to naturally grow out of the mood and sound of the previous song, complementing it. From "Dark Glove" and on the songs kind of develope a dark introspective and nocturnal mood (even lullaby-esque on "Golden Hair") that gets nicely resolved in "Late Night" with its night-time/dawn-time calm but optimistic vibe.
So give it a try!
SIDE A
Terrapin
Here I Go
She Took A Long Cold Look At Me
Love You
If It's In You
No Good Trying
SIDE B
Octopus
No Man's Land
Dark Globe
Long Gone
Feel
Golden Hair
Late Night
Side A doesn't convince me much though. First four songs work OK, but it's hard to find a proper place for both "If It's In You" and "No Good Trying", perhaps the most disonant tunes on the album.
Good point on the order effects - i do think the album is a smashing collection of songs, though i agree that it has never really felt right as a whole so will give it a spin in your revised order. From a glance i think your side B looks like a good revision of it
danielcaux wrote:I guess a lot of people find The Madcap Laughs too erratic an album. I for one particulary enjoy a lot of the songs, but have never get a satisfying experience while trying to listen to the whole thing from begining to end, it totally lacks rhythm and flow and jumps from one mood to another, the songs are all over the place. I guess that was the producers intention, to represent the collapsing and unorganized nature of Syd's mind at that moment, or how they perceive it, but it doesn't help the listening experience.
There's an interview in which Syd describes the album as jumping from one mood to another, and that he likes it this way.
I think 'Madcap' is comparable with Bob Dylan's LP 'Bringing It All Back Home', of 1965. That's also a record with different moods, acoustic and electric tunes, a breakdown take and some mournful singing. I think even the covers have similarities. Both Dylan and Barrett are in a room with a woman and an electric heater.
Vlad The Impaler wrote:Other than "getting the appeal" of Syd I will add that Roger Waters has gone on record as saying it took him 16 years to get anywhere near the humanity he found in Syd's music. If anyone wants to argue that point contact Roger Waters and take it up with him.
If he said that it doesn't really mean a whole lot considering Roger also feels that ATD is among the best work he has ever produced
"Amused To Death" is probably the best solo work of any Pink Floyd member, and is better than a lot of Pink Floyd albums. Apart from the dreadful "Late Home Tonight" it's simply brilliant. But then again, it's only my opinion.
Syd's post floyd work is really appealing to warmly behold his frailty-he's trying. He's trying to be a part-time musician long after the appeal of stardom left him.
Asthetically, alot of those compositions hold little to someone who wasnt familiar with piper and the singles.
It's like a master painter, who once produced great works but then got parkinsons real bad and could no longer paint real well because of the tremors. His previous fans are still going to purchase his works and appreciate them and look deeply into them and convince themselves they contain the same virtue and quality as before the artist became disabled.
