WAITING FOR

SOMEONE OR

SOMETHING TO

SHOW THE WAY

MILE STONE AFTER STONE

IF YOU SURVIVE UNTIL TWO THOUSAND

THE TIDE
IS TURNING
(AFTER LIVE 8)

In the middle of the legal issues with Roger, Gilmour gives to the press some ambitious hints on his projects

«Interview w/. David Gilmour», Guitarist Magazine, June 1986.

I’m trying to formulate a plan with my on material for the future

There is a possibility that another Pink Floyd record will happen,

but i suspect it will be without Roger

«Interview David Gilmour», Rock ‘n Folk, April 2000.

In truth, my real concern rather stood in the texts but i had recorded two solo albums then, and I thought that with Bob Ezrin to support me , things might work

«Interview w/. Roger Waters »,Penthouse Magazine, September 1988.

It was a full month afterward that I was approached by Dave Gilmour about producing a Pink Floyd project. I hadn't been in touch with Dave since producing his About Face album (…) Also, Dave flew to LA to hang out and play his work tapes -- rather than insisting that I go to him

«Danger Demolition in Progress», Mojo, December 1999.

I would never have imagined that we could have carried on without him until Dave said, « We can. Let's have a go ».

Spring 1986:
The return of Rick Wright is acted

«The show must go on», Rock Classic, January 2000

I was in Greece before we even started and I think I had a visit from Rick's then wife saying « I hear you're starting a new album, please, please can Rick be part of it ? » I left it for a while during the early part of the recording before I asked to come down because I wanted to be sure that I knew what I was doing before I got anyone's hopes too high

« Repent, Pink Floyd Idolaters! », Musician Magazine, August 1988.

By the time this whole thing got started, I realized I had to get back; I was missing it. I went to Dave and said,« If you ever need me or want to work with me, I really want to work with you ». Halfway through the recording of the album he asked me to come along and play on some tracks

«Franka Wright testimony», Le Soleil Foundation Website, 2018

David and Rick didn’t even say hi to each other. However, the two of

them to maintain a residence at Lindos. (…) I told Rick I would speak to David, to which he replied that I should do as I wished. The following day, while at the beach, we joined the group (...) where David was also present. I went straight to him, and kissed him on the cheek, (…) so Rick had to say hi too. So, everyone was happilyclapping when I hugged them both. Taking David aside,I told him (…) that those two should take the big step of reuniting the Pink Floyd. David seemed convinced. He started laughing, and added «Ok ,ok Franka. Stop pushing, stop pushing. We will do it »

- « Interview w/. David Gilmour »,Q Magazine, September 1990

Rick had left, or been shoved out by Roger in '79, so the project started without him being involved. Sometime during the process Rick expressed an interest in being part of it, and we thought it would be a great idea

Summer 1986:

Roger and David agreed on a meeting to settle the differences

«Cash for questions », Q Magazine, June 1999.

Rick Wright receives royalty payments. Due to legal complications, on the Momentary Lapse Of Reason tour, he was paid by the gig, rather than being a profit participant, because he didn't want to be taking risks, and he didn't want to get involved in the legal rubbish that was going on with Roger. That was the best way to do it. He got paid a royalty on the album and then he got paid a cut of subsequent stuff

«Pink Floyd »,Penthouse Magazine, September 1988.

On August 4 of 1986, I had a meeting with Dave on the Astoria, his houseboat-recording studio that's anchored on the Thames, because we were still trying to settle our differences. Dave told me himself that he still had no respect for either Wright or Mason, but that they were useful to him. The man who was most useful, however, was Bob Ezrin, which is why Dave and Bob now each split three points right off the top from the gross retail sales of «Lapse». The remaining 12 or so points are divided amongst a sea of other participants like Mason. As for poor Rick Wright, he's on a weekly salary of $11,000. I know, because I've seen his contract with my own eyes

«Fable of Deconstruction», Mojo, May 1994.

I wasn't a member of the band. By now they didn't know me. We hadn't played together for years. I was paid a wage on the sessions. I did get royalties on the album. Not as many as Dave and Nick though

«Pink Floyd »,Penthouse Magazine, September 1988.

At least, Rick knows it’s just a payday. Nick Mason goes around acting

like Pink Floyd might really be a functioning tour band!

