THE ENDLESS RIVER

Pink Gilmour and David Floyd!

I guess if you own the name, were their best period guitar player, have the art/cover like connections and no fool for finances, you certainly would not call this one a David Gilmour album, market wise it will be unwise, very!

Music wise, this David Gilmour doing the Pink, songs and riffs in different keys included, will really would not have created such a mass expectation as a new and other DG solo release. But it will have been more honest in its different "solo" scope discography, but the Floyd it is not. In fact the PINK without Waters turned out to be a very different shade of pink fluid, a mellow one. In my not so humble opinion.

Expect the super famous "voices in off" but few singing (which is nice), expect all of Mr Gilmour's masterful "trademark" guitar sounds and solos, expect also a lack of creative or different songwriting, which is no big news, I mean this guy kind of knows how to repeat himself in newfangled ways. Expect a self tribute to what he considers PF, but really this is not Pink Floyd, not even the one he himself reconstructed.

***3 "good guitar playing, unimpressive songwriting", PA stars.

The Endless River, but no Waters

One of the many benefits of living Down Under is getting Friday releases of major albums. Ideally I'd wait for a few weeks to offer a review, but many people will be wondering if the purchase is worth it, so here are some thoughts.

It is.

At heart, pre-1977 Pink Floyd was a laced-up-tight British band whose polite Arthur Dent-like anger went largely unexpressed except for whenever Gilmour let loose a guitar solo. (It's no surprise Douglas Adams was a lifelong Floyd fan.) Gentle vocals - until Waters took over - stately rhythms and serene synths, all set against Gilmour's searing, snorting solos. But when the band ceded creative control to Waters the balance was lost. His relentless apoplexy from 'Animals' onwards overwhelmed even Gilmour's solos, rendering them irrelevant.

In hindsight it's surprising the balance lasted as long as it did. The classic post-Barrett Pink Floyd period includes every album in the 1970s, defined as it were by a progressively higher anger quotient. 'Atom Heart Mother' had none at all, and so for many is a bewildering curiosity and nothing more. By the end of the decade their last meaningful twitch, 'The Wall', was so drenched in fury it left many listeners equally bewildered. Fame, it appeared, had not mellowed Roger: it had enraged him. Their end was inevitable. Accusations, shouting, courtrooms.

Despite all this they never compromised their quintessential Britishness: no faux-American accents or lyrics about Detroit. But Waters took it all too far in the late 70s. His dismissal of Richard Wright, he of the sublime keys, was not just about a poor work ethic. Because Waters wanted the anger unleashed he didn't need Wright's subtlety, and in unleashing the anger he ruined the Pink Floyd sound, turning it instead into Wes Craven buffoonery.

Wind forward thirty years after their disintegration, and there is no buffoonery here. Richard Wright has been posthumously reinstated: in fact, this is his album, which is as pointed a poke at Waters as it gets. Some may say this is a David Gilmour solo album, but I'd suggest taking Nick Mason seriously when he says 'The Endless River' is a Rick Wright tribute. This is the classic 1970-75 Pink Floyd sound. Glacial, understated, laced up tight. In fact, with Waters barely a memory, no anger either. And that is at the heart of what is missing in The Endless River: anger. The anger best expressed not by Waters' godawful shouting a la 'The Final Cut', an album filled with nothing more than phlegm and spittle, but the tight, barely-suppressed rage heard in basslines for songs like 'One Of These Days' or 'Sheep'. Pink Floyd were at their best when Roger Waters wanted to scream but let Gilmour do it for him.

It was a precarious balance, yes, but for most of a decade it worked.

Your reaction to 'The Endless River' will depend on the level of anger/Waters you're looking for. Think 'Atom Heart Mother' rather than 'Animals', pastoral rather than visceral, ambient rather than rock and you'll know what to expect. If you've ever wanted more of the first four or the last ten minutes of 'Wish You Were Here', you've got your wish in spades. There's barely any momentum, let alone anger here.

The music is reconstituted from 'The Division Bell' sessions, and occasionally it shows. Gilmour and Mason have done their best to integrate the various material, but at times it sounds fragmentary. It's certainly derivative, but only of their own music. An example of a callback is 'Skins' which references 'A Saucerful of Secrets'. There's little muscle, and Gilmour sings on only one song, but there's oodles of Rick Wright beauty. There are also some genuinely thrilling moments. The three Floydians working together on 'It's What We Do', the skittering electronics and thumping percussion of 'Sum', the muscle of 'Allons-y', the poorly titled but charming 3/4 time 'Talkin' Hawkin' and the honest reflection of 'Louder Than Words' are all worth the price of the recording. It works - mostly. It is a genuine Pink Floyd album, more so, I believe, than anything since 'The Wall'. It's also a genuine three-star album. Despite this, it is required listening for any serious prog rock fan.

What? Pink Floyd, the legendary band that any rock band cites as influence, releases a new album ? Well, actually not quite, as its content, made of leftovers of the sessions for 'The Division Bell' comes as a reminder that twenty years already passed since the publishing of what appeared to be the swansong of the most notorious representatives of space rock! 'The Endless River', which was planned to be named 'The Big Spliff' originally, aimed at being an album of ambient instumental music. The project fell into oblivion before resurfacing five years after the death of keyboardist Rick Wright. David Gilmour decided later on to add some vocal parts, mainly in the shape of choirs. That's it for the album background.

