If you think about it, “Obscured by Clouds”, released 52 years ago on June 2, 1972, is a rather appropriate title for Pink Floyd’s seventh studio LP. The emblematic British progressive group had been in a transition phase for several years and albums.
When Syd Barrett fled the band in an acid-induced schizophrenic haze in April 1968, after their difficult second album, “A Saucerful of Secrets,” the four remaining members stayed to pick up the pieces.
After “Saucerful…”; there was a hint of brilliance. Including some inspired moments from their mostly bloated orchestral rock offering, “Atom Heart Mother.” Then came «Meddle«, their excellent album from 1971. And possibly Pink Floyd’s best to that date. David Gilmour fully understood his role as collider in this latest project. He wrote several songs with Roger Waters. And he honed his sleek, muscular textured electric guitar on tracks like the gorgeously psychedelic “A Pillow of Winds.” And the sweeping 23-minute epic “Echoes.”
“Meddle” served as the model for 1973’s “The Dark Side of the Moon,” one that, of course, remains a pinnacle of both the progressive rock and psychedelic movements with its revolutionary studio magic and commercial success. In the middle, however, came “Obscured by Clouds,” a rather dark middle ground. It remains one of Pink Floyd’s strangest and least popular albums. This despite their many dazzling songs and glorious sonic excavations.
After the release of “Meddle”, Pink Floyd, which also featured Richard Wright and Nick Mason, prepared for a major 1971 tour of the United States, Great Britain and Japan. They met in London’s Broadhurst Gardens. They prepared their live repertoire and wrote a lot of new material. The band had previously collaborated with French director Barbet Schroeder recording an original soundtrack for his 1969 film “More.” And when Schroeder expressed interest in a second collaboration, the seeds for “Obscured by Clouds” were planted.
«After the success of ‘More’, we agreed to make another soundtrack for Barbet Schroeder. Her new film was called ‘La Vallée’. “We traveled to France to record the music in the last week of February.” The soundtrack was hastily put together. It was recorded in just two weeks. Mason also confirmed that they used the same methods employed on “More”, where Pink Floyd could be found “following an early cut of the film, using stopwatches for specific tracks and creating interlocking musical moods that faded to fit the version.” final,” says Mason in his musical autobiography “Inside Out: A Personal History of Pink Floyd.”
Thus, “Obscured by Clouds” could seem to tread old ground. Here, Pink Floyd returns to a songwriting template that dates back to their work on Peter Sykes’ 1968 film noir, “The Committee.” That fact alone is enough to cement this album’s status as a black sheep in Pink Floyd’s catalog. It is also understandably overshadowed by the masterpieces that precede and follow it. However, as a collection of songs, “Obscured by Clouds” is infinitely more powerful and rewarding than their previous soundtrack work.
Tracks like the fantastic instrumental “Mudmen”, one of two songs attributed to the Gilmour/Wright duo. Along with “Cluster One” from 1994’s “The Division Bell,” they easily function as a sonic bridge to “The Dark Side of the Moon.” The quartet conjures hugely ethereal moods from Wright’s undulating organs and VCS 3 synthesizer. Gilmour’s aching slide guitar. Waters’ murmuring bass. And Mason’s seething drum fills. Meanwhile, the beautiful acoustic lullaby “Wots… Uh The Deal” remains one of Gilmour’s best original tracks, and clearly a personal favorite of the guitarist, judging by its inclusion on his 2007 live DVD, Remember “the Night.”
There are uncomfortable spots, most notably “The Gold It’s in The,” a surprisingly peppy track with an arena-rock style riff and a flat vocal hook. But despite the filler, “Obscured by Clouds” remains one of rock’s most underappreciated treasures, and perhaps the most underrated of Pink Floyd’s impressive discography.
