27 lunedì feb 2012
Posted in Accadeva oggi, Storia
28 February 1967
Pink Floyd signed to EMI Records for an advance of £5,000.
I Pink Floyd diventarono professionisti firmanto un conctratto con la EMI Records e ricevendo un anticipo di 5.000 sterline.
27 lunedì feb 2012
Posted in Accadeva oggi, Storia
27 February 1973
EMI held a press reception for The Dark Side Of The Moon at the London Planetarium. Only Richard Wright attended the event; the other band members refused in protest at what they believed to be an inferior sound system brought in by EMI.
Conferenza stampa organizzata dalla EMI per il lancio di The Dark Side Of The Moon al Planetarium di Londra. Solo Richard Wright ha partecipato all’evento, gli altri membri della gruppo hanno rifiutato in segno di protesta in quanto credevono che la EMI avesse introdotto un sistema audio inferiore rispetto allo standard, utilizzato nelle sessioni di registrazione.
26 domenica feb 2012
Tag
1967, 1968, A Saucerful of Secrets, Melody Maker, Remember A Day, Richard Wright, Roger Waters, syd barrett
“Jugband Blues” is a song by British psychedelic rock band Pink Floyd, and is featured on their second album, A Saucerful of Secrets (1968). It was written by Syd Barrett, being his sole writing contribution to the album, and also his last published for the band.
The promotional video for the song features Barrett (shown with an acoustic guitar for the first time) and the group miming to the song in a more conventional stage setting, with psychedelic projections in the background. The original audio to the promo is lost, and most versions use the BBC recording from late 1967, consequently causing sync issues most evident as Syd sings the opening verse. Roger Waters and Richard Wright switch to tuba and trombone respectively in the brass-driven instrumental break.
Barrett wanted a Salvation Army band to play on the track. They were brought in, but when he stated that he wanted them to simply “play whatever they want” regardless of the rest of the group, Norman Smith insisted on recorded parts. Eventually both versions were recorded and used.
Because of Barrett’s increasingly erratic behavior, which reduced his commitment to both songwriting and recording, as well as the song’s distinctive three-tiered structure (all three parts are in separate keys and in different time) some listeners believed that “Jugband Blues” was more than likely a mash-up of three or four separate Barrett demos from various points that the rest of the band spliced together, presumably to create the impression that “Jugband” was a singular, stand-alone piece; this has proven not to be the case, and “Jugband Blues” was recorded how Barrett composed it.
The song is viewed by many fans as a sad farewell piece by Barrett who, by the beginning of the recording sessions for A Saucerful of Secrets, was already shrinking into a delirious state of mind, exacerbated by his feelings of alienation from the rest of the band, as can be gleaned from the painfully specific lyrics in the song (“I don’t care if the sun don’t shine/ And I don’t care if nothing is mine”), although it has been argued that the common interpretation of the lyrics as reflecting Barrett’s dementia owes more to Barrett’s popular image more than fact, and that they could be read as a criticism of the other band members for forcing him out.
Jugband Blues è l’ultimo brano dell’album A Saucerful of Secrets, uscito nel 1968 ed unico scritto da Syd Barrett e l’ultima sua canzone incisa dai Pink Floyd.Il contributo di Barrett a A Saucerful Of Secrets è ridotto al minimo. La tristemente profetica Jugband Blues fu scritta proprio poco prima del suo addio. Chiamò (cosa affatto strana per lui) alcuni musicisti della banda dell’Esercito della Salvezza che si trovavano negli studi di Abbey Road per registrare e li invitò a suonare una cosa qualunque; non fornì loro nessuna indicazione e, a giudicare dalla traccia registrata, non suonarono neppure ogni volta lo stesso pezzo. Altre notizie si hanno grazie a una risposta (sorprendentemente coerente) di Barrett alla lettera di un lettore pubblicata il 7 giugno sul Melody Maker. Syd spiegò di aver suonato soltanto in Remember A Day e che ci fu qualche problema. Non disse invece che la sua partecipazione fu una sorta di concessione dei suoi ex compagni a seguito di molte ore passate alla reception dello studio aspettando di essere invitato a entrare.
