Do you recall if it was the full 23 tracks or not? DS AudioFiles up above said that it does (that it is the exact same thing as the other version). However ARK later said it not only is incomplete but it is only one CD rather than two. Sigh. I will find out for myself next week when it gets delivered.
Yes. 23 tracks. The 2 cd remixed live album. As I said, as pictured. The pictured showed 2 cds and it is the remixed re-edited concert. As I said, I found mine in a store.
Guitar World, 1993: GW: Let's move on to Pink Floyd's most recent studio labum, A Momentary Lapse of Reason. How did you hook up with Roxy Music's Phil Manzanera to write "One Slip"? GILMOUR: Phil is an old friend of mine. We've known each other for years and years, and we always talked about doing something together. So I went and visited him over at his studio, and we started playing around. During that whole period of time, I was trying things out with a number of people, to see if there was anyone I felt comfortable working with who could help to make the load a little lighter in doing the new Pink Floyd record without Roger. Phil basically wrote the music to "One Slip".
Sigh? You’ll find out yourself? Wasn’t aware I had a time limit to respond. I did in less than hour. No hurry to acknowledge my confirmation.
Original for me. I've heard it a billion times, I'm actually quite fond of it. Only four remixes stuck out at me for being substantially different. Signs of Life-closer to how it sounded live, which IMO the Delicate Sound of Thunder Version trumps both the original and remix. One Slip-A very different mix, doesn't sound any less dated though. On The Turning Away-Remixed with so many of the live elements (including the vocal track) I don't feel like it's an improvement honestly. Yet Another Movie-I absolutely love the remixed version. The sax at the beginning is awesome. This is the only remix that actually improves anything for me. The rest of the remixes pretty much sound the same as the original versions, I can tell where the changes are, but they aren't hugely noticeable unless you compare them back to back. Ok, so Nick replaced drum machines with actual drumming, and they added in some of Rick's keys from the live shows. Why bother? Just to say that's them playing? Even with those parts replaced, it still very much sounds the same.
As I said earlier, maybe in this thread, One Slip and Learning To Fly are embarrassing. Neither sound a fricking thing like Pink Floyd - not surprising as the music for both came from outside the band. Horrible, horrible 'songs'.
I’d agree, that album is very important in the history of their career, sold very well along with a huge world tour. They proved they could survive the loss of Roger Waters, they should be proud of it.
Well, they're a couple of my favorites. A band doesn't always have to "sound like itself" for them to create something enjoyable. For the most part, Pink Floyd stopped "sounding like Pink Floyd" after 1977, IMO. I like almost all Pink Floyd, and it may be sacrilege to admit this, but if someone held a gun to my head and forced me to take only two PF albums, they'd be AMLOR and Division Bell.
No disrespect intended. I merely meant that some people (or rather one person) is saying that what I am buying is only one CD & not the whole thing. The only way at this point I will know for sure is to see what it is when I get it myself. P.S. I was not aware that I had a time limit myself to reply to you. Some of us (me at least) have to go to work 12 hour shifts that are 15 hour days, and do it all night to boot....off to work now after 5 hours sleep....
Here’s what I see in your link... Track Listings Shine On You Crazy Diamond (Parts 1-5) Signs of Life Learning to Fly Yet Another Movie Round and Around A New Machine Part 1 Terminal Frost A New Machine Part 2 Sorrow The Dogs of War On the Turning Away
Neither of these albums are my favorites or among my desert island discs, but you're quite right. A band doesn't have to sound like itself in every incarnation or on every release. All of Pink Floyd (and most of their solo/offshoots) is enjoyable to me.
I feel your pain: 12 hour shifts are soul destroying. At least, they were for me. Hope you enjoy your job, though.
I expected to prefer the original, but actually found it a bit of a disappointment. It sounds a bit flat to me. I still like the original. Same reaction to the DSOT remix.
Hardest and worst job I have ever had. Godawful conditions. I get deathly ill in the summertime because of the heat. Even had a heart attack there and almost died. They still schedule me for 84 hours a week to cover my counterpart's vacation days anyway (and more). I could go on and on but no point, and have derailed the thread enough already (my apologies). This nightshift crap is really really getting to me though, especially mentally....I think I am in hell or at least purgatory....
I'm not seeing that. Could be this browser though, have most javascript turned off selectively. Anyways I'll just keep my fingers crossed and see what I get....
I am sorry, as I have been there. It really is awful. Fortunately for me, in some ways, I had an industrial accident in 2008 and that was me out of the working game. But even now, I sometimes dream of being right back in, and you’re right, hell. There were opportunities for me to listen to music at times and Pink Floyd, especially, were a welcome relief. I hope you’re able to get out of there at some point, or at least onto decent working hours. Best of luck.
