The Endless River

Total Page:16

File Type:pdf, Size:1020Kb

The Endless River A Side 1 THINGS LEFT UNSAID IT’S WHAT WE DO EBB AND FLOW A A A Side 2 SUM SKINS UNSUNG ANISINA Side 3 THE LOST ART OF CONVERSATION ON NOODLE STREET A NIGHT LIGHT A ALLONS-Y (1) AUTUMN ’68 A ALLONS-Y (2) A TALKIN’ HAWKIN’ A Side 4 CALLING EYES TO PEARLS SURFACING A LOUDER THAN WORDS Produced by David Gilmour, Phil Manzanera, Youth, Andy Jackson Engineered and mixed by Andy Jackson with Damon Iddins AUDIO-VISUAL ANISINA A UNTITLED A EVRIKA(a) NERVANA A ALLONS-Y A EVRIKA(b) AUDIO TBS9 A TBS14 A NERVANA © & p 2014 Columbia Records, a Division of Sony Music Entertainment / Distributed by Columbia Records, a Division of Sony Music Entertainment / 550 Madison Avenue, New York, NY 10022-3211 / “Columbia” Total audio-visual/audio: 39mins approx. and W Reg. U.S. Pat. & Tm. Off. Marca Registrada. / WARNING: All Rights Reserved. Unauthorized www.pinkfl oyd.com duplication is a violation of applicable laws. Side 1 Side 3 Side 4 1 / THINGS LEFT UNSAID 1 / THE LOST ART 1 / CALLING (David Gilmour/Richard Wright) OF CONVERSATION (David Gilmour/Anthony Moore) Richard Wright: Hammond organ, synthesizer, key- (Richard Wright) David Gilmour: Keyboards, guitar boards Richard Wright: Piano, synthesizer Anthony Moore: Keyboards David Gilmour: EBow and other guitars David Gilmour: Guitars, percussion Nick Mason: Percussion Bob Ezrin: Additional keyboards Andy Jackson: Effects 2 / ON NOODLE STREET 2 / IT’S WHAT WE DO (David Gilmour/Richard Wright) 2 / EYES TO PEARLS (David Gilmour/Richard Wright) David Gilmour: Guitar (David Gilmour) Richard Wright: Keyboards, synthesizers & strings Richard Wright: Fender Rhodes David Gilmour: Guitars, additional keyboards and effects David Gilmour: Guitars, bass guitar Nick Mason: Drums Nick Mason: Drums, gong Nick Mason: Drums Guy Pratt: Bass guitar Richard Wright: Farfi sa and Hammond organs, keyboards Andy Jackson: Bass guitar 3 / EBB AND FLOW Jon Carin: Synthesizers (David Gilmour/Richard Wright) 3 / NIGHT LIGHT 3 / SURFACING Richard Wright: Electric piano (David Gilmour/Richard Wright) (David Gilmour Produced by: David Gilmour: EBow guitar David Gilmour: EBow and other guitars David Gilmour: Guitars, bass guitar, backing vocals David Gilmour, Phil Manzanera, Youth, Andy Jackson Richard Wright: Synthesizers Richard Wright: Synthesizers, keyboards Engineered and mixed by Andy Jackson with Damon Iddins 4 / ALLONS-Y (1) Nick Mason: Drums Side 2 Durga McBroom: Backing vocals Original Britannia Row, Islington SUM (David Gilmour) recordings engineered by Phil Taylor 1 / David Gilmour: Guitars 4 / LOUDER THAN WORDS 1993 sessions produced by Bob Ezrin and David Gilmour (David Gilmour/Nick Mason/Richard Wright) Richard Wright: Hammond organ (David Gilmour/Polly Samson) David Gilmour: Guitars, bass guitar, VCS3 synthesizer Nick Mason: Drums David Gilmour: Vocals, guitars, Hammond organ and effects Additional engineering, programming, Richard Wright: Farfi sa organ, piano Bob Ezrin: Bass guitar Richard Wright: Fender Rhodes, piano, synthesizer sound design, assorted synthesizers and keyboards: Nick Mason: Drums Jon Carin: Synthesizer and percussion loop Nick Mason: Drums, percussion Youth, Eddie Bander and Michael Rendall Damon Iddins: Additional keyboards Bob Ezrin: Bass guitar Special thanks to Polly Samson 