Chords for Pink Floyd - The Endless River ALBUM REVIEW
Tempo:
85.85 bpm
Chords used:
D#
C#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hi everyone, Guantanamo fan Tana Moubet here, the internet's busiest music nerd.
And it's time for a review of the new Pink Floyd album, The Endless River.
This is the latest full-length album [D#] from seminal art rock, psychedelic rock, progressive
rock band Pink Floyd.
Few artists have contributed as many seminal albums to the pantheon of rock music as Pink Floyd.
Piper at the Gates of Dawn, Metal, Saucer Full of Secrets, Animals, The Wall, Adam Hart
Mother Wish You Were Here, Dark Side of the Moon.
I would just recommend you listen to some, if not all, of these albums because in a single
video it's impossible to do justice to the immense artistic impact the music here has had.
However, artistically Pink Floyd kinda hit the skids in the 80s.
Which is nothing to be ashamed of because it's something that many progressive rock
acts suffered through as they transitioned into that decade from the 60s and 70s.
And I wouldn't say Pink Floyd's descent was as hard as some other bands.
We have the Final Cut where we saw Roger Waters really sort of stepping forward as a singer-songwriter.
There was a much larger symphonic element to some of the songs on this record.
But by the time Pink Floyd came out with A Momentary Lapse of Reason, New Wave and Synth
Pop was in full swing.
And Hair Metal Hard Rock too.
And this showed up in the drum sounds, the grooves, Richard Wright's keyboards, the
very springy, thin echoes laid onto numerous pieces of instrumentation in the mix.
Plus, this album also saw the departure of Roger Waters.
And unlike Sid Barrett leaving Pink Floyd in the late 60s, this was a lineup change
that the band never really bounced back from artistically.
Though I do give credit to Gilmore, Wright and Mason for dropping a better record with Division Bell.
Some of the production here was a little too clean.
Some of the big voiced choruses were kind of a turnoff.
But sonically and stylistically, this was the closest the band ever got to their 70s
sound once again.
Which is nice if you like that sound.
It's certainly a better alternative than what the band was doing throughout much of the 80s.
But still, Pink Floyd has always been one of those fantastic bands that has progressed
and progressed and progressed.
And for them to just kind of do a 180 and decide that, well, we're just going to go
back, as good as some of the moments on Division Bell were, it was a little bittersweet.
In their late era albums, Pink Floyd never really sold out or dumbed down their sound
or anything like that.
In my opinion, they just really failed to make their sound translate in a new musical era.
And that's all.
So with that in mind, what hope does Pink Floyd have of coming out with another great
album in 2014?
Especially since the recent and unfortunate passing of Rickard Wright.
And we also have to take into account that much of the material here was recorded during
that Division Bell era.
The foundation of this album is very rocky.
It's very tattered.
But the remaining members of Pink Floyd do a somewhat decent job of weaving these varied
instrumental parts together into something kind of coherent.
This album essentially is a four-part series consisting of mostly instrumentals.
One of the few tracks to break that streak is Louder Than Words, which is one of the
final tracks here, and it's apparently the album's big single.
It's a very gentle, slow-moving rock song with the usual chord progressions and guitar
flourishes that you would usually catch on a Floyd song.
It sounds like it would fit very snugly into the Division Bell playlist, but it's not
really that harrowing or climactic of a song.
Certainly not anything you could center the album around or call a definitive ending.
How Endless River defines itself mostly is by its instrumental character.
You have some tracks on this LP that are three, four, maybe six minutes in length, but that
is what is few and far between here.
Most of the songs here are like around one or two minutes, and they're all kind of strung
together into these sides of the album that sort of sound like they complement each other pretty well.
Maybe there was a point at which all of these various songs were their own separate pieces
and kind of scattered, maybe rough sketches or ideas for what would become more fully
fleshed-out songs.
And even if that's the case, all of the shorter-than-two-minutes tracks on side three of this LP actually come
together pretty well.
