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General => General Music Discussion => Topic started by: KevShmev on May 19, 2020, 02:23:32 PM
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https://www.msn.com/en-us/music/celebrity/roger-waters-david-gilmour-thinks-he-is-pink-floyd-and-that-im-irrelevant/ar-BB14j6uV
Someone get Roger a crying towel.
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Not sure why the sarcasm. Sounds to me like Gilmour is the one being a trifle bitter. Roger's the one carrying the banner at this point, and Gilmour seemingly wants nothing to do with Floyd. Moreover, PF's website was certainly promoting Mason's SFoS tour. Sounds like there's still some spite on David's end regarding the way things worked out.
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I'd pay hard cash money to have been a fly on the wall of that sit-down in that London hotel. Curious if it was Roger, David and Nick, or whether there were other people present.
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Not sure why the sarcasm. Sounds to me like Gilmour is the one being a trifle bitter. Roger's the one carrying the banner at this point, and Gilmour seemingly wants nothing to do with Floyd. Moreover, PF's website was certainly promoting Mason's SFoS tour. Sounds like there's still some spite on David's end regarding the way things worked out.
I don't see it that way at all.
First off, if Gilmour does still harbor a little resentment towards Rogers, I can't say I blame him. Roger didn't just burn the bridge with Gilmour back in the say; he torched it with Rick Dalton's flamethrower. I guess because Roger has expressed regret over some of his actions and words, he expects the others to just forgive and forget. I am sure on some level David has forgiven him, but he has not forgotten. Pink Floyd is not active as a band anymore, but the Pink Floyd brand name is still alive and well and strong, and Waters is just ticked because he knows he took his toys home to play 35 years ago, and now the others won't let him back in the sandbox. Because if they did, he would try to take over total control again. Give him access to the Floyd social media pages, and it would only be a matter of time before they are flooded with videos and links to Roger's rants about society and politics and whatnot.
Besides, Roger's tours have all done really well this century. Does he really need more clicks and more money?? No. He just wants more attention so he has more of an audience for his rants. That is likely what this is all about.
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(https://i.imgur.com/vgOVjTT.png)
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(https://i.imgur.com/vgOVjTT.png)
Hello!
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I saw there was a new YT post from Roger on his page and was going to watch it. The header was "ANNOUNCEMENT." I skimmed the comments while the video was loading (not sure why...) and when I got the gist of what the "Announcement" was, I decided to skip it. Was going to post something here in the PF thread and decided it wasn't newsworthy enough.
I've noticed an uptick in the activity on what I thought was the official PF YT page during this Covid outbreak, which, I just learned, is not the official page, as it appears there isn't one.
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I'll assume in the settlement they had Gilmour & Mason does have control of the brand name.
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I am sure that is correct.
This is just kinda sad to see cause it seemed like Roger had moved on from all of this petty BS. But here we are in 2020 and he is taking shots at Gilmour again, and all over something so inconsequential.
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Being such a huge fan I sure wish they could get along. Seems impossible.
I guess if Gilmour owns the rights, he gets to call the shots.
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I'll assume in the settlement they had Gilmour & Mason does have control of the brand name.
I'm pretty sure this is the case, along with something similar to Tate and Mindcrime where Roger is the "owner" of The Wall.
Just seems to me that they're both being obnoxious about it. Gilmour is certainly in the right here, but I don't see any reason to be a butthead about it. Waters certainly doesn't need the added publicity it seems he's on about.
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I'm still not seeing where Gilmour is being a butthead about anything. They were a band, theoretically of four equals. Waters slowly took over primary lyric writing, and then at some point decided he was the leader, then later quit the band, but decided he could take the band name with him. The judge and majority of the public saw it differently; they saw a guy quitting a band, period. When you quit the band, you generally give up rights to pretty much anything not specifically covered by other articles. Waters has The Wall, which everybody recognizes as his work. Cool. Waters went on to fling a lot of shit at the remaining members of Pink Floyd while they mostly just kept quiet and took it.
Years later, he approaches them with his proposal on how he wants to reconcile. They reject it. My first thought is that if Waters wrote the proposal, it will primarily benefit him, with Pink Floyd not necessarily standing to gain anything. Waters continues to whine about how he's being treated, after quitting the band and very publicly flinging shit at them. Fuck him.
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I'm still not seeing where Gilmour is being a butthead about anything. They were a band, theoretically of four equals. Waters slowly took over primary lyric writing, and then at some point decided he was the leader, then later quit the band, but decided he could take the band name with him. The judge and majority of the public saw it differently; they saw a guy quitting a band, period. When you quit the band, you generally give up rights to pretty much anything not specifically covered by other articles. Waters has The Wall, which everybody recognizes as his work. Cool. Waters went on to fling a lot of shit at the remaining members of Pink Floyd while they mostly just kept quiet and took it.
Years later, he approaches them with his proposal on how he wants to reconcile. They reject it. My first thought is that if Waters wrote the proposal, it will primarily benefit him, with Pink Floyd not necessarily standing to gain anything. Waters continues to whine about how he's being treated, after quitting the band and very publicly flinging shit at them. Fuck him.
That is almost 100% why I said I want to be a fly on the wall; it might be a "proposal to reconcile" but that doesn't at all indicate how FAIR a proposal it might have been.
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Exactly. It's possible that Gilmour is also being pigheaded about this, but I really haven't seen anything to indicate that. And as unfair as it might be to Waters, his past behavior sure doesn't make me think he's the one being wronged here. Gilmour and Mason probably read it over and laughed him out of the room. Just a guess.
Pink Floyd's official web site has sections for News, Music, History, etc. From what I can tell, Waters is treated fairly (that is, as a member of Pink Floyd) in everything that includes him. He's not slighted from the discography or history, and Waters' "The Wall" tours are listed on the timeline. The only section where he might be considered slighted is the News section. Gilmour's in there because he's in Pink Floyd. Mason's stuff is in there because he's in Pink Floyd; his current tour specifically highlights the band's early work. So what is Waters' beef? He wants news about his "The Wall now with Political Commentary" tours in there, but Gilmour won't allow it? Wah! He quit the band.
Trying to be objective here, one could make a good case that his shows might be of general interest to Pink Floyd fans. But these same fans don't realize that Roger has his own website, and that it would be a much better place to find information about anything Roger is up to?
Hell, there are offical band websites who have gone out of their way to erase former band members from their history. Pink Floyd have not done that. They just don't feel the need to keep people up to date on what he's done since he quit.
