Samuele

I agree with you that this album is great, but to say that "Gilmour has always been in charge except for The Wall" is a bit of an exaggeration, huh?

But didn’t school start again? What are you still doing out and about?

Did you slack off? Come on, that's not done. That one about Gilmour was gorgeous, do you know any others that are just as funny? What? It wasn't a joke? Oh my... "how can you question the validity of this album?" Like this: "it sucks." See? That was easy.

One of the greatest bullshit I have ever read, a jumble of nonsense... forgive them Verdi, Mozart, Beethoven... forgive them...

Regarding Gilmour? It's the only thing he got right in the end; in fact, it was Gilmour&friends, Mason had already been "caged" by the bipolar obese guy, so... they say Waters started laughing when he heard the tracks... lol

Well, I don’t find it ugly at all. High Hopes remains one of my favorites from the later Pink Floyd, and Gilmour could even start shitting upside down and still do better stuff than many others. Then the fact that Waters (while he was around) was the main mind is more or less indisputable. As for the fact that Waters laughed while listening to this album, that might be true, but still... he hasn’t shone much more as a solo artist than David and Co. here, you know?

In my opinion, you haven't even listened to it and you’re judging... It's a great album; it’s just that criticizing great artists makes you feel like you’re music connoisseurs, which is not true at all since you’re criticizing this album.

Madcat, in the sense that he has always been the frontman of the group and has consistently written noteworthy parts, Wish You Were Here (album) is an example.

And I was left thinking that none of us understands a damn thing!

The frontman? In Pink Floyd? Well, yes, about the message "It's a great album, it's just that criticizing great artists" can be dismantled in two lines, but it's not even worth it.

But he certainly wrote beautiful parts; however, to say that the frontman (which, by the way, you need to clarify what you mean by frontman) and the master has always been him is a stretch (two are in fact, Barrett and Waters). And let me tell you, I think that the "Pink Floyd sound" is primarily embodied by his guitar (and then the keyboards of Wright and certain bass lines of Waters, think of "One of These Days" and "Sheep"). Then, as much as I like "The Division Bell," we must also admit that "A Momentary Lapse of Reason" was rather ugly and that he was never a talent at songwriting, honestly (he managed to include, for instance, the same piece practically three times in 7 years and 2 albums: "Yet Another Movie," "Sorrow," and "Keep Talking"). And I repeat, without taking anything away from this great album for me with beautiful atmospheres, beautiful solos, and, unlike the previous one, great tracks.

For me, it's a very beautiful album anyway, even if I stop at 4 balls (which is still a great score).

An album for me with four full stars, tailor-made for David's omnipresent guitar; the long High Hopes, with its reminder of the youth and friendship of the two leaders, a beautiful piece and emotionally perfect.

"I don't think you even listened and you're judging." Samuele, I was already born back in the days of Division Bell, what about you?

Well, Gilmour wasn't exactly the master even on The Final Cut, to cite the most striking case. This, on the other hand, is a rather mannered album, but still mannered with exquisite levels, and I prefer it much more than the two previous ones.

Zanna, no I wasn't born, but that doesn't mean I can't have my own opinion on it, what do you think?

The master in the sense that, for better or worse, he was the protagonist of the scene.

The Pink Floyd are born and die with Waters. Gilmour is an excellent guitarist, but in the realm of musical creation, he remains a supporting actor, albeit a prestigious one. The album is of rather low quality compared to Waters' solo creations, "Amused to Death" above all.

Oh my God, before Waters there was also a certain Barrett who greatly contributed to the creation of the early albums up to "A Saucerful Of Secrets." To downplay and say that the Pink are only Waters is an exaggeration in my opinion.

Waters has been the author of music and lyrics for a large part of the Pink Floyd discography, and this is not an opinion but a fact written in the credits of the albums (provided you can read the credits and don’t download low-quality mp3s). If someone is annoying as a person, well, that’s just too bad...

Zanna, I agree. Waters is Waters.

I saw them in Modena with this tour in '94. Damn, how time flies............

but haven't we all kind of had enough of talking about Gilmour, who was, however, better than Waters, even though Barrett wrote the best stuff? But after all, Waters is really getting on my nerves despite Gilmour being a bit of a loser. But thinking about it, who cares? :-D

I can't put the bël in Madcat's comment, all of this is not right. In protest, I will break De Uoll's CD!

Well, come on, "it doesn't compare to Dark Side and Wish" seems a bit exaggerated to me. For me, it's absolutely superior at least to Dark Side; with Wish You Were Here, although they're musically at opposite ends, I think we're on the same level (well, The Wall is my favorite Pink Floyd album, so I admit I'm biased :D).

maybe a bit too slow, as if they were Cathedral... I'm on madcat's side, preferring this album in the entire discography of the English band.

Well (I say to the two up there)...

Sure, it's cool to say that the album THE WALL is inferior to this and that and blablabla, but in truth, this record is beautiful and masterful. It's great that the greats can reach everyone, something that King Crimson couldn't achieve, to name just one band. But everyone knows Pink Floyd.

It's a personal judgment; for me, it's inferior because, unlike the two mentioned above, this album did not manage to engage and move me completely.

Of course, both The Dark Side and Wish You Were Here are slow, you might say, but Wish and The Dark Side have something special that, at least for me, is absent in The Wall.

