I would have picked instrumental. I loved earlier Pink Floyd albums that had lengthy instrumental excursions. And TER is certainly a unique entity in their canon. Variety of approaches from one project to the next is one of the biggest things that makes them, and other bands, to be noteworthy and special, to my way of thinking.
Metallica. I bought their Master of Puppets SDE and must say that it is one of the best box sets I've purchased, from a content and a price perspective.
I see The Division Bell as the 'real' final Floyd album, and TER as some sort of coda, and a tribute to Wright. And a nice one at that. Works for me.
Seems like the good people at Floyd camp wisely selected me to attend the private screening tomorrow in London. **** YEAH!
I entered forBirmingham. Was I supposed to receive an acknowledgment email of my entry when I originally signed up. I was expecting some sort of “thanks for entering” email
So you think the only way to get TER should’ve been as a bonus in an expensive box set? I’m happy they released it as a stand-alone album. And as far as I remember it was made perfectly clear that it wasn’t a “new” album but a bunch of instrumental leftovers from The Division Bell, so that album remains the final statement from the band IMO.
It was definitely marketed as 'the new album'. It's always going to be a devisive release though as Pink Floyd fans clearly feel very differently about it's merit (lyrics, artwork etc.) and it's place in the discography. When people discuss it being part of the The Division Bell 20th anniversary box, I think it's with a view to the tracks being in a less polished form perhaps and with direct ties to The Division Bell album and sessions.
It's a long shot, but if anyone can't make a London showing they've been invited to for any reason, please contact me because I'd love to see it!
Maybe the headline of press releases said “new album” but anyone bothering to read more than the headline would’ve found a description of what it actually was. I don’t believe your assertion that people feel differently about the album’s place. I think both people who like the album and people who don’t agree that it’s more of a collection of bits and pieces than a full and proper album.
I finally got The Division Bell on vinyl last weekend. I was torn between getting the 2016 version or the blue vinyl, but for the sake of a $15 difference settled for the 2016. I am hoping that hearing it on vinyl and having to turn it over etc makes me connect with the album more. It is the only PF album that I have never fully engaged with and took me years to even buy on CD. Because of my distanced stance from TDB, I have never really got into TER that much either. I am loathe to buy that on vinyl, due to the shortness of it, I would much prefer if that one was a single album on vinyl.
We all know what it is and how it came to be. You said and I quote, "as far as I remember it was made perfectly clear that it wasn’t a “new” album". I pointed out that is what Pink Floyd called it and how it was marketed, that is not up for debate. Whether you believe my assertion or not, people do feel very differently about that album's place, as is evident on any Pink Floyd forum and the comment you replied to wasn't discussing whether people liked it or not.
The Endless River is a Schrodinger release, simultaneously both new and old. Pink Floyd To Release First New Album in 20 Years
Also, given that the band originally planned to do a double album, or release the "second part" as The Big Spliff in the 90s, it is very much is own thing. Personally, I think it has a very different personality compared to The Division Bell. Calling it leftovers just because it shares the same origin makes as much sense as calling Animals leftovers from WYWH. (The Final Cut is a tougher case though, since it contains songs that were originally rejected for The Wall... but this list shows that PF have always been great at self-recycling.) I haven't heard this version yet but on the VHS, the middle section is sort of overlaid. Basically it's half as many bars as on the live CD. I hated the edit on the DSOT video version of CN from the first time I heard it. Which, interestingly enough, was not on the VHS but on a grey market release called "Shine On - Live" by Immortal Records, which is simply the VHS audio on two CDs. Knowing PULSE, the edit in the solo was blindingly obvious to me. And knowing how great the Knebworth version is (since it's already been officially!! released on CD), I will be M-A-D if the video is edited. No apology. It's telling that this post got zero likes... I knew that! But what about Poles Apart or Lost for Words? It's not outlandish... in fact various fans have, independently from each other, come up with quite similar analysis. Pretty much all the songs can be interpreted within the scenario of World War 3, i.e. nuclear apocalypse (Terminal Frost and Sorrow are especially obvious in that regard). Learning to Fly and One Slip may have other meanings on the surface, but just like on TDB, those songs can have a second (in the case of LTF, about David becoming the "new captain" of the band) or even third layer. It's quite well done and shows that Roger's approach isn't the only one valid. Still like the DVDs, in volume order. Basically it's the same cut as on the original VHS. I just hope we'll get all the individual sets at some point. Agree that Cliff Richard was really out of it. Good Golly Miss Molly, a song that should be performed with lots of power... and it sounds like sleepwalking! Quo were on fire during that period. I've been listening to the 1989 performance at the N.E.C. and it's also very energetic.
Based on time codes from DSoT film, this will be the time duration for each track on the film: 0:12:23 - Shine on you Crazy Diamond 0:03:23 - Signs of Life 0:05:17 - Learning to Fly 0:10:24 - Sorrow 0:08:04 - The Dogs of War 0:09:23 - On the Turning Away 0:05:56 - One of These Days 0:05:21 - Time 0:02:46 - On the Run 0:04:51 - The Great Gig in the Sky 0:04:47 - Wish You Were Here 0:07:33 - Us and Them 0:08:27 - Money 0:09:54 - Comfortably Numb 0:06:09 - One Slip 0:10:49 Run Like Hell + Credits So comparing with time duration with DSot Album: Sorrow, On the Turning Away and Comfortably Numb will be extended, One of These Days will be shortened about 20 seconds, and Money will will be shortened about 1:30 minutes (most of the song is from 21st August, with exception of middle section (Saxophone and Bass Guitar solo from different days, perhaps they removed those parts, otherwise Guy Pratt will play 3 different bass guitars on the film!
"A Momentary Lapse of Reason Updated and Remixed 2019" is the official description. All the debate on this forum and elsewhere reminds me a little bit about the arguments and controversy when much of the earlier Tangerine Dream back-catalogue was remixed/re-recorded, etc. by Edgar Froese and released in compilations/box sets such as "Tangents" and "The Dream Roots Collection". The music was henceforth known as "tangentized" music. Many fans didn't approve of this revisionist approach!
They spent money on producing it and making artwork for it like it was a new album. They built a promotional campaign for it like they would a new album. They released it on multiple standalone packages like they would a new album. They commissioned a film to accompany it like they would a new album. They mixed it in surround like they would a new album. Etc.
I do enjoy some of the remixes from Tangents and Dream Roots, but I think those remixes were a way to include the older material without having to pay royalties to the copyright holders of the original mixes.
