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Madd Hatter
As Madd as a Hatter!
As Madd as a Hatter!

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It's been effective for years!

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Shooting Star tells the story of young boy who grows up to be a Rock Star, but he succumbs to Rock And Roll excess and dies of a drug overdose. According to Bad Company lead singer Paul Rodgers, the song is a warning. He wrote it about the casualties of the music business; people like Jimi Hendrix and Janis Joplin as well as others who didn't make it. (thanks, Mike - Mountlake Terrace, WA)

An eerie parallel to the character in this song is Paul Kossoff, who was Paul Rogers' bandmate in the group Free. Kossoff died of a heroin overdose in 1976, a year after this was released. The guitarist was just 25 years old when he died.



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Every Floyd fan has sat transfixed by Echoes "Live at Pompeii", watching it multiple times on repeat.  Here's your chance again- 25 minutes of beauty. Enjoy your Sunday.

Each verse of the song follows a pattern of three strophes.

The composition uses many progressive and unconventional musical effects. The ping sound heard at the beginning of the song was created as the result of an experiment at the very beginning of the Meddle sessions. It was produced through amplifying a grand piano, played by Richard Wright, and sending the signal through a Leslie rotating speaker.

David Gilmour used a slide guitar for certain sound effects on the studio recording, and for the introduction in live performances from 1971-75. A throbbing wind-like sound was created by Roger Waters vibrating the strings of his bass guitar with a steel slide and feeding the signal through a Binson Echorec. The high-pitched electronic 'screams', resembling a distorted seagull song, were discovered by Gilmour when the cables were accidentally reversed to his wah pedal. After observing the song being created, Nick Mason noted, "The guitar sound in the middle section of "Echoes" was created inadvertently by David plugging in a wah-wah pedal back to front.

Sometimes great effects are the results of this kind of pure serendipity, and we were always prepared to see if something might work on a track. The grounding we'd received from Ron Geesin in going beyond the manual had left its mark."

The "choral"-sounding segment at the end of the song was created by placing two tape recorders in opposite corners of a room;[3] the main chord tapes of the song were then fed into one recorder and played back while at the same time recording. The other recorder was then also set to play what was being recorded; this created a delay between both recordings, heavily influencing the structure of the chords while at the same time giving it a very "wet" and "echoey" feel. Harmonic "whistles" can be heard produced by Richard Wright pulling certain drawbars in and out on the Hammond organ. Rooks were added to the music from a tape archive recording (as had been done for some of the band's earlier songs, including "Set the Controls for the Heart of the Sun"). The second half of the song where Gilmour plays muted notes on the guitar over Wright's slowly building Farfisa organ solo was inspired by The Beach Boys song "Good Vibrations".

In an interview in 2008 with Mojo, when asked who had composed Echoes, Wright stated he had composed the long piano intro and the main chord progression of the song. In the same interview he confirmed that Waters wrote the lyrics. Gilmour has claimed in interviews that the music came mainly from him and Wright.

Early versions and alternative names
The piece had its genesis in a collection of musical experiments written separately by each band member, referred to as Nothing, Parts 1–24. Subsequent tapes of work in progress were labelled The Son of Nothing and The Return of the Son of Nothing; the latter title was eventually used to introduce the as-yet unreleased work during its first live performances in early 1971.

During this stage of its development, the song's first verse had yet to be finalized. It originally referred to the meeting of two celestial bodies, but perhaps because of Waters' increasing concerns that Pink Floyd was being pigeon-holed as a space rock band, the lyrics were rewritten to use underwater imagery instead.

The title "Echoes" was also subjected to significant revisions before and after the release of Meddle: Waters, a devoted football fan, proposed that the band call its new piece We Won the Double in celebration of Arsenal's 1971 victory, and during a 1972 tour of Germany he jovially introduced it on two consecutive nights as Looking Through the Knothole in Granny's Wooden Leg (a reference to The Goon Show; the phrase appeared in an episode titled "The £50 Cure") and The Dam Busters, respectively.

Overhead the albatross hangs motionless upon the air
And deep beneath the rolling waves in labyrinths of coral caves
The echo of a distant tide
Comes willowing across the sand
And everything is green and submarine

And no one showed us to the land
And no one knows the wheres or whys
But something stirs and something tries
And starts to climb towards the light

Strangers passing in the street
By chance two separate glances meet
And I am you and what I see is me
And do I take you by the hand
And lead you through the land
And help me understand the best I can
And no one calls us to move on
And no one forces down our eyes
No one speaks
And no one tries
No one flies around the sun

Cloudless every day you fall upon my waking eyes
Inviting and inciting me to rise
And through the window in the wall
Come streaming in on sunlight wings
A million bright ambassadors of morning

And no one sings me lullabies
And no one makes me close my eyes
So I throw the windows wide
And call to you across the sky.



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Fisher wood stove:  removable screen and adjustable legs
3 Photos - View album

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When you don't work on a weekend xD

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Here is one of my favorite photos from Burning Man this year...

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