Typically, you can find the length of each audiobook in its description. The number of books you can store depends on the storage capacity of your e-reader and the length and file-size of the audiobooks. For those with e-readers or computers with large internal storage capacities, the number of books that can be stored is nearly unlimited. For those that want truly unlimited audiobooks, an internet-connected device 2001: A Bass Odyssey with cloud-storage offers more room than most e-readers that store their files internally.
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Archived from the original on 21 April The Indianapolis Star. Retrieved 24 February — via ProQuest. Retrieved 4 December A certified thoroughbred. Us Weekly. Retrieved 6 August December Massive Music Store. Retrieved 16 March Hung Medien. Retrieved 2 February Phononet GmbH. Oricon Style. Retrieved 13 January ISBN UK Albums Chart. Australian 2001: A Bass Odyssey Industry Association. Retrieved 31 January Ultratop in Dutch. Retrieved 25 January Ultratop in French. Retrieved 1 February Archived from the original on 25 January Swiss Music Charts in Swedish.
January Retrieved 16 January Adnkronos in Italian. Retrieved 10 July Recording Industry Association of Japan in Japanese. Retrieved 2 January RoppongiTokyo: Oricon Entertainment. Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers. Enter A Funk Odyssey in the "Artiest of titel" box. Iberautor Promociones Culturales. IFPI Switzerland. British Phonographic Industry. The grounding we'd 2001: A Bass Odyssey from Ron Geesin in going beyond the manual had left its mark.
The calling of rooks was added to the music from a tape archive recording as had been done for some of the band's earlier songs, including " Set the Controls for the Heart of the Sun ". At fifteen minutes, the "noise" section melts away and a Farfisa Compact Duo organ played by Wright fades in. Several more "ping" noises are heard, and then an extended "build-up" sequence plays. Mason's cymbals begin faintly, then crescendo as the section continues.
Gilmour plays muted guitar notes to match the bassline, which Waters begins halfway through the section. Wright plays an organ solo that lasts through the end of the "build-up". At the end of the "build-up" is a musical climax, where Gilmour plays high guitar notes while the rest of the band plays only the bass notes. Following this is a short sequence structurally similar to the "build-up". The end of the instrumental climax leads into the song's third verse, followed by another "chorus".
The band plays over two more "chorus" structures, and then a repeated, quiet verse progression serves as the outro of the song. In this section, a "choral"-sounding segment is heard. This was created by placing two tape recorders in opposite corners of a room; the main chord tapes of the song were then fed into one recorder and played back while at the same time recording. The other recorder was then also set to play what was being recorded; this created a delay between both recordings, heavily influencing the structure of the chords while at the same time giving it a very "wet" and "echoey" feel.
The piece had its genesis in a collection of separate musical experiments written by the band, some of which had been left over from previous sessions. The group then arranged the pieces in order to make a coherent minute piece originally referred to as "Nothing, Parts 1—24".
In an interview in with Mojowhen asked who had composed "Echoes", Wright stated he had composed the long piano intro and the main chord progression of the song. In the same interview he confirmed that Waters wrote the lyrics.
It originally referred to the meeting of two celestial bodies. The first verse originally took words from Muhammad Iqbal 's poem "Two Planets", and later this was rewritten with the incorporation of original underwater imagery instead.
The title "Echoes" was also subjected to significant revisions before and after the release of Meddle : Waters, a devoted football fan, proposed that the band call its new piece "We Won the Double" in celebration of Arsenal 's victory,  and during 2001: A Bass Odyssey tour of Germany he jovially introduced it on two consecutive nights as "Looking Through the Knothole in Granny's Wooden Leg" a reference to The Goon Show and The Dam Bustersrespectively.
The song was performed for Live at Pompeiiwhere it was split in two halves to open and close the film. It was performed eleven times on the band's A Momentary Lapse of Reason tourin a slightly rearranged version trimmed down to 17 minutes where David Gilmour and keyboardist Rick Wright swapped vocal parts with Gilmour singing the high parts and Wright the low parts — the opposite to how it was performed previously.
Gilmour resurrected the song on his On an Island Tour as the closing number of the main set. Wright would bring the Farfisa out of retirement just for this song for the tour. Gilmour told Rolling Stone in upon returning to Pompeii to play a solo show that he would have loved to perform "Echoes" but felt he could not do so without Wright, who had died in — "There's 2001: A Bass Odyssey that's specifically so individual about the way that Rick and I play in that, that you can't get someone to learn it and do it just like that.
Similar to the Dark Side of the Rainbow effect, at-large rumours 2001: A Bass Odyssey that "Echoes" coincidentally synchronises with Stanley Kubrick 's film A Space Odysseywhen played concurrently with the final minute segment titled "Jupiter and Beyond the Infinite". At the time of the film's production in —, Pink Floyd was not working on any material suitable for the film, nor were they contacted about supplying music.
It is likely that Kubrick never heard the band's music until after the film was finished. The George Greenough film Crystal Voyager concludes with a minute segment in which the full version of "Echoes" accompanies a montage of images shot by Greenough from a camera mounted on his back while surfing on his kneeboard.
In interviews promoting Amused to DeathWaters claimed that Andrew Lloyd Webber had plagiarised the riff from "Echoes" for sections of the musical The Phantom of the Opera ; nevertheless, he decided not to file a lawsuit regarding the matter. He said:. Yeah, the beginning of that bloody Phantom song is from Echoes. I couldn't believe it when I heard it. It probably is actionable.
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