Classical Composer Reacts to Echoes-Live in Gdansk (David Gilmour) | The Daily Doug (Episode 127)
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- Опубліковано 6 тра 2021
- #DavidGilmour #Echoes #HelveringReaction
In this edition of #TheDailyDoug, I'm reacting to and analyzing Echoes. The song was originally written and released by Pink Floyd on their 1971 album Meddle. This version is a live performance by David Gilmour. It's an epic listening experience!
Reference Video: • David Gilmour - Echoes...
Pink Floyd wasn't playing Phantom of the Opera, Phantom of the Opera was playing Pink Floyd
Yes, thank you.
They actually sued Andrew lloyd weber for copyright issues with his fantom of the opera and won the battle! So Andrew used the same echoes pentatonic scale.
@@francisberthiaume2461 Did they? When?
Have you heard Rick Wakeman's "Judas Iscariot?" I've always thought there were Phantom Of The Opera similarities... I thought that was more of what Weber borrowed from, than Pink Floyd.
Do you know Its a Miracle Roger Waters song. He has some things to say about Webber.
You really MUST watch 'Echoes' Live in Pompeii 1972. Watch them play this masterpiece while they were young. An awrsome experience.
Pompeii would be great if the director hadn't put half of the song at the start and the other half at the end of the movie!
@@hieroeadawulf9123I believe that's actually the way they played the concert. Bookended by Echoes.
the DVD intro is aaaa.. mmm...journey!... I agree.. he should give that version a try!
I tink the same
Live in Pompei echoes
Considering this was the last time Echoes was played, and will ever be played by David Gilmour since the passing of Richard Wright, makes this so poignant and beautiful. Richard Wright deserves more credit for pink floyds sound than he is given. my favorite song of all time.
My favorite off all time too
Rick is the George Harrison of Floyd... I miss him.
In case nobody has noted Doug, Echoes was released in 1971 on the album Meddle. Phantom of the Opera was released in 1986.
1971 ...
50 YEARS AGO !
@@teknotony And still as fresh as the day it was born. Great to see Doug appreciating the lyrics, they were sweated over (I have the earlier "science fiction" version about exploding planets or whatever it is!). After some years' gap I put Meddle on the car stereo and had to turn it up, it blew everything "modern" out of the water, still.
And Roger Waters isn't shy to say so. It's a miracle
My point exactly! We have to forgive Doug for this, because he's really listening to it for the first time.
Good rif's, are good rif's..., no matter who uses them!
Thanks, I was about to mention it 🙂 And as Nick Baggins referenced "Then the piano lid comes down and breaks his fucking fingers"
Keyboardist is Richard Wright, original Pink Floyd player. This show was the last time they played the song before Richard died, after that David Gilmour said he won't play this song without him
RIP Richard.....playing for God.
@@williamosborne6866 let me correct you ..... Richard is now with Syd on the dark side of the Moon and they are playing for the whole Universe
He was the heart of the band. Thanks, Rick, no-one of us would be the same, nowadays, without you.
Very close to the studio version
Their voices blend so well, smooth as silk , I love this song, great choice, !
You called it "The Phantom of the Opera progression"... In reality, the Phantom should be called the "Echoes" Progress as it was written 15 years prior to POTO Musical release.
Was thinking this stuff was WAY before most of ALW's musicals
Good call!
Was going to say exactly the same thing... I’m always amused by Roger Waters’ hilarious comments on why he didn’t take ALW to court for what seems an especially blatant bit of plagiarism.
I think that maybe Doug was using Phantom as a refeence point for 'others' not so familiar with Floyd and or music. I too thought it was odd and that Echoes precedes Phantom. This 'run up, run down' effect is used all over Classical and jazz Lllooonnggg before any of us .. .. :-)
We cower in our shelters with our hands over our ears
Lloyd-Webber's awful stuff runs for years and years and years
An earthquake hits the theatre, but the operetta lingers
Then the piano lid comes down and breaks his fucking fingers
It's a miracle. From amused to death roger waters
David likens this song to a “conversation between two old friends” meaning himself and Rick. He has said that he will no longer perform Echoes. In his words, “Not without Rick”.
Thank God for UA-cam so we can still enjoy the talents of all the great performers who’ve passed away but that were recorded on video to be enjoyed forever! RIP Rick!
"lyrics are just as good as everything else"
One of the main reasons I love PF so much. No show-offs and virtuosisms, just a full dose of art!
