Q Magazine, September 1991

Extracts from Hipgnosis book RE: "A Nice Pair"

A blurb from the magazine "Kitchen and Bath Business,"

Reprint from the 8/28/92 edition of the Boston Globe, page 58.

(And, no the author is not Steve Morse the guitarist.)

Waters sounds a blast against war

Waters returns next Tuesday with "Amused to Death," adevastatingly acerbic, but ultimately inspiring albumabout the idiocy of war and the way it's covered ontelevision. He clearly spent hours watching the GulfWar unfold - and it left him filled with revulsion.

A centerpiece song is "The Bravery of Being Out of Range,"with this commentary vocal: "Just love those laser-guided bombs/ They're really great for righting wrongs/You hit the target and win the game." To which he adds:"With the bravery of being out of range/ We zap and maim."

Waters, his stentorian, recitative voice intact (much ofthe music will evoke "The Wall" LP), also comments oneverything from Vietnam to Tiananmen Square, amid thunderous backbeats and the searing guitar of none other than Jeff Beck on many blues-atmosphere tracks.The album plays like a soundtrack from a couch potatoTwilight Zone, though Waters strikes the target timeand again. As he finally concludes about mankind:"This species has amused itself to death."

Look for a Waters tour late this year or the beginningof next.

Exceprt from August 30, 1992, The Sunday Times

His new one, Amused to Death (Columbia, all formats, out September 7), whichLeonard co-produced, is a marked improvement. It comes heavily stamped withWater's usual apocalyptic preoccupations and his puzzling distrust of massentertainment. This time he is fgretting mostly about the ways in which television leaches war of its horror and significance. Fortunately for the restof us, Amused to Death recaptures the way the old Pink Floyd used to sound -interleaving taped voices, evocative sound effects, floaty textures and dramatic shifts in musical direction - rather more effectively than it pullsoff its grand conceptual design. "Cinema for the ears" is pushing it. Not a badreminder this, though, of that far off time when rock felt it had a dutytotry to make people think.

Article/interview from TOP magazine, September.

ROGER WATERS

The heavy hitter of rock targets war on his latest work

The reason for Waters' bonhomie lies in the release of a new album, hisfirst since _Radio K.A.O.S._ in 1987. The title of the new work is _AmusedTo Death_, a gleaming artefact co-produced by Pat Leonard (of Madonna fame)and featuring contributions from the likes of Jeff Beck, Don Henley, P.P.Arnold and Rita Coolidge.

Unsurprisingly, 'Amused To Death' is a concept album. That concept iswar, specifically the way in which, as Waters sees it, war is glamourisedas entertainment in the media. Musically, the record harks back to thehalcyon days of Pink Floyd with its grand soundscapes and unceasing searchfor that epic effect. From the opening track, 'What God Wants (Pt.1)', weknow we are in the presence of a statement.

So, does Roger Waters feel that the Pink Floyd comparison is faircomment?

"I don't mind the comparison at all. I think I may have blunderedslightly on 'Radio K.A.O.S.' by allowing myself to be persuaded to use moremodern production methods -- rather against my better judgement. There wasa lot of Fairlight programming. I went into this project absolutelydetermined to make this record in the way I knew how."

The choice of Pat Leonard, he of the slick pop song, as co-producer is aninteresting one. How did that come about?

"I talked to a few producers about the album and when I got to Pat,notwithstanding the fact that he'd never made a record that I'd liked atall, I did like him very much. We had a good conversation over the phonewhich had jokes in it. When we met, he told me he had watched a liveperformance of 'Dark Side Of The Moon' as a 14-year-old and had been a fanever since."

Moving on to weightier topics, it seems from the lyrics on the new albumthat you have a horrible fascination with war. Would you agree?

"Well, this is a concept album. It's about the relationship between usand the television set. The theatre of the album is characterised as amonkey watching a television set. War -- and Desert Storm seems a perfectexample of this -- has become a manifestation of the need that we have inthe civilised West to amuse ourselves in the exercise of entertaining anddramatic foreign policy. It's jolly good TV.

