Роджер Уотерс / Roger Waters

На правах шпаргалки!
Великая французская революция
(Наши публикации, Политические деятели, Статьи из энциклопедий, Ссылки)
Адрес шпаргалки для погружения в тему.
http://vive-liberta.narod.ru/ref/ref1.htm

http://vive-liberta.narod.ru/music/CaIra1.jpg
ноты, но не те ))

2Bob Close:

>http://vive-liberta.narod.ru/music/CaIra1.jpg
>
>ноты, но не те ))

а, это как раз старая революционная песенка, спетая Эдит Пиаф (в том числе).

Её выкладывали в Roger Waters Online.

Хорошая мелодия.

Hi All

Nick Mason is doing the final mix of the CD this week, so at last we can
come out with the inside story for you!

Nick has been fully and enthusiastically involved throughout the
production of the audio version of Inside Out. As well as enjoying
recording his reading of the book, he has added a typically Floydian
flourish to proceedings. As he says, 'To fit the book on the CDs we had
to lose a couple of jokes, so we've added a lot of funny noises instead!'

The chapters have been linked together by short montages which blend
Nick's selection from the sound and musical effects on Pink Floyd's
albums with additional, new sound FX, including Nick's beloved Ferrari
250GTO.

The use of these effects has been a trademark of all Floyd albums, from
the radio voices on Astronomy Domine from their debut album The Piper At
The Gates Of Dawn to the heartbeat that opens The Dark Side Of The Moon
and the peals of bells on The Division Bell.

For once we can genuinely say this is an audiobook that comes complete
with bells and whistles - not to mention some Arctic winds, Venetian
canals, telephones, aeroplanes and a squealing pig or two!

This audiobook brings us right up to date with Nick's personal view of
the band's reunion with Roger Waters for Live8. The whole package comes
as 3 CDs, with a 32-page booklet of photographs, in a special
collector's pack, priced at Ј15.99, and will be released on 6 October by
http://www.orionbooks.co.uk/

Col T

--
A Fleeting Glimpse
http://www.pinkfloydz.com/
Roger Waters On Tour
http://www.rogerwatersontour.com/main.htm

(из Echoes Digest)

На Амазоне можно скачать всю САИРУ!
An audio stream of the entire album. See details
http://www.amazon.com/gp/promotions/bonus-content-rules.html/ref=mt_octo_or_dtloa/104-2...

Собираем все ревю
http://store.acousticsounds.com/browse_detail.cfm?Title_ID=16763
The deluxe package of Ca Ira includes a bonus DVD, The Making of Ca Ira, a behind-the-scenes look at the opera, from concept to completion narrated by Roger Waters.
Вот так - первый док фильм наговоренный самим Роджером!
Последний раз мне помнится он говорил в 1970 году на BODY

http://www.musikbibliotek.dk/9448
быть может первое фото из либретто

On amazon as free bonus to order.
Try make false order for CA IRA in this promotion and go through our Shopping Cart checkout. After you've placed your order, you'll see a page that says, "Thank you for your order." This page should contain a link to your Digital Locker, where you'll find a link to this special offer as well as any e-book and software download orders you've placed.
http://www.amazon.com/gp/promotions/bonus-content-rules.html/ref=mt_octo_or_dtloa/104-2...

Waters: 'Pink Floyd Will Be Back'
(Soundbuzz, Friday September 16, 6:01 AM)


Pink Floyd star Roger Waters is keen for his band mates to perform together once more, despite reports of the rockers' continuing animosity towards each other. The veterans have shared a famously stormy relationship since first rocking the charts in the 1970s but Waters is convinced their celebrated Live 8 appearance will not be their last reunion. He says, "I really loved it. I hope we do it again. "If some other opportunity arose, I could even imagine us doing 'Dark Side Of The Moon' again - you know, if there was a special occasion. Something with a political or charitable connection. "It would be good to hear it again. Live 8 was so great. " (wenn)



http://au.launch.yahoo.com/050915/10/9c5r.html

Billy Sherwood Puts His Back Against The Wall!

CLASSIC ROCK REVISITED

Billy Sherwood Puts His Back Against The Wall!

Billy Sherwood is best known for the time he spent time playing with Yes. He also is in the band Conspiracy with Yes bass player Chris Squire. Sherwood is a progressive rock aficionado who is constantly learning and looking for the next interesting gig. Both as a musician and a producer, Sherwood is always trying to use his creativity to further the style of music he loves. When Cleopatra Records approached him about remaking Pink Floyd's classic album, The Wall, Sherwood's curiosity was peaked. He recreated the work from scratch and then set out on a mission to get his progressive rock idols to join him in this mission.

