[QUOTE=Clovis;30532250]Better than MLoR certainly[/QUOTE]
Yeah, you're definitely right about that.
However I probably [I]enjoy[/I] Lapse of Reason more. :3:
But enjoyment is a feeble thing to judge from a perspective, I enjoy it all!
I don't generally consider Final Cut and MloR as Floyd albums per se. Final Cut was Waters in all but name, and so was MloR but for Gilmour, Nick Mason didn't even play drums in the recordings and Gilmour did pretty much all the work.
In fact MloR was originally going to be a Gilmour solo album until he decided for it to not be.
Plus it was missing half of Floyd.
That's not saying it was bad, but I don't look on it as Floyd. It was fantastic nonetheless.
[QUOTE=killerteacup;30536770]I don't generally consider Final Cut and MloR as Floyd albums per se. Final Cut was Waters in all but name, and so was MloR but for Gilmour, Nick Mason didn't even play drums in the recordings and Gilmour did pretty much all the work.
In fact MloR was originally going to be a Gilmour solo album until he decided for it to not be.
Plus it was missing half of Floyd.
That's not saying it was bad, but I don't look on it as Floyd. It was fantastic nonetheless.[/QUOTE]
You say all the right things. If you listen carefully to About Face you can pull out Momentary Lapses of Reasons. :3:
I'm surprised Division Bell sounded like a band effort to be honest.
[QUOTE=Clovis;30536848]That's the difference between Momentary Lapse of Reason and The Division Bell. The former was just Gilmour and some fellow musicians with no particular concept or influence, but the latter was the band working together with a concept and influence, and the result was a great album and it proved that Pink Floyd didn't need gilmour. MLoR still doesn't feel like a Pink Floyd album to me neither.[/QUOTE]
If you listen to Sorrow, that's basically Gilmour fucking around with devices all by himself.
Still a nice song though. :3:
[QUOTE=Clovis;30536848]That's the difference between Momentary Lapse of Reason and The Division Bell. The former was just Gilmour and some fellow musicians with no particular concept or influence, but the latter was the band working together with a concept and influence, and the result was a great album and it proved that Pink Floyd didn't need gilmour. MLoR still doesn't feel like a Pink Floyd album to me neither.[/QUOTE]
You mean it didn't need Waters*
To be honest, The Division Bell to me has always reminded me of Saucerful of Secrets. Key band member leaves, they take a while, find a new sound, and get on with being fantastic. Division Bell was such a mixed bag, but then you think of Meddle and Obscured by Clouds and Saucerful and that was all mixed too.
I really think that an album after the Division Bell could have been their best. With Wright and Gilmour contributing all the music again, and fantastic lyrics from Gilmour's wife, it could have been right up there with Dark Side.
[QUOTE=killerteacup;30538204]You mean it didn't need Waters*
To be honest, The Division Bell to me has always reminded me of Saucerful of Secrets. Key band member leaves, they take a while, find a new sound, and get on with being fantastic. Division Bell was such a mixed bag, but then you think of Meddle and Obscured by Clouds and Saucerful and that was all mixed too.
I really think that an album after the Division Bell could have been their best. With Wright and Gilmour contributing all the music again, and fantastic lyrics from Gilmour's wife, it could have been right up there with Dark Side.[/QUOTE]
It just wasn't [I]musically[/I] creative. The good thing about it was that it made you [I]feel[/I] again, like Pink Floyd usually do.
I did like the guitar work though.
[QUOTE=AK'z;30538222]It just wasn't [I]musically[/I] creative. The good thing about it was that it made you [I]feel[/I] again, like Pink Floyd usually do.
I did like the guitar work though.[/QUOTE]
I think it was pretty creative, but it was more expressive of a more mature kind of creativity with mixing up genres, doing new sounds, breaking out of the shell a bit. I think that about half of the album was really musically creative with stuff like Marooned, Cluster One, Keep Talking, Wearing the Inside Out and High Hopes that pointed in this new and exciting direction.
Lyrics were second fiddle though, except in High Hopes
-snip-
Yeah I was talking about collectively being creative.
Lyrics don't just "add" to the piece, they are a [I]big part[/I] of the music.
I really liked Rick Wright's work on the album too, he's always creative.
[editline]18th June 2011[/editline]
[QUOTE=TheIceman;30538307][IMG]http://i900.photobucket.com/albums/ac202/ArnorStone/itsastr.png[/IMG][/QUOTE]
[img]http://27.media.tumblr.com/tumblr_liwd5yylc81qivtcvo1_500.jpg[/img]
They're a huge part of it yeah, thats why High Hopes ended up being so good
but with Roger's writing, the music was a lot simpler to carry the message of the lyrics. Stuff like Nobody home, etc etc, is very creative musically, but a lot simpler. Stuff in the division bell is more packed musically and less packed lyrically. The impact is strong in both cases, just different
That said, High Hopes is lyrically one of the most straightforward, easy to understand pieces and I think one of the best Pink floyd songs ever written
I think Animals had the biggest impact in terms of delivery of the message, but that's just my experience of it.
I don't think they were the greatest or most creative songwriters but there is something about the way they use lyrics that give you that feeling.
Kind of unexplainable, probably more confusing how they do it on Dark Side of the Moon.
David did however mention that he preferred the instrumental side rather than the overuse of vocals that apparently Roger preferred. He then tried to pull the supposed balance of vocals and instrumental sections of DSOTM and WYWH in MLOR, and even more in TDB. TDB has a lot of instrumental work, but still has lots of wording in it. It has it's charm, and I think that it did what MLOR should have done. If it had an actual theme to it, it would have sounded a lot more like Pink Floyd with TDB did.
[editline]18th June 2011[/editline]
[QUOTE=AK'z;30538395]I think Animals had the biggest impact in terms of delivery of the message, but that's just my experience of it.
