Category Archives: News

Richard Wright & Dave Harris : Zee : Identity Album 2018 Re-Release UPDATE

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Dave Harris has just released an update on his social media regarding the release of the Zee – Identity project which was scheduled for a release in Decemer 2017 but was pushed back for various reasons, it appears now we know the answers why.

“ Hi ZEE Friends and followers. Happy 2018. Here we go again!
I must apologize for the time it has taken to get the album released. There has been a lot of work involved along the way and now we have reached the point of legal wrangling. As you might know I have taken meetings with Gala and Jamie who now control ‘Richard Wright music’ and they are very happy regarding the digitization of the original album and the new track, which has been completed from a demo idea Rick and I had at the time.

At present the lawyers of ‘Pink Floyd music’ are also working on an agreement as they are the company who own the rights to ‘Identity’.
This is after a meeting at the beginning of the New Year. That is something I cannot push at this time…….. Obviously PFM is a very large company, but I am told there should be no problems.

So, that is where we are at! I will keep you posted as we go along. Please bear with me and I feel positive of a release or pre release date soon. I thank you for your patience, for me it has been very frustrating too, but I am sure the end result will be well worth the wait.
With love,Dave “

Reinventing Pink Floyd: From Syd Barrett To The Dark Side Of The Moon Book Review By AFG Correspondent Julie Skaggs

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Reinventing Pink Floyd: From Syd Barrett to The Dark Side of the Moon

by Bill Kopp

(Rowman & Littlefield 2018, 200 pgs.)

For Pink Floyd fans, the 2016 release of The Early Years 1965-1972 boxset was a way in which to finally, near-comprehensively, possess officially-sanctioned completitist status for roughly one-third of the band’s storied history, including an era (which I refer to as “Transitional Floyd”) which is alternately derided and cherished by fans and band members alike.  It also granted an opportunity for cultural critics to closely examine the historical movement of a band looking to evolve in all ways: artistically, musically, financially.  Music journalist Bill Kopp is one of the first to do so with his book Reinventing Pink Floyd, which traces the trajectory of the band’s history through a primarily musical analysis of the years 1966 through 1973, from their professional debut with the early singles and the album The Piper at the Gates of Dawn to the worldwide popularity and iconic status as granted by the release and success of the 1973 album The Dark Side of the Moon.

What occurred between these points has been previously chronicled by other journalists and archivists, but more from a perspective of personal and cultural history, and less so in terms of musical analysis and artistic development.  The only other book extant which focuses on this particular period of the band’s evolution is Barry Miles’ The Early Years, published in 2006.

As I’ve noted, Kopp’s chronicle is focused squarely on the music – as he states in his introduction (cleverly-titled “Why (Another Book About) Pink Floyd?”), his thesis is directly presented to the reader, who may or may not consider themselves thoroughly familiar with the band’s history.  “The goal of…[the book]…is to explore that little-known period, discovering clues to the band’s eventual direction by examining what Pink Floyd did in those years.”

Pink Floyd could be considered to have an organic evolution as an artistic entity, initially gaining notice as a live act (although one which not everyone believed they understood) and then as a group with an eccentric charismatic leader directing their early output then withdrawing from public life and potential ascendancy almost as quickly as he had been awarded acclaim. 

In the years to follow the band would gain a new guitarist and work collaboratively to experiment with style, structure, mood and the expressive concerns which would come to inform what is considered the greatest output of their oeuvre. As Kopp states: “The Dark Side of the Moon didn’t create itself out of nothing,” and the albums, side projects and performances all contain indicators of what was to finally coalesce in the grand statement of DSotM.

Those five years between Syd Barrett’s departure and the release of Dark Side is full of activity and interesting experiments in an era which was much more indulgent of such creative wandering.  Besides the albums there are sections dealing with other notable projects, such as “The Man and The Journey” and “Embryo,” which were each performed live but never officially released on record.  The involvement of the band (save Nick Mason) on Syd Barrett’s two solo albums The Madcap Laughs and Barrett is also detailed and analyzed.

