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Thread: Saxophone On Echoes Studio Version ?

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    Default Saxophone On Echoes Studio Version ?

    I could be barking up the wrong tree here, but Im bored so here goes...

    Is it just me or can anyone else hear a brief saxophone being played low in the mix near the end of the studio version of Echoes ?

    Listen between 22:09 mins and 22;12 mins.
    https://www.youtube.com/watch?v=WxXgzwhHCuU

    I know they used a sax on later live versions but I have never heard it mentioned as being part of the studio version.

    If so who played it ?
    Was there more originally I wonder.

    Dont think this has been covered before or mentioned, but apologies if so.

    Cheers
    YYZ

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    I heard what you were talking about, and it's actually just Dave putting a bit of reverb on his guitar and plucking one string and letting it go for three seconds.
    "I don't know; I was really drunk at the time." - Henry McCullough

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    Quote Originally Posted by oldpink View Post
    I heard what you were talking about, and it's actually just Dave putting a bit of reverb on his guitar and plucking one string and letting it go for three seconds.
    at first I thought it could be a mashup using one of the best of the 75 tour version to buried a saxophone in the mix.
    At that time the Floyd did not have a saxophone player around. Did they already know Dick Parry by the way ?

    well after having listen to this youtube version with the regular version of Echoes from Meddle, I knew that part. It's intriguing what Gilmour could make with his guitar. I've always noticed this in the past - in doesn't sound to me like a guitar and I thought it was someone playing a "wind" instrument (sax, flute, whatever...) to make a kind of sound like a LEM landing on the moon surface (that's the image I had in mind when listening to this part).
    I remember that being French, I wrongly interpreted the liner notes of the inner notes of Meddle LP : it was written : "all material assembled by Pink Floyd" (or something like that - but I wrongly understand the word "material". I thought at that time that it implied that David Gilmour was assembling and creating his own instruments, sewing woods in order to create some magical guitar and other cosmic instruments. If you take a look at the black & white mythic photo of the 4 guys, they look like they just come out from jail or are bucheron. Nick Mason has a beginning of a shy smile. Rick Wright looks like a beautiful Bee Gees imaginary member.

    what is fascinating with the studio "Echoes" of version is a sophisticated the studio version is (we use to consider Dark Side Of The Moon has the "apogée", pinacle of perfectionism) but just compare to rough quadraphonic version which was quickly mixed for the press and this studio version on Meddle : so much different guitar layer, each layer with a different mood and sound/tone (which even doesn't sound like a guitar anymore) for a long time I thought that there was some discreet strings overdubbed on Echoes from Meddle : David Gilmour did a fantastic guitar work on this song. The kind of layer and sublayers, one layer becoming slowly and discreetly the new lead guitar reminds me how Tangerine Dreams used to work with their best first albums.

    I don't consider "Dark Side" as innovative as Meddle was (Echoes especially and One Of These Days).
    Last edited by abronsius; 2018-11-22 at 06:12 AM.

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    Quote Originally Posted by abronsius View Post
    I don't consider "Dark Side" as innovative as Meddle was (Echoes especially and One Of These Days).
    I like this idea. My personal opinion... As a piece overall, I consider DSotM to be more intriguing and innovative but I'd rather listen to the Echoes over DSotM, every time. I think lyrically and as a concept DSotM beats out Echoes, especially because DSotM is more attainable, more easily understood and consumed as a piece, more of a mainstream concept people can relate to into their own personal lives than Meddle is as a whole. On the other hand, Echoes is a much better song over anything on DSotM. It's more unique, complex, and beautiful, if you like. Meddle is a great album and has amazing songs, but it always felt a bit disjointed to me. To me it's an album where Echoes is the whole album and they couldn't just release an album with one song, so the rest is kind of filler. San Tropez and Seamus are quaint but I dare say that they are anyones favorite songs and don't have a deeper meaning to them, whereas there are many songs lyrically on DSotM that do. Echoes is musically deeper to almost anything they've ever done IMO. I think Echoes and SOYCD I-IX are the pinnacle of Floyd musically. It sounds like blasphemy and I love every song on Meddle (Echoes and Fearless being my favs) but DSotM is more innovative overall.

