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We were told months in advance what this was going to be like, and I can see why it’s so jarring to some. But I had a smile on my face all through the first listen… and the second, and the third…
Maybe I’m just tired of hearing the original, tired of seeing Roger playing it note-for-note every tour, tired of a bajillion rereleases with Gary Wallis (bless his heart) wanking away on percussion and Scott Page yelling into his sax.
Maybe I enjoy the instrumentation sounding like a drunk guy bumbling his way down a dark alleyway at 3AM, and maybe I enjoy the vocal performance seemingly taking inspiration from creaking bones. Maybe I enjoy it because it’s different.Comment
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I’d rather he focus on finishing the Bar and whatever new material he might have. Roger is old and time is short. Let’s get a real new album!Comment
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This was on my wish list back when Roger was performing Southampton Dock way better than the album version, but I dunno if it lends itself so well to his current style. And I'm definitely not interested in the laundry list of Current Year political grievances he'd insert in some of those tracks. A de-Eightiesized Radio KAOS would be awesome though.Originally posted by daemonspudguy View PostComment
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In this interview Roger states that one of the reasons he created this new version was to "remember" the original. I can understand this since it's such an obscure album.Comment
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You can criticize/beat the dead horse that is the 50th Anniversary set, that's fair game. But come on, it's not like Rog is really doing a lot of heavy lifting here. The words and melody already exist, slowing down the songs, changing instruments and singing/speaking the words is not all that original. You can't turn on the TV or see a movie where someone isn't singing a well known tune reaalllllyy slowly for some kind of dramatic effect. I think it's now mandatory for any new dramatic series promo. -
From what I've heard, this was being worked on during the lockdown sessions.
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It’s part of that reason why revisiting the 72-75 shows has been so rewarding. Each song goes through multiple changes, moods, and tone shifts from year to year (even leg to leg). In 72 Us and Them has all three members singing together including some “aah aah” wordless vocals, Great Gig goes through numerous changes, and fan favorite The Travel Sequence becomes a sort of bridge between where the Floyd were and where they would go with their jams (specifically Rick and David). David even experiments with using different guitar tones on Brain Damage than he would do in the future. ‘72 is probably the closest we’ll get to a Meddle Side of the Moon at least tonally (Chicago 72, Hollywood 72, Paris 72.)Originally posted by Emdy View Post
In 73 the backing vocalists are added and add a ton of color (especially on Time and Us and Them) and when Dick Parry isn’t on some of the shows Rick gets a chance to shine and you can really hear how well all the vocals sound (Us and Them Boston ‘73). Rick’s choice of Moog solo lead sound during Any Colour is closer to a hollow sine wave style sound as opposed to the thicker square wave sound in ‘75. ‘73 is also the closest they get to a classic album style performance consistently (Radio City ‘73, Boston ‘73, Rainbow ‘73 w/ Claire Torry.)
’74-‘75 shifts to yet another style of DSOTM with newer backing vocalists slowly adding in ad libs and color to the songs. The songs themselves also expand and morph even more with Money stretching and increasing its dynamics both soft and loud during the middle section. Us and Them gets an additional sax solo with some Moog at the beginning, On The Run gets some crazy performances, Any Colour goes hog wild (Boston ‘75), and all throughout David adds excellent riffage with the whole back half of Dark Side (see Us and Them/Brain Damage.). Great Gig has these nice harmonies in the 2nd half and even the band does a Vince Guaraldi style breakdown before Money. Rog also really starts to expand
as a bassist within the dark side performances and probably has his coolest tone (and effects usage on other songs) on this tour. If you really listen you can hear his melodic flourishes on many of the tracks.
