Live at Pompeii 2017 - David Gilmour

JezWynd

ToneControl said:

JezWynd said:

ToneControl said:
...
The track does sound good though. I wonder why they went that way and not a guitar solo or sax like they chose on every other occasion. 

I've seen the live vocals screeched out a few too many times though, not everyone can do a good job of it 

You've answered your own question right there. Yes it could have been a guitar or sax and would have sounded much like any other extended Floyd outro. Instead they went with the human voice, probably the purest, most direct form of emotional response/release there is - and it worked incredibly well.

Still, they had one of the top 5 guitarists in the world in the room. I would have preferred a DG solo
I'm guessing they didn't do it again because they agreed with me

I'm guessing they didn't do it again because it would have been seen as referring back to the original and could even have detracted from its uniqueness. It was a sound of its time.

AlexC

@ToneControl Get where you're coming from. I am a massive Floyd fan - one of my fave bands of all time and have been for 35 years, but I really cannot be bothered with The Final Cut. It just sounds like and feels like a Waters solo. All musical interludes and fx and not enough actual songs. Still, one album out of their output isn't bad odds for liking/not liking.

Danny1969

Most of The Final Cut is bits not used in the war and your right it is the first Waters solo album. 
I love it though, The Fletcher memorial home. Not Now John, brilliant !!

ToneControl

just watched the documentaries on the second bluray tonight
Nice to see the BBC one again

stickyfiddle

On the GGITS point, the vocal is the melody on that track, which is the primary thing that defines a song. Without it, you've just got some chords and a bit of lap steel (obviously i'm exaggerating but you get my point). 

So as far as I'm concerned she absolutely deserves credit as a co-writer. 

ToneControl

stickyfiddle said:

On the GGITS point, the vocal is the melody on that track, which is the primary thing that defines a song. Without it, you've just got some chords and a bit of lap steel (obviously i'm exaggerating but you get my point). 

So as far as I'm concerned she absolutely deserves credit as a co-writer. 

what about the sax player Dick Parry on Shine on you crazy diamond Part V then? Or on money?

stickyfiddle

ToneControl said:

stickyfiddle said:

On the GGITS point, the vocal is the melody on that track, which is the primary thing that defines a song. Without it, you've just got some chords and a bit of lap steel (obviously i'm exaggerating but you get my point). 

So as far as I'm concerned she absolutely deserves credit as a co-writer. 

what about the sax player Dick Parry on Shine on you crazy diamond Part V then? Or on money?

I could argue he could also get some credit. But in both cases the sax part is a much smaller part of the whole piece , so it's certainly less black & white.

In SOYCD the sax is a small part of a bigger melodic piece (just part V, iirc?), and the essence of the "song" is arguably the vocal, and the other melodic sections are at least as important as the sax bit - but was that all improvised by Parry, or was it  Gilmour & Wright feeding him melodic riffs to stitch together? I'm not judging either way - I genuinely don't know. 

Money is much clearer. Remove the sax and you still have the song Money and noone would argue otherwise.

Cirrus

ToneControl said:

stickyfiddle said:

On the GGITS point, the vocal is the melody on that track, which is the primary thing that defines a song. Without it, you've just got some chords and a bit of lap steel (obviously i'm exaggerating but you get my point). 

So as far as I'm concerned she absolutely deserves credit as a co-writer. 

what about the sax player Dick Parry on Shine on you crazy diamond Part V then? Or on money?

On both those examples laypeople would consider the tune to be the vocal melody and lyrics - yeah, there's fuckloads of instrumental in Shine On, but many of the melodies therein are informed by the vocal nonetheless. If you removed the sax parts from those songs they'd be a bit shorter but still complete. If you remove the scat vocal from Great Gig it'd be a very, very different piece of music.

Cirrus

AlexC said:

@ToneControl Get where you're coming from. I am a massive Floyd fan - one of my fave bands of all time and have been for 35 years, but I really cannot be bothered with The Final Cut. It just sounds like and feels like a Waters solo. All musical interludes and fx and not enough actual songs. Still, one album out of their output isn't bad odds for liking/not liking.

I used to feel that way, but then I was hit by the sheer poignancy and emotion in The Hero's Return -> The Gunner's Dream. The remaster totally ruined it by putting "When the Tigers Broke Free" in between them, which messes up the narrative. But those two songs back to back, when they finally got through to me, had me blubbing like a baby.

The Hero's Return is, I believe, the same character as "The Teacher" in the wall, but made human - a Bomber Command veteran from WW2 who remembers coming home to the victory celebrations, but then has to settle down and get on with life in a world that very quickly starts to forget the sacrifices, lessons and experiences of the war. He remembers seeing his friend shot down and killed on a mission, and wonders whether his loss even means anything. It haunts him, but he can't talk to anyone about it, even his wife. And I can't play either song without choking up a bit.

"Jesus, Jesus, what's it all about? 
Trying to clout these little ingrates into shape. 
When I was their age all the lights went out. 
There was no time to whine or mope about. 

