Pip's Invitation
Footballguy
This is harmless and cromulent. I wouldn't want a whole album of this kind of stuff, but the melody remains interesting throughout and some cool sounds emanate from Gilmour's guitar.
Fantasy Football - Footballguys Forums
Welcome to Our Forums. Once you've registered and logged in, you're primed to talk football, among other topics, with the sharpest and most experienced fantasy players on the internet.
FBG'S TOP 100 PINK FLOYD SONGS - #49 - The Dogs Of War from A Momentary Lapse Of Reason (1987) (6 Viewers)
- Thread starter Anarchy99
- Start date
This is harmless and cromulent. I wouldn't want a whole album of this kind of stuff, but the melody remains interesting throughout and some cool sounds emanate from Gilmour's guitar.
Pip's Invitation
Footballguy
This is a nice gesture, and it's good to have evidence that Gilmour can still craft compelling solos.
Pip's Invitation
Footballguy
It's all right -- really a transitional piece more than anything. But it's not irritating, unlike many of the lesser songs on The Wall.
FatMax
Member
I will not apologize.
Manster
Footballguy
Love the Nile song! I wish Floyd would've rocked a lil harder like this, a bit more.....maybe instead of the furry creatures, and sizzling 🥓
zamboni
Footballguy
We haven’t even gotten to Seamus yet. 🦮
Pip's Invitation
Footballguy
I'd say we won't, but someone voted for the small furry animals, so...
Manster
Footballguy
I'll take Seamus over the ones I mentioned all day long
Anarchy99
Footballguy
#68-T - Your Possible Pasts from The Final Cut (1983)
Appeared On: 2 ballots (out of 33 . . . 6.1%)
Total Points: 16 points (out of 825 possible points . . . 1.9%)
Top Rankers: @Anarchy99 @FatMax
Highest Ranking: 17
Live Performances: None
Covers: Anathema, Kelp Monkey, Pete Rottgen, Kill Everyone
A high five to my voting buddy Portly Max on this one. The song, like many others on The Final Cut, is a rewritten version of a song rejected for The Wall, originally to be used in Spare Bricks. Despite not appearing on The Wall album, the lyrics of the chorus did appear in the film, as the main character, Pink, read them in the bathroom stall scene (along with 5:11 A.M.- The Moment of Clarity) in-between the songs Waiting For The Worms and Stop.
Its ambiguous chorus serves both the story line of broken relationships, alienation, and walls as well as providing the staging for a smooth transition into the World War II motifs of Vera and Bring The Boys Back Home. Throughout its verses, Your Possible Pasts alternates between a wartime memory and the narrator’s more personal plea of the acknowledgement of a growing emotional distance between people — either himself and his partner or on a broader scale between himself and everyone else in his life. On the surface, this could be the estrangement between Pink and his wife and the disintegration of their relationship playing out in the first half of the album. It’s a memory of what he thinks were better times and he questions if things would have been different, might they not have drifted apart. In a larger sense, the song can also apply to Pink’s estrangement behind his wall now that it’s complete and the emotional distance from everyone in his life that he has created for himself.
The Wall co-producer and engineer James Guthrie later recalled, "Roger had written enough material for three albums, so we began by arranging and recording the most complete songs. That way we could start to get our heads around the shape of the story.” Despite not being released as a commercial single, the song did receive significant radio play, resulting in the song hitting #8 on the Billboard Mainstream Rock chart in America.
The first verse describes poppies entwining with "cattle trucks lying in wait for the next time", an allusion to the railway vehicles used in the Holocaust. The origins of the song actually go back to Syd Barrett-era Pink Floyd. The first two lines of the chorus and the foundation of their melody come the song Incarceration of a Flower Child, written by Waters in 1968. Neither Pink Floyd nor Waters recorded the song; however, it was recorded by Marianne Faithfull in 1999.
AllMusic critic Stewart Mason had this to say: "Only a handful of proper songs drift in between the linking tracks and underdeveloped themes, with the dramatic "Your Possible Pasts" among the best. Although the song's primary themes are retreads of the ideas behind The Wall ('By the cold and religious we were taken in hand/Shown how to feel good and told to feel bad' is nothing more than the Sunday school version of 'We don't need no education/We don't need no thought control'), Roger Waters uses a very soft/extremely loud dynamic effectively, in a manner quite similar to what Peter Gabriel was doing on his solo albums around the same time, and largely avoids the irritatingly schoolmarm-ish tone that his snickering vocals fall into on much of the rest of the album. However, the song has the same fundamental problem as the rest of The Final Cut: a lack of truly interesting melodic development—which was clearly what David Gilmour, who has no songwriting credits here or on the rest of the album, brought to the group.
Chris Ott of PitchFork Media described it as, "A titanic blend of stadium rock, psychedelia and pathos, concluding with devastating imagery", but concluded that "[t]he raucous chorus, 'Do you remember me?/ How we used to be/ Do you think we should be closer?', drifts over a somewhat predictable arrangement, certainly nothing new in the face of their defining mope-rock standard Comfortably Numb."
Vulture Ranking (out of 165 songs): 101
Ultimate Classic Rock Ranking (out of 167 songs): 45
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 78
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (101 out of 165 songs): I can’t tell if this is about schoolyards or concentration camps. Most people will remember only the overdone echoes on the word closer. Gilmour plays some wrenching guitar, but it doesn’t seem like his heart is in it.
UCR Ranking (45 out of 167 songs): Of all of the mopey Wall leftovers that appear on The Final Cut, Your Possible Pasts is the best for a number of reasons. The loud-quiet-loud tactic is not only dynamic, but jarring – even when you know when the snare shots and organ swells are coming. The chorus (“Do you remember me? How we used to be? Do you think we should be closer?”) aches with humanity. And the wartime imagery – railway cars and good-time girls covered in the brown grime of tragedy – is 10 times more interesting than Waters yapping at Margaret Thatcher.
Why settle for Wall retreads when we still have songs left from the actual album? The evidence is incontrovertible.
Appeared On: 2 ballots (out of 33 . . . 6.1%)
Total Points: 16 points (out of 825 possible points . . . 1.9%)
Top Rankers: @Anarchy99 @FatMax
Highest Ranking: 17
Live Performances: None
Covers: Anathema, Kelp Monkey, Pete Rottgen, Kill Everyone
A high five to my voting buddy Portly Max on this one. The song, like many others on The Final Cut, is a rewritten version of a song rejected for The Wall, originally to be used in Spare Bricks. Despite not appearing on The Wall album, the lyrics of the chorus did appear in the film, as the main character, Pink, read them in the bathroom stall scene (along with 5:11 A.M.- The Moment of Clarity) in-between the songs Waiting For The Worms and Stop.
Its ambiguous chorus serves both the story line of broken relationships, alienation, and walls as well as providing the staging for a smooth transition into the World War II motifs of Vera and Bring The Boys Back Home. Throughout its verses, Your Possible Pasts alternates between a wartime memory and the narrator’s more personal plea of the acknowledgement of a growing emotional distance between people — either himself and his partner or on a broader scale between himself and everyone else in his life. On the surface, this could be the estrangement between Pink and his wife and the disintegration of their relationship playing out in the first half of the album. It’s a memory of what he thinks were better times and he questions if things would have been different, might they not have drifted apart. In a larger sense, the song can also apply to Pink’s estrangement behind his wall now that it’s complete and the emotional distance from everyone in his life that he has created for himself.
The Wall co-producer and engineer James Guthrie later recalled, "Roger had written enough material for three albums, so we began by arranging and recording the most complete songs. That way we could start to get our heads around the shape of the story.” Despite not being released as a commercial single, the song did receive significant radio play, resulting in the song hitting #8 on the Billboard Mainstream Rock chart in America.
The first verse describes poppies entwining with "cattle trucks lying in wait for the next time", an allusion to the railway vehicles used in the Holocaust. The origins of the song actually go back to Syd Barrett-era Pink Floyd. The first two lines of the chorus and the foundation of their melody come the song Incarceration of a Flower Child, written by Waters in 1968. Neither Pink Floyd nor Waters recorded the song; however, it was recorded by Marianne Faithfull in 1999.
AllMusic critic Stewart Mason had this to say: "Only a handful of proper songs drift in between the linking tracks and underdeveloped themes, with the dramatic "Your Possible Pasts" among the best. Although the song's primary themes are retreads of the ideas behind The Wall ('By the cold and religious we were taken in hand/Shown how to feel good and told to feel bad' is nothing more than the Sunday school version of 'We don't need no education/We don't need no thought control'), Roger Waters uses a very soft/extremely loud dynamic effectively, in a manner quite similar to what Peter Gabriel was doing on his solo albums around the same time, and largely avoids the irritatingly schoolmarm-ish tone that his snickering vocals fall into on much of the rest of the album. However, the song has the same fundamental problem as the rest of The Final Cut: a lack of truly interesting melodic development—which was clearly what David Gilmour, who has no songwriting credits here or on the rest of the album, brought to the group.
Chris Ott of PitchFork Media described it as, "A titanic blend of stadium rock, psychedelia and pathos, concluding with devastating imagery", but concluded that "[t]he raucous chorus, 'Do you remember me?/ How we used to be/ Do you think we should be closer?', drifts over a somewhat predictable arrangement, certainly nothing new in the face of their defining mope-rock standard Comfortably Numb."
Vulture Ranking (out of 165 songs): 101
Ultimate Classic Rock Ranking (out of 167 songs): 45
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 78
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (101 out of 165 songs): I can’t tell if this is about schoolyards or concentration camps. Most people will remember only the overdone echoes on the word closer. Gilmour plays some wrenching guitar, but it doesn’t seem like his heart is in it.
UCR Ranking (45 out of 167 songs): Of all of the mopey Wall leftovers that appear on The Final Cut, Your Possible Pasts is the best for a number of reasons. The loud-quiet-loud tactic is not only dynamic, but jarring – even when you know when the snare shots and organ swells are coming. The chorus (“Do you remember me? How we used to be? Do you think we should be closer?”) aches with humanity. And the wartime imagery – railway cars and good-time girls covered in the brown grime of tragedy – is 10 times more interesting than Waters yapping at Margaret Thatcher.
Why settle for Wall retreads when we still have songs left from the actual album? The evidence is incontrovertible.
Last edited:
Anarchy99
Footballguy
@Dr. Octopus takes a break from shooting the next Spider-Man movie to reveal his musical dating profile . . .
SWIPE RIGHT / I HOPE THEY LIKE SQUID INK PASTA
@Yo Mama (16 similar songs, 9 of the same Top 10)
@worrierking (16 + 8)
@Mt. Man (16 + 8)
3 tied with 15 songs
SWIPE LEFT / I AM DOCTOR OTTO GUNTHER OCTAVIUS TO YOU
@Anarchy99 (8 + 5)
@Mookie Gizzy (10 + 4)
@Grace Under Pressure (10 + 6)
2 tied with 11 songs
CHALK RANKINGS (Average songs per list)
Yo Mama - 16.16
Friend of PIK95 - 15.48
Yambag - 15.10
PIK95 - 14.90
Ghost Rider - 14.77
Galileo - 14.71
BroncoFreak_2K3 - 14.58
Dwayne Hoover - 14.29
FatMax - 14.16
Ghoti - 13.85
ericttspikes - 13.19
Dr. Octopus - 12.91
Pip's Invitation - 12.23
Mookie Gizzy - 11.94
SWIPE RIGHT / I HOPE THEY LIKE SQUID INK PASTA
@Yo Mama (16 similar songs, 9 of the same Top 10)
@worrierking (16 + 8)
@Mt. Man (16 + 8)
3 tied with 15 songs
SWIPE LEFT / I AM DOCTOR OTTO GUNTHER OCTAVIUS TO YOU
@Anarchy99 (8 + 5)
@Mookie Gizzy (10 + 4)
@Grace Under Pressure (10 + 6)
2 tied with 11 songs
CHALK RANKINGS (Average songs per list)
Yo Mama - 16.16
Friend of PIK95 - 15.48
Yambag - 15.10
PIK95 - 14.90
Ghost Rider - 14.77
Galileo - 14.71
BroncoFreak_2K3 - 14.58
Dwayne Hoover - 14.29
FatMax - 14.16
Ghoti - 13.85
ericttspikes - 13.19
Dr. Octopus - 12.91
Pip's Invitation - 12.23
Mookie Gizzy - 11.94
Last edited:
Anarchy99
Footballguy
Let's see what the survey says about @lardonastick . . . you appear to be right on this one.