EXACTLY! Too many bands try too much and end up losing quality. PF knows exatcly what they're doing, and they deliver everything perfectly
In a press release when David Gilmour announced he would be playing at the Pompeii ruins (after 45 years or so since the Live at Pompeii film), many fans were asking and begging him to play Echoes there (as they did in 1972). He declined to. His reasoning was solid and relevant to your analysis. He said that Echoes (musically) was always intended to be a "musical conversation" between himself and Richard Wright. Since Rick had passed from cancer a few years prior he added "regrettably, that's a conversation which can never happen again."
My two cents worth.
Thanks, Doug!
Hadn't heard this before but it is a beautiful tribute to Mr Wright
Makes perfect sense. Thanks for sharing, Godbless.
Yes, and while I understand and respect Davids's stance on playing Echoes live, it's selfishly a loss for the masses to hear that played live. But realistically, it wouldn't be the same, giving even more credence to David's wise decision! But man what a song! I agree with Doug, this song is as relevant today as it was 50 years ago, maybe even more so today! Be kind, peace out Brother!
😭crying and regretting Rick RIP
@@tracylbloom1 Having seen them play this at the Royal Albert Hall during the On An Island tour I fully understand why David would not want to play this without Rick.
Dogs from Pink Floyd needs to be your future friday's listening
Or an entire Dark Side album session!
@@Ligtez agree, a review/comment of the entire Dark Side of the Moon album would be awesome - you just can't listen to that album in parts. Same goes for Animals...
Pigs three different kinds.
Really anything from animals.
Sheep!
I live in Gdańsk and I watched it live. Amazing concert :)
I have always felt Live in Gdansk was David Gilmours' finest solo moment. I've seen him in every tour he has done 1984-2015
David’s On An Island tour was his peak. His voice was top notch as well as his guitar playing
@JaggusBaro I agree 100%
I was in front in the first row at a big concert they had in Califronia in 1988, A Momentary Lapse of Reason Tour, and David sounded great.
Very moving performance, two old friends playing toghether for the last time. R.I.P. Richard Right.
That beautiful exchange at the end between Rick and David, it was them saying goodbye to each other, they knew it was going to be the last time they played the song together. They kept Rick's cancer hidden from the public. I've never seen anything so solem and moving in all of music.
I read this comment after watching this, and I guarantee the next time I watch it I won’t be able to forget this. It’s so powerfully moving. Rest In Peace Richard. Lovely comment
You are spot on, and it is the best version of this song I have ever heard. So very moving
I'm not ashamed to admit I cried when he died...
@@Sthunderrocker I cried too, his work was magical.
This is the most pretentious piece of bullshit I've read for a long time. Stop projecting your neediness onto others. Musicians have these moments all the time.
I grew up in the Seventies in Spain. I didn't know a word of English (My second language was French). I was mesmerized by their artistry, their depth, their simplicity and later in my life (I learned English), their amazing lyrics. They have been the symphony that soothed my soul throughout the years and I am dismayed at the lack of substance of the music nowadays. Thank you so much Pink Floyd and Great Britain for such an amazing trip!
I think this was the last time David Gilmour and Richard Wright played together. Wright was terminally ill here. And there is a couple of moments in this concert, where they are looking and smiling to each other as saying "Thank you old friend. It's been a blast!" Very very moving. RIP Richard! BTW. Richard Wright on keys was one of the founding members of the bands that eventualy became Pink Floyd along with Nick Mason and Roger Waters (and Bob Klose). Guy Pratt on bass has played with Pink Floyd/Gilmour since 1987, and also played with Madonna and Michael Jackson. Phil Manzanera on guitar was a member of Roxy Music. Steve DiStanislao on drums was a drummer for Crosby, Stills, Nash ans Young. Jon Carin on keys has played with Pink Floyd/Gilmour since 1987, and has also played with Roger Waters, Pete Townsed, Eddie Vedder and Kate Bush. Quite a band.
That is useful information that I did not know thank you. A nice pedigree of musos right there. I always regret to have never seen them live. DG is one of my favourite guitarists and he can hold a tune too :)
In 2 weeks, Shine On You Crazy Diamond! Please?!
Yesssssss please
Parts 1-5 and 6-9! 👊🏼
Or Atom Heart Mother Suite
Exactly in this sequence!
Alan's Psychedelic Breakfast....or not, lol
I have to admit, my eyes were welling up a little as I watched Richard play.
Here he was at his peak.... 😭
@@elausente21 he was always at his peak. Rip Richard one of the greatest keyboard players of all time
I can’t listen to this version of Echoes without shedding a tear…
R.I.P. Richard Wright..... Incredible Musician, especially in Pink Floyd, but even a Better Man.
