THE ENDLESS RIVER

A new Pink Floyd album, hmmm go figure! So what can possibly motivate legendary millionaire golden-agers to record and publish a new work which will undoubtedly span the entire spectrum of comments from both prog fans as well as the entire music universe? Millions will love it, million others will hate it and all the Oreo cream commentary in between will be well documented online. Well, it ain't "Money" (sic!) , that is for sure, as the PF gents probably own Fort Knox by now. Do they need to prove some point, like the fine wine aging thingy? Nope. What motivates them is much more typically Floyd, both complex and simple, lubed with ongoing triple decade-old rivalry between Waters and the rest, as well as the passing of the silent genius Rick Wright. Truth is Waters is an insufferable, miserable, bigoted and egotistical megalomaniac, a genuinely inventive artist who prefers to rub people the wrong way, just for the fun of it. Because he can! Not my kind of idol (sorry Roger fans!). The ongoing epic epee duelling between him and the others is farcical and solidly deliberate, the typical Hollywood style barbs just to stay in the press and be spoken of. Gilmour and Mason always seemed to get along with the quiet and modest Wright, and maintained their 40 year-old legacy of remembering with fond affection former band mates. Needless to say, they kept the name Syd Barrett alive not only in direct words but also in songs that we all know and love.

So instead of a useless blow by blow (hi Jeff!) account, surely better exemplified by the more creative Floyd fanatics who actually know how to write (Wright?), I prefer to look at all the below radar snipping that encompasses this innuendo-laden work. I suspect that among the numerous targets of dissension between Dave and Roger, one could not help noticing the 'I sing better than you' equation, so by being a mostly all- instrumental album, with a finale-only vocal, it seems to me to be a pretty very overt FY, proven by one title named "Unsung". Secondly, the song designations also hint at a difference of opinion, with titles like "It's What We Do". "Things Left Unsaid", "Lost Art of Conversation", "Louder than Words", need I continue, no, you get the message, just Breathe! In 2005, Waters pushes out a three part opera record with a French title called "Ca Ira" (It will go okay) , so the 'enemy' records a subtle two-part piece called "Allons-y" (Let's go!). C'mon, ???. It's hilarious, snide, mischievous sniping of the very highest order! There are also winks at the very early years ,in 1968 ("Autumn '68") they recorded a tune called "Let There be More Light" , so why not write (wright) a 2014 piece called "Night Light"? Sorry but as Chief Inspector Jacques Clouseau would say "There is euh stinky fiche in my rhume" and there are no "Pros and cons of Hitchhiking" here, the facts are plain to see.

Gilmour's ongoing solid friendship with Roxy Music legend Phil Manzanera has resulted in a relationship polar opposite to Waters, two master guitarists who appreciate their different styles to the point of total respect and have nothing to prove other than make music that they enjoy. Phil's influence remains firmly grounded in the swooning instrumental stylistics, especially on the incredible 2 part "Allons-y" suite, sandwiched between a Wakeman-esque church organ piece (Autumn 68). This is sublime music that needs to be applauded for its courage of convictions, their dedication to both Barrett and Wright. I just wonder what kind of tribute they will create for Waters when he settles below his 6 foot deep WALL. I hope it's like Lou Reed's nasty "Metal Machine Music", an hour's worth of middle finger proudly raised industrial noise. By enlisting Israeli sax player Gilad Atzmon, there is surely no correlation with Waters' recent venom spewing at Israel (urging cancellation of concerts there, how dumb is that?). Nah, all this is coincidence, purely luck, happenstance and roll of the dice. Yeah, Wright!!!!!!

I suspect the boys would have enjoyed calling this "The Endless River of BS" but censors everywhere would have objected, subjected as they are to Godoogle. Gilmour and Mason are sitting in their armchairs, warming their bones beside the fire, while Wright is up in heaven doing the Great Gig in the Sky and playing "Us and Him". You might think I have gone fishing in some desert oasis and speculate on libelous likelihoods but my instincts tell me (being a divorcee, you sense stuff like this) that the bitterness is way deeper than anyone thinks, it's not just artistic, it's a character thing that goes back to the very early days and elevated to breaking point with Waters' 1983 masterpiece 'The Final Cut". Not only is there no love lost but even the hate is gone! It's become an epidermis (that skin deep in Latin) hatred that will never be overcome.

I can do that innuendo thingy allegedly but Pink Floyd can add a soundtrack to it, something I am very envious of.

Expected brilliant artwork, packaging (i got the CD/DVD package) and impossible sound!

4 eternal floods