Foo Fighters - Skin and Bones

When Kurt Cobain died all those years ago, it didn't really affect me much. I wasn't really into the alternative thing at the time, I was still deep in my love of classic rock. Then Dave Grohl formed the Foo Fighters, and "Big Me" was on MTV all the time. Grohl's light-hearted spirit drew me to the band. My brother got their second album, The Colour and the Shape, and around the same time I started learning guitar. I tried to learn "Everlong" and "My Hero." Although I've liked all the Foo albums since then, none really were as monumental to me as that one.

Skin and Bones is their first live album, quite late in their career. However, it's a stripped down acoustic concert, probably inspired by the second disc of their last CD, In Your Honor. That double album had a disc of normal rockers, followed by one of acoustic numbers. This live CD covers songs from both discs, as well as earlier songs, but all acoustic. Foo Fighters Unplugged, if you remember the hit '90s MTV concert series.

"Razor" is one of those acoustic songs. The live version therefore sounds similar to the original, and adds little at the beginning. However, it's a good example of the finger work Grohl is capable of. Near the end it does get a little heavier than the original, with an extended instrumental solo.

"Over and Out" is also one of the In Your Honor acoustic songs. It's one of my favorites. Like the studio version, the song starts out quiet at the verses, then intensifies at the chorus. It makes for a powerful song, even if the live version isn't really that much different.

"Walking After You" is a perfect song for this concert, and has always been a strong favorite of mine. After all these years, Grohl still sings it earnestly as it deserves.

"Marigold" was originally a Nirvana song. I don't remember it at all. Like I said, I wasn't a fan. Still, it's interesting to see Grohl bring up a song from his old band. Probably enough time has passed now and he's established his own career, so the Foo Fighters are no longer just perceived as "that Nirvana spin-off."

"My Hero" is of course one of the big hits off one of the best sophomore efforts of all time. Acoustically, the song sounds much different. The guitars still have the same effect on me. Also joining the guitars are organs and bells. I don't think I like this version better than the original, but I still like it. It's just different, and still a powerful song.

"Next Year" was the theme song for Ed. At least, that's how I always remember it. This version has mellotron added to it, as well as what sounds to me like an accordion. The translation to acoustic guitars work well, and the song still sounds as full as the studio version.

"Another Round" is also from the acoustic disc of their last album. I really like the use of accordion on this song, as well as what I think is a mandolin. They go well with the maudlin theme of the song.

"Big Me" returns the Fighters to their Mentos-loving beginnings. This version is accompanied by a piano. This song doesn't really work for me acoustically at first, but by the third verse it picks up some. The vocals of Petra Haden are a nice touch as well.

"Cold Day in The Sun" is the fourth of the songs from their acoustic disc. Strangely enough though, this version is actually electric. It sounds heavier than the studio version as a result.

"Skin and Bones" is the album's sole original song. It begins with just a soft acoustic guitar and Grohl's vocals. The drums and organ enter in later, and the song is rather haunting. I'll be interested to see if they'll release a studio version of this song eventually.

"February Stars" makes good use of organs and chimes to give the live version an ethereal feel to it. This is another one of my favorite Foo Fighter songs, and this version does it justice. It's a beautiful rendition giving new life to an old standard of theirs.

"Times Like These" is the sole representation from One by One. It's much slower here, and sounds like a new song as a result. Too different for my tastes. It's not a bad version, but just the original was one of their best rockers.

"Friend of a Friend" is the fifth and last of the songs from In Your Honor's second disc. That makes for a third of Skin and Bones. That seems a bit much to me, and I realize the tour was to promote their most recent CD, but still for their first live CD, I'd rather a more balanced selection.

"Best of You" is the only song from that first disc of In Your Honor. It's a hard rocker, and sounds rather odd with Grohl's screaming vocals accompanied with only an acoustic guitar. For a new version, it really seems to subtract more than it adds.

"Everlong," my favorite by far of their songs, closes out the live CD. The electric guitars were so brilliant on the studio version, and the vocals were double-tracked. There's no way a live acoustic version is going to make me happy, because to me this is one of those "don't touch" songs. Of course, the live version gets the biggest reaction from the crowd, so I'm not alone in loving it. This version is just too bare for me. However, halfway through they do go electric and bring in the full band, piano, accordion, organ and all, giving the song new life. It's still a very emotional performance, so it's as close to a good version as it will come for me.

