I just found this on Wiki. Apparently, It's rumored that Stanley Kubrick approached Pink Floyd to do the soundtrack for 2001. They did not, however, Meddle was released a few years later and apparently Echoes in conjunction with the last 24 minutes of 2001 is ecstasy.
Similar to the Dark Side of the Rainbow effect, it is rumoured that "Echoes" synchronizes with Stanley Kubrick's 1968 film 2001: A Space Odyssey when played concurrently with the final segment (titled "Jupiter and Beyond the Infinite").
"Echoes" was released three years after the film's production and is 23 minutes and 31 seconds in length, quite similar to the "Infinite" segment. Sound effects in the middle section of the song suggest to some listeners the feeling of traveling through, or flying over, an alien world. The drone vocalizations heard in the final scenes of 2001 seem to match with the discordant bass vibrations in the middle of "Echoes" as well as the choral glissandos of its finale. Some argue that there are moments when the song and film soundtrack are nearly indistinguishable. Another notable link occurs during a change in scene at precisely the moment when guitar and keyboards crescendo as the lyrics re-enter for the final verse. Almost as a bonus, the early lyrics contain references to planets, which seems entirely suitable for the film's depiction of Jupiter and its moons. Adrian Maben re-created this marriage of music and image in his director's cut of Live at Pompeii using CGI.
The members of the band always denied that the synchronization was intentional. Furthermore, the technology to play back film in a recording studio circa 1971 would have been expensive and difficult for the band to acquire. Roger Waters is sometimes quoted as saying that the band's failure to contribute music to 2001's official score was his "greatest regret".
The 1973 George Greenough film "Crystal Voyager" concludes with a 23 minute segment in which the full length of "Echoes" accompanies a montage of images shot by Greenough from a camera mounted on his back while surfing on his kneeboard.
At worst, this is another notch in Kubrick's belt. He was a motherf*cking genius. Imagine if Pink Floyd did do the soundtrack and out came Echoes at the climax of the film? My head would've had exploded!
Last edited by pete's montreux : 08-09-2009 at 03:59 PM.
Waters has spoken about how much he regrets not having done 2001.
I've never actually tried this or Dark Side of Oz - although I sort of expect this one to be better, mainly because you aren't listening to the same album three times in a row (even if it is as ****ing superb as DS). I did listen to Meddle at the cottage at least three times this weekend, because it was one of the few good albums we had on hand. It grows on me every time I hear it - much more minimalist than those that would follow, particularly Waters masterpieces like The Wall and The Final Cut that are much more in your face. Pillow of Winds + Fearless + San Tropez = Hell of a stretch. And obviously Echoes is epic as all hell.
I also found a website with a few sync suggestions for Pink Floyd's music and various films. I found one for Videodrome and the album Wish You Were Here.
Reveiw of "Wish You Were Neo" posted by Sega3dmm and on the "Synching Ship" web site.
First, in "The Matrix", Mr. Anderson (Neo) is told over the phone that the "Agents" are getting out of the elevator. When Neo pokes his head out of his cubicle, he sees the agents speaking to another office person who points in Neo's direction. As soon as you see the agents, that's when I started Pink Floyd's "Wish You Were Here". Note: It is possible that the agents getting out of the elevator was what the Wachowski Brothers synched the music to but the film editors cut the agents getting out of the elevator from the movie.
So starting it as above, I percieved the mood, lyrics, transitions, and some of the sound effects to match quite well. I can believe that the Wachowski Brothers used "Wish You Were Here" as a musical background to edit to, before the film score was added. It worked much too well and consistant to be just a coincidence. I wonder what advantage the film creators get, matching the movie to existing music, before an original music track is added?
As far as synching goes, I rate this synch a solid "C+". I did enjoy it most of the way through but I probably won't watch this one again.