Autumn 1986

While Waters seemed unwilling to pre-empt the release of David's album by having Wright, Nick and Bob on Gilmour's « solo » album, the bassist seemed to change his mind. It seems that David moved forward masked to confront Roger with the presence of a well advanced work while Roger waited for the guitarist to come out of the wood to attack him head on

«Roger and Me - The Other Side of the Pink Floyd Story », Musician, November 1992.

«The show must go on", Rock Classic, January 2000

October '86 is when I was doing the very first demos, and Bob Ezrin and I were still at the stage where we hadn't even made decisions about doing a group album or a solo album - we were at the beginning of thinking about doing a record

It was really only at Christmas of '86 that I realised that it was going to work

Winter 1986
The triggering event was when Roger Waters, learned incidentally that a new board was created at a meeting of the clearing house. When Waters’ lawyers realize that the nature of the relationship between the group members are not lying in writing, the bassist request a decision by London High Court states according the decisions about the future of the group must be taken unanimously. There was a legal loophole to be exploited. This decision strengthening the power of the bass player. Certainly, it’s what drives Waters to come back on his decision to leave the band name to Dave & Nick.

«The Sun Is Eclipsed By The Moon », Creem magazine, February 1988.

What we have is a record contract that very specifically says that if one of us leaves, the deal is still with Pink Floyd, but it changes slightly. What happened was Roger wrote the record company and said he's leaving. So Pink Floyd was still understood to be whoever remained

« Dave Gilmour», Penthouse, September 1988.

Roger doesn't have the right at present to tell me what to do with my life, although he believes that he does. And he'll not ruin my career,

«The Sun Is Eclipsed By The Moon », Creem magazine, February 1988.

Genesis is a perfect example where you have Peter Gabriel, who is enormously popular in his own right, Phil Collins, who is enormously popular in his own right, and Mike Rutherford, who is also popular.

There is room for everyone and, in fact, it's of benefit to everyone. It's not a competition, it's not a war, or a contes

«David Gilmour», Hearbeat City, 1987.

Of course it's important - it's important to me, it's important to us. I mean,

I have spent 20 years of my life working on building that name up. It doesn't actually make sense to me to start all over, under a new name or my own solo name or anything, and have to work as hard as we worked for so many years at the beginning to try and...I mean, it does take an intense amount of work and effort to achieve the sort of thing that we've managed to achieve, and I see no reason whatsoever why I should give that up, just because one guy says he doesn't want to do it anymore.

It's not the normal thing, is it? I mean, if someone leaves a group or something, the others normally get to carry o

«The invisible touch », Q Magazine, August 1988

Who owns the piece of property that is the name Pink Floyd ? That a legal issue; you go to court and fight over it

«Pink Floyd, The Inside Story », Rolling Stone, November 19th 1987

The whole issue about what is or isn't a rock group. What is the Beatles ? Are Paul McCartney and Ringo Starr the Beatles? My view now is they're not, any more than the Firm should have been called Led Zeppelin, even if John Paul Jones had been there

«Pink Floyd »,Penthouse Magazine, September 1988.

I have nothing against Dave Gilmour furthering his own goals. It's just

the idea of Dave's solo career masquerading as Pink Floyd that offends me!

«What’s My Motivation?», World Magazine, October 2005.

People invest a huge amount of emotion in their attachment to a band

and it's like someone leaving the family when someone leaves. They want them to stay the way they are. It's kind of cosy. The fact is though that it's part and parcel of the process of creation. I felt it was necessary to leave

«Pink Floyd The inside Story», Rolling Stone, 19 Novembre 1987.

