Album Title
Pink Floyd
Artist Icon A Saucerful of Secrets (1968)
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First Released

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A Saucerful of Secrets är Pink Floyds andra studioalbum, utgivet i juni 1968. Den spelades in mellan oktober 1967 och april 1968. A Saucerful of Secrets var det sista albumet som Syd Barrett medverkade på och under arbetets gång ersattes han av David Gilmour.

Albumet innehåller en blandning av psykedelisk musik och progrock. Det innehåller surrealistiska, utflippade låtar såsom Barretts "Jugband Blues", men även episka, drömlika stycken som "Set the Controls for the Heart of the Sun" och "A Saucerful of Secrets". De sistnämnda styckena ger en föraning om den experimentella rymdrock som Pink Floyd kom att bli förknippade med senare under sin karriär. Albumet blev som bäst nia på den brittiska albumlistan.
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User Album Review
Recorded over the end of 1967 and early 1968, A Saucerful Of Secrets is transitional record that marked Syd Barrett's final recordings with Pink Floyd and the birth of their 'space rock' direction. It was also the recorded debut of new boy David Gilmour, finding his feet only on the incredible yet somewhat buried solo at the end of "Let There Be More Light".
A Saucerful Of Secrets is not without filler, catching the band regrouping after Barrett's departure – Rick Wright's "See Saw" had the working title of 'The Most Boring Song I've Ever Heard Bar Two', while Roger Waters' "Corporal Clegg", his first oblique rumination on the loss of his father in the Second World War, is fairly unremarkable. Yet when the record hits, it does so extremely well – the frantic, bass driven raga-like "Let There Be More Light" and the final recording the group made with Barrett, "Set The Controls For The Heart Of The Sun" develop the cosmic territory marked out by "Astronomy Domine" and "Interstellar Overdrive" from their first album. "Set The Controls" was as relevant to the underground of 1968 as their earlier material had been the previous year.
Although Barrett plays on three of the tracks, it is "Jugband Blues", recorded in November 1967 that is the most chilling. A song about loss and alienation, its sequencing as the last track really underlines his departure. The Salvation Army Band of North London's improvisation in the middle is cut abruptly short – just like Barrett's period within the group – and then, like a postcard from an outer space colony, he returns for the thirty-second coda, culminating in the lines 'And what exactly is a dream? And what exactly is a joke?' Although the group was moving forward, it was an early demonstration of just how much his spirit would inform them for the rest of their career.


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