Trochu smutné ale nejpíš výstižné. Myslíte že je to z důvěryhodného zdroje, že v zákulisí byla napjatá atmosféra a že se radši dohodli na oddělených vystoupeních? že by se fakt zase pohádali? nebo spolu vůbec nemluvili? a že Waters nebyl na pódiu uplně na konci když tam byli všichni a zpívali Bike to dává tušit fakt velký problém.
Jak to vlastně bylo s propagací té akce? věděli jste o tom před tím? mě to asi nějak uteklo (pravda že jsem toho měl minulý týden nějak víc a neměl jsem čas všechno pročítat)
Pink Floyd & Roger Waters - Syd Tribute
Moderátor: bery
právěže nikde v propagaci akce (a to a ni na brain damage) nebyl nikdo z čtverky waters, wright, mason, gilmour jmenovaný, takže jsem to docela zasklil jako jeden z dalších tributů, které byly na sydovu památku uspořádány... tuším že na gilmourově sajtně psali, že pozvání k účinkování na koncertu dostali gilmour a spol. na úplně poslední chvíli (den předem???), což mi nějak neleze do hlavy. vždyť to přece organizoval joe boyd, jejich dřívější manažer! takže fakt nevím...
v každém případě roger to svou závěrečnou absencí docela pohnojil, ať už se v zákulisí dělo cokoliv. a jak jsem byl zpočátku na gilmoura naštvaný, že rogera "nepřipustil", tak mi z toho spíš vychází to, že byl spolu s masonem a wrightem do celé akce jaksi vmanipulován na poslední chvíli a celé se to spíchlo horkou jehlou. to pak vysvětluje jeho rezervovaný přístup, když na něj z publika volali, že chtějí rogera: on jen suše odpověděl, že roger už hrál a že teď hraje "zbytek" (cituji: "rest of us") - to naznačuje (alespoň já to tak chápu), že roger v plánu byl a oni ne. to nepřímo potvrzuje iskutečnost, že o účasti gilmoura na tomto koncertu nebyla na jeho webovce předem ani zmínka, teprve asi tři dny poté se objevila krátká zprávička a fotka s masonem, jak cvičí s gilmourem někde v šatně, těsně před koncertem.
pokud bych si mohl tipnout z toho mála, co vím, resp. co tuším, dal bych asi nejvíc vinu za tento trapas organizátorům koncertu, tzn. joe boydovi. fakt si myslím, že david, rick a nick měli a mají syda rádi natolik, aby si na jeho počest připravili důstojné vystoupení. při vší úctě ale právě ta důstojnost tam jaksi nebyla
v každém případě roger to svou závěrečnou absencí docela pohnojil, ať už se v zákulisí dělo cokoliv. a jak jsem byl zpočátku na gilmoura naštvaný, že rogera "nepřipustil", tak mi z toho spíš vychází to, že byl spolu s masonem a wrightem do celé akce jaksi vmanipulován na poslední chvíli a celé se to spíchlo horkou jehlou. to pak vysvětluje jeho rezervovaný přístup, když na něj z publika volali, že chtějí rogera: on jen suše odpověděl, že roger už hrál a že teď hraje "zbytek" (cituji: "rest of us") - to naznačuje (alespoň já to tak chápu), že roger v plánu byl a oni ne. to nepřímo potvrzuje iskutečnost, že o účasti gilmoura na tomto koncertu nebyla na jeho webovce předem ani zmínka, teprve asi tři dny poté se objevila krátká zprávička a fotka s masonem, jak cvičí s gilmourem někde v šatně, těsně před koncertem.
pokud bych si mohl tipnout z toho mála, co vím, resp. co tuším, dal bych asi nejvíc vinu za tento trapas organizátorům koncertu, tzn. joe boydovi. fakt si myslím, že david, rick a nick měli a mají syda rádi natolik, aby si na jeho počest připravili důstojné vystoupení. při vší úctě ale právě ta důstojnost tam jaksi nebyla
there´s no dark side of the moon, really. matter of fact it´s all pink.
) vyloženě ucedil. To určitě ne. Takhle vznikají fámy. Ostatně jukněte na youtube a posuďte sami.-
bery
- piper
- Příspěvky: 1941
- Registrován: 28.04.2006 14:36:43
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V tomhle bohužel souhlasím spíše s Fernettim, ono tak fakt trochu zní.
Na www.pinkfloydz.com se píše (myslím že je to dnešní novinka) že rozhodnutí že tam zahrají bylo na poslední chvíli - v den koncertu, prej je to informace z důvěryhodného zdroje, že by jim to Boyd řekl fakt den předem????
