Meddle

Release date: November 11st, 1971

Recorded at: AIR Studios, EMI Studios, Abbey Road and at Morgan Sound, London

Total Playing Time: 46'33

 

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Tracks:

One of These Days (Waters, Wright, Gilmour, Mason) [05:57] Vocals by Nick Mason.

A Pillow of Winds (Waters, GIlmour) [05:07] Vocals by Gilmour.

Fearless (Waters, Gilmour) [06:05] Vocals by Gilmour.

Saint Tropez (Waters) [03:40] Vocals by Waters.

Seamus (Waters, Wright, Mason, Gilmour) [02:13] Vocals by Gilmour.

Echoes (Waters, Wright, Gilmour, Mason) [23:31] Vocals by Gimour and Wright.

 

Musicians:

David Gilmour: Guitars, Vocals

Nick Mason: Drums

Roger Waters: Bass Guitar, Vocals

Rick Wright: Keyboard, Vocals

 

 

One of These Days (Waters, Wright, Mason, Gilmour)

One of these days, I'm going to cut you into little pieces

 

 

A Pillow of Winds (Waters, Gilmour)

A cloud of eiderdown

Draws around me

Softening a sound.

Sleepy time, and I lie,

With my love by my side,

And she's breathing low.

 

And the candle dies.

 

When night comes down

You lock the door.

The book falls to the floor.

As darkness falls

The waves roll by,

The seasons change

The wind is wry.

 

Now wakes the hour

Now sleeps the swan

Behold the dream

The dream is gone.

Green fields are calling

It's falling, in a golden door.

 

And deep beneath the ground,

The early morning sounds,

And I go down.

Sleepy time, and I lie,

With my love by my side,

And she's breathing low.

 

And I rise, like a bird,

In the haze, when the first rays

Touch the sky.

 

And the night wings die.

 

 

Fearless (Waters, Gilmour)

You say the hill's too steep to climb

Climb it.

You say you'd like to see me try

Climbing.

 

You pick the place and I'll choose the time

And I'll climb

That hill in my own way.

Just wait a while for the right day.

And as I rise above the tree lines and the clouds

I look down, in the sound of the things you said today.

 

Fearlessly the idiot faced the crowd

Smiling.

Merciless the magistrate turns 'round

Frowning.

 

And who's the fool who wears the crown?

And go down,

in your own way

And every day is the right day

And as you rise above the fear-lines in the crowd

You look down, in the sound of the faces in the crowd.

 

 

San Tropez (Waters)

As I reach for a peach

Slide a rind down behind

The sofa in San Tropez.

Breakin' a stick

with a brick on the sand.

Ridin' a wave

In the wake of an old sedan.

 

Sleepin' alone in the

Drone of the darkness,

Scratched by the sand that

Fell from my love,

Deep in my dreams and I

Still hear her callin'

"If you're alone,

I'll come home."

 

Backward and homebound,

The pigeon, the dove,

Gone with the wind

And the rain, on an airplane.

Owning a home

With no silver spoon,

I'm drinking champagne

Like a good tycoon.

 

Sooner than wait for

A break in the weather,

I'll gather my far-flung

Thoughts together.

Speeding away

On the wind to a new day.

And if you're alone

I'll come home.

 

And I pause for a while

By a country style

And listen to the things they say.

Diggin' for gold

With a hoe in my hand.

Open a book

Take a look at the way things stand.

 

And you're leading me down

To the place by the sea.

I hear your soft voice

Calling to me.

Making a date for

Later by phone

And if you're alone

I'll come home.

 

 

Seamus (Waters, Wright, Mason, Gilmour)

I was in the kitchen,

Seamus, that's the dog, was outside.

Well, I was in the kitchen,

Seamus, my old hound, was outside.

Well, the sun sinks slowly

But my old hound just sat right down and cried.

 

 

Echoes (Waters, Wright, Mason, Gilmour)

Overhead the albatross

Hangs motionless upon the air

And deep beneath the rolling waves

In labyrinths of coral caves

An echo of a distant time

Comes willowing across the sand

And everything is green and submarine.

 

And no one called us to the land

And no one knows the where's or why's.

Something stirs and something tries

Starts to climb toward the light.

 

Strangers passing in the street

By chance two separate glances meet

And I am you and what I see is me.

And do I take you by the hand

And lead you through the land

And help me understand

The best I can.

 

And no one called us to the land

And no one crosses there alive.

No one speaks and no one tries

No one flies around the sun....

 

Almost everyday you fall

Upon my waking eyes,

Inviting and inciting me

To rise.

And through the window in the wall

Come streaming in on sunlight wings

A million bright ambassadors of morning.

 

And no one sings me lulabyes

And no one makes me close my eyes

So I throw the windows wide

And call to you across the sky....

 

 

NOTER

This was the album which streamlined and established the hallmark of the Floyd's mature style: a dense and colourful weave of actuality sounds (notably the football chant on Fearless) original electronic textures, and more conventional rock instrumentation. "Meddle" contains two extremely important songs in the Pink Floyd story. One, the powerful, spacey "One Of These Days", marked a welcome return to simplicity; while the other, the side-long "Echoes", is a progressive rock classic.

 

On this track they managed to dispense with additional musicians and became, in effect a four-piece orchestra. The song marked the first real appearance of the lush, symphonic sound that was such an obvious feature of their music from then on. "Echoes" featured Dave Gilmour's first significant contributions to the group's sound.

 

David Gilmour: "We did loads of bits of demos which we then pieced together, and for the first time, it worked. This album was a clear forerunner for Dark Side Of The Moon, the point when we first got our focus."

 

Nick Mason: "We spent a long time starting the record. We'd worked through the Sounds Of Household Objects project, which we never finished. The idea was always to create a continuous piece of music that went through various moods and this was the album that established that. Rick was the guy who got it off the ground with that one note at the beginning."

 

Rick Wright: "I was playing around on the piano in the studio but it was actually Roger who said, Would it be possible to put that note through a microphone and then through the Leslie? That's what started it. That's how all the best Floyd tracks start, I believe."

 

The title "Meddle" was meant to be a pun - "a play between 'medal' and 'interfere'".