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moshkito View Drop Down
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Originally posted by richardh richardh wrote:

...
What is this FM Radio or something? The most ridiculously over hyped album in terms of production there has ever been. Everything Alan Parsons has ever touched is so bland sounding. Quite strange really. 

Hi,

Just so you know, in LA the FM signals from KMET and KLOS (the two biggies at the time) was pristine and really clean, and in fact there was a lot of issues when one asked why a record sounded so good then, and the album was not as good.

There are various thoughts, on that, but I think the original FM signal was actually two signals combined, and it created an atmosphere that was very different due to the air waves of transmission by the FM signal ... I don't think it is a dual signal anymore but I lost track of that information a long time ago.

It is POSSIBLE (and somewhat likely) that the signal was thought to be dual because of the cheesiness and crappiness of the AM signal which was really poor anywhere you went unless you were looking for Wolfman Jack, and even then the only thing that was insane was the power of that signal he was on! None of the stations here in Portland, for example, are even half as good as those early ones, and that would even include KTYD where Guy Guden did his show, and I have quite a few shows from 1974, and the quality of the stereo EVEN THEN is excellent, and I recorded most of these on a Maxell, or TDK 120 cassettes on an UHER deck and later on a Pioneer deck.

I have always thought the quality through a station was superior to the records, and I had the system to show it ... but the best we could do was get the albums. There might be some secrets here, as one of the engineers that worked in Santa Barbara on that station happened to do part time work also for KMET and went on to put together a show of jazz music that ran for many years. Joe Collins was his name. Another famous one is on that pay thing ... Jim Ladd ... the weird thing being that he had a huge hand in a lot of our favorite top 5 and he has said nothing about it all these years! 


Edited by moshkito - January 04 2021 at 17:23
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A little goofy and much too mainstream for me. I actually enjoy A Momentary Lapse of Reason more, for what that's worth.
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I find it somewhat disappointing compared to the previous albums, and I'm really missing the longer songs with longer instrumental passages, and the contributions from Gilmour and Wright, but even so, I do believe it's a masterpiece in it's own right. It's actually the album (and song, you know which one) that got me into Pink Floyd, and so, among other artists, into prog. Yet, of course, once I got to know the rest of their discography, I found even better gems than this one.
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Originally posted by The Dark Elf The Dark Elf wrote:

Originally posted by SteveG SteveG wrote:

Originally posted by richardh richardh wrote:

Massively important album for me as I left my teens and entered adulthood. Didn't listen to anything else around 1980-81 at all. Then became a bit bored of it . The biggest problem fore me is the flat production although admittedly this is a feature of most Floyd albums.
Flat production? It's perfect for what it was intended for. Producer Bob Ezrin had to move between sounding like a live band recording and studio work without sonically clashing and did a great job, imho.


Yes, "flat production that is a feature most Floyd albums". Because Dark Side of the Moon is a gold standard and most emulated and revered album for flat production. LOLLOLLOLLOLLOLLOLLOL

Anyway, I think The Wall works best when David Gilmour is fully engaged, hence songs like "The Thin Ice", "Another Brick in the Wall, Part 2", "Mother", "Goodbye Blue Sky", "Young Lust, "Hey You", "Comfortably Numb" and "Run Like Hell", all of which Gilmour has writing credits, and basically the best and most memorable parts of the album.



As far as I remember, Gilmour only has writing credits on "Young Lust", "Comfortably Numb" and "Run Like Hell". The rest of the album is all Waters... though I do remember reading once about the development from the album, and as far as I remember, Another Brick in the Wall 2 was only the vocal part as it was presented by Waters, only once, and it was Gilmour's idea to get the children's choir added to the song... and obviously he must have had some input on the creation of the guitar solo.
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Originally posted by Rednight Rednight wrote:

A little goofy and much too mainstream for me. I actually enjoy A Momentary Lapse of Reason more, for what that's worth.

Hi,

Sadly, if you were there ... it was NOT mainstream ... it was completely different and for once, people were playing on the FM dial the whole of side one of the album ... 

You can't get that attention today, and appreciation ... but the lack of understanding of the history of the time and place ... makes a difference ... of course one might like AMLOR ... it is much more "modern" and more suited to today's audience than the conceptual nature of the SHOW (I don't think the album on its own is strong enough concept of anything except ideas!) ... which helped make it very famous!

But I can see why 2020 fan would say something like that ... sadly, the effect of how the music grew, just like the Beatles and Rolling Stones, or even Miles and many others that deserve to be studied and appreciated, has been lost because all folks can think about is "hit songs" and "pop songs" ... and that history is non-existent except for a top ten that continues on in classic rock ... complete with a cut up version of "Money" just to show you the hippocrisy!


