Pink Floyd The Later Years 16 Discs
PINK FLOYD THE LATER YEARS Released: 29 November 2019
Ultimate 16-disc collection of materials from 1987 onwards:
A MOMENTARY LAPSE OF REASON updated and re-mixed by David Gilmour and Andy Jackson
Over six hours of previously unheard audio and over seven hours of previously unseen audiovisuals from A MOMENTARY LAPSE OF REASON, THE DIVISION BELL and THE ENDLESS RIVER albums
Full unreleased audio and remastered films from 1989’s VENICE CONCERT and 1990’s SPECIAL KNEBWORTH CONCERT: unseen for decades
Unearthed footage of PULSE rehearsals and full-length Ian Emes film of THE ENDLESS RIVER
First ever release of Pink Floyd’s last live performance with David Gilmour, Nick Mason and Richard Wright together at the 2007 Syd Barrett Tribute Concert included on Blu-ray, DVD and 7” vinyl
New 5.1 mixes, first ever Blu-ray releases and unique 7” singles included
Memorabilia including replica tour programmes, a lyric book and a 60-page photo book
2-LP / 1CD highlights package also to be released
Pre-order link here: https://pinkfloyd.lnk.to/TheLaterYears
First look at WISH YOU WERE HERE LIVE at Knebworth 1990: https://pinkfloyd.lnk.to/WYWH_live
On 13 December 2019, Pink Floyd Records will release PINK FLOYD THE LATER YEARS, a 16-disc set (5xCDs, 6xBlu-Rays, 5xDVDs) covering the material created by David Gilmour, Nick Mason and Richard Wright from 1987 onwards. The period generated record sales of over 40 million worldwide and included three studio albums: A MOMENTARY LAPSE OF REASON, THE DIVISION BELL and THE ENDLESS RIVER as well as two live albums: DELICATE SOUND OF THUNDER and PULSE. With additional production from David Gilmour and Andy Jackson, over 13 hours of unreleased audio and audiovisual material, including the sought-after 1989 VENICE and 1990 KNEBWORTH concerts, PINK FLOYD THE LATER YEARS is a must for all fans.
A multi-media, deluxe box set, PINK FLOYD THE LATER YEARS presents an expanded view of the Pink Floyd story from 1987 to the present and kicks off with A MOMENTARY LAPSE OF REASON, the album that confirmed Pink Floyd as one of the world’s biggest artists.
The album, presented for the first time in 5.1, has been updated and remixed by David Gilmour and Andy Jackson. The release of The Later Years project gives an opportunity for a fresh overview of the A MOMENTARY LAPSE OF REASON album. By returning to some of Richard Wright’s keyboard parts and recording new drum tracks with Nick Mason, producers David Gilmour and Bob Ezrin have restored the creative balance between the three Pink Floyd members.
Throughout 1987 and 1988 the band’s live shows became the largest-grossing concert tour ever to that date and produced the critically acclaimed, Grammy Award nominated, DELICATE SOUND OF THUNDER. Filmed at the Nassau Coliseum in New York State, the concert shows the band on the top of their form. The concert has been fully upgraded and re-edited from the original 35mm film negatives by Aubrey ‘Po’ Powell and Benny Trickett and the sound remixed to 5.1. It also includes ‘Terminal Frost’ and ‘Welcome To The Machine’, two tracks that were not included on the original concert film release. For the first time the concert is available in 5.1 on Blu-ray and DVD.
Two of the most sought-after additions to PINK FLOYD THE LATER YEARS are the 1989 VENICE Concert, performed on a floating stage in front of St Mark’s Square, and the 1990 Silver Clef Winners performance at KNEBWORTH. Both concerts, previously unreleased, are now available on both DVD and Blu-ray (145mins). The momentous KNEBWORTH concert saw Pink Floyd topping the all-star bill (that included Paul McCartney, Dire Straits, Genesis, Phil Collins, Eric Clapton and Tears For Fears), in aid of the Nordoff Robbins charity. David Gilmour and Andy Jackson have remixed the audio from this iconic concert and all 7 tracks performed on the day (with guest musicians including sax player Candy Dulfer, the original ‘The Great Gig In The Sky’ vocalist Clare Torry, keyboard player Michael Kamen and Sam Brown with her mother, Vicki, on vocals), are released here as well as for the first time ever on CD.
