Taking the ‘minimalist tracklist / cathartic innards’ formula of the great prog bands that swarmed the early ‘70s, whilst Floyd-ing it up as much as possible, meant that ‘best of all-time list’-botherers ‘Wish You Were Here’ and ‘Animals’ could take on their own similar pledge years later. But any rock band with a classic reputation would be more than happy to have ‘Meddle’ proclaimed as their best artistic statement. This could be considered seminal, at least it would be had ‘Meddle’ not been succeeded by ‘The Dark Side of the Moon’ and ‘Wish You Were Here’. That isn’t to say ‘Meddle’ isn’t experimental the majority of ears pressed toward it, not just the underwater one on its cover, were taken aback by a Pink Floyd consistently unpredictable, but with a visionist’s clarity, akin to a great New Hollywood director, backing it up. ‘Meddle’ was released on 31 st October 1971 to thereabouts commercial success and improved critical reception, the bulk of which shone towards the album’s cohesion in progression as opposed to the shit-at-the-wall demeanour of predecessor ‘Atom Heart Mother’, which had been epitomised by experimental closer ‘Alan’s Psychedelic Breakfast’. Appearing like a dishevelled piano from a decades-old shipwreck, these proclaimed piano “pings”, created by sending the signal through a Leslie speaker and echo machine, approach with a nonchalance reliant on the ensuing power of the song’s steady build, a build that begins and ends the entire second side of the album ‘Meddle’. Few musical passages resemble their artwork quite like the submerged piano heard at the beginning of Pink Floyd’s ‘Echoes’.
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