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Tous les articles sur la musique, le cinéma et les séries TV en version originale.

Filmed and recorded live at the Nassau Coliseum, Long Island in August 1988 during the ‘Momentary Lapse Of Reason’ World Tour.

In December 2019 Pink Floyd released The Later Years box set. It features newly re-edited version of the ‘Delicate Sound Of Thunder’ video with newly remixed audio as one of the main features. But unfortunately it wasn’t expanded to the full setlist concert. Several originally omitted tracks presented there on the bonus Blu-Ray/DVD disc. Also two instrumental compositions remained in shortened form. Unfortunately, footage of another two tracks from the setlist weren’t included at all for unknown reasons. I present the expanded edition of this beautiful concert video with all available footage in the right place.

This edition expands official 2019 version by 17 minutes.

  1. Shine On You Crazy Diamond [00:00:00]
  2. Signs of Life [00:12:16]
  3. Learning to Fly [00:16:34]
  4. Yet Another Movie [00:21:48]
  5. Round And Around [00:28:08]
  6. A New Machine (part 1) [00:28:42]
  7. Terminal Frost [00:30:17]
  8. A New Machine (part 2) [00:36:33]
  9. Sorrow [00:37:11]
  10. The Dogs Of War *
  11. On The Turning Away [00:47:36]
  12. One Of These Days [00:56:40]
  13. Time [01:02:57]
  14. On The Run [01:08:18]
  15. The Great Gig In The Sky [01:11:49]
  16. Wish You Were Here [01:16:34]
  17. Us And Them [01:21:25]
  18. Money [01:29:01]
  19. Comfortably Numb *
  20. One Slip [01:37:28]
  21. Run Like Hell [01:43:34]
  22. Terminal Frost (credits) [01:52:42]

Expanded by CMI in January 2020.

Total running time: 2 hours 12 minutes 20 seconds
Unfortunately ‘The Dogs Of War’ and ‘Comfortably Numb’ were excluded by YouTube policy.

Details:
The source for this project is Blu-Ray 1080p with 24/96 audio.

  1. ‘Signs Of Life’ expanded to its original length using footage from Screen Film.
  2. ‘Yet Another Movie’ / ‘Round And Around’ / ‘A New Machine’ (part 1) / Terminal Frost / A New Machine (part 2) segment placed in the original order of the set.
  3. Small re-edit in ‘The Dogs Of War’ before 1st verse using footage from Screen Film.
  4. ‘On The Run’ expanded to its original length using footage from Screen Film.
  5. Syncronisation is corrected for 3 final drum hits in ‘Money’.

45 ans après le “Live At Pompeii” de Pink Floyd dans le légendaire amphithéâtre romain, Davig Gilmour est revenu pour deux spectacles spectaculaires en juillet 2016, dans le cadre de sa tournée pour l’album Rattle That Lock.

Les performances étaient les tout premiers concerts de rock pour un public dans l’amphithéâtre romain en pierre, et, pendant deux nuits seulement, la foule de 2600 personnes se tenait exactement là où les gladiateurs auraient combattu au premier siècle de notre ère.

Natasha Sultana, de son nom de scène Tash Sultana, nait le 15 juin 1995 à Melbourne et est un(e) auteure-compositrice-interprète et musicienne multi-instrumentriste Australienne, d’un père originaire de Malte et d’une mère australienne. À l’âge de trois ans, son grand-père lui offre sa première guitare.

Tash Sultana subit l’influence d’artistes néo-soul tels que Erykah Badu, D’Angelo, Lauryn Hill mais également rock comme Jimi Hendrix, Pink Floyd, Fleetwood Mac ou encore Led Zeppelin, ou Bob Marley et Amy Winehouse.

Sultana se produit en solo sur scène, pieds nus et enregistre ses instruments au fur et à mesure grâce aux pédales d’effets: c’est la technique du looping. Autodidacte, Sultana joue d’une vingtaine d’instruments dont la guitare (basse, électrique, folk), la mandoline, le piano, la trompette et le saxophone.