And even now part of me flies over 
Dresden at angels one five. 
Though they'll never fathom it begind my 
Sarcasm desperate memories lie.

Sweetheart sweetheart are you fast asleep? Good.
Cause that's the only time that I can really speak to you.
And there is something that I've locked away
A memory that is too painful
To withstand the light of day.

When we came back from the war the banners and
Flags hung on everyone's door.
We danced and we sang in the street and
The church bells rang. 

But burning in my heart 
My memory smolders on 
Of the gunners dying words on the intercom."


I mean, that's perfect. Perfect songwriting.

ToneControl

Cirrus said:

AlexC said:

@ToneControl Get where you're coming from. I am a massive Floyd fan - one of my fave bands of all time and have been for 35 years, but I really cannot be bothered with The Final Cut. It just sounds like and feels like a Waters solo. All musical interludes and fx and not enough actual songs. Still, one album out of their output isn't bad odds for liking/not liking.

I used to feel that way, but then I was hit by the sheer poignancy and emotion in The Hero's Return -> The Gunner's Dream. The remaster totally ruined it by putting "When the Tigers Broke Free" in between them, which messes up the narrative. But those two songs back to back, when they finally got through to me, had me blubbing like a baby.

The Hero's Return is, I believe, the same character as "The Teacher" in the wall, but made human - a Bomber Command veteran from WW2 who remembers coming home to the victory celebrations, but then has to settle down and get on with life in a world that very quickly starts to forget the sacrifices, lessons and experiences of the war. He remembers seeing his friend shot down and killed on a mission, and wonders whether his loss even means anything. It haunts him, but he can't talk to anyone about it, even his wife. And I can't play either song without choking up a bit.

"Jesus, Jesus, what's it all about? 
Trying to clout these little ingrates into shape. 
When I was their age all the lights went out. 
There was no time to whine or mope about. 

And even now part of me flies over 
Dresden at angels one five. 
Though they'll never fathom it begind my 
Sarcasm desperate memories lie.

Sweetheart sweetheart are you fast asleep? Good.
Cause that's the only time that I can really speak to you.
And there is something that I've locked away
A memory that is too painful
To withstand the light of day.

When we came back from the war the banners and
Flags hung on everyone's door.
We danced and we sang in the street and
The church bells rang. 

But burning in my heart 
My memory smolders on 
Of the gunners dying words on the intercom."


I mean, that's perfect. Perfect songwriting.

Water's lyrics are fine, I just don't think his musical ideas have been strong enough to fill whole albums without DG and RW

cruxiform

Pompeii Blu Ray and CDs arrived today, thanks Amazon. That's my evening sorted! 

Jez6345789

I love Gilmour's playing he is just magic at capturing a vibe in his playing. 

Grew up loving everything up till the Final Cut which never really touched me. 

Since then pretty much everything he has done has left me cold the playing is great but the compositions just dont seem to have it for me. As said especially the lyrics. 

Still love the playing he does on the later tracks but as to songs I want to listen to,  give me Animals over any post-Waters album. 

That said one of my best mates 15 years younger than me loves Floyd and Gilmour but he loves everything that came after. I sometimes think these things are generational. 

Danny1969

Cirrus said:

AlexC said:

@ToneControl Get where you're coming from. I am a massive Floyd fan - one of my fave bands of all time and have been for 35 years, but I really cannot be bothered with The Final Cut. It just sounds like and feels like a Waters solo. All musical interludes and fx and not enough actual songs. Still, one album out of their output isn't bad odds for liking/not liking.

I used to feel that way, but then I was hit by the sheer poignancy and emotion in The Hero's Return -> The Gunner's Dream. The remaster totally ruined it by putting "When the Tigers Broke Free" in between them, which messes up the narrative. But those two songs back to back, when they finally got through to me, had me blubbing like a baby.

The Hero's Return is, I believe, the same character as "The Teacher" in the wall, but made human - a Bomber Command veteran from WW2 who remembers coming home to the victory celebrations, but then has to settle down and get on with life in a world that very quickly starts to forget the sacrifices, lessons and experiences of the war. He remembers seeing his friend shot down and killed on a mission, and wonders whether his loss even means anything. It haunts him, but he can't talk to anyone about it, even his wife. And I can't play either song without choking up a bit.

"Jesus, Jesus, what's it all about? 
Trying to clout these little ingrates into shape. 
When I was their age all the lights went out. 
There was no time to whine or mope about. 

And even now part of me flies over 
Dresden at angels one five. 
Though they'll never fathom it begind my 
Sarcasm desperate memories lie.

Sweetheart sweetheart are you fast asleep? Good.
Cause that's the only time that I can really speak to you.
And there is something that I've locked away
A memory that is too painful
To withstand the light of day.

When we came back from the war the banners and
Flags hung on everyone's door.
We danced and we sang in the street and
The church bells rang. 

But burning in my heart 
My memory smolders on 
Of the gunners dying words on the intercom."


I mean, that's perfect. Perfect songwriting.

That is superb, one of my fave parts of The Final Cut