Pink Floyd legend Roger Waters will release a concert movie shot during his sold-out ROGER WATERS: US + THEM worldwide tour of 2017-2018. Us and Them is being released via 4K, HD and SD Digital, EST & TVOD on the 16th of June via Sony Pictures Entertainment. The tour comprised of a total of 156 shows to 2.3 million people across the globe, it features classic songs from The Dark Side of the Moon, The Wall, Animals, Wish You Were Here, as well as his most recent album, Is This The Life We Really Want? The film was directed by Sean Evans. Viewers on digital will have access to all-new post-feature content including two additional concert songs not included in the original feature (“Comfortably Numb” and “Smell the Roses”) as well as A Fleeting Glimpse, a documentary short featuring behind-the-scenes moments from the tour. Roger recently lashed out in the press at David Gilmour of Pink Floyd for not allowing him partner access to Pink Floyd’s website and fan community access via social media. Except for the full band reunion at Live 8 in 2005, Roger Waters Was legally separated from Pink Floyd in a court case in the mid-1980s where we argued in court and lost that he “was Pink Floyd”. Watch the trailer now! Continue reading
40 Years, Still Breaking The Wall
Ever wondered what makes a “classic band” classic? Have you ever sat down and play records of bands like The Beatles, Led Zeppelin, AC/DC, etc. just to analyze the components of what makes them be as magnificent as they are? Even more, how is it that forty, fifty years later their music still as intact and as relevant as ever before? This is the case with Pink Floyd, especially when we think about that four classic albums run that they had in the mid-seventies. Albums like The Dark Side Of The Moon, Wish You Were Here, and Animals, brought us records that still are in the charts and are, basically, soundtracks of our current lifestyle. Continue reading
Pink Floyd has announced that David Gilmour will do a series of podcast interviews, the only interviews he will give for the upcoming Pink Floyd boxed set “The Later Years”. Gilmour has given BBC Radio’s Matt Everitt unprecedented interview access with his only interview, the result of which is the fascinating podcast The Lost Art of Conversation. The 4-part, podcast episodes will be available weekly on Mondays from 25 November. The podcast is launching Monday, 25th November. Releasing on 13 December 2019, Pink Floyd Records will release ‘Pink Floyd The Later Years’, a 16-disc set (5xCDs, 6xBlu-Rays, 5xDVDs) covering the material created by David Gilmour, Nick Mason and Richard Wright from 1987 onwards. The period generated record sales of over 40 million worldwide and included three studio albums: ‘A Momentary Lapse Of Reason’, ‘The Division Bell’ and ‘The Endless River’ as well as two live albums: ‘Delicate Sound Of Thunder’ and ‘Pulse’. With additional production from David Gilmour and Andy Jackson, over 13 hours of unreleased audio and audiovisual material, including the sought-after 1989 Venice and 1990 Knebworth concerts, ‘Pink Floyd The Later Years’ is a must for all fans. A 2 LP / 1-CD ‘Highlights’ package will be released on 29 November. Continue reading
Entrenched in the history of classic rock is the 1972 concert movie Live at Pompeii, by Pink Floyd. Live at Pompeii. In 2016 David Gilmour and his solo band returned to perform two shows at the amphitheater in Italy on July 7 and 8, 2016. The concerts yielded the album Live at Pompeii. Now you can watch the pro-shot video released by Gilmour of the final song of each night, ‘Comfortably Numb’, from 1979’s The Wall Live at Pompeii. (Harvest). Continue reading
This past weekend David Gilmour played the Borris House Festival of Writing and Ideas in Carlow, Ireland this weekend. As part of the performance Gilmour performed two new songs from his long-awaited new solo album dubbed Rattle That Lock. The album title was announced ahead of the show on Gilmour’s website. The new record is a follow-up to 2006’s celebrated On An Island. Gilmour’s new album includes long-time collaborators like Phil Manzanera (Roxy Music), Jools Holland and Gilmour’s wife Polly Sampson, who assisted in writing the lyrics. He has also booked fall tour dates to coincide with the album release.
The two new songs played were ‘Girl with a Yellow Dress’, ‘Boots on the Ground’.
In an interview last fall with Rolling Stone, Gilmour commented on Rattle That Lock:
“It’s coming along very well. There are some sketches that aren’t finished, and some of them will be started again. There’s a few months’ work in it yet. I’m hoping to get it out this following year.”
Dismissing the notion once again that he might revive Pink Floyd one day:
“I’m really enjoying my life and my music. There’s no room for Pink Floyd. The thought of doing any more causes me to break out in a cold sweat.” He added, “Anything we had of value is on [The Endless River}. Trying to do it again would mean using second-best material, and that’s not good enough for me.”