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No matter who is right and who is wrong it's always a shame to see old men who can't put old grudges behind them and find peace. Pink Floyd is a done and dusted thing and I'm not saying they should make up to get the band going again, but they should be able to look back at what they did together with some appreciation for each other. With egos like these it's kinda crazy how they're not willing to give the other one(s) some credit.
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I read earlier today that the tour Waters had planned for this summer wasn't selling well at first, so he likely was looking for some extra promotion to help with ticket sales.
But yeah, Orbert, I agree with your stance. The greatness and importance of Roger Waters to the Pink Floyd is obvious to most, except those knobs who buy their Dark Side of the Moon shirt at Target because it looks cool and think that song called We Don't Need No Education is neat, but he quit the band literally 35 years ago, and then spent many years shitting all over them. They owe him nothing. Hell, he ought to be happy that Gilmour caved and agreed to the Live 8 set, which gave the classic lineup a proper and respectful ending.
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What did Roger do back in the day, that upset DG and NM so much that they are still holding a grudge after all these years?
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What did Roger do back in the day, that upset DG and NM so much that they are still holding a grudge after all these years?
Do you have about 22 hours to kill? :P :P
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Just looked at the PF site. It does seem inclusive and representative of all. David's Pompeii release says "The voice and guitar of Pink Floyd" which is little.... eh, icky, but whatever. The bio section lays out the basics without taking sides. It has some bits about Roger in the news section (release of his 2017 album) but otherwise is focused on David or band-related material. They could probably toss him a bone with regards to his tour but I don't consider that a big deal. As Orbert said, no one is going on the PF website to see what Roger is up to these days.
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I think Roger is put off as well by Polly Samson being promoted a bit on the Pink Floyd site; I think she released a book recently. Samson, of course, is Gilmour's wife and one of the main lyricists on the last two Floyd studio albums.
For those who have not see it, this is Waters commenting about it:
https://www.youtube.com/watch?v=n_x3penXBFU
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I don't know a single band website that updates on ex-member tours at all, and that's the ones where everyone parted amicably too.
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I think Roger is put off as well by Polly Samson being promoted a bit on the Pink Floyd site; I think she released a book recently. Samson, of course, is Gilmour's wife and one of the main lyricists on the last two Floyd studio albums.
She has writing creds on a bunch of lyrics on Division Bell, though do we know if her contributions were significant? Getting a credit is as much a political issue than one of writing x% of the words.
Yes she has a book out. Should that be pimped on the Floyd site, again, eh.. maybe not. But if that is getting Roger's irons hot, that says as much about his attitude than anything.
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No matter who is right and who is wrong it's always a shame to see old men who can't put old grudges behind them and find peace. Pink Floyd is a done and dusted thing and I'm not saying they should make up to get the band going again, but they should be able to look back at what they did together with some appreciation for each other. With egos like these it's kinda crazy how they're not willing to give the other one(s) some credit.
It always trips me out when I stick my head into other sub-forums here and stumble across old-timers that I hadn't seen in forever and a day. I think to myself "where the hell did you come back from!" Inevitably it turns out that they were here all along, and somehow I just went years without ever crossing their path. So, uh, welcome back, I guess. :lol
Oh, and this is my take, as well. My hunch is that even though it's probably justified Gilmour is still holding a grudge. I'm not really looking to defend Roger, he made his bed, but I'm not going to say he's the only one being childish. It'd be nice if they could all grow up a little.
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I am not a fan of Waters... sucks
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She has writing creds on a bunch of lyrics on Division Bell, though do we know if her contributions were significant? Getting a credit is as much a political issue than one of writing x% of the words.
Looking it up, she co-wrote the lyrics for 7 of the 9 non-instrumental tracks on The Division Bell (2 other were instrumental), and then she wrote the lyrics for the only song on The Endless River with singing. Seems like most of them are fairly pleasant, although the opening lines of Louder Than Words are not good at all. Granted, most lyricists are not going to compare favorably to Roger Waters, who, for all of his faults and grumpiness, is arguably rock's greatest lyricist ever, but it is a bummer that the opening lines of the last song on their last studio album are so lame.
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Hell, he ought to be happy that Gilmour caved and agreed to the Live 8 set, which gave the classic lineup a proper and respectful ending.
I like to think that they did Live 8 for the fans. Raging egos aside, all of them must have realized that the way the split went down was crappy for the fans. Pink Floyd was not Roger's band, or David's band, or Nick's or Rick's for that matter. Pink Floyd the band was always more important than any single member.
I know it's not on nearly the same scale, but the breakup of the band I was in back in the 80's was similar. We'd somehow gone from a band where everybody busted ass for the good of the band, to one guy thinking it was all about him, and the band eventually ended because of that. Pete was an asshole of the first order, but he was a hell of a guitarist and I have to admit I loved playing with him. If somehow we could put that band back together and play some tunes one more time, I'd be in. Roger, David, Nick, and Rick must have felt that. One more chance to play together, the four of them like in the old days, you gotta do it. Stand in a line and smile, let people take some pictures, then ten minutes later if there's anyone here you don't ever want to speak to again, fine. I don't know if I really thought of it that way before, but it was closure for the fans for the shitty way the split went down, regardless of whose "side" you were on or whose fault you thought it was.
(https://i.imgur.com/fHSIDeN.jpg)
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Well said, Orbert.
I remember seeing that Live 8 performance live and I was smiling like a kid on Christmas morning. It was surreal to see Waters on stage again with Gilmour, Wright and Mason, playing a few Pink Floyd classics. Unlike many, I didn't crave for a tour after that, as that seemed like a fitting end, and I had read enough to know that Roger and David will kill each other if they had attempted to tour together again.
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I was so pumped for that Live 8 show when I saw news it was happening, yet when it finally hit the air, I felt a little deflated. I had probably built it up too much in my head. It went as I expected, so it wasn't a matter of heightened expectations. It just felt kinda underwhelming.
I am happy with the clip below being the final image in my head of them (obviously with Rick absent). If that Live 8 show was for the fans, maybe this was for the three of them.
At 6:00 Roger says "I could not be happier..." And he really looks it too....
David and Nick at one of Roger's The Wall shows for Outside the Wall (https://www.youtube.com/watch?v=3uPC7pmew3U)
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I had to google the Live 8 show. I have zero recollection of it.
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I was weird, it was like it was a big thing at the time, but, at the same time, felt like it was much ado about nothing. And the very next day it was ancient history, not one that would be remembered fondly decades later like Live Aid.
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Things become great out of organicness. You cannot force greatness.
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I had to google the Live 8 show. I have zero recollection of it.
Why am I not shocked. I watched it live.
I swear your roommate was Osama Bin Laden.
