Once their ideas were in place and recorded, Ummagumma was released in October 1969 in the UK (November for the US close after More was released. The artwork would become iconic with its picture in picture in picture in picture idea. Various sources have different stories about the title. Some say it is a slang word for sex while others say its just some gibberish made up by the band.
The album's first disc comprises the live album. This is essentially their live set at the time, although it excludes "Interstellar Overdrive" because it was too long, clocking in at 13 minutes. The first track is an 8 and a half minute version of "Astronomy Domine" from Piper at the Gates of Dawn. I have always perceived this as a great opener ever since I heard it open the Piper album, and even live it is a great opener. The tune is extended by repeating the first verse and making the instrumental middle section very dynamic, building up from a small organ solo by Rick Wright into the whole band very powerfully. After this, it transfers into the last verse and ends. As with all of the songs on this live record, I really prefer the live version of this song. All of these are beautifully constructed and obviously longer. I also sense more heart in what they are playing. These versions really show the band's progress and transfer into the realm of progressive rock, which is very cool. I usually do not enjoy live albums by most bands because they don't re-imagine their songs or even attempt to make any differences to their songs, but this is a very good example of a fantastic live album.
Following the opening track is "Careful With That Axe, Eugene", the b-side to their "Point Me at the Sky" single. This one is also brilliantly played and shows how far the band had come since the actual single was released. Roger's screams scare me half to death every time I hear them and they send shivers down most people's spines. The musicianship is great as well. The piece is very dynamic transferring from a relatively soft opening to the loud blood curdling vocals of Waters.
Next up is Waters' "Set the Controls for the Heart of the Sun"from Saucer. Live, it creates a whole new atmosphere that wasn't present on the original recording. This one is extended with a quieter middle section that loses the drums. Rick really shines on this version of the track. The whole band gradually joins in for the end. Roger Water's vocals are quiet, but wonderful, sung with much meaning. I would say this is a standout track, but all of the live tracks standout!
The last one on the live album is "A Saucerful of Secrets" from the album of the same name. The funny thing about this one is that they've changed it so much from the studio recorded version that it makes more sense as a whole song now, showing their advancement from psychedelic to progressive. The track still has the sound clips and effects that the original has, but in this one, it sounds more like the band as a collective whole which is an improvement in my eyes. The way that Roger, Rick, Nick, and David work together to create these atmospheres is incredible. The last 5 minutes or so are my favorite as a quiet organ solo gradually builds up with the drums, bass, and guitar all powerfully come in with a pretty chord sequence. The "Celestial Voices" section is also sung with much more emotion than on the original.
Next comes the second disc which contains all of the solo songs by each member. I have to say that I always prefer a band that works as a whole and this disc is a good example of why. The quarter given to each person is spent mostly in experimentation, which wouldn't be too bad if it were executed in a better way. The first track "Sysyphus" is Rick Wright's solo piece which is comprised of experimentation with his piano and synthesizers. Divided into four sections, "Sysyphus" tells the story of the Greek mythological character Sisyphus in music. Part one consists of symphonic drums building up with synthesizers acting as orchestration play over the drums. Part two is a piano showcase that starts out just fine, but soon becomes dissonant and frankly quite annoying. It sounds like he just banged on the piano randomly. Part three is perhaps the weirdest section in the song, featuring strummed piano strings and drums in the background, which gradually becomes more and more chaotic as birds start chirping very loudly over top the instruments. Part four consists of orchestration gradually building up until the tune to part one is reprised. I really am not a fan of this song at all. I could understand it as a shortened live piece, but on record its just recklessly banging on instruments.
The second half of the first side of disc 1 is comprised of Waters' two pieces, "Grantchester Meadows"and "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving With a Pict". The first sounds like a standard Pink Floyd song, reminiscent of "Cirrus Minor" from More. The track features acoustic guitar and vocals all done by Waters. All the while, the sounds of birds chirping can be heard in the background. This is definitely a standout track from the second disc. Towards the end of the song, Waters begins to harmonize his own voice in a beautiful way, sounding like Simon and Garfunkel. Unfortunately, Waters' other track is not as well constructed. "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving With a Pict" is a collection of sounds of animals all made by Roger. It's fun to listen to the first or second time, but it really is just annoying. Later on, Roger imitates the voice of a Scotsman and just rants about nothing.
The next side opens with David Gilmour's quarter "The Narrow Way". This one is much better than Wright's contribution and can be seen as a sort of guitar showcase. The track is divided into three sections. The first has acoustic guitars playing a shuffle sort tune that has some synthesizers that play over top. The second section features Gilmour on electric guitar, bass, organ, and drums. He plays a riff on bass and guitar that is repeated the entire portion of the song. Overtop is more of the spacey effects. Halfway through the section, all the parts are modulated into a drone that segues into part three. Part three finally introduces Gilmour's vocals which are overtop a guitar. Midway through the section, drums come in and the piece gradually gets louder. This is my favorite track on the studio portion of the album because it feels the most complete.
The final piece of the album belongs to drummer Nick Mason. His multi-parted instrumental piece "The Grand Vizier's Garden Party" is, as with the most of the second disc of Ummagumma, extremely experimental. The first part consists of a flute playing followed by a drum roll and an abrupt cymbal crash. The second section is more experimental with multiple percussion sound effects and multiple instrument sounds being created. Nick eventually gets a sort of drum solo at the end of the track but then abruptly ends, cutting into the third and final section. This only comprises of the flute melody from section one and is a very odd way to end the album. I'm not a huge fan of this track because it just lacks any form, which can be cool if shorter and leading into something, but this just doesn't add up to anything worthwhile.
In rating the album, I will give three ratings:
1. Live Album: 10 out of 10, my only gripe being the sound quality which is minor as its only the limitations of live sound recordings of the time.
2. Studio Album: A weak 5 out of 10 because only a few parts are interesting and not too experimental.
3. Both together: 7 out of 10.
The live version of "Careful With That Axe, Eugene" from this album:
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