(cit: Pink Floyd – Un Sogno In Technicolor – 30 Anni di Storia
di Glenn Povey e Ian Russell – Wikipedia)
25 sabato feb 2012
Sesto e penultimo brano dell’album “A saucerful of secret”, è stato composto e cantato da Richard Wright. Il brano convinceva poco il suo autore, e ciò si può intuire dal titolo originale del brano, The Most Boring Song I’ve Ever Heard (La canzone più noiosa che io abbia mai sentito).
Difatti il brano é un rievocare di ricordi infantili di due fratelli (esattamente un fratello ed una sorella) ed i loro giochi con le altalene.
“See-Saw” is a song from Pink Floyd’s 1968 album A Saucerful of Secrets. It is the third Pink Floyd song written solely by Richard Wright, and the second on the album as such, and features Wright on vocals. Its atmosphere, tone and lyrical content (reminiscences of an idyllic childhood) resemble Wright’s other solo composition on the album, “Remember a Day”, although the overall tone of the song is more dark and depressing
24 venerdì feb 2012
Posted in Accadeva oggi, Storia
24 February 1980
Pink Floyd’s The Wall was staged on five consecutive nights at the Nassau Veterans Memorial Coliseum. The MC for all nights was ‘Saturday Night Live’ comedian/impressionist Gary Yudman.
I Pink Floyd si esibiscono per 5 serate consecutive nel concerto The Wall al Nassau Veterans Memorial Coliseum. Il MC (Master of Ceremonies) per tutte le serate è stato il comico/impressionista del ‘Saturday Night Live’ Gary Yudman.
23 giovedì feb 2012
Posted in Accadeva oggi, Storia
23 February 1972
Pink Floyd began a week-long recording session at Château d’Hérouville studios near Paris, working on music for the soundtrack to More director Barbet Schroeder’s next film, La Vallée.
Pink Floyd iniziarono una settimana di sessioni di registrazione allo Château d’Hérouville studios vicino a Parigi, lavorando sulla musica per la colonna sonora del prossimo film del regista Barbet Schroeder, La Vallée.
22 mercoledì feb 2012
Posted in Interviste
From Artist Direct. By Rick Florino
With The Wall, Pink Floyd didn’t make just another record.
Given The Wall’s grandiose story, film, and stage show, it was always intended to be something more than the 26 songs comprising it. Over the years, it’s rightfully grown into a timeless journey on par with classic works of art even outside the realm of music.
It has a scope matching J.R.R. Tolkien and philosophical implications on par with the best work of Stanley Kubrick. In essence, The Wall is the greatest concept album of all time. It’s an epic tale and the ultimate example of the brilliance of Roger Waters, David Gilmour, Richard Wright, and Nick Mason.
On February 28, 2012, listeners will be able to enjoy this ride like never before with the release of The Wall “Immersion” box set and “Experience” edition. The “Immersion” box set includes the original recordings remastered, unreleased demos, Is There Anybody Out There: The Wall Live, “Behind The Wall” documentary DVD, exclusive photo book, tour ticket and backstage replicas, and more. Meanwhile, the “Experience” version boasts unreleased demos and the remastered recordings.
In this exclusive interview with ARTISTdirect.com editor in chief Rick Florino, legendary Pink Floyd drum maestro delves deep into The Wall, reveals some memories, and even talks his first drum kit…
What instantly comes to mind when you think of The Wall?
Generally, it was quite an enjoyable process because once we had moved out of the UK to record the album in France there was a real sense of getting on with it. Actually, it was a really nice environment to work in. I have surprisingly happy memories particularly working in Super Bear up in Berre les Alpes. It was the first time we’d ever worked in studios outside of the UK. It was a good experience.
How much did the setting influence the music?
I don’t think very much. First of all, the skeleton had been lined up well in advance in terms of Roger’s demos that were done a lot earlier. We’d already done some working demoing how the thing was going to go. In a way, once you’re in the studio itself, you’re very unaware of the world outside so I don’t think there was ever a Charles Aznavour element of French-ness creeping in there as far as I’m aware.
Was there always a cohesive vision for The Wall?