Album Reviews
Frankie Lee STILLWATER. Loose
Highly anticipated follow up to Frankie Lee’s critically acclaimed 2016 debut album AMERICAN DREAMER. Whilst on Frankie Lee’s 2016 debut album the characters were set loose in a seemingly inescapable inheritance of self-destruction, on STILLWATER, they seek a path towards redemption by returning home and confronting the past. Based on the loss of youth, with a focus on the dissolution of love, as well as the real life of the working class, STILLWATER is a scrapbook of short stories, reveries and musical growth by one of America’s greatest unknown songwriters.
‘Speakeasy’ open the album on a sombre and rather dull note as it wanders along at a leisurely pace. ‘Only She Knows’ livens up the mood with a more upbeat sound but I’be yet to hear anything that sets the artist apart; that turbo-charges his alt-country/folk heart - that sets him apart. ‘Downtown Lights’ ups the ante somewhat but while lyrics are strong I’m struggling slot this into my ‘very special box’. Lee’s voice is quietly reassuring and expressive but I’m missing the passion ingredient that so often makes the difference.
The introduction of piano in ‘In The Blue’ goes some way in convincing me. Lee’s voice also reveals a sense of real feeling and, yes, passion. The song is utterly beautiful and is powered by a beautiful melody and backed by a well-judged instrumental arrangement. ‘(I Don’t Wanna Know) John’ sustains this increase in quality and connectivity. ‘Blinds’ repeats the dose with piano adding drama once more. ‘One Wild Bird’ features more aggressive piano notes initially but stays in tune with Lee’s contemplative tones for the rest of this lovely song. ‘Broken Arrow’ ventures upbeat with piano again leading the charge. This song could so easily find itself conquering the radio airwaves given a fair wind. It’s a lively song with a solid melodic underbelly, strong choruses, rockier instrumentation and another great vocal.
‘Ventura’ concludes the album with highly emotive and lyrical piano notes supporting the most sincere vocal on the album. The bittersweet song moves at glacial pace with mouth organ cementing one of the most moving songs you’ll hear all year.
4/5
Vampire Weekend FATHER OF THE BRIDE. Sony Music
Vampire Weekend is an American rock band from New York City, formed in 2006 and currently signed to Columbia Records. The band was formed by lead vocalist and guitarist Ezra Koenig, multi-instrumentalist Rostam Batmanglij, drummer Chris Tomson, and bassist Chris Baio. The band’s first album VAMPIRE WEEKEND (2008) was acclaimed by critics for its world music influences. Their following album, CONTRA (2010), was similarly acclaimed and garnered strong commercial success. Their third studio album, MODERN VAMPIRES OF THE CITY (2013), won the group a Grammy Award for Best Alternative Music Album in 2014. Batmanglij departed the group in early 2016.
The band’s fourth album, FATHER OF THE BRIDE, was released in 2019 and is their first since 2013. Comprised of 18 tracks, the album title - in typical VW fashion - has multiple layers of meaning, expressing the band’s signature paradox: creating songs that easily find a home on any playlist, but revealing their complexities upon closer listening.
The album opens on a gentle note with the countrified pop of ‘Hold You Now’. There’s a sparse instrumental backdrop featuring an acoustic guitar, gorgeous bluegrass style choruses featuring Danielle Haim, with Koenig’s voice crystal clear and melody to burn. ‘Harmony Hall’ follows in the same gentle mode albeit with a slightly more rapid pace and stronger pop orientation - great radio fodder. Choruses are catchy as are the meandering guitar sounds.
‘Bambina’ travels an even wider pop path while adding some rockier sounds. ‘This Life’ follows the same formula but I’m still waiting for that killer blow that distinguishes the album. ‘How Long’ is the album’s obvious radio single with its strong melody and highly infectious choruses. The lyrics are also some of the best here: “Tough choice? Don’t make me laugh/My life’s a joke/Your life is a gas/You broke my heart at midnight mass/Now I’m the ghost of Christmas past.” ‘Married In The Gold Rush’ is a gentle homespun highlight, again featuring Danielle Haim. Track 11, ‘Sympathy’ reveals the band’s rockier and more distinctive side (at last) as it speeds along with a strong Latin rhythmic hum. For me this is the business end of the album.
‘Sunflower’ features a wonderful opening spell of guitar and even some Swingle Singers style musings. It’s different and good. ‘Flower Moon’ introduced electronic vocal distortion to the intro followed by a swift Latin rhythm and a sound package that is somewhat seductive. ‘Stranger’ is the album crowning beauty of a song with Koenig is fine and expressive voice exhibiting his wide vocal range. There’s also a strong melody which carries the song along. The album concludes on another emotive little number. ‘Jerusalem, New York, Berlin’ has floating piano notes, a sensitive vocal and lyrics which move: “I know I loved you then/I think I love you still/But this prophecy of ours/Has come back dressed to kill.”