Voici Tash Sultana lors de l’un des Tiny Desk Concert organisé par NPR:

C’est très dub planant, vraiment à part.

Pendant cette période de confinement, Pink Floyd offre gratuitement des concerts complets pour les fans. pendant le confinement.

Jusqu’à récemment, le groupe diffusait des extraits de chansons individuelles sur YouTube, mais avec le Royaume-Uni confronté à trois semaines supplémentaires de confinement pendant la pandémie de Covid-19, et la plupart des autres pays du monde connaissant des restrictions à des degrés divers, le groupe a décidé de passer à des concerts complets.

Voici la version restaurée et rééditée des masters originaux en 2019 de Pulse, filmé live le 20 Octobre 1994 à l’Earls Court de Londres:

L’édition de Pulse d’hier soir est tirée du coffret Later Years, qui est sorti l’année dernière et qui a été réédité.

Enjoy!

A young nigga with a dollar and a dream
And these Nikes on my feet, tryna stay up out the streets
So I’m rhyming pulling 187s all on these beats
Stead of on the concrete
Cemeting my future while they were focused on what they chief
But shit, I’m like a chief, head honcho
Tell me that it’s impossible I’ll get it to you pronto
Been workin’ all these late nights and these early mornings like Alonzo
So one day they’ll be callin’ me great, just call me Gonzo
But, I’m never actin’ nor is anybody pulling strings
Everything I have came from sacrificing everything
I traded workin’ 9 to 5 for the minimum
For workin non-stop so my life be like a cinema screen
But in the end I wouldn’t have it any other way
Got on my knees and for this rap to work is what I prayed
And now it’s happening, crunchin’ numbers like captain
A serial (cereal) killer compelling listeners with this passion for words
Never actin, my verbs were truly fashioned to serve
Not only masses but curbs, not just the hood, but the burbs
Know you hear it everytime I grace the mic, then I give it to God
Feeling blinded by the lights, and it’s on!

Hook:

Let me see you put ’em up
Reach the sky, touch the stars up above
Cause it’s, one time for the underdog
One time for the underdog

You got the world on your team
Even if that ain’t what it seems
It’s one time for the underdog
One time for the underdog

A 20 year old dreamin’ of whippin’ Monte Carlo’s
And gold jewlery lookin’ like I cam from El Dorado
Pick up the pen and pad, stead of spittin gin and vag
I’m paintin’ pictures with my words, just call me young picasso
These haters only gas me up and then I mash the throttle
Binge drinkers think its safe to say should drop the bottle
Cause what I’m spittin’ is proof, and truth is hard to swallow
When rappers losin’ they heads, that’s word to sleepy hollow
Nowadays they tryna flex, Johnny Bravo
And I’ll be Rocky in the second fight against Apollo
Underdog, but you see, I won the war
Askin me if I can spit is askin’ me to raise the bar
I been in this place before, matter fact most of my life
They told me I would fail, die before I prove ’em right
Pennin’ verses on my lunch bag, now I’m doin shows
Lady luck blew me a kiss, now I’m a prince, never a toad
Bet your bottom, I’m the greatest, that’s on everything I own
And though it isn’t much, I want the world like Al Capone
I’m coming for the glory, this a sermon to the masses
The kid you shitted on is telling you to wipe his ass

HONEYHONEY performing “Thin Line” at Music City Roots live from the Loveless Cafe in 2012

Thin line
Walking a thin line
Staying out late at night

I’m not happy
Feeling low
It’s so hard these days to play my cards right

It’s about time
To start the show
I got tickets for my friends that want to go

And I wish you’d come down
Just come on by
Oh, I need your easy roll around of a good time

‘Cause I want whiskey when I’m sick
And a man when I’m well
But it’s nice to have them both sometimes
When I feel like raising hell

So don’t try and save me
I’ll be just fine
I’m getting used to walking on a thin line

Some days I try hard
To watch my mouth
To say the right things
But the wrong just slip right out

