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藩籬之鐘

維基百科，自由的百科全書
The Division Bell
藩籬之鐘
除了美國、哥倫比亞和巴西，所有聚乙烯副本都使用此封面。
平克·弗洛伊德的錄音室專輯
發行日期1994年3月28日 (1994-03-28)
錄製時間1993年1月 - 12月
類型前衛搖滾、藝術搖滾
時長1:06:23
唱片公司EMI、哥倫比亞唱片
製作人Bob Ezrin、大衛·吉爾摩
平克·弗洛伊德專輯年表
Shine On
（1992年） 		The Division Bell
藩籬之鐘
（1994年） 		Pulse（英語：Pulse (Pink Floyd album)）
（1995年）
其他封面
2014年20周年補發版
2014年20周年補發版
收錄於《The Division Bell》的單曲
  1. Take It Back（英語：Take It Back）
    發行日期：1994年5月16日
  2. High Hopes（英語：High Hopes (Pink Floyd song)） / Keep Talking（英語：Keep Talking）
    發行日期：1994年10月17日

《藩籬之鐘》（英文：The Division Bell），是英國前衛搖滾樂隊平克·弗洛伊德的第14張錄音室專輯，1994年3月28日和4月4日分別由EMI和哥倫比亞唱片在英國和美國發行。該專輯的音樂主要由吉他手兼歌手大衛·吉爾摩和鍵盤手理查德·賴特創作，這是理查德·賴特自1973年專輯《月之暗面》以來第一次在平克·弗洛伊德的專輯中擔任主唱。大衛·吉爾摩的未婚妻Polly Samson（英語：Polly Samson）與樂隊合寫了許多有關溝通主題的歌詞。錄音地點包括樂隊的Britannia Row錄音室以及吉爾摩的阿斯托里亞船上錄音室。製作團隊包括樂隊長久以來的盟友，如製作人Bob Ezrin（英語：Bob Ezrin）、工程師Andy Jackson（英語：Andy Jackson）、薩克斯演奏者Dick Parry（英語：Dick Parry）。

《藩籬之鐘》達到了英國和美國排行榜的第一名，但收到了不同評價。緊接着樂隊便進行了歐洲和美國的巡演。它在美國發行時獲得雙鉑金認證，並在1999年獲得三鉑金。專輯藩籬之鐘時期未被使用的素材成為平克·弗洛伊德2014年的下一張也是最後一張專輯《無盡之河》的一部分。

概念

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《藩籬之鐘》對待溝通的主題和說話的方法可以解決許多問題。[1] In the Studio廣播的主持人Redbeard建議專輯提供「通過令人顫抖的優美的時刻，產生真正超越一切的可能性」。[2] 歌曲比如〈Poles Apart〉和〈Lost for Words〉之類的歌曲已被[誰說的？]作為表明平克·弗洛伊德和1985年離隊的前樂隊成員羅傑·沃特斯之間的隔閡；但是，大衛·吉爾摩否認了這一點，並表示：「人們可以用他們個人的方式創作和敘述一首歌，但在這一點上使羅傑回歸已經有點晚了。」[3] 專輯名稱引用了英國國會宣布表決的藩籬鍾。[4][nb 1] 鼓手尼克·馬森說道：「這確實有一些意義，它是關於人們做出選擇的是與非。」[3]

東方集團垮台後幾年，〈A Great Day for Freedom〉並列將柏林牆的倒塌以及隨之的戰爭、種族清洗以及南斯拉夫戰爭普遍的精神歡快聯繫在一起。[5]最初錄製為英國電信的電視廣告的斯蒂芬·霍金聲音樣本被用在歌曲〈Keep Talking〉之中；[3][6]大衛·吉爾摩被霍金參與的廣告所感動，他聯繫了廣告公司，允許他們使用在錄製的唱片之中。[7] 馬森以為：「從廣告中獲取創意是政治上不正確的，但這似乎是一個非常相關的部分。」[3] 在專輯的最後，大衛·吉爾摩的繼子查理聽到掛在平克·弗洛伊德經理Steve O'Rourke（英語：Steve O'Rourke）上的電話聽筒，他已經懇求允許他出現在平克·弗洛伊德專輯中。[8]

