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藩篱之钟

维基百科，自由的百科全书
The Division Bell
藩篱之钟
除了美国、哥伦比亚和巴西，所有聚乙烯副本都使用此封面。
平克·弗洛伊德的录音室专辑
发行日期1994年3月28日 (1994-03-28)
录制时间1993年1月 - 12月
类型前卫摇滚、艺术摇滚
时长1:06:23
唱片公司EMI、哥伦比亚唱片
制作人Bob Ezrin、大卫·吉尔摩
平克·弗洛伊德专辑年表
Shine On
（1992年） 		The Division Bell
藩篱之钟
（1994年） 		Pulse（英语：Pulse (Pink Floyd album)）
（1995年）
其他封面
2014年20周年补发版
2014年20周年补发版
收錄於《The Division Bell》的單曲
  1. Take It Back（英语：Take It Back）
    發行日期：1994年5月16日
  2. High Hopes / Keep Talking（英语：Keep Talking）
    發行日期：1994年10月17日

《藩篱之钟》（英文：The Division Bell），是英国前卫摇滚乐队平克·弗洛伊德的第14张录音室专辑，1994年3月28日和4月4日分别由EMI和哥伦比亚唱片在英国和美国发行。该专辑的音乐主要由吉他手兼歌手大卫·吉尔摩和键盘手理查德·赖特创作，这是理查德·赖特自1973年专辑《月之暗面》以来第一次在平克·弗洛伊德的专辑中担任主唱。大卫·吉尔摩的未婚妻Polly Samson（英语：Polly Samson）与乐队合写了许多有关沟通主题的歌词。录音地点包括乐队的Britannia Row录音室以及吉尔摩的阿斯托里亚船上录音室。制作团队包括乐队长久以来的盟友，如制作人Bob Ezrin（英语：Bob Ezrin）、工程师Andy Jackson（英语：Andy Jackson）、萨克斯演奏者Dick Parry（英语：Dick Parry）。

《藩篱之钟》达到了英国和美国排行榜的第一名，但收到了不同评价。紧接着乐队便进行了欧洲和美国的巡演。它在美国发行时获得双铂金认证，并在1999年获得三铂金。专辑藩篱之钟时期未被使用的素材成为平克·弗洛伊德2014年的下一张也是最后一张专辑《无尽之河》的一部分。

概念

《藩篱之钟》对待沟通的主题和说话的方法可以解决许多问题。[1] In the Studio广播的主持人Redbeard建议专辑提供“通过令人颤抖的优美的时刻，产生真正超越一切的可能性”。[2] 歌曲比如〈Poles Apart〉和〈Lost for Words〉之类的歌曲已被[誰說的？]作为表明平克·弗洛伊德和1985年离队的前乐队成员罗杰·沃特斯之间的隔阂；但是，大卫·吉尔摩否认了这一点，并表示：“人们可以用他们个人的方式创作和叙述一首歌，但在这一点上使罗杰回归已经有点晚了。”[3] 专辑名称引用了英国国会宣布表决的藩篱钟。[4][nb 1] 鼓手尼克·马森说道：“这确实有一些意义，它是关于人们做出选择的是与非。”[3]

东方集团垮台后几年，〈A Great Day for Freedom〉并列将柏林墙的倒塌以及随之的战争、种族清洗以及南斯拉夫战争普遍的精神欢快联系在一起。[5]最初录制为英国电信的电视广告的斯蒂芬·霍金声音样本被用在歌曲〈Keep Talking〉之中；[3][6]大卫·吉尔摩被霍金参与的广告所感动，他联系了广告公司，允许他们使用在录制的唱片之中。[7] 马森以为：“从广告中获取创意是政治上不正确的，但这似乎是一个非常相关的部分。”[3] 在专辑的最后，大卫·吉尔摩的继子查理听到挂在平克·弗洛伊德经理Steve O'Rourke（英语：Steve O'Rourke）上的电话听筒，他已经恳求允许他出现在平克·弗洛伊德专辑中。[8]