I’m not sure whether the music went exactly where Roger thought it was going to go. Inevitably, there was an element of input Bob Ezrin, David, and Rick indeed. Musically, it probably developed beyond Roger’s initial vision. In terms of the fact that it was always intended to be much more than a record, that was a given. That was decided very early on. We were working on the show while we were in France. The technical design of The Wall itself was being done with Mark Fisher along with the record. It was also pre-computer animation where every cell was hand-drawn. That’s a slow process.
Is “Run Like Hell” a special song for you?
It’s special because it’s fun to play live. That gives it a hell of a twist. That’s true of anything which is a live favorite. I know we did a demo of that in England in a very open space, and that ended up being the sound used on the record itself.
How important were the segues between songs?
They were very important. They hark back directly to The Dark Side of the Moon where the segues aren’t necessarily entirely musical. They’re sometimes done with the sound effects. In order to keep the listener’s attention, we tried to make sure the music did flow seamlessly. I think that’s partly thanks to the efforts of Michael Kamen, the arranger. He did some great stuff with strings which disappear and work as the way of carrying things through. One of the few things a computer never seems to able do are proper crossfades. There’s something great about good ears listening to something the levels. You’re really listening to one thing disappearing and something else appearing.
Were the shows supporting The Wall more challenging?
They were definitely more challenging than anything else we’d ever done. The timing was so important. Because of the building of The Wall and trying to make the thing fit properly, there were very few opportunities to either extend or shorten the music to ensure the very last brick went into the very last hole on the very last note of the very last song. Now, one would approach it a completely different way with timing, click tracks, and so on. Everything had to be done in a very specific place. That was not normally the way we operated or were used to working. In fact, even when we working with film, which we did quite a lot, we tried to ensure that there was some room for maneuvers.
What was that like for you as a drummer?
It took quite a lot of concentration. It didn’t take extra practice so much. It was more a matter of paying attention and remembering what does come up and when.
At the time, were you guys reading a lot or watching many movies?
I think we were probably reading. We were in France, and we didn’t necessarily have access to movies being released. I suppose what influenced us most was other music going on at the time. When we were working, there would be a lot of music being played. There was always music around.
You did something completely different though.
It still influences you. We didn’t do anything like Sgt. Pepper’s Lonely Hearts Club Band but we all listened to it avidly. I remember listening to it the day it came out.
What was the first drum kit you got?
Well, it wasn’t really a kit. It was a handful of assorted drums that became a sort of a kit. There was a very cheap bass drum. The whole package cost me about 12 dollars [Laughs]. I had the bass drum, snare drum, hi-hat, and tom-tom. It was truly dreadful, but it was a start. I didn’t keep it and I have no regrets on the museum level.
22 mercoledì feb 2012
Posted in Accadeva oggi, Storia
22 February 1971
Pink Floyd’s European tour commenced at Halle Munsterland, Munster, West Germany. The second half of the gig was nearly cancelled when the band discovered that the musical score for Atom Heart Mother (needed by their brass section) had been left behind in Dusseldorf.
21 martedì feb 2012
Tag
1968, 1969, A Saucerful of Secret, David Gilmour, Live at Pompeii, Nick Mason, Richard Wright, Roger Waters, The Massed Gadgets of Hercules
6° brano dell’album
A Saucerful of Secrets fu composto da tutti i membri del gruppo Roger Waters, Richard Wright, Nick Mason, and David Gilmour. Il brano, dalla durata di circa 12 minuti, é un brano sperimentale, per il periodo in cui fu concepito era all’avanguardia; ha un feedback di chitarra, una sezione solista percussioni e cori di voci.
The track lasts 11:52 and was composed by band members Roger Waters, Richard Wright, Nick Mason, and David Gilmour. It is an experimental, avant-garde piece featuring guitar feedback, a percussion solo section, and wordless vocals.
