Pink Floyd

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Mike Boom
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Re: Pink Floyd

Postby Mike Boom » 24 May 2022, 17:44

I saw the Waters Us and Them tour when it came to Dallas and it was great and went to the local one night showing of the Gilmour Live at Pompeii film which was great as well.


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Last edited by Mike Boom on 24 May 2022, 17:58, edited 2 times in total.

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robertff
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Re: Pink Floyd

Postby robertff » 24 May 2022, 17:53

Got the Nick Mason one, quite like it.



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Matt Wilson
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Re: Pink Floyd

Postby Matt Wilson » 31 May 2022, 18:37

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The Endless River 2014
And we come to the last album released to bear the Pink Floyd name. All-instrumental except for the last song, this is not necessarily a disc you scrutinize, more like something you throw on and chill to. Since the tracks don't have lyrics, and it all flows together so that you don't really know where one cut ends and the next begins, I'll forgo analysis and just do my usual wiki cut and paste. I do enjoy the music though and like to hear it on the Later Years box with surround sound and visuals. It's almost all outtakes from The Division Bell, with some new recordings. Thing is - I'm not so sure which are the newer songs!

Wiki: "The Endless River is the fifteenth studio album by the English rock band Pink Floyd, released in November 2014 by Parlophone Records in Europe and Columbia Records in the rest of the world. It was the third Pink Floyd album recorded under the leadership of guitarist David Gilmour after the departure of bassist Roger Waters in 1985, and the first following the death of keyboardist Richard Wright in 2008, who appears posthumously. Gilmour said it will be the final Pink Floyd album.

The Endless River comprises mainly instrumental and ambient music based on material recorded during sessions for the previous Pink Floyd album, The Division Bell (1994). Additional material was recorded in 2013 and 2014 on Gilmour's Astoria boat studio and in Medina Studios in Hove, England. It was produced by Gilmour, Youth, Andy Jackson and Phil Manzanera. Only one track, "Louder than Words", has lead vocals. After the death of longtime Pink Floyd artist Storm Thorgerson in 2013, the cover was created by artist Ahmed Emad Eldin, design company Stylorouge, and Aubrey Powell, co-founder of Thorgerson's design company Hipgnosis.

The Endless River was promoted with the "Louder than Words" single and artwork installations in cities around the world. It became the most pre-ordered album of all time on Amazon UK, and debuted at number one in several countries. The vinyl edition was the fastest-selling UK vinyl release since 1997. The album received mixed reviews; some critics praised the nostalgic mood, while others found it unambitious or meandering.

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Recording
The Endless River is based on music recorded during the sessions for Pink Floyd's previous studio album, The Division Bell (1994). The Division Bell was recorded in 1993 and 1994 in Britannia Row Studios in London, and on the Astoria boat studio, belonging to guitarist David Gilmour. Pink Floyd recorded hours of music during the sessions; the engineer Andy Jackson edited it into an hour-long ambient composition tentatively titled The Big Spliff, but the band did not release it.

Keyboardist Richard Wright died of cancer on 15 September 2008.[7] In 2013, Gilmour and drummer Nick Mason decided to revisit the unused Division Bell recordings to make a new album, rerecording parts, adding new ones, and using modern studio technology.[8] Gilmour said: "With Rick gone, and with him the chance of ever doing it again, it feels right that these revisited and reworked tracks should be made available as part of our repertoire."[8] Only a small part of The Big Spliff was used.[9]

Gilmour asked guitarist and producer Phil Manzanera, who co-produced his 2006 solo album On an Island, to work on the material. Manzanera, Jackson and engineer Damon Iddins spent six weeks assembling four 14-minute pieces. Gilmour gave two pieces to producer Youth, who added guitar and bass parts. In November 2013, Gilmour led sessions with Manzanera, Youth and Jackson to record material with Mason, saxophonist Gilad Atzmon and bassist Guy Pratt. Vocalists including Durga McBroom recorded backing vocals, and Gilmour recorded lead vocals on "Louder than Words", with lyrics by his wife, author Polly Samson. Bassist and songwriter Roger Waters, who left Pink Floyd in 1985, was not involved.