I'm not sure if I agree with their idea of going mostly acoustic. It's interesting to hear new takes on these classics, but at the same time, since I've never been able to see them live, I'd like to hear what it sounds like when they go all out electric.

For further reading:
The Foo Fighters' home page
All Music Guide's Foo Fighters entry
Wikipedia's Foo Fighters entry

Psapp - The Only Thing I Ever Wanted

How can I describe Psapp? I don't think I can. This is a band I just stumbled upon, and I've not really heard anything like it. I don't like simply assigning a genre to it. I found it under electronica, and downtempo, but I don't think that qualifies. Wikipedia uses the term "toytronica," which means they find toys and the like and see what sounds they can get out of them. It's a duo, Carim Clasmann and Galia Durant. Durant does the vocals.

This CD is their second, and it kicks off with "Hi." Right away I love the percussion. I can't even to begin to guess what instruments I'm hearing, besides the obvious guitar, which actually sounds traditional. The vocals are breathy, and almost otherworldly.

"This Way" has a shuffling feel to it, like feet being dragged through fresh fallen snow. The background cooing of "oohs" behind the lead vocals are rather soothing. Throughout the song there's a chirping melody being made by who knows what.

The songs bear a lot of similarities to each other to me. I'm sure with repeated listenings I will hear more differences. I'm not saying the sameness makes this a bad album, it may just be the fact they're all of a new style to me. One of the melodies of "Needle and Thread" reminds me of one in "Hi," though. But I do love the chorus: "Don't you break, I will not let you. I'll make sure they will not get you."

"Tricycle" has a real fun rhythm. It bounces right along, and sounds very childlike. On the other end, "The Words" is darker, and sounds hurried. The tones sound like they're from some kind of computer. The chorus is one I can find myself singing along with.

I don't doubt
I know you know me
It's about
The words that throw me

There is one song that definitely stands out from the rest of the album. "Make Up" is just Durant singing accompanied only with a piano. It's more traditional, and the song is rather sad sounding, but it seems to still fit in with the rest of the CD's playfulness. Every child needs a naptime.

This is a really, really fun album. I've not heard the first Psapp CD, but I want to now. This is like discovering a whole new world of music for me, and I encourage those who just want to feel carefree and youthful to check out Psapp.

For further reading:
Psapp's home page
All Music Guide's Psapp entry
Wikipedia's Psapp entry

Various Artists - This Bird Has Flown: A 40th Anniversary Tribute to the Beatles' Rubber Soul

In 1965 the Beatles went to the studios of Abbey Road and made an album that would change their sound forever and cement their place in rock history. This album was Rubber Soul. Before, the Beatles were just crafty geniuses who made great pop songs. Rubber Soul to me proved what studio geniuses the Beatles were. Last year, for the 40th anniversary some indy acts put together this CD.

I must admit I haven't heard of most of the artists on this CD. I am familiar with the Donnas. They do a rocking version of "Drive My Car." I like the Donnas. I think they do OK on this song. But for some reason they seem to be a bit flat or something on the notes. It also needs more cowbell. (OK, that's a Christopher Walken joke.)

The Arcade Fire does "Norwegian Wood." They butcher it. They try to alter the phrasings and it just bothers the heck out of me. I don't have a problem with making a song your own, but it doesn't work here. Low does "Nowhere Man" in what I have read is their style, a minimalist approach. It works better than the Arcade Fire's take.

I love Yonder Mountain String Band's cover of "Think For Yourself." They keep the fuzz guitar I always think of when I think of this song, but also throw in bluegrass instruments. It's a very interesting version. The rhythm also works well in a bluegrass style.

Ben Harper tackles "Michelle." It begins with some small bells before it kicks into a reggae rhythm. I have to say I like the idea. I know Paul always wanted the song to have a foreign feel to it, but now it's more Caribbean than French. So maybe a French colony.