SWIPE RIGHT / I'M BOOKING TIME SLOTS 6 WEEKS FROM NOW
@Yo Mama (21 similar songs, 9 of the same Top 10)
Friend of @PIK95 (20 + 10)
@Dwayne Hoover (19 + 10)
@New Binky the Doormat (19 + 10)
@DocHolliday (19 + 9)
@Desert_Power (19 + 9)
@Ghost Rider (19 + 8)
8 tied with 18 songs
SWIPE LEFT / I HAVE BUS LOADS OF HOT GROUPIES, SO . . .
@jabarony (8 + 4)
@Anarchy99 (12 + 9)
2 tied with 14 songs
CHALK RANKINGS (Average songs per list)
lardonastick - 16.81, Yo Mama - 16.16
Friend of PIK95 - 15.48, Yambag - 15.10
PIK95 - 14.90, Ghost Rider - 14.77, Galileo - 14.71, BroncoFreak_2K3 - 14.58, Dwayne Hoover - 14.29, FatMax - 14.16
Ghoti - 13.85, ericttspikes - 13.19
Dr. Octopus - 12.91, Pip's Invitation - 12.23
Mookie Gizzy - 11.94
Last edited:
Ghoti
Footballguy
Some good stuff here. Who would have thought Pink Floyd was the OG grunge band? I'm really enjoying hearing some things that I have admittedly glossed over.
Anarchy99
Footballguy
As we approach the third of the way done mark, we have still yet to see any songs from @Yambag, @Galileo, @Ghost Rider, @Dr. Octopus, @jabarony, @BassNBrew, @Yo Mama, @Todem, and @lardonastick. Four of them will enter the chat in the next 5 songs.
FatMax
Member
And here I thought you were going to make fun of me for picking this song, and you ranked it higher than me. Hi-five, brother.
Before I ever knew the history of the Final Cut, I always thought this song felt like a Wall song. Turns out it was for good reason.
Anarchy99
Footballguy
Your Possible Pasts was the only TFC song that I really connected with when I was younger. When the masses approached me about doing a PF countdown thread (ok . . . it was really just @BroncoFreak_2K3), I was a bit hesitant at first. Floyd has probably been the musical artist I have listened to the most in my lifetime, and I can attest that that isn't a good thing. PF is sort of my dark passenger (not like it is for Dexter, thank goodness). I got into Floyd when I was younger in a not-so-great part of my life, and the more I listened to them, the more isolated and depressed it made me. So initially I didn't necessarily want to relieve the Dark Ages all these years later to do a countdown.
And here I thought you were going to make fun of me for picking this song, and you ranked it higher than me. Hi-five, brother.
Before I ever knew the history of the Final Cut, I always thought this song felt like a Wall song. Turns out it was for good reason.
I started getting into Floyd after Animals but before The Wall . . . around when I was 13. Growing up, I was always a kid that didn't really fit in. I grew up poor in a rich town. By high school, I was in all honors or AP classes, my best sport was 10-pin bowling, and I played cello in the orchestra and a string quartet. I didn't drive (didn't have a license and my household didn't have a car), was part of the school theater club, and my favorite classes were shop classes. These were not traits of popular kids back then (or ever for that matter).
As I mentioned earlier, my parents got divorced and hated each other, and my siblings were all way older and already out of the house. While I knew a lot of people (lived in that town my whole life), I didn't have many close friends. Even though I was involved in a lot of activities, I was mostly a misfit and social outcast (who would have guessed)? I was very quiet, kept to myself, and very reserved back then (as opposed to now when I can't shut up). My parents were very concerned that I was emotionally scarred, had some weird anxiety or social disorder, or otherwise was "disturbed." They sent me to multiple counselors and therapists, and when the reports all came back, as it turned out . . . I was diagnosed as being a teenager.
I bought most of the Floyd catalog on vinyl and had several of their albums on 8-track (god, I'm old!). I vividly remember being in metal shop class listening to Imus in the Morning and they played the heck out of ABITW2 when it was released as a single (a week before the album came out). I also remember eagerly waiting for the album to come out and buying it in a record store in NYC in Grand Central Station. Add all of the above together and listening to The Wall 10,000 times straight through, and that didn't exactly help my persona any. I fully related to Pink in The Wall . . . which again clearly is not a plus.
When The Final Cut came out, I wasn't sure what to expect, but an album MORE depressing than The Wall certainly wasn't what I was hoping for. Your Possible Pasts was a haunting song when I first heard it, and it still is today. Flash forward to now . . . I went on to have wives and kids . . . who are long past their teenage years. I haven't interacted with the people I knew from my hometown and unkind folks from high school in 40 years. The song is more eerie now given all that transpired in that time and is somewhat surreal. (Great story involving what surreal means to Jack Nicholson.)
FatMax
Member
Great backstory, @Anarchy99
My connection to PF is a little different. A buddy of mine turned me on to Pink Floyd when I was in high school. We would drop acid and pop in a well-used VHS tape of The Wall, finding all the deeper meaning we could, real or imagined. While I never really related to Pink in the Wall, that same friend had a scary resemblance. He lived out One of my Turns dozens of times, and I’ve witnessed a few. Later, after high school, he became a roommate, which was an experience that is hard to describe. You just never knew what you were walking into when you got home. Could be a party, could be the aftermath of a suicide attempt. I spent a few years worried that one day would be THE day … but it never came. He got some help, both chemically and via counseling, and turned out to a fairly normal adult. He still has one of his turns occasionally, but they are way less destructive. He’s also, to this day, he’s the best friend I have, the one guy I know what will always be there when needed.
So my listening started with The Wall and I moved backwards from there. I kept going back until the sound didn’t really sound like the PF that I knew, which is why you don’t see much very early stuff on my list. Then I went forward to the Final Cut and the AMLOR. A few years later, Division Bell was released, and of course I devoured that as well.
My connection to PF is a little different. A buddy of mine turned me on to Pink Floyd when I was in high school. We would drop acid and pop in a well-used VHS tape of The Wall, finding all the deeper meaning we could, real or imagined. While I never really related to Pink in the Wall, that same friend had a scary resemblance. He lived out One of my Turns dozens of times, and I’ve witnessed a few. Later, after high school, he became a roommate, which was an experience that is hard to describe. You just never knew what you were walking into when you got home. Could be a party, could be the aftermath of a suicide attempt. I spent a few years worried that one day would be THE day … but it never came. He got some help, both chemically and via counseling, and turned out to a fairly normal adult. He still has one of his turns occasionally, but they are way less destructive. He’s also, to this day, he’s the best friend I have, the one guy I know what will always be there when needed.
So my listening started with The Wall and I moved backwards from there. I kept going back until the sound didn’t really sound like the PF that I knew, which is why you don’t see much very early stuff on my list. Then I went forward to the Final Cut and the AMLOR. A few years later, Division Bell was released, and of course I devoured that as well.
Bottomfeeder Sports
Footballguy
What makes the album so meaningful is that while most of us don't relate to Pink's particular experiences, we all at some level relate to Pink. At some point we all get caught up looking only inward and not outward. Trapped in a wall of our own making. Rather than being depressed by the reminder of this wall, I find it encouraging to know that there is a path out whether or not there is a doorway. The songs are therapy. Especially those fillers where you can just feel the pain being expressed. We can commiserate with Pink.
Anarchy99
Footballguy
#68-T - The Trial from The Wall (1979)
Appeared On: 3 ballots (out of 33 . . . 9.1%)
Total Points: 16 points (out of 825 possible points . . . 1.9%)
Top Rankers: @FatMax @BrutalPenguin @Rand al Thor
Highest Ranking: 16
Live Performances:
PF: 31 (London - 1981)
RW: 225 (RW The Wall Version, San Francisco)
Covers: Brit Floyd, Beelzebubs, Church Of The Cosmic Spell, Malcolm McDowell
Trial By Puppet as it was first called (Demo #2). The title was a last-second change in the final mixing of the album. The finale of the whole epic, rock theater on a grand scale. Realizing that he can't go on like this, Pink retreats totally within himself for a self-trial, the purpose of which is to exorcise his inner demons and determine his final fate.
Pink's decision is that he cannot survive behind his wall, and he must open up again, regardless of the risk. It is a sentence in that it is very difficult and frightening 'to be exposed before your peers,' but it is also a moment of liberation in that the constricting, corrupting confines of his wall have been destroyed, and he is finally free. This ending calls vividly to mind those words of Arthur Miller, "we are only what we always were, but naked now."
The trial scene, brought vividly to life by Gerald Scarfe's animations, takes place within Pink's mind. Scarfe's drawings are constantly changing and metamorphosizing: the wife becomes a scorpion and the judge, who begins as a worm, ends up bringing new meaning to the word '*******' — he is one, literally as well as figuratively. We also see the teacher as a marionette, held and controlled by his wife, perched high upon the wall.
And so Pink tears down his mental and emotional walls, according to his own self-sentence. In the final scene, the wall built specially for the film was destroyed by a powerful air cannon, created for a recent James Bond film. However, we do not see the physical form of Pink any more, and we are left to wonder what became of him in the end.
Roger Waters: "The judge is part of him just as much as all the other characters and things he remembers... they're all in his mind, they're all memories, anyway, at the end of it all, when his judgment on himself is to de-isolate himself, which in fact is a very good thing." This ending was devised in concert with Bob Ezrin. Roger explains his original ending: "Originally, the plan was just to build the wall and leave it. But that was too tough... too eff you."
The segment in the film version is a full-length animated sequence of vivid color and unusual visuals. Political cartoonist Gerald Scarfe directed the design for the segment. The film segment relies not only on visuals, but also on the themes, music, and lyrics of the original song. The three principle antagonists have pronounced cartoon forms and are known individually by their role. "The Schoolmaster" (remembered from "The Happiest Days Of Our Lives") is portrayed as a marionette and is controlled by his overbearing wife. "The Mother" is portrayed as overprotective, and "The Wife" is portrayed as a scorpion-like creature. The Judge is a fourth featured caricature used in the segment and is portrayed as a giant anus wearing a judge's wig. The Prosecutor is a caricature of the stereotypical 18th century attorney.
The song ends with the sound of a wall being demolished amidst chants of "Tear down the wall!", marking the destruction of Pink's metaphorical wall. The Trial was the first Pink Floyd composition since the Atom Heart Mother Suite which was credited as being co-written by someone outside the band.
In the Berlin performance, before The Wall crumbles, it briefly "becomes" the Berlin Wall, building up graffiti like the actual wall until it is pulled down. In that performance, the song featured appearances by the Rundfunk Orchestra & Choir featuring Tim Curry as The Prosecutor, Thomas Dolby as The SChoolmaster, Ute Lemper as The Wife, Marianne Faithfull as The Mother, and Alber Finney as The Judge.
Vulture Ranking (out of 165 songs): 69
Ultimate Classic Rock Ranking (out of 167 songs): 122
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): 36
Ranker Ranking (out of 132 songs): 40
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (69 out of 165 songs): Waters finally goes full-on Joel Grey — or is it Angela Lansbury? — in The Wall. At this point, after two discs of this stuff, you really want to put a sharp stick in your eye before listening to this Sondheim pastiche. That said, in the film, with the animation, and the collage of Pink’s terrifying memories — for impressionable teens at least — the result is something close to a spectacle.
UCR Ranking (122 out of 167 songs): There’s nothing (no, not even the disco beat) less Floyd-ian on The Wall than this showtune-y climax written by Waters and producer Bob Ezrin, better suited to Ezrin’s showbizzy pal Alice Cooper than Pink Floyd. While there’s hardly anything rock ’n’ roll about this operetta, Waters’ vocal performance is incredible, transitioning effortlessly between characters and accents as he depicts the madness in Pink’s head.
WMGK Ranking (36 out of 40 songs): Co-written by Waters with Michael Kamen, who conducted the orchestra on the track, it’s not just a “rock opera” - it sounds like an actual opera piece. The epic composition concludes Pink’s story in The Wall. At the trial, Waters plays five different roles: the prosecutor, the schoolmaster, Pink’s wife, Pink’s mother, and the judge (who was comically grotesque - if you’ve seen the film, you know what we mean).
Coming up, we remember a Richard Wright song from A Saucerful Of Secrets.