Let's focus now on the material recorded on this work. Next to ambient pieces full of glowing melodies, some pieces carry the typical Pink Floyd features. On the ambient side, "Things Left Unsaid", "Ebb And Flow" and "Night Light" highlight a spectral electro-acoustic guitar reminiscent of David Gilmour's good old friend Roy Harper. Further on, "Unsung" petrifies us with its solos sounding like whale cries. And we even mourn Rick Wright's death when the staggering beauty of "Calling" and "The Lost Art Of Conversation" fills our ears. On the other hand, "Autumn '68", with its breath-taking organ, leaves us speechless! Regarding the songs with a floydian flavour, we dive with "It's What We Do" in ethereal atmospheres, which, as the Harper-like guitar of the beautiful ambient introduction foreshadowed, echo the mythical "Shine On you Crazy Diamond"'. The same goes with "Surfacing", which features a pleading male choir. While the ballad "Anisina", with "torn apart" guitar solos, but also a serene Garbarek-like saxophone and a clarinet as dizzying as in a klezmer band, refers to "The Final Cut" in its orchestrations, "Talkin' Hawkin'" and "Louder Than Words" (the only song to feature lyrics) show a more optimistic side with their enthusiastic choirs. And regarding the two parts of "Allons-Y", they are strongly reminiscent of "Run Like Hell" in their hypnotic arrangements. Some more atypical tracks ("Sum", "Skins" and "Eyes To Pearls") infringe upon (future at the time) territories of Rick Wright's 'Broken China', with their tribal rhythms full of unparalleled elegance. Some listeners might see there a wink to "Set The Controls For The Heart Of The Sun" from the psychedelic era of the band. More surprising, a smooth-jazz facette of the trio is unveiled with the serene "On Noodle Street" and its discrete bluesy guitar.

Even if the whole sounds a bit like a collage of tracks recorded during various sessions, the elegance and the ethereal spirit of Pink Floyd are still there, without being spoiled by songs that would be made to fit radio standards. Lovers of ethereal music, be it rock or electronic, will find a lot to like in this work, that sounds like a vibrant tribute to Rick Wright, through the variety of keyboards.

The irresistible urge to hear Pink Floyd's new album is unprecedented. "The Endless River" has to be one of the most anticipated albums of the year as far as I am concerned, but also an album to be approached with a great degree in trepidation. The reasons are obvious; will it live up to the colossal reputation of the band? And furthermore will it be a fitting tribute to the late great Richard Wright? To state this is a mere cash in is an injustice as the band would not do this merely for the money and their reputation is already engraved in music history as indelible. So it goes back to the notion that the band genuinely are sincere in producing something worth while musically to add to their incredible back catalogue of masterpieces, and in due respect of Richard Wright.

These tracks are studio outtakes and remasters of the classy "Division Bell". The style on the album is predominantly instrumental and melancholy. It becomes obvious on the first track "Things Left Unsaid" that has the same ambience and keyboard driven atmospherics as "Shine On". Every reviewer will pick this up, but its painfully obvious; though there are no vocals outside of a few narrative moments earlier. The absence of vocals does not necessarily mar the enjoyment but part of Pink Floyd's greatness rests in the complex themes and brilliant lyrical poetry. Therefore the absence of this component was jarring. Gilmour is a masterful guitarist as usual and the band create very strong emotions in the music, but I longed for some vocals.

It segues into "It's What We Do" and then the dreamy "Ebb and Flow" that could have all been mixed as one track such were the seamlessness of the music. I love that quiet tranquil solitude generated in the music thus far. Richard Wright's ghostly keyboards are enchanting and haunting at the same time.

"Sum" has a wavering synth that is different and a heavier guitar crashes in with characteristic Gilmour slides, reminding me of "One of these Days". This is a definitive track on the album, fantastic instrumentation sounding at times like the rhythms and riffs of "Keep Talking". It could be misconstrued as an extension of that track such is the tempo and overall style.

The shrilly violins are wonderful; very ethereal and portentous, segueing into the next track. "Skins" moves into drumming territory showcasing the incomparable skill of Nick Mason. He is indispensable as the rhythm machine of Pink Floyd and it is great to hear him waxing eloquent on the skins. The mood is similar to the mid section of "Echoes" like shrieking Humpback whales.

"Unsung" is a shift in mood but still maintains violining guitar slides. The orchestral accompaniment is a great augmentation, but this is certainly a darker sound. This quickly segues into "Anisina", with beautiful Wright piano accompaniment. Gilmour takes off on those trademark licks on his axe.

"The Lost Art of Conversation" is dreamy ambience to fall asleep to. Very nice but it feels like a filler track. "On Noodle Street" has Gilmour kanoodling eloquently with some layered keyboards and mellotron sounds. Pleasant throughout but a bit tuneless. It segues to the acoustics and atmospheric keys of "Night Light". I like the moodiness generated here, lending an eerie esoteric quality.

"Allons-y (1)" reintroduces drums and a more coherent beat is welcome. Its over in a flash and we hear "Autumn '68". This is a Wright keyboard showcase. The beat returns on "Allons-y (2)" and it's the same style as the first part. Really one wonders why the tunes aren't merged together as one because they are too short to stand alone.

"Talkin' Hawkin'" is a throwback to the Stephen Hawking soundbites of "Keep Talking". Its slower and its nice to hear vocal "Aaaagghh"'s. The outtakes of Hawking's revelations about mankind's achievements works for me. The man is a genius so we should listen to what he has to say.

In no time at all we are at the pointy end of the album, side 4 and "Calling" moves into ambient territory again. I like the high pitched synths and dramatic essence, and the way it is unlike other Pink Floyd music. "Eyes to Pearls" has nice Wright keyboard crashes like "One of these Days" accompanied by Gilmour's acoustic prowess. Seamlessly we are lead by the hand into "Surfacing", feeling like a lost memory from "Division Bell". Gilmour's vocals are heard as intonations to augment the music; lots of "oohs" with multi harmonies. This is beauty on a major scale as divine as Pink Floyd can get. Again the slides on the guitar are angelic and the emotionally charged atmosphere rings of a time gone by, never to return to. The sadness of Wright's departure is felt strongly.

"Louder Than Words" is the song on the album that feels out of place after all the instrumental workouts but is still welcome as the vocals enhance the mood. Gilmour harmonises "we bitch and we fight, dissing each other on sight" and "with world weary grace we've taken our place, we could curse it or nurse it and give it a name." Gilmour croons "it's louder than words, this thing that we do, the beat of our hearts is louder than words". Later there is an album reference with "it's there with a pulse". I love how Gilmour mournfully sings and it's wonderful to know that he is doing this again on a genuine Pink Floyd album with his old band mates, sans Waters. Talking of which Waters' bass is replaced by Bob Ezrin and Guy Pratt; unfortunately nowhere near as good as Waters. His absence is a blight on the album which would have been so much better with him putting aside all differences and appearing in respect of Richard Wright's memory; an opportunity missed there.

