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What Do You Want From Me
A Great Day For Freedom
Wearing The Inside Out
Pink Floyd – The Division Bell / 2 x Vinyl, LP, Album, Limited Edition, Reissue, Remastered.
25th Anniversary Blue Heavyweight Vinyl
Gatefold Sleeve Plus Full Colour Lyric Inner Sleeves Mastered From The Original Analogue Tapes
Jacket, Inner Sleeves, and record labels all have catalog number PFRLP14 from the 2016 release.
The Division Bell is the fourteenth album by the English progressive rock band Pink Floyd, released on 28 March 1994 by EMI Records in the United Kingdom and on 4 April by Columbia Records in the United States.
The second Pink Floyd album recorded without founding member Roger Waters, The Division Bell was written mostly by guitarist and singer David Gilmour and keyboardist Richard Wright. It features Wright’s first lead vocal on a Pink Floyd album since The Dark Side of the Moon (1973). Gilmour’s fiancée, the novelist Polly Samson, co-wrote many of the lyrics, which deal with themes of communication. It was the last Pink Floyd studio album to be composed of entirely new material, and the last recorded with Wright, who died in 2008.
Recording took place in locations including the band’s Britannia Row Studios and Gilmour’s houseboat, Astoria. The production team included longtime Pink Floyd collaborators such as producer Bob Ezrin, engineer Andy Jackson, saxophonist Dick Parry and bassist Guy Pratt.
The Division Bell received mixed reviews, but reached number one in more than 10 countries, including the UK and the US. In the US, it was certified double platinum in 1994 and triple platinum in 1999. Pink Floyd promoted it with a tour of the US and Europe; the tour sold more than 5 million tickets and made around $100 million in gross income. A live album and video, Pulse, was released in 1995. Some of the unused material from the Division Bell sessions became part of Pink Floyd’s next album, The Endless River (2014).
In January 1993, guitarist David Gilmour, drummer Nick Mason and keyboardist Richard Wright began improvising new material in sessions at the remodelled Britannia Row Studios. They recruited bassist Guy Pratt, who had joined them on their Momentary Lapse of Reason Tour; according to Mason, Pratt’s playing influenced the mood of the music. Without the legal problems that had dogged the production of their 1987 album A Momentary Lapse of Reason, Gilmour was at ease. If he felt the band were making progress, he would record them on a two-track DAT recorder. At one point, Gilmour surreptitiously recorded Wright playing, capturing material that formed the basis for three pieces of music.
After about two weeks, the band had around 65 pieces of music. With engineer Andy Jackson and co-producer Bob Ezrin, production moved to Gilmour’s houseboat and recording studio, Astoria. The band voted on each track, and whittled the material down to about 27 pieces. Eliminating some tracks, and merging others, they arrived at about 11 songs. Song selection was based upon a system of points, whereby all three members would award marks out of ten to each candidate song, a system skewed by Wright awarding his songs ten points each and the others none. Wright, having resigned under pressure from bassist Roger Waters in the 1970s, was not contractually a full member of the band, which upset him. Wright reflected: “It came very close to a point where I wasn’t going to do the album, because I didn’t feel that what we’d agreed was fair.” Wright received his first songwriting credits on any Pink Floyd album since 1975’s Wish You Were Here.
“Wearing the Inside Out”
“Wearing the Inside Out” contains Richard Wright’s first prominent vocal contribution to a Pink Floyd album since 1973’s The Dark Side of the Moon.
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Gilmour’s fiancée, the novelist Polly Samson, also received songwriting credits. Initially, her role was limited to providing encouragement for Gilmour, but she helped him write “High Hopes”, a song about Gilmour’s childhood in Cambridge. She co-wrote a further six songs, which bothered Ezrin. Gilmour said that Samson’s contributions had “ruffled the management’s [feathers]”, but Ezrin later reflected that her presence had been inspirational for Gilmour, and that she “pulled the whole album together”. She also helped Gilmour with the cocaine addiction he had developed following his divorce.
Keyboardist Jon Carin, percussionist Gary Wallis, and backing vocalists including Sam Brown and Momentary Lapse tour singer Durga McBroom were brought in before recording began. The band moved to Olympic Studios and recorded most of the tracks over the space of a week. After a summer break, they returned to Astoria to record more backing tracks. Ezrin worked on the drum sounds, and Pink Floyd collaborator Michael Kamen provided the string arrangements, which were recorded at Abbey Road Studio Two by Steve McLaughlin. Dick Parry played saxophone on his first Pink Floyd album for almost 20 years, on “Wearing the Inside Out”, and Chris Thomas created the final mix. Between September and December recording and mixing sessions were held at Metropolis Studios in Chiswick and the Creek Recording Studios in London. In September, Pink Floyd performed at a celebrity charity concert at Cowdray House, in Midhurst. The album was mastered at the Mastering Lab in Los Angeles, by Doug Sax and James Guthrie.[nb 1]
Jackson edited unused material from the Division Bell sessions, described by Mason as ambient music, into an hour-long composition tentatively titled The Big Spliff, but Pink Floyd decided not to release it. Some of The Big Spliff was used to create the band’s next album, The Endless River (2014).
With the aid of Gilmour’s guitar technician, Phil Taylor, Carin located some of Pink Floyd’s older keyboards from storage, including a Farfisa organ. Sounds sampled from these instruments were used on “Take It Back” and “Marooned”. Additional keyboards were played by Carin, along with Bob Ezrin. Durga McBroom supplied backing vocals alongside Sam Brown, Carol Kenyon, Jackie Sheridan, and Rebecca Leigh-White.
“What Do You Want from Me” is influenced by Chicago blues, and “Poles Apart” contains folksy overtones. Gilmour’s improvised guitar solos on “Marooned” used a DigiTech Whammy pedal to pitch-shift the guitar notes over an octave. On “Take It Back”, he used a Gibson J-200 guitar through a Zoom effects unit, played with an EBow, an electronic device which produces sounds similar to a bow.
Good: Well Used – Still in Acceptable Condition
Very Good: Moderately Used
Excellent: Lightly Used
Near Mint: Barely Used
Mint: New Product – Sealed