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It's odd that both guys seems bitter about each other even after this performance, 9 years ago?
https://www.youtube.com/watch?v=MFOvZj8cUmI
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I had to google the Live 8 show. I have zero recollection of it.
Why am I not shocked. I watched it live.
I watched it live and the Pink Floyd set in particular was a HUGE deal for my mother and thus for me as well, since I was basically a kid then. I remember it fondly.
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I cannot blame David for not wanting to give Roger platform for his political opinions. He probably doesn't want to have Pink Floyd connected to politics. It probably bothered him back in the 70s and early 80s as well, but Roger was the one who was steering the ship at that moment in time.
I assume that in terms of business, David still has the rights to the Pink Floyd name ever since Roger left, even now when the band is inactive for a long time. He's the one calling the shots since 1984 and the brief reunion for 25 minutes doesn't change that.
Even Roger was stunned by people asking him if he was on The Endless river and had to remind them he left the band decades ago. I don't know what's changed.
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Even Roger was stunned by people asking him if he was on The Endless river and had to remind them he left the band decades ago. I don't know what's changed.
I thought The Endless River was something of a Frankenstein of older bits that Rick Wright had recorded over the years, and Gilmour played with them and added enough to make them into actual listenable tracks. At least that's what it sounds like to me. But if it's repurposed older stuff, then it's not impossible that some of it had Waters on it, unless it was literally just Wright's stuff lifted from tapes and Gilmour built everything else around it.
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What did Roger do back in the day, that upset DG and NM so much that they are still holding a grudge after all these years?
The two big ones were firing Rick Wright, then hiring him as a session musician on "The Final Cut", then after leaving, suing the band for the name and rights to the "intellectual property" (the iconography, mostly). Even Roger has said in hindsight that suing them was a mistake.
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I also feel Roger is the one holding the grudge and not David and Nick. David is probably just tired and doesn't want anything to do with Roger. But Nick and Roger are actually cool. Roger appeared on Nick's tour last year, and they even did that Q&A for the movie The Wall several years ago.
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What did Roger do back in the day, that upset DG and NM so much that they are still holding a grudge after all these years?
The two big ones were firing Rick Wright, then hiring him as a session musician on "The Final Cut", then after leaving, suing the band for the name and rights to the "intellectual property" (the iconography, mostly). Even Roger has said in hindsight that suing them was a mistake.
Rick Wright was a hired gun on the Wall, too, I believe. I know he was for the tour because he's the only one that made any money off of it. Also, I don't think Roger was suing for the name and the rights. I think he was suing to prevent the other three from continuing on under the PF moniker. Roger's take at the time was that PF was no more. I also believe this was a landmark decision that sets the precedent for bands like Quiet Riot continuing on with only one original member. Kind of ironic that Dave has all but abandoned PF now, but is still holding a grudge about being told to do so 30 years ago.
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I also feel Roger is the one holding the grudge and not David and Nick. David is probably just tired and doesn't want anything to do with Roger. But Nick and Roger are actually cool. Roger appeared on Nick's tour last year, and they even did that Q&A for the movie The Wall several years ago.
When I saw Roger on the DSotM tour in Hollywood around 06 he brought Nick out to play the roto-tom intro to Time. I was quite happy to see it. They've been cool with each other for a while.
The video Chris posted of Outside the Wall was pretty awkward, I thought. Roger looked ecstatic for the 3 of them to be on stage, and Dave looked really uncomfortable. He was only there to hold up his end of a bargain, and really didn't look like he wanted to be. Obviously it meant more for Roger than the other two.
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I thought Rick was a member of the band while recording the The Wall, but not an active member on the tour, hence he got paid as a player, and didn't lose any as a member.
I really do not know if David is holding a grudge, I can't get in to his head. But even if he is, why should it matter what happened 30 years ago? He felt he, along with Nick and eventually Rick, to whatever degree, had more to say musically, and a desire to perform together as Pink Floyd. An interesting argument from a legal standpoint though.... why would 1/4 of an entity get to dictate if it can continue or not? Was is reasonable? It if was 1/2? 3/4?
The video Chris posted of Outside the Wall was pretty awkward, I thought. Roger looked ecstatic for the 3 of them to be on stage, and Dave looked really uncomfortable. He was only there to hold up his end of a bargain, and really didn't look like he wanted to be. Obviously it meant more for Roger than the other two.
Possibly, but it was also Roger big (and best?) tour, it would naturally mean more to him. And David tends to not be as outwardly expressive. Roger did something for David (can't recall what it was), David did something for Roger. A half-business, half-casual friend deal, nothing more (for David, anyway).
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What did Roger do back in the day, that upset DG and NM so much that they are still holding a grudge after all these years?
The two big ones were firing Rick Wright, then hiring him as a session musician on "The Final Cut", then after leaving, suing the band for the name and rights to the "intellectual property" (the iconography, mostly). Even Roger has said in hindsight that suing them was a mistake.
Rick Wright was a hired gun on the Wall, too, I believe. I know he was for the tour because he's the only one that made any money off of it.
Haha, I debated going back and adding "during The Wall sessions" and figured no one would pick up on that. ;) You are right, no pun intended. Waters instigated it, regardless, becuase he was irked that Wright (and to a lesser degree Gilmour) were contribuing less. I don't think Wright had a writing credit since WYWH.
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I thought Rick was a member of the band while recording the The Wall, but not an active member on the tour, hence he got paid as a player, and didn't lose any as a member.
I really do not know if David is holding a grudge, I can't get in to his head. But even if he is, why should it matter what happened 30 years ago? He felt he, along with Nick and eventually Rick, to whatever degree, had more to say musically, and a desire to perform together as Pink Floyd. An interesting argument from a legal standpoint though.... why would 1/4 of an entity get to dictate if it can continue or not? Was is reasonable? It if was 1/2? 3/4?
The video Chris posted of Outside the Wall was pretty awkward, I thought. Roger looked ecstatic for the 3 of them to be on stage, and Dave looked really uncomfortable. He was only there to hold up his end of a bargain, and really didn't look like he wanted to be. Obviously it meant more for Roger than the other two.
Possibly, but it was also Roger big (and best?) tour, it would naturally mean more to him. And David tends to not be as outwardly expressive. Roger did something for David (can't recall what it was), David did something for Roger. A half-business, half-casual friend deal, nothing more (for David, anyway).
You might be right about the Wall album vs tour. I think it might have been his lack of contribution to the Wall that led to his sacking.
It was an interesting legal question, which is why it's a landmark case. The upshot is that three of them were allowed to keep the name.
And you kind of hit on my point. For David it was an obligation. For Roger it was something that made him quite happy. And I think the quid pro quo was that Roger sang something for a charity event that was important for Dave. In exchange Dave promised to play the Comfortably Numb solo at one of Roger's Wall gigs.