录制

大卫·吉尔摩的阿斯托里亚录音室

在1993年1月，吉尔摩、马森和赖特开始在改造后的Britannia Row录音室即兴创作新的素材。他们招募了贝斯手Guy Pratt（英语：Guy Pratt）；[9]

已隱藏部分未翻譯内容，歡迎參與翻譯。

according to Mason, "an interesting phenomenon occurred, which was that Pratt's playing tended to change the mood of the music we had created on our own".[10] Without the legal problems experienced during production of their 1987 album, A Momentary Lapse of Reason, Gilmour was at ease; if he felt the band were "getting somewhere", he would record them on a two-track DAT recorder.[11][12] At one point Gilmour surreptitiously recorded Wright playing, capturing material which formed the basis for three pieces of music.[13]

After about two weeks the band had around 65 pieces of music. With engineer Andy Jackson back on the team, and Bob Ezrin as co-producer, production moved to Gilmour's houseboat and recording studio, Astoria. The band listened to and voted on each track, and whittled the material down to about 27 pieces of music. Eliminating some tracks, and merging others, they arrived at about eleven 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 somewhat by Wright's decision to award his songs ten points each, and the other songs no points.[14] Wright was not contractually a full member of the band, a situation 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."[15] Wright received his first songwriting credits on any Pink Floyd album since 1975's Wish You Were Here.[16]

“Wearing the Inside Out”
“Wearing the Inside Out”首次包含了理查德·赖特自1973年专辑“月之暗面”以来为平克·弗洛伊德的声乐贡献。
播放此文件有问题？请参见媒體幫助。

Gilmour's fiancée, Polly Samson, also received songwriting credits. Initially, her role was limited to providing encouragement for her husband, but she later helped Gilmour write "High Hopes" (a song about Gilmour's childhood and early life in Cambridge). Her role expanded to co-writing a further six songs, something which did not sit well with Ezrin. In an interview for Mojo magazine Gilmour admitted that Samson's contributions had "ruffled the management's [feathers]", but Ezrin later reflected that her presence was inspirational for Gilmour, and that she "pulled the whole album together".[17] She also helped Gilmour, who, following his divorce, had developed a cocaine addiction.[1]

Keyboard player Jon Carin and drummer/percussionist Gary Wallis were brought in to complete the band before recording began. Five backing vocalists were also hired, including Sam Brown, and Momentary Lapse tour singer Durga McBroom. The band then moved to Olympic Studios, recorded most of the 'winning' tracks over the space of a week. After a summer break, they returned to Astoria to record more backing tracks. Ezrin worked on the various drum sounds, and previous collaborator and orchestral composer Michael Kamen provided the album's string arrangements which were recorded at Abbey Road Studio Two by Steve McLaughlin.[18] Dick Parry played saxophone on his first Pink Floyd album for almost 20 years, on "Wearing the Inside Out", and Chris Thomas was booked to undertake the final mix.[19] Between September and December recording and mixing sessions were held at Metropolis Studios in Chiswick, and the Creek Recording Studios in London. In September, the band performed at a celebrity charity concert at Cowdray House, in Midhurst.[20] The album was mastered at the Mastering Lab in Los Angeles, by Doug Sax and James Guthrie.[nb 2]

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,[21] but Pink Floyd decided not to release it.[10] Some of The Big Spliff was used to create the band's final album, The Endless River (2014).[22]

器乐谱写

With the aid of Gilmour's guitar technician, Phil Taylor, Carin located some of Pink Floyd's older keyboards from the warehouse in which they had been stored, including a Farfisa organ. Some of the sounds sampled from these instruments were used on the tracks "Take It Back", and "Marooned".[23] Carin was joined on keyboards by Ezrin. Durga McBroom supplied backing vocals alongside Sam Brown, Carol Kenyan, Jackie Sheridan, and Rebecca Leigh-White.[24]

Gilmour used several styles on the album. "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 a full octave. On "Take It Back", he used an EBow, an electronic device which simulates the sound of a bow on the strings, on a Gibson J-200 guitar through a Zoom effects unit.[25]