Read an excerpt from the review of the album from Classic Rock Revisited below:

"Imagine a Pink Floyd tribute album featuring Steve Howe, Chris Squire, Rick Wakeman, Alan White and Billy Sherwood of Yes, Ian Anderson of Jethro Tull, Tommy Shaw of Styx, Adrian Belew, The Doors Robby Krieger, Glenn Hughes, ELP’s Keith Emerson, The Tubes Fee Waybill, Ronnie Montrose, Deep Purple’s Steve Morse, Asia’s Geoff Downes, John Wetton, Elliot Easton of Cars fame and Steve Lukather of Toto. Imagine the tribute is not a ‘best of’ type event but instead a tribute to one of the most complex and intense albums to ever be made: The Wall. Lastly, imagine the album actually containing songs from the movie that were not on the original album release. What a cool idea eh? Well, Billy Sherwood had the idea and he made it a reality! The result is the best tribute album ever made. In fact, this is the tribute album that all others should aspire to.

The hero of this release is Billy Sherwood. The man sounds a lot like Floyd’s Roger Waters and he has done his homework. From the background sounds to Waters patented nasal tones, Sherwood hits a home run. He also did a great job of putting the right songs with the right people. In the end, we learn what truly creative musicians Waters and David Gilmour are. Floyd has always had a unique sound but one does not realize just how unique they are until you listen to others try to recreate their sound and feel. No one will ever do a job as good as this. Against the Wall does not try to mimic the original but it does a superb job in keeping the intent and vision alive while providing fireworks of new creativity."

- Jeb Wright, September 2005


--------------------------------------------------------------------------------

Jeb: Congratulations on an amazing album. This is the day and age of the tribute album. A lot of times they are boring and seem that people are only in it for the money. This is totally different. This is a tribute to an entire album and what an album it is. This is like the mother of all concept albums. This had to be quite an undertaking. How did it come about?

Billy: It was like crafting. It was more than just throwing something together, that is for sure. Cleopatra, the label, actually contacted me and asked if I would be interested in remaking The Wall. I thought the entire idea sounded very interesting. I knew The Wall like the back of my hand because it was basically the soundtrack to my childhood. They came up with the idea of doing it but I came up with the concept of doing it with the artists that are on the album.

Jeb: Part of the allure is the artists on the album. You have Ian Anderson, Steve Howe, Robby Krieger and a ton of others.

Billy: It is a great collection of artists who mostly come from the progressive rock era of music. I was obviously a big fan of that music. It led me to eventually become a member of Yes. I understand that kind of music and it just made sense to me to have those kinds of players and singers doing this project.

Jeb: Did you story board this and make a wish list?

Billy: I built the whole thing myself so I had the continuity working correctly. Eventually, I started replacing the parts that I had to over-dub. I build the wall first and then I took out one of my bricks and replaced it with a brick of a rock icon. There were moments leftover where I just left myself playing and singing on the album.

Jeb: How does the creative process work with this type of project? You are dealing with someone else’s vision.

Billy: For me, the idea was to stick to the script because it is such a great piece of work in terms of it’s writing and content. The challenge was to figure out how we could stick close enough to the script that we don’t change what we all know and love about The Wall but at the same time let the personalities of those we bring in shine. I think we found that fine line and everybody that was involved respected the work to begin with. They, also, didn’t want to alter the sound to the point of being unrecognizable. Artistically speaking, everyone was sharing the same concept I was, which was to stick to the script. The best way to describe this project is to look at a film like Mutiny on the Bounty. You have three versions of the same film. You have the Clark Gable version, the Marlon Brando version and the Mel Gibson version and they are all great. It is the writing of the story that makes the movie so great. For me, this was that kind of the situation.

Jeb: Did you even make all the odd background sounds and voices ahead of time?

Billy: I made all the music first. Once I had all the music in the can I sequenced the record so I had the album running in its proper sequence. After all of that I went back in and dialed the sound effects in on top of everything else.

Jeb: Was there any contact from anyone from the original The Wall release?

Billy: Other than Jim Ladd, no. I did get a message that Roger Waters heard it and liked it. I thought that was pretty cool.

Jeb: That would be very cool to hear. I mean, you would not want to hear that he hated it!

Billy: No, I am a huge fan of the record. That would definitely not be a good thing.

Jeb: Why is The Wall so important to you?


Billy: It really was the soundtrack to my childhood. It really meant so much to me and I really related heavily to it. Those songs have stuck with me and been a part of everything that I have done. It might be masked but it is still in there. It was an important record for me. When it was released I was about 15 years old. I was dealing with some intense things concerning my family at that time so it was a nice outlet for me to listen to that record.

