Green Is the Colour (from More)

Tag

David Gilmour, Roger Waters, More, Nick Mason, Richard Wright, The Beginning

It is a song by Roger Waters. A tin whistle is heard in the song, played by drummer Nick Mason‘s then-wife Lindy.

Live arrangements of the song were performed as a full electric band piece and at a slower tempo. Richard Wright built a calm sheen of warbling organ sound throughout, which created a more natural segue into the piece that always immediately followed it, “Careful with That Axe, Eugene“. David Gilmour also sang a scat vocal over his guitar solo during the outro. In a live intro to the song from 1970, Roger Waters states that the song is “about being on Ibiza” the setting of the film, More.

In The Man and The Journey suite, the song was retitled “The Beginning” in “The Journey” half of the show. It was played as a medley with “Beset by the Creatures of the Deep”, which was a retitling of “Careful with That Axe, Eugene”.
The song was a regular part of the band’s shows from early 1969 through 1970, then less common in 1971. It was played for the last time during their short tour of Japan and Australia in August 1971.

Lirycs

“Heavy hung the canopy of blue
shade my eyes and I can see you
white is the light that shines
through the dress that you wore

She lay in the shadow of a wave
hazy were the visions overplayed
sunlight in her eyes
but moonshine made her cry
every time

Green is the colour of her kind
quickness of the eye deceives the mind
envy is the bond between the hopeful
and the damned”.

Brano scritto da Roger Waters per l’album “More”, interpretata da David Gilmour. Nel brano vi é l’apporto del flauto suonato da Linda Mason, allora moglie di Nick.

Nel film il brano, molto dolce e sognante, è impiegato per descrivere il momento di massimo idillio fra i due giovani che, fuggiti dall’altra parte dell’isola in una casa isolata, lontani dal pusher (a cui lei ha rubato dell’ero), vivono la loro storia d’amore, di libertà, di sesso e di buona droga leggera (lui crede)

Up the Khyber (from More)

Tag

Interstellar Overdrive, More, Nick Mason, Richard Wright, Up the Khyber, Doing It!

It was written by their drummer Nick Mason, and keyboardist Richard Wright.

Essentially, the piece is an extended drum solo with added hectic piano playing, haunting organ lines, and unusual tape effects. It is approximately 2 minutes and 12 seconds long. It is the only Pink Floyd song credited to Mason/Wright.

The song was played live in a slightly altered state on The Man and the Journey where it was entitled, “Doing It!“. It was also played as a part of “Interstellar Overdrive“.

Il brano é stato scritto dal loro batterista Nick Mason e il tastierista Richard Wright.

In sostanza, il pezzo è un esteso assolo di batteria con alcune variazioni di pianoforte, organo ed insoliti effetti. E’ l’unico brano dei Pink Floyd accreditato a Mason / Wright.

Crying Song (from More)

Tag

David Gilmour, Roger Waters, More, Nick Mason, Richard Wright, Crying Song

“Crying Song” was composed by Roger Waters. It appears on their 1969 soundtrack album from the Film More. The song is a lazy pastoral-like ballad, featuring a dreamy vocal delivery by Gilmour. The song was never performed live.
The song is introduced by a vibraphone played by Richard Wright. David Gilmour plays acoustic guitar and the final electric guitar solo which is in the beginning very close to the vocal line with some rhythmic variation. It slowly evolves into its own melody line while maintaining its melodic character. This approach is very typical for Gilmour’s later style. Roger Waters can be heard on the Fender Precision Bass while Nick Mason is using just the snare drum of his kit.

“Crying Song” é stata composta da Roger Waters. Appare sul loro album colonna sonora del film More. La canzone è un lento-pastorale, simile ad una ballata, con una parte vocale di Gilmour. La canzone non fu mai eseguita dal vivo.
La canzone è introdotta da un vibrafono suonato da Richard Wright. David Gilmour suona la chitarra acustica e l’assolo finale di chitarra elettrica che è in principio molto vicino alla linea vocale con qualche variazione ritmica. Si evolve lentamente nella sua linea melodica propria, pur mantenendo il suo carattere melodico. Questo approccio è molto tipico di quello che sarà lo stile di Gilmour. Roger Waters si ascolta sul Fender Precision Bass mentre Nick Mason utilizza solo il rullante.