5 / AUTUMN ’68 for her contributions to the making of this record 2 / SKINS (Richard Wright) Louise Marshall, Durga McBroom (David Gilmour/Nick Mason/Richard Wright) Richard Wright: Royal Albert Hall pipe organ and Sarah Brown: Backing vocals Recorded at: Astoria Studio, Britannia Row Studio, Islington David Gilmour: Guitars David Gilmour: Guitar Escala - Helen Nash, Honor Watson, Medina Studio, Olympic Studio Victoria Lyon and Chantal Leverton: Strings Richard Wright: Keyboards Nick Mason: Gong Creative Director: Aubrey Powell, Hipgnosis Nick Mason: Drums, rototoms, gong Damon Iddins: Additional keyboards Design and Art Direction by Stylorouge Andy Jackson: Bass guitar 6 / ALLONS-Y (2) Front cover concept by Ahmed Emad Eldin Youth: Effects (David Gilmour) Tree illustration by StormStudios 3 / UNSUNG David Gilmour: Guitars Photography by Simon Fowler (Richard Wright) Richard Wright: Hammond organ Recording session photography by Jill Furmanovsky Richard Wright: Farfi sa organ, piano Nick Mason: Drums Photography this page (top) Andy Earl (bottom) Harry Borden David Gilmour: Guitar, piano, VCS3 Bob Ezrin: Bass guitar Storm Thorgerson (1944-2013) Jon Carin: Synthesizer and percussion loop 4 / ANISINA (David Gilmour) 7 / TALKIN’ HAWKIN’ All tracks published by Pink Floyd Music Publishers Ltd., David Gilmour: Piano, keyboards, (David Gilmour/Richard Wright) administered by Imagem UK Ltd. guitars, bass guitar, backing vocals David Gilmour: Guitars, backing vocals Management: Paul Loasby (One Fifteen) Nick Mason: Drums Richard Wright: Piano, Farfi sa organ, synthesizers Tony Smith (Tony Smith Personal Management) Gilad Atzmon: Tenor saxophone, clarinet Nick Mason: Drums Guy Pratt: Bass guitar LD Communications: Claire Singers, Doug Wright Durga McBroom: Backing vocals General technical and musical instrument Stephen Hawking: Electronic voice sample supervision by Phil Taylor the endless r iver 180 160 140 120 100 80 60 40 20 0 20 40 60 80 100 120 140 160 180 Audio-visual content: Audio content: ANISINA TBS9 (David Gilmour) (David Gilmour/Richard Wright) UNTITLED TBS14 (Richard Wright) (David Gilmour/Richard Wright) EVRIKA (a) NERVANA (Richard Wright) (David Gilmour) NERVANA (David Gilmour) ALLONS-Y (David Gilmour) EVRIKA (b) (Richard Wright) David Gilmour, Nick Mason and Richard Wright with Jon Carin (keyboards), Guy Pratt (bass guitar) and Gary Wallis (percussion) on Nervana, Allons-y and Evrika (b) Guy Pratt (bass guitar) on TBS9 and TBS14 Bob Ezrin (bass guitar) on Untitled Anisina, Nervana, Allons-y mixed by Andy Jackson and Damon Iddins Audio-visual creative director: Aubrey Powell, Hipgnosis Audio-visual editor: Benny Trickett Anisina stills: Jill Furmanovsky, Andy Earl Evrika (b) stills: Jeremy Young Audio-visual research: Andy Murray 1993 audio sessions produced by Bob Ezrin and David Gilmour 1993 sessions engineered by Andy Jackson TBS9 and TBS14 engineered by Phil Taylor Audio-visual and audio content mastered by Andy Jackson, Tube Mastering All tracks published by Pink Floyd Music Publishers Ltd., administered by Imagem UK Ltd. the endless r iver 180 160 140 120 100 80 60 40 20 0 20 40 60 80 100 120 140 160 180 the endless r iver 180 160 140 120 100 80 60 40 20 0 20 40 60 80 100 120 140 160 180 the endless r iver 180 160 140 120 100 80 60 40 20 0 20 40 60 80 100 120 140 160 180 the