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When we attack a chronicle on the most consulted group of the site, I can guarantee you that the pressure is the limit of palpable (or is it gure that my manic tendencies of perfectionist perptually not fulfilled), I must therefore write a complete chronicle and effective that does honor those of my colleagues. Yeah, not easy.

In addition to this intro only intended to give me a starting point, I like to consider P.U.L.S.E. as the end point of the hallucinating story of a truly remarkable group that had as many effects on music as a prism on a polychromatic ray of light (yes I know it was easy), in short, PINK FLOYD was the ruler of multiple musical streams that each borrowed a different way, and have influenced hundreds of groups (if not more).

Since A Momentery Lapse Of Reason, David GILMOUR has breathed the music of PINK FLOYD a personal dimension, more peaceful, more volatile and more accentuated on the melody. Thus the diffuse sound of the concert values ‚Äč‚Äčconsiderably titles like Learning To Fly, Keep Talking or Coming Back To Life. On the other hand, the hard-hitting Astronomy Domine, Another Brick In The Wall (part 2) or Run Like Hell is almost anecdotal. You can not have everything.

David GILMOUR polished all his solos, and provided great work on the sound to showcase them. We will remember Sorrow, High Hopes, the traditional supplement of Another Brick In The Wall (part 2) played by Tim RENWICK, and of course an extended version of Comfortably Numb.

We will be able to further appreciate the fullness of The Dark Side Of The Moon which keeps its complexion blurring despite a version of The Great Gig In The Sky, (still) not the height of the original performance of Clare TORRY, whose items still haunt the hurricane night. Money is, of course, the most valuable title, with a multitude of shades that enhance GILMOUR's solos.

Lalbum Wish You Where Here also has its place in the list of titles. The introduction to Shine On You Crazy Diamond, with a captivating sound and fleeting sound, and Wish You Where Here, whose acoustic sound is second to the phnomnial dimension of a 12-string guitar, is interpreted in all its modesty and simplicity. nobility, without superfluous additions; that's what makes it so charming.

Traditionally, each member is accompanied by additional musicians, contributing to the surrealism of music. Rick WRIGHT is followed by John CARIN who, among others, offers an excellent vocal performance on Hey You, Nick MASON by Gary WALLIS, and David GILMOUR by Tim RENWICK, and we also note the presence of Dick PARRY, the saxophonist who accompanies the group since The Dark Side Of The Moon, Guy PRATT bass and chorus composs Sam BROWN, Claudia FONTAINE and Durga McBROOM.

PINK FLOYD has chosen to make short the psychotic excs of the time of The Wall and proposes a live perhaps more mature, and in which one will be able to perceive a will of reconciliation with the public. The last brick is present, curtain.

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