Pink Floyd

[Guest Phobia]

Pink Floyd (Пинк Флойд) — британская прогрессив/психоделик-рок-группа из Кембриджа. Знаменита своими философскими текстами, акустическими экспериментами, инновациями в оформлении альбомов и грандиозными шоу. Является одной из наиболее успешных групп в рок-музыке - около 70 млн проданных альбомов в США (седьмое место) , в мире же было продано около 200 млн. Была основана в 1964 году, последний альбом («The Division Bell») и тур состоялись в 1994 году. Последнее выступление — июль 2005 год

http://www.youtube.com/watch?v=tkJNyQfAprY

«Пинк Флойд» известны, помимо прочего, своими невероятными представлениями, сочетающими визуальные эффекты и музыку, создавая шоу, в котором сами музыканты практически уходят на второй план. В ранний период творчества «Пинк Флойд» были практически первой группой, использующей специальную аппаратуру для светового шоу в своих представлениях — слайды и видеоклипы, проецируемые на большой круглый экран. Позже использовались лазеры, пиротехника, надувные шары и фигуры (наиболее заметной среди них является огромная надувная свинья, впервые появившаяся в альбоме «Animals»)

Студийные альбомы

* The Piper at the Gates of Dawn (5 августа 1967 Барретт/Райт/Уотерс/Мэйсон)

* A Saucerful of Secrets (29 июня 1968; Барретт/Гилмор/Райт/Уотерс/Мэйсон)

* More (27 июля 1969; Гилмор/Райт/Уотерс/Мэйсон)

* Ummagumma (25 октября 1969, студийные и концертные записи; Гилмор/Райт/Уотерс/Мэйсон)

* Atom Heart Mother (10 октября 1970; Гилмор/Райт/Уотерс/Мэйсон)

* Meddle (30 октября 1971; Гилмор/Райт/Уотерс/Мэйсон)

* Obscured by Clouds (3 июня 1972; Гилмор/Райт/Уотерс/Мэйсон)

* The Dark Side of the Moon (24 марта 1973; Гилмор/Райт/Уотерс/Мэйсон)

* Wish You Were Here (15 сентября 1975; Гилмор/Райт/Уотерс/Мэйсон)

* Animals (23 января 1977; Уотерс/Гилмор/Мэйсон/Райт)

* The Wall (30 ноября 1979, 2 LP; Уотерс/Гилмор/Мэйсон/Райт)

* The Final Cut (21 марта 1983; Уотерс/Мэйсон/Гилмор)

* A Momentary Lapse of Reason (7 сентября 1987; Гилмор/Мэйсон/Райт)

* The Division Bell (LP; EMI; 30 марта 1994; Гилмор/Райт/Мэйсон)

Вот уже лет 7 слушаю Pink Floyd, и не перестаю удивляться!На некоторое время как-то его забросила. Сейчас снова включила и снова масса удивления и различного рода эмоций и восхищения!

Мне порой кажется, что более гениальной группы я ещё не слышала.

Edited June 19, 2009 by Phobia

[Goooodmaaan]

Маладец какой. а какая внимательность. глаз алмаз. очко дупло...

[Guest Phobia]

Если честно, хотелось поделиться этим восторгом, и мне интересно, многие ли испытываю то,что и я? И ещё интересна техника их записей...Куча эффектов и т д. Как они такое записывали? Глупый может быть вопрос, но реально интересно, может кто чё-нидь знает?

[Myp Myp]

хахахахха ну ща говно рекой потечет !!! !

[Myp Myp]

глупая киса как4ая здесь про музыку не пишут :вако:

[Guest Phobia]

хахахахха ну ща говно рекой потечет !!! !

С чего бы?

[Борис Вишневский]

Пинк Флойд ебашит, топегстартер - УГ. Wish You Were Here - шедевральный альбом.

[Myp Myp]

я знаю !!

[YURQ]

ууууй блиа щас придёт песдетс

[Guest Phobia]

Пинк Флойд ебашит, топегстартер - УГ.

Wish You Were Here - шедевральный альбом.

[Попасный папуас]

Топегстартеру советую создать топы про Элвиса и The Beatles

[YURQ]

Топегстартеру советую создать топы про Элвиса и The Beatles

есчо хотелось бы почитать про Моррисона и Кобейна

[НЕТ ДРОВ]

Если честно, хотелось поделиться этим восторгом, и мне интересно, многие ли испытываю то,что и я? И ещё интересна техника их записей...Куча эффектов и т д. Как они такое записывали? Глупый может быть вопрос, но реально интересно, может кто чё-нидь знает?