"Autumn '68", named in reference to the 1970 Pink Floyd song "Summer '68", features a recording of Wright playing the Royal Albert Hall pipe organ during the rehearsal for Pink Floyd's show at Royal Albert Hall on 26 June 1969. "Talkin' Hawkin'" contains a sample of scientist Stephen Hawking's speech taken from a British Telecom commercial also sampled for The Division Bell on "Keep Talking". Mason received writing credits for "Sum", and "Skins", a two-and-a-half-minute drum solo. Gilmour said The Endless River would be Pink Floyd's last album, saying: "I think we have successfully commandeered the best of what there is ... It's a shame, but this is the end."

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Composition
The Endless River comprises four pieces, which form a continuous flow of mostly ambient and instrumental music. Gilmour said: "Unapologetically, this is for the generation that wants to put its headphones on, lie in a beanbag, or whatever, and get off on a piece of music for an extended period of time. You could say it’s not for the iTunes, downloading-individual-tracks generation." Mason described the album as a tribute to Wright: "I think this record is a good way of recognizing a lot of what he does and how his playing was at the heart of the Pink Floyd sound. Listening back to the sessions, it really brought home to me what a special player he was."

"Louder than Words" is the only track with a lead vocal. Samson wrote the lyrics after observing the band's interaction during the rehearsals for their 2005 Live 8 reunion, their first performance with Waters in over 24 years. She said: "What struck me was, they never spoke ... It’s not hostile, they just don’t speak. And then they step onto a stage and musically that communication is extraordinary." The album title is taken from a lyric on the last track of The Division Bell, "High Hopes": "The water flowing / The endless river / For ever and ever." Gilmour said it suggested a continuum between the records.

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Packaging
The Endless River cover art depicts a young man punting a Thames skiff across a sea of clouds towards the sun. After the death of longtime Pink Floyd artist Storm Thorgerson in 2013, Pink Floyd collaborated with Aubrey Powell, co-founder of Thorgerson's design company Hipgnosis. Powell discovered 18-year-old Egyptian artist Ahmed Emad Eldin and asked to use the concept from his piece Beyond the Sky for The Endless River. Eldin was a Pink Floyd fan and accepted enthusiastically. Powell felt Ahmed's concept had "an instant Floydian resonance", and described it as "enigmatic and open to interpretation". The final cover is a recreation of Eldin's work by London design firm Stylorouge. Powell felt that the cover summed up the title and music, and was appropriate for the recording on the Thames.

The Endless River was also released in boxed DVD and Blu-ray "deluxe" editions, containing a 24-page hardback book, postcards, and a bonus disc of three additional tracks and six music videos. Two tracks, "TBS9" and "TBS14", are outtakes from The Big Spliff. The DVD edition includes the album in Dolby Digital and DTS 5.1 surround sound, plus a 48 kHz /24 bit stereo version. The Blu-ray has DTS Master Audio and PCM, 96/24 5.1 surround and a PCM stereo 96/24 version.

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Promotion
The Endless River is the second Pink Floyd album distributed by Parlophone, following the release of the 20th anniversary editions of The Division Bell in 2014. The Division Bell, along with subsequent live and compilation albums, were previously published by EMI in Europe and Sony counterpart Columbia Records for the rest of the world.

Pink Floyd were affected by the sale of EMI to the Universal Music Group, which lasted from 2011 to 2013. The European Commission and the Federal Trade Commission approved the sale with conditions, including the sale of certain EMI assets. Pink Floyd, along with many other bands under the EMI roster, were transferred to different labels during the process. The Parlophone Label Group was formed under Parlophone as one of many assets to be sold off by Universal following the acquisition of EMI, with Pink Floyd transferred to the Parlophone Label Group during the sale. The Warner Music Group, in 2013, struck a deal with Universal to buy the Parlophone label Group from EMI, acquiring publishing rights to Pink Floyd's back catalog and future releases in the process.

In a tweet on 5 July 2014, Samson released the album title and a projected release window of October 2014 to pre-empt a tabloid newspaper report. The announcement was followed by backing vocalist Durga McBroom posting a photo of her alongside Gilmour in the recording studio. Details about The Endless River were announced on Pink Floyd's website on 7 July.

Pink Floyd and Parlophone unveiled The Endless River on 22 September 2014, including the release date, artwork and track listing, accompanied by a promotional website, a hyperstitial for the Pink Floyd website. The site featured an artist's statement, photographs from the Division Bell sessions, pre-order details and two teasers, one featuring a 30-second snippet of "It's What We Do", and a television advertisement, featuring the album's geometric-based artwork. Pre-orders on physical and digital formats started the same day. Prominent installations of the album's artwork were placed around the world, including a four-sided 8m tall billboard placed in South Bank, London, and large-scale poster advertisements in cities such as Berlin, Paris, Los Angeles, Milan, New York and Sydney.