Edited by moshkito - January 05 2021 at 08:22
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Not mainstream rock but the album did get mainstream FM airplay.
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Originally posted by Dellinger Dellinger wrote:

Originally posted by The Dark Elf The Dark Elf wrote:

Originally posted by SteveG SteveG wrote:

Originally posted by richardh richardh wrote:

Massively important album for me as I left my teens and entered adulthood. Didn't listen to anything else around 1980-81 at all. Then became a bit bored of it . The biggest problem fore me is the flat production although admittedly this is a feature of most Floyd albums.
Flat production? It's perfect for what it was intended for. Producer Bob Ezrin had to move between sounding like a live band recording and studio work without sonically clashing and did a great job, imho.


Yes, "flat production that is a feature most Floyd albums". Because Dark Side of the Moon is a gold standard and most emulated and revered album for flat production. LOLLOLLOLLOLLOLLOLLOL

Anyway, I think The Wall works best when David Gilmour is fully engaged, hence songs like "The Thin Ice", "Another Brick in the Wall, Part 2", "Mother", "Goodbye Blue Sky", "Young Lust, "Hey You", "Comfortably Numb" and "Run Like Hell", all of which Gilmour has writing credits, and basically the best and most memorable parts of the album.

 

As far as I remember, Gilmour only has writing credits on "Young Lust", "Comfortably Numb" and "Run Like Hell". The rest of the album is all Waters... though I do remember reading once about the development from the album, and as far as I remember, Another Brick in the Wall 2 was only the vocal part as it was presented by Waters, only once, and it was Gilmour's idea to get the children's choir added to the song... and obviously he must have had some input on the creation of the guitar solo.
Your information is incorrect. Gilmour has writing credits on all the songs I mentioned. Refer to Wiki for further info.
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Originally posted by SteveG SteveG wrote:

Not mainstream rock but the album did get mainstream FM airplay.

And as a millennial, I have seen the We Don't Need No Education video a bunch of times on VH1. It's an anthem like We Will Rock You. In fact, though DSOTM sold more copies, no single track on that album has the notoriety of ABITW pt2. 
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I recall a few FM stations that spliced together ABitW parts 1, 2 and 3. My son was disappointed that they didn't appear on the album that way!
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Originally posted by The Dark Elf The Dark Elf wrote:

Originally posted by Dellinger Dellinger wrote:

Originally posted by The Dark Elf The Dark Elf wrote:

Originally posted by SteveG SteveG wrote:

Originally posted by richardh richardh wrote:

Massively important album for me as I left my teens and entered adulthood. Didn't listen to anything else around 1980-81 at all. Then became a bit bored of it . The biggest problem fore me is the flat production although admittedly this is a feature of most Floyd albums.
Flat production? It's perfect for what it was intended for. Producer Bob Ezrin had to move between sounding like a live band recording and studio work without sonically clashing and did a great job, imho.


Yes, "flat production that is a feature most Floyd albums". Because Dark Side of the Moon is a gold standard and most emulated and revered album for flat production. LOLLOLLOLLOLLOLLOLLOL

Anyway, I think The Wall works best when David Gilmour is fully engaged, hence songs like "The Thin Ice", "Another Brick in the Wall, Part 2", "Mother", "Goodbye Blue Sky", "Young Lust, "Hey You", "Comfortably Numb" and "Run Like Hell", all of which Gilmour has writing credits, and basically the best and most memorable parts of the album.

 

As far as I remember, Gilmour only has writing credits on "Young Lust", "Comfortably Numb" and "Run Like Hell". The rest of the album is all Waters... though I do remember reading once about the development from the album, and as far as I remember, Another Brick in the Wall 2 was only the vocal part as it was presented by Waters, only once, and it was Gilmour's idea to get the children's choir added to the song... and obviously he must have had some input on the creation of the guitar solo.
Your information is incorrect. Gilmour has writing credits on all the songs I mentioned. Refer to Wiki for further info.

Rare we disagree, but I have just pulled out my old vinyl copy, and the only joint writing credits are (with Gilmour) Young Lust, Comfortably Numb, and Run Like Hell, and (with Ezrin) The Trial.
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I overplayed it, years ago, now I rarely listen to it. Good album, PF at its most theatrical in places.
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Originally posted by lazland lazland wrote:

Originally posted by The Dark Elf The Dark Elf wrote:

Originally posted by Dellinger Dellinger wrote:

As far as I remember, Gilmour only has writing credits on "Young Lust", "Comfortably Numb" and "Run Like Hell". The rest of the album is all Waters... though I do remember reading once about the development from the album, and as far as I remember, Another Brick in the Wall 2 was only the vocal part as it was presented by Waters, only once, and it was Gilmour's idea to get the children's choir added to the song... and obviously he must have had some input on the creation of the guitar solo.
Your information is incorrect. Gilmour has writing credits on all the songs I mentioned. Refer to Wiki for further info.

