Hard to take that seriously when you use the wrong conjugation for the verb transcend.
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Roger Waters has to be stupid
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Hard to take that seriously when you use the wrong conjugation for the verb transcend.
Actually, we've transcended them to such a degree that none of the words in this thread means the same thing to any participant, so the jokes on you my dishwasher parrot running is a green stone
He is doing quite fine IC'ly (In Character'ly) beside the fact that his uncle is having another relapse (had a mental breakdown after the fall of Gnomeregan, which seems to have broken out again after the invasion of the Burning Legion) which means him having to take care of his uncle and the uncle's engineering workshop in Ironforge.
OOC'ly (Out of Chracter'ly) I am neither role playing or gaming with him much these days, beside the weekly meetings in the guild he is officer in and his monthly poetry meetings in Stormwind, as I have moved on to another gnome as my main.
Fun fact, my first Gnome RP character was named Grymble Fumbleblast, named after the gnome Grimble Grumble, but as both the names Grimble and Grumble of course was already taken I had to use a Y as first vowel instead.
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Yet that's made substantially more sense than the last few replies I've gotten.
Thank you for injecting some sense into this mess.
There is so much nonsense written in this thread.
I've not seen a thread on Talkbass that beats it for overblown statements.
Syd lost his mind and was no genius before he did.
Gilmour and Waters are very talented individuals who made at least 7 or 8 fantastic records together and who made better records together than apart.
Gilmour is one of a small group of great guitar players who have created an identifiable style/sound of their own and he deserves recognition as such.
Waters was the most consistent creative force in Pink Floyd and a big reason they made many great records, but was at his best when he got plenty of input from the other three members on their records, and he knew that and knows that.
I've not seen a thread on Talkbass that beats it for overblown statements.
Syd lost his mind and was no genius before he did.
Gilmour and Waters are very talented individuals who made at least 7 or 8 fantastic records together and who made better records together than apart.
Gilmour is one of a small group of great guitar players who have created an identifiable style/sound of their own and he deserves recognition as such.
Waters was the most consistent creative force in Pink Floyd and a big reason they made many great records, but was at his best when he got plenty of input from the other three members on their records, and he knew that and knows that.
I was referring to the Live 8 Video that I quoted, not the original recordings.
This video here. Have a listen to "Wish You Were Here" and then "Comfortably Numb"
I've read it in several interviews back at the time. The thing it was hard to make, was that it was legally, hard to make it a Pink Floyd album. Not musically Bob Ezrin produced Daves solo album prior, and wanted to produce a "Floyd" album again after "The Wall". Ezrin didn't like "Final Cut" that much of course, since he didn't produce it.
A Momentary Lapse of Reason - Wikipedia
"It followed guitarist David Gilmour's decision to include material recorded for his third solo album on a new Pink Floyd album with drummer Nick Mason and keyboardist Richard Wright."
Well, what's wrong with that? Roger did the same on "Final Cut" don't you think? And they thought the same, if he could do a "solo" album with Floyd name all over it, so could they. No more no less. It started out as being a solo album, but during the course of recording changed direction. As it reads, it was a decision made by Dave, to include material for his solo album. I don't compare "Lapse" to any of PF earlier masterpieces, but compared to "Final Cut" it's almost stellar. It started out as a Gilmour solo album, nevertheless.
I love the Pink Floyd post Syd that made all the great albums. Never got to see them. I did see them post Roger, great show but agree the new stuff wasn't the same.
The Live Aid reunion you could see Gillmour wasn't happy. Roger was struggling to sing his parts too.
Saw Roger In The Flesh tour, good show, did some cool old gems. The people singing the Gilmour parts were ok but not as good. For an encore he did a depressing song Each Small Candle, which sucked the life out of a good show.
None of this really matters now as Richard Wright is gone. He was as much Pink Floyd as Roger and David.
The Live Aid reunion you could see Gillmour wasn't happy. Roger was struggling to sing his parts too.