I don't like Ted Leo's cover of "I'm Looking Through You." Too many tape effects and echoing. It's just too much noise, and though I sometimes like that kind of stuff, I don't really like it on this song. Maybe I'm a purist when it comes to the Beatles. Near the end it really gets experimental, and it's so not my cup of tea.

Ben Lee, who I only know as that guy from Ben Folds' other band, does "In My Life." The instrumentation is very sparse. He sings a lot like Ben Folds to me. I can't even tell him apart. It's a voice that really fits the song.

"If I Needed Someone" is covered by Nellie McKay. She gives it a jazzy feel, and sings it like a lounge or night club singer. She makes the song her own, and this time I like it. The lyrics even work for a lounge song, and I never saw it that way before.

Now the version I found of this CD not only did the 14 songs from the UK release of Rubber Soul, it also covers the 2 songs that appeared on the US release, "It's Only Love" and "I've Just Seen A Face." Now I don't associated these songs with Rubber Soul because I was born after the Beatles broke up, and got into their stuff at 15 after they were re-released on CD. So I only heard the UK releases. But Sam Champion's cover of "It's Only Love" is by far the best cover on this CD. His voice captures the angst of the song, and the instrumentation works. "Is it right for you and I to fight? Every night?" I don't know. After all these years I still don't know.

It's an OK CD. I don't like a few songs on here, a few more don't really say anything to me, and a few really do a great job. Of course, I'd still rather listen to the Beatles.

For further reading:
This Bird Has Flown's homepage
All Music Guide's This Bird Has Flown entry
All Music Guide's Rubber Soul entry
Wikipedia's Rubber Soul entry

SiA - Colour the Small One

I've mentioned Sia Furler before in my review of Zero 7's The Garden. She's featured prominently in the vocals of the album, and I liked her voice enough to check out her solo album, Colour the Small One. This CD was originally released in 2004, but because of the recent use of "Breathe Me" in the final episode of Six Feet Under, the CD was re-released with 2 more songs and 2 remixes of "Breathe Me." Also, as a bit of trivia, Sia is the niece of another favorite musician of mine, Men at Work's Colin Hay. Of course, like her uncle, she's Australian.

I really like the woodwinds on "Sunday." Reminds me a little of "Strawberry Fields Forever." Sia's voice is especially breathy on this one. When the percussion enters in it's a little unexpected but really fills out the song. I also like the bridge where she sings "It will be OK." This is the kind of music you can listen to when feeling down to lift your spirits.

I can understand why Sia became in such demand after "Breathe Me" was used on HBO's Six Feet Under. Musically, it's a brilliant song. Her vocals are achingly beautiful. The piano has a Philip Glass, minimalist feel to it. After the piano opens the song, it's followed by a heavy sigh, then the verse begins. The second verse has the percussion and guitars join in, but the song still keeps its minimalist aura. It builds through out the song, and it's very powerful. I also like the heavy bass note at the end after the strings have slowly faded out.

I like the use of harmonies (probably from double tracked vocals) on "The Bully." I also like the use of the acoustic guitar. On "Sweet Potato" what sounds to me like a dulcimer is used. Both songs have a very calming effect on me.

The acoustic guitar is also used on "Butterflies." The song also has these deep piano notes I really like, as well as a real heavy bass drum. An interesting choice of instrumentation for a song titled "Butterflies."

A great highlight of the album to me is "Where I Belong." It starts out laid back, but then when it gets to the chorus, her vocals really soar, and a full band joins in.

So don't treat me bad just be glad I am strong
I know where I belong
And soon you will see we are blessed and complete
There's a place here for you with me

Really uplifting vocals.

If you liked "Breathe Me," or Zero 7, I definitely recommend Colour the Small One. As far as I can tell there's not any filler here, except for probably the two remixes on the new American version. But I'd still get the newer release for "Broken Biscuits" and "Sea Shells."

For further reading:
Sia's homepage
All Music Guide's Sia entry
Wikipedia's Sia Furler entry

Cake - Motorcade of Generosity

You need to straighten your posture and suck in your gut.
You need to pull back your shoulders and tighten your butt.
Yeah, come Comanche, Comanche, Comanche, commode.
If you want to have cities, you've got to build roads.