Appeared On: 3 ballots (out of 33 . . . 9.1%)
Total Points: 16 points (out of 825 possible points . . . 1.9%)
Top Rankers: @FatMax @BrutalPenguin @Rand al Thor
Highest Ranking: 16
Live Performances:
PF: 31 (London - 1981)
RW: 225 (RW The Wall Version, San Francisco)
Covers: Brit Floyd, Beelzebubs, Church Of The Cosmic Spell, Malcolm McDowell
Trial By Puppet as it was first called (Demo #2). The title was a last-second change in the final mixing of the album. The finale of the whole epic, rock theater on a grand scale. Realizing that he can't go on like this, Pink retreats totally within himself for a self-trial, the purpose of which is to exorcise his inner demons and determine his final fate.
Pink's decision is that he cannot survive behind his wall, and he must open up again, regardless of the risk. It is a sentence in that it is very difficult and frightening 'to be exposed before your peers,' but it is also a moment of liberation in that the constricting, corrupting confines of his wall have been destroyed, and he is finally free. This ending calls vividly to mind those words of Arthur Miller, "we are only what we always were, but naked now."
The trial scene, brought vividly to life by Gerald Scarfe's animations, takes place within Pink's mind. Scarfe's drawings are constantly changing and metamorphosizing: the wife becomes a scorpion and the judge, who begins as a worm, ends up bringing new meaning to the word '*******' — he is one, literally as well as figuratively. We also see the teacher as a marionette, held and controlled by his wife, perched high upon the wall.
And so Pink tears down his mental and emotional walls, according to his own self-sentence. In the final scene, the wall built specially for the film was destroyed by a powerful air cannon, created for a recent James Bond film. However, we do not see the physical form of Pink any more, and we are left to wonder what became of him in the end.
Roger Waters: "The judge is part of him just as much as all the other characters and things he remembers... they're all in his mind, they're all memories, anyway, at the end of it all, when his judgment on himself is to de-isolate himself, which in fact is a very good thing." This ending was devised in concert with Bob Ezrin. Roger explains his original ending: "Originally, the plan was just to build the wall and leave it. But that was too tough... too eff you."
The segment in the film version is a full-length animated sequence of vivid color and unusual visuals. Political cartoonist Gerald Scarfe directed the design for the segment. The film segment relies not only on visuals, but also on the themes, music, and lyrics of the original song. The three principle antagonists have pronounced cartoon forms and are known individually by their role. "The Schoolmaster" (remembered from "The Happiest Days Of Our Lives") is portrayed as a marionette and is controlled by his overbearing wife. "The Mother" is portrayed as overprotective, and "The Wife" is portrayed as a scorpion-like creature. The Judge is a fourth featured caricature used in the segment and is portrayed as a giant anus wearing a judge's wig. The Prosecutor is a caricature of the stereotypical 18th century attorney.
The song ends with the sound of a wall being demolished amidst chants of "Tear down the wall!", marking the destruction of Pink's metaphorical wall. The Trial was the first Pink Floyd composition since the Atom Heart Mother Suite which was credited as being co-written by someone outside the band.
In the Berlin performance, before The Wall crumbles, it briefly "becomes" the Berlin Wall, building up graffiti like the actual wall until it is pulled down. In that performance, the song featured appearances by the Rundfunk Orchestra & Choir featuring Tim Curry as The Prosecutor, Thomas Dolby as The SChoolmaster, Ute Lemper as The Wife, Marianne Faithfull as The Mother, and Alber Finney as The Judge.
Vulture Ranking (out of 165 songs): 69
Ultimate Classic Rock Ranking (out of 167 songs): 122
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): 36
Ranker Ranking (out of 132 songs): 40
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (69 out of 165 songs): Waters finally goes full-on Joel Grey — or is it Angela Lansbury? — in The Wall. At this point, after two discs of this stuff, you really want to put a sharp stick in your eye before listening to this Sondheim pastiche. That said, in the film, with the animation, and the collage of Pink’s terrifying memories — for impressionable teens at least — the result is something close to a spectacle.
UCR Ranking (122 out of 167 songs): There’s nothing (no, not even the disco beat) less Floyd-ian on The Wall than this showtune-y climax written by Waters and producer Bob Ezrin, better suited to Ezrin’s showbizzy pal Alice Cooper than Pink Floyd. While there’s hardly anything rock ’n’ roll about this operetta, Waters’ vocal performance is incredible, transitioning effortlessly between characters and accents as he depicts the madness in Pink’s head.
WMGK Ranking (36 out of 40 songs): Co-written by Waters with Michael Kamen, who conducted the orchestra on the track, it’s not just a “rock opera” - it sounds like an actual opera piece. The epic composition concludes Pink’s story in The Wall. At the trial, Waters plays five different roles: the prosecutor, the schoolmaster, Pink’s wife, Pink’s mother, and the judge (who was comically grotesque - if you’ve seen the film, you know what we mean).
Coming up, we remember a Richard Wright song from A Saucerful Of Secrets.
simey
Footballguy
"Crazy, cats in the windows, I am crazy." That is what a roommate in college sang one time while shrooming, and there were two cats in the windows at the time. It's important things like that in life that I remember.
Dan Lambskin
Footballguy
I’ll chime in with how i became a fan
I didn’t really get into them until my early teens. I generally remember being aware of them prior to that and I’m sure I heard some of the hits on the radio, but it wasn’t until I started dropping a lot of acid and watching The Wall with some friends (and also a lot of acquaintances I did drugs with). Had some other friends that were into them as well (who I also did a lot of drugs with, sometimes with the first group but not as often)
Anyway I got the CD at some point too and listed to it a lot. I don’t think I got Dark Side until like freshman year of college (maybe it was sooner) and then started downloading some of their other stuff
They’re probably one of the first bands where I really started to listen to the lyrics and find a lot of meaning in them
I’d probably still say they’re my favorite band, but I just find a lot of their stuff so damn depressing and it becomes a hard listen for me
Despite being such a fan, I will admit I have never fully dove into their catalog and I heavily favor the Waters era stuff
I didn’t really get into them until my early teens. I generally remember being aware of them prior to that and I’m sure I heard some of the hits on the radio, but it wasn’t until I started dropping a lot of acid and watching The Wall with some friends (and also a lot of acquaintances I did drugs with). Had some other friends that were into them as well (who I also did a lot of drugs with, sometimes with the first group but not as often)
Anyway I got the CD at some point too and listed to it a lot. I don’t think I got Dark Side until like freshman year of college (maybe it was sooner) and then started downloading some of their other stuff
They’re probably one of the first bands where I really started to listen to the lyrics and find a lot of meaning in them
I’d probably still say they’re my favorite band, but I just find a lot of their stuff so damn depressing and it becomes a hard listen for me
Despite being such a fan, I will admit I have never fully dove into their catalog and I heavily favor the Waters era stuff
FatMax
Member
I sense this is more common than I thought. Somehow, this is not at all surprising
shuke
Black Ice Skeptic
Only 2 ballots is surprising here.
Rand al Thor
Footballguy
Back in the day..... we had a thing called the "Midnight Movie Express" at the local AMC movie theaters. On Saturday nights for like 3 bucks, the drunk kids would go watch Rocky Horror Picture Show and throw rice or water at the screen while the stoned kids would go watch The Wall. I would say my Wall to Rocky Horror ratio was probably 3 to1. Man I miss the 80s.
Anarchy99
Footballguy
#66-T - Remember A Day from A Saucerful Of Secrets (1968)
Appeared On: 1 ballot (out of 33 . . . 3.0%)
Total Points: 17 points (out of 825 possible points . . . 2.1%)
Top Rankers: @jabarony
Highest Ranking: 9
Live Performances:
PF: 3 (TV Appearance - 1968)
DG: 1 (Jools Holland - 2008)
NM: 130 (Live At The Roundhouse)
Covers: Andromida, Senzafissa Dimoira, Roz Vitalis, Viewy Souls, Mike Ciresi, Jesus L-Vi, Crystal Jacqueline, National Treasure
We say welcome to @jabarony , who sees his first song on the countdown. He also becomes the first voter to have a Top 10 song make an appearance. The song was written and sung by Richard Wright and completed in two days in the studio . . . 6 months apart. Wright's vocals, piano, and organ parts were recorded first, and months later the drums, bass, and guitar were added. During the sessions for the song, drummer Nick Mason became agitated that he could not come up with the right drum part for the song. Producer Norman Smith knew what he wanted with the drums, so he played the part himself.
The song was an outtake from The Piper at the Gates of Dawn. The working title for the song may have been Sunshine. Syd played slide guitar on the song, which was virtually complete, but apparently needed to be touched up a little. Dave was thought to have provided some very minor (uncredited) overdubs. The tune was released in the U.S. as a single, with Let There Be More Light on the flip side (which was a consideration for Anarchy's obscure tracks . . . the video here is priceless and Dave gets in the zone).
Remember a Day reveals an interesting side to Rick. When he wrote it he was about to turn 22 — and yet it is a plaintive yearning for the days of childhood, when everything seemed so simple and there was enough time to 'Dream yourself away.' Perhaps the pressures of success forced the young members of the group to grow up sooner than they would have liked; it certainly put stress on them that no one in their early twenties should have to cope with. The line 'Why can't we stay that way?' is particularly touching, protesting against the necessity of changing from a free and happy child into a responsible (read: dull) adult. Alternate Version / Instrumental Version
Rolling Stone magazine was not a fan of Remember a Day, calling it "inoffensive, but features some rather miserable bottleneck guitar, second rate piano, and empty-sounding acoustic guitar work," while the drumming was "busy and ineffective."
Both Gilmour and Wright were booked to perform the song on the Later . . . With Jules Holland show in 2008 (talk about pulling a song out of the vault). Wright texted Gilmour a couple of weeks before the show that he wasn't well enough to make it and died the week after. Dave honored Wright by performing the song anyway, the first performance of Remember A Day since it was released in 1968 (linked in the live performance section).
Vulture Ranking (out of 165 songs): 71
Ultimate Classic Rock Ranking (out of 167 songs): 77
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 57
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (71 out of 165 songs): An early Wright song. You can hear the band trying to figure out a sound and approach on the second album. This is a fairly lame effort; you can practically feel Wright trying to put something together with the (limited) tools he’d been given. You get everything here: pretty piano, intoned lyrics, some mild psychedelic freak out. It’s all pretty silly. Mason didn’t play drums.
UCR Ranking (77 out of 167 songs): The song’s great, ramshackle drum pattern wasn’t played by Mason (who couldn’t crack it), but by producer Norman Smith. Barrett makes one of his last Floyd appearances by playing the slip-and-slide guitar in the background, although his influence on Wright’s childhood-focused lyrics is a more substantial contribution to the wistful tune.
There's nothing you can say to make me change my mind. We are going back to The Wall next.
Appeared On: 1 ballot (out of 33 . . . 3.0%)
Total Points: 17 points (out of 825 possible points . . . 2.1%)
Top Rankers: @jabarony
Highest Ranking: 9
Live Performances:
PF: 3 (TV Appearance - 1968)
DG: 1 (Jools Holland - 2008)
NM: 130 (Live At The Roundhouse)
Covers: Andromida, Senzafissa Dimoira, Roz Vitalis, Viewy Souls, Mike Ciresi, Jesus L-Vi, Crystal Jacqueline, National Treasure
We say welcome to @jabarony , who sees his first song on the countdown. He also becomes the first voter to have a Top 10 song make an appearance. The song was written and sung by Richard Wright and completed in two days in the studio . . . 6 months apart. Wright's vocals, piano, and organ parts were recorded first, and months later the drums, bass, and guitar were added. During the sessions for the song, drummer Nick Mason became agitated that he could not come up with the right drum part for the song. Producer Norman Smith knew what he wanted with the drums, so he played the part himself.
The song was an outtake from The Piper at the Gates of Dawn. The working title for the song may have been Sunshine. Syd played slide guitar on the song, which was virtually complete, but apparently needed to be touched up a little. Dave was thought to have provided some very minor (uncredited) overdubs. The tune was released in the U.S. as a single, with Let There Be More Light on the flip side (which was a consideration for Anarchy's obscure tracks . . . the video here is priceless and Dave gets in the zone).