As a former prog-keyboardist, I know there are many other players far more skilled then Rick (at the art of pressing the keys), but damn, no other has influenced me as much as him. The way he builds synergy is unique and beyond majestic.
I know this is all about the song and the amazing music being played but has anybody noticed just how quiet, just how engaged and just how respectful the crowd is? Here they are, playing in front of 50,000 (or more) people and you can't even hear a peep ( 23:00 through 27:00) . They are that engrossed into what the band is playing. Amazing.
My sons and I saw this concert in Chicago. As I recall they did about 12 dates before heading to Europe. Gdansk was their last stop I think. You're right about the respectfulness of the crowd. The make up of the crowd was interesting too - all ages, colors, all everything. Really good experience.
It is actually Mesmerisation !
the final part is a emotional farewell to Rick. Goosebumps.
Gilmour has that uncanny ability to evoke emotion from that guitar that I have never heard anyone else achieve.
I have several guitars with single-coil pickups. They are amazing sounding. Gilmore bent the strings with such feeling, making it near impossible to copy. Classical strat sound with a bunch of compression and delay.
Paul McCartney's "No More Lonely Nights"....when David comes in with that signature sound...takes the song to another level!
I hear a ton of Gilmour influence in Opeth’s Mikael Åkerfeldt. His solos evoke Gilmour’s feel.
Try listening to Steve Rothery from Marillion, he's awesome, his style his obviously Gilmour inspired.
In Dire Straits's "Sultan of Swing," when Mark Knopfler says "He don't wanna make it cry and sing," I always imagine Dave Gilmour at that moment, because nobody makes it cry and sing like he does.
Richard Wright and David Gilmour's voices always complimented so nicely.
And the contrast of Waters insane persona was also a great combination
So true Allison. Both have a slightly breathy quality, to my ear at least.
Does something to my soul.
Complemented
The Pompeii version is too powerful in my head, my mind, my heart, and reminds me of a unique event in my life that no other version of it can ever replace.
You and me both . this version of it seems almost too fast too labored and missing key components . i may be overly judgemental but i really find it a travesty when someone is reacting to echoes and instead of going to the 1972 pompeii they go to this recording .
100%
Would you guys please enlighten a studio-version-head? What makes Pompeii better than the album version?
@@doncorleole2356 i would love to. Shed a little light on the matter. As long as we are talking about the 1972 live at pompeii version . and the best way to explain is to advocate profoundly with all of the conviction of a preacher on sunday morning. Go watch / listen and you will understand. If you are all about the studio version as i was / am then you will likely fall in love with the 1972 live at pompeii and it will become your most liked version and as far as the Pulse version ( Gilmore and wright ) is concearned it falls short in my opinion its tired and missing 2 key elements. Waters and Mason. The best thing i can say about it is that there is a sense of forlorn solitude in the final exchange between Gilmore and Wright that leaves you with a heavy heart and a sense of finality .
Live in pompeï is not just the music, the visuals are stunning, the emotions and sound is so pure. What a movie! Made me fall in love with pink Floyd.
RIP richard Wright. An absolutely beautiful composition from these two legends. Thanks Doug for reviewing this song
David Gilmore describes this song as a conversation between his guitar and Rick Wright's keyboard. With Rick's passing, David has said he will never perform it again.
Small correction: Phantom of the Opera was playing Echoes. I think there was a legal battle over it, but it may have not escalated to that.
Thank you for mentioning this! Echoes was released in 1971. Phantom of the Opera (Webber) opened in 1986, a full 15 years later. It could be coincidence or inspiration without Andrew Lloyd Webber realizing where he heard that progression. Then again, there are a lot of instances where it appears Webber "borrowed" from other songs....
exactly what I wanted to say, - there is a video comparing Webber to a ton of other predating pieces... sounds like he got "inspired" by lots of other artists)))
Came here to say this...
Webber borrowed a lot of his themes
@@op-z Including Queen - listen to “White Queen” live from the Odeon at Hammersmith 1975 & you’ll hear it in the instrumental section (which is amazing).
24:20 "The Patience" Pink Floyd was a very patient band. They knew how to properly develop a theme. David Gilmour didn't have to hammer the guitar like Eddie Van Halen to connote great emotion. He could get a lot more out his guitar with far, far fewer notes. The precision with which he chose which notes to play (or not) is the magic behind his solos.
A little like the great composers of the past. How to arrange the notes, how to sustain them, fade them and of course, mastery of the spaces between. Always brings Beethoven to mind.
So, so true. Enough said!
Take those four notes on Shine on you crazy diamond for example. Beautiful. Eddie was a showman and relied greatly on flange and delay. Still eruption is one of the finest pieces of music I have heard, makes you stand up and notice.
