Originally posted by MWSAH:

[..] Stadium Arcadium...not Dani California!

Originally posted by U2sBiggestFan:

[..] i ment the songs there all about the same girl "Dani" try listerning to them all in a row and it will make sence

Originally posted by kisho8:

[..] yeah youre right , thought that there is no metal listeners here

Originally posted by thechicken:

[..] I don't have a copy , but I think you confused things. See: From:Please login or register to view this link Where's My Thing: From the Roll the Bones album. The subtitle for this instrumental is "Part IV, 'Gangster of Boats' Trilogy." Neil Peart has explained this as a joke — there are only three items in a trilogy, not four. "Gangster of Boats" comes from the persistent threat from Geddy and Alex to title an album Gangster of Boats and never became an actual "concept" the same way that Rush's "Fear" trilogy had.

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As neither the original vinyl release (1975) nor the CD re-release actually delineates precisely the various divisions, the make-up of the Parts below is based on a comparison of the recorded timings with the identifications in the published sheet music (Pink Floyd. Wish You Were Here. Copyright 1975 for the World by PINK FLOYD MUSIC PUBLISHERS LTD., 69 New Bond Street, London W1). Without benefit of the publication, it is easy to perceive Parts I and II as Part I, Part III as therefore Part II, and so on, with the extensive postlude of Part V (at 11:10) as the beginning of the fifth section. Part I (Wright, Waters, Gilmour; from :00 – 2:09) begins with the fading-in of a dense G-minor synthesizer pad created with EMS VCS 3, an ARP Solina, a Hammond organ and the sound of wet fingers running around the rims of wine glasses filled with various amounts of water (recycled from an earlier project known as Household Objects). This is followed by plaintive Minimoog passages. Part II (Gilmour, Wers, Wright; from 2:10 – 3:54) begins a lengthy guitar solo played by David Gilmour on a Fender Stratocaster (neck pickup) using a heavily compressed sound and reverb. The harmony changes from G minor to D minor at 2:29, then to C minor, and back to G minor. This is repeated again, and the part ends with the synth pad fading into the background. Part III (Waters, Gilmour, Wright; from 3:55 – 6:27) begins with a four-note theme (B-flat, F, G (a minor third below the B-flat), E) repeated throughout much of the entire section. This theme leads the harmony to C major (in comparison to the use of C minor in Parts I and II), and this is because the last note is E (and not E-flat). This part includes a second solo by Gilmour. Nick Mason starts his drumming after the fourth run-through of the four-note theme, which is the point where the riffs get into a fixed tempo. This theme is sometimes referred to as Syd's Theme Part IV (Gilmour, Wright, Waters; from 6:28 – 8:42) begins with a Minimoog synthesizer solo by Richard Wright. This part includes a third Gilmour guitar solo which is bluesy in tone. When performed on the Animals tour, Gilmour handed the solo to tour guitarist Snowy White who added distortion to the guitar for this solo. Part V (Waters, from 8:43 – 13:30) Roger Waters is on lead vocals, with David Gilmour, Richard Wright and female backing vocalists on harmonies. This is followed by two guitars repeating a riff for about a minute. A baritone saxophone overlays the sounds, played by Dick Parry. It ends as the saxophone changes from a baritone saxophone to a tenor saxophone. After, a time signature switch from 12/8 to 4/4 (with a swing feel) gives the appearance that the tempo speeds up and eventually drops the guitar and opens to a tenor saxophone solo accompanied by an ARP string synthesizer keyboard sound and an arpeggio guitar riff that fades into the background. A machine-like hum fades in and segues into "Welcome to the Machine". Part VI (Wright, Waters, Gilmour; from :00 – 4:55) begins with a howling wind from the preceding song "Wish You Were Here". As the wind fades away, David Gilmour comes in on the bass guitar. Roger Waters adds another bass guitar with a continuing riff pattern. Then Rick Wright comes in playing an ARP String Ensemble Synthesizer and after a few measures, several rhythm guitar parts (Gilmour played the power chord rhythm part using his black Fender Stratocaster before switching to lap steel guitar for the solo in live performances in 1974 to 1977. Snowy White did the rhythm guitar parts on this track on the band's 1977 "In the Flesh" tour) and drums come in, a Mini-Moog Synthesizer comes in to play the opening solo. At the two minute mark, Wright's Mini-Moog and Gilmour's lap steel guitar play notes in unison before Gilmour does a lap steel guitar solo (the lap steel had open E minor tuning) with some counterpointing from Wright's synthesizers. It lasts for about 3 minutes (4 minutes when played on the band's "In the Flesh" tour) and Gilmour in each section played an octave higher than the previous. The highest note he hit on the lap steel/slide solo was a B flat almost three octaves above middle C (one show in Cleveland on the tour he hit a G that was three octaves above middle C) followed by a reprise of the guitar solo from part IV (which was played by Snowy White in live performances on Pink Floyd's 1977 tour so David Gilmour could switch from lap steel guitar back to his Fender Stratocaster). The song then switches from 12/8 back to the 6/4 time signature found in parts II-V, giving the appearance of a slowed tempo and the vocals return. Part VII (Waters, Gilmour, Wright; from 4:56 - 5:59) contains the vocal sections, almost identical to part IV (though half the length) before beginning the segue into part VIII. Part VIII (Gilmour, Wright, Waters; from 6:00 – 8:59) brings in Roger Waters to play a second electric guitar for a high noted sound riff while Gilmour plays the arpeggio riff that bridges parts 7 to 8. A solid progression of beats in 4/4 plays for about 2 minutes before very slowly fading into the background as a continuous single keyboard note fades in around the 9 minute mark. When this section was played live on the band's 1977 "In The Flesh" tour, David Gilmour and Snowy White would be trading guitar solos in a duet (or known as the battle between Gilmour's black with white pick-ups Strat and Snowy's Goldtop Gibson Les Paul) which would extend this section upwards to between 5 and 10 minutes. Part IX (Wright, from 9:00 – 12:22) is played in 4/4 time. David Gilmour in an interview described Part IX as "a slow 4/4 funeral march... the parting musical eulogy to Syd". The drums play for half of this part, and the keyboard plays for the final minute of the song before fading out. On the fade out, a short part of the melody of "See Emily Play" (at 12:07), one of Syd Barrett's signature Pink Floyd songs, can be heard. When played live on the 1977 tour, the piano plays the chords on its own before the synthesizer solo was slowly changed from a synthesizer solo (early part of European leg) into half synthesizer and harmony guitar solo by Gilmour (higher notes) and White (lower notes) (on the end of the European leg and April and May, 1977 US performances) and then first a bluesy Gilmour solo followed by a harmony guitar solo by Gilmour (higher notes) and White (lower notes) (on the June and July, 1977 US performances) finally before ending with the synthesizer solo as on record. Part IX ends on a Picardy third.