I suppose it comes down to the fact that we are people in rock & roll

bands and people in rock & roll bands are greedy for attention. We never managed to come to a common view of the dynamic that existed within the band, of who did what and whether or not it was right. It was an irritation to start with, and it became an impossible irritation towards the end

Roger Waters Communiqué:

Roger Waters, leader and main writer with Pink Floyd, has announced his intention to dissolve the group thereby bringing to an end an era of rock history. His action is based on his belief that Pink Floyd became a spent force creatively, and this should be recognized in order to maintain the integrity and reputation of the group name (…) It is only realistic and honest to admit that the group has in practical terms disbanded and should be allowed to retire gracefully from the music scene

31 October 1986

Roger Waters Spokeman:

« We are now awaiting a response from then to see whether they contest it or agree to come to some arrangement »

6 November 1986

EMI Spokeman:

« There’s been a lot of Press speculation the group was splitting up, but as far as these three are concerned, they still are the group »

7 November 1986

David Gilmour Communiqué:

The strength of Pink Floyd always lay in the talents of all four members. Naturally we will miss Roger’s artistic input. However we will continue to work together, as in the past. We are surprised Roger thinks the band is a spent force creatively as he’s had no involvement with the current project. The three of us are very excited by the new material and we would prefer o be judged by the public on the strength of the forthcoming Pink Floyd album

7 November 1986

«The Sun Is Eclipsed By The Moon », Creem magazine, February 1988.

But then he decided to tell us that, in fact, we couldn't carry on without him and we shouldn't carry on without him and he would be jolly horrible to us if we did. But he actually hasn't done anything. He's threatened us a lot

«The Sun Is Eclipsed By The Moon », Creem magazine, February 1988.

He had read and understood and signed a recording contract with our record company that provided specifically for this circumstance - that if he left, Nick and myself could carry on. He invoked the leaving member clause: if he leaves the band, it gives him a solo record contract

EMI Communiqué:

Pink Floyd is alive, well, and recording in England Although Roger Waters quit in December 1985, the group have no intention of disbanding. On the contrary, David Gilmour and Nick Mason with Rick Wright and producer Bob Ezrin, are currently recording a new album

11 November 1986

«Pink Floyd », Penthouse Magazine, September 1988.

While Roger's acted dumbly and isolated himself, I've discovered new strength with the extra work load I've had to put on myself in this last year. But like him, I did several solo LPs myself and made no demands on anyone when I did. Granted, I did less work with Pink Floyd back in the old days, but that was something Roger was forcing. And now the poor chap's lost his whip hand!

«Interview David Gilmour», Rock ‘n Folk, April 2000.

Quite honestly , I have always kept faith in my musical abilities . After the period Syd Barrett, Pink Floyd's sound was my guitar, Rick's keyboards, my voice most of the time and many Roger ideas. But in fact, he never wrote all the music and sound that people know is ultimately especially the sound that Rick and I have created. Also, I do not see why we would not continue.

« David Gilmour », Telerama, 18 November 2014.

Later, when Roger Waters has decided to take the lead, before to state the band was over, i grab the leadership by default

« Interview w/. Roger Waters by Bill Padley », Radio Clyde, 10 June 1987.

Well, Dave's a very good singer (…) and he's also a very good guitar

player, but it seems to me ... They're very upset that I won't go on and they can see that there's a golden goose here, and they want to exploit it

«Lost in Space», Uncut Magazine, June 2003

I think Dave's mum always thought he should be a leader, but he was

not a writer, so he never could be

February 1987

Roger Waters indicates to the press the difficulty for the new-Floyd to find new ideas, beginning by the main concept

«Pink Floyd the inside story», Rolling Stone, 19 Novembre 1987.

We thought, « sod this, we don't have to make a concept album.

If we work on making everything great, then maybe it will show itself to

have some sort of linear form later. It's not our metier, we're not kidding ourselves. We're not Roger Waters. But we do other things, and we do them very well. We decided the atmosphere was the most important thing. The concept really just had to be a feeling that was pervasive. The atmosphere of the album is best defined by the environment in which we were working

«David Gilmour: Full of Secrets», Guitar Part, December 2006.

Dave Gilmour and I got together around August or September of 1986

to work on a concept that was definitely intended for the next Pink FLoyd album. We sat around writing for a period of time but we couldn’t get the differents elements and ideas to get. The songwriting was acceptable in a certain parts, but not as a whole, so the concept was enventually scrapped

«Pink Floyd», Penthouse, September 1988

It was January of 1987 and they were looking for somebody to rewrite

a batch of David Gilmour’s material, so I went over to England for a

few weeks to lend assistance. Bob and David also asked me if I had any suggestions for concepts albums in the Pink Floyd style. By the time I left England in February. they still didn’t decide what to do

«Pink Floyd», Penthouse, September 1988

Okay, fair enough, the point of the meeting was for me to tell David

that what he had thus far was not up to Pink Floyd standards … Wait a minute, let me rephrase that. I said it was not up to our standard of a Pink Floyd project, and that we should start over again. And David was open and willing to do that. (But) it’s not about the music anymore!

