Watch the Rare Reunions of Pink Floyd: Concerts from 2005, 2010 & 2011

How many reunions will it take before we’ve final­ly seen the end of Pink Floyd? I’m not com­plain­ing, mind you, but mar­veling at how durable an out­fit the band has been for their fifty-year, on again, off again his­to­ry. Yet aside from the occa­sion­al char­i­ty show, they’ve most­ly been off, hav­ing sup­pos­ed­ly called it quits after 1994’s Divi­sion Bell. As the A.V. Club reminds us, “Pink Floyd has not real­ly exist­ed since Pulp Fic­tion was in the­aters.” Now, after twen­ty years of dor­man­cy, they’re back with a new album, The End­less Riv­er—David Gilmour and Nick Mason’s rework­ing of Divi­sion Bell sessions—due out Novem­ber 10th (see a track­list and hear teasers here). “It’s a shame,” Gilmour tells Rolling Stone, “but this [album] is the end.”

Yeah, we’ve heard that before. This time, it’ll prob­a­bly stick. Key­boardist Richard Wright died in 2008 (the new album is a trib­ute to him), Gilmour and Roger Waters have had a most­ly icy rela­tion­ship, and drum­mer Nick Mason has chan­neled his pas­sion, and for­tune, into clas­sic cars. But it does seem like­ly that they’ll take the stage again, at least for a one-off per­for­mance, as they have a hand­ful of times through­out the years.

Today in trib­ute to their longevi­ty, or their refusal to fade away, we bring you a few of those reunion shows, begin­ning at the top with their Live 8 reunion con­cert in London’s Hyde Park in 2005, a ben­e­fit orga­nized by their old friend Bob Geld­of to coin­cide with the G8 sum­mit. This con­cert is the last time all four mem­bers would play on stage togeth­er, joined by a host of guest musi­cians, and they sound amaz­ing. Gilmour ruled out any fur­ther shows after this, but then two years lat­er, he joined Waters onstage at an event for the Hop­ing Foun­da­tion to ben­e­fit Pales­tin­ian chil­dren. See them play for an inti­mate crowd of just 200 in the video above.

While Roger Waters offi­cial­ly left the band in 1985 on acri­mo­nious terms, he has con­tin­ued to tour both his solo mate­r­i­al and his Floyd music, per­form­ing a solo ver­sion of the The Wall Live to huge audi­ences in North Amer­i­ca and Europe since 2010. At one of those shows, in 2011 at London’s O2 Are­na, Gilmour joined him onstage—atop the wall—for “Com­fort­ably Numb” (above), then returned with a man­dolin, and Nick Mason with a tam­bourine, for “Out­side the Wall” (below).

It seems cyn­i­cal to call the remain­ing mem­bers’ occa­sion­al appear­ances togeth­er oppor­tunis­tic since they gen­er­al­ly only occur at char­i­ty events. But giv­en how long it’s been since they’ve released any­thing new, we might well ask, as the title of their 2011 remas­ter project has it, “Why Pink Floyd?” Why new music, and why now? Since their spaced-out psy­che­del­ic debut, they’ve made increas­ing­ly thought­ful, fine­ly-craft­ed albums for very patient lis­ten­ers, veer­ing into rock opera, stretch­ing out into space opera, becom­ing more and more cin­e­mat­ic in scope. It’s those long, com­plex arrange­ments (like Wish You Were Here and 1977’s Ani­mals), tied togeth­er by Gilmour’s soar­ing gui­tar lines and Wright’s moody key­boards, that hold up best, I think, at least for devot­ed fans, and that’s exact­ly what we can expect from The End­less Riv­er. See Gilmour and Mason dis­cuss the new album, and hear some stun­ning audio sam­ples, at the band’s web­site.

Relat­ed Con­tent:

Hear Lost Record­ing of Pink Floyd Play­ing with Jazz Vio­lin­ist Stéphane Grap­pel­li on “Wish You Were Here”

Pink Floyd Plays With Their Brand New Singer & Gui­tarist David Gilmour on French TV (1968)

Watch Doc­u­men­taries on the Mak­ing of Pink Floyd’s Dark Side of the Moon and Wish You Were Here

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness.

Coleman Hawkins’ Landmark Recording of “Body and Soul” Turns 75 This Week

The jazz stan­dard “Body and Soul” was first per­formed live in Lon­don by singer Gertrude Lawrence in 1930, and then record­ed lat­er that year by the great Louis Arm­strong. But Cole­man Hawkins cut the most his­toric ver­sion on Octo­ber 11, 1939 — exact­ly 75 years ago today. The Mis­souri-born musi­cian made the record­ing almost by acci­dent, on a spur-of-the-moment-deci­sion, and he had no inkling that he had cre­at­ed the first com­mer­cial hit of a pure jazz record­ing.