Jeb: The Wall is one of my favorite albums as well but it did send me to rehab a couple of times. You really don’t realize just how unique Roger Waters is until you do a project like this.

Billy: [laughter] Pink Floyd were the pioneers of taking sound effects and putting them into the story of the music.

Jeb: Waters portrays his angry and depressed emotions very up-front, vocally. You sang a lot of these parts. How difficult was it to put yourself in the state of mind to do it any justice?

Billy: I did do a lot of the darker stuff. Part of why I ended up doing it was because there were no singers around who sang in that style. It worked for me because I was such a huge fan of the record growing up that I used to sing those songs in the studio waiting to record. I would be sitting at the piano singing, "Don’t Leave Me Now" and be totally emulating Roger. I sort of adopted the character and tried to keep it in character the best I could. I think it is important to the feeling of the song to deliver it that way, otherwise it is just not the same piece of music.

Jeb: When did you start seeking out other talent?

Billy: When I had The Wall completed by myself, essentially. I wanted to be able to look at the entire thing by myself and know that I was happy with the fact that its continuity was together. I didn’t want to farm out an entire song to somebody and get it back with the EQ’s or tones not matching. It was very important to me to be able to line the whole framework out – that took me about a month. After that, I just started farming stuff out.

Jeb: Did Cleopatra help get the other artists? Of course, you have a few contacts in the music world yourself.

Billy: Cleopatra helped me get to some people but a lot of them are friends of mine I have met over the years. Some are close friends and some are acquaintances. There were some people who I had never met before. I had never met Ian Anderson before. I just sent him an email and told him what I was doing and that I would love to have him involved. I got a reply. I actually got great responses from cold calls that are leading to great new relationships.

Jeb: Ian is one of my heroes. He is on the song "The Thin Ice." Are you and he both doing lead vocals on that song?

Billy: No, that is Ian in octaves. I sang the background vocals with him but other than that it is all him. Ian blew me away in terms of how much he got into it. It really made me happy and filled me full of energy. When I got that back and I put it all together, I sat back and listened to it about fifteen times. I just sat there in awe of how good it was. I am a Pink Floyd fan and I knew that if I was getting off on this then Pink Floyd fans are going to get off on this. I knew it was just to cool.

Jeb: Alan White sounds amazing on the drums. The sounds you got for "In the Flesh" are one of the best drum sounds I have ever heard. Was it difficult to achieve?

Billy: That is just the kind of drum sound I go for. It is really simple. I don’t do a lot of bells and whistles on my recordings. I try to get the pure tones into my Digital Performer, which is the format I used to record this album. It really was just a straight ahead drum miking technique. There is nothing really groundbreaking going on. It is hard to lose when the source musician is great and you can get good tones. That makes it hard not to sound good. I like to hear stuff that I think has teeth. I like it when something that is supposed to jump out at you and sound aggressive has real teeth. I like it to have sharp teeth that are coming after you.

Jeb: Were there any artists you contacted who refused to take part in the album?

Billy: Steve Hackett was the only guy who wasn’t available to do it. I don’t know if he was on tour or there was a scheduling conflict or if it was just not his cup of tea. Who knows? He was the only guy who said no. Everything else just sort of magically took shape. Once the vibe got started then this guy talked to that guy and then it all became legit and things fell into place.

Jeb: Once guy on there is not a prog rocker. Tommy Shaw is from Styx. He does not seem to fit in but once you hear him sing, "One of My Turns" your jaw drops. Styx fans already worship Tommy but now I think more people will sit up and take note of his talent level.

Billy: He did a great job. He came in to sing "Vera" and he had so much fun that he asked me if I had anything else. I told him I was going to sing "One of My Turns" because it was really out there. I knew there were not many singers who would want to get beat to a pulp trying to sing in that high of a range. I asked Tommy if he wanted to take a shot at it and he said he would. He sang the hell out of it and really gave a real and raw performance. When he was done he asked me what I thought and I told him we were finished. Tommy really enjoyed doing it. He called Jim Ladd after that and told him about the session. That perked Jim’s interest and he called me and said, "I understand that you are remaking my favorite record." I said, "I guess I am." He made me a little bit nervous but I invited him over to hear a couple of songs. To make a long story short, he came over and was floored. I told him that I would love him to do the narration on "Outside of the Wall." He said, "I would love to do it but I need to get Roger’s blessing because we are friends." I totally respected that and thought Jim was being very honorable. I sent Roger some rough mixes so he could get the flavor of what is going on. Jim called me up and said, "I just spoke to Roger and he thought it was really, really good." I said, "Does this mean you can be on it?" Jim said yes and he went on to record his parts. We have become really good friends as a result of that and we are going to be doing a project together called Headsets. He has a free form show by that name in LA and we are going to turn them into CDs.