@@Alpha_7227 Yes, and most importantly, he lets them "ring out." Eventually the beat comes in and he develops it, but the intro to that section is just those four notes including an extended fade.
When it comes to notes-per-minute David Gilmour is way down on the list of guitarists; however, he knows which are the important notes and those are the ones he plays.
The bird effect is done live, by plugging the wah-pedal in reverse and closed tone knob, if you turn on wah pedal and turn the tone knob from 0-10 gives this bird effect - you can check it yourself!
I love the way the crowd reacts to the very first sound. Just ONE note and everyone is always screaming. Love it.
Yep....Lloyd-Webber totally ripped off that part for Phantom. Roger was asked about it in an interview once and said he couldn't be bothered suing him lol.
"Lloyd-Webber's awful stuff runs for years, and years, and years, and years..."
"Then the piano lid comes down"
@@HarryBork "And breaks his fucking fingers"
It's a miracle
I was in Gdańsk in 2006 on this concert. in the 2nd row... and this was the dream come truth, because I saw a half of Floyds live on stage with their classics and... with Gdańsk Baltic Orchestra conducting by Zbigniew Preisner himself (!!!) and Leszek Możdżer on piano in few song from Gilmours "On an Island" songs. This was amazing! I've cried meny times on this "show".
I never swa Pink Floyd live because... well.. they never came to Poland, and I was to young to go to another country to see them. So... after 15y from Gdańsk... I still have a huge felling about this live. very sentimental.
Wright on the keyboard is absolutely amazing!!
The progression of this song gives goosebumps every time.
The Keyboard player is one of the original members of Pink Floyd, Richard William Wright (28 July 1943 - 15 September 2008)
The "bird" guitar part was accidental in the studio when some one hooked up David's WahWah backwards and found those sounds. The rest is Echo's history.
Put the wah in reverse an the the tone control on your guitar works with it to make an oscillator, kind of
I did that once by mistake. I nearly crapped myself.
well, rather than a bird, this section is known as the "whale" song. anyways it is one of the most creative electric guitar works
@@garyanning9731 I did too...did not sound that "pretty" lol
Cool, I did not know that.
In my opinion one of the most beautiful rock songs ever, poignant and deep. Great show when the likes of Gilmour and Wright play. Rest quiet Rick your talent will remain immortal
David and Richard do a remarkable conversation with each other with their playing….absolutely brilliant
The seagull effect was discovered by accident when David’s wah pedal had the cables accidentally reversed & it caused feedback sounding like a bird (for whatever reason people call it a seagull). David found it musically useable. As a result he ended up having Pete Cornish (the man responsible for his pedalboard wiring for years upon years) rewire his wah pedal specifically for this effect alone. The effect is varied in intensity by manipulating the second tone knob while on the bridge pickup, which requires having the second tone pot wired up on the bridge pickup as well as the middle pickup.
Love this info, thanks for the insight!!!
or you could just ask Bill Nelson to play a seagull with no wiring help
I stand corrected. I thought it was when he plugged into the wah backwards! Your explanation makes more sense, thanks mate.
@@WELLBRAN no clue whom that is
@@county365 sister seagull...bebop deluxe..
Dont talk while Gilmour's playin his solo
My all time favourite Pink Floyd song! The 1st time I heard this was driving back to Boston very late at night on a pitch black deserted 2 lane highway. It must have been in the early 70's. I had an FM radio in my car and this song came on. It was totally ethereal. Driving this moonless night with only my driving lights and my instrument panel providing me with any illumination, it was easy to imagine that it was an airship I was guiding rather than my trusty Datsun 510.
The next day I had to seek out this exceptional album and purchase it from my local record store.
Well, my friend, you have experienced something I have not, and that I envy you for.
DOUG u HAVE to do one for the album version it's so spectacular
That Live in Gdansk is one of the best live albums around
David said he couldn't possibly play this song again without Rick. A fitting end. What a performance.
Richard Wright is such a master keyboardist and so dearly missed. Love Pink Floyd and Echoes.
It’s like a communication between guitar and keyboards.. Definitely one of their masterpieces
The synergy between David and Rick was something out of the ordinary. Rest In Peace.
I think Richard Wright is really saying goodbye to all of us at the end. And Gilmour is already immersed in sadness.
Thank you for this review. It is a great performance, if a little bloated in comparison to the pared down precision on the album 'Meddle'. Greatest hits versions are even more truncated and miss the majestic sweep of the original album. If anything the Pompeii live version is better than the one in Gdansk. But not by much. Glorious and beautiful. Meddle is worthy of a couple of Friday specials!
