The Endless River (Deluxe Edition - Remastered) Pink Floyd

Album info

Album-Release:
2014

HRA-Release:
06.11.2014

Label: Warner Music Group

Genre: Pop

Subgenre: Pop Rock

Album including Album cover

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  • Side 1, Pt. 1:
  • 1Side 1, Pt. 1: Things Left Unsaid04:25
  • 2Side 1, Pt. 2: It's What We Do06:21
  • 3Side 1, Pt. 3: Ebb And Flow01:50
  • Side 2, Pt. 1:
  • 4Side 2, Pt. 1: Sum04:49
  • 5Side 2, Pt. 2: Skins02:38
  • 6Side 2, Pt. 3: Unsung01:07
  • 7Side 2, Pt. 4: Anisina03:15
  • Side 3, Pt. 1:
  • 8Side 3, Pt. 1: The Lost Art Of Conversation01:44
  • 9Side 3, Pt. 2: On Noodle Street01:42
  • 10Side 3, Pt. 3: Night Light01:42
  • 11Side 3, Pt. 4: Allons-y (1)01:57
  • 12Side 3, Pt. 5: Autumn '6801:35
  • 13Side 3, Pt. 6: Allons-y (2)01:35
  • 14Side 3, Pt. 7: Talkin' Hawkin'03:26
  • Side 4, Pt. 1:
  • 15Side 4, Pt. 1: Calling03:39
  • 16Side 4, Pt. 2: Eyes To Pearls01:52
  • 17Side 4, Pt. 3: Surfacing02:47
  • 18Side 4, Pt. 4: Louder Than Words06:33
  • TBS9:
  • 19TBS902:28
  • TBS14:
  • 20TBS1404:11
  • Nervana:
  • 21Nervana05:31
  • Total Runtime01:05:07

Info for The Endless River (Deluxe Edition - Remastered)

'The Endless River represents a return to the creative principles that informed the writing process that produced Pink Floyd classics like Echoes, Shine On You Crazy Diamond and Animals.

In early 1993, David Gilmour, Nick Mason and Richard Wright set up their equipment in their own Britannia Row Studios in Islington and created more than hundred pieces of music by jamming together, interacting with each other's performances and recording the results.

They then honed the pieces at David's Astoria floating studio, played them live for 2 days at Olympic Studios in Barnes with an extended lineup (Guy Pratt on bass, Jon Carin on keyboards and Gary Wallis on percussion). After that, the core trio returned to Astoria, and worked further on the compositions, alongside co-producer Bob Ezrin, refining the structure, tempos and arrangements. The result, after lyrics and vocals were added, was the 12 million selling 'Division Bell' album.

At the time, there had been talk of a separate ambient album being created from the non-vocal tracks not subsequently issued on 'The Division Bell', but the idea was eventually dropped.

In 2014 David Gilmour and Nick Mason re-entered the studio and, starting with unreleased keyboard performances by Richard Wright, who sadly died in 2008, added further instrumentation to the tracks, as well as creating new material. The result is The Endless River, including 60% of recordings other than the 1993 sessions, but based upon them. The title is a further link, '... the endless river…' being part of the closing phrases of High Hopes, the final song of the previous Pink Floyd album.

David Gilmour describes the record as follows: ''The Endless River has as its starting point the music that came from the 1993 Division Bell sessions. We listened to over 20 hours of the three of us playing together and selected the music we wanted to work on for the new album. Over the last year we've added new parts, re-recorded others and generally harnessed studio technology to make a 21st century Pink Floyd album. With Rick gone, and with him the chance of ever doing it again, it feels right that these revisited and reworked tracks should be made available as part of our repertoire.''

Stylistically, The Endless River includes all of the musical elements that characterize Pink Floyd: mellifluous keyboards, jazz-tinged drums, musique concrete, ethereal vocals, and distinctive, emotional lead guitar. As well as Pink Floyd's trademark backing vocals, there is one vocal track, with lyrics by author Polly Samson, who also contributed to The Division Bell.'

