Text Piano Guitar. Comment 4. Your Name. Your Comment. Cancel Comment. Jun 30 Kofi Nkrumah Mensah Accra, Ghana. Mar 31 Pastor T. Barrett and the Youth for Sister 1: Or boy! Brother 3: Or experience a moment re- passing joy. Wade in the water. Children wade in the water, God's gonna trouble the water. Who's that young girl dressed in red. Wade in the But I'll share my troubles if you go my way.
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This Is It, Soul Gospel. Acclaimed New Yorker film critic Pauline Kael wrote that The Barrett Sisters "bring the film to an emotional pitch, and we in the audience want to go on soaring The eldest Barrett sister, Delois Barrett Campbell March 12, — August 2, , began her career as the lead singer of the world-famous Roberta Martin Singers while still in high school.
As a member of Roberta Martin Singers, DeLois traveled around the United States and the world singing for the Lord, but she soon placed her career on hold to start her family. DeLois became a mother and a pastor's wife. Billie had become a soloist, and Rodessa had become a songwriter and choir director in Gary, Indiana. When Delois' health prevented her from performing, Tina was asked to stand in for her, and sing her parts in the group.
DeLois Barrett Campbell died August 2, She was These tracks save this album from the one star bomb, but the other tracks are truly forgettable.
The dreadful caterwauling of Waters' 'Corporal Clegg' is the type of puerile nonsense I am talking about. A psyched up weird thing that sounds like bubblegum now or the pale shadow of The Beatles.
Listen to those kindergarten lyrics by Waters: "Corporal Clegg had a wooden leg, He won it in the war, in Dear, dear were they really sad for me? Dear, dear will they really laugh at me? Clegg, you must be proud of him. Clegg, another drop of gin. In its time it probably knocked all the hippies off their heads, but now it sounds dated and obsolete. The album has not dated well and the flower power psychedelic sounds are nauseating and at times Waters' vocals are akin to a cat scratching its claws down a blackboard; 'See Saw' is the idiot child of 'Sgt Pepper' and really is ear cringing wallowing beyond comprehension.
The lyrics are childish and Wright is off with the fairies on this. I rest my case. Contrary to popular belief, not everything Floyd touched was pure gold, in fact some of their early material stinks like yesterday's diapers, and unless you were stoned to the hilt, you would have thought this album was a yawnfest.
People pretend to understand it, but there is no thread of reason throughout. I realise Floydians will gush over this album, simply because it is iconic Floyd with the legend in his own mind, Barrett in all his insane glory, but just because it is iconic and from the psychedelic 60s does not necessarily mean the actual music is any good. Well, now I have released all that anguish I can move on to a better album from Floyd; take your pick, this effort is a bottom of the barrel doped up Saucerful of Secretions!
Collectors Only! Roger Waters and Richard Wright took over songwriting duties in the absence of Syd Barrett and managed to pen quite impressive new material. It's obvious that the band members were still heavily inspired by the Psychedelic movement even though the material they wrote also has a touch of Space Rock to it. This is a number Roger Waters still rigorously incorporates in his solo act which to me says a lot about this composition.
The rest of the album is filled with acquired taste material, which I actually find highly entertaining. Starting with Corporal Clegg , which is the first Pink Floyd song to address the theme of war. I dare you to guess who wrote this track! The album's title track is another stab at the 10 minute format and this one actually accomplishes a whole lot more during its allocated space. I always imagined the composition to be a conceptual piece that describes the creation and evolution of Earth.
Staring with sporadic sounds of volcanic eruptions, creation of wild life and the screaming vocals towards the end represents creation of the Homo sapiens. Richard Wright does another fine rendition of Syd Barrett's style on See-Saw while Jugband Blues depicts the master himself doing his last performance on a Pink Floyd album. You've probably noticed that I happen to like this album quite a lot.
It might not be the obvious choice for a classic from the wide array of great Pink Floyd performances over the years but I would definitely rank it among my top 3 personal favorites. Even if you don't disagree with me on this point, A Saucerful Of Secrets is still an excellent addition to any prog rock music collection!
Now for the album itself. Like I said, it's mostly Piper outtakes, but if you're expecting the same zany compositions as on the previous album, look elsewhere; the songs on here bear almost no resemblance to those on its predecessor. Wright throws in two pretty, romantic-sounding tracks, with wonderfully rich and syrupy vocals and a gorgeous atmosphere in general. I've always found it to be a lovely bit of nostalgia, remembering the time when the person singing was a child and he and his sister were best friends.
I guess one could find a note of creepiness in this if one so chose, but I don't think that's what Wright had in mind. Waters' material is more in the 'cosmic' vein, and rather cool overall.