    I have a similar feeling towards Atom Heart Mother but maybe another time. Just my two cents.

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    Quote Originally Posted by buffalofloyd View Post
    I like this idea. My personal opinion... As a piece overall, I consider DSotM to be more intriguing and innovative but I'd rather listen to the Echoes over DSotM, every time. I think lyrically and as a concept DSotM beats out Echoes, especially because DSotM is more attainable, more easily understood and consumed as a piece, more of a mainstream concept people can relate to into their own personal lives than Meddle is as a whole. On the other hand, Echoes is a much better song over anything on DSotM. It's more unique, complex, and beautiful, if you like. Meddle is a great album and has amazing songs, but it always felt a bit disjointed to me. To me it's an album where Echoes is the whole album and they couldn't just release an album with one song, so the rest is kind of filler. San Tropez and Seamus are quaint but I dare say that they are anyones favorite songs and don't have a deeper meaning to them, whereas there are many songs lyrically on DSotM that do. Echoes is musically deeper to almost anything they've ever done IMO. I think Echoes and SOYCD I-IX are the pinnacle of Floyd musically. It sounds like blasphemy and I love every song on Meddle (Echoes and Fearless being my favs) but DSotM is more innovative overall.

    I have a similar feeling towards Atom Heart Mother but maybe another time. Just my two cents.
    Dark Side Of The Moon (well, we all know that the final mix as we know was a kind of "consensual" mix compromised with Alan Parsons as an "arbiter" between the luxurious mix David Gilmour wanted (we have a kind of nice jazzy illustration of what Rick Wright Us & Them could have been on the Silent Sea "The Great Gig In The Sky" aka "One Side Of The Moon" rough mix, a great companion to the official early mix on the immersion box set) vs Roger Waters which was heavily influenced by John Lennon Plastic Ono Band wanted a much raw sound. But when you start to add saxophone and female choir, you are already far away from Plastic Ono Band.
    as a whole album, Dark Side, is IMHO a masterpiece; a perfect example of what we would call a great production. It's not overproduced.
    "Wish You Were Here" and "Animals" are well produced and are to me perfect-balanced album in terms of final production.

    Now there's the song, which is different. You can have an album which is considered as the best, as a whole album, but if you take song per song, then you can have different feelings.
    Despite the difficulties of the WYWH sessions or Animals and all the tensions. I think that the final production overcome these tension and the whole album makes sense. I won't keep quite the fact that I think that Shine On is one of my favorite song. I like it as a collective work- all member's input is tremendous. And I like the fact that this is song is sung by Roger Waters. We also discovered with the Producer's Cut BBC how much they worked all the drums (with backwards-reversed drums, etc...) so, chapeau for David, Rick, Nick and Roger!

    "Meddle" - although I like the rest of the songs (there's a kind of jazzy feeling that can be now emphasize thanks to the hidden 5.1 mix) "A Pillow Of The Winds" is such a superb ballad with Beatles-like arpeggio; tremendous guitar-work, superb vocals; to St Tropez and his jazzy feeling until the very last piano note.

    "One Of These Days" was such an innovative "song" with innovative use of bass which Roger will after continue to elaborate : slowing down the echoed-bass for the intro of Shine On part 6-9 for instance, or "Sheep", etc...
    but the masterpiece in terms of production : polished production, taking care to multiple layers of guitars and vocal, harmonies, etc... "Echoes" is a masterpiece. Thus, I'll dare to say that "Echoes" combines perfect production (IMHO as good as Dark Side Of The Moon) and pure innovation (which IMHO was not the case for Dark Side Of The Moon : Echoes goes beyond the genius idea of Clare Tory singing the whole song a cappela, or the use of saxophone (but did King Crimson already recorded the same signature than "Money" with a saxophone break with their "Ladies On The Road" song on "Island" the year before?), etc... they were working this song layer per layer like the Household Object project...). Even with if Dark Side is really a concept album contrary to Meddle, "Echoes" is more daring.

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