David Gilmour, guitars, vocals, keyboards, bass guitar
Nick Mason, drums, percussion
Richard Wright, Hammond organ, piano, keyboards, synthesizer, pipe organ
Additional musicians:
Guy Pratt, bass
Bob Ezrin, bass
Jon Carin, keyboards
Damon Iddins, keyboards
Gilad Atzmon, tenor saxophone, clarinet
Escala:
Chantal Leverton, viola
Victoria Lyon, violin
Helen Nash, cello
Honor Watson, violin
Durga McBroom, backing vocals
Louise Marshal, backing vocals
Sarah Brown, backing vocals
Stephen Hawking, voice samples

Engineered by Damon Iddins, Andy Jackson
Recorded:
Royal Albert Hall (1968)
Olympic Studios (1993)
Britannia Row Studios (1993-1994)
Astoria (1993-1994, 2013–2014)
Medina Studios (2013-14)
Produced by David Gilmour, Phil Manzanera, Youth, Andy Jackson

Note: The tracks 19 and 20 are native in 44.1 kHz, 24 Bit recorded but for the mastering pushed up to 96 kHz to match the album.


Pink Floyd
Inductees: Syd Barrett (guitar, vocals; born January 6, 1946; died July 7, 2006), David Gilmour (guitar, vocals; born March 6, 1944), Nick Mason (drums; born January 27, 1945), Roger Waters (bass, synthesizer, vocals; born September 9, 1944), Rick Wright (keyboards, synthesizers; born July 28, 1945; died September 15, 2008).

Pink Floyd’s hallucinatory presentation of lights and music at London’s Roundhouse in 1966 brought psychedelia to the U.K. scene. The group carried rock and roll into a dimension that was more cerebral and conceptual than what preceded it. What George Orwell and Ray Bradbury were to literature, Pink Floyd is to popular music, forging an unsettling but provocative combination of science fiction and social commentary. In their early years, with vocalist, guitarist and songwriter Syd Barrett at the helm, Pink Floyd were the psychedelic Pied Pipers of the “London underground” scene. In the Seventies, with bassist Roger Waters providing more of the songwriting and direction, Pink Floyd became one of the most influential rock bands of all time.

Before they settled on Pink Floyd, the group went by the names Sigma 6 and the Architectural Abdabs, and they mainly performed rhythm and blues covers. Singer-guitarist Syd Barrett provided Pink Floyd with most of its original early material, including the British hits “See Emily Play” and “Arnold Layne.” Barrett’s elfin, tuneful psychedelia made him the Lewis Carroll of the pop scene. Pink Floyd’s debut album, Piper at the Gates of Dawn, is a classic of psychedelic whimsy that epitomized the remarkable year of 1967 at its most playful and creative. As the British music magazine Q opined in 1995, “Piper at the Gates of Dawn is, even counting Sgt. Pepper, possibly the defining moment of English psychedelia and Syd Barrett’s magnum opus.” Among its highlights was a nine-minute instrumental, “Interstellar Overdrive,” that represented one of rock’s first forays into deep space. It was a preoccupation of Pink Floyd’s that would later surface in songs like “Set the Controls for the Heart of the Sun” (from A Saucerful of Secrets) and the group’s masterwork, Dark Side of the Moon.

Intense experimentation with LSD unfortunately transported Barrett from enlightenment to mental instability, and increasingly unpredictable behavior necessitated his departure from Pink Floyd in 1968. Among the prime “acid casualties” of the Sixties, Barrett subsequently released two magnificent, if eccentric, solo albums – The Madcap Laughs and Barrett, both from 1970 – with considerable input from his erstwhile bandmates in Pink Floyd. Thereafter, however, Barrett became one of rock’s most legendary hermits and the subject of Roger Waters’ tributary opus “Shine On You Crazy Diamond.” It was the side-long centerpiece of Pink Floyd’s Wish You Were Here (1975) and a sterling example of what the group has referred to as its recurring “theme of absence.”

