Tranquillo non urti nessuno, ognuno può esprimere il proprio parere. Si potrebbe fare lo stesso discorso per gli Stones. Cosa hanno fatto fino ad ora? Visto che si mettono in gioco con un tour potrebbero registrare qualcosa di nuovo. E invece sono venuti fuori con 2 pezzi, di cui solo uno rende dal vivo. Secondo me va premiato di più l'impegno e la creatività anche se non apprezzata, rispetto a mettersi a sedere per anni. Può darsi che ciò che dico sia una bestemmia per il forum ma la penso così. Inevitabilmente quando si parla di una band si fanno sempre i paragoni.
Sono andato a sentire gli Stones a Roma per vedere delle leggende, non perché ho trovato belle le ultime cose, inesistenti.

[ Messaggio inviato da Windows Smartphone ]

David Gilmour: due date in Italia, a Verona e Firenze, a settembre

David Gilmour, voce e chitarra dei mitici Pink Floyd, sarà in Italia per due appuntamenti live nel mese di settembre del 2015.

Gli appuntamenti fissati per i due live sono per il 14 e15 settembre, secondo questo calendario:
14/09 Verona, Arena di Verona (apertura cancelli ore 19:00, inizio ore 21:00)
15/09 Firenze, Teatro Le Mulina

I biglietti sono già disponibili per gli iscritti alla mailing list del sito ufficiale davidgilmour.com - mentre saranno in vendita per tutti dalle 11 di venerdì 6 febbraio.

Gilmour al momento sta lavorando a un nuovo disco solista - l'ideale seguito di "On an island" del 2006.

http://Www.rockol.it

per me pure orribile anche l'ultimo si fa per dire perché è roba di 20 anni fa messa a nuovo dei Pink Floyd un vero affare commerciale e basta...

Su questo ti appoggio in pieno!

[ Messaggio inviato da iPhone ]

Non solo l'ultimo disco è inutile.
In parte anche il ritorno e quindi i PF di Gilmour, predendo in considerazione i due dischi prodotti, si poteva evitare. Diverso il discorso per i live di quella era, fantastici.

E' da tempo che i floyd potevano fermarsi ed è da tempo che musicalmente lo hanno fatto - volendo o meno.

esatto leed71 sarebbero stati più onesti i Floyd rimasti ( che tristezza ) a far uscire the division bell visto che era il 20esimo anniversario con dei outtakes cioè questi di endless the river ..in poche parole un cd doppio l'album originale e il secondo cd con gli outtakes che abbiamo sentito. certo non avrebbe avuto lo stesso successo ma altrettanto questo finto ritorno con finto album nuovo solo per un affare commerciale direi niente di più patetico, e quanti si sono illusi di rivederli dal vivo orribile...

In realtà nel 2014 uscì anche un ricchissima deluxe edition di the division bell non tanto per promuovere il disco stesso e celebrarne l'anniversario bensì per pubblicizzare il nuovo lavoro - nuovo per modo di dire. Ad ogni modo DTB in confronto a ER è un capolavoro.

si ma nella versione delux edition non c'è nessun brano inedito perché probabilmente avevano già in mente fare uscire sta cosa che in realtà sono solo outtakes di the division bell, anche se in un primo momento si diceva che era un album parallelo fatto nello stesso periodo ma poi accantonato. ma è confermato pure da loro sono gli outtakes di the division bell.....

http://www.rockol.it/news-644769/pink-f ... nd-inglese

Roger Waters (Pink Floyd): "rimixato" anche il video di "What God wants, part 1". GUARDA. E arriva il film di "The Wall": TRAILER

Venerdì 24 luglio uscirà per Columbia/Legacy Records la versione rimasterizzata di "Amused to death", l'album da solista del 1992 del bassista e principale compositore dei Pink Floyd. Le 14 canzoni del disco sono state rimixate in Surround 5.1 e audio ad alta definizione da Waters con il coproduttore James Guthrie.
Già che c'era, Waters ha dato una ripulita e una rispolverata anche al video originario di "What God wants - part 1", a suo tempo filmato in studio con la partecipazione di Jeff Beck.
Questa è la versione originaria

[youtube]https://www.youtube.com/watch?v=wtq1_peTXbw[/youtube]

mentre qui (http://consequenceofsound.net/2015/07/r ... t-1-watch/)potete vedere la versione "aggiornata".
Il 29 settembre uscirà nelle sale il film-concerto di "The Wall", di cui vi proponiamo qui sotto il primo trailer.

