Pink Floyd: Obscured By Clouds - 1972

 

Overlooked by many (including me until recently), this is definitely now one of my favourite Floyd albums (possibly the favourite, too). It was their most accessible offering thus far and, while it presages Dark Side Of The Moon, for me it is the better album. Somehow I prefer its natural flow and I find it less contrived (only I really know what I mean here). It was conceived as a soundtrack for a French film, La Vallée. 

Many reviewers have said that it plays very much as a soundtrack. Not for me, though. I find it plays out well as an album in its own right and I enjoy the fact that is so different from their other offerings. At times it almost seems like a different group. It is nothing like its Hipgnosis-designed arty, freaky cover may have you expecting either. 

Obscured By Clouds is an excellent, mysterious and moody instrumental opener, featuring a sonorous keyboard sound, portentous drums and a killer guitar. I really like this. It surely had an influence on many post punk soundscapes, whether they were prepared to acknowledge it or not. It is also refreshing sort at just over three minutes. 

When You're In continues the instrumental quality with an even shorter muscular and chunky piece of riff-driven slow rock. It packs a real punch. Vocals arrive on the typically mournful Floyd of Burning Bridges, and although the vocals irritate me a bit, the guitar is superb. 

The Gold It's In The.... is a great title and also a fine piece of riffy rock that really does it for me. It has hints of ELO's material from 72-73 as well. It is as succinctly rocking as Floyd have possibly been thus far or indeed subsequently. The peaceful, ambient vibe of Wots...Uh The Deal is almost country rock in its feel, with strong CSNY echoes in there and a nice piano part near the end. It sort of leads into Mudmen, which is archetypal Floyd laid-back but also grandiose instrumental fare, featuring more top notch guitar soloing.

Childhood's End has a real Dark Side feel about it - you know when you hear it. It is instantly recognisable as Floyd, particularly in that vaguely, very vaguely funky guitar backing. Check out the guitar solo once more too. The track reminds me of parts of Shine On You Crazy Diamond.  

Free Four almost sounds like Chicory Tip in places, would you believe - it has a real 1972-era semi-glam catchy melody that could almost be the early Sweet. You would never think it was Pink Floyd without being told. Stay is a lovely, laid-back number that is once more most accessible with a great wah-wah solo on it as well. 

Old Floyd finally appears on the closing instrumental Absolutely Curtains which harks back to earlier albums and ends with a minute or so of somewhat incongruous (here) tribal chanting (it is not incongruous in the film, obviously, as it is about the Mapuga tribe of Papua New Guinea). It is the only time the soundtrack aspect of the album interferes with its existence as a Pink Floyd album.