Kopp’s book leads the reader through each year of the chosen span, each section covers a single year (although 1970 is broken up into two sections, while the years 1971-1973 are combined into two sections) chronicling the major artistic developments, assessing each project, and also commenting upon all the band’s performances on BBC Radio, championed as they were by such national tastemakers as John Peel.  In each section all of the music is examined from stylistic and thematic perspectives in terms of how it developed and was utilized, as well as a critical examination of its’ inherent potential or lack thereof.

Kopp’s style is thoroughly professional – well-written and with a polished flow – weaving together chronology and critical commentary, supporting quotes from historical sources, and the perspective of those involved to create an informative and interesting document of the era, which should allow long-time fans to perhaps reassess their own opinions of the period, and illustrating for newer fans that there is inherent value to those formative experiments – even those which are considered rather outre and indulgent.

The book contains insightful comments from associates of the band – such as Peter Jenner, Ron Geesin, Jerry Shirley (who also provides an forward to the book) and Willie Wilson, as well as contemporaries such as guitarists Steve Howe (whose ‘60s-era band Tomorrow shared a booking agent with Pink Floyd) and Davy O’List, and also musician Robyn Hitchcock who as most fans know is considered an devotee of and expert on the work of Syd Barrett.  Kopp also speaks with several musicians who are engaged in the cottage industry of Pink Floyd tribute bands and broadcaster Craig Bailey whose syndicated radio show Floydian Slip has been nourishing the faithful for over 20 years.

As fans make their way through all of the minutiae on offer courtesy of The Early Years boxset, one could consider Kopp’s book an essential accompanying commentary featuring details which illustrate that whatever the outcome of the various paths and methodology which Pink Floyd followed to attain their creative zenith and commercial success, their interstitial labors proved the zeitgeist moment via The Dark Side of the Moon was no fluke – their artistry was meant to find its’ way into our shared cultural consciousness, continuing to resonate for generations to come.

Reinventing Pink Floyd will be published in hardcover on February 15th.

AFG has managed to secure an exclusive Interview with author Bill Kopp to be conducted by Julie which shall be published online very shortly.

Our extreme gratitude go out to Julie Skaggs for all her hard work and contributions.

Nick Mason : China Exchange Interview

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An Evening with Nick Mason

Back in October last year, Nick Mason was interviewed by Clive Anderson for China Exchange in London. A video recording was made of the entire event, which is now available to view online above.

Nick Mason started his Prudential Talk by speaking about his life before becoming a musician – he said that training to be an architect helped form the band. He initially completed his degree in architecture but “fell in with a bad lot” to form Pink Floyd with a few names from his course. Being a student then helped in terms of funding and jokingly said that, they “were sort of a government funded initiative”.

Nick said that Ginger Baker has had an “enormous influence” on him becoming a drummer. In his early teens, he was in a band and a member had already brought a guitar, so that left him with “reduced opportunities”. Forming a group usually comes first before learning how to play instruments. For young Nick, music lessons were non-existent so “everyone were self-taught and learned during the job”.

When discussing the craft of being a band, Nick said the most important thing is confidence. Pink Floyd were fortunate to have “confidence in the overall shape of the band rather than just the individual” and the friction of working together is “one of the reasons why some of the good work gets done”.

Nick attributed Pink Floyd’s success to the group’s ability to entice their fans by creating spectacular visual effects during their concerts. The idea of utilising light became a big part of their performance especially when they became a professional group as they had “found a niche”.

Nick shared his passion for motorcars. He revealed he has a collection of around 40 cars, mainly older cars that have certainly rocked up in value. Growing up in a family who loved cars, particularly racing cars – he admitted to a retirement soon after a recent accident while racing and believe that “that was the marker to slow down.”

Roger Waters & Nick Mason Launch – Their Mortal Remains Exhibition Rome : Open Now !!

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Pink Floyd : Their Mortal Remains Exhibition at MACRO – Museo d’Arte Contemporanea Roma Is Now Open !!!

The Pink Floyd Exhibition: Their Mortal Remains is an immersive, multi-sensory and theatrical journey through Pink Floyd’s extraordinary world.