包装和标题

这两个巨大的金属头被用作拍摄专辑封面。
这张专辑感觉更加是自制的，非常像一个乐队在一个空间里一起演奏。与“失去理性那一刻”相比，我认为Rick尤其感觉到这过程更加融合了那一过程。很高兴能让他回来。
“
”
尼克·马森（2005年）[26]

To avoid competing against other album releases (as had happened with A Momentary Lapse) Pink Floyd set a deadline of April 1994, at which point they would begin a new tour. By January of that year however, the band still had not decided on a title for the album. The list of names being considered included Pow Wow and Down to Earth. At a dinner one night, writer Douglas Adams, spurred on by the promise of a payment to his favourite charity, the Environmental Investigation Agency, suggested "the division bell" (used in the lyrics for "High Hopes"), and the name stuck.[27][28]

Longtime Floyd collaborator Storm Thorgerson provided the album artwork. He erected two large metal heads, each the height of a double-decker bus, in a field near Ely. The sculptures were positioned close together, and photographed in profile, to give the illusion that not only were they either facing or talking to each other, they also presented the viewer with a third face. Thorgerson mentioned the "third absent face" was a reference to Syd Barrett. The sculptures were devised by Keith Breeden, and constructed by John Robertson. Ely Cathedral is visible on the horizon.[29][30] The pictures were shot in cold February for optimal lighting conditions.[27] Since 2001, the sculptures are in the Rock and Roll Hall of Fame in Cleveland, Ohio.[31] An alternate version of the cover photo, featuring two 7.5-米（25-英尺） stone sculptures by Aden Hynes[nb 3], was featured on the compact cassette release and the tour brochure.[32]

The album was released in the UK and US on CD, vinyl, cassette and mini-disc, each with its own format and label-specific design. The artwork inside the CD liner notes revolves around a similar theme, with the image of the two heads formed by various other objects, such as newspapers ("A Great Day for Freedom"), coloured glass ("Poles Apart"), and boxing gloves ("Lost for Words"). Pages two and three portray a picture from the Chilean Cerro Tololo Inter-American Observatory. The CD tray itself had the name of Pink Floyd printed in Braille on the left front side.

发行和评价

專業評分
評論得分
來源評分
AllMusic2/5颗星[33]
PopMatters7/10颗星[34]
Robert Christgau(dud)[35]
Rolling Stone2.5/5颗星[36]
Uncut4/5颗星[37]

On 10 January 1994 a press reception to announce The Division Bell and world tour was held at a former US Naval Air Station in North Carolina, in the US. A purpose-built Skyship 600 airship, manufactured in the UK, toured the US until it returned to Weeksville, and was destroyed by a thunderstorm on 27 June. Pieces of the aircraft were sold as souvenirs. The band held another reception, in the UK, on 21 March. This time they used an A60 airship, translucent, and painted to look like a fish, which took journalists on a tour of London. The airship, which was lit internally so it glowed in the night sky, was also flown in northern Europe.[38]

The Division Bell was released in the UK by EMI Records on 28 March 1994,[nb 4] and in the US on 4 April,[nb 5][38] and went straight to #1 in both countries.[40] The Division Bell was certified silver and gold in the UK on 1 April 1994, platinum a month later and 2x platinum on 1 October. In the US, it was certified gold and double platinum on 6 June 1994, and triple platinum on 29 January 1999.[41]

In the United States the album debuted at number one in the Billboard 200 during the week of April 23, 1994 selling more than 460,000 units, at the time it was the 12th largest single-week total since Billboard began using SoundScan data in May 1991 and also became the fifth-largest first-week sales sum back then.[42] The next week it stayed at the top of the chart selling a little less than half its first-week total, it moved 226,000 units during its second week on chart.[43] The next week sales slid by 30% from last week's sum selling 157,000 units, despite this sales decrease the album stayed at number one.[44] The following week, on May 14, 1994 The Division Bell remained at number one on the Billboard 200 and sales declined by 17%.[45] On its fifth week on chart it fell off to the fourth place on the chart. It was present on the Billboard 200 for 53 weeks.[46] It was certified three times platinum by the RIAA on January 29, 1999 for shipments of three million units.[41]