So begin the quirky lyrics of Cake's "Comanche" on their first CD, Motorcade of Generosity, released in 1995. Cake is one of the most unique bands of the past decade. Their first major hit I remember was "The Distance" off Fashion Nugget, their sophomore release. Soon after this song I heard a local Stillwater radio station (KSPI) playing samples of every cut off the album. I instantly became a fan of their odd style. I love every one of their albums. However, if you've never heard the band, or only have heard their hits, I recommend starting at the beginning.

Motorcade of Generosity begins with "Comanche," and is a good introduction to what Cake is all about. The lyrics are almost nonsensical but still humorous. John McCrea opens the song singing the verse only accompanied by a simple drumstick tap as eventually the other instruments join in. Cake is known for its wide variety of percussion instruments, as well as their use of the trumpet. The trumpet reminds me of Western Swing. In fact, Cake has often performed in Tulsa's Cain's Ballroom, which was once the home of Bob Wills and the Texas Playboys.

The next track is "Ruby Sees All" which is the first good example of Cake's guitar style. The song also features the syncopated rhythms the band is known for. This makes Cake a difficult band to sing along with sometimes, trying to anticipate the next word. It makes McCrea's singing style almost William Shatner-esque.

The trumpet work on "Up So Close" makes this one of my favorite songs by the band on any of their five CDs. Also, the lyrics are fun to analyze. Is he singing about examining his love to the point that he doesn't really see her?

The darkest song Cake ever recorded by far is "Pentagram." In a cheery bouncy beat, McCrea singings about casting incantations and varies spells on a pentagram drawn on the floor. The subject of the song is the listener, and probably the most disturbing line ever is "Your feet are dry with the ashes from dead babies." I don't think any other Cake song comes close to that level of macabre.

My favorite Cake song of all time appears on this album, and that song is "Jolene." I like how hard the guitars rock in it, and at first it seems just like any other of their songs. However, this song runs over five minutes in length, which is longer than almost all other Cake songs. Near the end of the song McCrea really gets into it, screaming "Get down! Please get down!" I chuckle at his "Please" almost every time. The guitars also really get going.

The best love song Cake ever recorded is "Haze of Love." The singer obviously has insomnia has he sings about being unable to sleep, but is slowly getting over his lost love. The acoustic guitar is a simple nice touch. After McCrea sings about realizing his love isn't returned, but he's finally cutting through "this haze of love," the electric guitar plays a great solo. This is a song I can relate to.

A grand piano appropriately opens "You Part The Waters." This might be the first song to feature prominently an instrument Cake is very well known for: the vibraslap. I just love that sound. But really what makes this song for me are these funny lyrics:

You got your grand piano
You don't even play piano
I'm the one who plays piano
You don't even play piano
But you part the waters

"Is This Love" has McCrea snarling the lyrics out with a hate only reserved for someone you love. The trumpets are more earnest than ever. The guitars are also very well done in this one. "Jesus Wrote a Blank Check" is quite the complimentary to follow this up with, as McCrea sounds much happier in it. It has a more country feel to it, but just when you think you got a feel for the song, McCrea comes up with this bridge about his desire to live.

Although "The Distance" was the first hit song I remember hearing by Cake, "Rock and Roll Lifestyle" was also a minor college radio hit. It was most famously used on MTV's Daria. This song has jamming electric guitars, and heavy use of the vibraslap. The lyrics point out the costliness of being a fan of Rock and Roll music, as well as the cost of being the rock star who bashes his guitar every show. "How long will the workers keep building him new ones? As long as the soda cans are red, white and blue ones." I really agree with McCrea has he says "Excess ain't rebellion."

"I Bombed Korea" is a fun exercise in modulation. Each verse is a different key than the last one, and the lyrics are interesting as well. "Theirs not to reason why, Theirs but to do and die." So says Lord Tennyson, and so goes the theme of this song.
Still relevant today I think...

Mr. Mastodon's Farm is more like a spoken poem over guitars and percussion. McCrea speaks of birds that plummet past his window, and his urge to make sure they don't hit the ground by rising to look out the window. If he doesn't, he shall fail as well.

