Instead, he lined up 800 along a beach in Saunton Sands, North Devon, England, for the picture. But Thorgerson wouldn't stop at a single bed. The design concept grew out of a line in "Yet Another Movie": visions of an empty bed. By the mid-'80s, he was more involved with directing film. Thorgerson hadn't done a Floyd album cover since 1977's "Animals" LP. Storm Thorgerson was called in to do the cover design, assuring the album had that Floydian look. He also was not taken back into the fold as a partner of the group, rather as a salaried player, drawing $11,000 a week, and forgoing a photo on the sleeve. He joined the recording fairly late in the game, so his contributions to the recording were limited. Wright was called back to the band to help validate it musically as well as legally. The songwriting was largely handled by Gilmour and a handful of others, such as Tony Moore, whose band Slapp Happy had been managed by Peter Jenner, as had the Floyd once upon a time Ezrin Patrick Leonard, who had produced hits for Madonna, of all people and Phil Manzanera, guitarist for Roxy Music. The names of nearly 20 musicians and singers were listed on the album, with Gilmour and Bob Ezrin, who had first worked with the group on "The Wall," co-producing the effort. The roster of people who played and wrote material for "Momentary Lapse" would be unlike that of any previous Floyd album. It was the first Floyd album recorded digitally. Other work was performed at Britannia Row A&M in Los Angeles, Calif. Most of "Momentary Lapse" was recorded aboard Gilmour's converted houseboat Astoria docked along the Thames in Hampton, 16 miles outside of London. How can you officially dissolve something that never officially existed?) (It turned out that the details of what constituted the original Pink Floyd partnership was never put into writing in the first place. In the end, after much legal raggling too complex to analyze here, Gilmour and company won, and the name Pink Floyd would grace their 1987 album. The battle became official in the autumn of 1986, when Waters filed suit to end the partnership that was Pink Floyd. The news that Gilmour and Mason intended to release an album using the Pink Floyd name stoked the flames of discontent between Waters and the remaining band members. A tour was planned for "The Final Cut," but was soon scrapped, and before too long Waters was involved in a solo project ("The Pros and Cons of Hitchhiking"), and Gilmour was putting together his "About Face" album.īy the time Gilmour got back together with bandmate Mason - keyboardist Rick Wright left the group during the making of "The Wall," and wouldn't be called back into the group until later in the "Momentary Lapse" sessions - Waters was in the process of releasing his second post-Floyd solo album: "Radio K.A.O.S." Questo album, con una durata di 51 minuti, spinge davvero i limiti tecnici del disco in vinile, infatti a tratti suona basso e compresso, specialmente nei solchi più interni, di sicuro per colpa della durata dell'album (nel 1994 faranno la stessa cosa con Division Bell che dura 66 minuti, hanno dovuto tagliare delle parti di canzoni perché se no usciva uno schifo lol).While the 1987 album "A Momentary Lapse of Reason" had the name Pink Floyd on the cover, the inner photos were more telling: There was David Gilmour, and there was Nick Mason, but the rest of the Floyds were not to be found.Īfter Roger Waters had firmly taken control of the band during 1979's "The Wall" and "The Final Cut" in 1983, it was clear that he and the remainder of the band would part ways. All'epoca di uscita di questo album non si teneva tanto conto della qualità audio degli album in vinile: eravamo alla fine degli anni ottanta, erano i tempi d'oro del compact disc e ormai il disco fonogragico era un oggetto antiquato destinato a scomparire che rimarrà usato fino alla seconda metà degli anni '90 in paesi come la Russia, il Brasile eccetera, e ormai le release degli album non erano più curate come lo erano prima.
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