I can forgive someone who isn't a die-hard fan from not knowing Richard Wright, but his contribution to the band should never be under-estimated. He was one of the members from the original band (Syd Barret years) and while he left for a while he truly was the glue. The only memner who actually had professional training and the true one who helped the arrangements come together. Not the greated keyboard/piano there was, but he was definatly the go-between that kept Roger and David from killing each other.
I was hoping someone pointed out that Echoes pre-dates Phantom by several years...y’all did not disappoint! Of the matter, Waters said “Yeah, the beginning of that bloody Phantom song is from Echoes. *DAAAA-da-da-da-da-da*. I couldn't believe it when I heard it. It's the same time signature-it's 12/8-and it's the same structure and it's the same notes and it's the same everything. Bastard. It probably is actionable. It really is! But I think that life's too long to bother with suing Andrew f**king Lloyd Webber.”
Yes predates many years
Roger Waters ‘reaction’ in It’s a miracle ( song on solo album Amused to death) last verse:
We cower in our shelters
With our hands over our ears
Lloyd-Webber's awful stuff
Runs for years and years and years
An earthquake hits the theatre
But the operetta lingers
Then the piano lid comes down
And breaks his fucking fingers
It's a miracle
In an interview on the BBC Roger made a strong comment about how there are really a limited amount of combinations of notes, chords and keys. He made the point that it amazing there aren't more combinations that sound the same. It was an interview after he did Ca ira, his French language opera about the French revolution.
From 17.00 still brings tears to my eyes. Richard Wright is a genius. God Bless him.
Amen
One wonderful thing about experiencing Pink Floyd in concert is that they understand how special it is for the audience to be there and they put forth such an effort to make it phenomenal.
Echoes was our ROLEPLAYING SOUNDTRACK for "you are in a swampy area".
They didn't "record the guitar to make it sound like a bird"...that is David playing that live, right here, right now. He was simply a God on making whatever sound he wanted from his guitars.
He's playing it through a wah pedal plugged in backwards which self oscillates with the pickup. You play it with the volume knob.
@@shortfuzedave tone knob actually
He is human.
This song is a journey... and once it starts I have to stay till the end.
As proven yet again by this video I clicked on, originally without the intention to listen to it whole. Yet here I am.
Yep, every time 👊🏼💯
To this day I think this is the best version of Echoes ever. I don't know what it is but it feels the most alive.
They dont play the whole riff though
I listened to a lot of your reactions Doug. This was the first one where I thought: don't talk through the music :-).
this is an exceptional live version...however, the studio version is by far superior...it contains so much more nuances...pure perfection. my personal favorite song of all time, and always will be.
I'm with you.. The original is my favourite PF song.. & PF has been my favourite band since the late 60's..
Agreed. This song defines Pink Floyd. As if any one song could accomplish that!
No the best is live in Pompeji
Each version has their place. The solos and jams in this live version are sublime.
But a modern live version fails to reveal all of the nuance the studio version has. And when one puts the studio version in historical context, keeping in mind how _hard_ it was to get all those sounds back then, it's that much more amazing. Using the live version prevents the opportunity to consider how important the studio _production_ was for Pink Floyd material, on top of the composition and musicianship.
@@axlrosea675 Yess, the studio version sounds like a different song compared to to Pompeii version.
Atom heart mother suite please, underrated gem!
I agree. He should make a video reaction to Atom Heart Mother. I think it's better than this song.
@@EENS7 great song but not better than Echoes
@@EENS7 Agreed. And it also highlights the musical genius of Ron Geesin, rarely properly credited for his collaborations with Pink Floyd. No Ron Geesin, no Atom Heart Mother.
@@ChrisHutchison Absolutely! agree.
It's the actual master peace of Pink Floyd. :)
I'm trying to immerse myself into the music and you are interrupting with your analysis. Having followed them for 50 years, I know how great they are. I also know that their music will live forever. Their like will never be seen again. I have perfect pitch and play the violin. Your non-stop analysis detracts from the music and spoils a wonderful performance.
Music doesn't get much better than this...a fantastic master piece 🌞
This version is important as it was the last time Rick Wright played Echoes before his passing, although credited to the whole band Echoes is a Wright composition. I second the recommendation below from Alan Tattersall about the Pompii version, a must listen.
This song was written in early 1969. After playing all through the 70's, a PINK FLOYD concert consisted of them playing 2 complete albums, side one , track one all through. Three song encore, at that point they would always end the show by playing the entire ECHOES suite. Leaving the audience stunned! How do I know this? I've seen every show east of the Mississippi starting in October 1968 through the last American tour PULSE 1994
Bit of a fan huh !! how's your bank balance Bob ??