Despite decent sales, The Division Bell received mixed reviews. Tom Sinclair of Entertainment Weekly gave it a "D", writing that "avarice is the only conceivable explanation for this glib, vacuous cipher of an album, which is notable primarily for its stomach-turning merger of progressive-rock pomposity and New Age noodling".[47] Rolling Stone's Tom Graves criticised Gilmour's performance, stating that his guitar solos had "settled into rambling, indistinct asides that are as forgettable as they used to be indelible ... only on 'What Do You Want from Me' does Gilmour sound like he cares".[36] Nevertheless, the album was nominated in the 1995 Brit awards for the "Best Album by a British Artist",[48] but lost to Blur's Parklife. In March the same year the band was awarded with a Grammy for the "Best Rock Instrumental Performance" on "Marooned".[49]

这只是垃圾…彻头彻尾的荒谬。
“
”
罗杰·沃特斯，给出对专辑“藩篱之钟”的想法[50]

In Uncut's 2011 Pink Floyd: The Ultimate Music Guide, Graeme Thomson wrote that The Division Bell "might just be the dark horse of the Floyd canon. The opening triptych of songs is a hugely impressive return to something very close to the eternal essence of Pink Floyd, and much of the rest retains a quiet power and a meditative quality that betrays a genuine sense of unity."[51]

Uncut reviewed the album once again in 2014 to celebrate the 20th anniversary reissue, and in their review praised the album for its production, citing that the album sounded much "more like a classic Pink Floyd album than 1983's The Final Cut" and throughout the album noted the empathy and connection between Wright and Gilmour, stating that these moments were "at the album's musical heart".[37]

The album was re-issued again with the Pink Floyd Records label on 26 August 2016.

巡演

Two days after the album's release, the band's Division Bell Tour began at Joe Robbie Stadium, in suburban Miami. The set list began with 1967's "Astronomy Domine", before moving to tracks from 1987's A Momentary Lapse of Reason, and The Division Bell. Songs from Wish You Were Here and The Dark Side of the Moon featured, as well as The Wall. Backing musicians included Sam Brown, Jon Carin, Claudia Fontaine, Durga McBroom, Dick Parry, Guy Pratt, Tim Renwick, and Gary Wallis. The tour continued in the US through April, May and mid-June, before moving to Canada, and then returning to the US in July. As the tour reached Europe in late July, Waters was invited to join the band, but he declined, and later expressed his annoyance that some Floyd songs were being performed again in large venues. On the first night of the UK leg of the tour on 12 October, a 1,200 capacity stand collapsed, but with no serious injuries; the performance was rescheduled.[52][53]

During the tour an anonymous person named Publius posted a message on an internet newsgroup, inviting fans to solve a riddle supposedly concealed in the new album. The message was verified during a show in East Rutherford, where white lights in front of the stage spelled out "Enigma Publius". During a televised concert at Earls Court in October 1994, the word "enigma" was projected in large letters on to the backdrop of the stage. Mason later acknowledged that the Publius Enigma did exist, but it had been instigated by the record company rather than the band. As of 2014, the puzzle remains unsolved.[54]

The tour ended at Earls Court on 29 October 1994, and was the group's final concert performance until Live 8. Estimates placed the total number of tickets sold at over 5.3 million, and gross income at about $100 million.[55] A live album of the tour, named Pulse, and a concert video, also named Pulse, (which was shot on 20 October 1994) were released in June 1995.[56]

曲目列表

除了下方备注的曲目，所有歌曲主唱均由David Gilmour担任。[57]

原版

曲序曲目词曲时长
1.Cluster One（器乐）
  • David Gilmour
  • Richard Wright
5:56
2.What Do You Want from Me
  • Gilmour
  • Wright
  • Polly Samson
4:21
3.Poles Apart
  • Gilmour
  • Samson
  • Nick Laird-Clowes
7:03
4.Marooned（器乐）
  • Gilmour
  • Wright
5:29
5.A Great Day for Freedom
  • Gilmour
  • Samson
4:17
6.Wearing the Inside Out（lead vocals: Wright, Gilmour）
  • Wright
  • Anthony Moore
6:49
7.Take It Back
  • Gilmour
  • Samson
  • Laird-Clowes
  • Bob Ezrin
6:12
8.Coming Back to LifeGilmour6:19
9.Keep Talking
  • Gilmour
  • Wright
  • Samson
6:10
10.Lost for Words
  • Gilmour
  • Samson
5:13
11.High Hopes
  • Gilmour
  • Samson
8:34
总时长：1:06:23