The album's only single, "Louder than Words", premiered on Chris Evans' breakfast show on BBC Radio 2 as a shortened radio edit. Gilmour and Mason appeared in an interview for BBC Radio 6 Music to promote the album and to discuss Wright's contributions. The track "Allons-y (1)" was made available to download from the iTunes Store on 4 November 2014. In the week before release, The Endless River became the most pre-ordered album in Amazon UK's history; the following week, the record was broken by III by Take That. There was no Endless River tour, as Gilmour said it was impossible without Wright."

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Pink Floyd
David Gilmour – guitars (all but 3), EBow guitar (1, 3, 10), lead vocals (18), backing vocals (7, 14, 17), keyboards (7, 15, 16), piano (6, 7), EMS VCS 3 (4, 6), bass guitar (2, 4, 7, 17), Hammond organ (18), percussion (8), voice samples (1), producer
Nick Mason – drums (2, 4, 5, 7, 9, 11, 13, 14, 16, 17, 18), percussion (15, 18), rototoms (5), gong (5, 12, 16), voice samples (1)
Richard Wright – Hammond organ (1, 11, 13, 16), Farfisa organ (4, 6, 14, 16), Royal Albert Hall Organ (12), piano (4, 6, 8, 14, 18), Rhodes piano (9, 18), electric piano (3), keyboards (1, 2, 5, 16, 17), synthesiser (1, 2, 8, 10, 14, 17, 18), voice samples (1, 18)

Additional musicians
Guy Pratt – bass guitar (9, 14)
Bob Ezrin – bass guitar (11, 13, 18), additional keyboards (1), co-producer 1993 sessions
Andy Jackson – bass guitar (5, 16), effects (15), engineer, producer, mixing, mastering of bonus content on DVD and Blu-ray
Jon Carin – synthesisers (9, 11, 13), percussion loop (11, 13)
Damon Iddins – additional keyboards (4, 12)
Anthony Moore – keyboards (15)
Gilad Atzmon – tenor saxophone (7), clarinet (7)
Durga McBroom – backing vocals (14, 17, 18)
Louise Marshal – backing vocals (18)
Sarah Brown – backing vocals (18)
Stephen Hawking – voice sample (14)
Youth – producer, additional programming, engineering, sound design, assorted synthesisers and keyboards
Eddie Bander – additional programming, engineering, sound design, assorted synthesisers and keyboards
Michael Rendall – additional programming, engineering, sound design, assorted synthesisers and keyboards
Escala:
Chantal Leverton – viola (18)
Victoria Lyon – violin (18)
Helen Nash – cello (18)
Honor Watson – violin (18)

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Track listing

1. "Things Left Unsaid" (Gilmour, Richard Wright) 4:26
2. "It's What We Do" (Gilmour, Wright) 6:17
3. "Ebb and Flow" (Gilmour, Wright) 1:55
4. "Sum" (Gilmour, Wright, Nick Mason) 4:48
5. "Skins" (Gilmour, Wright, Mason) 2:37
6. "Unsung" (Wright) 1:07
7. "Anisina" (Gilmour) 3:16
8. "The Lost Art of Conversation" (Wright) 1:42
9. "On Noodle Street" (Gilmour, Wright) 1:42

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10. "Night Light" (Gilmour, Wright) 1:42
11. "Allons-y (1)" (Gilmour) 1:57
12. "Autumn '68" (Wright) 1:35
13. "Allons-y (2)" (Gilmour) 1:32
14. "Talkin' Hawkin'" (Gilmour,Wright) 3:29
15. "Calling" (Gilmour, Anthony Moore) 3:37
16. "Eyes to Pearls" (Gilmour) 1:51
17. "Surfacing" (Gilmour) 2:46
18. "Louder than Words" (Gilmour, Polly Samson) 6:36
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Critical Reception
On the review aggregator site Metacritic, The Endless River has a score of 58 based on 24 reviews, indicating "mixed or average reviews".