The thread is here: Pink Floyd Delicate Sound Of Thunder 2020 Box Set You're making an unreasonable argument and also completely missing the point why I brought up the track in the first place. You're presenting a straw man and distorting my point. Whether someone is "present" or not should not be the decisive factor on songwriting credits. With that thought process, all of Animals bar POTW was written by the entire band. But I do find it funny that all of a sudden, you think it's OK to appropriate a piece that originated from two people and not give either of them credit, while you decided to doubt AMLOR's status as a Pink Floyd album because it was co-written by outsiders. In other words, if those outsiders had been forced to give up their deserved credits (maybe for monetary compensation), Roger-style, and all songs had been credited to "Gilmour-Mason", you would see it as a legitimate Pink Floyd album? Is that your point? That what's officially written underneath the track is more important than the actual work that went into it? "If things were created and added under his direction and/or the track was created and finished as per his vision, then it is his track." If things were created and added under Gilmour's and Mason's direction and/or the track was created and finished as per Gilmour's and Mason's vision, then it is their track. Do you realize the inherent logical problem here? My point was simply that the credits on Roger's track should have been a three-way split since all the music came from Pat Leonard and Jeff Beck, and without the music, the track would not exist (if you come at me with sound effects, I'll give you Nick Mason's contribution to The Final Cut's "writing"). I came across this live version from Atlanta 1987, and Rick played some beautiful electric piano on Learning to Fly. I think that was a great addition and immediately makes it sound more "Floydian". Wish this performance of his had been edited into the remix. There is some of his playing on the DSOT version and the remix but it's more subdued. As for the song, if you analyze the chord sequence, it's not far removed from something like WYWH. No wonder Nick said this was the most naturally PF sounding track to him on the album. Does it matter that One Slip doesn't sound much like Pink Floyd, apart from the fact that David is singing, and that the sound effects intro resembles "Time", and that there are roto-toms...? Did Bring the Boys Back Home and The Trial sound anything like Pink Floyd?
On the subject of LTF, somebody has extracted bits from the 5.1, where you can now hear Rick's harmony vocal on the choruses well: Same channel also has a great track of Tony Levin's bass on Yet Another Movie!
I never said it did. You stated the Leonard and Beck should be credited as the two main songwriters of the piece. My point was that Roger was more than likely present during those 'jams' and had a big input and final say in how the final piece is presented on the record. You have no idea what went on in the studio during those sessions, neother do I. What we do know is that Roger has worked with all manner of people - both big names and small - in his solo career and not a single one of them as far as I know has ever complained that they wrote pieces of music or complete songs that they have not been credited for. No one has claimed that Roger was stingy with credit. That kind of talk comes purely from his ex Floyd band mates who have a vested interest in stating that they did more than they were credited for. Ironically, AMLOR proved that not to be the case as a great deal Dave had to get other people in to create, thus proving Roger's point and disproving theirs. Then there is the statement from Dave regarding Bob Ezrin writing Is There Anybody Out There - again, completely disproved when the Wall demos emerged and there was the track in pretty much its complete form. We are probably best turning to Jon Carin who has more experience of working with the two men in both band and solo capacity then anybody. He has recently claimed that he did work on both AMLOR and TDB that he was not credited for. Even Guy Pratt - one of Gilmour and Wright's staunchest allies - is now stating he had a lot to do with Wearing the Inside Out which he has hitherto not been credited for. When Jon was asked online about Roger not being fair with song writing credits he had this to say: 'I haven’t had that experience. Roger brings in finished songs that we then work on. It’s a different process' (to working with Pink Floyd). Now you can bury your head in the sand and say you don't believe Jon Carin because it does not align with your preferences but given what Jon has been party to over the years and based on what we know from what other people have said about the work process involved in AMLOR, I am sticking with the version of events as stated by those who were involved as opposed to postulations by people on the internet. No it isn't and I am sure you know that. AMLOR is well known to have had massive input from other people, so much so that it would be impossible not to credit them. I am not talking about ideas emerging from a jam session here as with TBOBH, I am talking about songs and demos that were brought to the project (One Slip, Learning to Fly). I am talking about complete sets of lyrics being written for songs. I am talking about Dave consulting and working with all kinds of people in the music industry - such as Eric Stewart and Roger McGough - to come up with a concept for a Pink Floyd record as he was unable to himself. Nothing like that has happened with anything Roger has ever done as far as I am aware, nor has anyone accused him of that. To compare it as such is totally disingenuous. Yeah, except that is not what happened. That is the whole problem here. If Nick and Dave had worked closely together and created the album from the ground up, taken it to the studio and with other musicians and Ezrin fleshed it out but it remained essentially their ideas, vision, songs and words behind the project then fair enough. That was not the case. There are numerous articles out there about the birth of AMLOR and I won't keep on repeating myself. ATD was Roger's vision, concept and words as are all his solo albums. I have already addressed how music may come together when a solo artist works with other musicians and again, I am not going to repeat myself especially when Jon Carin states Roger's MO simply enough above. Anyway, enough of this and back to the OPs topic.
In case anyone is interested in purchasing that lower price CD reissue that I was asking about at this link in Amazon of the new live Delicate Sound of Thunder: https://www.amazon.com/Delicate-Sound-Thunder-Restored-Re-edited/dp/B08JF5MBN1/ I just got it, and it is indeed the full 23 track version. It even has a sticker on the packaging detailing that. In case there is something up going to the link directly that affected what ARK was seeing above (he only saw what looked like a 1 CD version with a limited track list?), you can also find it by just going to Amazon and searching the ASIN number of B08JF5MBN1 rather then following the link. I say that only because I remember some weirdness being talked about up here in years past that sometimes Amazon links posted here get modified in some way if clicked on (??). Very confusing that Amazon presented me with two different versions on CD which I asked about a couple days back. This one that I bought is about $7 cheaper and listed as "Delicate Sound Of Thunder - Restored, Re-edited, Remixed clean" with no tracklist that I could see, and the other is listed as "Delicate Sound of Thunder (2019 Remix) [Live]" which showed the full 23 track tracklist. Thanks to all the posters who responded earlier to my question asking if these were the same thing or not, if the cheaper one would have all 23 tracks etc. From what I can understand they do have the same content, just one is a domestic USA release vs an import, with confusing lack of specific details (or perhaps wrong details which ARK saw) on the cheaper USA one.