Motorcade closes out with the short and simple "Ain't No Good." The percussion, acoustic and electric guitars, trumpets and McCrea's syncopated voice come together as the album ends in the same style it began, pure musical fun.

For further reading:
Cake's official web site
All Music Guide's Cake entry
Wikipedia's Cake entry

Les Claypool - Of Whales and Woe

Les Claypool is one talented musician. He is of course the genius bass player behind Primus. I probably first heard Primus back when Tales from the Punchbowl came out, and "Winona's Big Brown Beaver" was a hit. They were just a little too weird for me at first, then a few years later I heard "Shake Hands With Beef." That song has the best bass line I have ever heard. I then became a fan, and Les Claypool became my favorite bass player.

Now, Primus is long gone. There's a greatest hits CD out now, but I'll instead review Claypool's newest solo album. But before I do that, I'll discuss some of his other non-Primus work. Oysterhead was his collaboration with Trey Anastasio of Phish, and it's worth checking out their album, The Grand Pecking Order. Another Claypool album I recommend is a live album he did which is a straight note for note tribute to Pink Floyd's Animals. Les captures Waters' sneering voice on "Pigs" perfectly.

Of Whales and Woe is pretty much what I've come to expect from Claypool: deep intricate bass lines, strange lyrics and rhythms, and his singing as nasal as ever. Some singers I don't care for that style too much, but it works with Claypool.

"One Better" is a great song. The bass carries the song as usual, and it's a good rocker. The percussion on it is great, and it sounds like someone's banging away on bones, or some sort of xylophone instrument. I especially like the deep voices on the chorus, followed by Les's sneering half spoken lines. There's also a saxophone that appears on this and many other tracks.

Another favorite on this CD is "Vernon the Company Man." It sounds Indian, with a tabla (drums) and sitar, or similar sounding instruments. The lyrics are typical of Claypool as he sings about Vernon, and his ex-wife, and ex-dog as well. Just weird, but what else would you expect?

On "Iowan Gal" he uses what sounds to me like an acoustic bass, and it sounds amazing. "Robot Chicken" is of course the theme song to Seth Green's quirky television show on Cartoon Network's Adult Swim.

This album is pretty much what I'd expect to hear from Les Claypool. His back-up band of the xylophone and other percussion instruments along with the saxophone really make an interesting combination. Of Whales and Woe is really a lot of fun.

For further reading:
Les Claypool's homepage
All Music Guide's Les Claypool entry
Wikipedia's Les Claypool entry

Gnarls Barkley - St. Elsewhere

This is something different than what I usually listen to. I'm not into rap or hip hop at all, at least I wasn't. Recently I've been listening to more of it, and trying to become more familiar with it. I guess I like the stuff that's more poppy. I probably started heading more towards that genre with the release of the Gorillaz' first CD. Now I like some Outkast, and stuff like that. I was told to give Gnarls Barkley a listen, and I do kind of like it.

Gnarls Barkley is made up of DJ Danger Mouse and rapper Cee-Lo. I recently realized Cee-Lo appeared as a rapper on Adult Swim's The Brak Show. He had like 8 mouths and easily won a rapping contest Brak had joined. Funny episode. Danger Mouse I knew had remixed the Beatles' White Album with Jay-Z's Black Album, but I have never had the courage to give it a listen.

I won't say I like every song on St. Elsewhere, but it holds my interest to the end of the album. Of course, everyone has heard "Crazy." It's a huge hit. And for good reason, it's catchy, and a good tune. Cee-Lo has a great vocal range, and the beat gets me going.

Gnarls Barkley covers the Violent Femmes of all bands with "Gone Daddy Gone." I like the percussion used for this mix, and once again Cee-Lo's voice is great. "Smiley Faces" sounds almost like a cover itself, but it's not. It just reminds me so much of the '60s beat, that I could be fooled into thinking it was one.

Some other songs I like on the CD are "Just A Thought" and "Who Cares." The former uses a classical guitar, which I find really interesting. I like the second song for the chorus, especially the part where the deep voice asks "Who Cares?" Just sounds pretty cool to me.