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I thought Rick was a member of the band while recording the The Wall, but not an active member on the tour, hence he got paid as a player, and didn't lose any as a member.
I really do not know if David is holding a grudge, I can't get in to his head. But even if he is, why should it matter what happened 30 years ago? He felt he, along with Nick and eventually Rick, to whatever degree, had more to say musically, and a desire to perform together as Pink Floyd. An interesting argument from a legal standpoint though.... why would 1/4 of an entity get to dictate if it can continue or not? Was is reasonable? It if was 1/2? 3/4?
The video Chris posted of Outside the Wall was pretty awkward, I thought. Roger looked ecstatic for the 3 of them to be on stage, and Dave looked really uncomfortable. He was only there to hold up his end of a bargain, and really didn't look like he wanted to be. Obviously it meant more for Roger than the other two.
Possibly, but it was also Roger big (and best?) tour, it would naturally mean more to him. And David tends to not be as outwardly expressive. Roger did something for David (can't recall what it was), David did something for Roger. A half-business, half-casual friend deal, nothing more (for David, anyway).
You might be right about the Wall album vs tour. I think it might have been his lack of contribution to the Wall that led to his sacking.
It was an interesting legal question, which is why it's a landmark case. The upshot is that three of them were allowed to keep the name.
And you kind of hit on my point. For David it was an obligation. For Roger it was something that made him quite happy. And I think the quid pro quo was that Roger sang something for a charity event that was important for Dave. In exchange Dave promised to play the Comfortably Numb solo at one of Roger's Wall gigs.
Waters actually wanted to sue Wright to recover some of the royalties he (Waters) felt Wright was not earning. Wright actually agreed, in principle, since he was going through some personal things (divorce, substances, depression) and essentially took the "buy out". Hired gun for the tour and done after that.
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That always seemed hypocritical to me. Roger came to the band with this grand concept and bunch of it already written (in his head anyway, but some also literally written out), pretty much calls all the shots during the rehearsals and recording sessions, then complains that the others aren't contributing as much as he is.
As for writing credits, I've seen many quotes from many artists saying that you just can't believe them. They're political, financial, economical, whatever you want to call it, but never an accurate reflection of who "wrote" the song. Because everyone has different ideas about what the means exactly. When I listen to Animals, my favorite Pink Floyd album, I hear Rick Wright's keyboards and think they're brilliant, and I love the way he does things which are exactly perfect for the song, no more and no less. He came up with those parts. Maybe Roger or David or whoever "wrote" the song gave him some guidance as to what they had in mind there, but Rick played them, and in that sense "wrote" those parts. So if anyone's arguments against Rick's contributions to Pink Floyd are based on the writing credits, yet they claim to have actually listened to the albums, then I can't take them seriously.
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That always seemed hypocritical to me. Roger came to the band with this grand concept and bunch of it already written (in his head anyway, but some also literally written out), pretty much calls all the shots during the rehearsals and recording sessions, then complains that the others aren't contributing as much as he is.
As for writing credits, I've seen many quotes from many artists saying that you just can't believe them. They're political, financial, economical, whatever you want to call it, but never an accurate reflection of who "wrote" the song. Because everyone has different ideas about what the means exactly. When I listen to Animals, my favorite Pink Floyd album, I hear Rick Wright's keyboards and think they're brilliant, and I love the way he does things which are exactly perfect for the song, no more and no less. He came up with those parts. Maybe Roger or David or whoever "wrote" the song gave him some guidance as to what they had in mind there, but Rick played them, and in that sense "wrote" those parts. So if anyone's arguments against Rick's contributions to Pink Floyd are based on the writing credits, yet they claim to have actually listened to the albums, then I can't take them seriously.
I've long maintained that Wright was not only the most talented one in the band, but one of the great keyboard players in rock. Unlike others who are great at one sound or another, Wright sounded great on anything he played, be it a Hammond, a Rhodes, the famous Farfisa organ, or a Steinway.
And I agree about Roger being a control freak yet demanding more contributions from others. Not a very good stance.
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Chris is dead on with Wright about The Wall.
On A Momentary Lapse of Reason, Wright couldn't be listed as a member of the band. It was written into the settlement by Waters.
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Rick Wright was a hired gun on the Wall, too, I believe. I know he was for the tour because he's the only one that made any money off of it. Also, I don't think Roger was suing for the name and the rights. I think he was suing to prevent the other three from continuing on under the PF moniker. Roger's take at the time was that PF was no more. I also believe this was a landmark decision that sets the precedent for bands like Quiet Riot continuing on with only one original member. Kind of ironic that Dave has all but abandoned PF now, but is still holding a grudge about being told to do so 30 years ago.
I am asking this in the least combative way possible, but what proof is there that David Gilmour is still holding a grudge?
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That always seemed hypocritical to me. Roger came to the band with this grand concept and bunch of it already written (in his head anyway, but some also literally written out), pretty much calls all the shots during the rehearsals and recording sessions, then complains that the others aren't contributing as much as he is.
As for writing credits, I've seen many quotes from many artists saying that you just can't believe them. They're political, financial, economical, whatever you want to call it, but never an accurate reflection of who "wrote" the song. Because everyone has different ideas about what the means exactly. When I listen to Animals, my favorite Pink Floyd album, I hear Rick Wright's keyboards and think they're brilliant, and I love the way he does things which are exactly perfect for the song, no more and no less. He came up with those parts. Maybe Roger or David or whoever "wrote" the song gave him some guidance as to what they had in mind there, but Rick played them, and in that sense "wrote" those parts. So if anyone's arguments against Rick's contributions to Pink Floyd are based on the writing credits, yet they claim to have actually listened to the albums, then I can't take them seriously.
I've long maintained that Wright was not only the most talented one in the band, but one of the great keyboard players in rock. Unlike others who are great at one sound or another, Wright sounded great on anything he played, be it a Hammond, a Rhodes, the famous Farfisa organ, or a Steinway.
And I agree about Roger being a control freak yet demanding more contributions from others. Not a very good stance.
Yet another reason I want to be a fly on the wall. He (Waters) can't be trusted in that way. Not that he's lying per se, but that his intent may or may not at all be apparent in the delivery.
Wright did a lot with the band in terms of arranging too; Gilmour said that on one of the docs on one of the live solo sets that he put out (and on which Wright played).
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What did Roger do back in the day, that upset DG and NM so much that they are still holding a grudge after all these years?