The opening "Let There Be More Light" starts with a neato-sounding bassline that sounds a lot more interesting on closer inspection than it does from afar, and gradually turns into a slow and ultra-weird if overly rambling jam with Wright and Gilmour's new styles well established right away. Also, although it may seem on the surface that this was a Dave-era song, since the guitar parts highest in the mix are vintage Gilmour, closer inspection reveals ultra-loony parts in the background which cry out Barrett.
The final Waters composition of the album, the anti-war "rocker" "Corporal Clegg," is awkward as hell and not that impressive, but it's still rather funny; the kazoo solo is a total blast. So there's five tracks. A 6th can be found in the form of the closer, a Syd composition called "Jugband Blues.
The ending part is particularly heart-wrenching, with just Syd and his acoustic, and the wonderful lines "And what exactly is a dream? And what exactly is a joke? I can never help but mumble quietly "goodbye, Syd" whenever I hear that. Generally regarded as one of the first 'science fiction songs,' it seems to portray a battle in the depths of space. At first, Wright is just playing random chords, which help me to think of the cold emptiness of space, when out of nowhere it disappears.
A Mason tapeloop comes on, and suddenly the guys are all trying to make as much noise as possible, and you can just see ships blowing up and getting shot and all of that cool stuff. Eventually, the battle fades out, leaving the wounded to recuperate, and there's some wonderful harmonizing at the end before it fades into "See- Saw.
Anyway, this album is certainly very patchy, and there's virtually no flow between each of the tracks, but there's not a single song on here that I dislike, and several that I love. This is a transition album. In this way they have improved the execution side as Gilmour was already light years more skilled on guitar respect to Syd but have lost the mind of the band as Syd was an absolute genius and his sogwriting is still unique while Gilmour is co-writer of just an instrumental track.
The departure of Syd gives to Waters the possibility to discover his talent as songwriter. Some of his compositions are still heavily influenced by Syd. Probably the EMI had a part in this. The influence of Syd is less evident and this is one of the milestones in moving from the original psychedelia to what was interpreted as space-rock.
Waters never liked this definition, but this song fits well in this descripton. A Saucerful of Secrets is composed of three distinct sections which originally were meant to be three different tracks. This is where Gilmour is credited as co-author. Remember a Day and See Saw are two of the first three songs written by Wright Without taking into account the excellent "More", that's a soundtrack and has a different personal story, this is the album that will be followed by Ummagumma. It's not yet the Pink Floyd's new deal.
They are searching for a new identity. Also Ummagumma will be a moment of transition. It's with Meddle that the Waters era begins. Here we have an overall very good album with at least two long tracks that will remain in the band's history like Set The Controls and the title track, but the rest is still immature.
Not a masterpiece, then, but it deserves 4 full stars. Roger Waters and Richard Wright step into the songwriting breach with three and two songs respectively; Waters' Let There Be More Light and Set the Controls For the Heart of the Sun are two psych-space classics which show an impressive command of atmosphere, whilst Corporal Clegg - as with Take Up Thy Stethoscope and Walk on the last album - shows that Waters just doesn't do "whimsical" nearly as well as Barrett.
As far as Wright's contributions go, both Remember a Day and See-Saw have a placid and somewhat sunny mood but feel lightweight and forgettable when set next to Waters' work. The standout track by far is the group composition A Saucerful of Secrets, which stands as proof that the post-Barrett band had managed to gel as a performing and songwriting unit with exceptional speed. As for Jugband Blues itself, its inclusion on the album must have been a tough call for the remaining members, pointing as it does both to the direction Syd's solo work would take, but also to the isolation and personal disintegration which Syd was undergoing and which would continue until he finally burned out.
There's also a mild accusatory tone to it "It's awfully nice of you to think of me here At the end of the day I thin they must get points for honesty and for picking the most coherent and fitting Barrett track from the time period to include on the album Vegetable Man or Scream Thy Last Scream would not have fitted the tone of the rest of the album At the end of the day, A Saucerful of Secrets shows the band doing a good job of salvaging a terrible situation.
Yes, the atmosphere is a bit up and down; Corporal Clegg is a discordant "clang" in the middle of what is otherwise a spacey, peaceful album whose louder moments come as crescendos that are gradually built up to rather than leaping out and startling the listener as Clegg does.
But at the end of the day it's a better album than anyone had any right to expect from them at the time. I don't think it ranks amongst their classics - it's just a little too patchy for that - but it is good enough to be worth a listen.
A three star album with some four-star moments. Now, I have never been too big on the music of Pink Floyd, despite rightfully acknowledging that they have a few masterpieces to call their own. Moreover, they made one of the greatest debuts that ever came out of the groundbreaking '60s, and 'The Piper At The Gates Of Dawn' may even be my most listened-to Floyd album.
As tragic a downfall as any other rock star's however, original Floyd frontman Syd Barrett would start breaking down under the pressures of the newly found stardom, becoming one of the most enduring examples of an 'acid casualty'. With the integrity of their leading man compromised, Pink Floyd were somewhat scattered, and this really reflects on their second full-length album, 'A Saucerful Of Secrets'.