A story of sound, design and performance, the exhibition chronicles the music, iconic visuals and staging of the band, from the underground psychedelic scene in 1960s London to the present day, illustrating their groundbreaking use of special effects, sonic experimentation, powerful imagery and social commentary.

The exhibition marks the first collaboration in decades of Pink Floyd’s remaining members and is promoted by Michael Cohl and Concert Productions International B.V.

MACRO is located less than 1km from The Piper Club, which played host to Pink Floyd’s first shows in Italy in April 1968. The exhibition celebrates Pink Floyd’s place in history as the world’s cultural landscape changed from the 1960s.

The band occupied a distinctive experimental space and were the foremost exponents of a psychedelic movement that changed the understanding of music forever, becoming one of the most important groups in contemporary music.

Tickets are on sale today via Vivaticket.it, all Vivaticket outlet locations and by phone on +39.041.2719035.

(Pictures Below From Press Release Conference, Construction & Exclusive Launch Preview – Click On Images To View Fullsize)

 

 

 

 

Roger Waters : To Feature As Guest On New “Lucius” Album

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TRACKLISTING

1. Woman
2. Right Down the Line (G. Rafferty)
3. Tempest
4. Something About You
5. Neighbors
6. Eventually (K. Parker)
7. Until We Get There
8. Million Dollar Secret (featuring Nels Cline)
9. Feels Like a Curse
10. Goodnight, Irene (featuring Roger Waters)

NUDES is available worldwide on March 2nd 2018 !!

Preorders are available on the Official Lucius Online Store | Itunes | Spotify Premium

For those unfamiliar with Lucius, The band is is a four-piece indie pop band from Brooklyn, New York which features Jess Wolfe & Holly Laessig who are featured as backing vocalists on Roger Waters 2017 Album Is This The Life We Really Want? and subsequently the supporting Us & Them Tour.

Now the tables have turned and Roger is repaying there loyalty and passion with his current work by appearing on there upcoming album.

Official Release Statement

“Amidst nearly every performance over the past few years, we’ve had the opportunity to strip away everything – be it at the center of the crowd, on stage around one microphone, or in tiny, unexpected rooms around the world – all in an effort to share and create an intimate, heartfelt connection with our audience. It is these moments that have inspired our newest recording project, NUDES. Recorded over two days at New York’s legendary Electric Lady Studios, NUDES is a collection of acoustic songs: new, from our back catalog – reimagined, and covers we’ve always wanted to record. It is a record paying homage to what has been… and a hint at what’s to come.”

Guy Pratt : The London Guitar Show 4th March 2018

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Taking Part In The 2018 London Bass Guitar Show is none other than Guy Pratt.

Guy is one of the UK’s best-known bass players. A hugely prolific session bassist over the last three decades, Guy has recorded and toured with artists of the calibre of Pink Floyd, Madonna, Roxy Music, Michael Jackson, Iggy Pop, Tom Jones and many more. He is also a standup comedian, actor and published author.

The London Bass Guitar Show is a two-day event dedicated to all things bass. Held at the prestigious Olympia London, you will find three stages and loads of bass gear to try out. On the main stage, watch your idols perform up close and personal, giving you the chance to see them play front and centre. Past artists include Robert Trujillo, Suzi Quatro, Peter Hook, Stuart Hamm, Mark King, Billy Sheehan, Jeff Berlin and many more.

There is limited seating in the main stage auditorium, so guarantee yourself entry by buying a ticket for £5 to see your favourite artist on the day, or try your luck for a free ticket – an allocation is given out an hour before each performance.

Check out the Education Zone whatever your level – none of us are perfect, right? Some of the best bass tutors out there will be on hand to give advice and tips, and answer those burning bass playing questions. The show is packed with the best brands out there from Cort to Schack, so you can try out and buy the latest and best bass gear at special show prices.

The London Bass Guitar Show takes place on 3rd & 4th March 2018 at Olympia London, Hammersmith Rd, London, W14 8UX between 10am – 6pm *Please note the Gear Hall closes at 5pm on Sunday.

