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Joined: October 31 2006
Location: Italy
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Points: 14110
Posted: December 06 2010 at 23:29
moshkito wrote:
infandous wrote:
... ... It should be mentioned though that all members of Floyd had their sights set on commercial success (though maybe not Barrett, but we'll never know that for sure now). However, they seemed to aim for that mostly in the business side, while the music remained completely in their control (they made sure of this fairly early on). ...
I'm not sure this is the case ... the nice attention they were getting was helping them get around and get known ... but they did things that most rock bands don't do at all today ... where someone is so pre-occupied with fame and notoriety and making sure they had heard and seen on Prog Archives.
PF already had a lot of attention in 1972, and they had already been a part of at least 3 movies, 2 by Barbet Schroeder, 1 by Anotnioni that was totally hacked by the American studio that paid for it that did not want to use Pink Floyd, and several other film projects, one released as a concert with DSOTM outtakes, a lot of which ... Nick Mason called ... "nice home movies" ...
The point to be made here, is that Pink Floyd was looking for their music to be "visual" ... and they had made the call that their concerts would be a treat ... and then they put together a trip for DSOTM, that featured a film that won an Oscar later, and had some far out singers and the tours were sold out. heck ... PF was sold out in 1972 at the Hollywood Bowl where I saw them first ... to give you an idea ... and their main concern then, was the quality of the music coming through the Quadraphonic sound system they started with ... (they were the first with it) ...
I don't thik that PF fell ... I think they ran the course of their life ... and what more can you do together? ... not much except share a glass of wine and look at each other and say ... we did well ... much better than we thought.
And btw, much of "The Final Cut" were out takes from The Wall, and they were in the first version of the film and were cut later because it was too long for the American audience and they wanted to make sure they did not go over the 2 albums time span. The extra material was about Roger's dad and the war, and that is where Vera Lynn and a lot of the war stuff came from ... and added a very nice historical concept to the story of The Wall. As it is right now, the whole 4th side is bizarre and the whole military thing is stupid ... and an analogy for the social powers, and that was not exactly the concept before, and it still isn't!
.
I stand with Roger Waters, I stand with Joan Baez, I stand with Victor Jara, I stand with Woody Guthrie. Music is revolution
Joined: April 11 2006
Location: Canada
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Points: 44
Posted: December 07 2010 at 01:23
I think they fell with "The Wall". The last Pink Floyd album proper, was "Animals", which I remember hearing in early 1977 when first released. It certainly was a team effort, and still has the trademark Floydian ingredients: Gilmour plays one of the finest solos of his career on "Dogs"; Wright is still prominent with layers of organ and synths; Mason keeps things together as usual; Waters writes some powerful and biting lyrics. After that, it was the beginning of a different band. Roger's solo career began with "The Wall" and it continues to the present day.
Joined: January 04 2007
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Posted: December 09 2010 at 16:15
oddiyo wrote:
I think they fell with "The Wall". The last Pink Floyd album proper, was "Animals", which I remember hearing in early 1977 when first released. It certainly was a team effort, and still has the trademark Floydian ingredients: Gilmour plays one of the finest solos of his career on "Dogs"; Wright is still prominent with layers of organ and synths; Mason keeps things together as usual; Waters writes some powerful and biting lyrics. After that, it was the beginning of a different band. Roger's solo career began with "The Wall" and it continues to the present day.
You should have heard the original ... called "Raving and Drooling" ... it was the best space rock song ever done and had Gilmour going even further out ... which was taken out by Waters in the re-mixing of the album ... which also killed the song and made it something else ... although I will admit that it did have a nice moment in it ... and you could feel Anaheim Stadium lift and your stomach turn on a chord change on the keyboard part ... but that is/was the only thing that made that song stand out ... the rest was not as nice or as good as before.
The album is nice, but not half as good as the original ... not even close! It's too bad that the majority here will never hear it or have any idea about it ... or even learn what the Greatest Gig in the Sky was really all about ... because it was about Syd!
Edited by moshkito - December 09 2010 at 16:17
Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told! www.pedrosena.com
Joined: July 27 2010
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Posted: December 10 2010 at 14:32
Even if MLOR and the wall are not my favourite ones ,i think the floyd never realy fell, it's a fantastic band and the three david dvd and the roger one ( in the flesh ) still are my great happiness
Joined: March 23 2005
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Posted: December 11 2010 at 04:42
Dean wrote:
The_Jester wrote:
But it's more comercial, they became controlled by the labels.
And the proof of that is?
I was thinking the same thing. Gilmour led Floyd sounds like what it is...Gilmour led Floyd. I can't imagine the record company telling him what to do or him or him acquiescing. Does The Jester also think that On An Island is controlled by the label?