There's two songs on the album I don't really care for. They are "Go Go Gadget Gospel" and "Transformer." Both are just too speedy for me, and sound a bit too chaotic and repetitive. Not quite headache inducing, but I still don't like it.

I don't think those two songs kill the album for me. I like all the rest, and it really grooves. I prefer the slower songs, but some of the fast poppy songs are fun too. I'm going to try to listen to more music like this and expand my horizons.

For further reading:
Gnarls Barkley's homepage
All Music Guide's Gnarls Barkley entry
Wikipedia's Gnarls Barkley entry

Tool - 10,000 Days

OK, this is what I wait months, even years for. Tool is THE band whose albums I always anticipate the most. Why? Because it only happens every three years or longer. Tool also shows much growth and change over each album. I first heard Tool when "Sober" came out, and I really didn't get that into them because that video creeped me out big time. I also assumed they were a metal band, and I'm just not that into metal. When I finally heard the rest of their stuff, and their irregular rhythms and lyrics, and styles I realize they are more progressive than anything. In fact, they name King Crimson as an influence.

I love every Tool CD differently. When I first heard 10,000 Days I didn't think it was as good as Lateralus, but with each listening I see it's just different, and reflects the band's current style. It opens with "Vicarious" which just floors me with its guitars and drums. It's a song about the schadenfreude we get from watching death and destruction on the news. It really makes one question why we watch tragedy and feel a slight thrill mixed with the sadness. Fear perhaps causing and adrenaline rush.

The masterpiece of this album is "Wings for Marie (part 1)" and "10,000 Days (Wings part 2)" which eerily tells of the slow death of Maynard Keenan's mother. The first part reminds me of a cathedral kind of atmosphere. The second part's use of rain and thunder is really effective. Also, you can remix "Viginti Tres" followed by "Wings for Marie" so one then the other plays on top of "10,000 Days" for a new song. It's a real interesting listen if you got the software.

I like all the songs on this CD. I love the vocoder solo on "Jambi" even if it sounds a little Bon Jovi-esque. Hey, when Tool does it, it's cool. "Lost Keys" and "Rosetta Stoned" go together, and describe a patient's bad acid trip. Really scary. My least favorite is "Lapin" for its Native American chanting. I don't really get when bands do that, and maybe I missed how it honors the tribe.

This is a must purchase for any Tool fan, or fan of A Perfect Circle, that other band Maynard is in. It's as dark as any of the others, maybe even darker.

For further reading:
Tool's homepage
All Music Guide's Tool entry
Wikipedia's Tool entry

Zero 7-The Garden

I first heard of Zero 7, like most people, when I first heard "In The Waiting Line." The song was featured prominently in Garden State, as well as in an HBO promo. I quickly became a fan of their laid back sound. I listened to Simple Things, and was very much impressed. However, with their latest effort, The Garden, they have blown me away. It's becoming one of my favorite CDs of the downtempo genre.

Zero 7 is just two guys, but they also feature guest vocalists on their albums. For The Garden, these vocalists are Sia Furler and José González. González sings on "Futures," my favorite song on the album. The acoustic guitars, drums, and synthesizers combine to create a '70s atmosphere. González's vocals remind me of the Alan Parsons Project. The whole song reminds me of that style in fact. I really like the harmonies too.

"Throw It All Away" features Sia Furler on vocals. I really like the beat of this song, and the subtle use of horns. The chorus is a nice change of pace from the verse. Another part I like about this song is the tinny acoustic guitar solo.

Sia also sings on "The Pageant Of The Bizarre" which has a nice carnival fear to it. The melody goes all around you, just pulling you in. But it's the next track with Sia I really like. "You're My Flame" has a fun bouncy beat, and good lyrics.

You're just dodging all the friendly fire
You're never dressed in the right attire
You miss the start of every game
You're my flame

You make hay when the sun don't shine
You don't need a dollar, you don't need a dime
You burn at both ends yet still you're fine
You're my flame

González sings again on "Today," which has a '70s salsa beat to it along with horns. It reminds of the Burt Bacharach sound. Bacharach meets Alan Parsons Project, yet updated for the 21st century. "Crosses" also gives me the same kind of feel.