«Pink Floyd, The Inside Story », Rolling Stone, 19 November 1987.

That's the most scandalous face of this whole ruse because Gilmour has built up an entire cast of backstage characters that he's sought to enlist as sources of material for the next so-called Pink Floyd album. Many of them are leftovers from the first abortive try, when he and Ezrin were pulling their hair out in vain efforts to concoct a concept album. Failing that, they just established relationships with anybody willing to cook up songs that resembled something Pink

«The Man Behind Pink Floyd's The Wall», Greg Knot, 1999.

Eric Stewart of 10cc told me how he got a phone call from Dave Gilmour where Dave said, «We're trying to make a new record, and we need a concept. Got any ideas?» It was funny, and it really pissed me off at the time. It pissed me off that no one saw through any of that

«Pink Floyd the inside story», Rolling Stone, 19 Novembre 1987.

Another lyricist David has waiting in the wings is Roger McCough, a Liverpool poet (…) And then there’s Carole Pope who’s one of the finest contemporary Canadian songwriters.

«Pink Floyd, The Inside Story », Rolling Stone, 19 November 1987.

After four lo five monins or constant work with Gilmour and company,.

Bob sooke to Michael Kamen, who did orchestral arrangemenis on

«The Wall» and also coproduced my first solo album, «The pros and cons of hitch-hiking». Bob told him the tracks were «an absolute disaster, with no words, no heart, no continuity. Ezrin was so depressed, he took a cassette copy of the tapes home to his house in Encino, where his teenage son Josh discovered it and played it with his friends. Both of the kids got angry and Josh told Ezrin «Dad, it’s not Pink Floyd!». What happened next was that Bob Ezrin, David Gilmour and CBS Records executive Stephen Ralbovsky had a confidential lunch meetina a Langan’s Brasserie, the famous London bistro in Hampton Court. In October or November of ’86 wherein both Ezrin and Ralbovsky told Gilmour «This music doesn’t sound a fucking think like Pink Floyd! And according to what Dave told me, they had spent $1.2 million on it!

«Pink Floyd», Penthouse, September 1988

We never sat down at any point during this record and said «It doesn't

sound Floyd enough. Make this more Floyd». We just worked on the songs until they sounded niant. When lhev sounded great and rignt, that’s when it became Pink Floyd

«Interview with David Gilmour », Mojo, June 2008

We never sat down at any point during this record and said «It doesn't

sound Floyd enough. Make this more Floyd». We just worked on the songs until they sounded niant. When lhev sounded great and rignt, that’s when it became Pink Floyd

(This Penthouse’s article is) a tissue of lies [emphatically].I never stopped and started again. If you think any record company person was ever going to tell us what to do. We have had a long history of saying, 'Fuck off, we will deliver our record when we are ready to, with the cover, and you can sell it'. Steve Ralbovsky did come down and wanted to hear a few things. He was a mate. It is entirely possible he wasn't impressed with it. We'd only been at it for three weeks, and there was a track that I had played him a year before that I'd done at home with [the drummer] Simon Phillips. It was a ripping track, very exciting, but it wasn't going to fit with anything here. Steve said, 'What happened to that one?' I said it wasn't going to make it. And whatever his thoughts were, he kept them to himself, and wasn't invited to do anything else. We carried on and by Christmas we had upped a gear and we were on our way forward

Since Roger Waters was the main lyricist since the departure of Syd Barrett and became

The only lyricist after, the lyrics became a problematic for the guitarist.

« In the Flesh », Mojo Magazine, John Harris, November 2004.

The fact that he (Gilmour) went through 14 different writers and so on.

He was ringing round everyone in the industry, saying, « It's got to be a

Pink Floyd record, it's got to have a central concept » There wasn't much there.

«David Gilmour: Full of Secrets», Guitar Part, December 2006.

I think I have a little gift for music ... and I should be satisfied with that.