Final conclusion has to be this is not a great Pink Floyd album but it is good enough to check out. It doesn't stand up to the likes of any of the other Pink Floyd albums from "Meddle" to "The Wall" and is nowhere near the value and quality of "Division Bell" or for that matter "A Momentary Lapse of Reason". It has to be reviewed on its merits of course, as an afterthought after a brilliant career; Pink Floyd will never be forgotten, even if this is how it all ends in the studio for this mesmirising indispensable band.

The missing album

What a breath-taking Pink Floyd album! In fact, I've been waiting for that album all the time. It's true example of the missing link in Pink Floyd's creativity. The mighty englishmen's electronic and instrumental reputation is highly renowned, but intended or not, they have not produced exactly that kind of album so far. And the time for final goodbye has come... David Gilmour and Nick Mason, with recordings from Richard Wright, have approved their electronic and instrumental reputation once more, but this time focused on the whole record CD. The incredible Pink Floyd sound makes the record much more typical Pinkfloydish, than quite many other albums of their. Typical space rock sound from 1971-1975 returns for good. The Endless River is a balanced album of non-leader shape, in terms of songwriting and musicianship, what we haven't seen since 1975's Wish You Were Here. The music is what some fans dreamed of so long - instrumental electronic space progressive rock! Great epilogue of Pink Floyd's career and mightest release since Wish You Were Here!

A new Pink Floyd album, hmmm go figure! So what can possibly motivate legendary millionaire golden-agers to record and publish a new work which will undoubtedly span the entire spectrum of comments from both prog fans as well as the entire music universe? Millions will love it, million others will hate it and all the Oreo cream commentary in between will be well documented online. Well, it ain't "Money" (sic!) , that is for sure, as the PF gents probably own Fort Knox by now. Do they need to prove some point, like the fine wine aging thingy? Nope. What motivates them is much more typically Floyd, both complex and simple, lubed with ongoing triple decade-old rivalry between Waters and the rest, as well as the passing of the silent genius Rick Wright. Truth is Waters is an insufferable, miserable, bigoted and egotistical megalomaniac, a genuinely inventive artist who prefers to rub people the wrong way, just for the fun of it. Because he can! Not my kind of idol (sorry Roger fans!). The ongoing epic epee duelling between him and the others is farcical and solidly deliberate, the typical Hollywood style barbs just to stay in the press and be spoken of. Gilmour and Mason always seemed to get along with the quiet and modest Wright, and maintained their 40 year-old legacy of remembering with fond affection former band mates. Needless to say, they kept the name Syd Barrett alive not only in direct words but also in songs that we all know and love.

So instead of a useless blow by blow (hi Jeff!) account, surely better exemplified by the more creative Floyd fanatics who actually know how to write (Wright?), I prefer to look at all the below radar snipping that encompasses this innuendo-laden work. I suspect that among the numerous targets of dissension between Dave and Roger, one could not help noticing the 'I sing better than you' equation, so by being a mostly all- instrumental album, with a finale-only vocal, it seems to me to be a pretty very overt FY, proven by one title named "Unsung". Secondly, the song designations also hint at a difference of opinion, with titles like "It's What We Do". "Things Left Unsaid", "Lost Art of Conversation", "Louder than Words", need I continue, no, you get the message, just Breathe! In 2005, Waters pushes out a three part opera record with a French title called "Ca Ira" (It will go okay) , so the 'enemy' records a subtle two-part piece called "Allons-y" (Let's go!). C'mon, ???. It's hilarious, snide, mischievous sniping of the very highest order! There are also winks at the very early years ,in 1968 ("Autumn '68") they recorded a tune called "Let There be More Light" , so why not write (wright) a 2014 piece called "Night Light"? Sorry but as Chief Inspector Jacques Clouseau would say "There is euh stinky fiche in my rhume" and there are no "Pros and cons of Hitchhiking" here, the facts are plain to see.

Gilmour's ongoing solid friendship with Roxy Music legend Phil Manzanera has resulted in a relationship polar opposite to Waters, two master guitarists who appreciate their different styles to the point of total respect and have nothing to prove other than make music that they enjoy. Phil's influence remains firmly grounded in the swooning instrumental stylistics, especially on the incredible 2 part "Allons-y" suite, sandwiched between a Wakeman-esque church organ piece (Autumn 68). This is sublime music that needs to be applauded for its courage of convictions, their dedication to both Barrett and Wright. I just wonder what kind of tribute they will create for Waters when he settles below his 6 foot deep WALL. I hope it's like Lou Reed's nasty "Metal Machine Music", an hour's worth of middle finger proudly raised industrial noise. By enlisting Israeli sax player Gilad Atzmon, there is surely no correlation with Waters' recent venom spewing at Israel (urging cancellation of concerts there, how dumb is that?). Nah, all this is coincidence, purely luck, happenstance and roll of the dice. Yeah, Wright!!!!!!

I suspect the boys would have enjoyed calling this "The Endless River of BS" but censors everywhere would have objected, subjected as they are to Godoogle. Gilmour and Mason are sitting in their armchairs, warming their bones beside the fire, while Wright is up in heaven doing the Great Gig in the Sky and playing "Us and Him". You might think I have gone fishing in some desert oasis and speculate on libelous likelihoods but my instincts tell me (being a divorcee, you sense stuff like this) that the bitterness is way deeper than anyone thinks, it's not just artistic, it's a character thing that goes back to the very early days and elevated to breaking point with Waters' 1983 masterpiece 'The Final Cut". Not only is there no love lost but even the hate is gone! It's become an epidermis (that skin deep in Latin) hatred that will never be overcome.

I can do that innuendo thingy allegedly but Pink Floyd can add a soundtrack to it, something I am very envious of.

Expected brilliant artwork, packaging (i got the CD/DVD package) and impossible sound!

4 eternal floods

Hm...Pink Floyd released a new album? That sounds like a dream I had. In fact, I did have a dream like that a few months before they announced the new album called "The Endless River". Floyd, needing no introduction, is the epitome of classic rock and even prog, for some of us. They have a sound that never gets old, truly. How does their first album in 20 years fare, however? Can these old geezers pull one more trick out of their bag?