The two big ones were firing Rick Wright, then hiring him as a session musician on "The Final Cut", then after leaving, suing the band for the name and rights to the "intellectual property" (the iconography, mostly). Even Roger has said in hindsight that suing them was a mistake.
Rick Wright was a hired gun on the Wall, too, I believe. I know he was for the tour because he's the only one that made any money off of it.
Haha, I debated going back and adding "during The Wall sessions" and figured no one would pick up on that. ;) You are right, no pun intended. Waters instigated it, regardless, becuase he was irked that Wright (and to a lesser degree Gilmour) were contribuing less. I don't think Wright had a writing credit since WYWH.
Gilmour probably deserves more credits on The Wall than what he got. Wright, from what I've read over the years, and to a lesser degree Nick Mason, were minimally involved in The Wall sessions. I think Jeff Porcaro may have played a fair amount of drums on the album due to the time constraints at the end of the sessions.
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Rick Wright was a hired gun on the Wall, too, I believe. I know he was for the tour because he's the only one that made any money off of it. Also, I don't think Roger was suing for the name and the rights. I think he was suing to prevent the other three from continuing on under the PF moniker. Roger's take at the time was that PF was no more. I also believe this was a landmark decision that sets the precedent for bands like Quiet Riot continuing on with only one original member. Kind of ironic that Dave has all but abandoned PF now, but is still holding a grudge about being told to do so 30 years ago.
I am asking this in the least combative way possible, but what proof is there that David Gilmour is still holding a grudge?
There is no proof. It's just my assessment based on what I see. Something you should certainly be able to understand after naming the thread "Rogers Waters is still a bitter man." :lol
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I am asking this in the least combative way possible, but what proof is there that David Gilmour is still holding a grudge?
There is no proof. It's just my assessment based on what I see. Something you should certainly be able to understand after naming the thread "Rogers Waters is still a bitter man." :lol
Haha, touche. :P
Gilmour probably deserves more credits on The Wall than what he got. Wright, from what I've read over the years, and to a lesser degree Nick Mason, were minimally involved in The Wall sessions. I think Jeff Porcaro may have played a fair amount of drums on the album due to the time constraints at the end of the sessions.
I read a while back that Porcaro plays all of the drums on Mother because Mason had difficulty nailing the tempo they wanted.
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I knew of his talents and rep, but damn:
Porcaro is one of the most recorded session musicians, working on hundreds of albums and thousands of sessions.
AllMusic has characterized him as "arguably the most highly regarded studio drummer in rock from the mid-'70s to the early '90s", and says that "it is no exaggeration to say that the sound of mainstream pop/rock drumming in the 1980s was, to a large extent, the sound of Jeff Porcaro
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I knew of his talents and rep, but damn:
Porcaro is one of the most recorded session musicians, working on hundreds of albums and thousands of sessions.
AllMusic has characterized him as "arguably the most highly regarded studio drummer in rock from the mid-'70s to the early '90s", and says that "it is no exaggeration to say that the sound of mainstream pop/rock drumming in the 1980s was, to a large extent, the sound of Jeff Porcaro
I've watched some of his instructional videos and the dude's like the Einstein of drumming. I hated Toto with a passion, and it's still not my kind of music, but seeing him explain some of his drum parts is just fascinating. He find a rhythm he liked, invert it, and then stack something completely different on top of it until it just became incomprehensible. After watching him explain it, demonstrate the different layers, and then combine them, it still made no damned sense to me.
Also, he actually did die in a freak gardening accident. Infinite bonus points for dying in a fictionally legendary fashion.
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His Wiki page says he died while gardening, not due to gardening.
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I always thought the gardening accident was a merciful way to cover a blow OD
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(https://i.imgur.com/XmmMhHb.jpg)
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I thought of that too, though technically he wasn't gardening at the moment, he was playing with his grandkid.
According to Coppola, when he put the orange peel in his mouth to scare the kid, he really scared the kid, there was no acting involved.
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I always thought it was an allergic reaction to the insecticide he (Pocaro) was using. Don't really have any reason to doubt the coroner, though. Eh, bonus points rescinded. Still a great drummer, though.
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I always thought the gardening accident was a merciful way to cover a blow OD
Yeah, this.
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According to Coppola, when he put the orange peel in his mouth to scare the kid, he really scared the kid, there was no acting involved.
Good! The little shit deserved it, killed the fucking Godfather.
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I always thought the gardening accident was a merciful way to cover a blow OD
Yeah, this.
It wasn't an OD, but it was a heart attack brought on by cocaine use. It also wasn't much of a cover (https://www.latimes.com/archives/la-xpm-1992-09-04-me-6355-story.html). :lol By all accounts he did kip over while using insecticide, so that was a pretty obvious assumption to make until proven otherwise. As evidenced by the coroner making a point to disprove the idea.
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Yeah well death by blow and not the good blow that all men would die for.
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Incidentally, this little story has gotten me to listen to a lot of Pink Floyd and some of Roger's solo stuff the last few days. Roger might be a miserable old sod, but what a songwriter.
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For as much as I love Roger's Floyd material (I know he wasn't the sole writer, just trying to make a point), I am lukewarm at best about his post-Floyd career.
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My 2 cents on all this...
I started to watch the video when it was published... and as soon as I realized it was just him bitching about PF's social media access, I turned it off.
If the PF website / Social Media wants to promote his shit and include him, more power to them. If Gilmour doesn't want Waters' crap on the PF sites, then oh well. After all that happened, he doesn't have any right to bitch and fight. He was the one Burning Bridges. Pretty sure opened that door a while back. Asked for the slate to be wiped clean. And Waters told him to go fuck himself.
Okay enough with the PF references. You get my point :lol
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For as much as I love Roger's Floyd material (I know he wasn't the sole writer, just trying to make a point), I am lukewarm at best about his post-Floyd career.
I have no use for Hitchhiking, K.A.O.S or Is This the Life...?, but Amused to Death is a major winner. I still maintain that had that been a full-fledged Pink Floyd album, with playing and singing contributions from Gilmour and Wright, it would have been on the level of the 1973-1979 albums. The songs and concept are both that good. It's still a shame that Roger has all but ignored it since playing five songs from it on the In the Flesh tour in the late 90's. Then again, I am sure he know that fans come to his shows to see Pink Floyd songs, not those from his solo albums. And I am sure that makes him hate his fans more than he does already. :lol :lol
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I'm not a fan of Roger's solo works but the production on Amused is stellar.
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I saw Roger Waters at the Tacoma dome in 2017. I was very underwhelmed, it felt more like a political rally than a concert. I could have stayed home and watched CNN if I wanted to hear a bunch of Trump bashing.