3.5/5
Beatles ABBEY ROAD 50 Years On
THE BEATLES REVISIT ABBEY ROAD WITH SPECIAL ANNIVERSARY RELEASES
AVAILABLE EVERYWHERE SEPTEMBER 27, 2019
Abbey Road Presented with New Mixes in Stereo, 5.1 Surround, and Dolby Atmos; Expanded with Previously Unreleased Session Recordings and Demos.
It was 50 years ago today, on August 8, 1969, that the world’s most famous band stepped out from London’s EMI Recording Studios to stride, single-file, across the black and white stripes of Abbey Road’s nearby zebra crossing. With photographer Iain Macmillan balanced on a stepladder and one policeman stopping the street’s light traffic, The Beatles crossed back and forth three times, led by John Lennon, followed by Ringo Starr, Paul McCartney, and George Harrison. Just six photos were taken, with the fifth selected as the cover shot for The Beatles’ penultimate studio album, ABBEY ROAD, named after the tree-lined street in which the studios are located. Released September 26, 1969, ABBEY ROAD was not The Beatles’ final album, as LET IT BE followed in 1970, but it was the last one John, Paul, George, and Ringo recorded together as a band. The Beatles will celebrate ABBEY ROAD’S anniversary with a suite of beautifully presented packages to be released worldwide on September 27 by Apple Corps Ltd./Capitol/UMe. Now available for pre-order, the album’s 17 tracks are newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo, high res stereo, 5.1 surround, and Dolby Atmos, accompanied by 23 session recordings and demos, most of which are previously unreleased.
“The Beatles recording journey had gone through many twists and turns, learning curves and thrilling rides. Here we were – still wondering at the magic of it all,” McCartney recalls in his written foreword for ABBEY ROAD’S anniversary edition packages.
This is the first time Abbey Road has been remixed and presented with additional session recordings and demos. The album’s sweeping new edition follows the universally acclaimed remixed and expanded anniversary editions of SGNT. PEPPER’S LONELY HEARTD CLUB BAND and The BEATLES (’White Album’) released in 2017 and 2018, respectively. To create ABBEY ROAD’S new stereo, 5.1 surround, and Dolby Atmos mixes, Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios. All the new ABBEY ROAD releases feature the new stereo album mix, sourced directly from the original eight-track session tapes. To produce the mix, Giles was guided by the album’s original stereo mix supervised by his father, George Martin.
“The magic comes from the hands playing the instruments, the blend of The Beatles’ voices, the beauty of the arrangements,” Giles Martin explains in his written introduction for the new edition. “Our quest is simply to ensure everything sounds as fresh and hits you as hard as it would have on the day it was recorded.”
ABBEY ROAD’S Super Deluxe box set presents 40 tracks – including ‘The Long One’ Trial Edit & Mix for the album’s epic Side 2 medley – on three CDs (stereo) and one Blu-ray disc (Dolby Atmos, 96kHz/24 bit high resolution stereo, and 96 kHz/24 bit DTS-HD Master Audio 5.1). The four discs are housed in a slip-sleeved 12” by 12” 100-page hardbound book with McCartney’s foreword; Martin’s introduction; insightful, in-depth chapters written by Beatles historian, author, and radio producer Kevin Howlett covering the months preceding The Beatles’ ABBEY ROAD sessions, track-by-track details and session notes, the cover art and photo shoot, and the album’s reception upon its release; plus an essay by music journalist and author David Hepworth looking at the album’s influence through 50 years. The gorgeous book is illustrated with rare and previously unpublished photographs, including many taken by Linda McCartney; never before published images of handwritten lyrics, sketches, and a George Martin score; Beatles correspondence, recording sheets, and tape boxes; and reproduced original print ads. The Super Deluxe digital audio collection presents all 40 tracks for download purchase and streaming in standard and MFiT formats, as well as in high resolution audio (96kHz/24 bit) for download.
ABBEY ROAD’S limited edition Deluxe vinyl box set features all 40 tracks from the Super Deluxe collection on three 180-gram vinyl LPs. The album’s new stereo mix LP is packaged in a faithfully replicated sleeve, with the two Sessions LPs paired in their own jacket, presented with a four-page insert in a lift-top box. The Deluxe 2CD set pairs the new stereo mix with versions taken from the session takes and demo recordings of its 17 songs, sequenced to match the album’s running order. The two discs are presented in a digipak with a 40-page booklet abridged from the Super Deluxe book. The album’s new stereo mix is also available in 1CD and 180-gram 1LP vinyl packages, for digital download in standard and MFiT audio, and on a limited edition picture disc vinyl LP illustrated by the album’s front and back cover art images.