[youtube]https://www.youtube.com/watch?v=YKMJ6H9SSms[/youtube]
http://www.rockol.it/news-645464/roger- ... ll-il-film

UK, va all'asta Algie, il maiale aerostatico dei Pink Floyd



Algie "the pig", il maiale gonfiabile fotografato in volo sopra la Battersea Power Station di Londra nella copertina di "Animals" dei Pink Floyd e una delle icone rock per definizione (poi "replicato" sia dalla stessa band che da Roger Waters, che ne utilizzo non pochi "discendenti" nel corso della sua carriera solista) verrà messo all'incanto il prossimo 15 settembre dalla casa d'aste britannica Durrants: a vendere il cimelio sarà il suo creatore, Rob Harries, al quale venne restituito, nel '77, dopo il suo rinvenimento in un campo del Kent, dove finì dopo aver svolazzato, trasportato dal vento durante la session fotografica per l'artwork del disco, sopra la capitale britannica - costringendo gli addetti alla sicurezza dell'aerporto di Heathrow a cancellare diversi voli. Lo stesso Harries ha dichiarato, al proposito, alla BBC:

"Sono triste nel vederlo andare via, ma ormai non vede praticamente più la luce del giorno: sarei contento di vederlo andare con qualcuno pronto a portarlo a fare una passeggiata. Liberarsene è catartico e mi ha portato alla mente molti ricordi, ma ormai quello è un capitolo chiuso, ed è ora di andare avanti"

http://www.rockol.it/news-646167/pink-f ... nduto-asta

David Gilmour, in rete il nuovo singolo 'Today' dal nuovo album 'Rattle that lock' -
http://www.rockol.it/news-646361/david- ... ay-ascolta

Pink Floyd, 'Their mortal remains': la band intraprende un'azione legale contro gli organizzatori italiani della mostra

Il promoter Fran Tomasi e la società italiana Evolve Devolve sono stati citati in giudizio dalla Now Pink Floyd Ltd. e dalla Pink Floyd Music, le due società che rappresentano legalmente i tre elementi superstisti della band di "The dark side of the moon", ovvero Roger Waters, David Gilmour e Nick Mason, relativamente al mancato allestimento della mostra "Their mortal remains", esposizione "definitiva" incentrata sulla carriera del gruppo che avrebbe dovuto aprire i battenti a Milano nella seconda metà del 2014 ma che non aprì mai le proprie porte al pubblico: lo riferisce l'edizione online del Telegraph, secondo la quale l'azione legale intentata dalla formazione inglese verterebbe su tre punti essenziali. Il primo, stando alle carte depositate presso l'Alta Corte britannica, riguarderebbe l'onorario da corrispondere al gruppo: Tomasi e la società, nel 2014, avrebbero versato 80mila sterline a titolo di acconto, senza però saldare - nonostante un sollecito inoltrato dalle società rappresentati già lo scorso mese di febbraio - né le rimanenti 100mila sterline previste dall'accordo né una cauzione - anch'essa concordata - da 145mila sterline

Non sarebbe, però, solo questione di soldi. Alla Now Pink Floyd Ltd. e alla Pink Floyd Music non sono sfuggite le mosse che Tomasi e la Evolve Devolve hanno fatto seguire alla mancata prima meneghina, ovvero i tentativi di abboccamento - tra altro già dichiarati dallo stesso Tomasi a Rockol - con altri spazi europei ed extraeuropei per dare un'altra casa a "Their mortal remains". Peccato che, secondo gli accordi presi con il gruppo, la ricerca di finanziatori terzi per l'operazione non figurasse tra le clausole del contratto.

Oltre alle somme non ancora versate, Gilmour, Mason e Waters hanno chiesto a Tomasi una dichiarazione firmata che certifichi, da parte di Evolve Devolve, il completo controllo da parte dei superstiti del gruppo dell'eventuale allestimento di future mostre, del merchandise ad esse connesso, del catalogo della stessa e dei diritti d'autori delle opere esposte: i Pink Floyd hanno inoltre diffidato il promoter italiano e la sua società a presentersi come organizzatori della mostra.

Nel frattempo, rimane ancora aperto il nodo relativo ai rimborsi dei biglietti emessi in prevendita: sentito da Rockol lo scorso 9 gennaio Paolo Ambrosio, co-fondatore della Evolve Devolve, aveva indicato come un paio di mesi - quindi, in linea teorica, la fine dello scorso marzo - il termine entro il quale le domande di risarcimento sarebbero state gestite. Ad oggi, tuttavia, molti fan sostengono di non aver ancora ricevuto il rimborso: il sito ufficiale della manifestazione risulta offline e il canale Twitter della mostra è attualmente fermo allo scorso 29 aprile.