He lat­er mused,“It’s fun­ny how it became such a clas­sic.” “Even the ordi­nary pub­lic is crazy about it. It’s the first and only record I ever heard of that all the squares dig as well as the jazz peo­ple, and I don’t under­stand how and why, because I was mak­ing notes all the way. I was­n’t mak­ing a melody for the squares. I thought noth­ing of it. I did­n’t even both­er to lis­ten to it after­wards.”

For jazz his­to­ri­ans, the song is rec­og­nized as one of the “ear­ly tremors of bebop.” That’s large­ly because “Hawkins hints at the song’s melody dur­ing his first six bars, but he is impro­vis­ing right from the start, nev­er actu­al­ly stat­ing the theme,” writes Ken­ny Berg­er in The Oxford Com­pan­ion to Jazz.

In 2004, the Library of Con­gress placed Hawk­in’s record­ing into the Nation­al Record­ing Reg­istry. Above, you can lis­ten to the land­mark 1939 ver­sion and also watch Hawkins per­form “Body and Soul” live in 1967 at Nor­man Granz’s Jazz at the Phil­har­mon­ic.

A spe­cial thanks goes to Michael for flag­ging this anniver­sary for us.

Relat­ed Con­tent:

10 Great Per­for­mances From 10 Leg­endary Jazz Artists: Djan­go, Miles, Monk, Coltrane & More

Philoso­pher Jacques Der­ri­da Inter­views Jazz Leg­end Ornette Cole­man: Talk Impro­vi­sa­tion, Lan­guage & Racism (1997)

Haru­ki Murakami’s Pas­sion for Jazz: Dis­cov­er the Novelist’s Jazz Playlist, Jazz Essay & Jazz Bar

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The Paintings of Miles Davis

Ask enough peo­ple to name their favorite artist of any kind, and soon­er rather than lat­er, some­one will name Miles Davis. The trum­peter and jazz auteur behind — or, strict­ly speak­ing, up in front of — such unchal­lenged mas­ter­pieces as Birth of the Cool, Kind of BlueSketch­es of Spain, and Bitch­es Brew has long since ascend­ed to the pan­theon of Amer­i­can music, but that doesn’t mean we should over­look his oth­er artis­tic achieve­ments. Achieve­ments as a painter, for instance: true fans know that Davis’ visu­al art appears on a few of his album cov­ers, such as that of 1989’s Amand­la right below.  “Paint­ing, long a Davis avo­ca­tion, is becom­ing a prof­itable side­line,” says a con­tem­po­rary Los Ange­les Times arti­cle. “In col­lab­o­ra­tion with his girl­friend, Jo Gel­bard, he did the art­work for his new album; the cov­er is an impres­sive self-por­trait using the reds and greens he seems to favor.”

You can see more of Davis’ visu­al art over at Dan­ger­ous Minds and The Dai­ly Beast. The so-called Prince of Dark­ness “didn’t begin to draw and paint in earnest until he was in his mid-fifties, dur­ing the ear­ly 1980s and a peri­od of musi­cal inac­tiv­i­ty,” writes Tara McGin­ley. ”

Miles being Miles, he didn’t mere­ly dab­ble, but made cre­at­ing art as much a part of his life as mak­ing music in his final decade,” result­ing in “a sharp, bold and mas­cu­line mix­ture of Kandin­sky, Jean-Michel Basquiat, Picas­so and African trib­al art.” Just last year, Insight Edi­tions pub­lished Miles Davis: The Col­lect­ed Art­work, final­ly bring­ing togeth­er the fruits of the cre­ativ­i­ty the trum­peter could com­mand even with­out his horn. Count­less young jazz play­ers claim Davis as an influ­ence to this day, and they’ll con­tin­ue to do so as long as jazz itself per­sists, but I do won­der how soon young painters will as well.

via Dan­ger­ous Minds

Relat­ed Con­tent:

Miles Davis Plays Music from Kind of Blue Live in 1959, Intro­duc­ing a Com­plete­ly New Style of Jazz

Watch Ani­mat­ed Sheet Music for Miles Davis’ “So What,” Char­lie Parker’s “Con­fir­ma­tion” & Coltrane’s “Giant Steps”

The Night When Miles Davis Opened for the Grate­ful Dead in 1970: Hear the Com­plete Record­ings

Miles Davis’ “South Side Chica­go Chili Mack” Recipe Revealed

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Making (and Remaking) of the Beach Boys’ Pet Sounds, Arguably the Greatest Rock Album of All Time