The King Crimson still have the style of the early Floyd, who I don't think became famous among the general public for albums like Ummagumma—a great album, to be sure, but one that few really understand. So they adopted a simpler style, yet still well-crafted. Their instrumental sections drive me crazy, especially in Wish You Were Here; that's something that, at least for me, is present in a lesser degree in The Wall. Instead, the Kings have always stayed on the same tracks.

OH MY GOD THE COVER! THE COVER IS BACK!

In my opinion, it's not true that the cited pieces don't hold up against the suite; I often prefer the second half of the album, which, by the way, contains the most beautiful piece written by Wright (Summer 68).

The style is different; the first and last pieces are experimental, while the others are lighter. I personally prefer the first part, but everyone is free to express their opinion.

I don't know, but at this point this record is getting on my nerves as much as a house. I get that the first times can be special, though.

I speak technically, I have excluded likes and dislikes, I have only described the technical aspects.

I’ve always found it beautiful, but not exceptional compared to, for example, the previous album and the next one; still, this one is really good, no doubt about it.

one of the albums of the trilogy that for me represents the peak of their production, in order of preference the wall, wish u were here, animals, the tracks do not merely analyze, they provide a ruthless yet realistic critique of society, and it was only '77..

Infinitely connected to me, this album, one of the soundtracks of my life. During my first year of high school, I listened to it while translating Latin texts in winter. What memories.

Album among my favorites by Pink Floyd; those songs so long, with Gilmour's guitar that is imposing in its sound for long stretches. I am also very attached to the album because my cousin Les Claypool and his Frog Brigade performed it live in its entirety. And on the website, there is an excellent review regarding this, mine... modestly!!!

I still consider Animals superior to The Wall. A very personal opinion, though. And, in my view, it’s the last true album from PF. An underrated vinyl by many. Perhaps it’s the first album where Roger really takes charge, occasionally involving Gilmour. About a decade ago, however, Waters declared, praising himself, that Amused to Death is superior to WYWH, Animals, The Wall, and The Final Cut. Well...

for me it is also superior to The Wall; it has something special that is completely absent in The Wall.

A cold and ruthless examination of society.

"these are the real Pink" ouch, this phrase reminds me of 8955935478 comments of a definition.. :D

Apparently this "true floydite" is a contagious disease...

HARAGIONESONOQUESTIIVERIPINK! Well, anyway, it's really an immense album.

No, no, no one can copy my phrase "Veri Pink"... which, as the three esteemed colleagues who commented before me recalled, has sparked an endless war :D...

Sorry

Don't despair too much, "the real Pink" is an easy statement to make. You can fall into it. If I wanted to add something, I would say that there are the Pink of Barrett (Saucerful included for me), the transitional ones of Ummagumma, and the more commercial ones (from Atom Heart Mother onwards) which may have been the least important. I appreciate all three phases (of those I have), with the exception of The Wall. I’ve listened to Obscured by Clouds very little but I liked it. The only one I’ve avoided is More, I'm missing it, actually if I find it I’ll buy it (strange to buy a Pink Floyd record again after all this time). Tell me, is it cool?

Stunning as well, fundamental album...

even "the more commercial ones (from Atom Heart Mother onwards) that may have been the least important" not bad, it makes a nice pair with "the real Pink" :D

a sound reminiscent of King Crimson, who, by the way, started two years later. Let’s maybe do the opposite, okay.

Yes, it's better to say the opposite then.

Mad, stop being a pain in the ass, Dark Side, Wish, and Animals are commercial and therefore not important, everyone knows that!

eheh you're right zanna :-D what an idiot I am XD

You can bet your ass that they are commercial, compared to the early works obviously.

Above all, Atom Heart Mother!

Yes, also Atom Heart Mother. These are albums I have listened to to the point of nausea, and I know what I'm talking about.

I sense a bit of chiccotanism in these words...

Probably, I answered like that because yesterday I was called fake once again.

We are all fake in this life, especially Gilmour and Waters who are not the real Pink Floyd at all!

I didn't say that.

I know, you didn't say that, in fact, that was what I said. You said that you know what you're talking about.

Hahaha, then I have nothing to counter.

But then can someone tell me what the hell "commerciali" means?!

madcat, don’t play innocent. You know very well.

fantastic, I could never have crafted a better response.

This means being dishonest. Everything sells (some things more, others less), obviously, but beyond the intentions that can be very personal, painful, or alternative, a record can still be commercial (or marketable?) anyway (see Wall), or plenty of other stuff, like Nirvana. A song can last 20 minutes, it doesn't mean anything; maybe it will never play on the radio...

Aside from the fact that the dishonest person you’re talking about can get shot with someone else, and aside from the fact that I don’t understand what the hell that has to do with anything, and aside from the fact that I didn’t quite grasp what the hell you’re saying, in any case, "commercial" for me means an absolute nothing, and I’m just fed up.

Come on Mad, be more open-minded. Commercial means that it is related to commerce and this makes the album less important, it's obvious. For example, Saucerful, which was not related to commerce as it was recorded just to be played for Mason's cousin's girlfriend, was obviously and distinctly more important. And we know well that importance in music, like in all other forms of art, counts a lot; this is well known! Let’s not forget that those who don’t understand these simple concepts are dishonest (and legally accountable), so we can safely conclude that you are wrong and that you must compensate Fuggi for moral damages in the amount of 10,000 sesterces. The hearing is adjourned!

Ah Ah! big fang :-D

Hahaha! You guys are right, I was just kidding you. :-D

Come on, where are these 10,000 sesterces?

I de-evolved them to debaser, of course :D