But I do not want to admit that I'm a shit lyrically?

«Pink Floyd», Penthouse, September 1988

Well, I won’t tell you that there weren’t times when I didn’t say to David

or David didn’t say to me «This would be easier if Roger were here» or «Roger would know what to do» or «Roger could you give us that flavor ?». But both David and I knew that that would mean contending with the rigid, intense, obsessive and artistic Roger - which we didn’t want

«Pink Floyd, The Inside Story », Rolling Stone, 19 November 1987.

One is Eric Stewart (…) another lyricist is Roger McCough and then

there’s Carole Pope. I’ll give Gilmour credit: When he devises a fraud, he goes to first-class talent for assistance

«Pink Floyd – Danger, Band imploding!», Mojo, December 1999.

For me, getting in a whole bunch of other people to write the material, seems to me an insult to the work that came before. And that's why I wanted the name to retire

28 March 1987

Mason makes an appearance alongside Gilmour, Gary Wallis and Kate Bush at the « Secret Policeman’s Third Ball». A kind of warm-up for the future tour ? Anyway the musical press states the band will take the road at the Autumn in the meantime of the ex-member.

Roger Waters Communiqué:

Roger Waters was the major songwriter and producer of « Dark Side of the Moon » and « The Wall », as well as the lead singer and creative force. A dispute with the other members of Pink Floyd is proceeding in the courts to resolve the question of rights to the name and assets of Pink Floyd which include the many stage effects used in the past ... Waters will not again record or perform with Dave Gilmour and Nick Mason under the name Pink Floyd or at all

6 April 1987

«The Sun Is Eclipsed By The Moon », Creem magazine, February 1988.

There was definitely the ability and the opportunity for Roger's record and tour to come out slightly earlier in the year, and if there had been an agreement, we could have put our tickets on sale slightly later in the year. We could have made room for each other if we had any sort of mutual respect

«The Sun Is Eclipsed By The Moon », Creem magazine, February 1988.

There was definitely the ability and the opportunity for Roger's record and tour to come out slightly earlier in the year, and if there had been an agreement, we could have put our tickets on sale slightly later in the year. We could have made room for each other if we had any sort of mutual respect

«Interview David Gilmour», Télérama, December 2011

Life is unfair. But I'd be lying if I said I was not deeply hurt by what these people have said or written about me. I was treated «Uncle Scrooge» who exploited the poor Nick Mason and Rick Wright (…) The album and tour «A momentary lapse of reason» in 1987, have been important at least by rebuild these broken men. Only for this fact, I cannot stand being attack my company: continue to live the Floyd. I did it alone, by duty and right, not for the money

But why ? Why would I would to (gone on to solo careers) ?
It's very, very hard work to struggle a solo career up to the

level that Pink Floyd stands at

«The Sun Is Eclipsed By The Moon », Creem magazine, February 1988.

« Interview w/. Roger Waters by Bill Padley », Radio Clyde, 10 June 1987

There's no question of getting back together, because I won't have

anything to do with it, and I think Rick is involved, but he's only on a wage. He's not part of what they're calling a band. Oh yeah, definitely they're in it for the money, they're going out to make some money. Well, that's alright, that's their decision. I personally think it's despicable! (…) Oh, don't get me wrong (…) ... I've loved Pink Floyd. I feel very, very passionately hurt by what's going on now. I think it should have been allowed gracefully to remain what it was, which was a serious rock band, trying to do good work until it fell apart, and when it fell apart, it should have been left as far as I'm concerned. But, you know, the lure of the dollar is a very powerful lure

June 1987:
Before the release of their respective albums, the two heads of the group try to work out their differences to find a modus vivendi.

CW

« Chris Walton, President of Pink Floyd Music Ltd », Neptune Site, January 2022.

The settlement agreement took six months to negotiate. I rang Roger

in June 87 and told him that David wanted to speak to him to resolve their dispute. I then rang David to see if he was willing to meet with Roger he said only if I took minutes of the meetings. The first meeting in late June 1987 was in Roger’s office in Ruvigny gardens. A lot of the groundwork of what they could agree on was resolved. I took minutes and faxed them to both roger and david for their comments.

