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 Unsung - Pink Floyd - The Endless River (CD 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". Album is, however, a fitting end to a great legend. Do I miss the vocals? Do I think it will be a legendary album? Not really. Is it worth hearing, sharing, and even owning? Not as much as I thought I would, but liked anyway.
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. 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. Conclusion: good, but this is for fans, collectors and completionists only. 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. 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 Album 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.
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 '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.
The 5. 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. I get the temptation to rate this album higher than I would, and perhaps even significantly so. 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 Spliffbut 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 factbut 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 thereand 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.
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.
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. 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 herebut 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.
Picked guitar and atmosphere early on and the drums remind me of "A Saucerful Of Secrets". This is all very familiar and safe and in my opinion 3. 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.
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. 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, Album), Pt. 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? That subtle but intoxicating pluck from Gilmore's guitar is enough to sell me right away. Of course Side 3 isn't over.
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. Finally, this previously unreleased material was released in November 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. 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. 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 Wright in interviews done in 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 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.
But it is a good album, anyway, very well recorded, mixed and produced. The album was assembled around hours of leftover scraps and fragments from the "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. NO no no Pink Floyd plays ambient Back in David Gilmour, during his terrible conflict with Roger Waters, said about The Final Cut "if the songs that were rejected from The Wall weren't so good, why should we publish them now as this new album?
I liked it, it was released in fact with A Pink Floyd album in ? After the historic one night reunion at Live 8 and the demise of Richard Wright it seemed to be highly unlikely. Shall we mention, however, that quite a few albums by Pink Floyd, including those of great fame, came to existence or had been critically re-shaped under unfor Sailing down the Endless River: Riding the gravy train, a momentary lapse of reason or Crazy diamonds still shining on?
Posthumous albums are always a little hard to take. Usually released by a label after the death of the artiste, they have a certain creepy quality, as you realise you're lis Above all,talk about the sales of this album, the success he has had. Its clear that Pink Floyd, a band created insucceeded 50 years after its creation to be at the forefront of the ranking of the number of sales all over Europe,in the UK of course, but also in France, German Let's forget how this album came about, who recorded it, and what its reception was after the release.
For what is ultimately important is this: how does it fare after repeated listens? The answer is, it fares better than you would expect. First of all, there is an undeniable flow to the composit I have not really wanted to get into this band's music of some reasons. Perhaps it's because they are so popular by average people. However, Pink Floyd is a perfect reserve I kno I have to admit that the announcement by David Gilmour and Nick Mason the last two remaining Pink Floyd members that a new Pink Floyd album would be released and that it would consist of leftover material recorded with keyboardist Richard Wright who passed away in had me somewhat worried.
Another review from one of the faithfull. Gilmour and Mason decide to put bow on the career of Pink Floyd. And what a wonderful job they did. They took tracks from the not completed ambient album that was going to be the second disc of the Division Bell as a base and added to it to create a Pink Album.
Where to start? Without Pink Floyd I probably would not be here for starters. Having grown up in a household that loved Pink Floyd I have been familiar with them for my entire life. I took them on as a band that I 'liked' at age 14 which coincided with the release of their last studio I recently reviewed Opeth's Pale Communion, and mentioned that it had achieved the unusual feat, for a prog album, of a top 20 chart position in my country.
Well, of course, here we have an exceptional band whose very prog album has gone to 1 in 20 countries. Will its consumers feel rewarded? It's a very difficult thing to do an honest review of a band whom I have held in such reverential esteem for such a long period of time. The very first time I got stoned, the person I was getting high with pulled out this rather psychedelic L. P and said " you gotta listen to this ". It was As a long term fan of Pink Floyd, right from Sid Barrett's days, I am somewhat disappointed by this offering.
Without the poetic vocals or constrained angst, this is melancholic ambiance and seems to be a pale copy of the early Floyd. One wonders why they released this as a Pink Floyd album? When I first heard that the great Pink Floyd were releasing a new album, I was chuffed to bits! This was something that was never meant to happen, and nobody realistically thought it would, but here I was with a dream come true.
I have read through many reviews on here, mainly people voicing th Pink Floyd's last album is quite easy to review. I don't see any point to wish Waters to to play bass or sing on this album but it could have been someone else than Mr Gilmour himself. His bass playing is a bit unstable. Anyway, this is continuation from the point where Pink Floyd was developped. I truly did not expect myself to like this album.
Material that did not make it into The Division Bell? Location: Australia. Maybewith no touring going on and all of their live concerts out, it might be the right time for some re-releases. Billy Infinity likes this. Location: Yorkshire, England. SevofluraneSep 24, at AM. TurboholicsupermdNunoBento and 8 others like this. Location: Chicago, IL. NunoBento and andrewskyDE like this.
Location: Lancs, UK. Location: germany. ItsNotIt's and zinan like this. Location: Europe. AnthraxSep 25, at AM. Pink Floyd is still a business. Expect to continue to see one or two releases every year. Sigma6ItsNotIt'szinan and 5 others like this. Location: Ipswich, United Kingdom. BinkSep 25, at AM.
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