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Pink Floyd -《A Momentary Lapse Of Reason》[MP3!]

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  • 摘要:
    发行时间1987年09月08日
    地区英国
    语言英语
  • 时间: 2006/07/15 08:21:14 发布 | 2006/07/15 08:21:14 更新
  • 分类: 音乐  欧美音乐 

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专辑中文名A Momentary Lapse Of Reason
歌手Pink Floyd
资源格式MP3
发行时间1987年09月08日
地区英国
语言英语
简介

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专辑风格:Rock
唱片公司:Sony Music Entertainment Inc.

专辑介绍:

在经历了漫长的为“Pink Floyd”名字归属权进行的诉讼之后,David Gilmour,Nick Mason 和 Rick Wright 不顾 Roger Waters 的强烈反对而于1987年发表了这张专辑“A MOMENTARY LAPSE OF REASON”。在保留了 Pink Floyd 以前的合作者 Bob Ezrin (The Wall的制作人)的同时,也会同了其它近20位音乐人参与本专辑的录制工作,象 Tony Moore,来自由 Pink Floyd 前任经纪人 Peter Jenner 管理的 Slapp Happy 乐队,这不禁让大家回味起他们早期的美好岁月,Phil Manzanera —— 前 Roxy Music 乐队的吉他手;Peter Gabriel 的副手Tony Levin 顶替 Roger Waters 在队中的位置而出任贝斯演奏;而键盘手 Patrick Leonard 则在后来成为 Madonna、Celine Dion 等超级明星的制作人,他也在 Roger Waters 后来的专辑“Amoused To Death”担任制作。

  这支由 David Gilmour 领导下的新组建的乐队所完成的歌曲与乐队从前所做的一样,继续对灵魂探讨与反省。由于 Richard Wright 只是在唱片行将完成之际重返 Pink Floyd,因此只是完成了部分歌曲的演奏工作以及参加了其后的巡回演唱会,Richard Wright 也放弃了将他的照片放进专辑的内页的权利,不过他的报酬也极为可观,周薪为11,000美圆。而整部专辑则由 David Gilmour 独立或与他人合作创作了全部十首歌曲,基本上算是 David Gilmour 的一部个人专辑。在专辑中,可以说是 David 一扫在 Waters 的阴影下掩盖了二十年后而扬眉吐气的一部作品。

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  而第一首单曲“Learning To Fly”实际上就是一曲针对 Pink Floyd 最近发生的一系列事件的非正式的颂歌,也暗示了新 Pink Floyd 在失去了 Roger Waters 后开始在乐坛重新飞翔的思想。“The Dogs Of War”,配合以极其热情的吉他和萨克斯的伴奏下,David Gilmour 的演唱表现出与 John Lennon 着名的白色专辑中的那首“Yer Blues”一样表现出极其煽情的愤怒。而在由 Andy McKay 和 Gilmour 所谱写的“One Slip”。一首不合时宜的爱情挽歌中使用了必不可少的铃声和口哨声,伴随着 Tony Levin 引人入胜般地耀眼独奏从而确保其在乐队的音场范围内处于一个突出的位置;“On Turning Away”则是一首不完整的后 Bob Geldof 时代的篇章用以建议整个世界和睦共处,而在80年代这个思维模式极为保守的年代,这两首曲目依旧获得了媒介极佳的评论;“New Machine,Parts1&2”,以一种冷漠的但又极其优美的无伴奏人声清唱形式进行了新的尝试,它如同是一篇由回声和扭曲变形的声音组成的多声部赞美诗,但被歌曲中长时间的寂静所分割撕裂。不过从中依旧看出,当这些歌曲的选材和制作思想变得较为通俗的时候,David Gilmour则表现为走一个热忱的民谣歌手或 Mark Knopfler 式的路线了。事实上,大多数歌曲是比较耐听的,甚至包括一些演奏曲。这部专辑在那个冷战尚未结束的年代所谱写出的一篇不详的长篇大论,其末了是一首对那些沉浸在对于现状自我满足的人们作出的悲哀的警视。

  “A MOMENTARY LAPSE OF REASON”其实是一部 David Gilmour 的个人专辑,就如同前面两部虽然署名 Pink Floyd,但实际却是 Roger Waters 的个人作品一样(此时的 Nick Mason 可能已经没有创作欲望而更乐于搭便车而已)。专籍于1987年九月正式发布,并于当月26号进入美国专辑榜,名列第43位,专辑于11月28日达到白金销量并最终上升到第3位;不过该专辑的CD版本却在同年10月10号登上美国CD排行榜的榜首,并停留了六周时间。在英国,它的最好排名同样也是第3位。在专辑发布的同时,乐团也仅美国推出了单曲唱片“Learning to Fly/Terminal Frost”,在美单曲榜得到70名;而在英国推出的“Tne Slip”则名列英国单曲榜45名。

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Review:

A David Gilmour solo album in all but name, heavily featuring the kind of atmospheric instrumental music and Gilmour guitar sound typical of the Floyd before the now-departed Roger Waters took over but lacking Waters' unifying vision and lyrical ability.

