“I Was Wrong,” He Said. “Of course I was. Who Cares?”

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Roger WatersFounding Pink Floyd bassist Roger Waters

left the group bitterly in 1985 and famously sued his ex-bandmates at the time for wishing to carry on with the group’s name, but some of his fans appear to have forgotten this. The singer-songwriter has issued a note on Facebook to remind his fans that, while Pink Floyd are indeed issuing their first record in 20 years – the instrumental record The Endless River – he had no role in making it.

“Some people have been asking Laurie, my wife, about a new album I have coming out in November,” Waters wrote. “Errhh? I don’t have an album coming out, they are probably confused. David Gilmour and Nick Mason have an album coming out. It’s called Endless River. David and Nick constitute the group Pink Floyd. I on the other hand, am not part of Pink Floyd. I left Pink Floyd in 1985, that’s 29 years ago. I had nothing to do with either of the Pink Floyd studio albums, Momentary Lapse of Reason and The Division Bell, nor the Pink Floyd tours of 1987 and 1994, and I have nothing to do with Endless River. Phew! This is not rocket science people, get a grip.”

Waters lost his lawsuit over the band name in 1987, and that same year the band issued A Momentary Lapse of Reason. In recent years, Waters has revisited his Pink Floyd past. On July 2nd, 2005, Waters, Mason, Gilmour and keyboardist Rick Wright performed together as Pink Floyd for the first time in nearly a quarter century at the Live 8 concert at London’s Hyde park. Waters has mounted solo tours in recent years, performing the Floyd albums Dark Side of the Moon and The Wall in their entirety, and reunited again with Gilmour and Mason in London at a tour stop for the latter in 2011.

“It was really nice to be part of it and to show support for Roger, not that he really needs it,” Mason told Rolling Stone after their 2011 reunion. “I suppose it’s nice to have Roger wanting to register David and myself as part of it, in a way. It was a mutual thing: it was nice to be recognized but also very nice to lend support to Roger and make it clear that we’re not punching it out in these auditoriums. We’re not critical of him doing it.”

In 2013, Waters told the BBC he regretted his lawsuit over the band name. “I was wrong,” he said. “Of course I was. Who cares?”

In the same Facebook note, Waters also criticized the role of some countries in the Israel-Palestine conflict. “On another subject, my recent trip to Bruxelles was very moving,” he wrote. “To listen to the testimony of some of those present in Gaza during the euphemistically named Operation Protective Edge, July and August 2014 was deeply disturbing. I am still non plussed by the acquiescence of the governments of the USA, UK and EU to the policies of the current Israeli administration. Should we encourage our leaders to sue for a peaceful solution or not?”

The Endless River – which does not feature Waters – will come out on November 10th. The band decided to put out the record after discovering recordings they had made with Wright, who died in 2008, during the sessions for The Division Bell. “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,” Gilmour said in a statement. “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.”

Read more: http://www.rollingstone.com/music/news/roger-waters-reminds-curious-fans-i-am-not-part-of-pink-floyd-20141002#ixzz3IEOhuosa
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Phish: Faces Melt at MGM Halloween 2014

A prime Phish captures spirit of Halloween at

MGM Grand – A Show For The Ages!


Fourand a half stars

Phish October 31, MGM Grand Garden Arena.

Phish on Halloween at MGM Grand

Improv act Phish gets handily dismissed for a number of reasons: its long and exploratory jams, its whimsical and largely unsentimental lyrics, its embrace of the musical fringe and rejection of the pop status quo, its easy-to-stereotype fanbase—and humankind’s general tendency to deride anything it doesn’t spend more than 10 minutes trying to understand. Phish’s expert ability to turn the skeleton of a song into a new musical journey on the spot and provide the possibility of surprise anytime during a live set highlights a spontaneity depressingly absent in modern rock and pop.

Phish on Halloween at MGM Grand

  1479439_10152347162101290_8957871965498839551_nThat said, I doubt anyone last night walking into the sold-out MGM Grand Garden Arena had expected the Vermont quartet to offer an original body of music inspired by a 1964 Disney kiddie record comprised of spooky sound effects and narration. But that’s what happened when Phish unveiled its “musical costume”—its irregular tradition of covering another artist’s entire album during its in-demand Halloween night concerts—10 feet atop its stage in a haunted-house facade, the second of three hour-plus sets Friday night.