“A Saucerful of Secrets” was originally known as “The Massed Gadgets of Hercules” in its earliest performance and became a Pink Floyd live staple from 1968 until 1972. A live version of the track is available on Pink Floyd’s 1969 double album Ummagumma, and the version seen and heard in the film Live at Pompeii: Director’s Cut is considered by many to be the definitive version. In 1969, its fourth movement, “Celestial Voices”, was incorporated into the live concept The Man and the Journey as “The End of the Beginning”. On the remastered Compact Disc versions of the album, the song is listed on the CD itself as “A Saucerful of Secret”.
‘The band felt we achieved something with the title track of A Saucerful of Secrets (1968). I can’t say as I fully understood what was going on when it was being made, with Roger sitting around drawing little diagrams on bits of paper. But throughout the following period I tried to add what I knew of harmony and bring it slightly more mainstream, if you like. And the way they worked certainly educated me. We passed on all our individual desires, talents and knowledge to each other.’
— David Gilmour
Live performances of the song differed significantly from the studio version. The closely miked cymbal sound that starts the piece was instead performed as a two-note drone on the bass. For the “Syncopated Pandemonium” section, Richard Wright usually had to be content with playing his Farfisa organ instead of pounding a grand piano with his fists as on the studio recording (the version on Pompeii being a notable exception). The “Celestial Voices” section started with just organ as per the studio version, but gradually added drums, bass, guitar and wordless vocals, provided by David Gilmour.
The Japanese release of this song was simply titled 神秘 (shinpi?), which translates as “Mystery”. The album A Saucerful of Secrets, itself, also carried this title.
The song was David Gilmour’s first songwriting credit with Pink Floyd. On the original vinyl, and early CD issues, his name was misspelled as “Gilmore”.
Although the song is listed on all pressings of the album as “A Saucerful of Secrets”, some pressings of Ummagumma break the piece into four different sections. Roger Waters once stated in a Rolling Stone interview that the song was about a battle and the aftermath. “Something Else” represents the setup of the battle. “Syncopated Pandemonium” represents the actual battle. “Storm Signal” represents the view of the dead after the battle has ended, and “Celestial Voices” represents the mourning of the dead.[citation needed]
20 lunedì feb 2012
Posted in Musica
Quarta traccia dell’album, scritta da Roger Waters ed hanno partecipato ai cori David Gilmour, Nick Mason e Richard Wright.
Il testo racconta di un soldato che perde una gamba nella Seconda guerra mondiale. È la prima menzione alla guerra in una canzone dei Pink Floyd, che diventerà un argomento di uso comune nei testi scritti da Waters.
Roger Waters, in un’intervista al mensile britannico Mojo, rivelò che la canzone è autobiografica. Lui stesso disse : “Corporal Clegg tratta di mio padre e del suo sacrificio nella Seconda guerra mondiale. E’ sarcastica l’idea della gamba di legno vista come vinta nella guerra, come un trofeo.”
Questo può essere visto come un tono piuttosto leggero rispetto a quello usato nei temi affrontati successivamente dai Pink Floyd, nonostante l’ironia (Clegg “ha vinto” la sua gamba di legno nella guerra) e il buio nel testo della canzone. Tra la cacofonia di voci verso la fine si sente un ufficiale che dice al suo uomo con una gamba sola: “Clegg! Avevo in mente di parlarvi di quella vostra gamba. Sei scusato d’ora in poi!” e alcuni membri della band che ridono nel ritornello.
It was written by Roger Waters and features David Gilmour, Nick Mason, and Richard Wright on vocals.
The song is about a soldier who lost his leg in World War II. It is the first mention of war in a Pink Floyd song, something that would become a common theme in Roger Waters’ lyrics, Roger having lost his father thus in 1944. Waters told Mojo magazine[citation needed] that this song is autobiographical. He explained: “Corporal Clegg is about my father and his sacrifice in World War II. It’s somewhat sarcastic—the idea of the wooden leg being something you won in the war, like a trophy.” This can be seen as rather lighter in tone than the Floyd’s later tackling of the subject, though, despite the irony (Clegg “won” his wooden leg in the war) and darkness behind the lyrics; indeed, among the cacophony of voices towards the end we hear an officer telling his one-legged man: “Clegg! Been meaning to speak to you. About that leg of yours! You’re excused parade from now on!” and members of the band actually corpsing in the chorus.
(cit. Wikipedia)
