Whether you drop the needle before or after the Inter-title card that announces the beginning of the Ultimate Trip, the last notes echo and die before the final fade, even before the final shot of the Star Child if you start precisely at the beginning of the sequence. Not to keep you in suspense, dear reader, I may as well state now that the music is not quite long enough to cover the entirety of the “Jupiter and Beyond” sequence. You’ll note the word “approximately” in that last sentence. The story regarding “Echoes,” on the other hand, suggests not that the whole of MEDDLE was designed as an alternate soundtrack to 2001, but that only this one long piece on Side Two was synchronized with one very specific sequence, which runs approximately the same length. Since compact discs didn’t even exist when the Floyd made those original recordings, one has to assume that the band were true music visionaries, who could see into a future time when their vinyl records would be transposed onto a new medium that would not only eliminate the need to flip the record from Side A to Side B, but would also allow the music to play continuously without the listener having to hit a “Start” button every forty minutes. There is one very obvious advantage to this last rumor, which makes it seem slightly more credible than the stories about DARK SIDE OF THE MOON and WISH YOU WERE HERE: Those albums run approximately forty minutes each, which means that the only way to provide background music for a feature length film is by putting your compact disc player on the “Repeat” setting and letting the music play through two or three times. But did you know that there is supposedly yet a third unofficial soundtrack attributed to the group? That’s right: according to the Internet Movie Database, “Echoes,” the 23:31 track that takes up all of Side Two on the 1971 album MEDDLE, was intentionally composed and recorded to synchronize with the “Jupiter and Beyond the Infinite” sequence from Stanley Kubrick’s 2001: A SPACE ODYSSEY. There’s even been talk that Floyd’s follow-up recording, WISH YOU WERE HERE, also synchs up with OZ in interesting ways. Listen to the newly-released “2001: A Garden of Personal Mirrors” below.Is Pink Floyd’s “Echoes” an alternate soundtrack for the climactic Stargate sequence in Kubrick’s science-fiction masterpiece?īy now, almost everyone has heard the urban legend that Pink Floyd’s 1972 progressive rock album DARK SIDE OF THE MOON is a sort of substitute soundtrack for MGM’s classic film THE WIZARD OF OZ. In recent years, several other remnants from Stanley Kubrick’s career have been unearthed, including a Burning Secret screenplay, three script ideas tackling jealousy and adultery, and an unfinished Clockwork Orange sequel. As a result, “2001: A Garden of Personal Mirrors” had to wait more than half a decade to see the light of day, following its release via the UK-based label Wave Theory Records. Though he and Kaplan continued to work together, including on A Clockwork Orange, they never discussed the song again. ![]() Though Kubrick apparently liked the track, which incorporated vocals from folk performer Naomi Gardner, he couldn’t see it becoming a hit. “We also wanted to instil curiosity among audiences who had not yet seen what was becoming a cultural phenomenon.” “The single’s intent was to capture the different responses 2001 was generating from audiences and the media, the many levels of interpretation and appreciation, from its hypnotic visuals to its metaphysical illuminations,” says Kaplan in a statement on the track. Kubrick felt he understood the message behind the film, he says, and said: “I hear you write music. The filmmaker turned to Kaplan to write the song after turning down other promotional music, the publicist remembers in a recent interview with the Observer. Written by Kubrick’s long-time publicist, Mike Kaplan, the “lost” song is titled “2001: A Garden of Personal Mirrors”. Now, more than 50 years after the original release of 2001, another rejected track has made an appearance. ![]() Even for the iconic opener, Kubrick originally commissioned veteran film composer Alex North, before notoriously ditching his score for the classical work. However, finding the right music for the film wasn’t as simple as you might expect. The opening notes of Strauss’s “Also sprach Zarathustra” feel irreplaceable over the title sequence of Stanley Kubrick’s 2001: A Space Odyssey.
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