I go to concerts to get away from that kind of stuff, and that's why David Gilmour blows Roger out of the Waters.. :xbones
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Some like to say, "Waters was always this political," and maybe he was, but he wasn't always so direct about it. There was a bit more nuance to his lyrics and message many, many years ago, IMO.
Plus, if you saw Gilmour live on his last tour, you know he was actually singing the whole, unlike Roger. :P (though, to be fair, David's voice might have been shot years ago had he done those screams live in Careful with That Axe, Eugene that many times back in the 70's :lol)
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I remember a few things from that tour, including an absolutely amazing rendition of WttM (and I don't even care much for that song), getting to hear Dogs, thus completing live Animals for me, seeing Battersea power station rise out of the lower section, police radio traffic during the intermission, and one helluva spectacle during DSotM. I don't remember any political ramblings from him. Only some fairly vicious projections on the side of Battersea during Pigs. I'd couldn't call the show apolitical, but I suspect you'd hear a lot worse from plenty of other bands nowadays.
https://www.youtube.com/watch?v=RTI4Qc0iN1k
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I have never seen any song from Animals performed live. :( :(
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I have never seen any song from Animals performed live. :( :(
Seeing Pigs and Dogs during the Us and Them tour were almost as great as seeing the entirety of The Wall a few years earlier.
We gotta build you a time machine!
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seems like Roger Waters has become "just another sad old man, all alone & (not, as far as I know) dying of cancer"? :P
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I have never seen any song from Animals performed live. :( :(
Seeing Pigs and Dogs during the Us and Them tour were almost as great as seeing the entirety of The Wall a few years earlier.
We gotta build you a time machine!
He was here for both The Wall and Us and Them tours, and I didn't go to either. I cannot remember the reason I didn't go the latter, but I know that for The Wall tour, the tickets were really expensive and money was tight for me at the time, so I believe that was one of the main reasons I didn't go to that one.
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I have never seen any song from Animals performed live. :( :(
Seeing Pigs and Dogs during the Us and Them tour were almost as great as seeing the entirety of The Wall a few years earlier.
We gotta build you a time machine!
He was here for both The Wall and Us and Them tours, and I didn't go to either. I cannot remember the reason I didn't go the latter, but I know that for The Wall tour, the tickets were really expensive and money was tight for me at the time, so I believe that was one of the main reasons I didn't go to that one.
Yeah, Roger's come to really embrace capitalism with his ticket prices. The second Wall gig I went to was the most, by far, I've paid for a concert ticket (and hopefully ever will). Worth it, though. We saw the Dallas show from far back, getting to see the whole big picture. We caught Tulsa from 2nd row, getting to see the band, and a totally immersive IMAX kind of experience. Plus a really cool road trip, to boot.
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Yeah, Roger's come to really embrace capitalism with his ticket prices. The second Wall gig I went to was the most, by far, I've paid for a concert ticket (and hopefully ever will). Worth it, though. We saw the Dallas show from far back, getting to see the whole big picture. We caught Tulsa from 2nd row, getting to see the band, and a totally immersive IMAX kind of experience. Plus a really cool road trip, to boot.
Nice. I saw Pink Floyd in '94 at Arrowhead in KC (fun road trip for that one!), and we were somewhat far back, but we didn't care. The stage show and sound was so great that it didn't matter.
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Yeah, Roger's come to really embrace capitalism with his ticket prices. The second Wall gig I went to was the most, by far, I've paid for a concert ticket (and hopefully ever will). Worth it, though. We saw the Dallas show from far back, getting to see the whole big picture. We caught Tulsa from 2nd row, getting to see the band, and a totally immersive IMAX kind of experience. Plus a really cool road trip, to boot.
To be fair I think once artists get to a certain level of production in their stage shows they probably don't have a lot of input into how much tickets should cost. Of course the point remains they if he wanted his shows to be accessible to the most people he could cut down costs considerably but that kind of goes agains the spirit of shows like "The Wall" which have a level spectacle associated with them.
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To be fair I think once artists get to a certain level of production in their stage shows they probably don't have a lot of input into how much tickets should cost. Of course the point remains they if he wanted his shows to be accessible to the most people he could cut down costs considerably but that kind of goes agains the spirit of shows like "The Wall" which have a level spectacle associated with them.
I don't believe that for a second. When you have as much clout and star power as Roger Waters does, of course you have a say in ticket costs, unless you pass it off to your management and then steer clear of that aspect of the business so you can claim plausible deniability.
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To be fair I think once artists get to a certain level of production in their stage shows they probably don't have a lot of input into how much tickets should cost. Of course the point remains they if he wanted his shows to be accessible to the most people he could cut down costs considerably but that kind of goes agains the spirit of shows like "The Wall" which have a level spectacle associated with them.
I don't believe that for a second. When you have as much clout and star power as Roger Waters does, of course you have a say in ticket costs, unless you pass it off to your management and then steer clear of that aspect of the business so you can claim plausible deniability.
I agree but I think there’s a limit to that, he couldn’t just decide to make tickets 10$, a show like The Wall would run up huge deficits
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I saw them at Foxborough in 94. I never knew a band could sound that good in an outdoor stadium.
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His political agenda at his concerts can be polarizing. When he was on the Trump bashing with the giant screens in 2017 he lost some of his audience. I actually saw quite a few people shaking their heads booing, and leaving the show when it got to the point where it said "Trump is a piece of shit" in huge letters across the screens that were lowered into the center part of the arena.
I myself just shrugged it off and enjoyed the latter part of the show after they finally ditched the screens, and played the heavy hitters. So why alienate part of your audience with a politically charged show? I know, it's a Roger Waters thing.. :chill
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His political agenda at his concerts can be polarizing. When he was on the Trump bashing with the giant screens in 2017 he lost some of his audience. I actually saw quite a few people shaking their heads booing, and leaving the show when it got to the point where it said "Trump is a piece of shit" in huge letters across the screens that were lowered into the center part of the arena.
Wow, that is so lame.
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Completely!
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Yeah, Roger's come to really embrace capitalism with his ticket prices. The second Wall gig I went to was the most, by far, I've paid for a concert ticket (and hopefully ever will). Worth it, though. We saw the Dallas show from far back, getting to see the whole big picture. We caught Tulsa from 2nd row, getting to see the band, and a totally immersive IMAX kind of experience. Plus a really cool road trip, to boot.
Nice. I saw Pink Floyd in '94 at Arrowhead in KC (fun road trip for that one!), and we were somewhat far back, but we didn't care. The stage show and sound was so great that it didn't matter.