читай:

Recording

Alan Parsons mixing Dark Side of the Moon in quadraphonic sound

The album was recorded at Abbey Road Studios, in two sessions, between May 1972 and January 1973. Staff engineer Alan Parsons had previously worked with the band on Atom Heart Mother.[26] The recording sessions made use of the most advanced studio techniques of the time. The studio was capable of sixteen track mixes which offered a greater degree of flexibility, although the band would often use so many tracks that to make more space available second generation copies were made.[27]

Beginning on 1 June, the first track to be recorded was "Us and Them", followed six days later by "Money". Waters had created effects loops from recordings of various money-related objects, including coins thrown into a food-mixing bowl taken from his wife's pottery studio. These loops were later re-recorded to take advantage of the band's decision to record a quadraphonic mix of the album (Parsons has since expressed dissatisfaction with the result of this mix, attributed to a lack of time and the paucity of available multi-track tape recorders).[26] "Time" and "The Great Gig in the Sky" were the next pieces to be recorded, followed by a two-month break during which the band spent time with their families and prepared for an upcoming tour of the US.[28]

Returning from the US in January 1973, they recorded "Brain Damage", "Eclipse", "Any Colour You Like" and "On the Run", simultaneously fine-tuning the work they had already done in the previous sessions. A foursome of female vocalists was assembled to sing on "Brain Damage", "Eclipse" and "Time", and saxophonist Dick Parry was booked to play on "Us and Them" and "Money". Once these sessions were complete, the band began a tour of Europe.[29]

Recording sessions were regularly interrupted; Roger Waters, a supporter of Arsenal F.C., would regularly break from recording to see his team compete. The band would often stop work to watch Monty Python's Flying Circus on the television, leaving Parsons to work on any material recorded up to that point.[27] David Gilmour has since disputed this claim; in an interview in 2003 he said: "We would sometimes watch them but when we were on a roll, we would get on."[30][31]

[edit]

Instrumentation

The EMS VCS 3 (Putney) Synthesizer

Along with the conventional rock band instrumentation, Pink Floyd added prominent synthesizers to their sound. For example, the band experimented with an EMS VCS 3 on "Brain Damage" and "Any Colour You Like", and a Synthi A on "Time" and "On the Run". The band also devised and recorded some unconventional noises: an assistant engineer running around the studio's echo chamber (during "On the Run"),[32] and a specially-treated bass drum made to sound like a human heartbeat (during "Speak to Me", "On the Run", "Time", and "Eclipse"). The heartbeat is most audible as the intro and the outro to the album, but it can also be heard underneath most of the album—the song "Time" and "On the Run" has the low thudding underneath the rest.[2] The myriad clocks ticking then chiming simultaneously (during "Time") were recorded as a quadraphonic test by Parsons, not specifically for the album.[33] "The Great Gig in the Sky"

"The Great Gig in the Sky" features Richard Wright's piano composition accompanied by improvised vocal work from Clare Torry

"Money"

"Money" makes use of tape loops and a 7/4 time signature

The album is also notable for the metronomic sound effects during "Speak to Me" and the opening of "Money". For "Money", this was achieved by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register and a clicking adding machine to create a 7-beat effects loop (later adapted to four tracks in order to create a "walk around the room" effect in quadraphonic presentations of the album).[34] At times the sonic experimentation on the album required the engineers and all band members to operate the mixing console's faders simultaneously to mix down the intricately assembled multitrack recordings of several of the songs (particularly "On the Run").[2]

[edit]

Voices

Perhaps one of the less noticeable aspects of the album is the ability of Richard Wright and David Gilmour to perfectly harmonise with each other, such as on "Us and Them" and "Time". In The Making of The Dark Side of the Moon, a 2003 DVD documentary on the making of the album, Roger Waters attributes this to the fact that, along with their talent, their voices both sound extremely similar. To take advantage of this, Parsons perfected the use of other studio techniques such as the doubletracking of vocals and guitars, and other vocal multitracking which allowed Gilmour to harmonise with himself. He also made prominent use of flanging and phase shifting effects on vocals and instruments, odd trickery with reverb[2] and the panning of sounds between channels (most notable in the quadraphonic mix of "On the Run", when the sound of the Hammond B3 organ played through a Leslie speaker rapidly swirls around the listener).[35]