endless r iver 180 160 140 120 100 80 60 40 20 0 20 40 60 80 100 120 140 160 180 the endless r iver 180 160 140 120 100 80 60 40 20 0 20 40 60 80 100 120 140 160 180 the endless r iver 180 160 140 120 100 80 60 40 20 0 20 40 60 80 100 120 140 160 180 the endless r iver 180 160 140 120 100 80 60 40 20 0 20 40 60 80 100 120 140 160 180 the endless r iver 180 160 140 120 100 80 60 40 20 0 20 40 60 80 100 120 140 160 180 the endless r iver 180 160 140 120 100 80 60 40 20 0 20 40 60 80 100 120 140 160 180 LOUDER THAN The strings bend and slide As the hours glide by WORDS An old pair of shoes, your favourite blues, (David Gilmour/Polly Samson) Going to tap out the rhythm Let’s go with the fl ow, wherever it goes, We bitch and we fi ght, We’re more than alive Diss each other on sight, But this thing we do It’s louder than words These times together This thing that we do Rain or shine or stormy weather Louder than words This thing we do The way it unfurls With world weary grace It’s louder than words We’ve taken our places The sum of our parts We could curse it or nurse it The beat of our hearts and give it a name Is louder than words Or stay home by the fi re, Felled by desire, Louder than words Stoking the fl ame This thing they call soul But we’re here for the ride Is there with a pulse Louder than words It’s louder than words This thing that we do Louder than words Louder than words The way it unfurls Lyrics © Polly Samson © Pink Floyd Music Publishers Ltd., It’s louder than words administered by Imagem UK Ltd. The sum of our parts The beat of our hearts Is louder than words Louder than words the endless r iver 180 160 140 120 100 80 60 40 20 0 20 40 60 80 100 120 140 160 180 .
Recommended publications
  • RW the WALL Extended.Indd
    28 • TPi APRIL 2011 AT THE BEGINNING OF APRIL, MARK CUNNINGHAM SPENT FIVE DAYS IN MILAN WITH THE PRODUCTION TEAM ON ROGER WATERS’ THE WALL LIVE — A STUNNING, REIMAGINED TOURING VERSION OF THE PINK FLOYD CO-FOUNDER’S CLASSIC ‘ROCK OPERA’. (And he still hasn’t come back down to Earth yet...) Is it a rock concert, performance art or a cannot fail to be moved by the sheer dynamic Sean Evans, and Tyler Kisera of Tait Towers theatre show? The truth is, it straddles all of energy and unprecedented creative content in whose youthful energy and vision proved to be these genres but the end result is in a field of this new presentation. an inspiration for all. Sensible Events’ Andrew its own. Introduced by a soundtrack clip from Zweck leads as tour director and Chris Kansy Whereas the original Pink Floyd shows Spartacus, signifying the judgement of a (Van Morrison, Janet Jackson, Mary J. Blige) is in of 1980 preceded moving lights, line arrays, man who stood up to the Establishment, The the production management hot seat. hi-def video and sophisticated automation, Wall Live is separated into two Acts, each “There are plenty of artists touring with 25 this new live production of Roger Waters’ approximately 55 minutes long, with images trucks of equipment and doing their ‘froth and magnum opus, The Wall, harnesses all of of victims of conflict projected on to the bricks bubble’ shows, but nobody’s doing a production today’s advanced technologies to deliver an during the 20 minute intermission. with such intensity, depth and integrity,” said uncompromised assault on the senses.