Rock ‘n’ roll has a sad tra­di­tion of genius­es who’ve suc­cumbed to men­tal ill­ness and addic­tion. Some of them have, para­dox­i­cal­ly, pro­duced some of the best music of their careers dur­ing peri­ods of decline. We’d have to men­tion Pink Floyd’s Syd Bar­rett, Moby Grape’s Skip Spence, Big Star’s Chris Bell… all of whom record­ed strange, inti­mate, and heart­felt solo albums after leav­ing their respec­tive bands. Then, of course, there’s Bri­an Wil­son, whose 1966 Pet Sounds re-invent­ed pop, and laid the ground­work for Sgt. Pepper’s Lone­ly Hearts Club Band. (Wil­son is said to have been inspired by Rub­ber Soul). We may know Pet Sounds as a Beach Boys release, but it was real­ly Wilson’s record. In the video series here, “Behind the Sounds,” we get a unique lis­ten in to the cre­ation of the album by way of ear­ly takes, lots of stu­dio chat­ter, and pop-up video style fac­toids in the Pet Sounds cover’s Coop­er Black font over behind-the-scenes pho­tos.

At the top, hear behind the sounds of “Wouldn’t It Be Nice.” Just above, hear the mak­ing of “I Know There’s An Answer,” and below, hear Parts 1 and 2 of the cre­ation of “God Only Knows,” the lush, self-effac­ing bal­lad whose harp­si­chord and French horn intro clear­ly inspired the orches­tra­tion in songs like “Pen­ny Lane” and “Straw­ber­ry Fields For­ev­er.” See videos for the rest of Pet Sounds’ songs at the “Behind the Sounds” Youtube chan­nel.

Pet Sounds has been named the great­est album of all time by NME and Mojo mag­a­zines and ranks at num­ber two in Rolling Stone’s 500 Great­est Albums of All Time, right behind Sgt. Pepper’s. Wil­son wrote the songs with lyri­cist Tony Ash­er dur­ing a time when he was pulling away from his sun­ny surf-pop group and expand­ing his reper­toire of stu­dio tech­niques in unprece­dent­ed ways. The songs can sound super­fi­cial­ly like breezy Beach Boys pop, but reveal them­selves as com­plex, baroque orches­tra­tions that hold enough instru­men­tal sur­pris­es and lyri­cal sub­tleties for a life­time of lis­ten­ing. It’s a record both thor­ough­ly of its time and thor­ough­ly time­less.

Unlike many a trag­ic rock com­pos­er, Wil­son has sur­vived and recov­ered (many times over) into old age, record­ing and tour­ing on and off with the Beach Boys and open­ing up about his dark­er times. And unless you’re spend­ing this week under a rock some­where, you’ll catch the BBC’s star-stud­ded video re-make of “God Only Knows,” just below, cir­cu­lat­ing all over the ‘net. Both a pro­mo for the more than two dozen musi­cians involved and a ben­e­fit sin­gle for char­i­ta­ble orga­ni­za­tion BBC Chil­dren in Need, the glam­orous pro­duc­tion fea­tures Wil­son behind his piano, look­ing state­ly and healthy. For more on the mak­ing of Pet Sounds, see this 2002 BBC doc­u­men­tary, Art That Shook The World: The Beach Boys’ Pet Sounds. And please, amidst this flur­ry of Pet Sounds good­ies, don’t for­get to lis­ten to the album itself, best appre­ci­at­ed, says Wil­son, with “ear­phones, in the dark.”

Relat­ed Con­tent:

John Belushi and Dan Aykroyd Get Bri­an Wil­son Out of Bed and Force Him to Go Surf­ing, 1976

The Straw­ber­ry Fields For­ev­er Demos: The Mak­ing of a Bea­t­les Clas­sic (1966)

Watch Doc­u­men­taries on the Mak­ing of Pink Floyd’s Dark Side of the Moon and Wish You Were Here

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness.

Hear ‘Louder Than Words,’ Pink Floyd’s New Song on What’s Likely Their Last Album

louder than words

(If you have any prob­lems play­ing this clip, please refresh the page.)

On Novem­ber 10, Pink Floyd will unveil The End­less Riv­er. And, above, you can hear ‘Loud­er Than Words,’ the first track released from the album. It’s the only vocal track on an oth­er­wise instru­men­tal LP.