David Gilmour Tour Dates:
Sept 12: Arena Pula – Pula, HR
Sept 14: Verona Arena – Verona, IT
Sept 15: Teatro Le Mulina – Florence, IT
Sept 17: Theatre Antique – Orange, FR
Sept 19: Koing-Pilsener-Arena – Oberhausen, DE
Sept 23: The Royal Albert Hall – London, UK
Sept 24: The Royal Albert Hall – London, UK
Sept 25: The Royal Albert Hall – London, UK
We have interviewed Stavros Giannopoulos many times over the years in his career so far and we often talk of our mutual love of Pink Floyd. Particularly we both dig their weirder, instrumental work from earlier in their career as much as the hits. His band has even covered The Floyd several times. With this in mind, we put him on the spot and asked him if he could write a song with either Syd Barrett, David Gilmour or Roger Waters… whom would he choose?
“That is the hardest question I have ever heard! What a loaded question! I don’t think I could talk to Syd Barrett at all (laughs). I think I’m going to go with Roger Waters. I feel like he contributed a lot of awesome stuff to Pink Floyd, and he often gets painted the asshole! I definitely feel he wasn’t the person holding back the full-on Pink Floyd reunion, and that they never got back together all those years. I think that was David Gilmour. With present knowledge included and of course with Rick (Wright) passing away, they aren’t coming back. They can’t come back without him. So David Gilmour is probably an asshole, even though he rules! (laughs) You know I’ve seen Gilmour and I’ve seen Roger Waters solo live, and they both rule! So it’s kind of like when your parents get divorced and now you get two Christmases! David has played with Roger, and Nick Mason has played drums with Roger a few times too. So I’m going to go with Roger, especially if we are going back in the heyday, when we know for certain Roger wasn’t a complete cocksucker at the time.”
“That was really hard so fuck you! (laughs)”
KEITH (KEEFY) CHACHKES
I have waited my entire writing career, and maybe my entire life to review a Pink Floyd album.
I just wish it wasn’t The Endless River (Parlophone/Columbia).
Anyone who knows me personally or via music journalism knows “The Floyd” has been a huge part of my life, certainly as much as any metal band, and encoded to my musical DNA since I was a small child. While some people have personal relationships with deities, I have them with music and bands. Their music has meant an enormous amount to me, helped colour my worldview at a young age, and even my own attempts at musical endeavors for twenty-five plus years in one form, or another.
With the passing of Rick Wright in 2008 and David Gilmour’s reluctance to use the moniker any longer, fans have long been resigned to the fact the band was long gone. The tracks that would become this album came from a series of sessions that didn’t make it on to The Division Bell (EMI) in 1993 and from a side project called “The Big Spliff” (lol), both including a ton of Wright penned and recorded pieces for make a four sides of a record. Considering the history of Wright’s ouster from the band by Roger Waters in 1980 following The Wall, the idea of sending out a final recording in tribute to Rick, is a nice touch. The Endless River, from the bands point of view, is a way to demarcate the finish line of their long, weird journey.
The problem with the album is that it is not fully realized musically at all. At this stage Gilmour, and his co-producers Youth, Phil Manzanera, and Andy Jackson (this thing needed four producers?) should know how to make a Pink Floyd album sound, right? However, what you get is even less than a collection of half-finished songs and more like a pastiche of Floydian tropes. The slide guitar from Meddle, the delay pedal from ‘Another Brick In The Wall Part I’, the Hammond B-3 swell from ‘Great Gig In The Sky’, the backing singers, a dusky saxophone, jazzy Nick Mason back-beats from Animals and Wish You Were Here, the dour analog synth sounds of ‘Welcome To The Machine’, the space-rock “musiq concrete” of Dark Side of The Moon, the Stephen Hawking sample from The Division Bell; all carefully placed here as if someone made a “greatest hits” mixtape for you, just in case you forgot what they sounded like. Another bad mis-step is the awful ‘Louder Than Words’, the one song with full vocals on the album. This ‘Comfortably Numb’–lite track is feeble, but a well-meaning attempt to wax philosophical on life, death and the space in between. These were all topics better served lyrically by Syd Barrett’s insane whimsy and Waters’ wounded psyche rage-a-thons. This is the band that wrote ‘Bike’, ‘Childhood’s End’, ‘Echoes’, ‘Time’, ‘Eclipse’ and ‘Mother’ to name a few similar-themed tracks. By comparison, the baby boomer dribble of the hackneyed lyrics from Gilmour and wife Polly Sampson (please, just stop) wrecked it for me.
On the plus side, it’s great to hear Rick’s playing and writing one final time. Often imitated, instantly recognizable and shining brightly: he was the glue that held their music together. His peers from the 60s and 70s were concerned with virtuoso technique and speed, and making the keys sound as un-keyboard like as possible. Meanwhile good ol’ Rick knew well the balance between laying the foundation for moods, and driving the rhythm with just a few tasteful cadences and a deft touch. Along with Dave’s occasional simmering guitar solos and tasteful inflections, this helps overcome some of the tracks. Contributions from past collaborators like Bob Ezrin, Anthony Moore and Guy Pratt are all welcome. These are some of the reasons the album is not a total wash.
The Endless River is not wholly unenjoyable. Take it for what it is: an album of so-so out-takes, released in tribute to a fallen great, and the end of one the greatest bands ever with a messy thud.
KEITH (KEEFY) CHACHKES