I would say there are only a few moments where the segues from one track to another aren't
really that smooth, and some of the songs here kind of feel like they're building up
to a climax that never really occurs.
Maybe it would have been written if Pink Floyd as the quartet that they were in the 70s pulled
it together and really tried to finish these songs off, but we don't get that.
Instead we get these kind [N] of short instrumental tidbits, some of which feel like kind of vast
explorative synthscapes that are kissed with kind of mournful guitar leads.
These instrumentals have kind of a New Age-esque vibe to them.
And then there are other songs here that are just really straightforward late 70s rock
grooves that would have fit in as a good segue or building point on a Pink Floyd album.
Some of the tiny instrumental tidbits here feel like just classic Pink Floyd, others
are just very ambient and explorative and are very dark, kind of like the song Skins,
which oddly enough feels maybe just a little bit like post-rock.
But then there are songs on here like Anissino, which is sort of like a sax-led piano jam
that kind of feels like it would be on a Vangelis soundtrack or something like that, Chariots
of Fire, but with kind of a bright, heavenly, modern Christian gospel rock thing going on.
Overall I came out enjoying a vast majority of what was going on here, even knowing that,
yeah, it was just kind of maybe a mess at some point, and maybe at one point there was
a bit of a debate as to whether to leave these tapes as is and just release them to the public
or maybe turn them into something like this.
And I think doing the former would have just been not that interesting because there's
not much on this album in terms of like a new or fresh idea.
If you're familiar with late 70s, 80s, and 90s Pink Floyd, you've heard nearly everything
they have to offer on this record.
But as a cohesive, well-segued, and put-together album, this experience isn't that bad.
It's kind of just like peering into the final instrumental ideas of one of progressive rock's greatest bands.
I'm feeling a strong 5 to a light 6 on this thing.
So, I'm going to end this video here.
If [C#] you've given this album a listen, what did you think of it?
Did you love it?
Did you hate it?
Why?
What did you think?
What do you think I should review next?
And that's it.
Anthony Fantano, Pink Floyd, Endless
And it's time for a review of the new Pink Floyd album, The Endless River.
This is the latest full-length album [D#] from seminal art rock, psychedelic rock, progressive
rock band Pink Floyd.
Few artists have contributed as many seminal albums to the pantheon of rock music as Pink Floyd.
Piper at the Gates of Dawn, Metal, Saucer Full of Secrets, Animals, The Wall, Adam Hart
Mother Wish You Were Here, Dark Side of the Moon.
I would just recommend you listen to some, if not all, of these albums because in a single
video it's impossible to do justice to the immense artistic impact the music here has had.
However, artistically Pink Floyd kinda hit the skids in the 80s.
Which is nothing to be ashamed of because it's something that many progressive rock
acts suffered through as they transitioned into that decade from the 60s and 70s.
And I wouldn't say Pink Floyd's descent was as hard as some other bands.
We have the Final Cut where we saw Roger Waters really sort of stepping forward as a singer-songwriter.
There was a much larger symphonic element to some of the songs on this record.
But by the time Pink Floyd came out with A Momentary Lapse of Reason, New Wave and Synth
Pop was in full swing.
And Hair Metal Hard Rock too.
And this showed up in the drum sounds, the grooves, Richard Wright's keyboards, the
very springy, thin echoes laid onto numerous pieces of instrumentation in the mix.
Plus, this album also saw the departure of Roger Waters.
And unlike Sid Barrett leaving Pink Floyd in the late 60s, this was a lineup change
that the band never really bounced back from artistically.
Though I do give credit to Gilmore, Wright and Mason for dropping a better record with Division Bell.
Some of the production here was a little too clean.
Some of the big voiced choruses were kind of a turnoff.
But sonically and stylistically, this was the closest the band ever got to their 70s
sound once again.
Which is nice if you like that sound.
