IV. Let There Be More Light
The follow-up album did—and will—inevitably disappoint anyone looking for a repeat of Piper. The bad news: with the exception of one song (the harrowing “Jugband Blues”, equal parts peak inside the cuckoo clock and a resigned J’accuse to his bandmates), Syd Barrett is gone, baby, gone. The good news: David Gilmour is now on the scene. Even on this effort, at times tentative, grasping and assured, there are hints of the sounds and obsessions that would indelibly color the Pink Floyd canon. Take the sardonic if jarring “Corporal Clegg” for a first glance at Waters’ disdain for war and society’s treatment of veterans; the solemn heavy-handedness he would later succumb to is undercut with a claustrophobic barrage of voices, sound effects and a sing-along chorus featuring a kazoo(!). Richard Wright attempts to capture the lysergic whimsy in songs he later dismissed but which, more than 40 years later, hold up in their way… if semi-shoehorned lysergic whimsy is something you like in your saucer.
A Saucerful of Secrets
Two tracks stand out and obviously indicate directions the band would move toward going forward. “Set the Controls for the Heart of the Sun” (featuring brilliantly restrained mallet work from drummer Nick Mason) is the first successful “mood” music the new Floyd created. The band doubles (triples?) down on the ambition for the title track, which succeeds as a piece of avant-garde, music concrete and early prog pretension (see the manipulated “celestial voices” during the coda). From the ominous plucked piano strings to the percussive chaos to a slowly unfolding finale that achieves a genuinely affecting release, this is the track the band would, in a sense, keep revisiting until it was better, different, perfect.
In 1969 the band made two albums, both of which served as stepping stones toward a slowly evolving sound. The first, a soundtrack for a film few people seem to have seen called More, remains very much an overlooked gem, overwhelmed by the volume of quality Floyd recordings. From a purely historical perspective, More is an important album as it illustrates a template for the aesthetic the band would refine in the following decade. Gilmour in particular strides to the fore, assuming primary vocal duties and uncorking a guitar tone that is no longer lost in the haze and sheen that sometimes bogs down A Saucerful of Secrets. The elements of (take your pick) psychedelia/space-rock/trippiness, executed to greater effect in their live recordings, abound but are sharpened by a less guarded (less calculated?) Gilmour, who liberally sprinkles in his blues roots and a rawer, less refined sound.
Soundtrack from the Film More
The album can be broken somewhat cleanly into two parts: the slower, acoustic pieces—mostly written by Waters, and the lucid, icy grandeur of the instrumentals, dominated by Wright and Gilmour. The acoustic tracks are worthwhile (particularly the hallucinogenic “Cirrus Minor” and “Green is the Colour”) but ultimately don’t rank with the band’s better work. It’s the dream sequences, at once evocative and mesmerizing, that make More an indelible album in its own right. If you take the laid back confidence of “More Blues” and combine it with the aggressive, almost abrasive energy of “Ibiza Bar” you can almost predict where Meddle came from. Likewise, Rick Wright’s uncanny ability to create mood is showcased on “Quicksilver”, which anticipates “Echoes” and “Shine on You Crazy Diamond”. On “Main Theme” and “Dramatic Theme” Gilmour and Wright lock into a groove and Waters and Mason flex some nice rhythmic muscle.
It’s possible that Floyd would never sound this human again, and if they had to move on to bigger and better things (they did), there is sufficient evidence here that Floyd could balance raw and fresh and achieve a coolness without being chilly. Of course, no one could do light and dark with the dexterity of Floyd in their prime, and they make it sound easy here, perhaps because, for them, it was.
So while the live-in-the-studio experiments achieve a seemingly effortless air, the sense of purpose and inexorable pretense is more than slightly palpable on Ummagumma. Now this is a transition album. First, a very welcome live set which proves Floyd could credibly cover Barrett (“Astronomy Domine”) and improve upon earlier material (“Careful With That Axe, Eugene” is longer, more intense, and satisfying than the single). “Set the Controls for the Heart of the Sun” and “A Saucerful of Secrets” demonstrate the band’s comfort with stretching out already ambitious material—a process that would reach fruition during the recording of the Pink Floyd at Pompeii film, which boasts definitive versions of these three non-Barrett tracks.
The second disc is an exercise in indulgence, adventure or embarrassment, depending on what you read. In actuality, it is the result mostly of a band feeling pressure to record new material while tailoring their collective compositional chops. Typically, there are elements of the aesthetic that would continue to crystallize in the coming years. Each member has a set of “solo” songs and while none are flawless, we can hear the way the craftsmanship is coalescing and the confidence is building. The band is unquestionably stretching out, and the best elements of this experimentation (Waters’ and Mason’s flair for the absurd; Wright’s and Gilmour’s more structurally sound tunesmithing) would be retained and improved upon in short order.