![]() What are your views on this? Leave a comment.Īn announcement from me. Watch Roger’s video announcement in full below. He lost the case and lost the rights to the Pink Floyd name. Roger Waters left Pink Floyd in 1985 and took the other members to court to attempt to stop them using the name. He then can’t resist a little dig at Polly Samson’s ‘Theatre For Dreamers’ project, which has been heavily promoted via Pink Floyd channels. Polly is, of course, David Gilmour’s wife. In some final comments – which are unlikely to help thaw relations with Gilmour – Roger says “David thinks he owns it… he thinks he is Pink Floyd… and that I’m irrelevant”. Therefore, he thinks it would be “fair and correct” that each member has “equal access” to the Pink Floyd audience to share and promote their projects. ![]() The crux of Waters’ point is that the official Facebook page has nearly 30m followers and in his mind that is due to the body of work that the five contributors created (Syd Barrett, David Gilmour, Roger Waters, Richard Wright and Nick Mason). In the video, Waters claims he is “banned” from the official Pink Floyd website by David Gilmour, and reveals that “about a year ago” he arranged a meeting with all surviving members of Pink Floyd at a hotel airport in London to help overcome what he calls an “impasse” but says that this “bore no fruit”. ![]() ![]() Watching "Mother" reminds me just how irreplaceable the joy of being in a band is. Social distancing is a necessary evil in Covid world. Waters starts the five-and-a-half minute video announcement by saying that he “rarely speaks to Pink Floyd fans ” and adds “but that is what I am doing now.” He then thanks fans for the response to his recent version of ‘Mother’ – which he posted on Sunday – but goes on to question why the video isn’t available on the official Pink Floyd website. In a message via his twitter account, Roger Waters has today complained being denied access to Pink Floyd fans via the band’s website and social media accounts. Waters claimed that while Gilmour thinks the liner notes are factually sound, he doesn’t want them included in the rerelease “because he wanted Pink Floyd to remain enigmatic.” Waters has since agreed to have the Animals remix released without the liner notes, the final draft of which he shared on his website.“David Gilmour thinks I’m irrelevant” claims Waters Waters also revealed that the release of a remixed version of Pink Floyd’s 1977 album Animals has been delayed for roughly two years due to a dispute over the album’s liner notes. “So, I hope that whets your, and David and Polly ’s appetites.” “The full story of what really happened is in my memoir,” Waters concluded. Why? Because unless he was hiding under the fucking chair, DG wasn’t there when I made that SFX tape loop for 'Money' in the studio I shared with my wife Judy at the bottom of our garden at 187, New North Road, Islington, next door to the North Pole Pub where I used to play darts! “He has no fucking idea what he’s talking about. “The reason everything DG is saying here to David Fricke sounds like gobbledygook is because it is fucking gobbledygook,” he wrote. Waters was apparently not impressed with Gilmour’s recollection. We’d stick that in and instead it would go ‘chung, dum, whoosh’ and sound great so we’d use that.” Sometimes we’d put one in and it’d be backwards, because the diagonal cut on the tape, if you turn it around is exactly the same. If it doesn’t, you take one section out and put a different one in. You just chop the tapes together, and if it sounds good, you use it. On the subject of "Money," Gilmour apparently told Fricke: ”You’re trying to get the impact from the cash register, the ‘snap, crack, crsssh.’ You’d mark that one and then measure how long you wanted that beat to go, and that’s the piece you’d use. He quoted an excerpt from a 1982 interview that Gilmour did with Rolling Stone’s David Fricke, which he cited as evidence that “even back then DG was sowing the seeds of the false narrative.” Waters paid special attention to the famous intro to the band's 1973 hit “Money,” which features tape-looped sounds of a ringing cash register and jingling coins in an unusual time signature.
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