phishbill2So many previous costumes had indicated obvious band influences of both the canonical and cult-favorite varieties—it covered Velvet Underground’s Loaded at the Thomas & Mack in 1998; in 2009, its go at the Rolling Stones’ Exile on Main Street was considered a safe choice—but never had Phish taken the spirit of the holiday and infused it into its Halloween show. That changed last night, when its mostly inspired take on an old childhood staple, Chilling, Thrilling Sounds of the Haunted House, merged its imaginative, genre-melding musical capacity with the traditional sights and sounds of All Hallows’ Eve.

images-1What began as a mysterious, under-sampled and largely uncompelling experiment—especially during the first two songs, when the band (costumed in white suits and zombie face makeup) performed shrouded by the haunted house—eventually evolved into a fully realized work with a few of the night’s standout numbers. Three songs in, a dance-worthy jam called “The Dogs” hinted at the concept’s promise, and a rollicking piano number with Chilling, Thrilling’s unnerving cat yowls (“Your Pet Cat”) delivered on it, sending the crowd into delirium. The spaghetti western-evoking “The Unsafe Bridge” saw Phish entering Ennio Morricone territory. On “Chinese Water Torture,” keyboardist Page McConnell deftly tinkled out piano effects that approximated the song title’s agonizing falling drops. “The Birds” brought back the boogie, with its Hitchcockian sound and vocal samples—“They attack!” is destined for Phish meme glory—beckoning as many cheers as the number’s recurring four-note melody. And the climactic concluding track, “Martian Monster”—with its own potentially viral slogan (the album’s “Your trip is short” sample)—had each member excelling at his instrument and some ghouled-up characters coming back out for a dance routine.

They would all end the set with a bow, which ended well before the audience’s standing ovation. If that’s any indication—to say nothing of Phish “phan” enthusiasm online, where the set (and rest of the concert) was streamed for free when the band’s for-purchase webcast option went awry—this musical costume will go down as one of the most memorable.047_141031_phish_las_vegas_rene_huemer

Phish—which performed most of the show in front of cemetery gates and ominously lit trees, and its second set in between tombstones with chuckle-inducing names like “Bono’s Humility”—even extended the holiday theme to its first and third sets, opening with its own “Buried Alive” and “Ghost” and encoring with versions of Leonard Cohen’s “Is This What You Wanted?” (chorus: “And is this what you wanted/To live in a house that is haunted/By the ghost of you and me?”) and The Edgar Winter Group’s oft-covered “Frankenstein,” the latter highlighted by some of lighting man Chris Kuroda’s best work all night and McConnell performing with a keytar. McConnell earlier evoked Wendy Carlos (who did soundtrack work on A Clockwork Orange and The Shining) during “Scent of a Mule,” with bassist Mike Gordon also dreaming up creepy ’80s horror noises with what seemed to be his effects pedals.

20141031_Sun_Phish_Concert_MGM_LE3_t1000If the night belonged to any one Phish member, it was McConnell. Standing behind a formidable mission control that included a piano and several synthesizers, he injected a wide variety of sounds and tones that added texture and depth during verses and choruses and leads from other band members, and transported onlookers when the spotlight was on him. He (and his clavinet keyboard) especially contributed to the night’s heavy infusion of funk, complimenting Gordon’s versatile—and frequently melodic—grooves, especially during the particularly punchy first set (see “Big Black Furry Creature From Mars” and “Wolfman’s Brother,” both also Halloween-appropriate inclusions).

Frontman Trey Anastasio rose to the occasion as well with several inspired and well-executed guitar solos, evidenced during “Reba,” where he assumed his signature face-up/mouth-agape position, lost in a moment he otherwise musically commandeered, and leaving no fret untouched during a wonderfully shifty “Guyute.” Both McConnell and Anastasio shone during an epic version of “Sand,” the former playing exquisite organ arpeggios and the latter picking out a spacewalk of a solo ahead of the song’s umpteen transitions and a surprise reprise of “Tweezer,” a highlight during the third set’s uninterrupted, four-song opening that also featured a jubilant cover of TV on the Radio’s “Golden Age.”

phish-halloween-setAs for the colorful capacity throng, which filled the seat-less GA floor and the seats behind the stage, about two-thirds of its members dressed up in costumes for the occasion. Some of the most notable getups included: a Neil Young (complete with guitar, harmonica holder and sideburns), a dude with a fence around the lower half of his head in homage to Home Improvement neighbor Wilson, Beaker the Muppet, someone adorn in a Twister-mat robe (with the spinner worn like a graduation cap), a David Byrne wearing his oversized Stop Making Sense suit and the CD cover for Remain in Light (a former Phish musical costume), several folks adorned in electroluminescent-wire bodysuits glowing in the darkened arena and, from The Big Lebowski, a few spot-on Walters and way too many half-hearted Dudes. It was a night to remember musically and visually.