Jeb: How did you get Elliot Easton?

Billy: Bob Kullick and I produced three songs for a previous Pink Floyd tribute album. Bob called Elliot. Even though he isn’t proggy, he is a great guitar player and he did a great job. At that time I was not thinking of the concept that I ended up with, as it was early on. Once I came up with the prog rock concept I sort of tightened up the gate.

Jeb: John Wetton was amazing on "Hey You."

Billy: I am a huge UK fan. Wetton is just great. UK with Wetton was the bomb so to have his voice on here was really special.

Jeb: Was this like being a kid in a candy store?

Billy: I kept telling my friends that I got to be involved with all my favorite prog heroes. Growing up, these were all the musicians who made me want to make the kind of music that I make.

Jeb: We have not even mentioned Glenn Hughes, Keith Emerson, Adrian Belew – the list goes on and on and on.

Billy: I know. If I had not been in Yes and been around that loop a few times then it may have been a bit more shocking but I really knew a lot of these people. I had seen Keith Emerson many times on the road and we had been to dinner a few times. It really became a natural thing with a lot of these guys. I am proud of the fact that I could gather the players from the arena of music that I wanted to. For that I kind of pinch myself, that I was able to pull it off.

Jeb: Okay, Billy I have praised this work over and over and I am sincere in my words. But, as a Floyd nut myself, there are a few moments that I don’t understand why you did what you did. "The Thin Ice" is a case where it worked 100%. But "Nobody’s Home" with Rick Wakeman just rubs me the wrong way.

Billy: That is Rick and that is what he plays like and sounds like. That song, originally, has a drearier feel to it but this is Rick’s interpretation of it. It still has that lilting emotion to it but it is just a bit busier. I am okay with it. When I got it back I didn’t think that he totally missed the plot. I understood that it was his interpretation.

Jeb: So you did allow them to have some freedom of expression.

Billy: I sent them the track and told them to include the iconic themes that are really apparent and to pay respect to those parts. There are moments that you have to hear or something is really wrong. Other than the iconic moments, I allowed them to weave around.

Jeb: Did you have to call anyone back up and ask them to redo their part?

Billy: These guys have made enough records that they know what they are doing. So, I never had to ask them what they were thinking.

Jeb: Ronnie Montrose should not have changed the solo to "Another Brick in the Wall Part Two." To me, that is an iconic moment and he should not have strayed from it.

Billy: He has his own style and it is what he felt. That is one of the songs from the previous record that I did with Bob Kullick. I was not completely in control at that point – let’s put it that way.

Jeb: What is the significance of the completed project?

Billy: I hope that Pink Floyd fans respect that album the way that I do. It is not meant to offend but rather to explore another way to view this great song writing and expression of music. I am hoping that everyone hears it the way I did, which is trying to stay as close to the original as possible without it sounding like an imitation of it.

Jeb: To my knowledge this is the first tribute to an entire album – at least on this monumental level. Is there a desire to do it again?

Billy: I am actually starting Dark Side of the Moon. I am a working musician/producer and the label got really excited after hearing The Wall. They asked me what I thought about Dark Side and I have to tell you that I really enjoy making these kinds of records. I get to explore great music that we all know and love and I also get to work with great musicians who are a blast to hang out with and work with. I am always learning from these guys that I am working with so I get a little bonus from it. I am able to adopt a little bit of everyone’s style after they leave.

Jeb: So, these projects will go on.

Billy: There is chat about a tour. It would be a smaller version of what you are listening to on the album. Maybe on one leg of the tour we would have Keith Emerson and Steve Howe and then on the next leg we would have Gary Green from Gentle Giant and Steve Porcaro. We would revolve the icons around but still play The Wall. Each leg of the tour would be different so that if you saw it once you might want to come see it again. We are talking about it now and the vibe is good. I don’t want to go too far down that road but it would be a great piece of music to play live. I loved playing Yes music for as long as I did and I would love to play this stuff live. It would be very cool.

Jeb: According to Billy Sherwood, what is the one Pink Floyd album you can’t live without?

Billy: The Wall is extremely important but there is just something about Animals. It just does it for me. I put that record on and it sounds as interesting and fresh to me as the day that I bought it. I love all of their records. I even like the records with Syd Barret. I like the stuff without Roger – I like it all. I like David Gilmour’s first solo album and I like Roger’s solo albums as well.


Jeb: For our younger readers out there, what Pink Floyd album should they avoid?