Biography:

Pink Floyd is the premier space rock band. Since the mid-'60s, their music relentlessly tinkered with electronics and all manner of special effects to push pop formats to their outer limits. At the same time they wrestled with lyrical themes and concepts of such massive scale that their music has taken on almost classical, operatic quality, in both sound and words. Despite their astral image, the group was brought down to earth in the 1980s by decidedly mundane power struggles over leadership and, ultimately, ownership of the band's very name. After that time, they were little more than a dinosaur act, capable of filling stadiums and topping the charts, but offering little more than a spectacular recreation of their most successful formulas. Their latter-day staleness cannot disguise the fact that, for the first decade or so of their existence, they were one of the most innovative groups around, in concert and (especially) in the studio.

While Pink Floyd are mostly known for their grandiose concept albums of the 1970s, they started as a very different sort of psychedelic band. Soon after they first began playing together in the mid-'60s, they fell firmly under the leadership of lead guitarist Syd Barrett, the gifted genius who would write and sing most of their early material. The Cambridge native shared the stage with Roger Waters (bass), Rick Wright (keyboards), and Nick Mason (drums). The name Pink Floyd, seemingly so far-out, was actually derived from the first names of two ancient bluesmen (Pink Anderson and Floyd Council). And at first, Pink Floyd were much more conventional than the act into which they would evolve, concentrating on the rock and R&B material that were so common to the repertoires of mid-'60s British bands.

Pink Floyd quickly began to experiment, however, stretching out songs with wild instrumental freak-out passages incorporating feedback; electronic screeches; and unusual, eerie sounds created by loud amplification, reverb, and such tricks as sliding ball bearings up and down guitar strings. In 1966, they began to pick up a following in the London underground; on-stage, they began to incorporate light shows to add to the psychedelic effect. Most importantly, Syd Barrett began to compose pop-psychedelic gems that combined unusual psychedelic arrangements (particularly in the haunting guitar and celestial organ licks) with catchy melodies and incisive lyrics that viewed the world with a sense of poetic, childlike wonder.

The group landed a recording contract with EMI in early 1967 and made the Top 20 with a brilliant debut single, "Arnold Layne," a sympathetic, comic vignette about a transvestite. The follow-up, the kaleidoscopic "See Emily Play," made the Top Ten. The debut album, The Piper at the Gates of Dawn, also released in 1967, may have been the greatest British psychedelic album other than Sgt. Pepper's. Dominated almost wholly by Barrett's songs, the album was a charming fun house of driving, mysterious rockers ("Lucifer Sam"); odd character sketches ("The Gnome"); childhood flashbacks ("Bike," "Matilda Mother"); and freakier pieces with lengthy instrumental passages ("Astronomy Domine," "Interstellar Overdrive," "Pow R Toch") that mapped out their fascination with space travel. The record was not only like no other at the time; it was like no other that Pink Floyd would make, colored as it was by a vision that was far more humorous, pop-friendly, and lighthearted than those of their subsequent epics.

The reason Pink Floyd never made a similar album was that Piper was the only one to be recorded under Barrett's leadership. Around mid-1967, the prodigy began showing increasingly alarming signs of mental instability. Barrett would go catatonic on-stage, playing music that had little to do with the material, or not playing at all. An American tour had to be cut short when he was barely able to function at all, let alone play the pop star game. Dependent upon Barrett for most of their vision and material, the rest of the group was nevertheless finding him impossible to work with, live or in the studio.

Around the beginning of 1968, guitarist Dave Gilmour, a friend of the band who was also from Cambridge, was brought in as a fifth member. The idea was that Gilmour would enable the Floyd to continue as a live outfit; Barrett would still be able to write and contribute to the records. That couldn't work either, and within a few months Barrett was out of the group. Pink Floyd's management, looking at the wreckage of a band that was now without its lead guitarist, lead singer, and primary songwriter, decided to abandon the group and manage Barrett as a solo act.

Such calamities would have proven insurmountable for 99 out of 100 bands in similar predicaments. Incredibly, Pink Floyd would regroup and not only maintain their popularity, but eventually become even more successful. It was early in the game yet, after all; the first album had made the British Top Ten, but the group was still virtually unknown in America, where the loss of Syd Barrett meant nothing to the media. Gilmour was an excellent guitarist, and the band proved capable of writing enough original material to generate further ambitious albums, Waters eventually emerging as the dominant composer. The 1968 follow-up to Piper at the Gates of Dawn, A Saucerful of Secrets, made the British Top Ten, using Barrett's vision as an obvious blueprint, but taking a more formal, somber, and quasi-classical tone, especially in the long instrumental parts. Barrett, for his part, would go on to make a couple of interesting solo records before his mental problems instigated a retreat into oblivion.