Yes. Yes, they can. With Richard Wright's death a few years ago, one would have expected nothing further from the great Floyd. Yet, Gilmour and Mason gave it a go. Maybe they were paid a bunch of cash by a desperate label. Maybe they truly wanted to make a bookend to their legendary career. Or, just maybe, they wanted to pay tribute to their dear friend. After hearing "The Endless River", I have to go with the latter. This swan song for Pink Floyd is also a beautiful, ethereal tribute to Wright, possibly the most important part of the band, really.

And it's instrumental, save the final track. To me, that takes balls. If Floyd really wanted to cash in, they would have written songs close to "Money" or, perhaps, "Another Brick in the Wall". But they didn't. They pieced together keyboards written and played by Wright, and wrote some great pieces to make a giant puzzle that fits together very well. It flows so well, and emotes so well, too. The feelings of hope and unity for humanity are no mistake here.

Indeed, "The Endless River" is a beautiful, ambient album that I am so glad was released. It isn't "Wish You Were Here". It isn't even "A Momentary Lapse of Reason". It is, however, a fitting end to a great legend. Do I miss the vocals? Sure. Do I think it will be a legendary album? Not really. Is it worth hearing, sharing, and even owning? Absolutely.

Oh, Come on! So many 5 star ratings! Essential masterpiece? Hardly. As much as I love this band and respect their discography in full it´s very clear that those bits and pieces of songs, and a few left overs from The Division Bell, are a valid statement, but for the hardcore fans only. Can you imagine a non PF fan buying this record and enjoying it as much as it would do from any other of their catalog?

I`ve listen to this album repeatedly for the last few weeks and I can say I liked it. Not as much as I thought I would, but liked anyway. It´s a great tribute to Richard Wright, for this is the kind of material he shines (atmospheric/ambient music). There is only one song with vocals (Louder Than Words). Of course there is the fine Gilmour guitar solo here and there too. Of course the production and editing is simply marvelous too. You can´t expect any less from anything bearing the name of Pink Floyd after all this time. But mostly it´s really understandable why this staff was kept in the vaults for so long. Had they released it earlier especially before Wright´s death probably the reviews would be very less generous, to say the least!

Ok, I don´t want to sound too harsh. To nostalgic fans this CD is really something after so long. There are several nice moments and I guess it also stopped bootleggers from getting a lot of money out of the band if they somehow could get a hold of the same tracks and put it out with a much lower production quality. But let me say The Endless River is NOT in the same league as any of their previous records, composition wise at least. And if you think PF is not PF without Roger Waters, then don´t even bother.

Conclusion: good, but this is for fans, collectors and completionists only.

When word about this album was leaked by David Gilmour's wife, the music buying public went wild. The band, however, was quick to explain what was intended for the album, that is would be mostly instrumental, that it would be outtakes and music that was being worked on during the recording of "The Division Bell", and that it was to pay homage to Richard Wright and his amazing contributions to the music of the band. It wasn't intended to be anything else. With that announcement, I knew exactly what to expect from this album. That it would be a collection of beautiful music that was not necessarily going to by developed into full fledged Pink Floyd "sounding" music.

Well, I was still excited to get the album, because I love Pink Floyd's music and I recognize Richard Wright's musicianship and that he is an amazing composer. After getting the album for Christmas, I am not at all disappointed with the album. Both David Gilmour and Nick Mason have stated that it is the ambient side of Pink Floyd and that is what it is. There are a few times when the music opens up to a faster rhythm and those times are welcome and fit right in with the entire album, but it is mostly ambient. It is beautiful music, they type of sound that will take you away if you allow it to. And that is one reason that I love Pink Floyd so much. I happen to love the sound of instrumental Pink Floyd and this album reminds me a lot of the long instrumental passages of the "Wish You Were Here" album which is a masterpiece by the way. If you find those passages too long and boring, then this is not the Pink Floyd album for you and you will not like it. That doesn't mean it's a bad album because it is not. You just have to know and understand what this album is about, and I think it is a success in what it was intended to be. There is no doubt that when you are listening to this album, that you are listening to Pink Floyd, the sound is unmistakable. So rest assured that you will be listening to excellent music.

I have to note that I loved side 3 and how it reflects back to "Atom Heart Mother" especially in the "Allons-y" and "Autumn '68" sections. It's almost heartbreaking to hear Richard Wright's beautiful organ solo when it comes in between the "Allons-y" sections. That is the kind of arrangement of music that you expect from the genius minds of these musicians.

Okay, so it's not the best Pink Floyd album because of some underdevelopment, but remember that these are unfinished works. The organization of the album however is excellent. It is intended to be 4 long pieces with multiple movements within each piece. Each side of the vinyl album is a separate suite of movements, and with this in mind, it helps give the album a better cohesiveness.

I will stand behind this album as an excellent addition to any prog rock music collection. The album was created with a specific purpose and that purpose was achieved. It may not be to your liking, but it is still an excellent piece of art and I am thrilled to add it to my music collection. 4 stars.

You would have to be living in a cave to not have heard that David Gilmour and Nick Mason had teamed up to create this "new" Pink Floyd album as a tribute to their late keyboardist, Richard Wright. To me, this set works as both a tribute to Wright, as well as a coda to the career of the still massively popular group. If only Roger Waters could have participated, it would have been historic.

The album is nearly all instrumental, with vocals on only the final track (I suppose that was to have a single that the bean counters at modern radio stations something to play). Many have called this album ambient, but I feel that term just does not apply. The majority of the album is serene, but not so light that it would only be background filler.

The basic tracks were taken from the sessions from 1994's "The Division Bell" album, with newly recorded parts to make them presentable. While some pieces are identifiable a tracks meant for that album, others are not. There are glimpses of phrases from "Shine On You Crazy Diamond" and "Us And Them" most obviously, as well as sounds that seem familiar to the Floyd fan, but not quite as easy to place.

Gilmour's guitar is as smooth as ever, and Wright's keyboards are like going home. Mason even pleases by occasionally coming out of the uninteresting drum beats he seemed to get stuck in from "The Wall" onward.