"I'm concerned that this type of gunboat diplomacy has got tied up witheconomic factors that we don't notice because it's done so subtly. Iidentify very much with the guy at ground zero, the one that might getblown to bits or see his children slaughtered. And I think, 'What the fuckfor?'. This has been one of my preoccupations for the last 20 years."

What do you hope the effect of the record will be on its audience?

"There is stuff there for people to take for their own if they'reprepared to, in the same way I took stuff from Lennon's early work, orindeed Dylan's. I hope people can understand it and that some of them mayrealise that they're not alone. Maybe we can gather together in smallgroups and make the world a better place.

"It's like certain organisations that I approve of -- AmnestyInternational and Greenpeace, for example -- have gained serious footholdsin the early nineties to the extent that most of us take them seriously.All these environmental issues are finally starting to colour the waypolicies are formed."

So if it's a quick hop, skip and a jump you're after, _Amused To Death_is not the record for you. If, on the other hand, you're up for grapplingwith something big, weighty and difficult, then Roger is your man.

This comes from Knight-Ridder newspaper in the Columbus dispatch.

"As for the rest, Gilmour said, 'something had to go in order to keep it at a somewhat reasonable price. One way or another, someone's favorite is going to be left out. Roger wanted The Final Cut to be in there and not AMLOR but the rest of us wanted it the other way around, so he was outvoted.'" [and I'm sure he did it calmly with grace - I can imagine what meetings with the 4 guys must have been like!]

on the next album"With Shine On completed, Gilmour has set his sights on the next Floyd album. Waters - who sought an injunction in 1987 to stop Gilmour from using the Pink Floyd name - was mollified with an out-of-court financial settlement, although he spears his former band mates in an interview in the latest Musician magazine. Gilmour, meanwhile, said a jam session about a year ago with Mason, Wright, and other musicians from the most recent Floyd tour made him feel optimistic about the upcoming project."

"'Rick and Nick and myself seem to be fairly well in agreement on the way we like to do things, which makes things much smoother' Gilmour said. 'We've been listening to some ideas we still have lying around, trying to think of what to do.'"

The January 8, 1993 issue of Goldmine features Pink Floyd as its cover story.

"Certainly, there is an element within the people involved thataren't that keen on every single one of them," he repliesdiplomatically, "and there was actually some opposition amongst us allto whether we should even do this at all [i.e., release them on ShineOn].

"There are lots of tracks on those early albums, on Saucerful of Secrets and these early singles, which are for real enthusiasts only,if you know what I mean," Gilmour adds, laughing, "to put itdelicately. Certainly, there are tracks that I hate on some of thesethings.

"But it's historical. I don't want to get too precious about it, we'll just put the stuff out. There are people who want it, a lot ofpeople who want it, abd I think it's an interesting little historicalhole to fill."

Another tidbit regarding Atom Heart Mother:

Gilmour does not remember the album favorably and decided to leave itoff of Shine On, though he promises it will be remastered for animproved CD version in the near future.

And regarding "When the Tigers Broke Free"

Asked if he had considered including it on the rarities disc ofShine On, Gilmour replies, "To be honest with you, it never occurredto me. The whole period of the post-The Wall period and The Final Cutperiod are all such a nightmare in my mind that I tended to blank allof that out of my thought processes. It would be a good idea. It'sa very nice track, actually. Maybe Roger should put it out on hisgreatest hits."

A bit about Welcome to the Machine, touring in general, etc., from the "Backstage" book by Bob Hassall

...We left in a group of six and spent the twenty minute ridelistening to the crew's chit-chat. I heard why 'Welcome To TheMachine' hadn't made it onto the video that had just beenreleased. Floyd are allowed to play it but Rog still has a sayin the matter concerning whether or not it goes on film. The samereason it wasn't to be played in Venice which was to be filmed andsent out "live" to 27 countries.