Billy: That is tough. Honestly, I don’t think there is a record they should avoid. They are all so good – even the early stuff with Syd is cool. It is like punk way before punk was even thought of. There is not a Floyd album that I would tell someone that they do not want to hear because it is not that good.

Jeb: I might have a newbie put off buying Ummagumma until they had digested some of the classic works.

Billy: You don’t want to spook the horses. Kids these days are very experimental so that is the album that might do it for them.

Jeb: Last one: Throwing Floyd albums out, what other albums would you like to pay tribute to in the same manner as you did The Wall?

Billy: There are so many albums I can imagine doing the same spin on. Genesis’ The Lamb Lies Down on Broadway is one of my favorite records of all time. If that was really aggressively done then it could turn out really great. I think the concept albums are the ones you could really sink your teeth into. Maybe Tommy by The Who or even some of King Crimson’s stuff. You just never know but I would be interested in any of those.

http://www.classicrockrevisited.com/Interviews05/billysherwood.htm

Who Is Who In Rock

or

BACK AGAINST THE WALL ALL-STAR LINE-UP

http://billysherwood.com/wall/thewall.html

Who Is Who In Rock

or

BACK AGAINST THE WALL ALL-STAR LINE-UP

http://billysherwood.com/wall/thewall.html

Вот скрин-шот.

На самой стр. клик по тому или иному музыканту выдаёт его осн. послужной список.

>Who Is Who In Rock

>or

>BACK AGAINST THE WALL ALL-STAR LINE-UP

>http://billysherwood.com/wall/thewall.html

>Вот скрин-шот.

>На самой стр. клик по тому или иному музыканту

>выдаёт его осн. послужной список.


Упс!

Вот эта

Happy 30th birthday, "Wish You Were Here"!

30 лет назад на прилавках музыкальных магазинов Великобритании появился альбом в непрозрачной черной полиэтиленовой упаковке с круглой наклейкой, на который были нарисованы две железные руки. Конечно же, речь идет о печальном и прекрасном “Wish You Were Here”. Всю важность события подчеркивает тот факт, что официальный календарь Pink Floyd на 2005 год целиком и полностью посвящен этому альбому. Как подлинный шедевр он рождался в муках. Группа была измотана серией концертов и была ошарашена успехом “Dark Side Of The Moon”. Роджер Уотерс говорит о процессе записи: «Никто из нас не смотрел друг другу в глаза. Все было очень механически.» И в шутку говорит, что альбом следовало назвать «Wish We Were There». Ему вторит Ник Мэйсон: «Это была тяжелая запись. Мы все становились старше. У нас были дети. Между нами происходила гораздо большая драма. Но как альбом, я думаю, он действительно получился хорошим.»

Считается, что альбом посвящен Сиду Барретту, который мистически появился в студии во время записи пластинки. Но некоторые уверены, что “Wish You Were Here” выражает сожаление музыкантов об ушедшей молодости. Ведь каждый из нас может сказать про себя: “Remember when you were young you shone like the sun”.

Обложка альбома - настоящий шедевр Сторма Торгерсона (Strom Thorgerson). Фотография, сделанная на студии Warner Brothers, давно уже стала знаменитой. А вот имена ее героев малоизвестны. Напомним, что слева стоит Дэнни Роджерс (Danny Rogers), а справа - Ронни Ронделл младший (Ronnie Rondell Jr). Причем на американском издании пластинки Ронни горит гораздо ярче.

Как это обычно бывает у Pink Floyd, с датой выхода альбома произошла путаница. Энди Маббетт (Andy Mabbett) и Вернон Фитч (Vernon Fitch) пишут, что альбом вышел 15-го сентября. Но самый авторитетный биограф группы Ник Мэйсон в своей книге указывает другую дату: 5-е сентября 1975 года. Возможно, Ник имеет в виду дату выхода промо-дисков для ди-джеев и радиостанций. Это предположение подтверждается тем, что одна из первых рецензий на альбом в журнале Sounds датирована 6-м сентября. Вот что писали в британском издании 30 лет назад: «Этот альбом на световые годы лучше, чем “Dark Side Of The Moon”. Здесь нет грандиозной помпезности “Луны”, ни ее напыщенной мощи. На альбоме мы имеем дело уже не с песнями, а с обстановкой, созданием настроения через особый характер звучания.»

Спустя 30 лет альбом все так же прекрасен и печален, и его любят все так же сильно. А скоро появится возможность услышать его в формате Super Audio CD.

По материалам: Mojo – The Whole Crazy Trip


http://www.livejournal.com/community/pink_floyd_ru/116239.html?mode=reply

.

Одна из сессий записи Альбома!