Rare we disagree, but I have just pulled out my old vinyl copy, and the only joint writing credits are (with Gilmour) Young Lust, Comfortably Numb, and Run Like Hell, and (with Ezrin) The Trial.

I think the confusion comes from misreading the Wikipedia page?  The Wiki page actually shows that Dellinger and Lazland are correct about writing credits, and The Dark Elf  is getting confused by who is listed as providing lead vocals..




Edited by nick_h_nz - January 05 2021 at 13:01
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One of the greatest albums ever. And what ideas!
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Originally posted by lazland lazland wrote:

Originally posted by The Dark Elf The Dark Elf wrote:

Originally posted by Dellinger Dellinger wrote:

Originally posted by The Dark Elf The Dark Elf wrote:

Originally posted by SteveG SteveG wrote:

Originally posted by richardh richardh wrote:

Massively important album for me as I left my teens and entered adulthood. Didn't listen to anything else around 1980-81 at all. Then became a bit bored of it . The biggest problem fore me is the flat production although admittedly this is a feature of most Floyd albums.
Flat production? It's perfect for what it was intended for. Producer Bob Ezrin had to move between sounding like a live band recording and studio work without sonically clashing and did a great job, imho.


Yes, "flat production that is a feature most Floyd albums". Because Dark Side of the Moon is a gold standard and most emulated and revered album for flat production. LOLLOLLOLLOLLOLLOLLOL

Anyway, I think The Wall works best when David Gilmour is fully engaged, hence songs like "The Thin Ice", "Another Brick in the Wall, Part 2", "Mother", "Goodbye Blue Sky", "Young Lust, "Hey You", "Comfortably Numb" and "Run Like Hell", all of which Gilmour has writing credits, and basically the best and most memorable parts of the album.

 

As far as I remember, Gilmour only has writing credits on "Young Lust", "Comfortably Numb" and "Run Like Hell". The rest of the album is all Waters... though I do remember reading once about the development from the album, and as far as I remember, Another Brick in the Wall 2 was only the vocal part as it was presented by Waters, only once, and it was Gilmour's idea to get the children's choir added to the song... and obviously he must have had some input on the creation of the guitar solo.
Your information is incorrect. Gilmour has writing credits on all the songs I mentioned. Refer to Wiki for further info.

Rare we disagree, but I have just pulled out my old vinyl copy, and the only joint writing credits are (with Gilmour) Young Lust, Comfortably Numb, and Run Like Hell, and (with Ezrin) The Trial.

You and Dellinger are correct. My mistake. Vocals shared on those several songs, not writing credits. 
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Originally posted by The Dark Elf The Dark Elf wrote:

Originally posted by lazland lazland wrote:

Originally posted by The Dark Elf The Dark Elf wrote:

Originally posted by Dellinger Dellinger wrote:

Originally posted by The Dark Elf The Dark Elf wrote:

Originally posted by SteveG SteveG wrote:

Originally posted by richardh richardh wrote:

Massively important album for me as I left my teens and entered adulthood. Didn't listen to anything else around 1980-81 at all. Then became a bit bored of it . The biggest problem fore me is the flat production although admittedly this is a feature of most Floyd albums.
Flat production? It's perfect for what it was intended for. Producer Bob Ezrin had to move between sounding like a live band recording and studio work without sonically clashing and did a great job, imho.


Yes, "flat production that is a feature most Floyd albums". Because Dark Side of the Moon is a gold standard and most emulated and revered album for flat production. LOLLOLLOLLOLLOLLOLLOL

Anyway, I think The Wall works best when David Gilmour is fully engaged, hence songs like "The Thin Ice", "Another Brick in the Wall, Part 2", "Mother", "Goodbye Blue Sky", "Young Lust, "Hey You", "Comfortably Numb" and "Run Like Hell", all of which Gilmour has writing credits, and basically the best and most memorable parts of the album.

 

As far as I remember, Gilmour only has writing credits on "Young Lust", "Comfortably Numb" and "Run Like Hell". The rest of the album is all Waters... though I do remember reading once about the development from the album, and as far as I remember, Another Brick in the Wall 2 was only the vocal part as it was presented by Waters, only once, and it was Gilmour's idea to get the children's choir added to the song... and obviously he must have had some input on the creation of the guitar solo.
Your information is incorrect. Gilmour has writing credits on all the songs I mentioned. Refer to Wiki for further info.

Rare we disagree, but I have just pulled out my old vinyl copy, and the only joint writing credits are (with Gilmour) Young Lust, Comfortably Numb, and Run Like Hell, and (with Ezrin) The Trial.