...During a back-stage interview at Wembley (6th of August '88). andin reply to this whole affair, David Gilmour Said:

"Well, it's my job. What can I say? It's what I do for a living. Pink Floyd is the particular career that I've chosen and have been involved with for twenty years and without a good reason, I don't see why I should pack it in. I'm 42. I've got no intention of retiring. I've got no intention of jacking this in or anything else that I do. I have no idea what I'll feel like in the future. You might see us when I'm 60, I don't know. I mean, if it's fun and people wanna come see it, it's a privilege... I mean, I might have to work otherwise!"

Nick Mason said:

"People had the tendancy to sort of feel more and more that Roger held the regins and was the controlling influence but I think when he did go, there was still realisation that we 'could' carry on. Rog is very fond of saying, "No-one's indespensable", and er... he was right".

...I went across to Bob Mardon. He's the P.T.S driver and was responsiblefor those four clusters of lights (pods) that horizontally and verticallymoved across the stage. He told me that the guy in the 'Lapse' film isactually the same guy who looks after David Gilmour's boat house/studio.The location used for the films was Grantchester Meadows, a place that'salways been close to the hearts of the band. An inspirational place,responsible for many good track back in the early days.

About the 'eagle' (used during Learning To Fly) ...Apparently because itwasn't all that good, the crew had burnt it in Manchester ('88) on thecarpark: they'd been carrying it around but not using it for too long.

Back-stage in Werchter (B), I'd seen a life size bulbman standing betweentwo white pillars (a plastic fern plant on each). There were electriccables running up one leg,... Bob told me that it was used only tobrighten up the dressing-room areas!

...Marc Brickman had worked with Roger Waters back in '84 when 'Pros AndCons' hit the road. He also had his hand in the making of 'The Gunner'sDream' film from 'The Final Cut' album (1983). Here he was again with theFloyd, this time as the lighting designer.

...Again Scott Page (sax) was busy with his video camera. More than onceI'd seen him filming the sound-checks. For his scrapbook, I imagine.

...About ten minutes before the gig started I saw Gary Wallis wanderingaround, mingling with the fans. Nobody expected one of the band to comeout to the public so he managed to stay unrecognised. In only a fewminutes everyone would be freaking to Gary's fantastic drum play but nowthey seemed to be annoyed at yet another guy pushing his way through.

...In Moscow, during 'Money', overenthusiastic fans began to throw coinsat the stage. The whole band had to wear safety helmets before they couldcarry on.

...As a point of interest, Floyd were carrying a second pig, the maindifference being that on the one, the horns protrude and on the secondthey are drawn on. They were being used at random. First one out of theflight-case, type of thing.

...Knebworth: Before the band entered the stage, there was about 20minutes of film shown on enormous video screens. Apart from getting amini history of the Floyd (made up from clips and old b/w footage), wewere also given some new scenes from the 'Lapse' film. The oarsman wouldsit on the floor, in the middle of an empty room and make rowing motions,with a glazed look in his eyes, as if reminiscing on things gone by('Signs Of Life' was shown). He'd take a feather and stare through it,trying to hold on to some vague memory (we got 'Learning To Fly').

A couple 'obits" from TAP (#56)

Leonard Cheshire

Lord Cheshire, founder of the Memorial Found for Disaster Relif, died of motor neurone disease on July 31. He was 74. After his wartime career as a bomber pilot, for which he won the Victoria Cross, Cheshire established homes for the disabled in 45 countries. He is survived by his wife and two children.

In 1990, Roger Waters said of Cheshire: " He demonstrates a complete lack of selfishness, extraordinary energy and loads of compassion."

also in TAP (which all of you probably knows):

Jeff Porcaro

Jeff Porcaro drummer with Toto, died recently of a suspected heart attack. He was 38. Porcaro played on Mother, About Face and Amused To Death.

From the 23Aug92 Datebook section of the SF Chronicle:

"Started on a shoestring 25 years ago in the bucolic glade of LosGatos, Guitar Player magazine caught the first wave of explodinginterest in rock's chief instrument, persevered and finally prospered,becoming one of those rare publications that actually communicates withthe audience it indended -- in this case, musicians. Which probablyexplains why Guitar Player can hold a silver aniversary concert and geta virtual Who's Who of the field to perform."