Remember a Day reveals an interesting side to Rick. When he wrote it he was about to turn 22 — and yet it is a plaintive yearning for the days of childhood, when everything seemed so simple and there was enough time to 'Dream yourself away.' Perhaps the pressures of success forced the young members of the group to grow up sooner than they would have liked; it certainly put stress on them that no one in their early twenties should have to cope with. The line 'Why can't we stay that way?' is particularly touching, protesting against the necessity of changing from a free and happy child into a responsible (read: dull) adult. Alternate Version / Instrumental Version
Rolling Stone magazine was not a fan of Remember a Day, calling it "inoffensive, but features some rather miserable bottleneck guitar, second rate piano, and empty-sounding acoustic guitar work," while the drumming was "busy and ineffective."
Both Gilmour and Wright were booked to perform the song on the Later . . . With Jules Holland show in 2008 (talk about pulling a song out of the vault). Wright texted Gilmour a couple of weeks before the show that he wasn't well enough to make it and died the week after. Dave honored Wright by performing the song anyway, the first performance of Remember A Day since it was released in 1968 (linked in the live performance section).
Vulture Ranking (out of 165 songs): 71
Ultimate Classic Rock Ranking (out of 167 songs): 77
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 57
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (71 out of 165 songs): An early Wright song. You can hear the band trying to figure out a sound and approach on the second album. This is a fairly lame effort; you can practically feel Wright trying to put something together with the (limited) tools he’d been given. You get everything here: pretty piano, intoned lyrics, some mild psychedelic freak out. It’s all pretty silly. Mason didn’t play drums.
UCR Ranking (77 out of 167 songs): The song’s great, ramshackle drum pattern wasn’t played by Mason (who couldn’t crack it), but by producer Norman Smith. Barrett makes one of his last Floyd appearances by playing the slip-and-slide guitar in the background, although his influence on Wright’s childhood-focused lyrics is a more substantial contribution to the wistful tune.
There's nothing you can say to make me change my mind. We are going back to The Wall next.
jabarony
Footballguy
I guess my Pink Floyd fandom came from my parents. Theyactually met at a small televised show in Paris ~1968. They were asked to stand in front of the band and dance to give the audience something to look at other than the boring musicians. My father (early 40's, with more than his share of male-pattern-baldness) managed to pick up my mother (a stoned out of her mind failed model) on the dancefloor. Shortly after they moved to the States seeking further television glory. However, those dreams were dashed when I arrived.
I wish someone had footage from that show.
Anarchy99
Footballguy
Hmmm. It wasn’t the show I linked (Let There Be More Light)? We can figure it out. There is footage of all their tv appearances out there.
zamboni
Footballguy
Yet another song I like quite a bit, but can't pick everything. Really like Rick's piano work here.
Anarchy99
Footballguy
Here are all PF's TV appearances from Paris in 1968. The only one I couldn't find was 1968-10-30 (at least that is posted online with something to link to). Chances are it's one of these . . . although they may not have shown all the dances. Happy hunting.
1968-02-20
1968-02-21
1968-02-24
1968-03-03
1968-09-06
1968-09-07
1968-10-31
jabarony
Footballguy
thanks/Sorry!
My parents really didn’t meet in Paris 68. It was indeed failed humor at that ridiculous Let There Be More Light video you linked.
Although that would be awesome if those dancers were my parents 🤣
I will check out the new links though!
PIK95
Footballguy
We wouldn't expect any less ROGER.
Anarchy99
Footballguy
#66-T - Goodbye Cruel World from The Wall (1979)
Appeared On: 3 ballots (out of 33 . . . 9.1%)
Total Points: 17 points (out of 825 possible points . . . 2.1%)
Top Rankers: @Dan Lambskin @Grace Under Pressure @turnjose7
Highest Ranking: 18
Live Performances:
PF: 31 (London - 1981)
RW: 225 (Berlin - 1990, The Wall Live)
Covers: Anathema, Noel Gallagher, Greenleaf, Billy Sherwood, Vera, Steamboat, Smile Clerk
The song is quiet in dynamic, and is somewhat rhythmic in nature, with a soft repeating bass guitar pulse which is believed by some fans to be a similar bass riff to the one used in Careful With That Axe, Eugene and See Emily Play. Notably, the final instance of the word "goodbye" is spoken as the music's cut, causing the final "goodbye" to appear somewhat despairing, as well as identifying the listener with Pink as he cuts all ties with society. Demo
Pink bids farewell to the outside world, locks himself in his hotel room and places the last brick in his mental wall. The song can be seen as a metaphoric suicide, giving Pink's separation from the entire “cruel world”. The completion of the Wall is something he is sure about in this moment; he feels that the only way to get better is to put the last brick in the wall.
The obvious interpretation of this song, if one does not know the background of the story or the stage show, is that of the last words of a suicidal man. However, this cannot be true because the album continues! In fact, when 'Pink' says goodbye, it refers to the fact that he is finally sealing himself completely behind his wall, and continuing to live, but in total protective isolation. Roger: "That's him going catatonic if you like, and that it's final, He's going back, he's just curling up, and he's not going to move. That's it, he's had enough, that's the end."
In all performances of The Wall, both by Pink Floyd and in Roger Waters' solo career, the song represents the end of the first half of the show. The wall is built, apart from one brick. Waters appears in this small gap and as he sings the final word, "goodbye", the last brick is put into place, ending the first half of the show.
The rest of the album takes place behind Pink's wall, in the depths of his psyche. When this song was performed in the stage show, it featured Roger looking out through the one remaining hole in the wall, until he sings 'goodbye' — at which moment the last brick is inserted.
Roger: "In the show, we've worked out a very clever mechanical system so that we can complete the middle section of the wall, building downwards, so that we get left with a sort of triangular shaped hole that we can fill in bit by bit. Rather than filling it in at the top, there'll be this enormous wall across the auditorium, we'll be filling in this little hole at the bottom. The last brick goes in then, as he sings goodbye at the end of the song. That is the completion of the wall. It's been being built in my case since the end of the Second World War, or in anybody else's case, whenever they care to think about it, if they feel isolated or alienated from other people at all."
After more than a year of work, The Wall was a hit, but delivering the visuals of the tour was a completely different undertaking. The band hit the road only a couple of months after the album was released, which didn't give them a lot of time to plan a live show to match the power of the music. The first date of the show was February 7, 1980 at the Los Angeles Memorial Sports Arena and even before the band hit the stage, they were $1.5 million in the hole. The main reason the show was show expensive was because the stage had to be taken down and rebuilt every night.
Drummer Nick Mason explained: "The problem, really, with the show is that it wasn't a touring show, so it had to be set up, and left, and taken down again. There were a lot of light operators and stage operators and wall builders. Because of the amount of stuff that went up and down, floated across, did this, did that, there were a lot of operators, rather than just people putting stuff up. And, of course we had lots of semis, as I believe you call them, because of the special lighting pods that we used which needed, each one needs a trailer unit to hold it. And the special stage, because of the way the stage was actually used, there was a sort of structural bracing piece for the building of the wall. So it was all special equipment, I mean it was absurdly expensive. It's not something other people will do, generally, because it's just so expensive to put on, it's simply not feasible. But it was great to have done it once."
The only person to make money from the first Wall tour was Richard Wright. After 31 shows, the tour ended and the band was £400,000 in debt, but at least one former member of the group walked off with some cash in pocket. Keyboardist Richard Wright was fired during the recording of The Wall only to be hired on as a salaried musician for the tour.
Film version
Film critic Roger Ebert's 4-star review of the film
Vulture Ranking (out of 165 songs): 37
Ultimate Classic Rock Ranking (out of 167 songs): 150
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 73
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (37 out of 165 songs): Waters could have probably come up with a less clichéd title for this, which closes off the first half of his two-disc epic. He could also have come up with more ideas; it’s just a 75-second throwaway, right after the 75-second throwaway that was part three of Another Brick in the Wall; on the other hand, as noted elsewhere, the chore of marshaling the complex story meant that Ezrin and Waters had to just throw in some tracks to make certain narrative points. The point here isn’t that Pink is committing suicide, just that he had completed building the psychological wall around him. On the tour the band did to accompany the album, the first set ended with its famous wall completed across the stage. It’s a great iconic image. The tour was conceived with such grandiosity that it could only be staged over multiple nights in just a few cities, with a lot of Stonehenge, Spinal Tap-esque problems along the way. Meanwhile, Richard Wright’s contributions to the band had become marginal. As the band had to hustle to get The Wall ready for a 1979 release, Wright bridled at losing some of a planned vacation. (Note that it had been two-and-a-half years since Animals had come out.) Waters fired him — or rather, made his manager fire him, a great rock-star **** move — and the other band members, with one eye on their suffering bank accounts, went along. Amazingly, the band hired Wright back as a session player for the shows. In his autobiography, Nick Mason notes that Wright was in fact the only person who made money on that tour; the combination of the excessive conception and limited shows cost the others a small fortune.
UCR Ranking (150 out of 167 songs): As far as act breaks go, this one is short and simple, explaining Pink’s self-imposed isolation in terms even the most oblivious listener could understand. Goodbye lumbers inevitably towards half-time – although the abrupt cut on the final word is effective.
I see @Ghost Rider and @Todem pulling up, as they both make their debut to the countdown on the same song ranked in the same spot . . . a track that spent 6 weeks at the top of the Billboard Album Rock Tracks chart (and was sampled by Wiz Khalifa).
Appeared On: 3 ballots (out of 33 . . . 9.1%)
Total Points: 17 points (out of 825 possible points . . . 2.1%)
Top Rankers: @Dan Lambskin @Grace Under Pressure @turnjose7
Highest Ranking: 18
Live Performances:
PF: 31 (London - 1981)
RW: 225 (Berlin - 1990, The Wall Live)
Covers: Anathema, Noel Gallagher, Greenleaf, Billy Sherwood, Vera, Steamboat, Smile Clerk
The song is quiet in dynamic, and is somewhat rhythmic in nature, with a soft repeating bass guitar pulse which is believed by some fans to be a similar bass riff to the one used in Careful With That Axe, Eugene and See Emily Play. Notably, the final instance of the word "goodbye" is spoken as the music's cut, causing the final "goodbye" to appear somewhat despairing, as well as identifying the listener with Pink as he cuts all ties with society. Demo
Pink bids farewell to the outside world, locks himself in his hotel room and places the last brick in his mental wall. The song can be seen as a metaphoric suicide, giving Pink's separation from the entire “cruel world”. The completion of the Wall is something he is sure about in this moment; he feels that the only way to get better is to put the last brick in the wall.
The obvious interpretation of this song, if one does not know the background of the story or the stage show, is that of the last words of a suicidal man. However, this cannot be true because the album continues! In fact, when 'Pink' says goodbye, it refers to the fact that he is finally sealing himself completely behind his wall, and continuing to live, but in total protective isolation. Roger: "That's him going catatonic if you like, and that it's final, He's going back, he's just curling up, and he's not going to move. That's it, he's had enough, that's the end."
In all performances of The Wall, both by Pink Floyd and in Roger Waters' solo career, the song represents the end of the first half of the show. The wall is built, apart from one brick. Waters appears in this small gap and as he sings the final word, "goodbye", the last brick is put into place, ending the first half of the show.
The rest of the album takes place behind Pink's wall, in the depths of his psyche. When this song was performed in the stage show, it featured Roger looking out through the one remaining hole in the wall, until he sings 'goodbye' — at which moment the last brick is inserted.
Roger: "In the show, we've worked out a very clever mechanical system so that we can complete the middle section of the wall, building downwards, so that we get left with a sort of triangular shaped hole that we can fill in bit by bit. Rather than filling it in at the top, there'll be this enormous wall across the auditorium, we'll be filling in this little hole at the bottom. The last brick goes in then, as he sings goodbye at the end of the song. That is the completion of the wall. It's been being built in my case since the end of the Second World War, or in anybody else's case, whenever they care to think about it, if they feel isolated or alienated from other people at all."
After more than a year of work, The Wall was a hit, but delivering the visuals of the tour was a completely different undertaking. The band hit the road only a couple of months after the album was released, which didn't give them a lot of time to plan a live show to match the power of the music. The first date of the show was February 7, 1980 at the Los Angeles Memorial Sports Arena and even before the band hit the stage, they were $1.5 million in the hole. The main reason the show was show expensive was because the stage had to be taken down and rebuilt every night.