I chose the CD/Blue Ray set, and was not unimpressed. The 5.1 surround mix of the album is superb, and the extra tracks are nice, one even great. The videos are fine addition as well, showing the band actually playing these pieces in the studio.

Personally, I give this five stars, as just as it was released I was going through a major health crisis, and the tone of the album made for the perfect peaceful mood while in the hospital. But I must be realistic, and for the general public rate this 4 stars.

Yo dawg I herd you like "Marooned" so I marooned you in an album full of "Marooned"

I get the temptation to rate this album higher than I would, and perhaps even significantly so. During the sessions for The Division Bell, the Gilmour/Wright/Mason trio recorded a large chunk of instrumental material together, and Wright recorded some snippets on his own that weren't worked into full-band material at the time. Some consideration had been made in the aftermath of The Division Bell of collecting this material and releasing an hour-long instrumental album (tentatively titled The Big Spliff), but the band ultimately decided against it, and this material was shelved. Many years later, after Wright passed away, Gilmour and Mason found themselves feeling nostalgic about their final recording sessions with Wright, and they decided to revisit some of that material. Wright's parts were left mostly undisturbed (though there was some supplemental keyboard work added after the fact), but Gilmour and Mason reworked and added many of their own parts, and they also brought in a good number of session musicians to flesh it out. A curious and potentially intriguing aspect of the material is that, aside from a single new song at the end ("Louder Than Words," which is basically a slower version of "Lost for Words"), the album is entirely instrumental (aside from a couple of sampled vocals here and there), and the instrumental approach often hearkens back as much to the band's pre-DSOTM days as it does to the band's classic period. With the album's strong emphasis on the musical (as opposed to lyrical, which so often has been the main point of emphasis for people in their treatment of the band) legacy of the band, and especially with its emphasis on Rick Wright, it seems like this could work as a nice elegy for the band, and could justify reviving the band's catalogue after it lay dormant for 20 years.

Well, I tried, but I just can't buy into the need for this album to exist. It would be one thing for the various instrumental passages to have some echoes of the band's past, but these passages often mimic the band's history so closely that they sound less like actual music and more like elaborate warmup exercises to help get the band into the right mindset for the material that it would actually record. Among others, this album contains passages that sound like alternate early versions of the following: "Shine on You Crazy Diamond," "Welcome to the Machine," "One of These Days," "A Saucerful of Secrets," "Us and Them," "Comfortably Numb," "Keep Talking" (Stephen Hawking makes another guest appearance) , "Another Brick in the Wall Pt. 2," and "High Hopes." The thing is, the band did something very similar on The Division Bell, and I didn't mind it as much there: whether the band wants to admit it now, it's become pretty clear through the years that the purpose of much of The Division Bell was analogous to the purpose of much of Wish You Were Here, and all of the various stylistic cribs on that album made sense. Here, without any clear conceptual framing, the album ends up sounding like a series of unfinished fragments superglued together and justified as "atmospheric," and while I'm somebody who tries to give atmosphere the benefit of the doubt, I can't do it in this case. That said, there is an interpretation for this album that I found can give it a little more weight and cohesion: the album could be heard as Pink Floyd on its death bed and seeing/hearing its life flash before its eyes, with all of its various musical memories flickering by before giving way to oblivion. Hearing the album this way doesn't exactly save it for me, but it can make it a little more palatable. That said, even with this interpretation in mind, I still can't get all the way beyond the slight creepiness factor of Gilmour and Co. playing karaoke over a bunch of keyboard parts that Wright wouldn't be able to tweak in response to their suggestions; it's the closest thing in the world of art rock that I can think of to using Fred Astaire to sell vacuum cleaners.

Still, while I find the album unnecessary and a bit of a put-on, there's still something mildly intoxicating about hearing Gilmour and Wright (I'm ignoring Mason because he doesn't distinguish himself; I'd be shocked if that's actually him playing on "Skins," for instance) interacting (in a manner of speaking) one more time, even if it's in the context of second-rate imitations of the band's glory days. I should also note that the album works better as a series of extended suites (split up in the way the LP version splits the material across four sides) than as a series of tracks (often very short) that only stick around long enough to noodle a bit but not long enough to make a great impression. I'd rather listen to this than A Momentary Lapse of Reason (which has some genuinely good material but also a good chunk of material that's much worse than anything here), but if I want to listen to something that reminds me of the glory years of Pink Floyd, then I'll listen to something from the glory years of Pink Floyd.

I have never been so conflicted about getting an album as I was with this one. The positives were the fact that this is a tribute of sorts to Richard Wright and that it's mostly instrumental but the negatives for me were that the tunes are mostly out-takes from The Division Bell sessions as i'm just not into PINK FLOYD without Roger Waters being involved. Well obviously I picked the cd up with three bonus tracks that for some strange reason are better than the proper album songs(in my opinion). This comes just as advertised as it's very ambient and pleasant overall with mostly shorter tracks that blend into each other. There are lots of guests helping out including plenty of strings and backing vocals. Two guest bass players help Gilmour out in that department with Waters not being asked to be involved.

"Things Left Unsaid" feature spoken words and a spacey atmosphere with the guitar crying out and plenty of organ runs. "It's What We Do" is similar to track one as it's quite spacey but we get some sax here reminding me of "Wish You Were Here". "Ebb And Flow" is mostly keys and guitar while "Sum" has this cool sounding organ before the song kicks into gear 1 1/2 minutes in. "Skins" is just that, a song where Mason is the focus. "Unsung" is almost "Echoes"-like while "Anisina" is just too normal sounding and one I just can't get into. "The Lost Art Of Conversation" is spacey with laid back piano melodies. "On Noodle Street" is mellow with a beat and a spacey atmosphere.