Guy’s performance at the 2 day event takes place on the 04th March 2018

Pink Floyd : Their Mortal Remains Rome : Behind The Scenes

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(Click Images To View Photos In Full Size)
Their Mortal Remains Opens at MACRO – Museo d’Arte Contemporanea Roma This Friday !! The 19th January 2018 !!

The Pink Floyd Exhibition: Their Mortal Remains is an immersive, multi-sensory and theatrical journey through Pink Floyd’s extraordinary world.

A story of sound, design and performance, the exhibition chronicles the music, iconic visuals and staging of the band, from the underground psychedelic scene in 1960s London to the present day, illustrating their groundbreaking use of special effects, sonic experimentation, powerful imagery and social commentary.

The exhibition marks the first collaboration in decades of Pink Floyd’s remaining members and is promoted by Michael Cohl and Concert Productions International B.V.

MACRO is located less than 1km from The Piper Club, which played host to Pink Floyd’s first shows in Italy in April 1968. The exhibition celebrates Pink Floyd’s place in history as the world’s cultural landscape changed from the 1960s.

The band occupied a distinctive experimental space and were the foremost exponents of a psychedelic movement that changed the understanding of music forever, becoming one of the most important groups in contemporary music.

Tickets are on sale today via Vivaticket.it, all Vivaticket outlet locations and by phone on +39.041.2719035.

Nick Mason Stands Up For UK Music Venue Closures

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Pink Floyd drummer Nick Mason pledged his support for the Agent of Change bill outside parliament on the 10th January, describing the rate of closures to UK music venues as ‘terrifying’.

Mason was joined by artists including Sandie Shaw, Nadine Shah, Feargal Sharkey, Billy Bragg and Everything Everything’s Jeremy Pritchard in support of Labour MP John Spellar, who was set to propose the bill in the House of Commons.

Citing the role that The Cavern Club played in the early career of The Beatles, Mason told M: ‘All bands and young artists need the opportunity to perform.

‘The rate of closure of small clubs is terrifying, 35 percent have closed in the last decade.’

Speaking about how the Agent of Change principle could help to protect the future of venues, Mason added: ‘If nothing else, it will concentrate people’s minds on the fact that there is something that can be done to support these venues, rather than just letting them disappear.’

Also in support was Feargal Sharkey, who told M: ‘Like pretty much every other musician on the planet, my career began in the back room of a very small pub in front of about three people, one stormy night in November.

‘The British music industry is built upon little venues and they need protecting, they need our support. It’s time we all stood up and made that very clear to the world around us.’

Elsewhere, Everything Everything’s Jeremy Pritchard spoke about the social value that small venues bring to the music industry, as well as the cultural and economic benefits.

‘Young people are disenfranchised enough in this country. These venues are somewhere people can go and meet like-minded people and exchange ideas, form bands, put on gigs of their own,’ he said.

J. Willgoose, Esq. of Public Service Broadcasting said that he hoped the Agent of Change, if applied, would re-introduce, ‘a bit of pragmatism and a more sensible approach to planning development.’

He said: ‘It’s absolutely ludicrous that something like the Boileroom in Guildford can be on the verge of being closed down – having been an established business for so long – just because somebody moves in two doors down and starts complaining.

‘It’s a farcical situation, so hopefully if we can get this legislation in place, we can protect venues better and we can protect the UK’s cultural scene.’

The campaign to get the Agent of Change principle enshrined in law to protect venues is spearheaded by UK Music and has the backing of at least 75 MPs and peers, plus organisations including the Music Venue Trust and the Musicians’ Union.

The proposed legislation would require developers to take into account the impact of their project on pre-existing businesses such as music venues, before going ahead with their plans.

New developers could also be responsible for funding extra soundproofing for music venues to avoid noise complaints from new neighbours.

Other supporters of the campaign include Sir Paul McCartney, Brian Eno, Chrissie Hynde, Ray Davies and Craig David.

To pledge your support, you can write to your local MP and ask them to get behind Speller’s Agent of Change bill.