Drummer Nick Mason explained: "The problem, really, with the show is that it wasn't a touring show, so it had to be set up, and left, and taken down again. There were a lot of light operators and stage operators and wall builders. Because of the amount of stuff that went up and down, floated across, did this, did that, there were a lot of operators, rather than just people putting stuff up. And, of course we had lots of semis, as I believe you call them, because of the special lighting pods that we used which needed, each one needs a trailer unit to hold it. And the special stage, because of the way the stage was actually used, there was a sort of structural bracing piece for the building of the wall. So it was all special equipment, I mean it was absurdly expensive. It's not something other people will do, generally, because it's just so expensive to put on, it's simply not feasible. But it was great to have done it once."
The only person to make money from the first Wall tour was Richard Wright. After 31 shows, the tour ended and the band was £400,000 in debt, but at least one former member of the group walked off with some cash in pocket. Keyboardist Richard Wright was fired during the recording of The Wall only to be hired on as a salaried musician for the tour.
Film version
Film critic Roger Ebert's 4-star review of the film
Vulture Ranking (out of 165 songs): 37
Ultimate Classic Rock Ranking (out of 167 songs): 150
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 73
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (37 out of 165 songs): Waters could have probably come up with a less clichéd title for this, which closes off the first half of his two-disc epic. He could also have come up with more ideas; it’s just a 75-second throwaway, right after the 75-second throwaway that was part three of Another Brick in the Wall; on the other hand, as noted elsewhere, the chore of marshaling the complex story meant that Ezrin and Waters had to just throw in some tracks to make certain narrative points. The point here isn’t that Pink is committing suicide, just that he had completed building the psychological wall around him. On the tour the band did to accompany the album, the first set ended with its famous wall completed across the stage. It’s a great iconic image. The tour was conceived with such grandiosity that it could only be staged over multiple nights in just a few cities, with a lot of Stonehenge, Spinal Tap-esque problems along the way. Meanwhile, Richard Wright’s contributions to the band had become marginal. As the band had to hustle to get The Wall ready for a 1979 release, Wright bridled at losing some of a planned vacation. (Note that it had been two-and-a-half years since Animals had come out.) Waters fired him — or rather, made his manager fire him, a great rock-star **** move — and the other band members, with one eye on their suffering bank accounts, went along. Amazingly, the band hired Wright back as a session player for the shows. In his autobiography, Nick Mason notes that Wright was in fact the only person who made money on that tour; the combination of the excessive conception and limited shows cost the others a small fortune.
UCR Ranking (150 out of 167 songs): As far as act breaks go, this one is short and simple, explaining Pink’s self-imposed isolation in terms even the most oblivious listener could understand. Goodbye lumbers inevitably towards half-time – although the abrupt cut on the final word is effective.
I see @Ghost Rider and @Todem pulling up, as they both make their debut to the countdown on the same song ranked in the same spot . . . a track that spent 6 weeks at the top of the Billboard Album Rock Tracks chart (and was sampled by Wiz Khalifa).
Leroy Hoard
Footballguy
Maybe it's just a faded memory but I used to watch a bunch of euro movies from the late 60's. It seemed like most involved a nightclub scene where a known band was playing in the background. One might have involved "The Pink Floyd" as the band. Anyone remember such a movie?
Pip's Invitation
Footballguy
They appear in Tonite Let's All Make Love in London, but that's a documentary as opposed to an art film. I don't believe they actually appear in the films to which they contributed the soundtracks.
Anarchy99
Footballguy
#65 - Keep Talking from The Division Bell (1994)
Appeared On: 2 ballots (out of 33 . . . 6.0%)
Total Points: 18 points (out of 825 possible points . . . 2.2%)
Top Rankers: @Ghost Rider @Todem
Highest Ranking: 17
Live Performances:
DG'S PF: 109 (London - 1994-10-20)
Covers: Brit Floyd, Keep Floyding, Anathema, Giselle Webber, Pink Sonic, Inside Out, Goodknight Productions, Animals, DJ From Harns Credits, Battersea Power Station, Big One
The song features electronic dialogue from a British Telecomm commercial: "For millions of years, mankind lived just like the animals. Then something happened which unleashed the power of our imagination. We learned to talk and we learned to listen.. It doesn't have to be like this.. All we need to do is make sure we keep talking." Gilmour chose to use the speech after crying to the commercial, which he described as, "the most powerful piece of television advertising that I've ever seen in my life." The same speech was sampled again on The Endless River album in Talkin' Hawkin'.
In an interview when Keep Talking was released, Dave recalled: ""I heard it today for the first time, my first thing I've heard from this record, on the radio this morning. And it's always quite extraordinary when you hear one of your things that you've been working on for ages, and you know what it means, you know everything about it... but the first time you hear it on the radio, you have got the added weight of knowing that there are millions of other people listening to it as well, so you get a completely different perspective on it. You know that other people are listening, it's their first listen, every bit of it gets invested with a different meaning, if you like. It was really nice to hear that this morning, on the radio, and wonder how people would take to hearing this strange voice talking about 'for millions of years' and stuff, on the beginning of it. There are some aspects to making records, and making music, that you just never, yourself, get some of the things that are in the stuff you have done; until you hear it yourself on the radio with the knowledge that millions of other ears are listening at the same time. It's fascinating."
"It's not a real voice, it's the voice of Stephen Hawking, who is the Professor who wrote this book called A Brief History of Time. It's a huge, huge, popular book. He's suffering from motor-neuron disease, and he's in a wheelchair; he can't speak, and this is a voice synthesizer computer thing that has been built for him. I think he can only move one finger a tiny, tiny little bit, and he works with all of that. I saw an advert on the television in England for a telephone company, and his voice was on this advertisement. And this advertisement nearly made me weep. I've never had that with a television advertisement before. This was the most powerful piece of television advertising that I've ever seen in my life. I thought it was fascinating, and I contacted the company that made it and asked if I could borrow the voice track from it, this voice-over track from it, which I did, which is this voice synthesizer thing, and I applied it to one of the pieces of music we already had. I fiddled around with it for months, changing it until it started making sense. I just found it so moving that I felt that I had to try and do something with it, with him, in some way."
The song spent 6 weeks atop the Billboard Album Rock Tracks chart (based on radio airplay not sales). The album topped the charts in 21 countries. Keep Talking was performed on all of The Division Bell tour dates. Wiz Khalifa sampled it as part of his mix tape Burn After Rolling in 2009.
Vulture Ranking (out of 165 songs): 81
Ultimate Classic Rock Ranking (out of 167 songs): 58
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 66
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (81 out of 165 songs): Another minor radio hit. There’s an attempt to get some churning energy going, but it doesn’t work. More ominous backup singers. The electronic voice you hear is that of Stephen Hawking. Gilmour had a lifelong interest in astrophysics and in the philosophical implications of Hawkings’s “many worlds” interpretation of quantum mechanics, which — naw, I’m just joking. Gilmour actually heard the words in a cell-phone commercial, and thought they were neat.
UCR Ranking (58 out of 167 songs): Before you think that it’s insensitive to use a Stephen Hawking sample on a song titled Keep Talking, the speechless scientist was the impetus for this Division Bell standout. A British Telecom commercial that featured Hawking’s robotic “voice” so thoroughly moved David Gilmour that he, Wright and Samson wrapped this song about communication around fragments of Hawking’s speech. The other voices on this song – those of the background vocalists as well as Gilmour’s talk box effect – make a dramatic song into a titanic moment.
We double down on the same talk box guitar effect, as our next track is the other The Division Bell song to use the same tape loop.
Appeared On: 2 ballots (out of 33 . . . 6.0%)
Total Points: 18 points (out of 825 possible points . . . 2.2%)
Top Rankers: @Ghost Rider @Todem
Highest Ranking: 17
Live Performances:
DG'S PF: 109 (London - 1994-10-20)
Covers: Brit Floyd, Keep Floyding, Anathema, Giselle Webber, Pink Sonic, Inside Out, Goodknight Productions, Animals, DJ From Harns Credits, Battersea Power Station, Big One
The song features electronic dialogue from a British Telecomm commercial: "For millions of years, mankind lived just like the animals. Then something happened which unleashed the power of our imagination. We learned to talk and we learned to listen.. It doesn't have to be like this.. All we need to do is make sure we keep talking." Gilmour chose to use the speech after crying to the commercial, which he described as, "the most powerful piece of television advertising that I've ever seen in my life." The same speech was sampled again on The Endless River album in Talkin' Hawkin'.
In an interview when Keep Talking was released, Dave recalled: ""I heard it today for the first time, my first thing I've heard from this record, on the radio this morning. And it's always quite extraordinary when you hear one of your things that you've been working on for ages, and you know what it means, you know everything about it... but the first time you hear it on the radio, you have got the added weight of knowing that there are millions of other people listening to it as well, so you get a completely different perspective on it. You know that other people are listening, it's their first listen, every bit of it gets invested with a different meaning, if you like. It was really nice to hear that this morning, on the radio, and wonder how people would take to hearing this strange voice talking about 'for millions of years' and stuff, on the beginning of it. There are some aspects to making records, and making music, that you just never, yourself, get some of the things that are in the stuff you have done; until you hear it yourself on the radio with the knowledge that millions of other ears are listening at the same time. It's fascinating."
"It's not a real voice, it's the voice of Stephen Hawking, who is the Professor who wrote this book called A Brief History of Time. It's a huge, huge, popular book. He's suffering from motor-neuron disease, and he's in a wheelchair; he can't speak, and this is a voice synthesizer computer thing that has been built for him. I think he can only move one finger a tiny, tiny little bit, and he works with all of that. I saw an advert on the television in England for a telephone company, and his voice was on this advertisement. And this advertisement nearly made me weep. I've never had that with a television advertisement before. This was the most powerful piece of television advertising that I've ever seen in my life. I thought it was fascinating, and I contacted the company that made it and asked if I could borrow the voice track from it, this voice-over track from it, which I did, which is this voice synthesizer thing, and I applied it to one of the pieces of music we already had. I fiddled around with it for months, changing it until it started making sense. I just found it so moving that I felt that I had to try and do something with it, with him, in some way."
The song spent 6 weeks atop the Billboard Album Rock Tracks chart (based on radio airplay not sales). The album topped the charts in 21 countries. Keep Talking was performed on all of The Division Bell tour dates. Wiz Khalifa sampled it as part of his mix tape Burn After Rolling in 2009.
Vulture Ranking (out of 165 songs): 81
Ultimate Classic Rock Ranking (out of 167 songs): 58
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 66
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (81 out of 165 songs): Another minor radio hit. There’s an attempt to get some churning energy going, but it doesn’t work. More ominous backup singers. The electronic voice you hear is that of Stephen Hawking. Gilmour had a lifelong interest in astrophysics and in the philosophical implications of Hawkings’s “many worlds” interpretation of quantum mechanics, which — naw, I’m just joking. Gilmour actually heard the words in a cell-phone commercial, and thought they were neat.
UCR Ranking (58 out of 167 songs): Before you think that it’s insensitive to use a Stephen Hawking sample on a song titled Keep Talking, the speechless scientist was the impetus for this Division Bell standout. A British Telecom commercial that featured Hawking’s robotic “voice” so thoroughly moved David Gilmour that he, Wright and Samson wrapped this song about communication around fragments of Hawking’s speech. The other voices on this song – those of the background vocalists as well as Gilmour’s talk box effect – make a dramatic song into a titanic moment.
We double down on the same talk box guitar effect, as our next track is the other The Division Bell song to use the same tape loop.
Last edited:
Anarchy99
Footballguy
With the NHL playoffs winding down, let's hit up @zamboni
SWIPE RIGHT / LACE 'EM UP, GORDIE, YOU'RE GOING IN
@Mt. Man (17 similar songs, 9 of the same Top 10)
@turnjose7 (15 + 7)
@Ridgeback (15 + 7)
@worrierking (15 + 6)
6 tied with 14 songs
SWIPE LEFT / SUCKS TO BE A BRUINS FAN, DON'T IT?
