We can exclusively reveal that the title of the new album from Roger Waters, Has been confirmed to be “Is This The Life We Really Want?.
Roger Waters and Nick Mason made a rare public appearance together today at London’s Mayfair Hotel at a media briefing and Q&A session for The Pink Floyd Exhibition: Their Mortal Remains, due to open in May at London’s V&A museum.
This was followed by a Question & Answer session with Matt and Pink Floyd’s Creative Director Aubrey ‘Po’ Powell of Hipgnosis, alongside Ray Winkler, CEO of the exhibition’s designers Stufish. Po spoke evocatively and warmly of his personal history with the members of Pink Floyd, and with Syd Barrett in particular, providing a creative and cultural overview of the ups, downs and importance of Pink Floyd’s career, while Ray Winkler touched on the design and architectural elements of Pink Floyd’s live staging.
Daniel Sennheiser, CEO of audio electronics company Sennheiser, then talked about the company’s involvement with Pink Floyd from their earliest years, and their shared commitment to audio excellence, which will manifest itself in 360-degree audio mixes played in a portion of the exhibition, as well as the headphone technology used to provide aural accompaniment to the exhibits.
Finally, Roger and Nick took to the stage to answer questions from Matt Everitt and some media in the audience. With thoughtful, and occasionally hilarious, answers, they covered topics such as playing specific concerts and Roger’s forthcoming album, to be entitled ‘Is This The Life We Really Want?’, while Nick admitted that he was probably the member of Pink Floyd most likely to have kept photos and memorabilia.
Both of them professed their admiration for the V&A curation team in unearthing interesting and meaningful objects, whether historic personal letters from the band or the actual cane used to beat Roger at Cambridgeshire High School For Boys, accompanied by the school’s ‘Punishment Book’ listing the beatings.
They both looked forward to viewing the exhibition in person, including passing through the entrance, a special reconstruction of the band’s Bedford CA van, into a world of Pink Floyd history, starting with psychedelia and progressing to the ambitious stagings of the later years.
The Pink Floyd Exhibition: Their Mortal Remains, presented by the V&A and Michael Cohl’s Iconic Entertainment Studios, runs from the 13th May till the 1st October 2017.
Tickets are on sale now: in person at the V&A; online at vam.ac.uk/pink-floyd or by calling (In the UK ) 0800 912 6961 (booking fee applies); or from ticketing partners Ticketmaster, LOVETheatre, See Tickets and Encore
Animals … Pink Floyd’s Missing Link
Gilmour, Mason, Waters Reveal Band’s Evolution
February 15, 2017, Dallas, TX – North American syndicated Rock radio show and website In The Studio with Redbeard: The Stories Behind History’s Greatest Rock Bands examines the 40th anniversary of Pink Floyd Animals through interviews with David Gilmour, Nick Mason and big-concept composer Roger Waters conducted by host Redbeard.
How did Pink Floyd evolve from the sublime cynicism of Dark Side of the Moon to the madness and despair of The Wall six years later? Hear first-hand the vital importance of this transitional Pink Floyd album Animals and the tipping point on the final stadium concert of that tour which sparked the eventual building of The Wall.
“At the end of this Montreal show there was some kid trying to climb up the chain link fencing. I got so angry with this kid who was screaming all through “Mother” or one of the quieter songs, anyway, I finally got so angry I spat at this child. He was 14 or 15, I suppose. And when I came off stage afterwards I thought, ‘What have I been reduced to, here?… What has happened to the relationship between the band and the audience?’ So, the wall was something that I had experienced very powerfully through most of that tour, but specifically on that day.” – Roger Waters
“We’ve never had any sacred idea about what we think we ought to be or what we ought to sound like.” – David Gilmour
“After this long, I think people are now so used to the fact that bands are so much more dysfunctional than that (mop top “Monkees” image). There is a reality to it. When you get creative people, frequently it is of limited duration.” – Nick Mason
On 24 March 2017, Pink Floyd will release ‘The Early Years, 1965-1972: The Individual Volumes’, a series of book-bound individual collections of the band’s seminal music during those years. The six individual collections were first released as part of ‘The Early Years 1965-1972’ box set, but will now be available as bite-sized volumes broken down by years 1965-1967, 1968, 1969, 1970, 1971 and finally 1972. Outtakes and demos from the band’s early albums are included alongside live versions, as well as radio sessions and television appearances, on these packages.
The titles of each package (CAMBRIDGE ST/ATION, GERMIN/ATION, DRAMATIS/ATION, DEVI/ATION, REVERBER/ATION, OBFUSC/ATION) were dreamt up by Roger Waters to give an insight into where the band were at that particular point in their career.
‘The Early Years: Individual Volumes’ give fans the opportunity to hear the evolution of the band and witness their part in the cultural revolution from their earliest recordings and studio sessions to the years prior to the release of ‘The Dark Side Of The Moon’.
