David Gilmour and Roger Waters perform together! |
Roger Waters talked about his relationship with his former bandmate David Gilmour. He says that the two are not friends, and that he doubts. Iconic pink Floyd songwriter Roger Waters has reflected on the acrimonious relationship between him and former bandmate Richard Wright. Roger Waters and Nick Mason said they would be willing to reunite as Pink Floyd for a performance at the Glastonbury music festival.
Appalled by his own behavior, the bassist began to ponder how things had ever come to such a pass that he could feel actual hostility toward a member of his audience.
- PINK FLOYD’s David Gilmour on Roger Waters: “He Forced His Way To Become A Central Figure”
- David Gilmour and Roger Waters perform together!
Shortly after the Montreal incident, Waters came up with the aforementioned drawing of a gigantic wall, a barrier between performers and spectators. The incredible power of the image Waters chose lies in its simplicity and universality.
It is an ancient, quasi-mystical symbol that comes down to us from the dark recesses of Biblical and classical antiquity. Writers from Melville to Sartre have used the wall image as a symbol of alienation. It has become particularly identified with the feeling of existentialist isolation unique to the post-WWII era — the latter half of the 20th century.
In this epoch, we all live behind walls— political, psychological, social, self-imposed or otherwise. In applying this rich motif to rock—the great, late 20th century populist art form— Waters found the basis for the most ambitious project of his career. But now he envisioned a concept album that would also form the basis for a series of concert performances and a feature film.
ROGER WATERS: "DAVE GILMOUR and I are not mates" - Prog Sphere
And I started to fit things together. During the same period he worked up a rough demo for another project, The Pros and Cons of Hitch Hiking, which would eventually become his first solo album.
Initially, however, both projects were presented to the other members of Pink Floyd. Waters invited them to choose which of the two demos they wanted to make into the next Pink Floyd album. They opted, of course, to do The Wall. At this juncture, the band was on the brink of bankruptcy, owing to some ill-advised business investments. It has been widely speculated that Pink Floyd might not have stayed together to make The Wall had they not been in such dire financial straits.
The situation being what it was, Gilmour, Wright and Mason joined forces with Waters to make what would become a fittingly grand last hurrah for Seventies rock, and a record that would set the stage for Waters and the other group members to go their separate ways in the Eighties.
It was deemed necessary, however, to bring in an outside producer— rock vet Bob Ezrin—to work on The Wall. And there was an unadmitted mutual respect beneath all the arguing and bickering going on between them.
But the tension was always present because there was a war between two basically dominant personalities. Each one had a need to express himself in his own style. And sometimes these styles were very different. Sometimes they approached the same piece of material from an entirely different point of view. So my job was often to be Henry Kissinger and run back and forth between the two of them, trying to arrive at a workable middle ground.
Before sessions for The Wall began, Ezrin spent some time with Waters, massaging the plot line.
From that, we refined the plot line and developed a slightly different story from the original one that Roger had. We filled in holes, the way you do with a movie script, and built the album around the story. The indignities suffered by stadium rock concertgoers—festival-seating stampedes, deafening P.
All this might seem a bit of an over-exaggeration. Or perhaps not, depending on how many stadium rock concerts one has attended.
He begins to erect a mental barrier—a wall—between himself and the outside world. As he grows to manhood, he is further traumatized by a sadistic schoolmaster emblematic of the repressive British public school system and the infidelity of his wife. By midpoint in the piece the end of the first discPink has become totally alienated from the outside world. He turns into a quasi-Nazi. The sadistic schoolmaster and faithless wife return as witnesses who testify against Pink.
ROGER WATERS: “DAVE GILMOUR and I are not mates”
The verdict is to tear down the wall Pink has built around himself. But the ending is ambiguous. Or is it a bad thing—a further trauma for the already unbalanced protagonist? The final lines of the piece sound a note of sympathy for those close to Pink. The same ones who drove him crazy in the first place? Also like Pink, Tommy withdraws into himself as a result of psychological pressures brought to bear by his mother. Pink becomes a rock star. Tommy becomes a messianic guru, not unlike a rock star.
Tommy and Pink both turn authoritarian on their followers toward the end of their respective stories. Pink undergoes an awakening of sorts when a wall is torn down. Tommy undergoes a similar jolt to consciousness when a mirror is smashed.
But what sets The Wall apart from Tommy is its tone. Tommy is much lighter in mood, reflecting the spiritual aspirations of its author, Pete Townshend, as much as his doubts about rock stardom.
They have the cruel stench of real human beings. Much like Lennon, Waters was traumatized by the early death of a parent. My father was missing in action. I think that is maybe one of the things that makes people performers. I think it engenders in you a tendency to jump through hoops.
But I really think that.
I suddenly was able to explain dreams that I had had periodically throughout my life. And I came to the realization that, on some subconscious level, I felt that I had killed my father. I was born and he died. Korn, for instance, hit a tremendously responsive chord in its young audience by dealing with the early life psychological traumas and purported childhood abuse of band leader Jonathan Davis.
And its protagonist also develops a Nazi alter ego, just like Pink. But after a few sessions they were informed by management that, owing to tax issues stemming from their recent financial difficulties, they would have to make the album outside of England. So the quartet moved operations to Superbear studios in France and then completed the album at Producers Workshop in Los Angeles.
The album was still only partially written when sessions got underway. We should include them. We changed the key of the opening section from E to B, I think. And it was all done before the orchestration was added. David says that Syd would just show up and stare at him from the front row. Two, drugs and a deep-seated depression caused a social withdrawal. I really think Syd rejected the Floyd, rather than the other way around.
Playing the same damn songs, the same way, every night. He was a fella who enjoyed the moments of creation, the feel of the jam, making something from nothing, even if it risked sounding bad and getting booed. Rick, Nick, and Roger feared nothing more than being resigned back to their old, stale, architect lives, especially after a taste of success. Syd shunned, what they craved. Supposedly, these episodes settled down in the lates, after the Floyd lawsuit was over.
Gilmour VS. Waters
But yeah, Syd wanted obscurity. Yet, here was this very successful band immortalizing him with every hit album for the better part of a decade. How could he escape fame, when the Floyd were themselves inflating the myth of Syd to unimaginable proportions.
The myth of Syd has, unfortunately, always out-shined the man. The myth is probably what made Syd famous, obviously. But yeah, I look forward to an article from you. I just think many fans would like to know more. They probably just wanted to distance themselves from all those claims that Syd was still the genius behind the curtain.
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