@Grace Under Pressure (8 + 5)
@Anarchy99 (9 + 6)
5 tied with 10 songs
CHALK RANKINGS (Average songs per list)
lardonastick - 16.81, Yo Mama - 16.16
Friend of PIK95 - 15.48, Yambag - 15.10
PIK95 - 14.90, Ghost Rider - 14.77, Galileo - 14.71, BroncoFreak_2K3 - 14.58, Dwayne Hoover - 14.29, FatMax - 14.16
Ghoti - 13.85, ericttspikes - 13.19
Dr. Octopus - 12.91, zamboni - 12.38, Pip's Invitation - 12.23
Mookie Gizzy - 11.94
SWIPE RIGHT / LACE 'EM UP, GORDIE, YOU'RE GOING IN
@Mt. Man (17 similar songs, 9 of the same Top 10)
@turnjose7 (15 + 7)
@Ridgeback (15 + 7)
@worrierking (15 + 6)
6 tied with 14 songs
SWIPE LEFT / SUCKS TO BE A BRUINS FAN, DON'T IT?
@Grace Under Pressure (8 + 5)
@Anarchy99 (9 + 6)
5 tied with 10 songs
CHALK RANKINGS (Average songs per list)
lardonastick - 16.81, Yo Mama - 16.16
Friend of PIK95 - 15.48, Yambag - 15.10
PIK95 - 14.90, Ghost Rider - 14.77, Galileo - 14.71, BroncoFreak_2K3 - 14.58, Dwayne Hoover - 14.29, FatMax - 14.16
Ghoti - 13.85, ericttspikes - 13.19
Dr. Octopus - 12.91, zamboni - 12.38, Pip's Invitation - 12.23
Mookie Gizzy - 11.94
Anarchy99
Footballguy
#63-T - Take It Back from The Division Bell (1994)
Appeared On: 2 ballots (out of 33 . . . 6.0%)
Total Points: 19 points (out of 825 possible points . . . 2.2%)
Top Rankers: @jabarony @Yambag
Highest Ranking: 14
Live Performances:
DG'S PF: 109 (London - 1994-10-20)
Covers: Brit Floyd, Fleesh, Alex Bollard, Animals
We say howdy to Yambag on this one. At first glance, Take it Back is a song about a relationship, and it is . . .but the woman involved is Mother Earth (or Mother Nature). The song highlights how sooner or later, sick of the way we humans treat her, she will go into self-protection mode and make the human race extinct like was done in the Atlantean days.
One of the most interesting features of this song is the children's poem Ring a Ring O' Roses in the instrumental middle section. This poem originally referred to the Great Plague of London in 1664-1665: a children's rhyme whose lyrics had a morbid origin in reality. An early symptom of the Plague was a circular red rash; herbs carried in the pocket were meant to ward off the disease. Violent sneezing often preceded the collapse that would lead to death. Thus, the Plague symbolizes the warning of the revenge which the Earth might take upon the human race if they treat her too badly.
The music for the song was written by guitarist David Gilmour and album co-producer Bob Ezrin, with lyrics by Gilmour, his wife Polly Sampson, and Nick Laird-Clowes (lead singer of the band Dream Academy). Gilmour produced 2 of the 3 Dream Academy albums and played on several of their songs (Bound To Be, The Party, Twelve-Eight Angel, It'll Never Happen Again, Forest Fire, Living In A War, and The Chosen Few).
Laird-Clowes organized the Madcap's Last Laugh memorial tribute show after the passing of Syd Barrett (in which PF and RW participated in). That was the last time the Floyd performed together under the PF name.
DG and Laird-Clowes became friends after a random meeting on a beach in Greece in 1978. Gilmour was rigorously supportive of Laird-Clowes in every area except one. “He doesn’t like my guitar playing,” he said, wincing. “He laughs at my playing. He’s a great player, so what can I say? I feel like a bumbling amateur guitarist around him. He intimidates the hell out of me.”
The two actually collaborated together 3 years later, as Holly And The Ivys. “It was a Christmas record called Christmas on 45,” reveals Laird-Clowes. “We were sitting in an airport one day and David was joking about these terrible Stars On 45 records. He started stamping his feet on the floor going, ‘Once in royal David’s city…’ Then I started singing, ‘La la la la lala…’ He said, ‘Hang on! That’s a great idea.’ The night before we recorded the orchestra, he said, ‘If you can write a song, you can have the B-side.’ So I stayed up all night writing the B-side (Have Mercy On The Child).” Those were the only recordings of the two paired together as Holly And The Ivys.
Gilmour continued his patronage of Laird-Clowes, inviting his band The Act (featuring Gilmour’s younger brother Mark on guitar) to rehearse at his home while Pink Floyd recorded The Wall in France. “We used this little old studio in the house he bought from Steve Marriott,” says Laird-Clowes. “It was near Harlow in Essex. We used to take the Central line and then walk a few miles to the house. It was a lovely little Tudor-looking cottage and it had a building in the garden a bit like a garage – not big – and he had an eight track in there.”
After DG's work with Dream Academy, Laird-Clowes chipped in on The Division Bell album. “David would say, ‘Come over next Monday and I’ll play you what we’ve done,’” recalls Laird-Clowes. “Polly, he, and I would drink a bottle or two of wine, listen and make notes. Then it was every Tuesday, then it was Tuesday and Wednesday. We were down to the last three songs and he didn’t have any lyrics. We tried everything. We did cut-ups; we stayed up insanely late and got very merry doing it. If I wrote four consecutive lines, I got a co-write. For ‘Poles Apart’, I asked him about Syd and he said, ‘I never thought he’d lose that light in his eyes’. That’s where it started. He said, ‘Great, you’ve written your first song on a Pink Floyd record. What year were you born?’ Then he went down to the cellar. Division Bell was David having gone through hell in the dispute over Pink Floyd. Then coming out the other side saying, ‘I can make a record as good as anything we did when we were with Roger.’ It gave him a tremendous boost of morale.”
The Division Bell tour (110 shows in 68 cities with a worldwide gross of £150 million) overshadowed even the band’s enormous tours of the 70's and 80's. Take It Back hit #4 on the Billboard Mainstream Rock Tracks chart and ranked 23rd on the year-end U.S. Hot Album Rock Tracks chart.
You learn something new every day. I had no idea about the connection between DG, Dream Academy, and Laird-Clowes.
Vulture Ranking (out of 165 songs): 114
Ultimate Classic Rock Ranking (out of 167 songs): 89
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 94
Billboard Ranking (out of 50 songs): 46
Vulture Ranking (114 out of 165 songs): Another long, droning, musically undistinguished track from this surpassingly lame album. It is perfect, however, in one regard. It’s a perfect mediocre song to fill out six-plus minutes on a mediocre album.
UCR Ranking (89 out of 167 songs): A breathy vocal performance, some terrific guitar sounds, a set of (gasp!) un-embarrassing lyrics about the environment and a memorable hook make for a pretty good lead single from The Division Bell. If Take It Back sounds a little slick and radio-ready for a prog rock band, well it’s not like Pink Floyd were ever allergic to the Billboard charts.
Billboard Ranking (46 out of 50 songs): In this case, “It” appears to apply to the eternally ringing style of guitar patented by The Edge of U2, but arguably pioneered by Floyd six-string wizard David Gilmour on The Wall‘s Run Like Hell. In any event, U2 certainly wasn’t using it while in the thick of their Zooropa Eurotrash period, so good on Gilmour to reclaim it for The Division Bell‘s convincingly righteous lead single — with a pretty solid Bono impression to boot, as he becomes one with the emotional elements (“All of this temptation, you know it turned my faith to lies / Until I couldn’t see the danger or hear the rising tide”).
Coming up, the second Top 10 selection from one of us hits the countdown (waving to @worrierking) . . . as we speak out loud about our doubts and fears.
Appeared On: 2 ballots (out of 33 . . . 6.0%)
Total Points: 19 points (out of 825 possible points . . . 2.2%)
Top Rankers: @jabarony @Yambag
Highest Ranking: 14
Live Performances:
DG'S PF: 109 (London - 1994-10-20)
Covers: Brit Floyd, Fleesh, Alex Bollard, Animals
We say howdy to Yambag on this one. At first glance, Take it Back is a song about a relationship, and it is . . .but the woman involved is Mother Earth (or Mother Nature). The song highlights how sooner or later, sick of the way we humans treat her, she will go into self-protection mode and make the human race extinct like was done in the Atlantean days.
One of the most interesting features of this song is the children's poem Ring a Ring O' Roses in the instrumental middle section. This poem originally referred to the Great Plague of London in 1664-1665: a children's rhyme whose lyrics had a morbid origin in reality. An early symptom of the Plague was a circular red rash; herbs carried in the pocket were meant to ward off the disease. Violent sneezing often preceded the collapse that would lead to death. Thus, the Plague symbolizes the warning of the revenge which the Earth might take upon the human race if they treat her too badly.
The music for the song was written by guitarist David Gilmour and album co-producer Bob Ezrin, with lyrics by Gilmour, his wife Polly Sampson, and Nick Laird-Clowes (lead singer of the band Dream Academy). Gilmour produced 2 of the 3 Dream Academy albums and played on several of their songs (Bound To Be, The Party, Twelve-Eight Angel, It'll Never Happen Again, Forest Fire, Living In A War, and The Chosen Few).
Laird-Clowes organized the Madcap's Last Laugh memorial tribute show after the passing of Syd Barrett (in which PF and RW participated in). That was the last time the Floyd performed together under the PF name.
DG and Laird-Clowes became friends after a random meeting on a beach in Greece in 1978. Gilmour was rigorously supportive of Laird-Clowes in every area except one. “He doesn’t like my guitar playing,” he said, wincing. “He laughs at my playing. He’s a great player, so what can I say? I feel like a bumbling amateur guitarist around him. He intimidates the hell out of me.”
The two actually collaborated together 3 years later, as Holly And The Ivys. “It was a Christmas record called Christmas on 45,” reveals Laird-Clowes. “We were sitting in an airport one day and David was joking about these terrible Stars On 45 records. He started stamping his feet on the floor going, ‘Once in royal David’s city…’ Then I started singing, ‘La la la la lala…’ He said, ‘Hang on! That’s a great idea.’ The night before we recorded the orchestra, he said, ‘If you can write a song, you can have the B-side.’ So I stayed up all night writing the B-side (Have Mercy On The Child).” Those were the only recordings of the two paired together as Holly And The Ivys.
Gilmour continued his patronage of Laird-Clowes, inviting his band The Act (featuring Gilmour’s younger brother Mark on guitar) to rehearse at his home while Pink Floyd recorded The Wall in France. “We used this little old studio in the house he bought from Steve Marriott,” says Laird-Clowes. “It was near Harlow in Essex. We used to take the Central line and then walk a few miles to the house. It was a lovely little Tudor-looking cottage and it had a building in the garden a bit like a garage – not big – and he had an eight track in there.”
After DG's work with Dream Academy, Laird-Clowes chipped in on The Division Bell album. “David would say, ‘Come over next Monday and I’ll play you what we’ve done,’” recalls Laird-Clowes. “Polly, he, and I would drink a bottle or two of wine, listen and make notes. Then it was every Tuesday, then it was Tuesday and Wednesday. We were down to the last three songs and he didn’t have any lyrics. We tried everything. We did cut-ups; we stayed up insanely late and got very merry doing it. If I wrote four consecutive lines, I got a co-write. For ‘Poles Apart’, I asked him about Syd and he said, ‘I never thought he’d lose that light in his eyes’. That’s where it started. He said, ‘Great, you’ve written your first song on a Pink Floyd record. What year were you born?’ Then he went down to the cellar. Division Bell was David having gone through hell in the dispute over Pink Floyd. Then coming out the other side saying, ‘I can make a record as good as anything we did when we were with Roger.’ It gave him a tremendous boost of morale.”
The Division Bell tour (110 shows in 68 cities with a worldwide gross of £150 million) overshadowed even the band’s enormous tours of the 70's and 80's. Take It Back hit #4 on the Billboard Mainstream Rock Tracks chart and ranked 23rd on the year-end U.S. Hot Album Rock Tracks chart.
You learn something new every day. I had no idea about the connection between DG, Dream Academy, and Laird-Clowes.
Vulture Ranking (out of 165 songs): 114
Ultimate Classic Rock Ranking (out of 167 songs): 89
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 94
Billboard Ranking (out of 50 songs): 46
Vulture Ranking (114 out of 165 songs): Another long, droning, musically undistinguished track from this surpassingly lame album. It is perfect, however, in one regard. It’s a perfect mediocre song to fill out six-plus minutes on a mediocre album.
