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. Adding to the uniqueness of this release—if you weren’t already aware—it was half-speed mastered at Abbey Road and plays inside-out for ultimate sound quality, with the B-side featuring an exclusive etched design.

Now, let’s dive into the review, shall we?

We begin just like the original, with the iconic “ping” provided by Dom Beken on electric piano—a perfect recreation of the Leslie sound, capturing every essence of Rick Wright’s style. Meanwhile, Gary Kemp employs 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, marking the beginning of the verses.

Waters’ penned lyrics are sung by Gary Kemp and Guy Pratt, who together carry much of the song’s emotional depth. They remain true to David and Rick’s vocal harmonies while infusing their own style, and they sound exceptional together. Meanwhile, Lee provides the underlying chords that support the entire arrangement.

The mix is wonderful—perfectly balanced across the audio spectrum. There’s no overpowering loudness, and each instrument resonates with richness and warmth, while the bass remains clear and defined. It feels as though Steven Wilson designed this mix with a vivid vision of the band playing live. Close your eyes, and you get the feeling they’re 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 impeccable syncopation, striking the ideal balance—avoiding overplaying while delivering tasteful fills exactly when the music demands it—all while adding his signature funky touch. In this rendition, he undoubtedly shines as the highlight.

Around six minutes in, Gary Kemp delivers the first solo, and it sounds massive on this recording—you can feel his remarkable presence. There’s a particular lick in this version that I 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, the “Funky jam” kicks in, and Dom and Gary engage in a lively exchange, with Gary delivering those big solos while Dom adds his distinctive style on the keys (I particularly love how he just goes nuts on the organ). Nick and Guy lock into a tight, funky-yet-fluid rhythm, with Guy’s P-bass cutting through the mix, while Lee nails the rhythm part, effortlessly riffing along. The funky section is perfectly timed, never overstaying its welcome—though I could have easily listened to another 20 minutes.

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. This subtle addition is remarkably effective, as it perfectly complements the gradual emergence of the “chugging” guitars, which are skillfully panned left and right with Lee and Gary. As the piece progresses to 15:50, it establishes a solid foundation for Nick’s signature cymbal crashes and tom fills during the 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 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 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—known as the “Shepard tone”—along with one final “ping,” brings it to its conclusion. Cue thunderous applause from the audience.

Closing thoughts: This is a must-have version. It offers a contemporary take in a live setting while capturing the spirit of Pink Floyd’s early era—the very core of the Saucers project. 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 I wish I 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.