"Night Light" is spacey with no beat while "Allions-Y (1)" is another ambient and spacey piece with a beat. "Autumn '68" is one of my favourites with the organ floating beautifully in the background. "Allions-Y (2)" reminds me of nineties CAMEL, especially the guitar. "Talkin' Hawkin'" has these spacey guitar expressions as spoken words arrive 1 1/2 minutes in. it turns calm late. "Calling" is dark and somewhat experimental but the sun comes out later on as it brightens. "Eyes To Pearls" is another favourite of mine. Picked guitar and atmosphere early on and the drums remind me of "A Saucerful Of Secrets". "Surfacing" has this uplifting sound to it that I enjoy. "Louder Than Words" is pleasant and a vocal track.

This is all very familiar and safe and in my opinion 3.5 stars is the perfect rating. A nice companion to "The Division Bell" and certainly if your a big fan of that album you need to pick this up, the rest of you might be disappointed.

It was a given, this album. After all, the Water-less Floyd has never returned to prominence since his departure. but perhaps the emotional passing of Richard Wright, and his immobilization in one final album will bring it all together, to finally rediscover that lost "Floydian" sound.

I'll admit, there are quite a few "Marooned" references here, but I don't consider that to be a bad thing. Hell, "Marooned" was one of the few tracks that were even listenable off "The Division Bell".

(Before I truly go knee-deep, I felt it interesting to point out the desire by Gilmore to NOT make this album "for the iTunes, downloading-individual-tracks generation', hence the continuation from one song to the other, which I've always maintained is the way to get people to buy full albums and not just single songs. If you cut up a pizza in so many tiny slices, you might as well just buy the whole damn thing rather than each tiny individual piece, you'll still be hungry afterwards!)

Side 1 gives me hope. The classic ambiance is there on "Things Left Unsaid" and Gilmore's classic, gut-wrenching guitar solos return on "It's What We Do". Fitting title name, really, because that IS what Pink Floyd do. Or, did, anyway. It sounds familiar, and yet still fresh, and touch, since this album is a tribute to Wright, whose gentle touch is still noticeable here and there throughout the album. Gilmore even said it himself that "this is for the generation that wants to put its headphones on". Which is what Floyd always has been. The jams, the soundscapes, the distinct guitar solos. At the close of "Ebb And Flow", I've come to that conclusion already.

This is that classic Pink Floyd sound we (or at least I) have been waiting for. Redemption, finally, in the form of "The Endless River".

Ok, so maybe Side 1 might have been called "Marooned, Pt. 2", but Side 2 sounds like a "Animals" B-side. Mason goes to down pushing the groove forward on "Sum" and channels his inner Ringo on "Skins", a fitting title since the track is pretty much a drum solo, before it fades out into another electronic filled soundscape, while "Unsung" sounds like an orchestral sample ripped straight from the Halo soundtrack and "Anisina" kinda sounds like an homage to Lennon (with a Billy Joel sax solo). A bit more unusual, this side, but the good news is that the sound is unquestionably Floyd, and frankly, that's all that matters.

If that wasn't enough, Side 3 starts off dramatically, with another soundscape in the form of "The Lost Art Of Conversation (another dig at Waters? Maybe?), before a quite Mason groove creeps in "On Noodle Street". So if I'm going to play the reference game, if Side 1 echoed Maroon off "The Division Bell" and Side 2 echos "Animals, Side 3 is almost certainly going to echo "Another Brick In The Wall" off "The Wall, and while the acoustic solo on "Night Light" might prove me wrong, "Allons-y" proves the point. That subtle but intoxicating pluck from Gilmore's guitar is enough to sell me right away. It's a nostalgic power trip, basically, but after all Floyd, Gilmore and Mason have put up with, a nostalgic power trip is EXACTLY what they needed to get out of this funk.

Of course Side 3 isn't over. "Autumn '68" (perhaps in a reference to "Summer '68" off Atom Heart Mother?) is a haunting organ spot by Wright (recorded in '69, incidentally), especially all the more haunting knowing that he's gone, but soon "Allons-y" returns to brighten the mood again and push on towards "Talkin' Hawkin', filled with oohs, aahs, and more Gilmore tasty solos, along with a Hawkins sample of a commercial that was also used on "Keep Talking" off "The Division Bell".

So now we hit the home stretch with Side 4, and I've already come to the conclusion that this is as fitting a send off as any to the career of a fantastic band. Another typical ambiance to kick off in "Calling", before a Gilmore guitar spot in "Eyes To Pearls" leads into another ambient jam in "Surfacing" before Gilmore makes his first and last vocal appearance on the album in "Louder Than Words", a perfect way to describe the album, really, since it's mainly been an instrumental up until this closer.

So, now we (meaning I) almost certainly come to the end of Pink Floyd for good. An album too together to be a Gilmore solo album. An album too hollow to be a Pink Floyd album. It's tricky, but overall, it's a fantastic swan song to a fantastic band. All I could hope for was just a nostalgic look to the past and perhaps a return to the traditional "signature sound", and of course, it's not perfect, but it's better than I could've imagined, so I guess this will do.

By far not the best Floyd album ever, but still for Floyd fans who pined for that sound, you won't be turned away here. Perhaps it leans on too heavily of an ambient side, but then again, ambiance is part of the Floyd sound.

A fantastic tribute to a fantastic keyboardist, and as good of a swan song as there ever is or was. It still seems so short. Farewell, Floyd.

(Still wish you were here)

I listened to the record on a long bus ride on a streaming platform ( btw a nice record for Long bus rides.) I didn't expect much of the record and must say I was rather nicely surprised in terms of bus ride music. Still while listening to the record I had a couple of thoughts coming to my mind. Pink Floyd is maybe the prog band which sold the most records in prog history so far. Dark Side and Wish you were here have become the standard for stereo equipment and Pink Floyd has become a household name for people that don't care for or even know what Prog is. Endless River consists of outtakes from the Division Bell (1994) and is at the same time a homage to the late Pink Floyd Keyboarder Rick Wright. Most bands, if they have the occasion, add their outtakes as bonus tracks or release eventually a bonus CD. Pink Floyd releases them as a regular cd because'. remember the dog, yes because they can and obviously because it's a NEW Pink Floyd record. So product wise: great cover, great production and over the top it sounds like 'classic' Pink Floyd, you have the classic David Gilmour signature guitar sound plus some classic Wright keyboard sounds. And that's about it. It's actually quite close to the instrumental parts of Wish You Were Here plus one song sung by Gilmour, which isn't especially well written. Outtakes' Under the line it's really difficult to judge this record; it's on one side exactly what you would expect from a classic Pink Floyd record and at the same time more like a bygone flagrant from past days like the smell of a perfume that lingers for some time in an empty room.