We bought tickets the day of the show for the very back of the floor. When we got there they wound up being the very front of the floor. We were about 8 rows back, and while it was cool to see the band, we missed out on the overall spectacle. Back then the tickets were a whopping $75, so seeing it twice wasn't really an option. When I saw the PULSE DVD I was absolutely blown away by how amazing it was.
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To be fair I think once artists get to a certain level of production in their stage shows they probably don't have a lot of input into how much tickets should cost. Of course the point remains they if he wanted his shows to be accessible to the most people he could cut down costs considerably but that kind of goes agains the spirit of shows like "The Wall" which have a level spectacle associated with them.
I don't believe that for a second. When you have as much clout and star power as Roger Waters does, of course you have a say in ticket costs, unless you pass it off to your management and then steer clear of that aspect of the business so you can claim plausible deniability.
I think artists cede a ton of power to the production companies nowadays. My hunch is that LN probably offered him X millions of dollars up front for a tour, win or lose, and they take care of the rest. Moreover, if he says that he wants normal fans to be able to enjoy it they're truthfully able to say "hey, we've got seats for $35 ea." Of course there aren't many of them, they truly suck, and TM's TT&L nearly doubles the cost, but from their perspective it's still accessible to all.
edit: Also, I have to point out that he sells >95% of his exorbitantly priced tickets, so a great deal of this is market demand. An argument that the scalpers have been making for years is that concert tickets are undervalued. In their case I think it's a rationalization, but in Roger's case he does seem to be hitting pretty close to the mark in terms of value.
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His political agenda at his concerts can be polarizing. When he was on the Trump bashing with the giant screens in 2017 he lost some of his audience. I actually saw quite a few people shaking their heads booing, and leaving the show when it got to the point where it said "Trump is a piece of shit" in huge letters across the screens that were lowered into the center part of the arena.
I myself just shrugged it off and enjoyed the latter part of the show after they finally ditched the screens, and played the heavy hitters. So why alienate part of your audience with a politically charged show? I know, it's a Roger Waters thing.. :chill
Those people are idiots. From Roger's point of view if they're so oversensitive about such things, fuck'em. Fucking snowflakes. For my part, if I went to see Nugent, I wouldn't storm off in a huff when it turned into a political rally. I'd roll my eyes, laugh at a crowd full of gun-toting sheep, and tough it out until Dog Eat Dog. :lol
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What happened to those days El Barto when people were not offended by everything? I miss those days.
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We bought tickets the day of the show for the very back of the floor. When we got there they wound up being the very front of the floor. We were about 8 rows back, and while it was cool to see the band, we missed out on the overall spectacle. Back then the tickets were a whopping $75, so seeing it twice wasn't really an option. When I saw the PULSE DVD I was absolutely blown away by how amazing it was.
As amazing as Pulse is, I still wish they would have been a show that was outside. The mirror ball that opens up at the end of Comfortably Numb was so awesome with it rising out of the middle of the crowd outside. It was cool with it hanging from the ceiling at the indoor Pulse show, but the effect of it at the outdoor shows was something else.
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His political agenda at his concerts can be polarizing. When he was on the Trump bashing with the giant screens in 2017 he lost some of his audience. I actually saw quite a few people shaking their heads booing, and leaving the show when it got to the point where it said "Trump is a piece of shit" in huge letters across the screens that were lowered into the center part of the arena.
I myself just shrugged it off and enjoyed the latter part of the show after they finally ditched the screens, and played the heavy hitters. So why alienate part of your audience with a politically charged show? I know, it's a Roger Waters thing.. :chill
Those people are idiots. From Roger's point of view if they're so oversensitive about such things, fuck'em. Fucking snowflakes. For my part, if I went to see Nugent, I wouldn't storm off in a huff when it turned into a political rally. I'd roll my eyes, laugh at a crowd full of gun-toting sheep, and tough it out until Dog Eat Dog. :lol
Ted Nugent is the other extreme.. :lol
I could imagine him opening fire at a Roger Waters concert,, JK. Could you imagine the South park episode they could make out of that. :corn
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Ted opening for Roger would be quite the show.
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For as much as I love Roger's Floyd material (I know he wasn't the sole writer, just trying to make a point), I am lukewarm at best about his post-Floyd career.
I have no use for Hitchhiking, K.A.O.S or Is This the Life...?, but Amused to Death is a major winner. I still maintain that had that been a full-fledged Pink Floyd album, with playing and singing contributions from Gilmour and Wright, it would have been on the level of the 1973-1979 albums. The songs and concept are both that good.
It has been a long time since I've listened to any of those albums, I can barely remember much from them. Maybe time for a revisit. I never got the praise for Amused to Death. I thought Is This the Life We Really Want? was better than it had a right to be. Randomly, Every Stranger's Eyes is one of the highlights of the In The Flesh DVD for me.
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Man, In the Flesh makes all of those songs come alive. Dollars and Sense is a little to over-dramatic, but Every Stranger's Eyes and the rest of the AtD stuff (and Candle) are all fantastic.
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Yep. Even Dogs from that release got me more in to Animals than I was at the time.
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The live version of It's a Miracle from the In the Flesh DVD from the late 90's is the best song Roger Waters has written in the last 40 years (in other words, since The Wall).
https://www.youtube.com/watch?v=Jj_OlTelGhI
Amazing. :hefdaddy :hefdaddy
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it’s such a good concert it’s almost ridiculous
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Bramhal was an interesting choice for that tour, but paired with Snowy White he worked out brilliantly. He's a very different guitarist than Gilmour, but in a complimentary way, I thought. I like Kilminster a lot for what Steven Wilson does, but as the fake David Gilmour I never thought he worked out very well. In any case, easily one of my most watched concert DVDs.
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Bramhal was an interesting choice for that tour, but paired with Snowy White he worked out brilliantly. He's a very different guitarist than Gilmour, but in a complimentary way, I thought. I like Kilminster a lot for what Steven Wilson does, but as the fake David Gilmour I never thought he worked out very well.
When I first popped that DVD in, my initial thought was "Who is that guy? He looks like he belongs in a totally different band. " I knew Graham Broad, Fairweather-Low, Jon Carin, Snowy, but had to look up that guy on the net. Never heard of him before (and haven't heard from him since!). I didn't care for his vocals, and wasn't keen on his guitar playing either (but realized he had big shoes to fill). I am not a big Snowy guy, so after my first listen the guitars were a letdown (again, big shoes...) After subsequent listens though I appreciate it more, as how you said better than I could.
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Bramhal was an interesting choice for that tour, but paired with Snowy White he worked out brilliantly. He's a very different guitarist than Gilmour, but in a complimentary way, I thought. I like Kilminster a lot for what Steven Wilson does, but as the fake David Gilmour I never thought he worked out very well.