With guitarist David Gilmour on-board as Barrett’s replacement, Pink Floyd’s lineup remained constant for the next 15 years. In the wake of Piper, they recorded psychedelic soundscapes such as A Saucerful of Secrets and the double album Ummagumma, which comprised one disc of live performances and one of individual works by each band member. Laid-back but experimental, Pink Floyd kicked off the Seventies with the pastoral, atmospheric albums Atom Heart Mother (1970) and Meddle (1971). Each featured a side-long epic, “Atom Heart Mother Suite” and “Echoes,” respectively. Fittingly for a band with who took a cinematic approach to music, Pink Floyd provided music for three films. Their work as film scorers can be heard on the soundtrack albums More (1969), Zabriskie Point (1970) and Obscured by Clouds: Music from La Vallee (1972).

Their 1973 release Dark Side of the Moon hit Number One on the Billboard charts and ultimately broke all records by remaining on the Top 200 album charts for 741 weeks. Dark Side of the Moon did not drop off Billboard’s Top 200 album chart until 1988. The album signaled rock’s willingness to move from adolescence into adulthood, conceptually addressing such subjects as aging, madness, money and time. From its prismatic cover artwork to the music therein, Dark Side of the Moon is a classic-rock milestone. The subject of alienation was further explored in Wish You Were Here (1975), an album whose central preoccupation was the band members’ distance from each other (“Wish You Were Here”) and erstwhile leader Syd Barrett’s distance from reality (“Shine On You Crazy Diamond”). They turned their gaze outward yet again on the Orwellian Animals (1977), whose songs bore the titles “Pigs,” “Sheep” and “Dogs.”

Success continued into the Eighties with The Wall, a four-sided epic about a rock star named Pink who suffers a nervous breakdown while on tour. Much of it reflected chief architect Roger Waters’ dim view of the concert experience as rock expanded into arenas and stadiums. “I wanted to make comparisons between rock and roll concerts and war,” Roger Waters toldRolling Stone in 1982. He elaborated on this central tenet in the liner notes forThe Wall Live: 1980-81: “The idea that we, as individuals, generally find it necessary to avoid or deny the painful aspects of our experience, and in fact often use them as bricks in a wall behind which we may sometimes find shelter, but behind which we may just as easily become emotionally immured, relatively simply stated and easy to grasp.” That, in a nutshell, is the theme pursued by Pink Floyd from Dark Side of the Moon forward.

Possibly the most pessimistic album ever to reach #1, The Wall also addressed childhood, education and marriage, finding all of these passages to be dehumanizing. The Wall, the most theatrical and complex stage show that rock had ever seen, was performed 24 times in multi-night stands at four places - London, Los Angeles, Long Island and Dortmund, Germany. During the performance, an actual “wall” was constructed in front of the band, and its collapse at the end provided a fitting denouement. The Wall was subsequently revived by Roger Waters for a star-studded staging in Berlin in 1990, to commemorate the unification of East and West Germany. Performances from the Pink Floyd’s original staging of the epic saw release in 2000 as The Wall Live: 1980-81.

In the wake of The Wall, Pink Floyd itself gradually seemed to collapse, at least temporarily. The Wall turned out to be the last album the foursome of Waters, Gilmour, Wright and Mason recorded together. The Final Cut, which was recorded under extreme duress, found Wright absent from the group. Almost wholly Waters’ vision, it was an antiwar album triggered by Britain’s 1982 conflict in the Falkland Islands. The group unofficially disbanded after its release, and that seemed to mark the end of Pink Floyd, as the members involved themselves in endeavors, including solo projects, outside the band.

Throughout their history, the members of Pink Floyd have projected a rather static personal image, allowing music, lyrics, lighting and theatrical settings to communicate for them. Consequently, they’ve largely avoided the sort of public scrutiny that typifies the lives of rock stars. Little was known or reported about their personal lives. Only when a bitter war of words and a court battle erupted between Roger Waters and the others after Gilmour, Mason and Wright reconvened Pink Floyd was the silence broken.

Pink Floyd released Momentary Lapse of Reason in 1987 and followed it up a year later with Delicate Sound of Thunder, a live album drawn from an extensive tour. The group reconvened in the Nineties with Gilmour again at the helm, releasing The Division Bell in 1994 and another tour souvenir,Pulse, a year later. Both albums went to the top of the charts, proving that the public’s fascination with this most unconventional supergroup had not dimmed in the least. (Source: www.rockhall.com)

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