錄製

[編輯]
大衛·吉爾摩的阿斯托里亞錄音室

在1993年1月，吉爾摩、馬森和賴特開始在改造後的Britannia Row錄音室即興創作新的素材。他們招募了貝斯手Guy Pratt（英語：Guy Pratt）；[9]

已隱藏部分未翻譯內容，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·賴特自1973年專輯「月之暗面」以來為平克·弗洛伊德的聲樂貢獻。
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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]

器樂譜寫

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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]

包裝和標題

[編輯]
這兩個巨大的金屬頭被用作拍攝專輯封面。
這張專輯感覺更加是自製的，非常像一個樂隊在一個空間裡一起演奏。與「失去理性那一刻」相比，我認為Rick尤其感覺到這過程更加融合了那一過程。很高興能讓他回來。
「
」
尼克·馬森（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-公尺（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.

發行和評價

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

這只是垃圾…徹頭徹尾的荒謬。
「
」
羅傑·沃特斯，給出對專輯「藩籬之鐘」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

[編輯]

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

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除了下方備註的，所有歌曲主唱均由David Gilmour擔任。[57]

原版

[編輯]
曲序曲目詞曲時長
1.Cluster One（器樂）
  • 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（器樂）
  • 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
總時長：1:06:23

LP

[編輯]
第1面
曲序曲目詞曲時長
1.Cluster One（器樂）Gilmour、Wright5:29
2.What Do You Want from MeGilmour、Wright、Samson4:21
3.Poles ApartGilmour、Samson、Laird-Clowes5:49
4.Marooned（器樂）Gilmour、Wright4:08
5.A Great Day for FreedomGilmour、Samson3:38
6.Wearing the Inside Out（lead vocals: Wright、Gilmour）Wright、Moore6:28
總時長：29:53
第2面
曲序曲目詞曲時長
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
總時長：28:54

20周年雙LP版

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

再版

[編輯]

自1994年發行以來, 「藩籬之鐘」已經再版兩次。 第一次發行是《Why Pink Floyd...?》的一部分，這張專輯被Andy Jackson重新發布並以獨立的CD發行，作為Discovery Box套裝的一部分，該套裝首次將所有14張錄音室專輯收錄在一起。[58] 第二次重新發行於2014年6月30日，發行專輯發行為「20周年豪華版」套裝[59] 和20周年雙LP唱片發行。[60] 套裝包含了2011年重新灌錄的專輯；一個由Andy Jackson混錄的5.1環繞立體聲版 ；2張180克的LP黑膠唱片；一個紅色7寸〈Take It Back〉單曲；一個清晰的七寸〈High Hopes/Keep Talking〉單曲；一個藍色的、激光蝕刻的12寸 "High Hopes" 單曲；書籍及各式藝術卡片。[59]2014年的重新發行專輯上首次發行了黑膠唱片，1994年發行的黑膠版本僅保留了歌曲的編輯版本它到一個單一的LP。

人員

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排行和銷量

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參考資料

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備註

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  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]

腳註

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  1. ^ 1.0 1.1 Blake 2008，第365頁
  2. ^ In the Studio with Redbeard, inthestudio.net, 2009-08-17 [2018-04-15], （原始內容存檔於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], （原始內容 (Registration required)存檔於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], （原始內容存檔於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]. （原始內容存檔於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], （原始內容存檔於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]. （原始內容存檔於2016-01-01）. 
  32. ^ Pink Floyd, The Division Bell (Stone Heads w/Boy). San Francisco Art Exchange. [2016-01-13]. （原始內容存檔於2019-08-11）. 
  33. ^ Ruhlmann, William. The Division Bell – Pink Floyd | Songs, Reviews, Credits, Awards | AllMusic. [2013-12-01]. （原始內容存檔於2012-08-05）. 
  34. ^ Franquelli, Alex. The Division Bell (20th Anniversary Deluxe Edition). [2014-08-15]. （原始內容存檔於2017-10-16）. 
  35. ^ Christgau, Robert. CG Review Pink Floyd. [2017-04-18]. （原始內容存檔於2013-07-08）. 
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