Rockol sta per contattare Evolve Devolve per chiedere una dichiarazione in proposito.

http://www.rockol.it/news-646440/pink-f ... anizzatori

40 Years Ago: Pink Floyd Pay Tribute to Syd Barrett on ‘Wish You Were Here’



Following up a hit record is no mean feat for any band, and even under the best of circumstances, Pink Floyd might have found it all but impossible to come back from the massive success of Dark Side of the Moon.

Unfortunately, when the band returned to the studio in January 1975, conditions were far from favorable in the band for a variety of reasons — not the least of which was the fact that, as they adjusted to life after a worldwide smash record, the members of the band found themselves more disoriented than fulfilled. Compounding the problem was a growing disconnect between bassist Roger Waters and the rest of Pink Floyd, particularly guitarist David Gilmour.

“We were all having to assess what we were in this business for,” Gilmour said in the 2012 documentary The Story of Wish You Were Here. “Whether we were artists or businessmen. Having achieved the sort of success and money out of it all, it could fulfill anyone’s wildest teenage dreams, why we would still continue to want to do it? Roger has said he thinks we may have been finished at that point, and he may have been right.”

It also didn’t help that, as drummer Nick Mason said in a separate interview filmed for the movie, the band didn’t exactly have a ton of material stored up for their next album. After spending years rotating through the industry’s tour-and-record cycle, they hunkered down on their Dark Side follow-up basically bereft of material — and some of the songs they had written ended up being thrown out of the running order.

The songs in question, “Raving and Drooling” and “You Gotta Be Crazy,” were excised from the album after a fight between Waters and Gilmour, prompted because Waters felt the songs they had didn’t hold together as a cohesive whole. In his view, it was better to expand one particular track — titled “Shine On You Crazy Diamond” — into a bookend that essentially enveloped the rest of the record. As Waters later revealed, the piece was largely inspired by his heartbreak over the self-imposed exile of the band’s founding guitarist and first leader, Syd Barrett.

“I’ve never read an intelligent piece on Syd Barrett in any magazine, never,” Waters is quoted as saying in Mark Blake’s book Comfortably Numb: The Inside Story of Pink Floyd. “I wrote and rewrote and rewrote and rewrote that lyric because I wanted it to be as close as possible to what I felt. There’s a truthful feeling in that piece. That sort of indefinable, inevitable melancholy about the disappearance of Syd. He’s withdrawn so far away that he’s no longer there.”

Waters’ feelings regarding Barrett’s absence could have been applied, to some degree, to the rest of Pink Floyd. “No one was really looking anyone in the eye,” he complained. “It was all very mechanical.”

“It was disengagement,” concurred Gilmour. “It was not being willing to apply yourself sufficiently. Lots of moments when any one of us might have been much more interested in thinking about what we were doing that weekend [...] The concentrated activity was rather diluted, and I’m sure for a very pushing, driving sort of person like Roger, it was more frustrating than it was for anyone else — although it was very frustrating for all of us, I suspect.”

Thus preoccupied by feelings of alienation and disillusionment, the members of the group — primarily pulled along by Waters — cobbled together a set of songs built around absence, starting with the withdrawal of their friend Barrett and spilling over into the creeping disappointment they’d found with one another and in the industry they’d enriched with Dark Side of the Moon. In the midst of the recording, Barrett himself made an unannounced appearance in the studio, looking so different that the members of the band initially failed to recognize him.

Drummer Nick Mason, for one, later remembered Barrett looking like a “large, fat bloke with a shaven head, wearing a decrepit old tan mac and carrying a plastic shopping bag,” while keyboard player Rick Wright recalled a sad denouement to their former leader’s surprise visit: “Syd stood up and said, ‘Right, when do I put the guitar on?’ And, of course, he didn’t have a guitar with him. We said, ‘Sorry, Syd, the guitar’s all done.’”

Such was the band’s disconnect that one song on the album, titled “Have a Cigar,” ultimately ended up being sung by someone outside the lineup. After Waters and Gilmour tried and failed to lend the requisite degree of vocal snark to their sarcastic ode to music business cynicism, they ended up turning to singer Roy Harper, who was sharing the studio with them and happened to be in the room one day while they struggled to find a solution.

“Roger can write songs but he’s never going to be in the top one hundred as a rock singer,” observed Harper. “He tries hard, he’s a good lad. Anyway, neither of them could get up there. I just stood at the back, leaning against a machine and laughing. I said, ‘I’ll sing it for you,’ and someone said, ‘OK,’ and I said, ‘For a price.’”

Recording finally wrapped in the summer of 1975, and after settling on a typically evocative cover design from legendary artist Storm Thorgerson, the members of Pink Floyd sent their ninth studio LP — titled Wish You Were Here, after a particularly disaffected Gilmour-Waters cowrite — to their label. Scheduled for release on Sept. 12, it immediately became one of the most highly anticipated albums of 1975.