My second favorite song on the CD is "This Fine Social Scene." It has a darker sound to it than the other songs on the album. The melody makes the song, and Sia's seductive, soulful voice is another highlight.

There's really not a bad song on this entire album. It's fine, and solid, and in my opinion the best Zero 7 album yet. There's bright things in their future, especially if they keep finding such talented singers to work with.

For further reading:
Zero 7's homepage
All Music Guide's Zero 7 entry
Wikipedia's Zero 7 entry

Pink Floyd - Meddle

Like I've said in my review of David Gilmour's newest album, I'm a huge Pink Floyd fan. I can't really even name a favorite album. But the radio seems to love just playing stuff on the radio from Dark Side Of the Moon onward. "Wish You Were Here" is a great song, and so is "Comfortably Numb," but they've been overplayed. If you've only really heard Pink Floyd on the radio, then I would like to recommend to you Meddle.

Meddle was released in 1971, before Floyd hit it big with Dark Side. What I love about this album is although Syd Barrett is long gone, this is the album where David Gilmour really makes his presence known, and the band starts to sound like that famous '70s sound its known for. It only has six tracks, but what an amazing six tracks.

The sound of wind opens the album, using those nonmusical sounds Floyd would become known for. Soon a echoing bass line starts, and so begins "One Of These Days." The echo effects are used heavily and this song, and it gives the song its dark feel. The song is almost totally instrumental. A couple minutes into the song persistent knocking is heard, and then Gilmour's familiar guitar playing. If you listen carefully you can even hear what sounds like the "Doctor Who" theme. Then a voice through a vocoder says the song's only line, "One of these days I'm going to cut you into little pieces." That's when the song really kicks into high gear. This song is a Pink Floyd classic and rightfully so.

The wind from "One Of These Days" slowly fades out as the acoustic and electric slide guitars of "A Pillow Of Winds" begin. Gilmour sings on this one, and the acoustic guitars have an almost Eastern quality to them. It's a nice relaxing, psychadelic change compared to the frantic madness of the opening track. What really makes the song stand out as a Floyd song is it's actually a love song. Gilmour sings of contentment, with his love by his side. It's one of the most beautiful Pink Floyd songs.

Next comes one of my favorite Floyd songs of all time, especially lyric-wise. "Fearless" incorporates fans of the Liverpool Football Club singing "You'll Never Walk Alone" making it the second album I've reviewed to use Rogers & Hammerstein's Carousel. I love the acoustic guitar on this song. David Gilmour once again sings lead on this one. The guitars, football chorus, and lyrics all combine for an uplifting experience.

You say the hills too steep to climb
Climbing.
You say youd like to see me try
Climbing.

You pick the place and Ill choose the time
And I'll climb
The hill in my own way.
Just wait a while for the right day.
And as I rise above the tree-line and the clouds
I look down, hearing the sound of the things youve said today.

"San Tropez" and "Seamus" are probably the two weakest songs on the album, but that doesn't make them bad songs. They just don't particularly stand out to me. "San Tropez" has a swing feel to it, and "Seamus" pays tribute to Pink Floyd's blues roots. The latter also features a dog's barks and howls.

After the simple 12-bar blues of "Seamus," the grandness of "Echoes" is a major change. This song is the masterpiece of the album, and probably also the greatest masterpiece of Floyd's career. All four members of Floyd contributed to the composition of this song, and it takes up the entire side B of the original vinyl version of Meddle. This song in my opinion is the best of the symphony length pieces of the '70s progressive rock era. Pages could be written about the make up of this song alone. A piano note played through a rotating Leslie speaker opens the song, as if Pink Floyd is searching for something beyond the dark depths of the ocean. If you really want an in depth analysis of this song, please read its wikipedia entry. It's probably the best entry for a rock song I've read. Roger Waters claims Andrew Lloyd Weber rips off this song for his theme for Phantom Of The Opera, and I wholeheartedly agree.

As you can see from the excessive length of this entry, this is an album I feel strongly about. I may like Animals or even The Wall better, but this I strongly encourage anyone who wants to get more into Floyd to start with this album here.

For further reading:
Pink Floyd's homepage
All Music Guide's Pink Floyd entry
Wikipedia's Pink Floyd entry