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Father's Shout (0:00 - 5:25) Opening with a low keyboard note, a brass section swoops in, creating a dramatic effect. The brass and drums play for a minute or two, before the music calms down. Being reprised several times, this part may be seen as the main theme of the piece. After this, a cello solo begins, accompanied by bass guitar and organ, with drums joining later. This is followed by a reverberating slide guitar solo. [edit] Breast Milky (5:26 - 10:12) Picking up directly after the last note of the guitar solo, this is a five-minute choir piece, backed by Wright's organ, Waters' bass and Mason's drums. [edit] Mother Fore (10:13 - 15:29) A simple band jam session, somewhat similar to the one on Meddle's "Echoes" and to The Dark Side of the Moon's "Any Colour You Like". This also contains the second, and much bluesier guitar solo, which quietens into an interesting chanting piece by the choir. The song then slowly builds to another brass and drums section, reprising the main theme from Father's Shout. [edit] Funky Dung (15:30 - 17:47) This is one of the 'noise' pieces of the song. It is composed mainly of high-pitched noises. A distorted voice says "There is now an important announcement!" about 10 seconds before the next part starts. The basic melody of this particular section was a modification of a slightly earlier work from the band's Zabriskie Point sessions. This section ends with a loud train noise. [edit] Mind Your Throats, Please (17:48 - 19:13) This is the second "noise" piece, and begins with a telephone ringing. It also uses various instruments fading in and out, many of which are recognizable from earlier in the suite, and also features a Leslie speaker used on a piano, an effect that is used again in Echoes. The same brass part that opens the song is heard over this section, culminating with a distorted voice shouting, "Silence in the studio!" before exploding into the next section. [edit] Remergence (19:14 - 23:43) Yet another reprise of the Father's Shout main theme, which then quietens into an abridged reprise of the cello solo, followed by a double layered guitar section reminiscent of the first slide solo. This all leads into a climactic final reprise of the Father's Shout theme with everything playing, and the choir singing, ending with a very long note from the choir and brass.

Originally posted by notcomingdown:

Great stuff on Floyd. Atom Heart Mother is so great!