IMO this is quite easily one of the top 5 songs ever written. Of course from the kings of atmospheric textures in composition, songwriting - and massive post/prog influences to the nth degree. True definition of timelessness and legend.....Masterpiece
Real nice audio and video clarity here btw (for utube anyway) - high quality headphones recommended
Pink Floyd - Echoes (Live at Pompeii 1971, Directors cut)
Part 1
http://www.youtube.com/watch?v=7dael2lywzI
Part 2
http://www.youtube.com/watch?v=WcF_N5n4Na8
^ Listen to that whole thing a few times with 2 glasses of wine and you'll be jumping up and down with joy.. Over 20 years I've been listening to that... and it never gets old, always just as mind blowingly magnificent and beautiful as the 1st time.
http://i863.photobucket.com/albums/a...esDynamics.png
Echoes in
CoolEdit 2000, showing the dynamics of the work
Composition
Each verse of the song follows a pattern of three
strophes.
The composition uses many progressive and unconventional musical effects. The
ping sound heard at the beginning of the song was created as the result of an experiment at the very beginning of the
Meddle sessions. It was produced through amplifying a grand piano and sending the signal through a
Leslie rotating speaker.
Gilmour used the slide for certain sound effects on the studio recording, and for the introduction in live performances from 1971 to 1975. A throbbing wind-like sound is created by Waters vibrating the strings of his bass guitar with a steel slide and feeding the signal through a
Binson Echorec. The high pitched electronic 'screams', resembling a distorted
whale song, were discovered by Gilmour when the cables were accidentally reversed to his wah pedal.
After observing the song being created, Nick Mason, noted, "The guitar sound in the middle section of 'Echoes' was created inadvertently by David plugging in a wah-wah pedal back to front. Sometimes great effects are the results of this kind of pure serendipity, and we were always prepared to see if something might work on a track. The grounding we'd received from
Ron Geesin in going beyond the manual had left its mark."
The "choral" sounding segment in the middle of the song was created by placing two tape recorders in opposite corners of a room; the main chord tapes of the song were then fed into one recorder and played back while at the same time recording. The other recorder was then also set to play what was being recorded; this created a
delay between both recordings, heavily influencing the structure of the chords while at the same time giving it a very "wet" and "echoey" feel.
Harmonic "whistles" can be heard produced by Wright pulling certain drawbars in and out on the Hammond organ.
Rooks were added to the music from a tape archive recording (as had been done for some of the band's earlier songs, including "
Set the Controls for the Heart of the Sun").
The song concludes with a rising
Shepard-Risset glissando.