For fans wishing to immerse themselves in the full Pink Floyd story, the complete box set ‘The Early Years: 1965-1972’ is still available, and collates all of the individual volumes plus extra discs, collectables and memorabilia exclusive to the box set. In addition to the individual volumes and the deluxe set, a 2-CD highlights album ‘The Early Years – CRE/ATION’ is also available.
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I want you to cast your memory back to the year 2006, This was the year that David Gilmour released his Platinum album On An Island. Gilmour toured the album with Richard Wright, Phil Manzanera and long-time members of the live Pink Floyd band, Guy Pratt and Jon Carin. California based musician Steve DiStanislao was brought in as drummer. The shows included the entire On an Island album plus a selection of songs from the extensive Pink Floyd back catalogue.The tour is documented on the DVD/Blu-ray Remember That Night and the live album & DVD Live in Gdansk.
During this tour one of our regular forum members and a very well known glass maker in Scotland, Mr Ian Pearson has a very interesting story to tell.
“Time may indeed wait for no man but if you are “Glassman” then time can stand still. I have mixed emotions remembering 2006 and my involvement in creating a glass image of David Maciiwaines symbolic “Wireman”, featured throughout the “On an Island” promotion material. For it was in 2005 that my wife of thirty years died and I desperately needed to drown myself in a purpose to avoid my brain cells bouncing out of my head and shooting off to another planet. Hence I discovered David’s Blog and Fed who I wasn’t sure was real but all members seemed to communicate through him or her in a most interactive manner.
I am a glass artist with my own studio on the far North coast of Scotland with a reputation of being able to make anything so when I was asked could I do something in glass for Fed then for sure I could. I work glass rod and tubing in the flame so it seemed obvious to me that I could do a glass version of “Wireman”. It is about 12 inches high, mounted on a wooden base with a suitably engraved brass plate and took about twenty hours to complete.
As always making glass sculptures isn’t the whole picture as one has to make sure the finished work gets to the correct destination and person on time and without damage. So knowing I had tickets to see David at Glasgow in the Clyde Auditorium or “Armadillo” as it is known, that seemed the most appropriate opportunity to handover my glass offering. The fact that this did involve a 300 mile train journey cuddling my glass for the whole 7 hours didn’t put me off. In fact that seemed almost pleasant compared to the several hours wait outside the stage door waiting to be allowed in to hand the glass over.
Fame is always subjective and we all are famous for something to someone. Every two years I meet HRH Prince Charles in my capacity as Chairman of a local arts society, he is certainly very recognisable to many but I don’t equate the word “fame” with good nor bad. It’s just a word. I am well known in several glass circles and I believe David Gilmour is not unknown in the guitar playing world. Neither of us are more famous than the other so when I arrived at the Auditorium I naturally thought the door would be opened for me and I be given a warm welcome. Sadly that was not to be and I struggled to get through the autograph groupies. After knocking on the door which was opened a few times by security staff during a couple of hours, Polly Sampson appeared and asked me to open the box. I hadn’t realised it at the time but trying to explain what I had in the box without extracting the object seemed hard work. It was obvious that I had to show the “Glassman” to Polly who then let me in.
Joining me on my journey was a friend Bob who presents on my local radio a risk show where at 11 pm every Thursday Floyd or Floyd related music is played. I am known as “Planet Floyd” and hence I used Bob to take photos when handing over the glass. Trouble is who to hand it over to? I was backstage and it seemed many people rushing around to distract from my conversation with Polly. Guy Pratt appeared and we spoke on the intricate of stress relieving glass to avoid cracking. I knew Guy was trying to give up smoking so I had sealed a cigarette in a glass tube and engraved the message “In Emergency Break Glass” on it. He found this amusing which was the aim of the piece. We continued chatting then rick Wright appeared and join us for a photo shoot. He seemed more serious than the others. Marc Brickman came over to see what the fuss was all about and (I think) admired my glass. I wasn’t really disappointed in not meeting up with David as my focus was on ensuring Guy would take good care of the “Glassman”, which apparently he did.
After about half an hour or so we were shown to the door and exited the Auditorium. There were still many seeking autographs outside and a few of them asked me if I had got David’s and others but of course I hadn’t. I didn’t even bother to ask, they never asked for my autograph!
It was pleasing to note that a photograph of “Glassman” appeared on the cover of the DVD “Remember that Night”.
I feel slightly guilty that “Glassman” was not based on an original idea but I console myself in that the techniques I perfected during the creation were and continue to be used on other sculptures. Not too long after my Glasgow (should that be Glassglow?) I created a piece for Billy Idol and others who would rather not be named!”
We would like to send a very large token of thanks to Ian Pearson for taking the time to write this article and for allowing us to share images with you.