The album's credits include, "Vocals on "The Great Gig in the Sky" by Clare Torry". Torry was a cover singer who had worked on a variety of pop material, and after hearing her perform, Parsons invited her to the studio to sing on "The Great Gig in the Sky". In a few short takes on a Sunday night she improvised a wordless melody to accompany Richard Wright's emotive piano solo. For her contribution she was paid £30, equivalent to about £290 as of 2009,[36] and given a credit for the track's vocals.[37] In 2004, Torry sued EMI and Pink Floyd for song writing royalties, claiming that she co-wrote "The Great Gig in the Sky" with keyboardist Richard Wright. The High Court concluded that Torry was correct but the terms of the lawsuit were not disclosed.[38][39] All post-2005 pressings including "The Great Gig in the Sky" credit both Wright and Torry for the song.[40]

Snippets of voices both between and over the music are a feature of the album. During recording sessions, Roger Waters recruited both the staff and the temporary occupants of the studio to answer a series of questions printed on flashcards. The interviewees were placed in front of a microphone in a darkened studio room and shown such questions as "What's your favourite colour?" and "What's your favourite food?", before moving on to themes more central to the album (such as madness, violence, and death). Questions were answered in the order they were presented, provoking some surprising responses. For example, the question "When was the last time you were violent?" was immediately followed by "Were you in the right?"[2] The recording of road manager Roger "The Hat" Manifold was the only one obtained through a conventional sit-down interview as initially the band could not find him, and by then the flashcards had been mislaid. His responses included "give 'em a quick, short, sharp shock ..." and "live for today, gone tomorrow, that's me ..." Another roadie, Chris Adamson, was on tour with Pink Floyd at the time and recorded his explicit diatribe that opens the album—"I've been mad for fucking years—absolutely years". Pink Floyd's road manager Peter Watts (father of actress Naomi Watts)[41] contributed the repeated laughter during "Brain Damage" and "Speak to Me". The monologue about "geezers" who were "cruisin' for a bruisin'" was delivered by Peter's second wife, Puddie (short for Patricia) Watts.[42] The responses "And I am not frightened of dying, any time will do, I don't mind. Why should I be frightened of dying, there's no reason for it, you've got to go some time" (during "The Great Gig in the Sky") and closing words "there is no dark side of the Moon really ... as a matter of fact it's all dark" (over the "Eclipse" heartbeats) came from the studios' Irish doorman, Gerry O'Driscoll. Paul and Linda McCartney were also interviewed, but their answers were not included on the album.[43] McCartney's band mate Henry McCullough contributed the famous line "I don't know, I was really drunk at the time" (during the segue between "Money" and "Us and Them").[44]

[YURQ]

почти пришёл :чипсы:

[НЕТ СИЛ]

Моя любимая группа детства\юношества... Все альбомы были скуплены а шайн он йо крэйзи даймонд до дыр заслушан....до сих пор бережно храню дырявую футболочку

[Myp Myp]

ща ща еще секундачку )) БУДЕМ СРАТЬ !!

[Guest Phobia]

Моя любимая группа детства\юношества... Все альбомы были скуплены а шайн он йо крэйзи даймонд до дыр заслушан....до сих пор бережно храню дырявую футболочку

Когда мне было 12,отец решил вдруг поинтересоваться, что я слушаю. Был в такооом шоке, аж до гнева! Он выбросил все (тогда ещё кассеты), которые я слушала, тем самым доведя меня до истерики. И притащил коробок 10 бабин и палстинок и начал просвещать. Начал он с Пинков... И следил за тем,что бы я не отклонялась от курса ... Так что вот теперь я бережно храню эти коробки)

Edited June 18, 2009 by Phobia

[Попасный папуас]

еслиб меня с деццтва так заставляли любить рок, то я б наверно от шансона тащился и репира Сявы.

[НЕТ СИЛ]

Когда мне было 12,отец решил вдруг поинтересоваться, что я слушаю. Был в такооом шоке, аж до гнева! Он выбросил все (тогда ещё кассеты), которые я слушала, тем самым доведя меня до истерики. И притащил коробок 10 бабин и палстинок и начал просвещать. Начал он с Пинков... И следил за тем,что бы я не отклонялась от курса ... Так что вот теперь я бережно храню эти коробки)

хыхы... у нас не один и тотже отец случайно?

[Goooodmaaan]

Фобия сестра бога!!!