Lyrics

We smile and smile
We smile and smile
Laughter echoes in your eyes
We climb and climb
We climb and climb
Footfall softly in the pines
We cry and cry
We cry and cry
Sadness passes in a while
We role and role
We role and role
Help me role away the stone

On this day – accadeva oggi

Tag

(Apparently They Were Travelling Abroad, 1970, 1984, Dallas, Dave Harris, Houston, Identity, New Orleans' Warehouse, New York's Filmore East, PBS TV Network, Richard Wright, Roger Waters, The Pros And Cons Of Hitch Hiking, Zee

9 April 1970
Pink Floyd’s 18-date US tour commenced at New York’s Filmore East and ended at New Orleans’ Warehouse after the final two scheduled shows in Houston and Dallas were cancelled. The tour included an hour-long live performance filmed by the PBS TV Network in San Francisco.

I Pink Floyd iniziano un tour di 18 concerti  negli Stati Uniti al New York Filmore Est finendolo al Warehouse di New Orleans. Gli ultimi due spettacoli in programma a Houston e Dallas sono stati annullati. Il tour comprendeva un’ora di performance live ripreso dalla TV PBS a San Francisco.

9 April 1984
Zee released their debut album, Identity, in the UK (Identity is the only album by Zee, a short-lived partnership consisting of Pink Floyd keyboardist Richard Wright and Dave Harris of New Romantic outfit Fashion, released in 1984). Roger Waters released a solo single, 5.01 AM (The Pros And Cons Of Hitch Hiking) B-side: 4.30 AM (Apparently They Were Travelling Abroad) in the US. It was released a week later in the UK.

I Zee (gruppo musicale britannico formato da Richard Wright e Dave Harris) pubblicano il loro album di debutto, Identity, nel Regno Unito. Roger Waters  pubblica negli Stati Uniti un singolo solista, 5.01 AM (The Pros And Cons Of Hitch Hiking) B-side: 4.30 AM (Apparently They Were Travelling Abroad) . Lo stesso verrà pubblicato  una settimana più tardi nel Regno Unito.

Newsfloyds from the world – 4 april 2012

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1975, antiMUSIC.com, Brit Floyd, David Gilmour, Diario La Arena, Floyd Machine, ForlìToday, HotIndieNews.com, Intrage, La Razón (Argentina), Led Zeppelin, Nick Mason, Old Town Whiskey, Phoenix New Times (blog), Primo maggio 2012, Richard Wright, Roger Waters, Roma Sinfonietta, Something Else! Reviews, The Cure, Wish You Were Here

Pink Floyd’s The Story Of Wish You Were Here DVD and Blu-Ray Coming
antiMUSIC.com
Pink Floyd’s The Story Of Wish You Were Here is set to be released on DVD and Blu-ray on June 26, 2012 by Eagle Rock. Kayos sent over these details: This is the authorized story of the album made with the full involvement and approval of the members of …

New documentary focuses on the making of Pink Floyd’s Wish You Were Here
Something Else! Reviews
A forthcoming DVD/Blu-ray documentary will trace the creation of Pink Floyd’s 1975 release Wish You Were Here, with new interviews from Roger Waters, David Gilmour and Nick Mason, along with archival footage with the late Richard Wright.

Brit Floyd Recreates Visual Spectacle Show – Concert Review
HotIndieNews.com
Since Brit Floyd’s formation in the late 2000′s, they have recreated mere moments that Pink Floyd has mastered in the 70′s and 80′s with prime sound, great lights, and music that you can drift away with when you close your eyes at their shows.