Not that Pink Floyd necessarily acted like a band delivering a major piece of product. In fact, their only concession to the promotion machine was a single syndicated live show, recorded at the Los Angeles Sports Arena in the spring of 1975, which was broadcast in an array of major markets ahead of the tour booked to support Wish You Were Here. The sold-out set, which still included “Raving and Drooling” and “You Gotta Be Crazy,” also featured an extended “Shine On You Crazy Diamond” as well as “Have a Cigar,” “Echoes,” and “Dark Side of the Moon” — as well as an expanding roster of special effects that now included expensive and unpredictable pyrotechnics.

In spite of inevitably mixed reviews, Wish You Were Here went on to top the charts on both sides of the Atlantic, and although it couldn’t hope to match the gargantuan sales of Dark Side of the Moon, it enjoyed substantial success in its own right, selling more than six million copies in the U.S. alone. And while the Floyd machine would continue to churn out product on a regular basis in the near future — starting with 1977′s Animals, which included the jettisoned Wish tracks “”Raving and Drooling” and “You Gotta Be Crazy” — the writing was already on the wall for Waters’ eventual departure from the band. As he pointed out in The Inside Story of Pink Floyd, even the biggest sales figures can’t balance out creative dysfunction.

“The dream,” shrugged Waters, “is that when you are successful, when you’re a star, you’ll be fine, everything will go wonderfully well. That’s the dream — and everybody knows it’s an empty one.”

Read More: 40 Years Ago: Pink Floyd Pay Tribute to Syd Barrett on 'Wish You Were Here' | http://ultimateclassicrock.com/pink-flo ... ck=tsmclip

Roger Waters Discusses How ‘The Wall’ Has Evolved Over the Years

On Sept. 29, Roger Waters The Wall will have a one-night only showing in movie theaters around the world. Part concert film and part personal journey, the film uses the famous Pink Floyd album he masterminded as a backdrop for putting a spotlight on the human cost of war.

However, that theme wasn’t as apparent in its original incarnation, which dealt mostly with a rock musician’s alienation between he and his fans and, ultimately, society. It’s only been in recent years, as he’s toured behind a mammoth production of the piece, which is seen in the film, that he’s come to explore that idea in greater detail.

Waters sat down to speak with Ultimate Classic Rock about these changes, starting with the birth of the concept. “My memory is that after doing the Animals tour in 1977, and touring in 1975 and starting to work in stadiums I became very disenchanted with that.” he tells us. “I felt very alienated from the audiences in many occasions doing shows. So one day I did, on the back of an envelope or a small piece of paper, draw that. I drew the wall, filling an arena or from one side of the stadium to the other. And I did eventually start saying to people, ‘Hey, I’ve had an idea.’ ‘Yeah, what is it?’ ‘How about doing a rock show and building a wall across the front of the stage until the audience can’t see us anymore or any of the show and preferably can’t hear it either, and when it’s finished – that’s the end of the show?’ [laughs] I have to say that people were clever enough to go, ‘Well, [that] sounds good but finishing like that sounds a little harsh. [laughs]‘ ‘Yeah, it would be.’ ‘Well, could we knock it down? Is there a moment of redemption at the end of it all?’”

However, it wasn’t until Waters, who lost his grandfather in World War I and his father in World War II, saw the work Gerald Scarfe did for the film adaptation that he realized there was another story to be told. As he notes, “His animations pointed us towards memories of the second World War and how difficult that was for people being bombed and those of us that lost family members like I did during that conflict.”

He decided to explore that in greater detail in 2012 when he created this new version, because it made more sense to draw attention to those issues, given the state of the world today. “I was determined that it should be less specifically about my predicament and my story and my journey,” he says, “and more a general look at what it means to those of us who become victims to what seems to be an insatiable desire by those with the reigns of power in their hands to wage war on others to further whatever their aims might be.”

“So it’s very important that we don’t get carried away in thinking we are the good guys and they are inevitably are the bad guys, which is why it fits very neatly into the theatrical experience that is The Wall because it’s very much to do with the fact that there are walls between us and others. But they’re not necessarily helpful for either the others or for us. This is coming home to roost in even bigger ways now. Donald Trump wants to build a wall all the way from the Pacific Ocean all across the Gulf states. From sea to shining sea to keep out the evil ones who are trying to come in and get our jobs and will do whatever else they’re supposed to be doing.”


Read More: Roger Waters Discusses How 'The Wall' Has Evolved Over the Years: Exclusive Interview | http://ultimateclassicrock.com/roger-wa ... ck=tsmclip