Post the link on that Louder Than Sound website? Of post a direct link to the website itself?
https://www.publiusenigma.co.uk/
A website, nay, a REQUIEM to Pink Floyd from 1983 onwards. Even mentions Roger Waters!
Publius Enigma- A site dedicated to Pink Floyd from 1983
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- Judge!
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- Judge!
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Re: Publius Enigma- A site dedicated to Pink Floyd from 1983
Oh hang on, when you go to live dates, it instead goes to your contacts! Anyone else had that?
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- Judge!
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Re: Publius Enigma- A site dedicated to Pink Floyd from 1983
Apparently the Roger Waters dates and others have yet to be put up, but the Floyd stuff works.
Had a communication with the sites owners!
Had a communication with the sites owners!
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- Blade
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Re: Publius Enigma- A site dedicated to Pink Floyd from 1983
Yeah, nice idea for a website... I read the long article about Yet Another Movie, have to say I'm always in favour of these sort of detailed song-analysis essays. Probably I'm splitting hairs but it seems a bit odd that Pat Leonard doesn't get a mention, given he's credited as a co-writer of that song?
I'm just curious as I only recently realised that Leonard had at that point recently written several massive hits with Madonna (with her contributing lyrics and vocal melodies)... I reckon there's some (fairly tenuous) similarities between Yet Another Movie and Live to Tell. I really like both those songs, perhaps it's just similar tempo, same key, some chords, use of fifths (although this article asserts they came from a separate thing Jon Carin had been working on), maybe too abstract to connect the two things. I think it's interesting they chose to work with Leonard, I wonder if they liked his work with Madonna? He was certainly a Pink Floyd fan and excited to get to work with them anyway.
So despite all the detail, the article left me curious about how the co-writing would work on AMLOR, and how/why Pat Leonard got a credit on this and Jon Carin didn't?
(Probably not very many people care about such stuff)
I'm just curious as I only recently realised that Leonard had at that point recently written several massive hits with Madonna (with her contributing lyrics and vocal melodies)... I reckon there's some (fairly tenuous) similarities between Yet Another Movie and Live to Tell. I really like both those songs, perhaps it's just similar tempo, same key, some chords, use of fifths (although this article asserts they came from a separate thing Jon Carin had been working on), maybe too abstract to connect the two things. I think it's interesting they chose to work with Leonard, I wonder if they liked his work with Madonna? He was certainly a Pink Floyd fan and excited to get to work with them anyway.
So despite all the detail, the article left me curious about how the co-writing would work on AMLOR, and how/why Pat Leonard got a credit on this and Jon Carin didn't?
(Probably not very many people care about such stuff)
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- Knife
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Re: Publius Enigma- A site dedicated to Pink Floyd from 1983
I do. And I also like Live to Tell a lot. Beautiful song (although the 20-minute version or whatever is a bit too long ).scarecrow wrote: ↑Tue Dec 29, 2020 2:04 pm Yeah, nice idea for a website... I read the long article about Yet Another Movie, have to say I'm always in favour of these sort of detailed song-analysis essays. Probably I'm splitting hairs but it seems a bit odd that Pat Leonard doesn't get a mention, given he's credited as a co-writer of that song?
I'm just curious as I only recently realised that Leonard had at that point recently written several massive hits with Madonna (with her contributing lyrics and vocal melodies)... I reckon there's some (fairly tenuous) similarities between Yet Another Movie and Live to Tell. I really like both those songs, perhaps it's just similar tempo, same key, some chords, use of fifths (although this article asserts they came from a separate thing Jon Carin had been working on), maybe too abstract to connect the two things. I think it's interesting they chose to work with Leonard, I wonder if they liked his work with Madonna? He was certainly a Pink Floyd fan and excited to get to work with them anyway.
So despite all the detail, the article left me curious about how the co-writing would work on AMLOR, and how/why Pat Leonard got a credit on this and Jon Carin didn't?
(Probably not very many people care about such stuff)
Pat also became an important collaborator on Amused to Death, so I guess all Floyds liked him to a degree. Well, at least Dave and Roger.
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- Blade
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Re: Publius Enigma- A site dedicated to Pink Floyd from 1983
Yeah, these overlaps in personnel post-1985 are interesting. Amused to Death isn't an album I've really listened to, just found the bits I did hear on its release less compelling than Waters' best stuff.
Anyway, curious to see what else will get posted on this new site.
Anyway, curious to see what else will get posted on this new site.
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- Axe
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Re: Publius Enigma- A site dedicated to Pink Floyd from 1983
I noticed it, too. And it seems odd indeed that the journalist/blog owner, who arguably has a deep knowledge of the floyd world, never mentioned Pat Leonard.scarecrow wrote: ↑Tue Dec 29, 2020 2:04 pm Yeah, nice idea for a website... I read the long article about Yet Another Movie, have to say I'm always in favour of these sort of detailed song-analysis essays. Probably I'm splitting hairs but it seems a bit odd that Pat Leonard doesn't get a mention, given he's credited as a co-writer of that song?
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- Hammer
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Re: Publius Enigma- A site dedicated to Pink Floyd from 1983
Pat Leonard obviously contributed to the vocal melody and/or the lyrics, since he received a songwriting credit. Jon Carin received a songwriting credit for the synth hook on "Learning to Fly", because the only things that are copyrighted are the lyrics and the melodies; chord progressions are not. Similarly, Guy Pratt recently mentioned that he came up with the chord progression for "Wearing the Inside Out", but isn't credited, naturally.
Gilmour did bring in a lot of different people to find a suitable songwriting partner, but only Anthony Moore, Phil Manzanera, and Pat Leonard contributed to anything that ended up on the album (and that's only on 5 out of 11 tracks). Carin is a gifted multi-instrumentalist with a formal education in synthesis, starting with the VCS3, so he was there for the long haul; even the synth parts that Rick played in the '80s and '90s were programmed by Carin. It's worth noting that Pat Leonard played on nearly all of Amused to Death, but every song is credited to Roger and Roger alone; as he told Bob Ezrin during The Wall sessions, "You can write anything you want, just don't expect any credit." Bob received songwriting credits for both "Learning to Fly" and "Signs of Life".
I know I've previously speculated that after Robbie Robertson left The Band, Roger should have recruited them as his band...but considering they all ended up broke anyway, due to Robbie receiving nearly all of the songwriting credits, they probably wouldn't have fared much better on Roger's unprofitable tours. If you're going to work as a band, you have to share the credit, and if you're going to be a session/touring musician for someone else, don't expect any.
Gilmour did bring in a lot of different people to find a suitable songwriting partner, but only Anthony Moore, Phil Manzanera, and Pat Leonard contributed to anything that ended up on the album (and that's only on 5 out of 11 tracks). Carin is a gifted multi-instrumentalist with a formal education in synthesis, starting with the VCS3, so he was there for the long haul; even the synth parts that Rick played in the '80s and '90s were programmed by Carin. It's worth noting that Pat Leonard played on nearly all of Amused to Death, but every song is credited to Roger and Roger alone; as he told Bob Ezrin during The Wall sessions, "You can write anything you want, just don't expect any credit." Bob received songwriting credits for both "Learning to Fly" and "Signs of Life".
I know I've previously speculated that after Robbie Robertson left The Band, Roger should have recruited them as his band...but considering they all ended up broke anyway, due to Robbie receiving nearly all of the songwriting credits, they probably wouldn't have fared much better on Roger's unprofitable tours. If you're going to work as a band, you have to share the credit, and if you're going to be a session/touring musician for someone else, don't expect any.