The discreet genius of Pink Floyd’s “Meddle” album

Without the efforts of pink floyd, the world would be a completely different place, both musically and culturally, in what is the clearest testament to the vitality of their creative heyday. Whether it’s the fantastical psychedelic rock of their first chapter when the band was led by Syd Barrett or their later period producing awe-inspiring rock operas engineered by Roger Waters, their oeuvre is varied, with many moments of pure brilliance that were so ahead of their time that they remain stunning today.

Although the conversation about Pink Floyd generally focuses on records such as The Pied Piper at the Gates of Dawn, The Dark Side of the Moon and The wallan opus from their collection remains criminally unknown: 1971’s mingle. Their sixth studio effort, the record is a thing of absolute beauty, acting as a sonic bridge between the swirling psychedelia of their Syd Barrett era and the progressive splendor that was to come over the rest of the decade.

Recorded at historic Abbey Road Studios in London, mingle is an interesting album in the sense that although it is refined for compositional purposes, there is a rawness and energy that overshadows even that of the band. representation in Pompeii. It’s dynamic, heady and utterly all-encompassing, with the use of an on-pitch recording of Liverpool fans singing “You’ll Never Walk Alone” during “Fearless”, one of the most compelling creative decisions that the group has ever taken, helping to separate them. of other intellectually sickening progressive rock bands, and show that Pink Floyd shouldn’t be pigeonholed.

The album opens with the instrumental “One of These Days”, which gradually builds to a roaring climax, with David Gilmour’s tremolo guitar work among his best to date. He then moves on to “A Pillow of Winds”, a sort of spiritual successor to 1969’s “Green is the Colour”. After. One of the most enchanting pieces the band has ever written, Gilmour and Waters’ vocals act like a warm blanket, and they blend perfectly with the arpeggiated guitar lines and keep you completely mesmerized.

Then, the twang of the acoustic guitar announces the arrival of ‘Fearless’. Arguably in Pink Floyd’s ten best songs of all time, it speaks for itself despite what fans of their openly prog chapter might say. Another hypnotic duo from Gilmour and Waters, with a killer riff and interesting production techniques, including the surprise of Liverpool fans bathed in reverb that fade at the end, the piece has a multi-faceted essence that keeps it from getting boring.

The album then continues its stellar run with upbeat “San Tropez” and bluesy “Seamus” before concluding with the 23-minute epic “Echoes.” The song was so groundbreaking that Waters later claimed that the dark lord of the theatrical stage, Andrew Lloyd-Webber, stole the main riff when designing the theme for The Phantom of the Opera.

A flawless way to end the album, echoes was Pink Floyd showing everyone what was to come. Although it’s a long track, it doesn’t feel like it, always keeping the listener completely immersed, with plenty of twists, juxtapositions and moments of improvised genius raising the curtain on Pink Floyd, the drummers of the world.

For those who haven’t heard it yet, I implore you to dive into mingle. Although we are now firmly locked in the fall, it has the power to take you to dreamlands and warmer climes and make the current crises we are going through fade away with a light background noise. For a record 51 years old, it’s not a bad start.

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