It's certainly a better alternative than what the band was doing throughout much of the 80s.
But still, Pink Floyd has always been one of those fantastic bands that has progressed
and progressed and progressed.
And for them to just kind of do a 180 and decide that, well, we're just going to go
back, as good as some of the moments on Division Bell were, it was a little bittersweet.
In their late era albums, Pink Floyd never really sold out or dumbed down their sound
or anything like that.
In my opinion, they just really failed to make their sound translate in a new musical era.
And that's all.
So with that in mind, what hope does Pink Floyd have of coming out with another great
album in 2014?
Especially since the recent and unfortunate passing of Rickard Wright.
And we also have to take into account that much of the material here was recorded during
that Division Bell era.
The foundation of this album is very rocky.
It's very tattered.
But the remaining members of Pink Floyd do a somewhat decent job of weaving these varied
instrumental parts together into something kind of coherent.
This album essentially is a four-part series consisting of mostly instrumentals.
One of the few tracks to break that streak is Louder Than Words, which is one of the
final tracks here, and it's apparently the album's big single.
It's a very gentle, slow-moving rock song with the usual chord progressions and guitar
flourishes that you would usually catch on a Floyd song.
It sounds like it would fit very snugly into the Division Bell playlist, but it's not
really that harrowing or climactic of a song.
Certainly not anything you could center the album around or call a definitive ending.
How Endless River defines itself mostly is by its instrumental character.
You have some tracks on this LP that are three, four, maybe six minutes in length, but that
is what is few and far between here.
Most of the songs here are like around one or two minutes, and they're all kind of strung
together into these sides of the album that sort of sound like they complement each other pretty well.
Maybe there was a point at which all of these various songs were their own separate pieces
and kind of scattered, maybe rough sketches or ideas for what would become more fully
fleshed-out songs.
And even if that's the case, all of the shorter-than-two-minutes tracks on side three of this LP actually come
together pretty well.
I would say there are only a few moments where the segues from one track to another aren't
really that smooth, and some of the songs here kind of feel like they're building up
to a climax that never really occurs.
Maybe it would have been written if Pink Floyd as the quartet that they were in the 70s pulled
it together and really tried to finish these songs off, but we don't get that.
Instead we get these kind [N] of short instrumental tidbits, some of which feel like kind of vast
explorative synthscapes that are kissed with kind of mournful guitar leads.
These instrumentals have kind of a New Age-esque vibe to them.
And then there are other songs here that are just really straightforward late 70s rock
grooves that would have fit in as a good segue or building point on a Pink Floyd album.
Some of the tiny instrumental tidbits here feel like just classic Pink Floyd, others
are just very ambient and explorative and are very dark, kind of like the song Skins,
which oddly enough feels maybe just a little bit like post-rock.
But then there are songs on here like Anissino, which is sort of like a sax-led piano jam
that kind of feels like it would be on a Vangelis soundtrack or something like that, Chariots
of Fire, but with kind of a bright, heavenly, modern Christian gospel rock thing going on.
Overall I came out enjoying a vast majority of what was going on here, even knowing that,
yeah, it was just kind of maybe a mess at some point, and maybe at one point there was
a bit of a debate as to whether to leave these tapes as is and just release them to the public
or maybe turn them into something like this.
And I think doing the former would have just been not that interesting because there's
not much on this album in terms of like a new or fresh idea.
If you're familiar with late 70s, 80s, and 90s Pink Floyd, you've heard nearly everything
they have to offer on this record.
But as a cohesive, well-segued, and put-together album, this experience isn't that bad.
It's kind of just like peering into the final instrumental ideas of one of progressive rock's greatest bands.
I'm feeling a strong 5 to a light 6 on this thing.
So, I'm going to end this video here.
If [C#] you've given this album a listen, what did you think of it?
Did you love it?
Did you hate it?
Why?
What did you think?
What do you think I should review next?
And that's it.