While integral to the development of the band past their original pop roots, I cannot help but feel that 'A Saucerful Of Secrets' pales in comparison to the quirky charm of the debut.
While 'The Piper At The Gates Of Dawn' carried the same sense of British warmth and eccentricity throughout, this album is much more evidently the work of several opposing forces.
Syd Barrett would now be sharing the reins here with their newly admitted David Gilmour - brought in to help the band from sinking- and it almost sounds here like each member had a different idea of where they wanted to go with the album. There are some poppier songs here that sound like they are trying to continue the psych-pop legacy of 'Piper' such as Barrett's 'Jugband Blues' or Waters' Barrett-soundalike piece 'Corporal Clegg'.
On the other side of the spectrum, there is the title track, which is not so much a composition here as it is a sweeping soundscape of eerie feedback and sound effects. While I may have thought I would prefer another album of Barrett-led psych-pop, the songs here that follow that route feel like shadows; miles away from the great melodic sensibility and spacey vibe of 'Piper'. The soundscapes and more spacey moments on the album are actually much better done all things considered.
The rest of the stuff here is cut between banal spacey effects and rather uninspired songwriting, and don't get me started about that forsaken kazoo on 'Corporal Clegg'.
It sounds great! While Syd Barrett had his talents, but his erratic behavior was a distraction. So by letting him go, the rest of the band was allowed to flourish, and imprint more of themselves on the music. From the start the music has a darker feel. And while Barrett's sonic experiments were unique, the sounds used here mesh better into the music let's not mention the kazoos, however.
Now, as for the single Barrett-penned tune on the album, Jugband Blues. It seems to be a bittersweet farewell to the band. With lyrics like: "It's awfully considerate of you to think of me here. And I'm much obliged to you for making it clear That I'm not here.
But in the long run, it was our gain. The main riff is ghoulishly maladroit, dragging the melody alongside it. Wright trades out the organ for a feathery piano, a contrast to Nick Mason's aggressive well, aggressive for him drumming. The steady bass mimics the melody, adding its own touches, while enigmatic sounds pour forth. Creepy keyboard passages strive against one another in the first four minutes, while thudding drums, screeching guitar, and inharmonious piano banging.
Eventually the piece settles into melodious bass and organ droning. The avant-garde nature of this piece is unrivaled by anything in the Pink Floyd studio discography, excepting Ummagumma. It's a disjointed thing.
I never was a Barrett fan, I never thought he was a genius, and Pink Floyd were better off without his antics. The album sees the band moving ahead, focusing more on darker, seriously-themed music with the childlike quality in the lyrics and playful approach to the music relegated to only a song or two.
There is also one long experimental piece in the title track. Side one of the album is in my view the more enjoyable, all four songs being of interest. The first track, 'Let There Be More Light' is in two parts, beginning with a rather quick bass line and rapidly developing into a space rock instrumental with Richard Wright's keyboards providing eerie tones that at times seem a little improvised as though he was asked to record them while listening to the backing track for the first time.
The music then slows down for the song part and the vocals are shared by Wright and Gilmour. The song winds down with a guitar solo by Gilmour. The article on Wikipedia delves into the lyrics, describing the many references. The drumming picks up pace throughout the verses of the song but the vocals by Wright are still soothing and soft. The song looks back on childhood. Nick Mason's percussion here is based on a repeated rhythm of light drumming and cymbal crashes while Richard Wright provides eerie tones.
The mood lifts for the final track, 'Corporal Clegg', a Water's song that begins his war themed lyrics. The song is more guitar-oriented with very sharp and harsher sounds. It's about a retired war veteran whose career is actually not as esteemed as he makes it out to be, with his one medal being something he found in the zoo metaphor? The song becomes very cacophonic near the end as a slowed down polka theme is gradually layered with more and more sound effects and voices.
The whole mess reaches an abrupt conclusion. The title track opens side two and is in three parts. It is a long experimental piece with lots of Floydian psychedelia. Though it has its moments, I personally find this uninspiring and a bit of a chore to get through.
As my musical tastes evolve I come back to this track from time to time to see if I can understand it better; however, to this day I still find little to appreciate. It does indicate, though, the direction the band would take for 'Ummagumma', so if that's your preference then you'll possibly enjoy 'A Saucerful of Secrets'. Interestingly, I read that someone called the next track, 'See Saw' the most boring song in the history of rock.
I have always liked it even back in my high school days. Richard Wright's soothing vocals and the pretty piano cascades appeal to me and I also like how the innocence of a song of non-innocence is maintained by the naivety of the lyrics and musical theme which only occasionally drops suddenly into a darker theme with a crash, only to return to the prettier sounds once again. The final track is Syd Barrett's only contribution to the song writing and this is obvious because of the rather bizarre lyrics.