    [Show full text]
  • Adopted Budget 2009-2010
    City of Wilsonville Oregon Adopted Budget FY 2009/10 CITY OF WILSONVILLE, OREGON FY 2009-10 QUICK FACTS AND LOCATOR PAGES City Operating Capital Urban Renewal More information & Other Projects Agency on these pages WhereȱTheȱMoneyȱComesȱFrom: Propertyȱtaxes $ȱȱȱȱȱȱȱȱ5,226,000 $ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ $ȱȱȱȱȱȱȱȱ7,050,000 69,ȱ274Ȭ276 Otherȱgovernments ȱȱȱȱȱȱȱȱȱȱ3,010,347 ȱȱȱȱȱȱȱȱ5,539,470 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 70Ȭ77,ȱ202 Chargesȱforȱservices ȱȱȱȱȱȱȱȱ14,763,346 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 70Ȭ77 Bondȱsales ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱ7,000,000 ȱȱȱȱȱȱȱȱȱ8,000,000 202,ȱ279 SystemȱDevelopmentȱCharges ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱ8,224,984 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 79 Allȱotherȱrevenues ȱȱȱȱȱȱȱȱȱȱ9,378,068 ȱȱȱȱȱȱȱȱ2,066,230 ȱȱȱȱȱȱȱȱȱȱȱȱ193,453 70Ȭ77,ȱ279 Carryover/beginningȱbalance ȱȱȱȱȱȱȱȱ26,370,848 ȱȱȱȱȱȱ16,878,180 ȱȱȱȱȱȱȱ13,453,766 28Ȭ29,ȱ279 TotalȱResources $ȱȱȱȱȱȱ58,748,609 $ȱȱȱȱȱ39,708,864 $ȱȱȱȱȱȱ28,697,219 WhereȱTheȱMoneyȱGoes: Personalȱservices $ȱȱȱȱȱȱ13,595,127 $ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ $ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 84Ȭ200 Materialsȱandȱservices ȱȱȱȱȱȱȱȱ14,893,008 ȱȱȱȱȱȱȱȱȱȱȱȱȱ37,300 ȱȱȱȱȱȱȱȱȱ1,068,492 89Ȭ200,ȱ279 CapitalȱȬȱequipment ȱȱȱȱȱȱȱȱȱȱȱȱ982,000 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 89Ȭ200 CapitalȱȬȱprojects ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱ25,284,609 ȱȱȱȱȱȱȱȱȱ3,223,500 201,ȱ286,ȱ293 Debtȱservice ȱȱȱȱȱȱȱȱȱȱ3,024,933 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱ11,853,652 255Ȭ262,ȱ283,ȱ291 Contingency/reserves ȱȱȱȱȱȱȱȱ26,251,916 ȱȱȱȱȱȱ12,808,449 ȱȱȱȱȱȱȱȱȱ7,426,025 261Ȭ264,ȱ279 Unappropriatedȱendingȱbalance ȱȱȱȱȱȱȱȱȱȱ1,580,131 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱȱ5,125,550
    [Show full text]
  • The Disastrous Impacts of Trump's Border Wall on Wildlife
    a Wall in the Wild The Disastrous Impacts of Trump’s Border Wall on Wildlife Noah Greenwald, Brian Segee, Tierra Curry and Curt Bradley Center for Biological Diversity, May 2017 Saving Life on Earth Executive Summary rump’s border wall will be a deathblow to already endangered animals on both sides of the U.S.-Mexico border. This report examines the impacts of construction of that wall on threatened and endangered species along the entirety of the nearly 2,000 miles of the border between the United States and Mexico. TThe wall and concurrent border-enforcement activities are a serious human-rights disaster, but the wall will also have severe impacts on wildlife and the environment, leading to direct and indirect habitat destruction. A wall will block movement of many wildlife species, precluding genetic exchange, population rescue and movement of species in response to climate change. This may very well lead to the extinction of the jaguar, ocelot, cactus ferruginous pygmy owl and other species in the United States. To assess the impacts of the wall on imperiled species, we identified all species protected as threatened or endangered under the Endangered Species Act, or under consideration for such protection by the U.S. Fish and Wildlife Service (“candidates”), that have ranges near or crossing the border. We also determined whether any of these species have designated “critical habitat” on the border in the United States. Finally, we reviewed available literature on the impacts of the existing border wall. We found that the border wall will have disastrous impacts on our most vulnerable wildlife, including: 93 threatened, endangered and candidate species would potentially be affected by construction of a wall and related infrastructure spanning the entirety of the border, including jaguars, Mexican gray wolves and Quino checkerspot butterflies.