Your memory's a bit off! This song did not emerge until the spring of 1971.
And "Every show east of the Mississippi !!" does that include the U.K. , Europe , Asia ?? - they are all east of that river...!! and west of it too.
@@jyutzler If you listen to some of the older bootlegs, you can hear the development of Echoes in the song "The Embryo", which can be found on the BBC Archives from 1970-1971. There are other forerunners as well such as "The Return of the Son of Nothing" which was first played in public in May of 1971 with space themed lyrics rather than undersea lyrics.
@@n3bruce I am quite familiar with live recordings from this era and I do not feel that The Embryo and Echoes are the same song. Both songs were played at the same gig regularly in 1971. Yes, Echoes was played live under many names before they settled on Echoes.
I personally prefer the studio album version, but to watch them perform this live is a treat. The "conversation" between the keyboards and guitar throughout is epic. To imagine a group of guys in their early 20's composing this masterpiece is mind blowing.
The public audience just continues to grow - marvellous after 50 years - now we have the Tribute Bands to keep us sane! TIMELESS!!!!
and yes, it’s a piano going through a leslie case... an interface that didn’t exist and the engineers at abbey road studios had to build special for richard wright back when
Live at Pompeii is the version you need to review to see Pink Floyd in it's prime.
I hear people speak poorly of the Pompeii version for some reason, but I prefer it over all others. I know there is a glitch with the audio recording, resulting in it sounding just slightly sharp and fast, but the performance is so beautiful that I don't care.
@@thewal1ofsleep i have never heard people badmouth the pompeii version in my life, your statement feels like another world to me. i heard nothing but outstanding praise about it. you must have had a bad circle
@@reigenlucilfer6154 the complaints are about the audio, not the performance or the visual elements. I can't remember the specific explanation, but I was reading something which described the recording of the audio and that there was an issue with the tape speed, which resulted in it sounding slightly sharp, but not something which could be reproduced by modifying instrument tuning. Basically, if a musician wants to play along with the Pompeii version, they might have a hell of a time.
Pompeii is good but this version is better
GOD BLESS MI DAYS--PINK FLOYD--A PART OF I SPIRITUAL GROWTH !!! ANOTHER POSITIVE TUNE ON THE "MEDDLE" LP/CD IS "FEARLESS" !!!
Whoever went to that concert got every penny worth.
Only one of the best songs ever written in the world, ever.
My favorite part is near the end where the guitar and keyboard are talking to each other.
At the beginning, Doug says something to the effect of: "That keyboard sounds like it's being put through a Leslie. How do they do that!?"
"Actually, it's super easy, barely an inconvenience." 😉 Richard Wright (also from Pink Floyd) is playing a Hammond organ, and though there are certainly exceptions, the majority of Hammond organs are connected to Leslie speaker cabinets. The Hammond organ company even purchased the Leslie speaker company at one point, because Leslie speakers were so popular among Hammond organ owners. Those cool sounds that resembled "submarine sonar pings" were created by shutting off all the normal, sustaining drawbars, and only playing the percussive drawbar. Then, that's played with a good amount of reverb and a fast setting on the Leslie speaker cabinet (or cabinets).
Nah, not remotely. There's no Hammond involved in those passages, and you can clearly see the Kurzweil (a K2000, I think?) he's using to play the piano part, the pings and the subsequent arpeggios they turn into. The output's going through some delay and then into either a Leslie or a digital emulator. It can be a little hard to see through the stage fog, but the Hammond he plays most of the rest of the song on is on the Kurzweil's right with a Farfisa for later beside it as well and a Leslie in back behind him. I've looked and looked, but haven't found the second one I'd expect to see for the piano; either it's hidden, or he's using an emulator, or he's got a Trek II preamp rigged to switch the Leslie's input between the keyboard and the Hammond. Keyboard, two organs, and a Leslie or two, all told that's kind of a modest setup by Floyd standards.
The Royal Albert Hall version is easier to see his setup on: ua-cam.com/video/BW9Kts3fo98/v-deo.html
My own Leslie's a homebrew affair (built around a couple of scavenged rotors and some homemade horns), but even so when I put my digital piano into it I get *exactly* the sound from the opening and closing. Gonna have to record that sound one day, it's wildly addictive to play around with.
One of the greatest musical compositions of the twentieth century. So powerful and haunting.
Richard Wright and David Gilmour - I always get chills...