Ludovic Hunter-Tilney of the Financial Times praised the nostalgic "Floydian" sound, reminiscent of Pink Floyd's work prior to The Wall (1979), and wrote: "How fitting that a band so accustomed to loss should close their account with an engrossing elegy to their own past." Cameron Cooper of The Music gave the album three and a half out of five, writing that it felt "less like a swansong and more like a final homage ... the lack of vocals gives the music more freedom, allowing it to speak for itself". In The Guardian, Alexis Petridis described it as "not a new album from an extant band, but an echo from the past – or a last, warm but slightly awkward group hug ... on those terms, it works just fine". He praised the lead single and final track "Louder than Words" as "stately, poignant and open-hearted". In Rolling Stone, David Fricke wrote: "Wright was the steady, binding majesty in the Floyd's explorations. This album is an unexpected, welcome epitaph." The Observer wrote that the album is "an understated affair but unmistakably the Floyd ... a pretty good way to call it a day."

J.C. Maçek III of PopMatters wrote: "Without the vocals, something is very clearly missing and the listener is left wanting more. While this makes for a good album, The Endless River is not quite fitting to serve as the final album of the greatest rock band of their kind, to say nothing of one of the greatest rock bands of any kind ever to perform." Andy Gill of The Independent called it "just aimless jamming, one long thread of Dave Gilmour's guitar against Rick Wright's pastel keyboards and Nick Mason's tentative percussion, with nary a melody of any distinction alighted upon for the duration .... without the sparking creativity of a Syd or Roger, all that's left is ghastly faux-psychedelic dinner-party muzak." The NME wrote that The Endless River was "a collection of spruced-up outtakes ... On those limited terms it works well enough, and it's interesting from a certain geeky perspective, but it's never quite as satisfying or substantial as you want it to be." Pitchfork wrote that The Endless River "is quintessentially and self-consciously Pink Floyd, for better or for worse ... it proves to be one of the few Pink Floyd releases that sounds like a step backwards, with nothing new to say and no new frontiers to explore." Mikael Wood of the Los Angeles Times called it "so excruciatingly dull (even by Pink Floyd's often-dull standards) that the band's name on the cover feels like a straight-up bait-and-switch".

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Commercial performance
In the week before its release, The Endless River displaced Four by One Direction as the most pre-ordered album of all time on Amazon UK. It debuted at number one on the UK Albums Chart, with sales totaling 139,351 the third highest opening sales week of 2014, making it Pink Floyd's sixth UK number one. As of 27 November 2014, the vinyl edition had sold 6,000 copies, making it the fastest-selling UK vinyl release of 2014 and the fastest-selling since 1997. The album also debuted at number one in several other countries, including France, Germany, Portugal, Ireland, the Netherlands, Belgium, New Zealand, and Canada. In the US, it debuted at number 3 on the Billboard 200 with 170,000 copies sold in its first week; by January 2015, it had sold 355,000 copies there. Worldwide, The Endless River sold over 2.5 million copies in 2014.

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pcqgod
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Re: Pink Floyd

Postby pcqgod » 01 Jun 2022, 03:16

Matt Wilson wrote:Image
David Gilmour About Face 1984
The band was on hiatus in 1984, with Roger never to contribute again, but we didn't know that at the time. Dave came up with his second solo LP before Waters could get his Pros and Cons record on the street, and though this didn't cause much of an impact at the time, I feel it's not really a lesser effort compared to his first album. Gilmour efforts tend to be of similar quality. He may never have made a classic, but all four are worthy for Floyd fans. His voice and guitar are what sells it, and there's plenty of both here. David is not an idea guy like Roger is. These records are song-based, not concept LPs. Waters albums are projects, Dave's are collections of tracks.

Wikipedia: "About Face is the second solo studio album by the English singer and musician David Gilmour. It was released on 5 March 1984 by Harvest in the UK and Columbia in the United States, a day before Gilmour's 38th birthday. Co-produced by Bob Ezrin and Gilmour, the album was recorded in 1983 at Pathé Marconi Studio, in Boulogne-Billancourt, France. The lyrics of two tracks, "All Lovers Are Deranged" and "Love on the Air," were written by Pete Townshend of the Who. Townshend's version of "All Lovers Are Deranged" appears on his solo album Scoop 3.

The album received positive reviews and peaked at #21 on UK Albums Chart and #32 on the US Billboard 200. Two singles were released: "Blue Light" peaked at #62 in the United States, while "Love on the Air" failed to chart. The album was certified gold by the RIAA. A remastered reissued CD was released in 2006 on EMI in Europe and Columbia for the rest of the world."

