Record of the day: Pink Floyd, “Ummagumma”

Pink Floyd, “Ummagumma” (2 Cd Harvest/EMI 724383121327/8)

Observing the stage of irreversible necrosis in which rock music finds itself today, it is healthy to look back to find a historical period in which this music possessed apparently inexhaustible quantities of creativity and energy, and was able to create its own language by interacting with other languages; the avant-garde of classical music, psychedelic culture, literature, poetry, cinema, in an exciting synthesis. The freshness of rock records in the period from 1966 to 1970 still resonates loud and clear, and it is still impressive how the protagonists of rock of the time managed to reconcile the top levels of the sales charts with daring, experimental works, completely immune to any pangs of criticism. keep an eye on the world of commercial music.

One of the major examples of this genre remains “Ummagumma”, probably Pink Floyd’s masterpiece (but it’s difficult to say, given that records like “Atom Earth Mother” and “The Piper at the Gates of Dawn” are no different). Upon publication in 1969, the abstract character of the music and its research connotations left the public and critics rather cold, but the passing of the years has only confirmed the absolute value of this work, among the most creative of that decade. . Divided into two parts, one recorded in concert and the other in the studio, “Ummagumma” is a challenging album to listen to, but overflowing with ideas and sound solutions that were unreleased for the time and still original.

The Live side revived classics such as “Astronomy Domine” and “Careful with That Axe, Eugene”, belonging to the previous period, in an even more visionary version, while the studio album presented four long songs composed individually by the band members, with very different results between them (just compare the violent piano clusters and the numerous atonal passages of “Sysyphus” composed by Richard Wright with the acoustic atmospheres of “Grandchester Meadows”, written by Roger Waters, or the textures percussive of “The Grand Vizier’s Garden Party” by drummer Nick Mason).

The desire to destroy the usual song form to articulate a discourse that takes place on multiple levels of writing appears explicit, and opens the way to the great suites of Progressive Rock, anticipating subsequent concept albums of the group such as “The dark side of the Moon” and “Animals”.

Carlo Boccadoro, composer and conductor, was born in Macerata in 1963. He lives and works in Milan. He collaborates with soloists and orchestras in different parts of the world. He is the author of numerous books on musical topics.

This text is taken from “Lunario della musica: A record for every day of the year” published by Einaudi, courtesy of the author and the publisher.