One of the secrets in the Saucers’ repertoire is the highly acclaimed four-man Floyd epic “Echoes,” performed in its entirety since 2022’s appropriately named The Echoes Tour. This particular version was recorded on August 1st, 2024 at the Centennial Hall in Frankfurt, Germany and recently released in limited quantities (4,000 to be exact) as part of Record Store Day. To make the release even more special, it was mixed by Steven Wilson and was half-speed mastered at Abbey Road, which means it plays inside-out for maximum fidelity, and the B-side features an exclusive etched design.

Now, let’s dive into the review…

We begin just like the original 1971 track, with the iconic “ping” provided by Dom Beken on electric piano, a perfect recreation of the Leslie sound, capturing the essence of Rick Wright’s style. Gary Kemp follows with an ebow to mimic the original slide-violin sound, setting the stage for Lee Harris, who joins in around the two-minute mark with unmistakably Gilmour-esque licks on his Stratocaster.

Following the atmospheric introduction, the focus transitions to Nick’s powerful drum hits, signaling the beginning of the verses.

Roger Waters’ written lyrics are sung by Gary Kemp and Guy Pratt, who together carry much of the song’s emotional depth. They stay true to the original David-and-Rick vocal blend while still bringing their own character to the performance. Meanwhile, Lee provides the underlying chords that support the arrangement.

The mix is outstanding: balanced, warm, and spacious. Nothing feels overly loud or compressed. Each instrument resonates with richness, while the bass remains clear and defined. It honestly feels like Steven Wilson mixed this with the band’s live setup in mind, placing every part exactly where you’d hear it from the audience perspective. When you close your eyes, it really does seem like they’re playing right in front of you. It’s an exceptional auditory experience.

Nick’s drumming here is some of his finest playing to date. He sounds like a force to be reckoned with. He drives the song forward with his impeccable syncopation, avoiding overplaying while delivering tasteful fills exactly when the music demands it. All while adding his signature funky touch. He is the highlight of this recording.

Around six minutes in, Gary Kemp launches into the first solo, and it sounds massive on this recording—you can feel his presence. There’s a particular lick in this version that we really enjoy, which Guy Pratt doubles on bass. The band plays off each other beautifully and as they transition into the familiar run-up riff, this is where the energy really kicks in. By 7:24 we are now at the “Funky jam”, with Dom and Gary in a lively exchange. Gary is delivering those big solos while Dom is just going nuts on the organ. Nick and Guy are locked into a tight, funky-yet-fluid rhythm, with Guy’s P-bass cutting through the mix nicely, while Lee nails the rhythm part, effortlessly. This section really hits the sweet spot: lively and engaging without lingering too long. But, another 20 minutes of it wouldn’t have hurt.

We then fade into the “Seagull bit.” For those curious how it’s done, [click here] to watch Lee describe how he gets that sound. If you’ve seen them live, you might recall Lee raising his guitar above his head as a theatrical gesture, signaling to the audience that it’s him doing it.

The audio design is the masterful work of Dom Beken, who not only handles the keys, but makes all the Floydian sound FX that open the show and appear throughout. One of the standout elements of this rendition is the thunderstrike sound effect that occurs around 12:50, marking the transition into the “Sunrise” section. It is subtle yet remarkably effective, especially as the chugging guitars from Lee and Gary slowly emerge, panned left and right. As the piece progresses to 15:50, it establishes a solid foundation for Nick’s signature cymbal crashes and tom fills during this buildup. While Dom is adding a layer of synth, transcending the listener into another dimension.

At 17:12, the aptly named “Hero” guitar section features Lee and Gary doubling the arpeggio riff, while Guy lays down deep, resonant bass notes using a Moog Taurus pedal (he’s gone full prog!), while simultaneously playing the ‘fuzz’ line on a P-bass, with Nick’s distinct drumming tying it all together perfectly.  

At 18:12, we come to the final verse, and then the outro, as the band begins to wind down. Lee showcases his emotive phrasing, bookending the piece with some more bluesy guitar, and he signs off with a really nice pinched harmonic (just after 22:00). The track closes with Dom back at the electric piano until the choral segment, also known as the “Shepard tone.” One final “ping” brings this piece to its conclusion, followed by a thunderous applause.

Closing thoughts: This release is a must-have. It captures the spirit of early Pink Floyd while presenting it in a fresh live setting, which is exactly what the Saucers project is all about. Echoes serves as a vital link between the band’s early works and The Dark Side Of The Moon. This rendition is the perfect companion piece to the original, making it a no-brainer why it’s now the band’s second official release (or third, if you count the first RSD release containing See Emily Play / Vegetable Man from 2020).

If you weren’t able to grab the 12” vinyl on Record Store Day, the track will also be available for streaming in Dolby Atmos on Spotify and Apple Music in the near future. While we wish we could share a vinyl copy with everyone, you can enter to win one! Simply send an email to tony@pinkfloydz.com with the subject line as the title of this news story, and you’ll be entered into a drawing for a chance to win one sealed 12” RSD vinyl. Please note: this offer is limited to U.S. residents only.

Edit: A winner has been selected and has been contacted to receive their prize. Thank you all for your submissions and for your ongoing support of our site.