I think that the first time (I could be wrong) that there were albums done with the aim to "re-join" deceased members of bands with the surviving members of their former bands using recordings was THE DOORS's album titled "American Prayer" (1978), which in fact was an album credited to "JIM MORRISON - Music by THE DOORS". That album was done with pre-recorded tapes with Morrison reciting his poetry and with the rest of the surviving members of the band composing and adding new music to the poetry some years later. It was a job which took them a lot of months and it was done with a lot of care thanks to very good editing and production. At that time there were not computer softwares or digital recordings that could be used to do it. Many years later, in 1994-95 the surviving members of THE BEATLES used demo recordings recorded in the late seventies by JOHN LENNON and with the use of digital recording and computer softwares added their instruments and vocals to the demos, creating two very good songs ("Free as a Bird" and "Real Love") to be released as "new Beatles's songs" for their "Anthology" Vols. 1 and 2 albums, respectively. Later, in 1995, QUEEN released their "Made in Heaven" album with the surviving members of the band adding their instruments and vocals to FREDDIE MERCURY's pre-recorded vocals and piano. I can't remember now other examples of this kind of albums or songs. But in 2014 PINK FLOYD announced that they were completing an album of outakes recorded during the recording sessions of their "The Division Bell" album from 1994. These outakes were previously recorded with the late RICK WRIGHT in 1993. They even talked on interviews about these unreleased otutakes at the time their "The Division Bell" album was released. There were plans to release them on an album one day, but it never happened until some years later after Wright died in 2008.

Finally, this previously unreleased material was released in November 2014. The idea (as David Gilmour and Nick Mason said) was to release it in this "The Endless River" album as a tribute to the late Rick Wright, as a way to finally acknowledge his musical contributions to the band, and as a way to finally end the band's history.

There were several hours of unreleased material, but the band selected the best material and finally edited it and completed it to be released on an album. The job was hard but it maybe was easier to be done thanks to the use of more modern technology (computer softwares).

This album is mainly an instrumental music album, with only one song having lyrics ("Louder than Words", with music by Gilmour and lyrics by Polly Samson, Gilmour's wife). The instrumental music is mostly taken from which sounds like instrumental jams, editing them and adding other instruments as overdubs. As other reviews say, it is an album with ambient music which sometimes sounds more like New Age music in some parts, with a lot of keyboards atmospheres by Wright and atmospheric guitars by Gilmour. Some of this music sounds very similar to previously released material of the band in other albums. But in other parts the band sounds really "inspired". The album sounds like a continuous piece of music from the beginning to the end. "Louder than Words" brings the album to a very good end, with lyrics, and being sung by Gilmour. But one really wishes that they could have recorded more songs with lyrics and vocals and not mostly instrumental music. I also think that sometimes this instrumental music sounds like soundtrack music for films. As Gilmour said, this album was done more with the idea to be listened to using headphones and let the imagination of the listener fly.

As a final musical tribute to the late RICK WRIGHT and as a last musical statement from PINK FLOYD as a band, this album was a good idea. But I prefer other albums like "The Divison Bell" or even "A Momentary Lapse of Reason". Some parts of "The Endless River" obviously sound more related to "The Divison Bell" or even to some of their albums from the early to mid seventies, and even related to Rick Wright's "Broken China" solo album from 1996. Wright in interviews done in 1996 to promote his "Broken China" solo album said that he was not totally satisfied with the way "The Division Bell" album was done, and that was one of the reasons he recorded his solo album in 1996. So, maybe "The Endless River" was done by Gilmour and Mason as a way to show more of Wright's influences to the band's sound.

"The Endless River" is not an easy listening experience for me. But it is a good album, anyway, very well recorded, mixed and produced.

After hearing recent albums by the surviving original giants of Progressive Rock (Yes, King Crimson, post-Tull Ian Anderson), it's not hard to become discouraged by the geriatric lack of passion in their twilight efforts. Thankfully the same can't be said for this posthumous elegy from the late Pink Floyd. If you have to revisit the past, this is how to do it: with valedictory grace, and hardly any nostalgia despite the obvious deference to a long musical legacy.

The album was assembled around hours of leftover scraps and fragments from the 1994 "Division Bell" sessions, all held together with synthetic glue supplied by the late Richard Wright. But it doesn't sound at all artificial or anachronistic, thanks to the sensitive, affectionate editing of the scattered parts into a more cohesive sum. There's even a casual, half-realized concept behind it: the all-too human need for real communication, something not always apparent in the band's own troubled history.

It's actually more subtext than theme, expressed through the individual track titles ("Things Left Unsaid", "The Lost Art of Communication"), and of course in the bittersweet beauty of the music itself, mostly organized into atmospheric, ambient soundscapes, with occasional mid-tempo rock interludes in classic Floyd vernacular. Except for the curtain-closer "Louder Than Words", the album is entirely instrumental: a rare thing for this group, and entirely appropriate to the unspoken focus.

Roger Waters of course wasn't involved in the project, beyond a predictably testy comment on his Facebook page. I wouldn't be surprised if he considered it a purely mercenary exploitation of a dead comrade's memory, and maybe he has a point. But Pink Floyd has always drawn inspiration from its ghosts, beginning with Syd and now including Richard.

It will never be remembered as the long-lost Floyd album that never was. But as a belated postscript it adds a welcome coda on the otherwise unresolved non-ending to a turbulent musical career. Three-plus stars, rounded up for closing the door gently on the way out.

What is wrong with albums made of leftover tracks? If I remember correctly, Sir David asked Roger Waters about The Final Cut "If they weren't good enough for The Wall, why should they be good now?" But The Final Cut ended to be one of my favorite PF albums, and surely the best Waters solo work up to now.

The Endless River is not that different: a number of tracks and session recordings which didn't find room on The Division Bell. Is it wrong?

