You only have 8 mins in the handover bit, even one set of bagpipes would have been confusing.

och aye.

They announced the full details for the Wall Immersion set DVD and demos discs. Probably the least impressive of the three sets so far, since the live album had already been released, but of course I have it pre-ordered. "Gotta get the scarf and marbles" is now a saying I'll use for any deluxe box-set trinkets.

http://www.brain-damage.co.uk/latest/pink-...s-detailed.html

Hearing the bit of Roger's demo for the Trial, you realize how batshit he must have been at the time.

This one?

i'm blown away from the good sound quality that the demos have. looking at how incomplete/short the excerpts are and remembering other material that doesn't seem to be here on the legit release, i'm probably wise to hold onto the *cough* other stuff *cough*.

heres a pile of pics that show how much work/gear goes into pulling off The Wall concert.

http://www.stufish.com/roger-waters/the-wa...nstruction.html

The one in the box set is much shorter, but yeah, basically. I would think there would be some worried looks between the rest of the band when they heard the piece with Roger doing a bunch of different voices. "Uh, are you ok man? Maybe we should take a little break here..."

The 14 minutes of Roger excerpts are interesting, but I can't really see going back to that very often. More research than enjoyable listening. Once the set gets into full band demos it's more palatable--I may decide to reorganize them in iTunes, so the 14 minute excerpts are separate from the rest. I'm still just finishing up the first disc of demos. Ultimately it might be the least impressive of the three sets, just because the live album had already been released. Still. Fun stuff.

Just heard 'Us & them' on the radio. I'm not norrmally one for this kind of trolling but - really - what an absolutely fucking horrible piece of music. The appeal of this stuff is just completely baffling to me, no teeth just a big fucking airbrush. What is going on here?

edit/ heat of the moment posting, never a good idea. Terrible boarding. Forget it. I don't want to know.

"Us and Them" is the template for U2, Coldplay, and Radiohead, but at the same time better than anything those bands ever did. You've got certain "layers" to music, little things that make a track stand above the rest. Tall trees, if you will. "Us and Them" has those details over the rest. That said, I'm not sure it's supposed to have "teeth", and if it did have such things, they would be in the lyrics. The song is a long, undulating column of smoke in the breeze.

I think it might help you if you listen to the piece on good headphones. Pay attention to the interplay between Gilmour's guitar and Wright's keyboards. Been copied a million times. Notice Wright's keyboard work in the intro at about 24 seconds, how it kind of revolves like a lighthouse beam, calling in the gentle waves of Gilmour's guitar lines. The sax follows it all like dark clouds above the sea, obscuring the moon and then not. The people who "don't get" Pink Floyd are oblivious to this nuance. They were the best at it that ever was.

Well, OK. thanks for indulging me Monty.

I have to say I enjoyed this article very much:

The Life and Times of "Comfortably Numb"

32+ years later, I still get the shivers during that second chorus.

Very nice. I'm sure Gilmour might have some objection to the piece being viewed as a true collaboration since he came up with the original germ, but it's hard to argue that any of his work back then didn't need Roger's hand in bringing it to fruition. One can see how Gilmour without Waters fared in the later albums and his solo stuff....good, but rarely GREAT.

i watched the wall for the first time in probably 15 years. i love the movie more now.
but when i saw it the first time i swear the animation at the end went on a lot longer, but thats probably just the child in me remembering that.

Thanks for sharing that. Strange I thought that history was that Waters favored the grittier sound and Gilmour was opting for the orchestral, expansive flourishes--it is reflected throughout their respective solo work.

Emily today.

Dayum.

That goes back to DSOTM, maybe even further. Roger didn't want any effects on DS, wanted it completely DRY (must've been so used to playing it live). Dave wanted it pretty much how we now hear it.