15 June 1987: «Radio KAOS» is released

Without Bob Ezrin and without the presence of Michael Kamen, and embroiled in disputes with his ex-colleagues, Waters seems to have lost the narrative thread and consequently quickly admitted some inconsistencies in the concept album

«A Collection Of Great Dance Songs (An A-Z of Solo Tracks) », The Amazing Pudding #57.

I listened to one side of it, the first side, then I heard The Tide Is Turning, which I liked, on the radio. I haven't listened to the other side. It's not really to my taste, most of it. It's all done with machines, too disco-ey for me. But I'm obviously biased

« Interview w/. David Gilmour », Brain Damage Fanzine, September 1987.

«Spotlight on Pink Floyd », Brisbane’s FM104 Radio Station, 2 February 1988.

« What do you think of « Radio KAOS » ? Do you think it could have

been a Pink Floyd album? »
Maybe, it's OK, it's better than « Pros and Cons »

It’s a good Roger Record … It’s not a Pink Floyd record

« Pink Floyd, the inside story », Rolling Stone, November 1987.

I accepted halfway through the record that as a narrative form, the album was doomed to failure. You just get a taste of the narrative. I made the decision to go with it anyway and allow the project to develop if it was going or stop if it's not

The new Pink Floyd album was postponed. Asked whether this was to avoid head-on competition with his solo work, Roger says it was because the quality standards expected by the record company were not achieved!

«Fable of Deconstruction», Mojo, May 1994.

Both Nick and Rick were catatonic in terms of their playing ability at the beginning. Neither of them played on this at all really. In my view, they'd been destroyed by Roger. (…) Rick played some tiny little parts. For a lot of it, I played the keyboards and pretended it was him. The record was basically made by me, and other people and God knows what. I didn't think it was the best Pink Floyd album ever made, but I gave it the best damn shot I could

«Gilmour: Full of Secrets», Guitar Part, December 2006.

Nick was there and was involved throughout the album. Rick was not. He was not very involved. With Nick, we tried a lot of things, but it soon became apparent that there were things he was not able to play. It was a psychological problem. What I believe is that he was intimidated by Roger ... to the point he forgot what he knew: to be a drummer

« Interview w/. Roger Waters by Bill Padley », Radio Clyde, 10 June 1987

They are desperately trying to deliver a single on June the 10th to the record company, which means that it could, if everything went right, be out on... in the middle of August. But I know that Gilmour has been scouring the ends of the earth to try and find somebody to write lyrics, for the last year. Maybe he gave up in the end, and has written lyrics himself, I don't know. I know he spent a long time closeted on his own, trying to write a single, which I think is unbelievable. Personally, I think it's an incredibly stupid thing to do. Certainly something that never happened when I was running Pink Floyd. There was no question of going off and sitting in a room and trying to write a single. It was never that kind of band. In fact, I remember when « The Dark Side of the Moon »came out, we would not allow Money to be released as a single (…)

August 1987
Start of the tour « Radio K.A.O.S » As for his first solo tour, Roger Waters has all the difficulties to sell his

shows since he is in direct competition at the same time with his ex-band for the second part of his tour

«Pink Floyd - The Inside Story»,, Rolling Stone, 19 Novembre 1987

It's a good show. It's full of ideas and Roger was surrounded by all sorts of great guys. Including Andy Fairweather-Low, Jay Sta- pley, Mel Collins, Paul Carrack (who sang some of Gilmour's parts like Money) and Graham Broad but it didn't sound like Pink Floyd at all. All the songs sounded like funk songs. The magic wasn't there

« Interview w/. Roger Waters by Bill Padley », Radio Clyde, 10 June 1987

I start on August the 14th in Providence, Road Island. I had intended to start in Europe, in the middle of August, and go to America on the... sort of September the 10th, but the European promoters, to a man, are totally disinterested in me and my concerts (laughs). They'd be very interested in a Pink Floyd gig, which is no great surprise to me, having tried to do « The Pros & Cons » in Europe (…)

« Feeling better; Roger Waters likes to play …n », Guitar & Bass Magazine, 2000.

When I toured in 1987 with album « Radio K.A.O.S » I had a wonderful band, but our concerts were rarely well attended. But the tour made at least enough to cover our expenses. At about the same time, Pink Floyd on the other hand, were on tour and everywhere they played they had huge crowds, often filling up stadiums. And that hurt me very badly. However, the audience that came to my shows were simply great, and at some of the shows I could even sense the old passion and kinship. Nevertheless, I told my record company that I wanted it to stop

5 September 1987
The band releases their LP « A Momentary Lapse of Reason »

«Juste une dernière Gdansk», Guitarist Magazine, July 2006.

« Can you imagine what would have looked like the Pink Floyd album if you had not finished to be ok with Roger Waters? »

God knows what it would have ... But personally, I was too tired to fight to defend my musical opinions

« Pink Floyd’s Longest-Serving Officer», Newsweek, 7 November 2014.

I’m much happier with « Division Bell » but « Momentary Lapse ... » is an album made under duress. I think we probably did a bit of overkill in terms of bringing people in to help out. It’s not a favorite. But having said that, it was a great album to play live. I don’t look back and think: disaster

«Rick Wright avec ou sans Floyd», Rockstyle, Octobrer1996.

For ‘« A Momentary Lapse of Reason », Dave kept the band name and used different musicians. For me it's a good album but it's not real Pink Floyd.

«Pink Floyd», Penthouse, September 1988

I must say that under the circumstances. it’s a superb title for a so-called Pink Floyd record!

« In the Flesh », Mojo Magazine, November 2004.

« Did you ever listen to « A Momentary Lapse of Reason » (…) ? »

Yeah, just once (…). Maybe the odd moment when I heard something I thought, well, maybe I'd have done something with that. I was slightly angry that they managed to get away with it. I was bemused and a bit disappointed that the « Great Unwashed... » couldn't tell the fucking difference. Well, actually they can. I'm being unkind. There are a huge number of people who can tell the difference, but there were also a large number of people who couldn't (… )

«The Man Behind Pink Floyd's The Wall», Greg Knot, 1999.

« A Momentary Lapse of Reason » had a couple of really nice tunes on

it that, had I still been in the band, those chord sequences and melodies would have been made it onto a record that I was involved in. But conceptually and lyrically, it's just rubbish, partly because it's not true. It's like, «Let's try and write songs that sound as if they're Pink Floyd and make records that sound like Pink Floyd records

«Pink Floyd, The Inside Story », Rolling Stone, 19 November 1987.

I think it's a very facile but quite clever forgery. If you don't listen to it too closely, it does sound like Pink Floyd. It's got Dave Gilmour playing guitar. And with the considered intention of setting out to make something that sounds like everyone's conception of a Pink Floyd record, it's inevitable that you will achieve that limited goal (...) I think the songs are poor in general. The lyrics I can't believe. I'm sure it will do very well

5 September 1987
The Pink Floyd new look takes the road for the first time since six years

«The Sun Is Eclipsed By The Moon », Creem magazine, February 1988.

We spent 18 years touring with people shouting «where's Syd Barrett ?» but so far we haven't had one person shout, «where's Roger ?». (…) There is room for everyone and, in fact, it's of benefit to everyone, because you get more material being thrown out and everyone can live with it very easily. It's not a competition, it's not a war, or a contest

«Pink Floyd – The inside Story », Rolling Stone, December 1987.

Maybe in another twenty years, if we're still around, people will be asking, «Who's Roger Waters ?»

« Repent, Pink Floyd Idolaters! », Musician Magazine, August 1988.

We typed up lists of titles from the first record onward right through.

Every title, we'd tick against them reasons for doing them or not doing them. Like if I sang or co-wrote it, Rick co-wrote it, whatever. Or if we had a great piece of film to go with it. Or if it was a great song

We tried to avoid as much stuff Roger had written completely too

« Pink Floyd – The inside Story », Rolling Stone, December 1987.

Richard Wright is not re-integrated as a member of the band but as a session player

«Interview w/. Roger Waters », Q Magazine, November 1992.

I wrote « The Wall » as an attack on stadium rock, and there's is

Pink Floyd making money out of it by playing it in stadiums! Pathetic.

They spoiled my creations

«Pink Floyd – The inside Story », Rolling Stone, December 1987.