I don't think they were the greatest or most creative songwriters but there is something about the way they use lyrics that give you that feeling.
Kind of unexplainable, probably more confusing how they do it on Dark Side of the Moon.[/QUOTE]
Don't forget that the songs on Animals were composed completely different from their official titles now. It could merely have been a coincidence after changing their names to symbolize their respective animals.
[QUOTE=R. Cookie;30538444]
Don't forget that the songs on Animals were composed completely different from[B] their official titles now[/B]. It could merely have been a coincidence after changing their names to symbolize their respective animals.[/QUOTE]
I've lost you, could you explain that?
[editline]18th June 2011[/editline]
[QUOTE=R. Cookie;30538444]David did however mention that he preferred the instrumental side rather than the overuse of vocals that apparently Roger preferred. He then tried to pull the supposed balance of vocals and instrumental sections of DSOTM and WYWH in MLOR, and even more in TDB. TDB has a lot of instrumental work, but still has lots of wording in it. It has it's charm, and I think that it did what MLOR should have done. If it had an actual theme to it, it would have sounded a lot more like Pink Floyd with TDB did.[/QUOTE]
Momentary Lapse of Reason [I]could[/I] have had a great theme. I think it presented itself in Learning To Fly, but I don't know why he then rehashed his previous ideas in the other songs.
[QUOTE=AK'z;30538494]I've lost you, could you explain that?[/QUOTE]
Ie, "Dogs" was originally composed as "You Gotta Be Crazy", and "Sheep" was originally composed as "Raving and Drooling"
It is also another fun fact that they were considered for Wish You Were Here
Wow, didn't know that.
But I did read Animal Farm before I listened to the album, so I guess that made it more familiar with me too.
[QUOTE=AK'z;30538395]I think Animals had the biggest impact in terms of delivery of the message, but that's just my experience of it.
I don't think they were the greatest or most creative songwriters but there is something about the way they use lyrics that give you that feeling.
Kind of unexplainable, probably more confusing how they do it on Dark Side of the Moon.[/QUOTE]
Wish you were here was the most straightforward for me
Dark Side of the Moon I actually find incredibly confusing. I think the concept actually lies in the voice snippets, but you wouldn't know its a concept album unless you're told. It's meant to be about madness and lunacy but if I didn't know it was when I listened, I would only have picked up on that in Brain Damage. I think you pick up on the concepts by listening to the tracks with knowledge of what its about, but if you didn't have that knowledge it'd be harder to pick up.
That said, Speak to Me does introduce it, but if you miss the voice talking about madness at the start you kinda miss a lot of the album
I don't know how to explain it but DSOTM is not your average concept album.
DSOTM has a widely interpretable concept, it can be about any of the themes it mentions throughout it as well as lunacy, the main idea of it. All of it relates to time and money and what not, I'm not giong to bother explaining it either because I'm sure you've all listened to it.
[QUOTE=R. Cookie;30538585]DSOTM has a widely interpretable concept, it can be about any of the themes it mentions throughout it as well as lunacy, the main idea of it. All of it relates to time and money and what not, I'm not giong to bother explaining it either because I'm sure you've all listened to it.[/QUOTE]
Well that's only scratching the surface of the record, there are definitely some deeper themes going on.
Or maybe we're just being pretentious I dunno. :smug:
Can I just Say
[B]WHO GIVES A FUCK
[/B]They're all great, end of
[QUOTE=Zenpod;30538926]Can I just Say
[B]WHO GIVES A FUCK
[/B]They're all great, end of[/QUOTE]
We obviously do, seeing as we were having such a nice and thoughtful discussion on it.
I think there's only about 4 pages worth of unique discussion in this thread, the rest is just repeated cycles of comparing albums and making puns
[QUOTE=CoolCorky;30539019]I think there's only about 4 pages worth of unique discussion in this thread, the rest is just repeated cycles of comparing albums and making puns[/QUOTE]
Yep... certainly has been a [I]terminal frost[/I] hasn't it?
[QUOTE=CoolCorky;30539019]I think there's only about 4 pages worth of unique discussion in this thread, the rest is just repeated cycles of comparing albums and making puns[/QUOTE]
Even our normal discussion has to be unique and innovative
I listened to a bit of Roger's Opera album. Was actually quite enjoyable imo, it's predictably pretentious but now a bad creation.
I think I'm going to be a bit nitpicky on this comment, but I think after The Final Cut, Gilmour's guitar tone suffered quite a bit. The playing is great as always, but the solos sounded thin and dry. It has to do with the fact that Gilmour bought that houseboat to record the albums and could only use small amps. However, his tone did come back to full form on On an Island.
Nothing will ever beat that tone on DSOTM. The solo to Time is certainly one of his greatest
[QUOTE=Mr._N;30542711]I think I'm going to be a bit nitpicky on this comment, but I think after The Final Cut, Gilmour's guitar tone suffered quite a bit. The playing is great as always, but the solos sounded thin and dry. It has to do with the fact that Gilmour bought that houseboat to record the albums and could only use small amps. However, his tone did come back to full form on On an Island.[/QUOTE]
Although I didn't notice that directly, I think his best sounds in a while can be heard on On An Island.
For the intro to Sorrow, Gilmour played and recorded it in the studio. Then they played that recording in an empty stadium in Los Angeles and recorded it again to try and capture that big, reverby sound. But I think it sounds terrible, imo.
[QUOTE=Mr._N;30543168]For the intro to Sorrow, Gilmour played and recorded it in the studio. Then they played that recording in an empty stadium in Los Angeles and recorded it again to try and capture that big, reverby sound. But I think it sounds terrible, imo.[/QUOTE]
I think it sounds nice, but not glorious.
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