Anthony Fantano, Pink Floyd, Endless
Key:
D#
C#
D#
C#
D#
C#
D#
C#
Hi everyone, Guantanamo fan Tana Moubet here, the internet's busiest music nerd.
And it's time for a review of the new Pink Floyd album, The Endless River.
This is the latest full-length album [D#] from seminal art rock, psychedelic rock, progressive
rock band Pink Floyd.
Few artists have contributed as many seminal albums to the pantheon of rock music as Pink Floyd.
Piper at the Gates of Dawn, Metal, Saucer Full of Secrets, Animals, The Wall, Adam Hart
Mother Wish You Were Here, Dark Side of the Moon.
I would just recommend you listen to some, if not all, of these albums because in a single
video it's impossible to do justice to the immense artistic impact the music here has had.
However, artistically Pink Floyd kinda hit the skids in the 80s.
Which is nothing to be ashamed of because it's something that many progressive rock
acts suffered through as they transitioned into that decade from the 60s and 70s.
And I wouldn't say Pink Floyd's descent was as hard as some other bands.
We have the Final Cut where we saw Roger Waters really sort of stepping forward as a singer-songwriter.
There was a much larger symphonic element to some of the songs on this record.
But by the time Pink Floyd came out with A Momentary Lapse of Reason, New Wave and Synth
Pop was in full swing.
And Hair Metal Hard Rock too.
And this showed up in the drum sounds, the grooves, Richard Wright's keyboards, the
very springy, thin echoes laid onto numerous pieces of instrumentation in the mix.
Plus, this album also saw the departure of Roger Waters.
And unlike Sid Barrett leaving Pink Floyd in the late 60s, this was a lineup change
that the band never really bounced back from artistically.
Though I do give credit to Gilmore, Wright and Mason for dropping a better record with Division Bell.
Some of the production here was a little too clean.
Some of the big voiced choruses were kind of a turnoff.
But sonically and stylistically, this was the closest the band ever got to their 70s
sound once again.
Which is nice if you like that sound.
It's certainly a better alternative than what the band was doing throughout much of the 80s.
But still, Pink Floyd has always been one of those fantastic bands that has progressed
and progressed and progressed.
And for them to just kind of do a 180 and decide that, well, we're just going to go
back, as good as some of the moments on Division Bell were, it was a little bittersweet.
In their late era albums, Pink Floyd never really sold out or dumbed down their sound
or anything like that.
In my opinion, they just really failed to make their sound translate in a new musical era.
And that's all.
So with that in mind, what hope does Pink Floyd have of coming out with another great
album in 2014?
Especially since the recent and unfortunate passing of Rickard Wright.
And we also have to take into account that much of the material here was recorded during
that Division Bell era.
The foundation of this album is very rocky.
It's very tattered.
But the remaining members of Pink Floyd do a somewhat decent job of weaving these varied
instrumental parts together into something kind of coherent.
This album essentially is a four-part series consisting of mostly instrumentals.
One of the few tracks to break that streak is Louder Than Words, which is one of the
final tracks here, and it's apparently the album's big single.
It's a very gentle, slow-moving rock song with the usual chord progressions and guitar
flourishes that you would usually catch on a Floyd song.
It sounds like it would fit very snugly into the Division Bell playlist, but it's not
really that harrowing or climactic of a song.
Certainly not anything you could center the album around or call a definitive ending.
How Endless River defines itself mostly is by its instrumental character.
You have some tracks on this LP that are three, four, maybe six minutes in length, but that
is what is few and far between here.
Most of the songs here are like around one or two minutes, and they're all kind of strung
together into these sides of the album that sort of sound like they complement each other pretty well.
Maybe there was a point at which all of these various songs were their own separate pieces
and kind of scattered, maybe rough sketches or ideas for what would become more fully
fleshed-out songs.
And even if that's the case, all of the shorter-than-two-minutes tracks on side three of this LP actually come
together pretty well.