Stage left is Phil Manzanera, guitarist for Roxy Music, stage right on keyboards and vocals is Richard Wright (who was on the original studio recording).
old theater guy here. you have your stage left and stage right switched -- "stage" directions are from the performer's point of view, not the audience -- but thanks for identifying Phil Manzanera. I knew that guitarist looked familiar, but had forgotten Phil had toured with Gilmour a bunch.
No, vocals are by Gilmour.
@@slatvatfatcat -- I believe Donovan was only saying that Rick Wright played keyboards AND sang on this, not that he was the ONLY singer. Here, and on the Meddle album, vocals were performed by both Gilmour and Wright.
@@aka.Mr.French And on the Pompeii arena concert film. Dave and Rick always harmonized.
I just cannot decide if this or the original version is the best ever rendition of the fantastic piece of music.
The fact that it was one of Rick Wright’s final live performances makes it even more epic.
The way his keyboards and Gilmour’s guitar ending bounce off each other in Gdańsk so well, makes it an equal to the original version for me.
I heard PF play Meddle and Dark Side of the Moon live in 1973 before anybody really knew who they were. I had certainly never heard of them before, but I fell in love with them. I was 17. Today I'm 65 and I've grown up with all of their music, some of which I like more than others -- mainly Meddle, DSotM, and Wish You Were Here, with a handful of songs from other albums. I think it's b/c those three albums were not like any "album" I've ever heard. They're "episodic" -- like one long song.
If I was stranded on an island and could only have one music album, it would be Dark Side. The next two would be Wish You Were Here and Meddle. I can listen to them over and over and over ... and never get tired of them. I don't know why that is, but it's the truth.
I know nothing about music theory. I suspect anybody with a musical ear (NOT me!) can follow the chord changes in the music, but those comments mean nothing to me. I'm far more interested in hearing your take on the overall composition and flow of the music. Why do you think is this music so damned addictive? And why do you suspect PF's music has been in the TOP-100 charts longer than any other band's music in history?
Right with you on the music theory part although it's good to have someone who knows telling you why it all fits as well as we instinctively know it does
The reason I think this track in particular hits us is because it never, ever sounds like a 22+ minute piece. Seductive is exactly the word. It piques your interest, you want to know where it goes next, and because it's Floyd, not Lloyd Webber, it does indeed go somewhere, pulling you right along with it until it's over and you don't want it to end and you don't know where the time went. At least we never miss the starting gun tho 🌝
The "bird" or "seagull" portions aren't recorded - they're played live. It was originally an accidental discovery, but after David perfected the "backwards wah" effect, he had whomever was building his effects rigs (either Bob Bradshaw or Pete Cornish depending on the era) put in a reversing circuit for the wah. You trigger it with the wah cocked, and use the tone control and a volume pedal to manipulate the pitch and level. I'm in a Pink Floyd tribute band, and one of our guitar players has the setup to do it. We blend Echoes into One of These Days, and it's during the crossover that he brings this sound out.
"Which One's Pink?"
So grateful that 300 years from now people will be listening to Pink Floyd with the same reverence as we listen to Mozart, Beethoven ETC today...…..and I got to see David Gilmour live......
They won’t though, they are totally different in almost every imaginable way. You must remember it’s easy to think that now but Mozart literally has almost 300 years of time past him and he is still such a titan people choose to use him to represent compositional virtuosity.
So what , I got to see Ludwig Van Beethoven live when he was with Ludwig and The Earwigs , just about the same time he released his 3rd Symphony - I spoke to his piano roadie in Berlin about his tuning and whether he'd be doing "Erioca"in it's entirety... I was told that he would be doing a new piece which begins with a bit of Morse Code... it was so fascinating.... That was a highlight... The lowlight was going to see Wolfie Mozart in Salzberg but the bugger had just died.... God I feel old.
Music conversation between Rick and David there is special bond between them
Yes, you're right, the intro does begin with a piano played through a Lesley speaker cabinet. Apparently the whole composition grew from that opening, playing around in the studio, & that slightly odd chord having a curious echoing quality.
Glad you enjoyed and appreciated this stunning piece of music. David Gilmour and Richard Wright had a strong empathy both as musicians especially their harmonies but also as great friends. David never really got over Richard's untimely death. Whilst Roger Waters wrote the piece it is how all four Floyd members interpreted this glorious avant-garde rock piece that makes it so special.
Roger Waters wrote the piece? He wrote the lyrics. The music is by the whole band, with David and Rick obviously doing the heavy lifting.
@@sarachakraborty6783 Thank you...This is definitely David and Rick's song, notwithstanding the contributions of Roger and Nick. It's why David retired it.
Yes; it’s very close to the recorded version aside from slight variations in timing and noodling on the solos.