    [Show full text]
  • Productionprofile
    productionprofile COINCIDING WITH HIS ON AN ISLAND ALBUM DEBUTING AT NUMBER ONE WITHIN DAYS OF HIS 60TH BIRTHDAY, THE “VOICE AND GUITAR OF PINK FLOYD” HAS EMBARKED ON HIS FIRST FULL TOUR IN 12 YEARS. MARK CUNNINGHAM REPORTS FROM AMSTERDAM... david gilmour With the surprise and awe of last summer's Pink Floyd fortunate, for not only is this venue purpose-built for association as audio provider with Mike Lowe in office. reunion at Live 8 still a spine-tingling memory in many live music, with all facilities thoughtfully designed to The highly respected Searle maintains a happy ship quarters, David Gilmour's new solo album, On An cope with the practical requirements of incoming upon which an air of polite Englishness resides. As they Island, captures a man who is clearly very happy with productions, but on a personal note, Gilmour's show say, the vibe always comes from the top, and it's a cosy his lot. Released on his 60th birthday in March, the provided an intimate audio experience unrivalled by family affair with Mrs. G documenting the tour collection — his first complete studio project since pretty much anything to date. A bold statement, photographically, guitarist Phil Manzanera's wife Claire Floyd's The Division Bell in 1994 — is a beautifully perhaps, but from the heart. Singers looking after publicity, and Wright's son-in-law mellow showcase for his unmistakable guitar sound and Although Gilmour ventured out in a minor way Guy Pratt on bass. articulate vocal style. So tranquil, in fact, that one can during 2001 and 2002 with a handful of acoustic "I've known Phil Taylor for many years and almost feel the warmth of the Mediterranean sunset shows, it's been 12 years since he's needed a full-scale because he needs to focus on David's stage that inspired Gilmour and his lyricist wife, Polly Samson.
    [Show full text]
  • The 2019 Programme
    Shenington with Alkerton’s Music & Literature Festival The 2019 Programme Shenington with Alkerton’s Music & Literature Festival Welcome to Shenfest 2019 We are again pleased to welcome our community together, with their family and friends, to have fun, to enjoy quality music and literature events and to help raise money for great local causes. Help and encouragement has come from many sources but we would particularly like to thank our sponsors and advertisers. Their kindness and generosity has allowed our costs to be covered and thus we are able again to make entry to all events FREE. We would like to encourage everyone attending to make donations at each event to help maintain our two beautiful Norman churches and to support the inspiring work of the Banbury Young Homelessness Project (BYHP). The programme summary for Shenfest 2019, complete with timing and location details, is on the back page of this brochure. The festival begins with an evening of jazz and swing from the Great Central Big Band, followed by more contemporary music in The Bell. Little Shenfest has a Narnia theme at lunchtime on Saturday and is followed by a talk in Alkerton church by Jacqui Furneaux about her extended trip through Asia and South America on a Royal Enfield Bullet motorbike. We are then very fortunate to have a quintet from the London Mozart Players as our main musical event on Saturday evening. In contrast, The Bell will then host The Popes until late into the evening. On Sunday afternoon the Sloggers again take on The Authors at the cricket ground in Wroxton.
    [Show full text]
  • Read Razorcake Issue #27 As A
    t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing.
    [Show full text]
  • ROGER WATERS.Qxd 19/7/06 15:17 Page 2
    ROGER WATERS.qxd 19/7/06 15:17 Page 2 productionprofile White and Andy Fairweather-Low, drummer Graham Broad, with backing vocalists experiments progressed it became clear that this method could be hard to control in Katie Kissoon, P. P. Arnold and Carol Kenyon, while impressive newcomer guitarist inclement weather. Dave Kilminster now takes on most of Gilmour's parts. Also in the line-up, on As with all the best challenges, Hangman then received two key pieces of keyboards, are Waters' hirsute son Harry and Jon Carin, fresh from a break in information: a) that no one could recall the original sheep ever working more than Gilmour's touring itinerary... how very incestuous! once; and b) that what Waters really hoped to see was some kind of conveyor belt The tour, which began in Europe at Lisbon's Rock In Rio festival on June 2 and of sheep, as if in an abattoir. embarks on a North American leg throughout September and October, features the “In order to create the impression that the sheep are in some kind of macabre production accessories pioneered by Floyd such as giant inflatables (check the procession before they fall, we needed to find a way of flying them over and across astronaut!), creative video and surround sound. The scenic design also benefited the audience at the same time,” said Hangman co-founder, Chesters. from the input — at various intervals — from the band's associates Jonathan Park and Various concepts were explored, including a catenary that would slide a herd of Mark Fisher, while Hangman handled its actual delivery with medal-worthy sheep down over the audience and flying two separate sets of sheep on different diplomacy.