"Although the program probably will shift around before show time,those who already have agreed to appear at the Spetember 19 benefit atthe Warfield Theater include David Gilmour of Pink Floyd, all-aroundgreat Ry Cooder, blues immortal John Lee Hooker, session heavy LarryCarlton, unique fusion jazz specialist Stanley Jordan, and such notediconoclasts of the instrument as former David Bowie sideman AdrianBelew, Dixie Dregs frets man Steve Morse, and former Joe Satrianibassist Stu Hamm, who will appear with rockers-turned-jazzbeaux drummerSteve Smith of Journey and keyboardist Tom Coster of Santana."

"Guitarist Jeff "Skunk" Baxter of the Doobie Brothers and Steely Dan isserving as special consultant, and Dick Bright, former musical directorof the Bammies {San Francisco's music awards}, will preside over thehouse band for the event -- not an evening to be missed for guitarfans."

Subject: Extracts from Hipgnosis book RE: _A Nice Pair_

Q Magazine, September 1992

Gilmour's Garage (From Today newspaper, Jan 21)

Pink Floyd star Dave Gilmour has paid 90,000 pounds for a 10ft by 16ftgarage.

The millionaire guitarist, who co-wrote the hit Money, paid three timesthe market value for the north London lock-up.

He was so fed up with his car being broken in to that he slapped in anoffer that could not be gazumped.

"The buyer paid well over the odds," said estate agent Nigel De Keyser,who handled the sale. "Even if the market picked up, the garage wouldundoubtedly sell at a loss."

Gilmour uses a 25,000 pound BMW to ferry his family around, but is alsomad keen on Ferraris.

Asked about his new acquisition yesterday, Gilmour, 47, smiled: "I don'twant to talk about it."

But a friend said: "Few of the houses in the area have garages. Dave hadto park in the road. People have gone to great lengths to break in andsteal the radio. It was damaged several times."

Dave shares his love of cars with Pink Floyd drummer Nick Mason, who hasone of the worlds most valuable collections.

They have made a fortune from albums like Dark Side of the Moon.

The garage belonged to a couple who sold the house and disposed of thelock-up separately when the new buyers did not need one.

Andrew Lloyd Webber & Echoes (From Q Magazine Feb 93)

The Who The Hell column interview with Roger Waters in the Novemberissue of Q raised a question about the similarity between certainmusical phrases in Phantom Of The Opera and Pink Floyd's instrumentalEchoes.

Sir Andrew Lloyd Webber has now pointed out that the music of Phantomwas, in fact, taken from incidental music he himself composed for thefilm Gumshoe in 1971. We regret any suggestions of plagitarism andapologise to Sir Andrew Lloyd Webber for any embarrassment caused byour article.

Floyd Sighting in National News Magazine

In the Feb 8 Newsweek magazine here in the states, there was anarticle on p. 60 called "Turning Over a New, Old Leaf" It was about the supposed resurgence of marijuana decorations on jewelry andclothing. It's basic point was that silverpot-leaf shaped earrings, for example, are trendy again.

Here's the part that cracked me up:

"These days, pot is as much a symbol of simplicity and healthconsciousness as it is a companion to one's Pink Floyd CDs."

A bit from The Age newspaper, 20 Mar 93 (Australia):

[Roger] also accepts, albeit grudgingly, that Pink Floyd has survived his departure, just as it survived the loss of Syd Barrett. "It might be that,if you had a reasonably adept producer, Pink Floyd could go on for another200 years after the original members were dead ... It is a very powerful name."

MTV (Europe) News At Night 4th May 93:

FLOYD DEATH THREATS

"27 year old Canadian musician Gerald Jackman has been charged with extortion, after he sent a letter to Pink Floyd manager Steven O'Rourke threathning to kill the band, if he did not recive 2.2 million dollars".

PRIVATE NUMBER CALLED

"A spokesman for London Metropolian Police Force said the groupe initialy took no notice to the death threat, but became more concerned when a telephone call was made to one of their private unlisted numbers".

TRACKED DOWN BY INTERPOOL

"Jackman was tracked down by Interpool following his second demand to deliver the money to an address in Toronto".