Saw Roger In The Flesh tour, good show, did some cool old gems. The people singing the Gilmour parts were ok but not as good. For an encore he did a depressing song Each Small Candle, which sucked the life out of a good show.
None of this really matters now as Richard Wright is gone. He was as much Pink Floyd as Roger and David.
While I don't necessarily agree that their using songs intended for a solo album, to fill out an album, means it started as a Gilmore solo album I will never claim Final Cut was a good album or that it was better than later Floyd stuff.
Pedantic alert:
He's not hammering it. He's picking it
Also, while it's true the bass isn't playing that E note before the low F#, the guitar is playing a dead note in the same spot when it comes in, and I could see where Guy might have thought it was the bass doing it.
I'll be pedantic too...... it certainly sounds like he is playing the open E and then hammering on to the F#. If he were picking both notes (and he does use a pick, not fingers) there would most likely be more attack on the F#.
I can totally understand why he did it, as I don't mind playing it that way myself sometimes.
As I said though, it's a really small thing, but to a Floyd fanatic who has loved "Money" as much as just about any song ever (some of that due to it being one of the only 7/8 time songs ever in the charts), it just stands out almost as much as if a complete bum note is played.
I've never heard him tap.
Or play sweep arpeggios.
Or play 32nd notes.
Or really play on anything past 150 bpm or so.
Or play over complex changes.
Or play complex chords, besides maybe Animals.
So. Yeah. If in 50 years of recording he hasn't done that it's pretty easy to say that he has limitations that others don't.
Nice assumption about "cheap copies that hit all the notes" but it doesn't change the fact that Jamie Kime and John Ziegler's live, unrehearsed, versions of Any Colour You'd Like at the Baked Potato jam are simply better than what I've seen David pull off live at the Hollywood Bowl, down the block.
They play his parts better than he does, with better tone, with more authority, locked in better with the rhythm section.
They're not alone in that. Hell. The guys that play Gilmore's parts in Waters tour nightly are spot on. And have been for both this tour and both Wall tours.
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How would any of that fit into Pink Floyd? Had he played 150 bpms over complex chords with sweeps PF's music would have sucked.
I'll concede that some session pro level musicians can pull off his stuff with the same level of feel. I won't agree that every two bit cover band guitarist can. I don't see how this proves he's a bad guitarist, or how you've inside knowledge of what the guy was capable of in his prime.
Btw, Gilmour was 70 last year at the bowl.
It is perhaps a little bit more nuanced than that. Syd was gifted, but precociously so. If nothing else he was a brilliant magpie, and his lyrics are drawn from, inspired by, and outright stolen from a range of obscure literally sources. Add in his guitar playing, which was rudimentary with a nod to Bo Diddley and maybe half a nod to Hank Marvin. Add in the Binson Echorec tape echo unit, as used by Hank Marvin and the like for subtle multi-tap delays, and Syd had another texture to work with. In truth Syd was a painter primarily, and his poetry/music was simply a finite resource he could only plumb for a short time. He was burning out by the end of 1967, having already exhausted his ability to write cutesy songs (The Gnome, the Scarecrow, Lucifer Sam) and instead came up with darkly abstract compositions with odd and unpredictable time signatures. As much as people want to see a level of Trout Mask weirdness in the polyrhythms and wandering chord progressions of his solo albums, I wager those songs were never played the same way twice. Syd was undisciplined as a musician anyway, and cared even less once he was 'finished' both with the music industry and with music in general.
People hung onto Syd, and his Floydian bandmates felt a collective sense of guilt over his decline. People will eagerly paint him as an 'acid casualty' (an overly basic cliché at best) either to warn against the ravages of psyche-rebuilding hallucinogens or because they romanticize these lost causes as lovably aloof Lewis Carol types. I think the real sadness is that Syd was robbed of the time to become a painter with his own 'voice' in that medium, and became the unwitting poster child for a psychedelic movement that was way shallower and pathetic than anybody other than Syd realized. I think he most likely had an arrogant personality that turned increasingly antisocial as he got older. Perhaps he had Asperger's or some other mental illness that stunted his social skills. Whatever he had nobody seems to have really been looking out for him.