First of all, let's say that should they have made The Division Bell a double CD, adding so many instrumentals it would have been a masterpiece and no PF fan would have had budget issue in spending for a double CD instead of a single one.

Secondly, this is the last possibility to listen to Rick Wright's previously unreleased stuff. It's really a pity that he has written so few music to fill only 2 albums and a collaboration out of PF (plus the appearance on the Chimera's lost album).

So, if you don't think it's pure Pink FLoyd, let's look at this album as a complement to the Division Bell, a sort of Bonus disc.

In my opinion, even if this is clearly second hand material, please consider that when the hands are those of David Gilmour, first or second makes no difference. I don't see it as just a commercial release, done just to fundraise the two survivor's pensions. It looks more like a tribute to Rick, to make him live again through the material left behind.

Musically speaking it's good enough. There are obvious reminders to some famous goodies, but I hear the same on the last Waters solo. The only thing that I would have changed is "Louder Than Words". This was designed to be the very last Pink Floyd song, and even if it's a nice song I would have expected a true masterpiece as swansong. High Hopes was the right one for this role. Personally I don't consider the Ukrainian (good) song as a true Pink Floyd one.

I know that I haven't said more about the music inside. I assume that PF addicted already know everything about it and non PF fans may have a little interest in it. Anyway even if not essential, it still witnesses the last phase of Pink Floyd (and Rick Wright) and is good enough if you have some spare money. I

Review Nº 610

As we all know, Pink Floyd was a British prog band famous for their harmonic classic rock compositions, progressive style and extremely elaborated live performances. It's one of the most influential bands in rock history, as well as one of the most successful, having sold over 200 million copies of their albums. "The Dark Side Of The Moon" has remained in the Top 100 Billboard for over a decade. Led by legendary Syd Barrett, the group had a modest success in the second half of the 60's producing psychedelic rock. With Barrett's departure from the scene, Roger Waters gradually became Pink Floyd's lead songwriter. This phase was marked by the production of concept albums such as "The Dark Side Of The Moon", "Wish You Were Here", "Animals" and "The Wall", all released in 1973, 1975, 1977 and 1979, respectively.

But after the album, "The Final Cut" in 1983, the band broke up. In 1985, Waters declared that Pink Floyd was extinct, but the other members, Gilmour, Wright and Mason, after a legal fight, continued with the band with the official name and pursued recording and performing. But, in 2008, Wright died, ending the dream of a possible Pink Floyd comeback. So, it was in this context that was released what is considered the final act of Pink Floyd, "The Endless River" in 2014.

Thus, meant as a tribute to their late keyboard player Richard Wright, "The Endless River" is the first new Pink Floyd's album in over twenty years, and likely to be the last album, according to David Gilmour and Nick Mason. Pieced together from recordings accumulated from "The Division Bell" sessions, back in 1993, the majority of "The Endless River" is instrumental. However, it's all instantly recognizable as Pink Floyd, as each and every track is permeated by Wright's haunting keyboard work and Gilmore's signature, melodic guitar lines. If you've always liked the more laid back, ambient, and mysterious parts of Pink Floyd, chances are you'll really enjoy what is essentially a reworking and recreation of some of the music from "The Division Bell", by the last two members of the band, Gilmour and Mason.

"The Endless River" sounds like it was made by a band in transition. And in a way, that's pretty much what Pink Floyd was in those days, with only Gilmour and Mason left. Wright plays on these tracks, but he's almost an ethereal spirit here, drifting above, below and alongside the songs with ghostly detachment. He gives to "The Endless River" its familiar qualities, but he also gives to it some purpose and some of its aimlessness. As such, don't go into the album expecting to listen to "The Dark Side Of The Moon", "Wish You Were Here", "Animals" or even "The Division Bell". "The Endless Rive" is subtler, and less inviting. This isn't properly an album of songs so much as it's a true collection of ambient music pieces, sculpted together from leftover fragments of a twenty year old album that, let's face it, it's not really a true classic. Many of the eighteen cuts on "The Endless River" are stitched together so that it all flows together as a fifty-three minute instrumental suite with some separate sections. Unfortunately, it doesn't always come together seamlessly. It's more like a remix recording album of previously unreleased songs that just happened to be assembled by the artists who made the music. It may not be the final that fans wanted from one of classic prog rock's most beloved bands, but as a closing chapter tribute to both their late bandmate and lasting legacy, it's kind of fitting, really.

One of the nice things about "The Endless River" is that you can load the CD into your system, sit back with the drink of your choice, in my case, a great scotch, close your eyes, and let the music takes you on a journey. Granted, that's kind of always been the case with the music of Pink Floyd, but seeing as this one is mostly all instrumental, the guitar and the keyboard lines gently grab you and pull you along for the lengthy ride. Wright's majestic keyboard textures are all over the album. So, as a tribute to Wright, Gilmour and Mason have done a fantastic job here. Many of the tones you can ear hear, will bring you back memories of "The Dark Side Of The Moon", "Wish You Were Here" and "Animals".

Now, a last thought about the front cover of the album. As regrettable as the album's cover may be for some, personally, I like it really. In my opinion, it can provide to us a useful metaphor for the very close relationship between the guitarist and the keyboardist. Gilmour is the punter guiding of the boat and Wright is the cloud upon which he floats. He always was the quiet force behind the band, or the boat, if you want. That leaves Mason as the oar, perhaps.

Conclusion: Beyond "The Endless River" be Wright's swan song, Gilmour and Mason have said that it will be Pink Floyd's last album. "The Endless River" is a nice and honest tribute for a man who was one of the greatest keyboardists of the 70's with an own style. As you would expect from a Pink Floyd's album, it's expertly produced. Any serious fan will no doubt have to have this and should instantly fall in love with what's on display, still it may vary depending on your patience with instrumental music. So, what we have here is a nice, enjoyable, pleasant instrumental album, for the most part, an album that all Pink Floyd's fans can listen too for a while then file away and go back to listening to the real stuff. For me, Pink Floyd, gone out in style and put together a fine tribute to Wright. So, you can't ask for more, really.

Prog is my Ferrari. Jem Godfrey (Frost*)