Over the next four years, Pink Floyd would continue to polish their brand of experimental rock, which married psychedelia with ever-grander arrangements on a Wagnerian operatic scale. Hidden underneath the pulsing, reverberant organs and guitars and insistently restated themes were subtle blues and pop influences that kept the material accessible to a wide audience. Abandoning the singles market, they concentrated on album-length works, and built a huge following in the progressive rock underground with constant touring in both Europe and North America. While LPs like Ummagumma (divided into live recordings and experimental outings by each member of the band), Atom Heart Mother (a collaboration with composer Ron Geesin), and More... (a film soundtrack) were erratic, each contained some extremely effective music.

By the early '70s, Syd Barrett was a fading or nonexistent memory for most of Pink Floyd's fans, although the group, one could argue, never did match the brilliance of that somewhat anomalous 1967 debut. Meddle (1971) sharpened the band's sprawling epics into something more accessible, and polished the science fiction ambience that the group had been exploring ever since 1968. Nothing, however, prepared Pink Floyd or their audience for the massive mainstream success of their 1973 album, Dark Side of the Moon, which made their brand of cosmic rock even more approachable with state-of-the-art production; more focused songwriting; an army of well-time stereophonic sound effects; and touches of saxophone and soulful female backup vocals.

Dark Side of the Moon finally broke Pink Floyd as superstars in the United States, where it made number one. More astonishingly, it made them one of the biggest-selling acts of all time. Dark Side of the Moon spent an incomprehensible 741 weeks on the Billboard album chart. Additionally, the primarily instrumental textures of the songs helped make Dark Side of the Moon easily translatable on an international level, and the record became (and still is) one of the most popular rock albums worldwide.

It was also an extremely hard act to follow, although the follow-up, Wish You Were Here (1975), also made number one, highlighted by a tribute of sorts to the long-departed Barrett, "Shine On You Crazy Diamond." Dark Side of the Moon had been dominated by lyrical themes of insecurity, fear, and the cold sterility of modern life; Wish You Were Here and Animals (1977) developed these morose themes even more explicitly. By this time Waters was taking a firm hand over Pink Floyd's lyrical and musical vision, which was consolidated by The Wall (1979).

The bleak, overambitious double concept album concerned itself with the material and emotional walls modern humans build around themselves for survival. The Wall was a huge success (even by Pink Floyd's standards), in part because the music was losing some of its heavy-duty electronic textures in favor of more approachable pop elements. Although Pink Floyd had rarely even released singles since the late '60s, one of the tracks, "Another Brick in the Wall," became a transatlantic number one. The band had been launching increasingly elaborate stage shows throughout the '70s, but the touring production of The Wall, featuring a construction of an actual wall during the band's performance, was the most excessive yet.

In the 1980s, the group began to unravel. Each of the four had done some side and solo projects in the past; more troublingly, Waters was asserting control of the band's musical and lyrical identity. That wouldn't have been such a problem had The Final Cut (1983) been such an unimpressive effort, with little of the electronic innovation so typical of their previous work. Shortly afterward, the band split up — for a while. In 1986, Waters was suing Gilmour and Mason to dissolve the group's partnership (Wright had lost full membership status entirely); Waters lost, leaving a Roger-less Pink Floyd to get a Top Five album with Momentary Lapse of Reason in 1987. In an irony that was nothing less than cosmic, about 20 years after Pink Floyd shed their original leader to resume their career with great commercial success, they would do the same again to his successor. Waters released ambitious solo albums to nothing more than moderate sales and attention, while he watched his former colleagues (with Wright back in tow) rescale the charts.

Pink Floyd still had a huge fan base, but there's little that's noteworthy about their post-Waters output. They knew their formula, could execute it on a grand scale, and could count on millions of customers — many of them unborn when Dark Side of the Moon came out, and unaware that Syd Barrett was ever a member — to buy their records and see their sporadic tours. The Division Bell, their first studio album in seven years, topped the charts in 1994 without making any impact on the current rock scene, except in a marketing sense. Ditto for the live Pulse album, recorded during a typically elaborately staged 1994 tour, which included a concert version of The Dark Side of the Moon in its entirety. Waters' solo career sputtered along, highlighted by a solo recreation of The Wall, performed at the site of the former Berlin Wall in 1990, and released as an album. Syd Barrett continued to be completely removed from the public eye except as a sort of archetype for the fallen genius.

www.allmusicguide.com

歌手相关链接:

http://www.pinkfloyd-co.com/
http://www.pinkfloyd.co.uk/
http://www.pinkfloyd.net/
http://www.pinkfloydfan.net/



专辑曲目

1.Signs Of Life
2.Learning To Fly
3.The Dogs Of War
4.One Slip
5.On The Turning Away
6.Yet Another Movie
7.A New Machine - Part 1
8.Terminal Frost
9.A New Machine - Part 2
10.Sorrow


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