I would say there are only a few moments where the segues from one track to another aren't
really that smooth, and some of the songs here kind of feel like they're building up
to a climax that never really occurs.
Maybe it would have been written if Pink Floyd as the quartet that they were in the 70s pulled
it together and really tried to finish these songs off, but we don't get that.
Instead we get these kind [N] of short instrumental tidbits, some of which feel like kind of vast
explorative synthscapes that are kissed with kind of mournful guitar leads.
These instrumentals have kind of a New Age-esque vibe to them.
And then there are other songs here that are just really straightforward late 70s rock
grooves that would have fit in as a good segue or building point on a Pink Floyd album.
Some of the tiny instrumental tidbits here feel like just classic Pink Floyd, others
are just very ambient and explorative and are very dark, kind of like the song Skins,
which oddly enough feels maybe just a little bit like post-rock.
But then there are songs on here like Anissino, which is sort of like a sax-led piano jam
that kind of feels like it would be on a Vangelis soundtrack or something like that, Chariots
of Fire, but with kind of a bright, heavenly, modern Christian gospel rock thing going on.
Overall I came out enjoying a vast majority of what was going on here, even knowing that,
yeah, it was just kind of maybe a mess at some point, and maybe at one point there was
a bit of a debate as to whether to leave these tapes as is and just release them to the public
or maybe turn them into something like this.
And I think doing the former would have just been not that interesting because there's
not much on this album in terms of like a new or fresh idea.
If you're familiar with late 70s, 80s, and 90s Pink Floyd, you've heard nearly everything
they have to offer on this record.
But as a cohesive, well-segued, and put-together album, this experience isn't that bad.
It's kind of just like peering into the final instrumental ideas of one of progressive rock's greatest bands.
I'm feeling a strong 5 to a light 6 on this thing.
So, I'm going to end this video here.
If [C#] you've given this album a listen, what did you think of it?
Did you love it?
Did you hate it?
Why?
What did you think?
What do you think I should review next?
And that's it.
Anthony Fantano, Pink Floyd, Endless
And it's time for a review of the new Pink Floyd album, The Endless River.
This is the latest full-length album [D#] from seminal art rock, psychedelic rock, progressive
rock band Pink Floyd.
Few artists have contributed as many seminal albums to the pantheon of rock music as Pink Floyd.
Piper at the Gates of Dawn, Metal, Saucer Full of Secrets, Animals, The Wall, Adam Hart
Mother Wish You Were Here, Dark Side of the Moon.
I would just recommend you listen to some, if not all, of these albums because in a single
video it's impossible to do justice to the immense artistic impact the music here has had.
However, artistically Pink Floyd kinda hit the skids in the 80s.
Which is nothing to be ashamed of because it's something that many progressive rock
acts suffered through as they transitioned into that decade from the 60s and 70s.
And I wouldn't say Pink Floyd's descent was as hard as some other bands.
We have the Final Cut where we saw Roger Waters really sort of stepping forward as a singer-songwriter.
There was a much larger symphonic element to some of the songs on this record.
But by the time Pink Floyd came out with A Momentary Lapse of Reason, New Wave and Synth
Pop was in full swing.
And Hair Metal Hard Rock too.
And this showed up in the drum sounds, the grooves, Richard Wright's keyboards, the
very springy, thin echoes laid onto numerous pieces of instrumentation in the mix.
Plus, this album also saw the departure of Roger Waters.
And unlike Sid Barrett leaving Pink Floyd in the late 60s, this was a lineup change
that the band never really bounced back from artistically.
Though I do give credit to Gilmore, Wright and Mason for dropping a better record with Division Bell.
Some of the production here was a little too clean.
Some of the big voiced choruses were kind of a turnoff.
But sonically and stylistically, this was the closest the band ever got to their 70s
sound once again.
Which is nice if you like that sound.
It's certainly a better alternative than what the band was doing throughout much of the 80s.