Classic Album Thursdays at Old Town Whiskey
Phoenix New Times (blog)
This week’s year was 1975 and the records of choice were Led Zeppelin’s Physical Graffiti and Pink Floyd’s Wish You Were Here. While Classic Album Thursday is mostly classic rock, Mr. P-Body has been known to mix it up with old school hip hop and …

I Floyd Machine, tribute band della mitica rock band inglese, al Naima
ForlìToday
I Floyd Machine, la tribute band dei mitici Pink Floyd riconosciuta dalla band stessa, saranno al Naima club di Forlì venerdì 6 aprile dalle 22.30. Il gruppo dei Floyd Machine nasce nell’ottobre 1999. L’idea è quella di di formare una tribute band …

Primo maggio 2012: sindacati a Rieti, poi concertone a Roma
Intrage
… musicista e direttore della “resident band” e dell’orchestra Roma Sinfonietta, che accompagna ben 12 brani che hanno fatto la storia del rock, da Pink Floyd ai Led Zeppelin, passando per Elvis Presley, gli Who, i Beatles, i Rolling Stones, …

Más ladrillos en la pared
La Razón (Argentina)
El sello EMI lanzó a la venta “Immersion” y “Experience The Wall”, la última de las ediciones especiales de la serie “Why Pink Floyd?”. La primera, y más completa de las presentaciones, incluye la versión original de la obra, y el doble “Is There …

Hijos del Invierno recuerda al flaco Spinetta
Diario La Arena
En general tenemos composiciones oscuras, porque además del Flaco escuchamos mucho Pink Floyd, Led Zeppelin y The Cure, entonces es natural que nos salgan canciones en ese sentido” contó Adrián. Su música es la banda de sonido de varias generaciones, …

Cirrus Minor (from More)

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David Gilmour, Roger Waters, More, Richard Wright, Ummagumma, Cirrus Minor, Grantchester Meadows, Relics, Hammond, Farfisa

It is the first track of the album Soundtrack from the Film More.

The song is approximately 5 minutes 15 seconds long. It was written by Roger Waters and performed with David Gilmour (vocals, guitar) and Richard Wright (organ). The song has a hallucinogenic, pastoral quality, with prominent organ and bird sound effects, like those that later featured on the Ummagumma track “Grantchester Meadows”. It was also included on Pink Floyd’s compilation album Relics. The song features no drums, which creates a rather unusual feeling. The Hammond and Farfisa organ coda is similar to that found on the “Celestial Voices” section of “A Saucerful of Secrets”. While the Hammond provides a stately foundation with a Em-Bm-D-A-G-D-B sequence, about 1/4 way into the coda Wright introduces the Farfisa which, run through a Binson Echorec platter echo, produces the swirly, trembly, echoey sound that hovers over the Hammond.

E’ il primo brano della colonna sonora del film More ed é stato scritto da Roger Waters e suonato con David Gilmour (voce, chitarra) e Richard Wright (organo). La canzone ha un che di allucinogeno, con richiami pastorali, con l’utilizzo dell’organo di primo piano e degli effetti sonori di uccelli, come quelli che in seguito saranno utilizzati nel brano “Grantchester Meadows” di Ummagumma . È stato anche incluso nella compilation Relics. Il brano non prevede l’uso della batteria, il che crea una sensazione piuttosto insolita.

Lirycs

In a churchyard by a river
lazing in the haze of midday
laughing in the grasses and the graves

Yellow bird you are not lonely
in singing and in flying on
in laughing and in leaving

Willow weeping in the water
waving to the river-daughters
swaying in the ripples and the wreaths

On a trip to Cirrus Minor
saw a crater in the sun
A thousand miles of moonlight later

(cit.: Wikipedia)

On this day – accadeva oggi

Tag

1973, EMI, London Planetarium, Richard Wright, The Dark Side of the Moon

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.

Jugband Blues

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)

See-Saw

Tag

1968, A Saucerful of Secrets, Richard Wright

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

A Saucerful of Secrets (song)

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]