Nebo email od Boyda skončil v koši se spamem
Na www.pinkfloydz.com se píše (myslím že je to dnešní novinka) že rozhodnutí že tam zahrají bylo na poslední chvíli - v den koncertu, prej je to informace z důvěryhodného zdroje, že by jim to Boyd řekl fakt den předem????
Nebo email od Boyda skončil v koši se spamem
Last Minute Decision? We understand (but stress this is not official) that David, Nick & Rick only agreed to perform at the Syd Barrett event (last week) on the actual day of the concert. The information comes from a very good source.
...and after all we're only ordinary men 
něco pěkných fotek z koncertu: http://www.optifanatics.com/SydBarrett.aspx
there´s no dark side of the moon, really. matter of fact it´s all pink.
- ta podoba tam je)
-
bery
- piper
- Příspěvky: 1941
- Registrován: 28.04.2006 14:36:43
- Bydliště: Zlín, Velké Karlovice
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Rozhovor s Joe Boydem z jeho newsletteru:
Vysvětluje to proč Roger nevystoupil s ostatníma a hlavně proč nebyl na konci. (tu část jsem zvýraznil)
Vysvětluje to proč Roger nevystoupil s ostatníma a hlavně proč nebyl na konci. (tu část jsem zvýraznil)
http://z7.invisionfree.com/Pink_Floyd/i ... opic=10632"BOYD PROVIDES DETAILS OF BARRETT TRIBUTE May event featured surprise appearance by surviving Floyd members
One-time Pink Floyd producer Joe Boyd ("Arnold Layne") and co-coordinator of the May tribute to Syd Barrett has provided details of the event to subscribers to his mailing list.
We've reproduced the relevant portions of Boyd's recent dispatch below. You can subscribe to Boyd's newsletter and/or RSS feed at http://www.joeboyd.co.uk.
Following Syd’s death last summer, Bryn Ormrod from the Barbican Theatre asked me if I would take charge of a concert in Syd’s honour. Concerned that such a task would be beyond my abilities, contacts and awareness of contemporary music, I demurred, but came up with a suggestion.
Nick Laird-Clowes is an old friend of mine; he was lead singer of a group I produced for Hannibal called The Act, but better known for his work with Dream Academy (“Life In A Northern Town”). (Ballooning production costs and miniscule sales for The Act almost brought an early demise to Hannibal Records, but that’s another story…. ) Since the end of Dream Academy he has written a number of Pink Floyd songs with David Gilmour and released his own music under the nom de guerre of “Trash Monk”. More to the point, he is a man of boundless energy and great originality who has always paid attention to what’s going on in the contemporary musical world (unlike myself). So I introduced him to Bryn and suggested that he, rather than I, should produce the Syd evening. I agreed to stay involved as an advisory figure.
In the months leading up to the May 10 date, Nick found lots of film footage and secured the cooperation of the Floyd – but only in terms of access to archive material etc. Many artists stated their undying love for Syd and his music, but getting them to commit to appear on the night proved far more difficult. Chrissie Hynde was the glorious exception, choosing her songs straight away and never wavering in her support, giving Nick famous phone numbers and email addresses and generally picking up our flagging spirits. (Now back from America, I was trying to help secure a good roster for the show.)
We benefited from the fact that tickets were selling well, even with no performers advertised. We could tell interested singers that they needn’t be billed and could take time to make up their minds and choose a song or two. But two weeks before the concert, things were looking grim: we had only a handful of 100% committed singers and some very important songs weren’t covered. Things began to turn our way when Nick and I attended the launch of Storm Thorgeson’s Hipgnosis book at Abbey Road studios. The 3 Floyds were there and Rick Wright seemed up for the possibility of reprising his performance of Arnold Layne on Gilmour’s tour last summer. But he wouldn’t say for sure.
I had also talked with Roger Waters when I was in New York for my ‘gig’ at Joe’s Pub a few weeks earlier. We had noted the fact that May 10 was an open day on his tour of Europe, nicely positioned between Birmingham and London. Again, he was friendly and interested but not certain of coming along. Nick and I decided that the only way to proceed was to put together the best possible show on the assumption that none of Syd’s former band-mates would participate. (And we didn’t blame them for their reticence; if they had announced an appearance weeks in advance, it would have turned into a Pink Floyd rather than a Syd gig and I think they also quite naturally wanted to see what we would come up with in the way of a show before deciding if it was an event they wanted to be a part of.)
