========================================================================================================== Atom Heart Mother ========================================================================================================== Father's Shout (0:00–2:50) (Gilmour, Geesin) Opening with a low Hammond organ note, a brass section swoops in, creating a suspenseful note to it, similar to 1960's murder mystery/suspense films. The band then enters with the brass continuing, before the music calms down. Being reprised several times, this part may be seen as the main theme of the piece. This section, as well as the next two sections, are in the key of E minor. Breast Milky (2:50–5:23) (Wright, Gilmour, Geesin, Mason) After this, a cello solo begins, accompanied by bass guitar and organ, with drums joining later. This is followed by a double-tracked slide guitar solo. The choir soon joins in at the end of this section. Mother Fore (5:23–10:13) (Gilmour, Wright, Geesin) Picking up directly after the last note of the guitar solo, the organ (with quiet bass and drums) takes over for a five-minute ostinato sequence, playing chords based on E-minor, gradually joined by soprano voices and then a choir. The voices swell in a dramatic crescendo, before finally dying down. Funky Dung (10:13–15:28) (Wright, Waters, Gilmour) Introduced by a key change from E minor to G minor, this section features a simple band jam session. It contains a second, much bluesier guitar solo. With the introduction of a sustained note on a Farfisa organ, and grand piano, this section changes into a chanting section by the choir.[20] The song then changes key back to E minor, slowly building to a reprise of the main theme from "Father's Shout". ffa seekoba nee toe ka re lo yeah ssssa sa sa sa sa fss drr boki rapateeka dogotam rapateeka dogotcha kosa rameeya napajeete faa napareebee mmmhh basagoo basagoo basagoo basagoo ooh! koo koo loo koo koo loo yeah yeah yeah ummm koo koo loo you too boo koo doo foo goo hoo doo loo moo poo roo ooh! Mind Your Throats Please (15:28–19:12) (Wright, Gilmour, Mason, Waters) The "noise" piece in the song, divided in two parts: Part one (15:28–17:42) is composed mainly of electronic noises. Furthermore, it is the only section on this album to feature the Mellotron; Wright uses the "3 Violins", "Brass" and "Flute" registration in order to create the dissonant chord clusters throughout this sound collage. A distorted voice says "Here is a loud announcement!" about 10 seconds before the next part starts. This section ends with a sound effect from the EMI archive of a steam train passing. Part two (17:42–19:12) 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 Nick Mason's distorted voice shouting, "Silence in the studio!"[21] before exploding into the next section. Remergence (19:12–23:44) (Gilmour, Geesin, Wright) This part begins with a 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 the entire brass section and choir, ending with a very long resolve to E major from the choir and bras ========================================================================================================== Alan's Psychedelic Breakfast ========================================================================================================== A) Rise and Shine This piece consists of two pianos, bass, Hammond organ, a steel guitar fed through a Leslie speaker and hi-hats. During the opening of this section, Alan can be heard muttering to himself, deciding what to have as he begins to prepare his breakfast. He can be heard saying the following: "Oh... Er... Me flakes... Scrambled eggs, bacon, sausages, tomatoes, toast, coffee... Marmalade, I like marmalade... Yes, porridge is nice, any cereal... I like all cereals... Oh, God. Kickoff is 10am." At the end of this section, the sound of a whistling kettle can be heard as the music stops. Oh, um, flakes, oh... Then, uh, I don't know. Scrambled eggs, bacon, sausages, tomatoes. Toast, coffee. Marmalade, I like marmalade. Marmalade, I like marmalade. Porridge is nice. Any cereal, I like all cereal. Breakfast in Los Angeles, macrobiotic stuff. No reply. B) Sunny Side Up This piece takes the form of a modified fugue, and was written and performed entirely by David Gilmour on two acoustic guitars and a steel guitar. I don't mind the barrow, I like burying the stuff in. No, I've got a terrible back. When I work, it hurts me. Do you know Elton John? Why he sort of a... When drivin' on the radio to sleep, getting ready for a gig. I don't know. He does that electrical stuff, I can't follow that. C) Morning Glory This piece was performed by the entire band. The main instrument is Richard Wright's piano, which was overdubbed three different times (one in the left channel, one in the centre, and one in the right channel). The piece also features very prominent bass, electric guitar, ADTed drums, and Hammond organ. At the end, after saying "My head's a blank", Alan picks up his car keys and leaves via the door. Faintly, a car can be heard starting and driving away. Scrambled eggs, bacon, sausages, tomatoes. Toast, coffee. Marmalade, I like marmalade. I don't like coffee. Porridge is nice. Any cereal, I like all cereal. What a day! What? My head's a blank.