Joined: July 02 2008
Location: Australia
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Posted: December 11 2010 at 04:53
I am fairly sure the labels did not control the Floyd, it was more the era. When they merged into the 90s the music scene had dissipated, at least the type of music that Pink Floyd was playing. All bands had to change or adapt to the new style. Pink Floyd refused to do this and suffered as a result. I remember clearly when Division Bell was released how everyone was so excited about this new journey for the band. I ree,br the huge diorama displays in the shops of the talking statue heads, and even the High Hopes clip was being played a lot on TV. After I heard this I thought it was a masterpiece tracks and knew i would soon have this album, though I was bitterly disappointed at The Final Cut.
The Division Bell was hailed as a return to form for the band. However the reception was overall cold. i like the album but not everyone has warm feelings towards it. The live versions are excellent on PULSE. I think Floyd existed after this purely as a live act, never returning to the studios as a band rather exploring solo careers, and Gilmour succeeded as a solo artist, though it is debatable if Waters did so much.
The band could do more live shows easily but are settled into a retirement phase. Never say never though because the band did reunite as we know for Live Aid 8. If anyone wants to see this concert I loaded it myself on youtube!
Edited by AtomicCrimsonRush - December 11 2010 at 04:56
Joined: September 29 2010
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Posted: December 11 2010 at 11:23
Well, maybe not the labels but they were willing to attract a bigger part of the population by making their albums more commercial since Dark Side of the Moon. They started going music for the people and not for the art of music. They still are good albums, I listen to them often but, listen to the Wall, it's mainly comercial but got some Pink Floyd feel that I like.
La victoire est éphémère mais la gloire est éternelle!
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Posted: December 11 2010 at 12:07
The_Jester wrote:
Well, maybe not the labels but they were willing to attract a bigger part of the population by making their albums more commercial since Dark Side of the Moon. They started going music for the people and not for the art of music. They still are good albums, I listen to them often but, listen to the Wall, it's mainly comercial but got some Pink Floyd feel that I like.
Nope - still not getting it. One of the themes of The Wall was a rant against making music for the people and the pressures of labels and Labels - Waters has been preoccupied with that concept since the late 60s (Cymbaline and Free Four) and carried it on through Wish You Were Here before embarking on The Wall, he has since carried the whole disillusionment with the media-industry further on Amused To Death.
The Wall was indeed a commercial success and features short songs, but none of which are in what anyone would describe as being "commercial" format - one hit single and one very popular track does not constitute a commercial album - there are 24 other tracks on the album - which of those are "commercial"?
Like DSotM, the "art" is not in the individual tracks but in the complete whole - just as Atom Heart Mother was a single track of seperate parts, so was The Wall - it is also cyclic with no actual beginning or end - just as history repeats itself, so does the "story" within the album, with the end folding back to the beginning - how "art" is that?
Joined: June 20 2005
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Posted: December 11 2010 at 12:51
Dean wrote:
The_Jester wrote:
Well, maybe not the labels but they were willing to attract a bigger part of the population by making their albums more commercial since Dark Side of the Moon. They started going music for the people and not for the art of music. They still are good albums, I listen to them often but, listen to the Wall, it's mainly comercial but got some Pink Floyd feel that I like.
Nope - still not getting it. One of the themes of The Wall was a rant against making music for the people and the pressures of labels and Labels - Waters has been preoccupied with that concept since the late 60s (Cymbaline and Free Four) and carried it on through Wish You Were Here before embarking on The Wall, he has since carried the whole disillusionment with the media-industry further on Amused To Death.
The Wall was indeed a commercial success and features short songs, but none of which are in what anyone would describe as being "commercial" format - one hit single and one very popular track does not constitute a commercial album - there are 24 other tracks on the album - which of those are "commercial"?
Like DSotM, the "art" is not in the individual tracks but in the complete whole - just as Atom Heart Mother was a single track of seperate parts, so was The Wall - it is also cyclic with no actual beginning or end - just as history repeats itself, so does the "story" within the album, with the end folding back to the beginning - how "art" is that?
I agree 100%
Just saw The Wall this week (live) - it was UNBELIEVABLY good.
Joined: March 19 2008
Location: Sweden
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Points: 841
Posted: December 11 2010 at 13:29
harmonium.ro wrote:
Jester is confusing accesible and clear with commercial and plain.
Some people also confuse commersial with high album sales. Just because Pink Floyd sold loads of records doesn't mean that the music is bad in any way. Or, that they ever tried to please the masses. They did the kind of music they, themselves, wanted to listen to. The record company had no say in the process of making that music, it was up against the very stubborn integrity of Gilmour and Waters.
Joined: October 28 2008
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Posted: December 11 2010 at 13:39
silverpot wrote:
harmonium.ro wrote:
Jester is confusing accesible and clear with commercial and plain.
Some people also confuse commersial with high album sales. Just because Pink Floyd sold loads of records doesn't mean that the music is bad in any way. Or, that they ever tried to please the masses. They did the kind of music they, themselves, wanted to listen to. The record company had no say in the process of making that music, it was up against the very stubborn integrity of Gilmour and Waters.
Absolutely right. A great post
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The fall of Pink Floyd
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moshkito wrote:
