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Thread: Pink Floyd Put Bickering Aside to Finally Announce Animals Reissue

  1. #1

    Pink Floyd Put Bickering Aside to Finally Announce Animals Reissue

    From Rolling Stone.com:
    Pink Floyd have finally announced the release date for the long-delayed reissue of their classic 1977 LP Animals.

    Animals 2018 Remix will arrive starting Sept. 16, with the Orwellian concept album also receiving its first-ever 5.1 Stereo Sound release. While the reissue doesnt feature any bonus tracks, it does include a polished-up mix overseen by engineer James Guthrie of the original five-song album on CD, vinyl, Blu-ray, and SACD.

    As the title suggests, the remix was completed in 2018 and originally intended for release around that time; however, the reissue was delayed as former band mates Roger Waters who largely penned the album himself, with the exception of Dogs and David Gilmour sparred over liner notes that were intended to accompany the reissue.

    These mixes have languished unreleased because of a dispute over some sleeve notes that [journalist] Mark Blake has written for this new release, Waters said in June 2021. Gilmour has vetoed the release of the album unless these liner notes are removed. He does not dispute the veracity of the history described in Marks notes, but he wants that history to remain secret.

    Waters ultimately released the liner notes on his own website in 2021, and while the upcoming reissue comes with a 32-page booklet of never-before-seen photographs and live images, its doubtful that Blakes sleeve notes made the final cut.

    In addition to the new remix, Animals 2018 Remix also sports updated artwork of the albums legendary cover an inflatable pig hovering over Battersea Power Station, an image created by Hipgnosis Studios Storm Thorgerson by Aubrey Po Powell, who worked alongside Thorgerson.

    With the original 1977 album cover being such an iconic piece of stand-alone art, I had the chance to update it, which was a rather daunting task, Powell said in a statement, but Hipgnosis took the opportunity to re-photograph the image to reflect a changing world, and by using modern digital coloring techniques I kept Pink Floyds rather bleak message of moral decay using the Orwellian themes of animals, the pig Algie, faithful to the message of the album.

    Animals 2018 Remix is available to preorder now on CD, vinyl, Blu-ray, and SACD as well as a deluxe box set that boasts all four formats as well as the albums original 1977 stereo mix.

  2. #2
    Studmuffin Scott Bails's Avatar
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    Quote Originally Posted by starless and bible black View Post

    Waters ultimately released the liner notes on his own website in 2021, and while the upcoming reissue comes with a 32-page booklet of never-before-seen photographs and live images, it’s doubtful that Blake’s sleeve notes made the final cut.
    Here is Waters' release of the liner notes.

    "A note from Roger Waters to Pink Floyd fans:

    As I am banned by Dave Gilmour from posting on Pink Floyd’s Facebook page with its 30,000,000 subscribers, I am posting this announcement here today and in full on rogerwaters.com.

    First, a warm welcome back to our little band of brothers and sisters who have always kept an open mind, let’s hope some of the fans whose access to my words is suppressed by Gilmour find their way here and discover some truth.
    What precipitated this note is that there are new James Guthrie Stereo and 5.1 mixes of the Pink Floyd album Animals, 1977. These mixes have languished unreleased because of a dispute over some sleeve notes that Mark Blake has written for this new release. Gilmour has vetoed the release of the album unless these liner notes are removed. He does not dispute the veracity of the history described in Mark’s notes, but he wants that history to remain secret. This is a small part of an ongoing campaign by the Gilmour/Samson camp to claim more credit for Dave on the work he did in Pink Floyd, 1967-1985, than is his due. Yes he was, and is, a jolly good guitarist and singer. But, he has for the last 35 years told a lot of whopping porky pies about who did what in Pink Floyd when I was still in charge. There’s a lot of “we did this” and “we did that,” and “I did this” and “I did that.” So, two things:

    (1). I am agreeing to the release of the new Animals remix, with the sleeve notes removed. Good work James Guthrie by the way, and sorry Mark Blake. The final draft of the liner notes was fact checked and agreed as factually correct by me, Nick and Gilmour. Here they are, enjoy, there’s nothing controversial, just a few simple facts.

    Mark Blake: Liner Notes
    Pink Floyd: Animals
    Despite being recorded in London during the long, summer heatwave of 1976, Pink Floyd’s Animals remains a dark album. Its critique of capitalism and greed caught the prevailing mood in Britain: a time of industrial strife, economic turmoil, The Troubles in Northern Ireland, and the race riots of Notting Hill. The album was released on January 23rd 1977, but the roots of Pink Floyd’s tenth studio album go back earlier in the decade. Following the success of 1973’s The Dark Side Of The Moon, Pink Floyd pondered their next move. During a two-to-three week jam session in early 1974, the band worked on ideas for three new compositions. From these sessions the band developed Shine On You Crazy Diamond, (A passionate tribute to Syd Barrett, words by Roger Waters. Added by me, sorry couldn’t help it.) which became the centrepiece of Floyd’s next album, Wish You Were Here, and Raving And Drooling (composed by Roger Waters) and You Gotta Be Crazy written by Waters and David Gilmour.

    Raving And Drooling was a tale of violent social disorder, while You Gotta Be Crazy told the story of a soulless businessman clawing and cheating his way to the top. Both were performed live for the first time on the Floyd’s winter tour of 1974. They were both considered for the Wish You Were Here album, but Roger insisted that neither song was relevant to the overall idea, that “Wish You Were Here” was essentially about absence, and as neither song fitted his conception of the record’s overall theme, neither song should be included. The band eventually concurred. Scroll forward two years, and Roger had an idea for the next Pink Floyd album. He borrowed from George Orwell’s allegorical story, Animal Farm, in which pigs and other farmyard animals were reimagined anthropomorphically. Waters portrays the human race as three sub-species trapped in a violent, vicious cycle, with sheep serving despotic pigs and authoritarian dogs. You Gotta be Crazy and Raving And Drooling perfectly fitted his new concept. In the meantime, a year earlier, the group had bought a set of disused church buildings in Britannia Row, Islington, which they’d converted into a studio and storage facility. Prior to this every Pink Floyd studio release had been partly or wholly recorded at Abbey Road studios. Pink Floyd had also found a new recording engineer. Brian Humphries, an engineer from Pye studios, who they had met while recording the sound track for “More”, a movie directed by Barbet Schroeder. Brian had gone on to engineer Wish You Were Here at Abbey Road, and also helped them out on the road, so they had got to know him very well. Using their own studio marked a significant change in their working methods. There were setbacks and teething problems, but also a great sense of freedom.

    Following Roger’s instincts about the new songs paid off, the songs had an aggressive edge far removed from the luxuriant soundscapes on Wish You Were Here. It was a timely change of direction. At Britannia Row, he renamed Raving And Drooling, Sheep and Gotta Be Crazy became Dogs. The narrative was completed by the addition of two new Waters songs: Pigs (Three Different Ones) and Pigs On The Wing.

    On Pigs (Three Different Ones), the lyrics namechecked Mary Whitehouse, the head of the National Viewers And Listeners Association. Whitehouse was an outspoken critic of sex and violence on British television and a topical target for Roger’s ire. The subject matter was bleak, but Nick Mason recalled lighter moments over dubbing songs with special effects and barnyard noises. While Sheep also made room for Roger’s blackly comic variation on Psalm 23: “He maketh me to hang on hooks in high places/ He converteth me to lamb cutlets…” The music and the performance mirrored the intensity of the lyrics. Keyboard player Richard Wright’s eerie-sounding synths and Hammond organ cranked up the unease. While David Gilmour’s shared lead vocal on Dogs and his guitar playing throughout Animals offered a striking counterpoint to Roger’s brutal lyrics. In contrast, Animals began and ended on an optimistic note. The verses of Pigs on The Wing were split in two and bookended the album. Roger’s lyrics and vocal performance of acoustic intro and outro (“You know that I care what happens to you/ And I know that you care for me too…”) suggested hope for humanity. The idea for Pink Floyd’s flying pig was also Roger’s. He had already commissioned its building as a stage device for the next tour. Storm Thorgerson and Aubrey Powell of the design company Hipgnosis, had produced a number of design ideas for an Animals sleeve and presented them to the band but none of the band, liked them, and when Roger added his disapproval someone said, ”Well why don’t you come up with something better then?” So he did, on the drive from his house in South London to Britannia Row, he regularly passed Battersea Power Station. He was drawn to the imposing brick building, and by the number four. Four in the band, four phallic chimneys, and if the power station were turned upside down then it resembled a table with four legs. He pursued his idea and had a maquette made, a small scale model of the eventual full scale inflatable pig. He then took photographs of Battersea Power station and created a photographic mock up of an album sleeve. The rest of the band loved it. Storm and Po, who had designed all of the previous Pink Floyd album covers, graciously offered to source photographers for the photo shoot, and did. On the first day of the photo shoot, the pig failed to inflate. On the second day, it broke free of its moorings and disappeared into a beautiful brooding sky, prompting a frantic call to the police and a halt to all flights in and out of Heathrow. The pig eventually crash-landed in a farmer’s field in Kent.

    The following day, the shoot went ahead without a hitch, great shots of pig in situ but no brooding sky. So Storm and Po stripped Day three Pig into Day two sky, bingo! History. Animals was a hit, reaching Number 2 in the UK and Number 3 in the US. Pink Floyd’s pig, Algie, made its live debut on their subsequent “In The Flesh” tour in 1977. At stadium shows in America, it was joined by another Water’s idea, an inflatable nuclear family comprising a mother, father and 2.5 children, surrounded by the spoils of a consumerist lifestyle: an inflatable Cadillac, oversized TV and refrigerator. Roger called it Electric Theatre. Both the album and the tour signposted the way to Pink Floyd’s next release, The Wall, and to Roger’s ever more ambitious ideas, both in terms of his music, narratives, politics and stage shows. But his themes and ideas explored on Animals have endured. More than 40 years on the album has been remixed in stereo and 5.1. In troubled times and an uncertain world, Animals is as timely and relevant now as it ever was.
    Mark Blake
    Music isn't about chops, or even about talent - it's about sound and the way that sound communicates to people. Mike Keneally

  3. #3
    Studmuffin Scott Bails's Avatar
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    <continued>

    Thanks Mark, sorry you were redacted.

    (2). I am in the middle of writing my Memoirs and inevitably some of it contains references to some of the content above. For anyone with a faint heart, I suggest you sit down, but anyone who likes a good laugh, sit back and fucking howl! �� �� ✊�� I’m going to sit back and howl along with you.

    At the beginning of this post on the subject of porky pies, I say, “There’s an awful lot of “we did this” and “we did that,” and “I did this” and “I did that.” Right? So here’s a short extract from my memoir:

    “As chance would have it I was doing a bit of delving in a book of press clippings and came across an interview David Fricke of Rolling Stone Magazine did with DG in a hotel room in NY in 1982, DG’s talking about the Cash register tape for the defining 7/8 rhythm on Money. The interview was published in Musician Magazine, so even back then DG was sowing the seeds of the false narrative. I quote this bit of the article verbatim:

    David Fricke: “You recorded the sounds for ‘Money’ on a loop of tape.” Gilmour explains: ”You’re trying to get the impact from the cash register, ‘the snap, crack, crsssh,” You’d mark that one and then measure how long you wanted that beat to go, and that’s the piece you’d use. And you’d chop it together. It was trial and error. You just chop the tapes together, and if it sounds good, you use it. If it doesn’t, you take one section out and put a different one in. Sometimes we’d put one in and it’d be backwards, because the diagonal cut on the tape, if you turn it around is exactly the same. We’d stick that in and instead it would go ‘chung, dum, whoosh.’ And sound great so we’d use that.”
    Well! The reason everything DG is saying here to David Fricke sounds like gobbledygook is because it is fucking gobbledygook. He has no fucking idea what he’s talking about. Why? Because unless he was hiding under the fucking chair, DG wasn’t there when I made that SFX tape loop for Money in the studio I shared with my wife Judy at the bottom of our garden at 187, New North Road, Islington, next door to the North Pole Pub where I used to play darts!

    THE FULL STORY OF WHAT REALLY HAPPENED IS IN MY MEMOIRS!
    So, I hope that whets your, and David and Polly’s appetites ��
    Love
    R.
    "
    Music isn't about chops, or even about talent - it's about sound and the way that sound communicates to people. Mike Keneally

  4. #4
    Member Jerjo's Avatar
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    I'm disappointed they couldn't at least take one of the better boots off the tour, clean it up, and release it. Regardless, I'll buy this in hopes that the mix is better than the original.
    I don't like country music, but I don't mean to denigrate those who do. And for the people who like country music, denigrate means 'put down.'- Bob Newhart

  5. #5
    Anyone seen a setlist posted for this upcoming tour? Or is that still unknown till July 6th when he opens the tour in Pittsburgh?

  6. #6
    Member Paulrus's Avatar
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    Quote Originally Posted by Scott Bails View Post
    <continued>

    Thanks Mark, sorry you were redacted...
    Wow. SMH. I'm now astonished they somehow were able to share a stage in 2008 for the Live Aid reunion.
    I'm holding out for the Wilson-mixed 5.1 super-duper walletbuster special anniversary extra adjectives edition.

  7. #7
    Parrots ripped my flesh Dave (in MA)'s Avatar
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    It doesn't really seem as though they put their bickering aside so much as they found a workaround to get Waters' version of things out there and put out the rerelease.

  8. #8
    Quote Originally Posted by Jerjo View Post
    I'm disappointed they couldn't at least take one of the better boots off the tour, clean it up, and release it. Regardless, I'll buy this in hopes that the mix is better than the original.
    I'm fine with the boots.

    Thank god for music bootleggers.
    "Don't look here. The joke's in your hand."

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    Quote Originally Posted by Jerjo View Post
    I'm disappointed they couldn't at least take one of the better boots off the tour, clean it up, and release it. Regardless, I'll buy this in hopes that the mix is better than the original.
    I was hoping for a cleaned-up boot too. And of course, a lot less BS over who did what. It caused the release to be sitting in the can for 4 years? Rog should have just saved the who dunnit stuff for his book. I imagine Nick and Rick if he was still here would have at least liked to be mentioned. I have Animals from the Shine On box so unless its stunningly improved, I'm sitting this one out.
    Last edited by Tangram; 06-30-2022 at 05:22 PM.

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    I see that this thread and a photo being currently displayed prominently of very similar 4 tall industrial chimneys at the (front page of the) New York Times website seem to have appeared essentially simultaneously --- good promotion, well done.

  11. #11
    Same old Roger, it seems.

    Good grief, that guy...
    "what's better, peanut butter or g-sharp minor?"
    - Sturgeon's Lawyer, 2021

  12. #12
    Quote Originally Posted by aith01 View Post
    Same old Roger, it seems.

    Good grief, that guy...
    He's almost as bad as Tony Banks!

    Almost.

  13. #13
    Quote Originally Posted by Jerjo View Post
    I'm disappointed they couldn't at least take one of the better boots off the tour, clean it up, and release it. Regardless, I'll buy this in hopes that the mix is better than the original.
    I'd have settled for the 8-track version of Pigs On The Wing (the one with the Snowy White guitar solo bridging the gap between the two parts).

  14. #14
    I wish Roger would just get over himself. In that David Fricke interview excerpt, Gilmour never says he created the Money tape loop. He describes how one would make a tape loop, which sounds about right. It's not gobbledegook, Roger. Interesting that he doesn't address Dave's claims at various times that he played bass on most of Animals and wrote a sizeable chunk of Sheep.

    Anyone who knows anything about music knows, just because there's only one name in the byline, doesn' tmean that guy dictated the song note-for-note to the rest of the band. That goes for conventional 3 or 4 minute songs, never mind something like Pigs (3 Different Ones) or Sheep.

    As far as "We did this" or "I did that", I seem to remember Waters doing an awful lot of that himself. I remember it being noted in the Nicholas Shaeffner book that after performing a long stretch of Pink Floyd songs, including Great Gig In The Sky, Jim Ladd would announce, "Words and music by Roger Waters". Uh, not completely, Jim. Great Gig In The Sky was written by Rick Wright and Claire Torrey. Roger might like to think he wrote it, but as far as I can tell, he didn't.

    Roger may have come up with the basic song ideas and the lyrics, but it was Wright, Gilmour and Mason who brought the music to life and made it listenable. He needs to quit whining about "Oh, Gilmour said this" or "Gilmour's banned me from the official Pink Floyd websites" or whatever. Dude, get over it. It's not becoming of a man of your age!

  15. #15
    Quote Originally Posted by Rick L. View Post
    He's almost as bad as Tony Banks!

    Almost.
    Yes, almost.
    "what's better, peanut butter or g-sharp minor?"
    - Sturgeon's Lawyer, 2021

  16. #16
    Quote Originally Posted by GuitarGeek View Post
    I wish Roger would just get over himself. […] He needs to quit whining about "Oh, Gilmour said this" or "Gilmour's banned me from the official Pink Floyd websites" or whatever. Dude, get over it. It's not becoming of a man of your age!
    Yes, I agree. He has a serious case of overinflated ego. This stuff he keeps going on and on about just strikes me as petty and I find it a bit obnoxious to be honest.
    "what's better, peanut butter or g-sharp minor?"
    - Sturgeon's Lawyer, 2021

  17. #17
    Waters just cant leave anything alone. Snipping at gilmour and samsonjesus man. You're fucking 80 not 8!
    He QUIT Floyd and then sued them, of COURSE hes banned from the website! Hes not part of Pink Floyd🤣🤣
    And I dont understand what Gilmour objected to in the notes! It doesnt appear that anything he wrote wasnt already out there somewhere, Its not like they were concealing state secrets!
    Waters just has to shit in the punchbowl and ruin it for everybody.

  18. #18
    Great album, a favorite Floyd album for sure. But having partnered with someone creatively for 10 year in my past - who continually upped the anti on wanting higher credit and creative control - its really boring to hear Roger wanting to "set the record straight" and "needing to take credit" for a something that was a partnership. Everyone has their role, it may be big or small, but every piece makes the sum as great as it is. And likely, Roger did a lions share because he was a bully. I know, I've been there. The mystery and mystique first employed by the band about such things was what was worked best. No need to set records straight when the bank account is full and the album was a success. Let it go....

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    ^^^
    Roger Waters will never "let it go". He's a banal, self-absorbed cretin who considers himself an expert on everything, including politics. Yuchhh... .

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    Gilmour has said that he wished he pushed harder for credit back in the day. He said on Dogs he wrote close to 90% of the music if I remember correctly. But Waters wrote all of the words for 50% and as co-writer of the music, gets half for the music, another 25%. DG says the song goes nowhere without him, but he only gets 25% of the credit.

    Maybe it's a good reason for an argument in the 1970's, but both of these guys have bank accounts with 9 digits to the left of the decimal point. Close to 80, and collecting wrinkles like a Shar-Pei, time to let it go.

    When Rog passes, "I Am Pink" will probably be on his tombstone.

  21. #21
    That's Mr. to you, Sir!! Trane's Avatar
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    Quote Originally Posted by Rick L. View Post
    He's almost as bad as Tony Banks!

    Almost.


    both beaten to a pulp by Gilmour

    Quote Originally Posted by GuitarGeek View Post
    I'd have settled for the 8-track version of Pigs On The Wing (the one with the Snowy White guitar solo bridging the gap between the two parts).
    that would've been a valuable bonus track, indeed.

    Quote Originally Posted by aith01 View Post
    Yes, I agree. He has a serious case of overinflated ego. This stuff he keeps going on and on about just strikes me as petty and I find it a bit obnoxious to be honest.
    It's a bit like another Roger (maybe it comes with the name), hammering away about his former group doing his songs despite a verbal agreement of the opposite.

    Quote Originally Posted by Man In The Mountain View Post
    Great album, a favorite Floyd album for sure. But having partnered with someone creatively for 10 year in my past - who continually upped the anti on wanting higher credit and creative control - its really boring to hear Roger wanting to "set the record straight" and "needing to take credit" for a something that was a partnership. Everyone has their role, it may be big or small, but every piece makes the sum as great as it is. And likely, Roger did a lions share because he was a bully. I know, I've been there. The mystery and mystique first employed by the band about such things was what was worked best. No need to set records straight when the bank account is full and the album was a success. Let it go....
    He was also the only one trying to save the Floyd ship from drowning around Animals' time - tremember that the band was bankrupt due to poor investments and rip-offs. The others were busy keeping their musical ideas for their solo records, or racing their cars. Not sure there would've been a band for bickering about during the 80's without "Poor Ol' Rog".
    While Waters is being an arsehole about it (not that Dave is much better), I can definitely understand his frustrations, given the context.


    Quote Originally Posted by Tangram View Post
    Gilmour has said that he wished he pushed harder for credit back in the day. He said on Dogs he wrote close to 90% of the music if I remember correctly. But Waters wrote all of the words for 50% and as co-writer of the music, gets half for the music, another 25%. DG says the song goes nowhere without him, but he only gets 25% of the credit.
    Frippy had a big issue with half the royalties going to Sinfield for writing lyrics he didn't even like (says his Robertness). I imagine he had the same feeling with RPJ (a guy not even part of the band - touring or studio) - though there more more instrumentals in that line-up.

    Imagine how Renaissance felt about Betty Thatcher's royalties.
    my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.

  22. #22
    Finally! So looking forward to the 5.1! The vinyl version was the only preorder option I found this AM.
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  23. #23
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    Quote Originally Posted by Rick L. View Post
    He's almost as bad as Tony Banks!

    Almost.
    LOL, except Banks has managed to maintain good relationships with his band members I guess it helps when creativity is democratized across a band.

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    Quote Originally Posted by Jerjo View Post
    I'm disappointed they couldn't at least take one of the better boots off the tour, clean it up, and release it. Regardless, I'll buy this in hopes that the mix is better than the original.
    I’m in for the surround mix. Too bad that in the welter of creativity from Rog in the 70’s it never occurred to him, or anyone else, to have at least one show professionally recorded. Boots are OK, but just OK.

  25. #25
    Member kilianltia's Avatar
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    Quote Originally Posted by ca1ore View Post
    I’m in for the surround mix. Too bad that in the welter of creativity from Rog in the 70’s it never occurred to him, or anyone else, to have at least one show professionally recorded. Boots are OK, but just OK.
    Ironically Floyd's reasoning for not recording live shows was fear of the tapes leaking and being bootlegged.

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