The End­less Riv­er is the band’s first album since 1994’s The Divi­sion Bell. And it’s appar­ent­ly going to be their last. In the sec­ond clip record­ed by the BBC, David Gilmour talks about the con­cept behind The End­less Riv­er, how they wrote “Loud­er Than Words,” and how, espe­cial­ly with the death of key­boardist Richard Wright, it’s going to be their last cre­ative effort. “I think we have suc­cess­ful­ly com­man­deered the best of what there is. I sus­pect this is it.”

The End­less Riv­er can be pre-ordered on Ama­zon or iTunes.

via Ulti­mate Clas­sic Rock/Rolling Stone

Relat­ed Con­tent:

Hear Lost Record­ing of Pink Floyd Play­ing with Jazz Vio­lin­ist Stéphane Grap­pel­li on “Wish You Were Here”

Pink Floyd’s David Gilmour Sings Shakespeare’s Son­net 18

Watch Doc­u­men­taries on the Mak­ing of Pink Floyd’s Dark Side of the Moon and Wish You Were Here

Watch Pink Floyd Play Live in the Ruins of Pom­peii (1972)

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John Lennon’s Solo Albums Now Streaming for Free on Spotify

double fantasy

I heard the news today oh boy…

As of today, eight John Lennon solo albums (and three Lennon com­pi­la­tions) are stream­ing for free on Spo­ti­fy. Here are the links to the albums: John Lennon/Plastic Ono Band (1970); Imag­ine (1971); Some­time in New York City (1972); Mind Games (1973);  Walls and Bridges (1974) Rock N Roll (1975); Dou­ble Fan­ta­sy Stripped Down (1980) ; Milk and Hon­ey (1984). Com­pi­la­tions include Gimme Some Truth, Sig­na­ture Box (find below), and Pow­er to the Peo­ple.  If you haven’t already, you’ll will need to down­load and reg­is­ter with Spo­ti­fy to play the music.

 

Image above by Jack Mitchell.

Sign up for our dai­ly email and, once a day, we’ll bun­dle all of our dai­ly posts and drop them in your inbox, in an easy-to-read for­mat. You don’t have to come to us; we’ll come to you!

Relat­ed Con­tent:

John Lennon’s Raw, Soul-Bar­ing Vocals From the Bea­t­les’ ‘Don’t Let Me Down’ (1969)

Hear John Lennon Sing Home Demo Ver­sions of “She Said, She Said,” “Straw­ber­ry Fields For­ev­er,” and “Don’t Let Me Down”

The Last Time Lennon & McCart­ney Played Togeth­er Cap­tured in the Boot­leg A Toot And a Snore in ’74

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Bruce Springsteen Plays East Berlin in 1988: I’m Not Here For Any Government. I’ve Come to Play Rock

And you thought Ronald Rea­gan sin­gle-hand­ed­ly brought down the Berlin Wall and end­ed the Cold War with his “Tear Down This Wall Speech” in 1987…. Well, a few oth­er things hap­pened before the wall final­ly came down two years lat­er, includ­ing Mikhail Gorbechev’s reforms, the protests of the East Ger­man peo­ple, and that whole nuclear arms race thing. But if we’re look­ing for anoth­er famous Amer­i­can to cred­it for reuni­fi­ca­tion, we should look to Bruce Spring­steen, who in July of 1988—one year after the aged Gip­per issued his famous com­mand to the Sovi­et President—played an out­door con­cert to 300,000 East Ger­man fans, “while mil­lions more,” reports The Guardian, “watched the shaky and dis­tort­ed trans­mis­sion on state tele­vi­sion.”

Spring­steen played 32 songs in an epic four-hour per­for­mance. But which song was it that sent the Wall crum­bling one year lat­er? Was it, per­haps, “Born in the U.S.A.” (top)—the song about a bit­ter, dis­en­fran­chised Viet­nam vet that the G.O.P. mis­took for a patri­ot­ic anthem?

More like­ly it was his cov­er of Bob Dylan’s “Chimes of Free­dom” (above). Before that song, writes The Guardian, Spring­steen gives “a pas­sion­ate speech, deliv­ered in a creaky but under­stand­able Ger­man.” “I’m not here for any gov­ern­ment,” he says, “I’ve come to play rock ‘n’ roll for you in the hope that one day all the bar­ri­ers will be torn down.” It could just as well have been “Promised Land” (below) that tore down that wall, or maybe “Cadil­lac Ranch”….

Sure, I’m being face­tious, but the con­cert did have sig­nif­i­cant after­ef­fects. His­to­ri­an Gerd Diet­rich remarks that “Springsteen’s con­cert and speech cer­tain­ly con­tributed in a large sense to the events lead­ing up to the fall of the wall.” Thomas Wilke, an “expert on the impact of rock and pop music in East Ger­many,” com­ments, “there was clear­ly a dif­fer­ent feel­ing and a dif­fer­ent sen­ti­ment in East Ger­many after that con­cert.” The sen­ti­ment, says Diet­rich, was an even greater desire for change. The Spring­steen con­cert “showed peo­ple how locked up they real­ly were.”

