While none of us likely to know for certain, my take is that David and Nick are probably not going to be the roadblocks here. The Wall is Roger's opus and he would be much more likely to obstruct a release. Hopefully there's nothing any of them would object to and we'll finally get to experience it. I wonder if the technology they recently pioneered for Get Back could help with a less than optimal source? If not, I would take their best effort with what they have and enjoy it.
Pink Floyd The Wall in 5.1
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When "Momentary" was recently re-mixed and re-released, Wright was re-elevated to full member status by David and Nick. Given full credit, some of keyboard parts made more prominent, and he even magically appeared in the band photo!
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When "Momentary" was recently rem-mixed re-released, Wright was re-elevated to full member status by David and Nick. Given full credit, some of keyboard parts made more prominent, and he even magically appeared in the band photo!
Yup, my guess is that any legal recourse had expired by the time the Later Years set was being released and they decided they could admit that he was part of things. Which I'm happy to see. I'm still salty that Gdansk hasn't been released on Blu Ray as it's Rick's last performance and an HD video feed exists.
An really interesting question! I'm not certain, as I find it musically weak, very un-PF, yes it covers some difficult topics may be a bit too much in-your-face, but even viewed as a solo effort I much prefer the Pros & Cons Of Hitchhiking which overall I find much more engaging musically.
It was actually Pros & Cons and The Wall. Sometime in (I think) 1978, Roger gave the band demos for both. He told the band that he wanted to keep one for a solo project and that the other would be for the Floyd. He gave the band first choice. Gilmour felt that Pros & Cons was much too personal to be a band project and therefore should be the one that Roger did as a solo album. Gilmour also felt that The Wall was quite personal but liked the overall theatrical element of the wall concept. Gilmour however, did not like much of what was on Roger's original Wall demo and encouraged Roger to keep writing. Some of the songs that ended up on the album were not part of Roger's original demo.
I will agree with that. I do love the wall, but, of the 4 sides of it, you could get rid of 1 side made up from a couple pieces from side 2 and most of side 3. This is as opposed to The Who's Tommy, where you could, in my opinion, ditch the entire 4th side, and I won't get into Quadrophenia, which has an annoyingly misleading title as it is in stereo. (That's a joke.)
In my circles, those who dislike The Wall and TFC and PF music in general cite the fact that it is mostly depressing and has dark themes. None of it is "happy music"
I don't think that is what happened.
He was always given credit for his work on the album.
It was just a matter of him being officially a sideman originally and they have since decided to correct that. How much of that had to do with legal issues? That I can't speak to.
When "Momentary" was recently re-mixed and re-released, Wright was re-elevated to full member status by David and Nick. Given full credit, some of keyboard parts made more prominent, and he even magically appeared in the band photo!
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Picture when Rick wasn't a full member.
Yep.
It probably would have been a better album to have only been about 70 minutes long. It certainly drags in some places, and I'd argue the narrative starts to get lost in the process as well.
Would have still been a double LP and would have later fit onto one CD.
I don't know, if you look at the movie and see how all those songs fit into the overall vision of the story, none of the songs seem that superfluous to me. I remember when the movie was released and I saw it for the first time, I thought it was amazing how some of the background noises/dialogue that were on the album showed up in the movie. Now granted, they could mold the movie to make it fit to some degree, but still, the overall concept was pretty flushed out when the album was released. Originally, we just thought all the background noises and dialogue were there to make it more trippy (and I can vouch, that it worked).
It's better than The Wall, which is so highly overrated it's not funny, and is my standard bearer for 'double albums that would have been far, far better as singles'.
Or maybe it is funny, at the expense of fans.
Every moment Gilmour plays on The Final Cut is brilliant. The rest of it ranges from OK to very good indeed, a standout being 'The Hero's Return'. ( I have no use for 'When the Tigers Broke Free' )
I liked TFC immediately on release and still do, though I don't listen to it much anymore (though more often than The Wall). Waters just pounded that slow waltz time dirge thing of his (which started with The Wall) into the ground in subsequent solo albums, which made TFC less distinctive.
It was recorded in 'holophonic sound' and there were some surroundy moments there. A true surround mix is called for.
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It's arguable how much of the keyboards on the Wall are Wright's.
"Waters, Gilmour, producer Bob Ezrin, composer Michael Kamen and session player Fred Mandel also played keyboard parts on The Wall" -- wikipedia
The “holophonic sound” was a pointless, over-hyped gimmick, IMO. Whether it would be a good surround album or not? Perhaps. I’d welcome its release.
Apologies, I didn't mean to imply he wasn't involved in the album. Maybe I'm not remembering right, but I think they could not name him as a member of Pink Floyd or credit him with some of his creative contributions. And then reading interviews on the Later Years set, Nick and David did acknowledge it (which is why I hypothesized that a legal limit had run out).
The important part is that his contributions are recognized. A big part of my love of Floyd is his keyboard work synergizing with David's guitar along with how well their vocals harmonized. So, anything that gives Rick the credit he deserves makes me happy to see.
They were huge in the USA too, I remember well. Wish You Were Here was a #1 album, and Animals reached #3. Tracks from the former are staples on 'classic rock' radio to this day, the latter less so. They were both played extensively by NYC-area rock stations in the 1970s.
“The Wall” isn’t particularly Floyd-y through much of it.
It’s one of those albums where I consider its strengths to also be its weaknesses. It’s an overblown, cartoonish mess and that’s either what people love or hate about it. And most all of that is the work of Bob Ezrin.
Did you ever have a set up where it worked? When it did, it was uncanny at placing audio images way out beyond the boundaries of the stereo speakers. Amused to Death has the best examples. I dont see how it was any more 'pointless' than a surround mix. Both are attempts to break beyond the confines of typical stereo.
I know you meant he was involved. I just took your comments to imply he want given credit for his involvement at the time. He certainly was. He just wasn’t credited as a full member of Pink Floyd. But he was certainly acknowledged and credited for his contributions
For me that's a case of different mediums creating different experiences. Like a book becoming a movie and the changes we often see. I don't often watch The Wall film, but I don't recall feeling the same way as I do listening to it. Where my brain maybe focused on the shortcomings I perceive in a certain song listening to the album, the films visuals can carry my attention. Though I've stated I feel like The Wall would be better if it was trimmed some, I can always skip a track and since I know there are people that love the entire piece I wouldn't change it now.