But still, Pink Floyd has always been one of those fantastic bands that has progressed
and progressed and progressed.
And for them to just kind of do a 180 and decide that, well, we're just going to go
back, as good as some of the moments on Division Bell were, it was a little bittersweet.
In their late era albums, Pink Floyd never really sold out or dumbed down their sound
or anything like that.
In my opinion, they just really failed to make their sound translate in a new musical era.
And that's all.
So with that in mind, what hope does Pink Floyd have of coming out with another great
album in 2014?
Especially since the recent and unfortunate passing of Rickard Wright.
And we also have to take into account that much of the material here was recorded during
that Division Bell era.
The foundation of this album is very rocky.
It's very tattered.
But the remaining members of Pink Floyd do a somewhat decent job of weaving these varied
instrumental parts together into something kind of coherent.
This album essentially is a four-part series consisting of mostly instrumentals.
One of the few tracks to break that streak is Louder Than Words, which is one of the
final tracks here, and it's apparently the album's big single.
It's a very gentle, slow-moving rock song with the usual chord progressions and guitar
flourishes that you would usually catch on a Floyd song.
It sounds like it would fit very snugly into the Division Bell playlist, but it's not
really that harrowing or climactic of a song.
Certainly not anything you could center the album around or call a definitive ending.
How Endless River defines itself mostly is by its instrumental character.
You have some tracks on this LP that are three, four, maybe six minutes in length, but that
is what is few and far between here.
Most of the songs here are like around one or two minutes, and they're all kind of strung
together into these sides of the album that sort of sound like they complement each other pretty well.
Maybe there was a point at which all of these various songs were their own separate pieces
and kind of scattered, maybe rough sketches or ideas for what would become more fully
fleshed-out songs.
And even if that's the case, all of the shorter-than-two-minutes tracks on side three of this LP actually come
together pretty well.
I would say there are only a few moments where the segues from one track to another aren't
really that smooth, and some of the songs here kind of feel like they're building up
to a climax that never really occurs.
Maybe it would have been written if Pink Floyd as the quartet that they were in the 70s pulled
it together and really tried to finish these songs off, but we don't get that.
Instead we get these kind [N] of short instrumental tidbits, some of which feel like kind of vast
explorative synthscapes that are kissed with kind of mournful guitar leads.
These instrumentals have kind of a New Age-esque vibe to them.
And then there are other songs here that are just really straightforward late 70s rock
grooves that would have fit in as a good segue or building point on a Pink Floyd album.
Some of the tiny instrumental tidbits here feel like just classic Pink Floyd, others
are just very ambient and explorative and are very dark, kind of like the song Skins,
which oddly enough feels maybe just a little bit like post-rock.
But then there are songs on here like Anissino, which is sort of like a sax-led piano jam
that kind of feels like it would be on a Vangelis soundtrack or something like that, Chariots
of Fire, but with kind of a bright, heavenly, modern Christian gospel rock thing going on.
Overall I came out enjoying a vast majority of what was going on here, even knowing that,
yeah, it was just kind of maybe a mess at some point, and maybe at one point there was
a bit of a debate as to whether to leave these tapes as is and just release them to the public
or maybe turn them into something like this.
And I think doing the former would have just been not that interesting because there's
not much on this album in terms of like a new or fresh idea.
If you're familiar with late 70s, 80s, and 90s Pink Floyd, you've heard nearly everything
they have to offer on this record.
But as a cohesive, well-segued, and put-together album, this experience isn't that bad.
It's kind of just like peering into the final instrumental ideas of one of progressive rock's greatest bands.
I'm feeling a strong 5 to a light 6 on this thing.
So, I'm going to end this video here.
If [C#] you've given this album a listen, what did you think of it?
Did you love it?
Did you hate it?
Why?
What did you think?
What do you think I should review next?
And that's it.
Anthony Fantano, Pink Floyd, Endless