    [Show full text]
  • Press Release 1/5
    PRESS RELEASE 1/5 IN THE CATHEDRAL OF SOUND: “THE PINK FLOYD EXHIBITION: THEIR MORTAL REMAINS” • After London and Rome, the interactive exhibition at the Dortmunder “U” Centre for Arts and Creativity looks back on the 50-year history of the British cult band • The innovative Sennheiser audio guide and 360-degree audio installations provide a thrilling experience in sound and vision Dortmund/Wedemark, 23 August 2018 – Higher and higher it climbs. The escalator in the Dortmunder “U" goes right up to the sixth floor. Having arrived at the top, visitors can also marvel at reaching a summit in audio-visual experience. From 15 September 2018, they can see – and of course hear – “The Pink Floyd Exhibition: Their Mortal Remains”. This interactive multimedia exhibition runs until 10 February 2019. After Rome and London, where the retrospective was very well received, Dortmund is the first and only venue in Germany. It presents a review of the British cult band’s creative work: fifty years of music history over an area of 1,000 square metres, illustrated chronologically on the basis of more than 350 exhibits, perfectly matched with innovative audio technology that allows the visitors to immerse themselves in the unmistakable sound of Pink Floyd. And Sennheiser is the audio partner responsible. Fascinating worlds of sound have been created, bringing the band’s career, its albums, its sound engineering and its performances to life in a stunning audio-visual display. The Dortmunder U – Centre for Arts and Creativity is presenting the major Pink Floyd retrospective “The Pink Floyd Exhibition: Their Mortal Remains“ from 15 September 2018 to 10 February 2019.
    [Show full text]
  • “WISH YOU WERE HERE” RECORDING SESSIONS ROGER WATERS Di Jill Furmanovsky
    “WISH YOU WERE HERE” RECORDING SESSIONS ROGER WATERS di Jill Furmanovsky Luogo: Abbey Road Studios, Londra. Data: 1975. ll racconto: “Erano passati solo alcuni mesi dal tour di Dark Side of the Moon e Storm mi contattò chiedendomi di andare negli studi di registrazione di Abbey Road per fotografare i Pink Floyd al lavoro. Mi chiese anche di fotografare usando la massima discrezione. Iniziò così la mia esperienza quotidiana al fianco della band che stava per creare uno dei capolavori della musica contemporanea.” Edizione: Edizione 30. Qualità di stampa: stampa Fine Art digitale d’archivio su carta Hahnemuhle. Catalogo: PINKFLOYD001JF “WISH YOU WERE HERE” RECORDING SESSIONS DAVID GILMOUR di Jill Furmanovsky Luogo: Abbey Road Studios, Londra. Data: 1975. Il racconto: “Sfortunatamente non mi trovavo in studio durante la leggendaria visita di Syd Barrett, il 9 giugno del 1975. Syd, grande amico e membro della band fino al 1968, lasciò i Pink Floyd per problemi psichici legati all’abuso di LSD. Syd apparve senza preavviso nel mezzo di una sessione di registrazione e venne riconosciuto a fatica dagli altri. Era molto ingrassato ed aveva la testa e le sopracciglia rasate. Dopo attimi di sconcerto generale, Gilmour lo invitò al suo ricevimento di nozze presso gli uffici della EMI, che si svolgeva proprio quel giorno. Syd accettò di seguire i compagni ma poi scomparve così come era apparso e nessun membro della band lo vide più fino al giorno della sua morte, nel 2006. “Shine on you crazy diamond” è dedicata a lui.” Edizione: Edizione 30. Qualità di stampa: stampa Fine Art digitale d’archivio su carta Hahnemuhle.
    [Show full text]
  • Arturia Farfisa V User Manual
    USER MANUAL ARTURIA – Farfisa V – USER MANUAL 1 Direction Frédéric Brun Kevin Molcard Development Samuel Limier (project manager) Pierre-Lin Laneyrie Theo Niessink (lead) Valentin Lepetit Stefano D'Angelo Germain Marzin Baptiste Aubry Mathieu Nocenti Corentin Comte Pierre Pfister Baptiste Le Goff Benjamin Renard Design Glen Darcey Gregory Vezon Shaun Ellwood Morgan Perrier Sebastien Rochard Sound Design Jean-Baptiste Arthus Jean-Michel Blanchet Boele Gerkes Stephane Schott Theo Niessink Manual Hollin Jones Special Thanks Alejandro Cajica Joop van der Linden Chuck Capsis Sergio Martinez Denis Efendic Shaba Martinez Ben Eggehorn Miguel Moreno David Farmer Ken Flux Pierce Ruary Galbraith Daniel Saban Jeff Haler Carlos Tejeda Dennis Hurwitz Scot Todd-Coates Clif Johnston Chad Wagner Koshdukai © ARTURIA S.A. – 1999-2016 – All rights reserved. 11, Chemin de la Dhuy 38240 Meylan FRANCE http://www.arturia.com ARTURIA – Farfisa V – USER MANUAL 2 Table of contents 1 INTRODUCTION .................................................................... 5 1.1 What is Farfisa V? ................................................................................................. 5 1.2 History of the original instrument ........................................................................ 5 1.3 Appearances in popular music ......................................................................... 6 1.3.1 Famous Farfisa users and songs:..................................................................... 7 1.4 What does Farfisa V add to the original? .........................................................