Main personnel
David Gilmour – lead vocals, guitar, bass, production
Jeff Porcaro – drums, percussion
Pino Palladino – bass
Ian Kewley – Hammond organ, piano (except for "Blue Light" sessions)

Additional personnel
Steve Winwood – Hammond organ on "Blue Light", piano on "Love on the Air"
Anne Dudley – synthesisers
Jon Lord – synthesisers
Bob Ezrin – keyboards, orchestral arrangement, production
Steve Rance – Fairlight CMI programming
The Kick Horns – brass
Luís Jardim – percussion
Ray Cooper – percussion
Roy Harper – backing vocals
Sam Brown – backing vocals
Vicki Brown – backing vocals
Mickey Feat – backing vocals
The National Philharmonic Orchestra
Michael Kamen – orchestral arrangement

All lyrics are written by David Gilmour, except where noted; all music is composed by David Gilmour.

Side one

1. "Until We Sleep" 5:15
Party until you die seems to be the message to this uptempo tune. This sounds nothing like Roger's music, and even though it's a routine rocker, the change of pace from the dirges on The Final Cut are welcome to these ears. A synthesized almost-dance beat pervades. This is the eighties, after all, and Gilmour wanted some radio play (this would elude him, of course - but then Roger's solo stuff suffered the same fate). All things considered, not a bad way to begin the disc.

"Recording
The album was recorded with engineer Andy Jackson at a time when Pink Floyd's future was uncertain. It was mixed by James Guthrie at Mayfair Studios in London, England.

Gilmour said he wanted to take his time and make "a really good album" and "get the best musicians in the world that I could get hold of to play with me." Musicians on the album include drummer Jeff Porcaro, bass guitarist Pino Palladino, Deep Purple keyboardist Jon Lord, backing vocalists Roy Harper, and Sam Brown, orchestral arranger Michael Kamen (who had also worked on The Pros and Cons of Hitch Hiking and The Wall), and keyboardist Steve Winwood." - Wiki

2. "Murder" 4:59
An almost Dylan-like guitar motif, lyrics about killing a man, and a elaborate middle section detailing the act itself pretty much covers it. Again, I want to point out that David's and Roger's music sounds nothing alike, but both sound like Pink Floyd.

Wiki: "Murder" was an outcry by Gilmour about the senseless killing of John Lennon, a longtime musical peer and inspiration to him. Gilmour embellished the song with a solo fretless bassline (played by Pino Palladino), adding an edgy funk groove to the acoustic beginning of the song, leading to an instrumental bridge, where the song picks up in the speed of the beat with more electric instruments."

3. "Love on the Air" (Pete Townshend) 4:19
Pete wrote the words to this one, and I can almost hear him sing it. Of a more personal nature than what the member of PF usually write, its middle-of-the-road feel neither inspires nor puts me off. It's pretty average though.

"Gilmour collaborated with Townshend on the songs "Love on the Air" and "All Lovers Are Deranged," as Gilmour recalled: "I sent him three songs and he sent back three sets of lyrics. Two of them suited me well. One didn't. He did the two on About Face and he did the other one ['White City Fighting'] on his White City album." The lyrics for "Love on the Air" were written in a day, after Gilmour had asked for Townshend's help." - Wikipedia

4. "Blue Light" 4:35
An ever faster tempo than "Until We Sleep," with backing horns no less! Dave wants some radio play, and he's pulling out all the stops here. This 45 actually charted in the States, but I never heard it. Run of the mill, of course.

Wiki - Release
The album featured the single "Love on the Air," with lyrics by Townshend, and the disco-style single "Blue Light", later remixed by François Kevorkian; "Blue Light" was released, backed with "Cruise", on 13 February 1984, while "Love on the Air", backed with "Let's Get Metaphysical" on 24 April. "All Lovers Are Deranged" and "Murder" were released as singles for North American rock radio; the former reaching #10 on Billboard's Mainstream Rock chart."

Here it is: https://www.youtube.com/watch?v=EKWPJr_ ... A&index=11

5. "Out of the Blue" 3:35
I like this one. A ballad illustrating the inevitability of pain/suffering. One could say it's about war possibly, I've never read anything about it so I couldn't say. As side one ends, one realizes it's another David record, and you're not gonna be blown away by any of the cuts, but then you're not offended by anything either.