1. ‘He was singing about himself. It was an extraordinary document of serious mental disturbance,’ says Peter Jenner.
So some stranger would know what was going on in Syd's mind by listening to a song he wrote, yes, now that does sounds crazy to me right there. Better not have that guy listen to any Cannibal Corpse songs then, wonder what kind of bizarre delusions and stories Peter Jenner could come up with about those guys!
2. Jeff Jarratt was hired to engineer some of the sessions, but was stunned by the change in Syd since The Piper at the Gates of Dawn. ‘It was tragic,’ says Jeff now. ‘One minute there was this guy who was this creative force and next he was like a vegetable.’
Does this sound like a vegetable to you?:
3. ‘My memory is that EMI were going to shut the album down and shelve it,’ said Gilmour. ‘And I think Roger and I volunteered to rescue the project if they gave us more time. They gave us three days and it was very tricky to get anything done. Syd was in a very poor state in the studio, falling over, knocking mikes over. We put it out as best we could.’
Explain how a song meant to sound like this:
Could turn into this on the record with Gilmour and Waters as "producers":
4. Barrett showed up in the studio with an unusable recording of a revving motorcycle engine, which he wanted to dub onto a track. Later, he invited his old friends The Soft Machine to play on a song, but ignored their requests to know what key it was in, before walking out of the studio.
Yes, using a motor bike sample in a song is just plain out crazy:
These guys from Denmark got a track on the Danish Parlament's official national cultural canon of pieces of great cultural importance.
Also this list:
100 songs that start with a car/train/plane/motorbike/etc. sound effect
Regarding Soft Machine as backing band, are you talking about this amazing bumper cars ride (take 3)?:
Or this jolly silly genius love tune (take 4)?:
And this one is just for you, with much love, from his second solo album (there's both a personal message in it to you, as well as fuel to your crazy mad man's dreams about Syd):
Also from the second solo album, clearly the work of a mad man (the reverse guitar solo on this track is a first take by the way by Syd Barrett):
Says who?
You, because you can't relate to the song as other than an expression of craziness?
Now it is getting kind of sad.
You clearly must have had a miserable excuse for a childhood, which explain quite a few things to me posted in this thread by you.
So you get your opinions from other people's opinions.
I guess sometimes we are reminded how fortunate we really are when confronted with other people less fortunate, however sad that might be.
I see, that must clearly be why The Damned did such a serious effort to get Syd Barrett to produce their second record.
Cause they sure weren't punk.
That's it I guess.
Explains a lot to me as well, of were you are coming from.
Next thing I predict you say is that Nicklebag is a very talented band, cause you read someone say that somewhere, so it must be true.
I guess we have nothing to say to each other.
At least I give up on trying to convince you there's a world outside whatever strange impenetrable bubble you surround your head with.
All might not be lost for you though, you listen to Tool, so let that be a candle in the dark for you to reach out for.
Someday you might even be able to grasp their greatness, beyond their obvious technical skills as musicians.
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Smooth_bass88
vaxx!
- Oct 31, 2006
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A couple things to point out. Firstly, Pink Floyd hasn't toured in over 2 decades, so any money generated by them as an entity is a result of album sales/downloads/merch sales. Secondly, Roger Waters' tours in recent years are massive enormous affirs that gross millions and millions of dollars. His 2011 The Wall Live tour is the highest grossing of all time by a solo artist. But thirdly, and perhaps most signifigant, Roger Waters still earns money from the royalties of sales from the Pink Floyd catalog. Also, Roger Waters has a net worth of nearly twice as much as David Gilmour.
That's very true, although Signals was on the verge of being a great album but it was so damn hard to follow Moving Pictures.
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