ABBEY ROAD’S Super Deluxe and Deluxe vinyl box sets’ 23 session and demo recordings are presented in chronological order of their first recording dates. ‘I Want You (She’s So Heavy)’ leads the charge:
For an overnight session on February 22, 1969, The Beatles were joined at London’s Trident Studios by producer George Martin and engineer Glyn Johns to record ‘I Want You (She’s So Heavy)’. ABBEY ROAD’S new edition combines a take from that session with the concluding part of the Trident master’s eight-track reduction mix made later at the EMI studios, revealing for the first time Billy Preston’s thrilling overdubbed organ solo. With their amps turned up high, The Beatles received a noise complaint from one of the studio’s neighbours in the Soho area of the city. The take starts with Lennon exclaiming, “My boys are ready to go!,” before the band is told about the complaint. Lennon replies, “What are they doing here at this time of night?,” then lays it down: “Well, we’ll try it once more very loud. And then if we don’t get it, we’ll try it quiet, like it might do it the other way. OK. The loud one, last go. Last chance to be loud!”
In the same month that the raucous Trident session took place, McCartney recorded a home demo of ‘Goodbye’ for the Apple-signed singer Mary Hopkin and Harrison recorded a solo demo of ‘Something’ at EMI Recording Studios. Both demos are featured on ABBEY ROAD’S new edition. ‘Goodbye’ makes its release debut. Although previously released on Anthology 3 in a version featuring guitar and vocal, the new anniversary mix of George’s ‘Something’ demo features for the first time vocal, guitar and piano.
Jeff Buckley Grace 25th Birthday
Columbia/Legacy Recordings Celebrates 25th Anniversary of Jeff Buckley’s GRACE with Multiple First Time Digital Releases and Expansion of Artist’s Catalogue Online.
It’s been 25 years since Jeff Buckley released his influential album GRACE. To mark the occasion Sony will be digitally releasing a body of live albums on 23 August.
Four Rare Concert Albums, Long Awaited First Release of ‘Sky Blue Skin’ Demo, Expanded Editions of GRACE, SKETCHES FOR MY SWEETHEART THE DRUNK, and MYSTERY WHITE BOY Coming Friday, 23rd August
Columbia/Legacy Recordings, the catalogue division of Sony Music Entertainment, will celebrate the 25th anniversary of Jeff Buckley’s immortal GRACE album with an epic expansion of the artist’s online catalog, delivering more than 50 rare and sought-after tracks to DSPs for streaming or downloading on Friday, 23rd August, 2019.
The upcoming slate of Jeff Buckley digital titles includes the long-awaited first-ever official release of ‘Sky Blue Skin’, a highly-sought-after collector’s track, one of the last demos recorded by Jeff at his final studio session in 1996.
Twenty-five years after the arrival of GRACE, Columbia/Legacy is releasing four complete live sets contemporaneous to the album - LIVE AT WETLANDS, NEW YORK, NY 8/16/94, LIVE FROM SEATTLE, WA, May 7, 1995, Cabaret Metro, Chicago, IL, May 13, 1995, and, for the first time in its entirety, LIVE AT COLUMBIA RADIO HOUR (a special full-band show recorded 4th June, 1995 at Sony Music Studios in New York City). Most of the music on these live concert recordings is previously unreleased.
Also, coming 23rd August, three classic Jeff Buckley titles - GRACE (Legacy Edition), SKETCHES FOR MY SWEETHEART THE DRUNK, and MYSTERY WHITE BOY - will be digitally delivered globally with bonus tracks (originally available only on international pressings) and additional newly available material.
The 25th anniversary of GRACE is being commemorated with the release of the album on gold vinyl, at select stores across the UK.
A new line of merchandise celebrating GRACE has been launched on Jeff’s website. Included in the line are T-shirts, tote bags, guitar picks, and a breath-taking canvas print of one of Jeff’s drawings.
Album Reviews
Joy Williams FRONT PORCH. Sensibility Recordings/Thirty Tigers
Joy Williams is a singer-songwriter from Santa Cruz, CA who now lovingly calls Nashville, TN home. Formerly of four-time Grammy Award-winning Folk, Country and Americana duo The Civil Wars, Joy recently recorded her forthcoming solo album, Front Porch, produced by Kenneth Pattengale of The Milk Carton Kids. Following the recent birth of her second child, Joy is steadily performing new music from Front Porch live in advance of the album’s release on May 3rd.
