Review Summary: A saucerful of shit
Ummagumma is an oddity even for Pink Floyd. Recorded at a time of uncertainty for the group, having just lost founding member Syd Barrett, whose departure from the group had stripped them of what made them stand out. Barrett's surreal fairy tale lyrics and psychedelic playing had brought them fame. But, now he had left for a short lived solo career, leaving the group in a creative rut. After recording the soundtrack to the oft forgotten 1969 French drama More, the band set out recording their next studio record. The group had amassed a huge underground following and had finally broken into the mainstream. But with Barrett gone they were lost. Unsure wether or not to continue with the whimsical psychedelica style, or to peruse a different path, the band were uncertain of their future. The idea to record a double album, one disc of live recordings and one disc of studio recordings was brought up and the band set to work. Each member was assigned a time length of around 14 mins each and tasked themselves to record a solo track for the record. Ummagumma is unique in being that it's basically 4 solo albums rolled into one. The band had decided on furthering their experimental stylings, focusing now on avant-garde music/space rock. Was it successful? No.
First off, before we get to the meat of this record, we should talk about the live disc. It's a collection of four tracks from their previous albums, stretched to dizzying lengths and given a spaced out, hypnotic flair. The live disc is truly the highlight of the album. The four tracks are a perfect representation of the group's early live shows, ones that focused more on lengthy instrumental passages, trippy light shows and warped grooves. The highlight tracks 'Careful With That Axe, Eugene' (originally a b side to a now forgotten single 'Point Me At The Sky') and 'Set The Controls For The Heart of The Sun' (originally from their second album) showcase the group's experimental, ominous playing. Roger Waters takes lead vocals on both tracks here, delivering a hushed haunting whisper on Set The Controls and horrific shrill cries on 'Eugene'. The other two tracks 'Astronomy Domine' (which shows the band could still master their early tracks without Barrett's assistance) and 'A Saucerful Of Scerets' (notable in that unlike the album version it's actually listenable) are no slouches either. It's a mesmerising set, both soothing and aggressive. A fine example of the band's early live presence, before they became the stadium tour prog titans they're best known as today.
On the other hand, the studio record is very VERY different. I really don't know how to describe the studio disc. While it was praised when it came out, now the studio tracks are seen as nothing more than a collection of failed experiments, a sentiment shared by the band. Each separate track was solely composed by a single band member, often meaning they had to back themselves instrumentally. The first track 'Sysyphus (Pts 1-4)' is a Rick Wright solo piece, composed entirely on a keyboard. It's 13 minutes long and one of the most soul crushing things I've listened to. It's a horrid cocktail of warped piano playing, high pitched screeching and what sounds like metal clanging together to form the sound of an orgy in a workshop. When the track ends, you're left feeling as if this whole record was made just to waste your time. You've gained nothing from that experience. It was painful and it wasn't fun.
However, the next track 'Grantchester Meadows' is a lovely change of pace. It's a lengthy song at nearly 8 minutes but I wish it lasted longer. An incredibly gentle acoustic ballad, penned and performed by Waters, Grantchester Meadows combines incredibly soft guitar (often to the point of near inaudibility) and a sound collage of bird calls and nature ambience. It's beautiful and calming, and certainly a highlight. That, however is just part one of Roger's compositions on the record. The next track, the completely insane 'Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict' is five minutes of Waters making animal noises and screaming in a Scottish accent. I wish I was making it up. I mean, for the time I'm sure it was impressive but this is a track you put on once and then never again. It's funny the first time round.
David Gilmore's contribution is the lengthy 'The Narrow Way', probably the most listenable piece of music on the record bar Grantchester. The piece takes the form of three movements. A psychedelic folk song, a guitar heavy avant garde interlude and a standard rock track, spiced up with some drones and pleasant singing. It's a welcome change of pace and one of the more noteworthy tracks here. Fun fact, David has gone on record to say he "bull***ted [his] way" through the song just to get something on the record. The last track is Nick Mason's time to shine. 'The Grand Vizier's Garden Party' is a near 10 minute drum solo bookended with some soothing penny whistle for his then wife Lindy. It's not a fun listen.
Overall Ummagunma is half train wreck, half space rock masterpiece. I can't really put into words how this album makes me feel. At times it's the most dreadful thing I've ever heard, but then it can be a calming soothing experience with gentle guitars and then lengthy space rock jams. If You insist on getting Ummagumma, do it for the live disc. It's radically superior to the studio section and a better representation of their experimental sound, rather than the cryptic unlistenable bull*** that peppers the second disc. For hardcore fans only, but even they will only find some joy here. It's too out there for casual fans and its attempts at avant garde are obnoxious and irritating. The live album is a great romp but the studio disc is A truly draining experience with little relief in sight.
The live disc counts as one star and the two standout tracks as one too.
2/5
Standout tracks:
The entire live section
Grantchester Meadows
The Narrow Way (Part 3)
standout lyrics
"Icy wind of night begone this is not your domain" - Grantchester Meadows
"Perhaps a day will come where the nights will be as On that morning" - The Narrow Way