When I first popped that DVD in, my initial thought was "Who is that guy? He looks like he belongs in a totally different band. " I knew Graham Broad, Fairweather-Low, Jon Carin, Snowy, but had to look up that guy on the net. Never heard of him before (and haven't heard from him since!). I didn't care for his vocals, and wasn't keen on his guitar playing either (but realized he had big shoes to fill). I am not a big Snowy guy, so after my first listen the guitars were a letdown (again, big shoes...) After subsequent listens though I appreciate it more, as how you said better than I could.
He was an interesting choice to me because he was never trying to be the new Gilmour. He was incorporating his own style, and it's cool that Roger let him do that. I thought it provided a more, organic, feel. Particularly since Kilimister does try to be the new Gilmour and, quite honestly, doesn't really cut it. And in this show Roger was playing as much of his own music, often more blues based than PF, so it wasn't a huge factor for half the show anyway. And regardless of how he comes off playing Floyd, he is regardless a damned talented guy.
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Bramhal in that concert obviously comes from more of a Stevie Ray Vaughan, Jimmy Hendrix type school of guitar playing and while that may seem incongruous with Pink Floyd there is some blues overlap between the two. I think he ended playing with Eric Clapton a lot after this? Andy Fairweather low also usually played with both Clapton and Waters when he could.
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He was incorporating his own style, and it's cool that Roger let him do that. I thought it provided a more, organic, feel... And in this show Roger was playing as much of his own music, often more blues based than PF, so it wasn't a huge factor for half the show anyway.
Right, it just took me a few listens to get to that realization. I also don't care much for blues so that blues-y vibe was initially a turn-off.
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Bramhal in that concert obviously comes from more of a Stevie Ray Vaughan, Jimmy Hendrix type school of guitar playing and while that may seem incongruous with Pink Floyd there is some blues overlap between the two. I think he ended playing with Eric Clapton a lot after this? Andy Fairweather low also usually played with both Clapton and Waters when he could.
AF-L probably played with Bramhall Sr back in the day. I know he was part of the British Invasion in '83 with Clapton and Beck, and my guess is that Bramhall Sr. was playing in much of the same circles. Last I heard of Bramhall Jr. he was one of many people playing an annual Hendrix tribute in Nashville. I knocked around going because Belew and Dweezil were also on the bill.
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I can never remember which guitar player Waters uses where, but he seems to always get one who get come pretty close to nailing the Mother solo (which is a top 5 Gilmour solo, IMO). The versions on the In the Flesh DVD and from the Berlin show (where Sinead O'Connor sings the lead) both feature guitar players doing a great job on the guitar solo. It is hard to not miss Gilmour when Waters plays a Floyd song and the guitar solo is massively underwhelming, but his guys usually seem to get that one pretty close to right.
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I can never remember which guitar player Waters uses where, but he seems to always get one who get come pretty close to nailing the Mother solo (which is a top 5 Gilmour solo, IMO). The versions on the In the Flesh DVD and from the Berlin show (where Sinead O'Connor sings the lead) both feature guitar players doing a great job on the guitar solo.
I think I wore out my VHS copy of the Berlin show. I remember that the guy on guitar was someone I didn't know, and looking it up, it's Rick DiFonzo, who doesn't even have his own Wikipedia page, so obviously a nobody :D
Having Sinead sing Mother was a flash of inspiration. What a beautiful voice for that song. I cannot say the same for the dudes from The Band who sand the Gilmour parts.
Dang now I want to watch that show again, but I haven't had a VCR in, like, 20 years.
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I can never remember which guitar player Waters uses where, but he seems to always get one who get come pretty close to nailing the Mother solo (which is a top 5 Gilmour solo, IMO). The versions on the In the Flesh DVD and from the Berlin show (where Sinead O'Connor sings the lead) both feature guitar players doing a great job on the guitar solo.
I think I wore out my VHS copy of the Berlin show. I remember that the guy on guitar was someone I didn't know, and looking it up, it's Rick DiFonzo, who doesn't even have his own Wikipedia page, so obviously a nobody :D
Having Sinead sing Mother was a flash of inspiration. What a beautiful voice for that song. I cannot say the same for the dudes from The Band who sand the Gilmour parts.
Dang now I want to watch that show again, but I haven't had a VCR in, like, 20 years.
it’s probably out of print now but I have a nice DVD set of the berlin show that was put out sometime in the 00s when everything under the sun was coming out.
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I still have the Berlin show on DVD tucked away, and I had it on CD as well. I wore out my original VHS copy of that back in the day (along with my VHS of Floyd's Delicate Sound of Thunder). The version of Nobody Home from that show is my preferred version of that song.
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My parents have been slowly cleaning out my room in the house they've owned since 1979, and periodically send me stuff I end up tossing in the trash. The last batch had both those VHS tapes. I am not nostalgic about stuff, and generally subscribe to that Kondo gal's notion of not holding on to everything you've ever owned. But the DSoT VHS is probably my most watched video of any type over the course of my life, and despite not owning a VCR to watch it, I still struggled with tossing it.
I've watched some of the recut videos from The Later Years release, and while it looks so beautiful, I am too aware of all the differences in the editing because I basically have the video memorized. "WAIT! Why are they showing David here, it should cut to Rick. And what the hell happened to Guy's Money solo?!?!"
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My parents have been slowly cleaning out my room in the house they've owned since 1979, and periodically send me stuff I end up tossing in the trash. The last batch had both those VHS tapes. I am not nostalgic about stuff, and generally subscribe to that Kondo gal's notion of not holding on to everything you've ever owned. But the DSoT VHS is probably my most watched video of any type over the course of my life, and despite not owning a VCR to watch it, I still struggled with tossing it.
I've watched some of the recut videos from The Later Years release, and while it looks so beautiful, I am too aware of all the differences in the editing because I basically have the video memorized. "WAIT! Why are they showing David here, it should cut to Rick. And what the hell happened to Guy's Money solo?!?!"
The DSoT VHS is the first video I remember watching. I loved it. I watched it on repeat for hours.
In regards to Snowy White I've always been a huge Tim Renwick fan. I don't think he has ever toured with Roger but his playing with PF was fantastic.
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I've watched some of the recut videos from The Later Years release, and while it looks so beautiful, I am too aware of all the differences in the editing because I basically have the video memorized. "WAIT! Why are they showing David here, it should cut to Rick. And what the hell happened to Guy's Money solo?!?!"
Haha, you sound like me. As a professional air guitarist :P, there is a moment in One of These Days that I always air guitar (when Gilmour is playing the lap steel), and not getting that specific shot would be irksome.