“So much of this is about coming home. Whether to a physical place or to yourself. The lines on my face, I can see them more clearly now. But a lot of them are laugh lines. This record feels like breathing more deeply into who I am. Come what May.” - Joy Williams
This is one beautiful and moving alt-country/folk album. The secret to Williams’ success on this album is emotive and real song-writing, liquid and expressive vocals, and the most judicious acoustic instrumental arrangements. All qualities are vividly displayed on track 1, ‘Canary’. Intimate acoustic guitar notes (by Anthony Da Costa) are joined by one of the finest and most expressive USA folk voices I’ve heard. There’s truckloads of melody and heart-breaking lyrics: “There’s a shadow hanging heavy/There’s a cold chill in my bones/It’s a steep road, high and weary/It’s a long, long way from home/But I will not shut my eyes/No, I will not fall silent…Canary in the mine/Oh I will, honey I will/I will sing/I will sing.”
Love and loss feature in the next title track ‘Front Porch’: “If never you find what you’re looking for/Come on back to the front porch/Say my name through the screen door/Come on back to the front porch/Whatever you’ve done, it doesn’t matter/’Cause darling we’re all a little splintered and battered.” It’s sung with so much feeling that its sentiments ring true to life. The sensitive instrumental arrangement also adds to the deeply felt emotions. Similarly, ‘When Does A Heart Move On’ echoes bittersweet memories and desires: “When Does A Heart Move On/When does a heart move on?/Do you know the moment that it’s over?/’Cause we could drag this on and on/Tried to be strong but it’s been too long/When does a heart move on?” Williams has the knack of adapting her voice to each song’s vibe and meaning, as she does here. Melody is omnipresent and makes her songs and performances highly accessible and not only to lovers of the genre.
I’ll mention one more song on this masterpiece of an album. ‘Preachers Daughter’ will connect with many listeners through its recollections of a father: “Preacher’s daughter, I love my father/Turned wine from water in my eyes/Bound together, sweet surrender/I forever know that I’m a preacher’s daughter.” There are twelve stunningly beautiful songs, intimately performed and meticulously produced. This is my first 5/5 of 2019 and is therefore essential listening.
5/5
Craig Finn I NEED A NEW WAR. Partisan Records
Craig Finn is the frontman of The Hold Steady, however he also an incredible singer-songwriter in his own right. His new solo album is called I NEED A NEW WAR. It is Craig’s third solo record on Partisan (his fourth overall) and it cements him as one of today’s most vital storytellers, among the ranks of Leonard Cohen and Tom Waits. It follows 2017’s album WE ALL WANT THE SAME THINGS, which saw him described as a “master story-teller” (The Guardian) and “becoming an elder statesman of rock n’ roll the right way” (The Line Of Best Fit). It received critical acclaim across the board, from Pitchfork (”a remarkable record”), to Q (”desperately moving”), Mojo (”his ability to put you right there is a gift”) and more. ‘I Need A New War’ feels like another confident step forward from Craig. He tells the stories of people on the margins, focusing on characters who are lost and who have been left behind. There is nothing glamorous about their stories, it is a very “daytime” portrait of these characters. These are also the least American-specific songs that Craig has ever written.
The opening track, ‘Blankets’, reveals all you need to know about this wonderful album…Finn’s music is narrative in nature, lyricallt strong and real, melodically and instrumentally compelling, with a voice that is natural, strong and expressive. The music is highly rhythmic and rocky with a blues edge. Finn mixes dialogue with singing very effectively while lyrics are simple and direct: “I met her at a racetrack/It was right before some concert/On a blanket selling bracelets/She was searching for a sponsor/I moved her to Montana/We hung for several summers/It got druggie and we crumbled/But still I never haven’t loved her…”
The song is just over four minutes of stylish storytelling.
‘Magic Marker’ has a more jagged rhythm punctuated by sharp sax notes and traditional style backing vocals. Another great set of storytelling lyrics underpinned by a solid melody does the trick: “There were times that all that freedom/Had me wasted, wild, and bored/Shootin’ through the ceilin’/Shakin’ off the desert storm/Reachin’ out for somethin’/Trying to let go of war/Hopin’ hard for somethin’”…Art reflecting real life? Another great song. Middway ‘Grant At Galena’ reveals the struggles that often go with art:”They sent me some letters/I did my best to ignore ‘em/I couldn’t make the payments/So they sat there unopened/They cut off the power/But I still got the water/When I lose light for reading/I walk up to the mall…”
Finn reveals much of himself here but does it in a way that instantly connects and occasionally moves. The musical style mixes rock with blues, pop with jazz and with his vry direct vocals, delights.
4/5
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