You and Dellinger are correct. My mistake. Vocals shared on those several songs, not writing credits. 

Actually, you do raise an interesting sort of general query or point, when you make reference to Gilmour having to have had some input on the guitar solo of Brick Part Two. I agree. It has Gilmour written all over it, yet he didn’t get a credit.

Earlier today, whilst working, I put on Asia Alpha as a bit of background. The Last to Know is one of my favourite Asia tracks, and one of the reasons for that is a lovely Steve Howe lick in between Wetton’s vocals in the chorus. I can’t imagine for the life of me Wetton and Downes, who have the writing credit, telling Howe to play that particular piece in that particular way. I can imagine Howe telling the pair of them to piss off if they did. However, he doesn’t have a credit.

There are probably many other examples. What defines who gets what credits on a song? The only thing I can think of are band politics in many instances.
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Originally posted by lazland lazland wrote:

Originally posted by The Dark Elf The Dark Elf wrote:

Originally posted by lazland lazland wrote:

Originally posted by The Dark Elf The Dark Elf wrote:

Originally posted by Dellinger Dellinger wrote:

Originally posted by The Dark Elf The Dark Elf wrote:

Originally posted by SteveG SteveG wrote:

Originally posted by richardh richardh wrote:

Massively important album for me as I left my teens and entered adulthood. Didn't listen to anything else around 1980-81 at all. Then became a bit bored of it . The biggest problem fore me is the flat production although admittedly this is a feature of most Floyd albums.
Flat production? It's perfect for what it was intended for. Producer Bob Ezrin had to move between sounding like a live band recording and studio work without sonically clashing and did a great job, imho.


Yes, "flat production that is a feature most Floyd albums". Because Dark Side of the Moon is a gold standard and most emulated and revered album for flat production. LOLLOLLOLLOLLOLLOLLOL

Anyway, I think The Wall works best when David Gilmour is fully engaged, hence songs like "The Thin Ice", "Another Brick in the Wall, Part 2", "Mother", "Goodbye Blue Sky", "Young Lust, "Hey You", "Comfortably Numb" and "Run Like Hell", all of which Gilmour has writing credits, and basically the best and most memorable parts of the album.

 

As far as I remember, Gilmour only has writing credits on "Young Lust", "Comfortably Numb" and "Run Like Hell". The rest of the album is all Waters... though I do remember reading once about the development from the album, and as far as I remember, Another Brick in the Wall 2 was only the vocal part as it was presented by Waters, only once, and it was Gilmour's idea to get the children's choir added to the song... and obviously he must have had some input on the creation of the guitar solo.

Your information is incorrect. Gilmour has writing credits on all the songs I mentioned. Refer to Wiki for further info.


Rare we disagree, but I have just pulled out my old vinyl copy, and the only joint writing credits are (with Gilmour) Young Lust, Comfortably Numb, and Run Like Hell, and (with Ezrin) The Trial.


You and Dellinger are correct. My mistake. Vocals shared on those several songs, not writing credits. 


Actually, you do raise an interesting sort of general query or point, when you make reference to Gilmour having to have had some input on the guitar solo of Brick Part Two. I agree. It has Gilmour written all over it, yet he didn’t get a credit.

Earlier today, whilst working, I put on Asia Alpha as a bit of background. The Last to Know is one of my favourite Asia tracks, and one of the reasons for that is a lovely Steve Howe lick in between Wetton’s vocals in the chorus. I can’t imagine for the life of me Wetton and Downes, who have the writing credit, telling Howe to play that particular piece in that particular way. I can imagine Howe telling the pair of them to piss off if they did. However, he doesn’t have a credit.

There are probably many other examples. What defines who gets what credits on a song? The only thing I can think of are band politics in many instances.
Some how, long ago, contributions from other musicians were designated as arrangements, not songwriting. And has become the standard practice, unfortunately.

Edited by SteveG - January 06 2021 at 15:42
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I have tried and wanted to love or even like this album. Every year I drag it and try it again - but every year I am left with the same feeling. I just don't like it. It's just doesn't have in it what I love about the Floyd - leaves me cold. It's partly the music, partly the dire production and quite a lot the concept. 
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Not my favourite PF album. I used to rank it higher, but it hasn’t grown as well on me as some of their other albums. It has some excellent tracks, but I find the album to drag out a bit. I wouldn’t mind if it was cut down a bit.
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The Wall isn't my favourite Pink Floyd album, but it is my favourite Roger Waters album. Smile
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Originally posted by Psychedelic Paul Psychedelic Paul wrote:

The Wall isn't my favourite Pink Floyd album, but it is my favourite Roger Waters album. Smile

are you sure what you wrote there makes any sense? LOL
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