    [Show full text]
  • And So It Happened and Not by Chance
    And So It Happened and Not by Chance by Sister Pulcheria Sparkman, SSMO Book Two Copyright © Sisters of St. Mary of Oregon This copy was typeset by Henry Strobel from the typewritten annotated manuscript for internal use with permission by St. Boniface Archives & Museum, Sublimity, Oregon March 2008 Beaverton, Oregon, 2008 This is Book Two, continuing the order’s history from about 1899 to 1965 in Beaverton. Sister Pulcheria, Director of Studies and Historian, joined the order in 1910 and died in 1980. TABLE 0F CONTENTS, BOOK TWO Page PART III CHAPTER I - The Fourth Archbishop of Oregon City (1899-1925) .................................... 5 A New Friend for the Sisters 5 The Archbishop's Greatest Work 5 The Archbishop Sends Us Two Postulants (Sr. M. Annunciata and Sr. M. Regis) 5 Two Decades of Visible Growth 6 St. Alphonsus Academy, Tillamook 6 A Deep Well 7 The Primary Pupils Act Mother Goose 7 Georgia Vidito Makes Her First Holy Communion 7 CHAPTER II - Guests at St. Mary's Home ........................................................ 7 Father Anthony Moore 8 The Fifth Superintendent of St. Mary's Home 8 Father Murphy at St. Mary's Home (1905-190?) 8 The Archbishop and His Priest 9 The First Automobile Ride - 1906 9 State Highway Number 9 St. Louis - District 59 10 Sacred Heart School, Gervais 10 St. Stephen's - Portland Holy Cross School - Portland 10 St. Francis of Assisi School - Roy 10 St. Cecilia's School - Beaverton, and St. Matthew's School, Millsboro 11 St. Agatha's School - Sellwood 11 St. John Baptist School - Milwaukie 11 St. Andrew's School - Albina 11 St.
    [Show full text]
  • Find Your Greek Island Love Match
    6 *** Sunday 20 June 2021 The Sunday Telegraph The Sunday Telegraph Sunday 20 June 2021 *** 7 Greece Tile style: Pyrgi ciples – from Orthodox pilgrims to jet- Tinos by accident – they hopped over village in Chios is setting fashion editors – Patmos is the from Mykonos while waiting for a little known but full of character Alpha and Omega of Greek islands. delayed flight. “We’d visited lots of Patmos is an eight-hour ferry ride Aegean Islands, though Tinos, typified Find your At the helm: from Athens. The nearest international in guides as a Greek Lourdes, somehow island hop airport is five islands away. Scott got missed,” recalls Peter. “We found around the Williams (01749 812721; scottwilliams. beautiful landscapes, fields of arti - archipelago by co.uk) has a couple of handsome villas on chokes, heavenly beaches and excellent hiring a boat Patmos, from €2,900 (£2,490) per week. tavernas. In a green valley dotted with car-free villages, someone showed us an ancient, dilapidated house once the Greek island home of a bishop. It was for sale. Our life K suddenly changed – too big to restore is for Kea for just the two of us, we created a hotel set among quiet terraces.” Filled with The closest to Athens of all the Cyclades, contemporary art and design, local Kea is a game of two halves. The yacht marble, mosaics, and antiques, Xinara love match set flirt over lobster spaghetti in the bays House is one of the most exceptional of Vourkari and Koundouros, while pur- guesthouses in Greece. ists commune with nature in the oak- Prices per night (low season) from Quick fling or lengthy affair, you’ll find your ideal clad hills, where sheep huddle around €100 (£85) for 2-3 people, €375 (£320) ice-cold springs, and farmers till their for 8-10 people (xinarahouse.com).
    [Show full text]