Oh, I ain’t no Southern belle
No Georgia peach
I guess all my good graces are too far out of reach

I sleep so deep each night
I’m lying in the bed we made
And when I get you off, babe
Well you know it’s give and take

So I don’t feel bad
When I get mine
Oh, I’m getting used to walking on a thin line

Sometimes I’m doing things half-ass wrong
Sometimes the words I sing are just some half-ass song
I get lost and I get found
Oh, and I’ll be good until I need another round

‘Cause I want whiskey when I’m sick
And a man when I’m well
But it’s nice to have them both sometimes
When I feel like raising hell

So don’t try and save me
I’ll be just fine
Oh, I’m getting used to walking on a thin line

No, don’t try and save me
I’ll be just fine
Oh, I’m getting used to walking on a thin line

Oh, I’m getting used to walking on a thin line

When I Wake Up Tomorrow” is a song by American rock band Cheap Trick, released in 2016 as the second and final single from their seventeenth studio album Bang, Zoom, Crazy… Hello.

It was written by Julian Raymond, Robin Zander, Rick Nielsen and Tom Petersson, and produced by Raymond and Cheap Trick.

The music video features Nielsen playing his 1966 Gretsch 6123 guitar, which previously appeared in the video for the band’s 1982 song “If You Want My Love”:

I never thought that I would be like this before
I never wanted just one kiss for sure
Well, maybe I didn’t understand
All you wanted was a one night stand, well
Never thought that I would beg like this for more

These days I wonder how I’m gonna make it tomorrow
These ways I’ll have to beg if I want to borrow
My love, here I’m on my knees
Please be here when I wake up tomorrow

I never felt like this before
My love is flowing out for sure
Your lips upon my skin
Come out and let me in now
Never thought I’d beg like this for more

These days I wonder how I’m gonna make it tomorrow
In these ways I’m praying there’s no need for sorrow
These days I wonder what will come of tomorrow
These ways I’ll have to beg if I want to borrow
Your love, here I’m on my knees
Please be here when I wake up tomorrow

Speaking of the song to Rolling Stone, Nielsen commented: “This song always reminds me of a sultry David Bowie song. I liked it from the first time we attempted to do it. It’s just a moody, interesting piece with some heavy guitars in the middle.”

In an interview with Rock Cellar, Zander spoke of the song and his vocal performance on it: “I sort of conjured [Bowie’s] style up in mind on the song. Even though I don’t sound exactly like Bowie, it was in my mind while I was doing the song, which creates a fresh kind of new thing.”

The Raven That Refused to Sing (And Other Stories) est le troisième album solo du musicien britannique Steven Wilson, sorti le 25 février 2013 sur le label Kscope Music Record.

Bien qu’il ne puisse pas être considéré comme un album-concept, toutes les chansons ont pour thème des histoires surnaturelles, à l’instar de la chanson éponyme, The Raven That Refused To Sing:

La chanson The Raven That Refused to Sing raconte l’histoire d’un vieil homme qui attend la mort avec impatience. Il repense à une époque de son enfance durant laquelle il était incroyablement proche de sa sœur aînée, qui est morte alors qu’ils étaient tous deux très jeunes.

L’homme est convaincu qu’un corbeau qui visite son jardin est en vérité une manifestation de sa sœur. Le fait est que celle-ci avait l’habitude de chanter pour lui à l’époque de leur enfance, dès qu’il avait peur ou ne se sentait pas en sécurité, et cela avait une influence apaisante sur lui. Ignorant qu’il ne s’agit que d’un simple corbeau, il finit par penser que si le corbeau chante pour lui, ce sera la preuve que sa sœur est revenue pour l’emmener avec lui dans l’au-delà.

Jouent sur cet album Steven Wilson (chant), Guthrie Govan (guitares), Nick Beggs (basse), Marco Minnemann (drums), Adam Holzman (keyboards), et Theo Travis (saxophone / flute). L’album a été produit et mixé par le légendaire Alan Parsons, qui a produit l’album The Dark Side of the Moon de Pink Floyd.

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