UCR Ranking (89 out of 167 songs): A breathy vocal performance, some terrific guitar sounds, a set of (gasp!) un-embarrassing lyrics about the environment and a memorable hook make for a pretty good lead single from The Division Bell. If Take It Back sounds a little slick and radio-ready for a prog rock band, well it’s not like Pink Floyd were ever allergic to the Billboard charts.
Billboard Ranking (46 out of 50 songs): In this case, “It” appears to apply to the eternally ringing style of guitar patented by The Edge of U2, but arguably pioneered by Floyd six-string wizard David Gilmour on The Wall‘s Run Like Hell. In any event, U2 certainly wasn’t using it while in the thick of their Zooropa Eurotrash period, so good on Gilmour to reclaim it for The Division Bell‘s convincingly righteous lead single — with a pretty solid Bono impression to boot, as he becomes one with the emotional elements (“All of this temptation, you know it turned my faith to lies / Until I couldn’t see the danger or hear the rising tide”).
Coming up, the second Top 10 selection from one of us hits the countdown (waving to @worrierking) . . . as we speak out loud about our doubts and fears.
Last edited:
Ghost Rider
Footballguy
Keep Talking is beyond amazing. I remember hearing it for the first time when it was played on the radio before the release of The Division Bell, and it sounded so fresh and exciting. I knew then that the album was going to be a major winner, and it sure was. The refusal of some to ever give the Waters-less Floyd any props holds it back from being as revered as it should be.
Mt. Man
Footballguy
I'm a Red Wings fan, so this fits, in a way.
Or maybe I feel that way since I've largely been on the bench (as it were) for these lists. Not that I can be completely surprised about that.
Keep Talking and Take it Back were both in fairly heavy contention. Though I can't find my original (long) list, so I'm not sure exactly where I had them.
Anarchy99
Footballguy
#63-T - The Gunner's Dream from The Final Cut (1983)
Appeared On: 2 ballots (out of 33 . . . 6.0%)
Total Points: 19 points (out of 825 possible points . . . 2.2%)
Top Rankers: @worrierking @Dr. Octopus
Highest Ranking: 9
Live Performances:
RW: 44 (Chicago - 1984-07-26, Lisbon - 2006-06-02, Santiago - 2018-11-14)
Covers: Australian Pink Floyd, Joan Baez, Pink Project, Claire Kuzmyk, Archangel, Landry Grant, Kill Everyone, Lenar Dellert, Steve Katsikas
We continue to work out way through The Final Gut. The Gunner's Dream tells the story and thoughts of an airman gunner as he falls to his death during a raid, dreaming of a safe world in the future without war. In his lyrics, Waters references real-life events including the Hyde Park and Regent's Park bombings that killed 11 people. He takes the refrain "some corner of a foreign field" from Rupert Brooke's poem The Soldier. The songs title may have been a play on the nickname of London's Arsenal Football Club, Waters is a wll-known follower of the Gunners, who compete in England's Premier League. 2021 Version
This powerful vision of an ideal society is a dream in the minds of those who fought and died for a better world, only to be betrayed. However, there are those who remember and 'take heed.' The line 'maniacs don't blow holes in bandsmen by remote control' is a reference to the IRA Hyde Park bombing of 1981.
The song tells the story of a gunner in a bomber (not on the ground) who has parachuted out of his plane and as he floats down to the ground, memories of his life come up to meet him but then he has dream. His dream is that the world will be at peace where there is no censorship so you can speak out loud about what you are thinking, there will be no military rations so everyone can eat, and men won't have to sleep in the trenches. Most importantly, the youth of the nation won't be sent of to die for their country ("No one kills the children anymore"). It also refers to people disappearing in the night. This would happen to Jews and any others the Germans did not want in WWII.
Roger described the song: "The Gunner's Dream is about powerlessness. The door opens suddenly and you find you're face-to-face with blokes in jackboots in a country like South America or Algeria or France during the Occupation. You cry 'No you can't do that to me — I'll call the police!' and they reply 'We are the police.' Your life slips into a nightmare. The most precious thing in this world is that your life is not controlled by someone else."
The Falkland War ended 30 days before the release of The Wall film and became a creative catalyst for Roger Waters. The name of the forthcoming album was changed from Spare Bricks to The Final Cut, and it would include music from the film as well as new material. In fact, when When the Tigers Broke Free was released as a single, it bore the inscription 'Taken from the album The Final Cut.' However, as Roger wrote more songs about his inner emotional state as the songs from The Wall, it become apparent that the LP was taking on a life of its own, and would serve as an epilogue to The Wall.
Thus was created the most political of all Pink Floyd albums, as well as the most personal. Most people consider this to be a Waters solo album, not a product of creative collaboration among the members of Pink Floyd. The album was recorded in 8 studios, including the 'Billiard Room' studio in Roger's house. This album was the end of the increasingly tense association of Roger Waters and the rest of Pink Floyd.
Appeared On: 2 ballots (out of 33 . . . 6.0%)
Total Points: 19 points (out of 825 possible points . . . 2.2%)
Top Rankers: @worrierking @Dr. Octopus
Highest Ranking: 9
Live Performances:
RW: 44 (Chicago - 1984-07-26, Lisbon - 2006-06-02, Santiago - 2018-11-14)
Covers: Australian Pink Floyd, Joan Baez, Pink Project, Claire Kuzmyk, Archangel, Landry Grant, Kill Everyone, Lenar Dellert, Steve Katsikas
We continue to work out way through The Final Gut. The Gunner's Dream tells the story and thoughts of an airman gunner as he falls to his death during a raid, dreaming of a safe world in the future without war. In his lyrics, Waters references real-life events including the Hyde Park and Regent's Park bombings that killed 11 people. He takes the refrain "some corner of a foreign field" from Rupert Brooke's poem The Soldier. The songs title may have been a play on the nickname of London's Arsenal Football Club, Waters is a wll-known follower of the Gunners, who compete in England's Premier League. 2021 Version
This powerful vision of an ideal society is a dream in the minds of those who fought and died for a better world, only to be betrayed. However, there are those who remember and 'take heed.' The line 'maniacs don't blow holes in bandsmen by remote control' is a reference to the IRA Hyde Park bombing of 1981.
The song tells the story of a gunner in a bomber (not on the ground) who has parachuted out of his plane and as he floats down to the ground, memories of his life come up to meet him but then he has dream. His dream is that the world will be at peace where there is no censorship so you can speak out loud about what you are thinking, there will be no military rations so everyone can eat, and men won't have to sleep in the trenches. Most importantly, the youth of the nation won't be sent of to die for their country ("No one kills the children anymore"). It also refers to people disappearing in the night. This would happen to Jews and any others the Germans did not want in WWII.
Roger described the song: "The Gunner's Dream is about powerlessness. The door opens suddenly and you find you're face-to-face with blokes in jackboots in a country like South America or Algeria or France during the Occupation. You cry 'No you can't do that to me — I'll call the police!' and they reply 'We are the police.' Your life slips into a nightmare. The most precious thing in this world is that your life is not controlled by someone else."
The Falkland War ended 30 days before the release of The Wall film and became a creative catalyst for Roger Waters. The name of the forthcoming album was changed from Spare Bricks to The Final Cut, and it would include music from the film as well as new material. In fact, when When the Tigers Broke Free was released as a single, it bore the inscription 'Taken from the album The Final Cut.' However, as Roger wrote more songs about his inner emotional state as the songs from The Wall, it become apparent that the LP was taking on a life of its own, and would serve as an epilogue to The Wall.
Thus was created the most political of all Pink Floyd albums, as well as the most personal. Most people consider this to be a Waters solo album, not a product of creative collaboration among the members of Pink Floyd. The album was recorded in 8 studios, including the 'Billiard Room' studio in Roger's house. This album was the end of the increasingly tense association of Roger Waters and the rest of Pink Floyd.
Last edited:
Anarchy99
Footballguy
Roger Waters: "I got on a roll, and started writing this piece about my father. I was on a roll, and I was gone. The fact of the matter was that I was making this record. And Dave didn't like it. And he said so. By the time we had gotten a quarter of the way through making The Final Cut, I knew that I would never make another record with Dave Gilmour and Nick Mason. We just didn't agree on anything anymore."
Dave Gilmour: "Songs that we threw off The Wall, he brought them back for The Final Cut — the same songs. Nobody thought they were that good then; what makes them so good now? I bet he thought I was just being obstructive."
Roger Waters: "You can hear the mad tension running through it all. On some of the album, I can hear in my voice all the strain and aggravation that was going on at the time, it affected the record. It was absolute misery . . . a horrible time."
Gilmour agreed, upset partially because he and Nick Mason were reduced to the level of session players, with no more importance than the additional musicians who were brought in; and in Nick's case, even less.
Dave Gilmour: "It reached the point that I just had to say, 'If you need a guitar player, give me a call and I'll come do it.'"
The situation finally climaxed with a confrontation between Roger and Dave, in which Roger allegedly forced Dave to withdraw as co-producer, leaving him to produce with Michael Kamen. Roger also offered Dave and Nick the opportunity to withdraw entirely from the project, at least in name, and he would release it as a solo album.
Roger Waters: "But they didn't want that, because they know songs don't grow on trees. They wanted it to be a Floyd record."
Dave Gilmour: "It's essentially cheap filler . . . the kind we hadn't put on a Pink Floyd album in years. It's not how I would like to see the Pink Floyd continue. It's not what I would like to do. I didn't enjoy making it, I didn't have much to do with making it, and there was very little enjoyment in it, for me. It's made me consider saying 'Oh f*** it, I'll jack it in,' because it's not what I want to do anymore. But I haven't done that, as yet. Who knows? It's one of those hard things."
Dave would toy with pursuing a solo career for the next few years, but in the end return to guaranteed success with Pink Floyd.
Dave Gilmour: "For Roger, as I say, it's a successful album. He's setting out to explore something, and he does it very successfully. I think, personally, it's a weak album musically. I think there's only 3 good songs on it. I can't quite manage to make myself believe that if the lyrics and the power of what you're saying is good enough then the music that helps portray it doesn't really matter. In a way it would have been better to have been a solo album, I think. It is a solo album, really, largely. The Gunner's Dream, The Fletcher Memorial Home, and The Final Cut were really great. I wouldn't want to knock anything that's good, whoever it's by. And I didn't, at the time, knock anything because of any personal problems that one was going through."
Vulture Ranking (out of 165 songs): 148
Ultimate Classic Rock Ranking (out of 167 songs): 96
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): NR
Billboard Ranking (out of 50 songs): 47
Vulture Ranking (148 out of 165 songs): This song, coming toward the end of what was the first side of The Final Cut, is where you throw up your hands. The Second World War was a terrible event in world history, and took a devastating toll. This song is an acknowledgment that there were reasons for the war. But all of its victims deserve much better than this labored, clotted, and overwrought assault on the finer sensibilities of just about anyone who might actually listen to it. (Confidential to Roger W.: Constructions like “Take heed” went out with Keats.) And if you think there’s nothing worse than hearing Waters whimper, lugubriously, the line, “And no one kills the children anymore,” just wait till he repeats it for effect.
UCR Ranking (96 out of 167 songs): Roger Waters’ sonic melodrama rises to the message on The Gunner’s Dream, which recounts the vision of a gunner on a World War II bomber as he floats down to the carnage below. Before he meets his end, he wishes for a more peaceful, open world, one that the songwriter sings about sensitively and sadly – as if it may never be realized.
Billboard Ranking (47 out of 50 songs): Speaking of brutally self-serious — 1983’s The Final Cut required a major emotional investment in spending time in Roger Waters’ headspace to make it through all 46 somber, self-indulgent minutes. Occasionally the on-record majesty approaches the drama storming in Waters’ brain, though, as on The Gunner’s Dream, a Spectoral ballad with Springsteen-like stakes (and sax!) and a relatively poignant lyric about a gunner’s peaceful fantasies (“You can relax on both sides of the tracks”) in the seconds before his shot-down plane crashes to his death.
After I re-post Summer '68, we hit up a B side from 1968 that became a live staple in early Floyd shows.
Dave Gilmour: "Songs that we threw off The Wall, he brought them back for The Final Cut — the same songs. Nobody thought they were that good then; what makes them so good now? I bet he thought I was just being obstructive."
Roger Waters: "You can hear the mad tension running through it all. On some of the album, I can hear in my voice all the strain and aggravation that was going on at the time, it affected the record. It was absolute misery . . . a horrible time."