LP

第1面
曲序曲目词曲时长
1.Cluster One（器乐）Gilmour、Wright5:29
2.What Do You Want from MeGilmour、Wright、Samson4:21
3.Poles ApartGilmour、Samson、Laird-Clowes5:49
4.Marooned（器乐）Gilmour、Wright4:08
5.A Great Day for FreedomGilmour、Samson3:38
6.Wearing the Inside Out（lead vocals: Wright、Gilmour）Wright、Moore6:28
总时长：29:53
第2面
曲序曲目词曲时长
7.Take It BackGilmour、Samson、Laird-Clowes、Ezrin6:12
8.Coming Back to LifeGilmour4:57
9.Keep TalkingGilmour、Wright、Samson6:11
10.Lost for WordsGilmour、Samson5:14
11.High HopesGilmour、Samson6:50
总时长：28:54

20周年双LP版

第1面
曲序曲目词曲时长
1.Cluster One（器乐）David Gilmour、Richard Wright5:58
2.What Do You Want from MeGilmour、Wright、Polly Samson4:21
3.Poles ApartGilmour、Samson、Nick Laird-Clowes7:04
总时长：17:23
第2面
曲序曲目词曲时长
4.Marooned（器乐）Gilmour、Wright5:29
5.A Great Day for FreedomGilmour、Samson4:17
6.Wearing the Inside Out（主唱：Wright、Gilmour）Wright、Anthony Moore6:49
总时长：16:35
第3面
曲序曲目词曲时长
7.Take It BackGilmour、Samson, Laird-Clowes、Bob Ezrin6:12
8.Coming Back to LifeGilmour6:19
9.Keep TalkingGilmour、Wright、Samson6:11
总时长：18:42
第4面
曲序曲目词曲时长
10.Lost for WordsGilmour、Samson5:14
11.High HopesGilmour、Samson8:31
总时长：13:45

再版

自1994年发行以来, “藩篱之钟”已经再版两次。 第一次发行是《Why Pink Floyd...?》的一部分，这张专辑被Andy Jackson重新发布并以独立的CD发行，作为Discovery Box套装的一部分，该套装首次将所有14张录音室专辑收录在一起。[58] 第二次重新发行于2014年6月30日，发行专辑发行为“20周年豪华版”套装[59] 和20周年双LP唱片发行。[60] 套装包含了2011年重新灌录的专辑；一个由Andy Jackson混录的5.1环绕立体声版 ；2张180克的LP黑胶唱片；一个红色7寸〈Take It Back〉单曲；一个清晰的七寸〈High Hopes/Keep Talking〉单曲；一个蓝色的、激光蚀刻的12寸 "High Hopes" 单曲；书籍及各式艺术卡片。[59]2014年的重新发行专辑上首次发行了黑胶唱片，1994年发行的黑胶版本仅保留了歌曲的编辑版本它到一个单一的LP。

人员

排行和销量

参考资料

备注

  1. ^ The bell used at the end of the album is not the bell used in Parliament
  2. ^ See sleeve notes.
  3. ^ See sleeve notes.
  4. ^ UK EMI EMD 1055 (vinyl), EMI CD EMD 1055 (CD)[39]
  5. ^ US Columbia C 64200 (vinyl), Columbia CK 64200 (CD)[39]