In this respect, it had exact­ly the oppo­site effect that the East Ger­man lead­er­ship intend­ed. Evi­dence from the Stasi archives tells us it was sup­posed to “assuage the country’s youth,” who were “still reel­ing” from the beat­ings they’d received from police the pre­vi­ous year when they’d tried to lis­ten in on David Bowie and the Eury­th­mics play­ing just over the Wall in the West. The Spring­steen con­cert, by con­trast, was delib­er­ate­ly sit­u­at­ed “in the depths of East Berlin,” far from the bor­der, to pre­vent “an impromp­tu rev­o­lu­tion.” So much for appease­ment.

So, were Rea­gan and Spring­steen work­ing togeth­er? Unlike­ly. Reagan’s attempt to co-opt “Born in the U.S.A.” for his 1984 re-elec­tion cam­paign may have, in fact, acti­vat­ed Springsteen’s latent lefty consciousness—or at least that’s what Pro­fes­sor Marc Dolan argues in the short video above and in this Politi­co essay. But even if the Pres­i­dent and the Boss took dif­fer­ent routes polit­i­cal­ly, there were “unde­ni­able sim­i­lar­i­ties” between them.

Both men liked to talk a lot to their audi­ences about free­dom, and both tend­ed to define that free­dom in terms of the agency of the indi­vid­ual. Both men instinc­tive­ly dis­trust­ed struc­tures and insti­tu­tions, pre­cise­ly because they saw them as lim­it­ing indi­vid­ual free­dom.

In that respect, they were the per­fect rep­re­sen­ta­tives of the U.S. East Ger­mans imag­ined, whether try­ing to hear Michael Jack­son through a wall of troops sta­tioned in front of the con­crete behe­moth that kept the West out, or wav­ing home­made Amer­i­can flags while Max Wein­berg pound­ed out the rous­ing drum­beat that announces “Born in the U.S.A.” Remem­ber­ing the con­cert years lat­er, Spring­steen said, “Once in a while […] you play a show that ends up stay­ing inside of you, liv­ing with you for the rest of your life. East Berlin in 1988 was cer­tain­ly one of them.”

Relat­ed Con­tent:

Bruce Spring­steen and Pink Floyd Get Their First Schol­ar­ly Jour­nals and Aca­d­e­m­ic Con­fer­ences

Heat Map­ping the Rise of Bruce Spring­steen: How the Boss Went Viral in a Pre-Inter­net Era

Bruce Spring­steen Stumps/Sings for Oba­ma: A Free Six-Song Set

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness.

Bill Murray Sings the Poetry of Bob Dylan: Shelter From the Storm

We’ve shown you Bill Mur­ray in full-blown lit­er­ary mode, read­ing long pas­sages from Huck Finn and poems by Wal­lace Stevens, Bil­ly Collins and Emi­ly Dick­in­son. (My favorite is the poet­ry read­ing at the con­struc­tion site.) Now it’s time to add Bob Dylan to that list. And, why not? Dylan is the undis­put­ed “poet lau­re­ate of rock ’n’ roll.” Who would argue with that?

The poem recit­ed — or rather mut­tered in Mur­ray’s inim­itable style — is “Shel­ter from the Storm,” found on Dylan’s 1975 album, Blood on the Tracks. The scene comes from the film “St. Vin­cent,” which you can find in the­aters on Octo­ber 10. “Shel­ter from the Storm” begins:

’Twas in anoth­er life­time, one of toil and blood
When black­ness was a virtue and the road was full of mud
I came in from the wilder­ness, a crea­ture void of form
“Come in,” she said, “I’ll give you shel­ter from the storm”

And if I pass this way again, you can rest assured
I’ll always do my best for her, on that I give my word
In a world of steel-eyed death, and men who are fight­ing to be warm
“Come in,” she said, “I’ll give you shel­ter from the storm”

Read along with the full poem here.

Relat­ed Con­tent:

Bob Dylan Reads From T.S. Eliot’s Great Mod­ernist Poem The Waste Land

Bill Mur­ray Gives a Delight­ful Dra­mat­ic Read­ing of Twain’s Huck­le­ber­ry Finn (1996)

Bill Mur­ray Reads Great Poet­ry by Bil­ly Collins, Cole Porter, and Sarah Man­gu­so

13 Lec­tures from Allen Ginsberg’s “His­to­ry of Poet­ry” Course (1975)

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