True. Exept one little go around of the intro before the lyrics start, which they left out on this live tour, it's all original. Most solos and lead lines are improvised to a degree, of course.
I made the mistake of watching the original Pompeii version, then the one in Gdansk. Both superb, emotional works, but the difference in David and Richard physically just brought home how the cruelties of ageing affect us all.
That's it, Doug!! The piano goes through a Leslie speaker, so the "bubbly" sound.
*King Crimson - Epitaph*
What a lovely and heart felt comment from a man that knows his music
One of the best live versions of this song ever. GDansk
This is my favorite song by Pink Floyd, period. It always puts a smile on my face, listening to David and Rick "talk" to each other. But also missing those I have lost, and remembering our last words (as tears run down my face while I type). My deepest thanks for commenting on it, and I agree with you on those comments. I was brought here by your comments on Atom Heart Mother Suite. I suspect I will start looking for more of this, from you. And did you know, "Pink Floyd" comes from the names Pink Anderson and Floyd Council, whom Syd Barrett had in his collection of blues records from the time. All the others (Mason, Waters and Wright) also knew of those 2 musicians, and agreed on the name. So that they use a lot of blues motifs/chords/stuff shouldn't be a big surprise, as the band started out with mostly rhythm and blues songs.
This live version is delightful. The original version is astounding.
That was the very last time that track was performed as Richard Wright died soon after that. And knowing that and see and hear how Gilmour is communicating with Wright especially during the last few minutes makes this performance even more special.
The original Echoes on Meddle is all I want played at my funeral
I used to meditate to this song a lot in my teenage years. For me, it wasn't just about human beings, but about all life and about the cosmos itself. From the beginning we get deep-sea imagery with the submarine-type ping echoing through the depths, later we get seabird imagery, and cosmic winds, eerily reminiscent of human voices (flashback to the "Celestial Voices" in A Saucerful of Secrets"). The first verse with something stirring without a cause - something from nothing, the original act of creation.
The layers of meaning are many in this song, and the musical techniques and psychedelic effects represented Pink Floyd at the height of their creativity.
It's a total work of art. It's poetry, music, soundscaping, and in concert also a lightshow all in one.
And they were doing this in the early 1970s, when the technology we now use for all those things was still just being developed.
They were truly at the experimental edge of their art at the time.
The keyboardist is Richard Wright from Pink Floyd. His last performance of this song before he passed.
This guy got it. Credit also to Roger Waters for those 'heart-warming' and 'life affirming' lyrics that still stand today.
Others have said that this, musically, is a love song that David Gilmour and keyboardist Richard Wright wrote to each other. In the section that you say they don't overcomplicate the piece, they call and respond to each other as they did throughout their career together. This, unfortunately, was maybe the last time they played this song together before Richard died in 2008. Gilmour has called Richard's death one of his greatest sadnesses. This piece shows you the extend of his loss -- the loss of a dear friend and a lifelong musical partner.
Doug, Meddle was the first Floyd Album I bought when I was 14 years old, 1971. Still one of my favourites, and Echoes timestamps many wonderful memories for me. Glad you enjoyed it.
Rick Wright, a founding member of Pink Floyd is the keyboardist on stage.
You asked, is this version of Echoes similar to the studio version? Answer: yes, very similar. I like this version better because it really features Richard Wright's mastery of the keyboards and, of course, has high-quality video to chronicle the performance. As a young lad I used to listen to Echoes every night in my lightweight Sennheiser headphones, normally falling asleep before the song finished. I also regularly listed "Warren's Top 25" songs, and noted Pink Floyd - Echoes was my #1 on March 1, 1981. You could actually do several good shows using the songs from that March 1, 1981 list.
Hey ! I`ve been the same for almost 20 years now! This song is my always routine ... What a masterpiece , imagine 50 years ago. something like this definitely will never ever happen again .
only thing that's missing is Nick's crisp, thoughtful drumming
I love the extra texture given by rhythm guitar and a second keyboardist in this version. I think this is my favorite live version.
i wasnt sure, but the Pompeii concert was filmed as a 70mm movie, there's a director's cut DVD and a the-making-of DVD. Since it's the 50th anniversary, it must also be in some theatres. I remember seeing parts of it on B/W tv and maybe in the 80's on MTV-types of channels. other trivia the Pompeii part was recorded in " four days in October 1971"
Studio recording is lovely..So is live at Pompeii...My mum played violin,piano and sang opera with the Sydney Symphony Orchestra pre WW2..She loved this too...
As an aside,back in her time ,she was the only woman allowed to play the Town Hall organ...
she must have been accomplished-Loved piano..Wasn't keen on violin..