脚注

  1. ^ 1.0 1.1 Blake 2008，第365頁
  2. ^ In the Studio with Redbeard, inthestudio.net, 2009-08-17 [2018-04-15], （原始内容存档于2014-02-08） 
  3. ^ 3.0 3.1 3.2 3.3 Morse, Steve, Pink Floyd pride and drive keep band on top with No. 1 album and 60-show tour, Boston Globe, hosted at highbeam.com/, 1994-05-12 [2010-01-14], （原始内容 (Registration required)存档于2015-03-29） 
  4. ^ Mabbett 1995，第119, 123頁
  5. ^ Cosyns, Simon, Echoes brought Rick out of his shell ... we had musical telepathy, thesun.co.uk, 2008-09-26 [2010-01-17], （原始内容存档于2015-11-20） 
  6. ^ (liner notes from Echoes)
  7. ^ In the Studio with Redbeard, 1994-03-31 
  8. ^ Mabbett 1995，第123頁
  9. ^ Blake 2005，第356頁
  10. ^ 10.0 10.1 Mason 2005，第315頁
  11. ^ Blake 2005，第354頁
  12. ^ Di Perna 2002，第86頁
  13. ^ Mason 2005，第314–315頁
  14. ^ Mason 2005，第314–321頁
  15. ^ Blake 2005，第355頁
  16. ^ Blake 2005，第354–355頁
  17. ^ Blake 2005，第355–356頁
  18. ^ Mason 2005，第318–319頁
  19. ^ Blake 2008，第356–357頁
  20. ^ Povey 2007，第257頁
  21. ^ "The Return of the Parts of Something: The Making of The Endless River", by Daryl Easlea, Prog October 2014, pp. 38-45
  22. ^ Young, Alex. Pink Floyd reveals details of new album, The Endless River. Consequence of Sound. 2014-09-22 [2014-09-22]. （原始内容存档于2016-04-23）. 
  23. ^ Blake 2008，第357頁
  24. ^ Mabbett 1995，第120頁
  25. ^ Di Perna 2002，第83–85頁
  26. ^ Mason 2005，第317頁
  27. ^ 27.0 27.1 Mason 2005，第319–320頁
  28. ^ Mabbett 1995，第119–120頁
  29. ^ Mason 2005，第320頁
  30. ^ Division Bell — Metal Heads, hypergallery.com, [2010-01-13], （原始内容存档于2011-07-13） 
  31. ^ Spotlight Exhibit: Pink Floyd's The Division Bell Sculptures. The Rock and Roll Hall of Fame and Museum. 2012-08-24 [2016-01-13]. （原始内容存档于2016-01-01）. 
  32. ^ Pink Floyd, The Division Bell (Stone Heads w/Boy). San Francisco Art Exchange. [2016-01-13]. （原始内容存档于2019-08-11）. 
  33. ^ Ruhlmann, William. The Division Bell – Pink Floyd | Songs, Reviews, Credits, Awards | AllMusic. [2013-12-01]. （原始内容存档于2012-08-05）. 
  34. ^ Franquelli, Alex. The Division Bell (20th Anniversary Deluxe Edition). [2014-08-15]. （原始内容存档于2017-10-16）. 
  35. ^ Christgau, Robert. CG Review Pink Floyd. [2017-04-18]. （原始内容存档于2013-07-08）. 
  36. ^ 36.0 36.1 Graves, Tom, The Division Bell, rollingstone.com, 1994-06-16 [2010-01-03], （原始内容存档于2008-06-19） 
  37. ^ 37.0 37.1 Magazine, Uncut. Pink Floyd – The Division Bell Review. [2014-08-22]. （原始内容存档于2019-10-29）. 
  38. ^ 38.0 38.1 Povey 2007，第270頁
  39. ^ 39.0 39.1 Povey 2007，第350頁
  40. ^ Blake 2008，第359頁
  41. ^ 41.0 41.1 Povey 2007，第351頁
  42. ^ Mayfield, Geoff. Between The Bullets. Billboard. 1994-04-23, 106 (17): 103 [2018-04-15]. ISSN 0006-2510. （原始内容存档于2019-08-12）. 
  43. ^ Mayfield, Geoff. Between The Bullets. Billboard. 1994-04-30, 106 (18): 99 [2018-04-15]. ISSN 0006-2510. （原始内容存档于2019-08-14）. 
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