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Pigs Might Fly: The Inside Story of “Pink Floyd”

Posted by Notcot on Aug 1, 2012 in Cult Film
Pigs Might Fly: The Inside Story of

Mark Blake’s history of Pink Floyd – the first for fifteen years – has already been acknowledged as the final word on this remarkable band’s life. Lucidly written, incorporating over a hundred new and exclusive interviews, it covers Pink Floyd from their Cambridge beginnings in the early sixties to their triumphant re-formation at Live 8 in 2005 24 years after their last live performance together and the death of their troubled founder-member Syd Barrett a year later. Pink Floyd’s albums like Dark Side of the Moon remain some of rock’s biggest sellers of all every year on CD; Both David Gilmour and Roger Waters continue to do arena and stadium gigs, and the market for this book will exist for many years. In hardback it has reprinted four times already. Aurum’s earlier book about the Clash by Blake’s Mojo stablemate Pat Gilbert, Passion is a Fashion, has so far sold over 22,000 in paperback – and the Floyd cult is far larger. Everyone has commented on the superb “flying pig” cover art and the spine treatment visible right across the bookshop: both are retained for this paperback edition.Mark Blake is a contributing editor at Mojo and Q magazines, and the editor of books on Punk and Bob Dylan. He is currently editing The Wit & Wisdom of Keith Richards for Aurum. He lives in Croydon.

Price : £ 6.99

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Pink Floyd: The Wall

Posted by Notcot on Apr 21, 2010 in Cult Film

Average Rating: 4.5 / 5 (28 Reviews)

Amazon.co.uk Review
By any rational measure, Alan Parker’s cinematic interpretation of Pink Floyd’s The Wall is a glorious failure. Glorious because its imagery is hypnotically striking, frequently resonant and superbly photographed by the gifted cinematographer Peter Biziou. And a failure because the entire exercise is hopelessly dour, loyal to the bleak themes and psychological torment of Roger Waters’ great musical opus, and yet utterly devoid of the humour that Waters certainly found in his own material. Any attempt to visualise The Wall would be fraught with artistic danger, and Parker succumbs to his own self-importance, creating a film that’s as fascinating as it is flawed. The film is, for better and worse, the fruit of three artists in conflict–Parker indulging himself, and Waters in league with designer Gerald Scarfe, whose brilliant animated sequences suggest that he should have directed and animated this film in its entirety. Fortunately, this clash of talent and ego does not prevent The Wall from being a mesmerising film. Boomtown Rats frontman Bob Geldof (in his screen debut) is a fine choice to play Waters’s alter ego–an alienated, “comfortably numb” rock star whose psychosis manifests itself as an emotional (and symbolically physical) wall between himself and the cold, cruel world. Weaving Waters’s autobiographical details into his own jumbled vision, Parker ultimately fails to combine a narrative thread with experimental structure. It’s a rich, bizarre, and often astonishing film that will continue to draw a following, but the real source of genius remains the music of Roger Waters. –Jeff Shannon

Pink Floyd: The Wall

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