"Cover art
The cover of the LP is a little wider than usual, approaching 12 1/2 inches. The inner sleeve bears lyrics and photographs of Gilmour, and exists in at least two variations. A sleeve for the UK Harvest edition has rounded corners and opens to the side; one for the USA Columbia edition has square corners and opens to the top, relative to the lyric text. Like the cover, the latter sleeve is wider than it is tall, and may not fit into the outer sleeve if turned 90 degrees. In one corner of both versions are printed the words "Fleudian slip," a play on the words "Freudian slip" and "Pink Floyd." - Wiki

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Side two

6. "All Lovers Are Deranged" (Townshend) 3:14
Another Pete-penned tune with better lyrics this time. I like the "love recalled is love reborn" theme, but the music is still pretty average to me.

Wiki: "Music and lyrics
"I think Pete [Townshend] feels some restrictions on what he would like to do with the Who, as I guess we all feel restrictions within everything we attempt [to do], just because of the types of personalities and role you've created for yourself. I know he's felt uncomfortable about certain things--- things he could express in solo stuff. For me, the restriction was the scale of what Pink Floyd had become more than anything. It's nice to get out and do something on a slightly different scale; go out and do theatres, which is not really a possibility with Pink Floyd until we get a lot less popular."

— David Gilmour"

7. "You Know I'm Right"
5:06
One of the more interesting pieces because of its conversational nature to Roger Waters, "You Know I'm Right" ambles along nicely, but fails to register as a great tune. I wonder if Rog was listening?

"You Know I'm Right" was written in a similar vein to Lennon's "How Do You Sleep?" and was a dig towards Waters.

Live performances
Gilmour performed tracks from the album on his 1984 tour, and performed "Love on the Air" and "Blue Light" in 1985 as a member of Townshend's supergroup, Deep End, a recording of which became Townshend's live album Live: Brixton Academy '85. - Wikipedia

8. "Cruise" 4:40
A pretty melody for this anti-US missile song which, had I not read the background of, I would never have guessed its meaning. The reggae beat towards the end doesn't help.

Wiki: "Cruise" was about Ronald Reagan having cruise missiles stationed in Britain at the time.

Gilmour was later interviewed by Texas-based DJ Redbeard, on the radio program, In the Studio during which the focus was his 2006 third album On an Island. He commented on About Face saying that, "looking back on it, it has some great moments on there but the whole flavor of it is too '80s for my current tastes."

9. "Let's Get Metaphysical" (Instrumental) 4:09
This is a wordless guitar-laden number which sounds like no one else. I wish there were more stuff like this on the album actually.

Critical reception
Writing for AllMusic, critic Tom Demalon wrote of the album "The songs on About Face' show a pop sensibility that Pink Floyd rarely was concerned with achieving," adding that "About Face is a well-honed rock album that is riveting from beginning to end." - Wiki

Not sure about that, but we'll let it slide...

10. "Near the End" 5:36
We end with this slow number which sounds like it could be about Roger if you read closely...

Wikipedia - Unused track
Another piece of music written for the album was not used by Gilmour.

He asked Roy Harper and separately, Pete Townshend, to supply lyrics, but felt that those provided were not messages that he could relate to. Harper subsequently used the tune, with his lyrics, as "Hope", on his 1985 album, Whatever Happened to Jugula?. Townshend used it with his lyrics as "White City Fighting", which has a markedly faster tempo, on his 1985 album White City: A Novel, on which Gilmour plays."

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I really liked this one. My favorite solo album by a Floyder, aside from 'Madcap Laughs.'
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trans-chigley express
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Re: Pink Floyd

Postby trans-chigley express » 01 Jun 2022, 05:21

I like Endless River if you keep your expectations in check. It is what it is, just a bunch of outtakes fashioned into a coherent whole in memory of Wright and I like that about it. Reading some of the comments in WIki's critical reception section made me think that some of those critics were treating it like a Floyd album proper and being unfairly harsh on it.

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robertff
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Re: Pink Floyd

Postby robertff » 01 Jun 2022, 08:11

trans-chigley express wrote:I like Endless River if you keep your expectations in check. It is what it is, just a bunch of outtakes fashioned into a coherent whole in memory of Wright and I like that about it. Reading some of the comments in WIki's critical reception section made me think that some of those critics were treating it like a Floyd album proper and being unfairly harsh on it.




My views also, I like it well enough.


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