The music, however, soon becomes an adventure in crossing sounds of repeated la-la-las to inserts of guitar effects, fade ins and outs of brass band music in a different key and other effects. This final part is reminiscent of music that would later appear on the album 'Opel'. As I said above, for me the best of the music is on side one with 'See Saw' having its charms and 'Jug Band Blues' having its moments as well. The title track remains too far outside of my music appreciation capabilities though I respect that the band was eager to try this.
I do prefer this album over most of Floyd's pre-'Meddle' days and I give it four stars for being mostly enjoyable while also creative. Like the debut "Pipers At The Gates Of Dawn" this one was a slow burner and didn't really hit me upon first listen but i continued to listen to it because a few tracks stuck out more than others.
Like much progressive music it needs to incubate in your subconscious before unleashing its magic. Such is the case with this album as well. The tracks vary widely on this one ranging from the upbeat guitar riff oriented intro with psych organ which breaks into the mid tempo lugubriousness "Let There Be More Light" which flows perfectly into the following "Remember A Day" with its cool guitar slide action and piano followed by a groovy 60s riff in tandem with the intro about mourning and loss.
The out of place tracks of "Corporal Klegg" and "Jugband Blues" kinda go together in that they are more upbeat and semi-folky with kazoos and bring 30s Dixieland jazz bands to mind more than anything 60s but for me the true treasure of this album is the space-age bizarre title track that to this day still gives me shivers when i hear it.
It really feels like a close encounter of some kind where the aliens are beaming down a musical pattern to help humans decipher certain patterns in the universe aiding us in avoiding self-destruction. As stated, this album is really a mess if taken as an album, but as a collection of single tracks i have REALLY grown to like this.
This dystopian in nature album perfectly coincides with that of the world in when astrologically and culturally the world was going through a serious upheaval in every possible way. Despite loving their 70s output i really find myself gravitating towards their 60s albums more often. Even though i wasn't around to experience the glorious 60s in their heyday nothing transports me there more quickly than a sonic exposure to a PINK FLOYD album in their full psychedelic regalia.
An acquired taste for sure but if you do indeed get a hankering for such a sound then this album takes you on a wilder ride than even their debut which i find to be a much more consistent experience.
The murky production provides a strong element of eeriness to the whole album, even transmogrifying a piece of whimsy like "Corporal Clegg" into something strange with a weird undertone. The way the tune ends, after the kazoo gang finishes, confusion and chaotic noise ending with what sounds like a siren before abrupt nothingness.
It's the first of Water's fixation on war, and takes a satirical approach rather than a serious tone. The kazoo's are part of this satire, but without them we're dealing with some pretty nifty acid rock to my ears. Tribal drums, repetitive motifs and a loose jam-like feel with gloomy overtones, it's quite a little adventure and remains as one of their most haunting offerings.
The two Wright penned numbers are noteworthy as well. Songs about childhood memories and the loss of innocence, the production does wonders for these two buggers, imbibing the pastoral instrumentation with the aforementioned fog, turning a song like "See-Saw" into an almost ghostly thing. I always picture some 19th century playground with a see-saw moving up and down on its own It's lyrically interesting as well, with possible references to Syd's childhood sweetheart, as she was getting married around the time this song was penned.
Speaking of Syd, his slide guitar playing during "Remember a Day" adds a sense of creepiness to what would otherwise be a pleasant enough tune minus the production which "drears" things up a bit with some kickin' drumwork. The title track is in three parts, with the first part being ominous and foreboding, the second being wild and, in a way, just plain nuts, and the third being tranquil.
It really is like some kind of strange flying saucer ride. Quite experimental, and sometimes I'm just not in the mood for it, but it's still hard to skip and I eventually get sucked in each time. There's a sense of resignment to Syd's losing battle with dementia as he sings this tune, and even the jaunty sections are disturbing. I dig the use of the Salvation Army Band as well, contributing first with a written piece, then towards the song's end, the big-band music returns like some monstrous calamity as if their instruments had been swiped and performed by escaped sanitarium dwellers.
A perfect depiction of a mind before and after the breaking point. The song and the album conclude with Syd's distant voice and soft guitar strumming, a perfect, sorrowful yet enigmatic conclusion. This album to me has a personal vibe that's completely earnest in approach, as it doesn't feel calculated. Hell, the band weren't even sure what they were doing at times or whether they should even continue to exist, giving this release an unusual sense of urgency and uncertainty while still providing lots of good ole' trippiness.
It's dark though, maybe their darkest, and works in a different way than their celebrated 70's heyday stuff, as it's not about the dark side of things, but a representation of people in a dark place trying to find their way out.Explore releases from The Barrett Sisters at Discogs. Shop for Vinyl, CDs and more from The Barrett Sisters at the Discogs Marketplace.