Gilmour agreed, upset partially because he and Nick Mason were reduced to the level of session players, with no more importance than the additional musicians who were brought in; and in Nick's case, even less.
Dave Gilmour: "It reached the point that I just had to say, 'If you need a guitar player, give me a call and I'll come do it.'"
The situation finally climaxed with a confrontation between Roger and Dave, in which Roger allegedly forced Dave to withdraw as co-producer, leaving him to produce with Michael Kamen. Roger also offered Dave and Nick the opportunity to withdraw entirely from the project, at least in name, and he would release it as a solo album.
Roger Waters: "But they didn't want that, because they know songs don't grow on trees. They wanted it to be a Floyd record."
Dave Gilmour: "It's essentially cheap filler . . . the kind we hadn't put on a Pink Floyd album in years. It's not how I would like to see the Pink Floyd continue. It's not what I would like to do. I didn't enjoy making it, I didn't have much to do with making it, and there was very little enjoyment in it, for me. It's made me consider saying 'Oh f*** it, I'll jack it in,' because it's not what I want to do anymore. But I haven't done that, as yet. Who knows? It's one of those hard things."
Dave would toy with pursuing a solo career for the next few years, but in the end return to guaranteed success with Pink Floyd.
Dave Gilmour: "For Roger, as I say, it's a successful album. He's setting out to explore something, and he does it very successfully. I think, personally, it's a weak album musically. I think there's only 3 good songs on it. I can't quite manage to make myself believe that if the lyrics and the power of what you're saying is good enough then the music that helps portray it doesn't really matter. In a way it would have been better to have been a solo album, I think. It is a solo album, really, largely. The Gunner's Dream, The Fletcher Memorial Home, and The Final Cut were really great. I wouldn't want to knock anything that's good, whoever it's by. And I didn't, at the time, knock anything because of any personal problems that one was going through."
Vulture Ranking (out of 165 songs): 148
Ultimate Classic Rock Ranking (out of 167 songs): 96
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): NR
Billboard Ranking (out of 50 songs): 47
Vulture Ranking (148 out of 165 songs): This song, coming toward the end of what was the first side of The Final Cut, is where you throw up your hands. The Second World War was a terrible event in world history, and took a devastating toll. This song is an acknowledgment that there were reasons for the war. But all of its victims deserve much better than this labored, clotted, and overwrought assault on the finer sensibilities of just about anyone who might actually listen to it. (Confidential to Roger W.: Constructions like “Take heed” went out with Keats.) And if you think there’s nothing worse than hearing Waters whimper, lugubriously, the line, “And no one kills the children anymore,” just wait till he repeats it for effect.
UCR Ranking (96 out of 167 songs): Roger Waters’ sonic melodrama rises to the message on The Gunner’s Dream, which recounts the vision of a gunner on a World War II bomber as he floats down to the carnage below. Before he meets his end, he wishes for a more peaceful, open world, one that the songwriter sings about sensitively and sadly – as if it may never be realized.
Billboard Ranking (47 out of 50 songs): Speaking of brutally self-serious — 1983’s The Final Cut required a major emotional investment in spending time in Roger Waters’ headspace to make it through all 46 somber, self-indulgent minutes. Occasionally the on-record majesty approaches the drama storming in Waters’ brain, though, as on The Gunner’s Dream, a Spectoral ballad with Springsteen-like stakes (and sax!) and a relatively poignant lyric about a gunner’s peaceful fantasies (“You can relax on both sides of the tracks”) in the seconds before his shot-down plane crashes to his death.
After I re-post Summer '68, we hit up a B side from 1968 that became a live staple in early Floyd shows.
Anarchy99
Footballguy
#61-T - Summer '68 from Atom Heart Mother (1970)
Appeared On: 3 ballots (out of 32 . . . 6.3%)
Total Points: 20 points (out of 825 possible points . . . 2.4%)
Top Rankers: @Mookie Gizzy @Desert_Power @Pip's Invitation
Highest Ranking: 15
Live Performances:
PF: None
DG's PF: None
DG: None
RW: None
NM: None
Covers: Rosebud, Charade Breeze Band, Alex Bollard, Polenta Con Pajaritos, Jeff Bernheart, Lahm, Nanaue, Marco Montagnini
Summer '68 is our next selection, the prequel to the better known and more popular song by Bryan Adams that came out 17 years later. Keyboardist Richard Wright wrote the song, inspired by his experience recording the soundtrack of the film More. The narrative captures the emotion of a young man's wild and reckless summer. Like Stay, it's another composition focusing on touring and groupies. It's really Wright asking a groupie how they feel about what they're doing: "have you time before I leave to greet another man?" The title of the song was originally One Night Stand.
Rick sings and plays piano in this piece, about a one night stand while on the road. The lyrics, which Rick has implied are based on actual events, seem to echo regret and an unexpected concern for the feelings of the girl in question. The singer moves on, but a feeling of loss and tiredness of the rock star routine remains. Rick's feelings in some way seem better and more fully expressed by the surging instrumental theme following the chorus, which sounds as if it might be a synth horn. In the chorus, Rick's voice is processed and distorted, and overlaid several times.
Wright later said: "My lyrics are really bad and they're not saying anything that's important. A couple of songs I haven't minded being put out in terms of lyrics, like Summer '68. Although I don't think that the lyrics were good, they did at least say something that — I felt — was a real genuine feeling and therefore that's cool."
The poetic lyrics of Summer ’68 often leave many fans puzzled, with the song’s meaning open to interpretation. Some believe that the song is a reflection on the band’s music journey, while others believe that it’s about living life to the fullest before age catches up with you. Although the song seems to be about one crazy and youthful summer, the lyrics are actually a metaphor for life and how quickly it can pass by. It’s about seizing the moment, living in the present and making every second count. The line “We were young and we were improving” highlights how time speeds away before we know it and how vital it is to take advantage of every opportunity.
Critic Irving Tan described the song as "the catchiest and most-accessible track on the album." He really enjoyed Wright's vocals, the "bombastic trumpet solo breaks", and believed the track had "a groovy chorus". Reviewer Jakub Michalik called it "a catchy, fast and happy pop tune written and sung by Richard Wright" that's "one of the few songs Wright has ever done for Pink Floyd and it's actually pretty fine." The band never performed the song live.
Vulture Ranking (out of 165 songs): 47
Ultimate Classic Rock Ranking (out of 167 songs): 36
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 38
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (47 out of 165 songs): A nice tune by Richard Wright, apparently about a groupie, also has the sweet melodic feel of an early-’70s one-hit wonder, though one-hit wonders are generally economically arranged and produced well, and this is an early Pink Floyd track, so neither of those two things are true. A long time ago, I think it was Dave Marsh who cracked that Pink Floyd had never thrown an idea away; to me, the issue is more they never had an idea they couldn’t turn into a suite. Lots of fanfares here, shifts in tone and melody, and a gay flugelhorn solo, which no one — no one — had asked for. songs): 36
UCR Ranking (36 out of 167 songs): Wright joins together the best, orchestral touches (big, brassy horns) of Atom Heart Mother’s overstuffed title epic with some of the more pastoral qualities of Waters’ and Gilmour’s solo contributions to create the album’s best song. As such, this track – about Wright’s empty feelings following meaningless groupie encounters – is both gentle and bombastic, calm and upset, simple and baroque. Few “summer songs” are so complicated.
Appeared On: 3 ballots (out of 32 . . . 6.3%)
Total Points: 20 points (out of 825 possible points . . . 2.4%)
Top Rankers: @Mookie Gizzy @Desert_Power @Pip's Invitation
Highest Ranking: 15
Live Performances:
PF: None
DG's PF: None
DG: None
RW: None
NM: None
Covers: Rosebud, Charade Breeze Band, Alex Bollard, Polenta Con Pajaritos, Jeff Bernheart, Lahm, Nanaue, Marco Montagnini
Summer '68 is our next selection, the prequel to the better known and more popular song by Bryan Adams that came out 17 years later. Keyboardist Richard Wright wrote the song, inspired by his experience recording the soundtrack of the film More. The narrative captures the emotion of a young man's wild and reckless summer. Like Stay, it's another composition focusing on touring and groupies. It's really Wright asking a groupie how they feel about what they're doing: "have you time before I leave to greet another man?" The title of the song was originally One Night Stand.
Rick sings and plays piano in this piece, about a one night stand while on the road. The lyrics, which Rick has implied are based on actual events, seem to echo regret and an unexpected concern for the feelings of the girl in question. The singer moves on, but a feeling of loss and tiredness of the rock star routine remains. Rick's feelings in some way seem better and more fully expressed by the surging instrumental theme following the chorus, which sounds as if it might be a synth horn. In the chorus, Rick's voice is processed and distorted, and overlaid several times.
Wright later said: "My lyrics are really bad and they're not saying anything that's important. A couple of songs I haven't minded being put out in terms of lyrics, like Summer '68. Although I don't think that the lyrics were good, they did at least say something that — I felt — was a real genuine feeling and therefore that's cool."
The poetic lyrics of Summer ’68 often leave many fans puzzled, with the song’s meaning open to interpretation. Some believe that the song is a reflection on the band’s music journey, while others believe that it’s about living life to the fullest before age catches up with you. Although the song seems to be about one crazy and youthful summer, the lyrics are actually a metaphor for life and how quickly it can pass by. It’s about seizing the moment, living in the present and making every second count. The line “We were young and we were improving” highlights how time speeds away before we know it and how vital it is to take advantage of every opportunity.
Critic Irving Tan described the song as "the catchiest and most-accessible track on the album." He really enjoyed Wright's vocals, the "bombastic trumpet solo breaks", and believed the track had "a groovy chorus". Reviewer Jakub Michalik called it "a catchy, fast and happy pop tune written and sung by Richard Wright" that's "one of the few songs Wright has ever done for Pink Floyd and it's actually pretty fine." The band never performed the song live.
Vulture Ranking (out of 165 songs): 47
Ultimate Classic Rock Ranking (out of 167 songs): 36
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 38
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (47 out of 165 songs): A nice tune by Richard Wright, apparently about a groupie, also has the sweet melodic feel of an early-’70s one-hit wonder, though one-hit wonders are generally economically arranged and produced well, and this is an early Pink Floyd track, so neither of those two things are true. A long time ago, I think it was Dave Marsh who cracked that Pink Floyd had never thrown an idea away; to me, the issue is more they never had an idea they couldn’t turn into a suite. Lots of fanfares here, shifts in tone and melody, and a gay flugelhorn solo, which no one — no one — had asked for. songs): 36
UCR Ranking (36 out of 167 songs): Wright joins together the best, orchestral touches (big, brassy horns) of Atom Heart Mother’s overstuffed title epic with some of the more pastoral qualities of Waters’ and Gilmour’s solo contributions to create the album’s best song. As such, this track – about Wright’s empty feelings following meaningless groupie encounters – is both gentle and bombastic, calm and upset, simple and baroque. Few “summer songs” are so complicated.
Ghost Rider
Footballguy
I am with Gilmour when it comes to The Final Cut. I love The Wall, which is one of my all-time favorites, but The Final Cut does sound like mostly a bunch of songs that weren't good enough to make The Wall.
Ghost Rider
Footballguy
I always though Summer '68 was about how Wright was sleeping with a woman in each city when the band would tour while the others were off doing stuff together.
"My friends are lying in the sun
I wish that I was there
Tomorrow brings another town
And another girl like you"
Very good song, my favorite from Atom Heart Mother, which admittedly is not an album I am overly wild about in general.
"My friends are lying in the sun
I wish that I was there
Tomorrow brings another town
And another girl like you"
Very good song, my favorite from Atom Heart Mother, which admittedly is not an album I am overly wild about in general.
Galileo
Footballguy
On my near miss list as well.
Pip's Invitation
Footballguy
Yeah, I felt the same way. Vulture’s take on this album is way off.
Galileo
Footballguy
Haven't heard this one in quite a long time. Better than I remember and a bit of an oversight on my part. It probably could have made the back end of my list somewhere, or at least on my near miss list, but I missed it.
Ghost Rider
Footballguy
If it was a near miss, then it made your list, right?
Anarchy99
Footballguy
To give people an idea about how little a dent we have made into the voting, the total points for all the songs from #51 to #100 added together = 612 points. There were 10,725 total points awarded overall . . meaning the Bottom 50 songs account for only 5.7% of all points.
Similar threads
