Ok, so if you're into Floyd and you like even their more out there stuff, and maybe the Syd Barret albums, but haven't listened to Ummagumma, you're up for some digestion when you spin the studio album for the first time.
I've always had a theory about Da-Da, surrealism, and impressionismin regard to artistic talent. Painting a gallery white, and not hanging pictures in it is not art, regardless of what the British panel who awards the Turner Prize thinks. Well I agree with that to a degree. See I think that if an artist can demonstrate great talent with his work, showing a wide variety of skill and expertise, then an empty room may indeed be a work of art. I doubt that's the case in of the Turner Prize winner.
My point you ask? It is that on Ummagumma Pink Floyd seems to be trying to convey a message, much like in Animals, The Wall, or The Final Cut. But instead of doing so with their lyrics, they seem to be experimenting with music, working to redefine common thought of what is not only enjoyable to listen to, but what statements can be made with music.
The other interesting thing to note is the album is divided up into parts. Each member of the band wrote the individual parts of the album. I've read that it's thought originally each was to be an album unto itself. While for example Gilmours and Waters parts of the album might be more recognizable stylistically then the other, I'm going to analyze the album as if it's one piece of work, written by four people, as opposed to four pieces of work grouped onto one album.
Sysyphus Part I starts us out with what sound like kettle drums, an organ, and basically heavy introduction music. Is this to set the tone of the album? Are they letting us know what we're in for? The melody is repetitive, and brooding. Then as they move into Sysyphus Part II, the music lightens, the kettle drums and cymbals cease, the brooding deep melody lightens to a piano with a light melody that changes in both tempo and tone, offering hope for what is to come, but it quickly descends to a quick, almost frantic, and borderline chaotic melody touched with deeper sounds and sporadic cymbals. As the song progresses, the light, higher toned melody submits to heavy chaos of low notes and an almost rhythm less pounding. As they move into Sysyphus Part III, they seem to set the stage of finding organization and rhythm out of chaos. They also give us a taste of things to come with the background synthetic "furry animals." Part three becomes louder, the synth animals more angry, the rhythm builds to an almost immediate sedate Sysyphus Part IV, flutes lull in the background with various synth based noises "flying" around in stereo. The longest of the Sysyphus songs, it introduces you to another common theme of the album, nature. A brook runs in the background as birds are chirping. About halfway through the song, as if in a silent film, the organ comes out of nowhere to warn of impending danger, with kettle drums pounding behind it. As quickly as they come, they drop, followed by a slow building of organ which fades in stereo from side to side. A sense of urgency is instilled into the listener, as Pink Floyd demonstrates who's in charge of this ride that the listener is on. As they close the song, subtle kettle drums build over a sedate yet ominous tone. What is to come out of this album? Written and arranged by keyboardist Richard Wright, the Sysyphus act is an indication that Ummagumma is not going to be predictable and will demonstrate a Pink Floyd that is represented wholly on any other album.
More on Ummagumma later as we enter into my two favorite songs on the album, Grantchester Meadows and Several Species Of Small Furry Animals Gathered Together In A Cave - And Grooving With A Pict.