Even 87 and 94 the Dark Side performances (although much more polished) are excellent to listen to. I am leaving a toooon of stuff out but overall I’m glad that they stuck to the script but also allowed their musical tendencies to expand over that fertile period.Favorite Bootlegs: Santa Monica - 5/1/1970, Brescia - 06/19/1971, Los Angeles - 09/22/1972, Boston - 06/18/1975, NYC - 07/02/1977Comment
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Question for the Waters camp and those that like this release... If David or Nick recorded this and released it, would you still like it? Or do you like it because it's Roger? I think it's rubbish and would think the same if ANYONE released it. I listen to all kinds of music (metal, prog, new wave, punk, classical, bluegrass, fusion jazz, dixieland, blues, New Orleans jazz, zydeco, country, gangster rap, folk, middle eastern, asian, first nation, etc) and usually I can make it through anything once. Not the case here. I want to like it because it's Floyd related, but I just don't. John Latham has more plays by me than this ever will. I have no problem at all with Roger trying something different though, no matter how much it doesn't suit me. I'll probably even buy it and put it on the shelf next the the 50th box.Last edited by MGoBlue1989; 07-21-2023, 11:22 PM.Comment
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NuffM while I haven't been in that community since late last year (for reasons I still don't quite understand), if it's anything like it was when I was still there, accurate statement. I think The Division Bell is a fine album, personally. -
I have been thinking about this question a lot lately with the recent Yes albums. "Would I actually like this music if it was another band putting it out?"... I don't think I would even own those records if it was from another band. I feel the same thing about this, but it's not even interesting to me since it's a remake, and not new songs. At least the newer Yes albums are new compositions.
I would only listen to this out of "fan obligation", and I am just not at a point in my life where I feel like I HAVE to listen to something out of duty or loyalty. There's like 10,000 new albums being released every day or something, and I can't feign excitement for something like this when there are people out there pushing for new things and making great new music that almost no one is hearing in comparison to this Roger thing. I would roll my eyes at it if David did it, too. There are plenty of great live versions of DSOTM from different eras of Pink Floyd that scratch the itch for a different take on the album. I'm all good. I'll just read the comments here a bit, and leave it at that.
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Yes. I like it because I enjoy it, and think it's an interesting effort.Originally posted by MGoBlue1989 View PostPicture a courthouse with no fucking laws!
Picture a cathouse with no fucking whores!
Picture a shithouse with no fucking drains!
Picture a leader with no fucking brains!Comment
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I don't hate it, but I can't say I have any interest at all in ever hearing that again...but I think it would have been awesome if Tom Waits sere singing it, and the drummer were using femur bones and banging on a skull.www.bigmuffpage.com
David Gilmour Tone Building - gear and tone guide
http://www.kitrae.net/music/David_Gi..._Building.htmlComment
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I'd rather have an official release of Roger's 2006-2008 tour instead of this.
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Didn’t he discuss at one point working on a film for the tour titled “Swaddle”, which would omit the actual DSOTM section?Originally posted by ruben77 View PostComment
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this was my reaction, too. if the whole album had a bonus instrumental mix, i'd love that more than struggling through this. i don't like the added words, but i can tune them out, sort of. focus on the music till the last verse comes around. i wish he'd thought to do off the wall stuff like this years ago, when he still had a decent range to his voice! (and i could still listen to it, if it were only the regular lyrics being croaked, and not all of that padding.) but i'm afraid it'll be just the same as the recent jethro tull stuff, i'll try to listen to it using the power of my imagination to translate the current voice back into the strong, classic voice. in other words, an effort from me, to meet the artist halfway, and many years back in time...Originally posted by svaerige View Post...Raving and Drooling I fell on my Arse with a Squelch...Comment
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This specific ad on this specific video made me smirkComment
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Honestly, this question feels out of time, like an alt.music.pink-floyd post from 25 years ago. That's when everyone was either team Roger or team Dave and had to be at each others' throats about it constantly. But that really hasn't described the Floyd internet for a long time. I was on team Roger but '87-'94 Floyd still gets plenty of spins on my stereo - well, after I deleted the crappy tracks, anyway. I think at this point everyone understands that getting new material out of either camp is a rare treat and isn't interested in letting a 40-year-old feud that didn't personally involve any of us get in the way of enjoying what we get. That doesn't mean everyone has to like all of it but I don't think anyone is standing on the principle of the thing anymore. You like what you like and you skip what you don't.Originally posted by MGoBlue1989 View Post
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