With a week ago to go, we had a pretty decent line-up of Chrissie, Damon Albarn, Nick himself, Kevin Ayers, Mike Heron, Vashti Bunyan, The Bees, Robyn Hitchcock and Captain Sensible plus a choir from Liverpool (which Damon Albarn is using in his opera) and a great backing group led by Adam Peters (Echo and the Bunnymen’s Ocean Rain and work with PJ Harvey etc) on keyboards with Ted Barnes (Beth Orton) on guitar, Andy Bell (Ride, Oasis) on bass and Simon Finley (Echo and The Bunnymen) on drums. Nick had also brought in the Floyd’s original lighting man Peter Wynne Wilson as well as the Boyle Family, whose late patriarch Mark created much of the lighting at the UFO Club.
Three key songs remained unclaimed: Arnold Layne, See Emily Play and Interstellar Overdrive. I asked Richard Thompson if he wanted to fly over from LA to improvise a tribute to Syd’s great guitar playing on the latter number, but he wasn’t free, much as he’d have loved to do it. Robyn Hitchcock told me that Jimmy Page was also a fan of Syd’s, but he wasn’t free either. That was the only real disappointment of the evening for me – we didn’t have a guitar soloist to do justice to Syd’s originality on the instrument. (Although what Nick and the House Band cooked up on Chapter 24 came close to making up for it.) My hope for See Emily Play was tied to Martha Wainwright’s presence in town to sing Brecht and Weill’s The Seven Deadly Sins with the Royal Ballet at Covent Garden. The chance to see their daughter and cousin on that famous stage had drawn Kate McGarrigle and Lily Lanken here at just the right time. I sent them all copies of Emily as well as Golden Hair and crossed my fingers. There was still no one doing Arnold Layne: David Bowie had done it once, but he wasn’t up for it, and our other choice Jarvis Cocker was on tour in America and up to his neck in organizing Meltdown.
The House Band started work at Nick’s studio on the weekend before and one by one the singers began to arrive. Tuesday and Wednesday there were rehearsals at a bigger studio and things began to take shape. We had an encouraging call from Roger Waters’ manager and some positive signals from Rick Wright, but we still had big gaps. Nick had managed to get keyboardist John Carin along, which was a big plus. He has been a key sideman with Pink Floyd, Dave Gilmour and Roger Waters. If any of them decided to join us, they would find a familiar and reliable ally on stage. And Nick was keeping Gilmour apprised of all developments.
The night before, we had a firm commitment: Roger would come and sing one song, but he had to meet his girlfriend at the airport later that night so would need to be gone by 9pm. Now we had a closer for the first half, and the entire company plus the choir doing Bike to finish the show, but still no Arnold Layne.
Technical hang-ups meant we only received the footage we wanted to use by messenger at around 3pm Thursday afternoon. As we were frantically figuring out which bit went where, we got the news: Rick would do Arnold Layne and Nick Mason (whom we had thought was in Germany) would join Dave Gilmour to make it a Pink Floyd performance. Everyone suddenly got more excited. Martha, Kate and Lily arrived with arrangements for both songs and the evening was set.
The audience seemed to love the variety of textures and styles – I thought maybe we could have used a few heavier sounds, but there were few complaints. We played a black &white tv clip of Syd being attacked by Hans Keller – “vhy must ze music be zo LOUD?” – which drew a lot of laughter and was also moving in its revelation of the charming and sharp pre-breakdown Syd. My personal highlight was going on stage to make a short speech right after Chrissie Hynde’s wonderful take on Dark Globe and thanking everyone who had helped out. I was then able to tell the unsuspecting audience that Arnold Layne would be performed by “Nick, Rick and David – Pink Floyd!” The roar that greeted this was incredible – and quite a thrill to be in the path of it, even as the messenger rather than the message. You can see what a buzz being a rock star must be!
Many of the audience expressed surprise at how great the show was considering how shambolic the whole thing appeared. I think people have become so accustomed to ‘perfect’ and well-rehearsed shows that it comes as a shock to see performers making things up as they go along. This was particularly gratifying for me, as I have long resisted rehearsals or over-preparedness in recording sessions. Some of my greatest tracks are first or second takes and I once shocked a producer’s panel at SXSW by announcing that I had never done ‘pre-production’ in my life. I think some of the best performances are to be heard when artists are groping for a way to play something. When it gets set in stone, it often becomes less exciting. I was also pleased the Barbican agreed to my stipulation about recordings on the PA: no music before, after or during intermission. When the audience left the hall, their heads were full of what they had heard live on stage, not some tracks the sound man played in order to signal to everyone it was ok to stop clapping."
...and after all we're only ordinary men