It is frustrating to find out how many people don't know who I am or

what I actually did in Pink Floyd. We get on a plane, and people ask what band we're in. I tell 'em I'm Roger Waters, and it doesn't mean a thing to them. Then I mention Pink Floyd, and they go, « Yeah, Money. I love « The Wall» »(…)Oh, I wanted anonymity. I treasured it. And somehow we made it big and stayed private and anonymous. It was the best of both worlds. But now it's as if the past twenty years have meant nothing

«The difference shades of Roger Waters », Chicago Tribune, 18 July1999.

It was character forming because it was so tough to watch. I will never

Forget being in Cincinnati playing to 1,500 people in an 8,000-seat arena

And my ex-colleagues playing the next night in a sold-out football stadium

«Fable of Deconstruction», Mojo, May 1994.

In my view, they'd been destroyed by Roger.

Nick played a few tom-toms (…) Rick played some tiny little parts.

The record was basically made by me

«Cash for Questions », Q Magazine, June 1999.

Rick Wright doesn't get salary cheques. He receives royalty payments.

Due to legal complications, on the Momentary Lapse Of Reason tour, he was paid by the gig, rather than being a profit participant, because he didn't want to be taking risks, and he didn't want to get involved in the legal rubbish that was going on with Roger. That was the best way to do it. He got paid a royalty on the album and then he got paid a cut of subsequent stuff

« Chris Walton, President of Pink Floyd Music Ltd », Neptune Site, January 2022.

he next meeting was in David’s boathouse in Walton on Thames.

That meeting became heated and roger told David why and when he

started to hate David. On 24th December 1987 I met with David first

with a proposed draft agreement. He made a few changes and then I went to Roger’s house in East Sheen. Roger made substantial changes and I went back to the boat to get David to agree the amendments .

David then signed three copies of the agreement and I took them back to roger. Roger was the second person to sign all three copies of the settlement agreement. I then went to Nick’s house for him to be the third and final signature. I got home around midnight after giving roger and david copies of the settlement agreement.

All internet searches suggest that the lawyers finalised the agreement. That’s false

CW

«Pink Floyd: Fight Club», Word, 22 December 2004

«Suddenly the old ogre was gone, and we all worked together».

Bollocks! Dud they fuck! What a load of crap!

23 December 1987

The last meeting

« The Sun Is Eclipsed By The Moon », Creem magazine, February 1988.

I have not spoken to Roger since December 23, 1987 when we completed our arrangement . We agreed, to take a neutral word, an accountant arrangement, both of us with a guy ...

« Pink Floyd’s Longest-Serving Officer», Newsweek, 7 November 2014.

I’m much happier with « Division Bell » but « Momentary Lapse ... » is an album made under duress. I think we probably did a bit of overkill in terms of bringing people in to help out. It’s not a favorite. But having said that, it was a great album to play live. I don’t look back and think: disaster

«Interview with David Gilmour», Musician Magazine, August 1992

whether it's as good or to as many people's taste is beside the point. If they don't like it as much, they don't have to buy it. But no one can tell me to stop doing it. ... I still fail to see why morally I should be persuaded to give up something I've given most of my adult life to, just because one guy doesn't feel like doing it anymore

« Inside Out – A personal History of Pink Floyd», Nick Mason, 2004.

We eventually formalised a settlement with Roger. On Christmas Eve,

1987, David and Roger convened for a summit meeting on the houseboat with Jerome Walton, David's accountant. Jerome painstakingly typed out the bones of a settlement. Essentially—although there was far more complex detail—the arrangement allowed Roger to be freed from his arrangement with Steve, and David and me to continue working under the name Pink Floyd. In the end the court accepted Jerome's version as the final and binding document and duly stamped it

«Pink Floyd’s cranky architect builds a new empire», Details Magazine, October 1992

A bit surprinsing (to see that Pink Floyd't tour did so well), and very depressing. But if you go and do a gig in a stadium and there are 90,000 people, than you have to understand that at least 60,000 of them haven't got th faintest fucking idea of what you're about and never will have

«Pink Floyd», Penthouse, September 1988

There's something to be said for disastrous business miscalculation and failure in the marketplace,. They send you back home to ponder your value systems, and at the same time they reward you with a new freedom to follow your creative heart without worrying about commercial tyrannies. I've also discovered that the law is not so much interested in moral issues as the cold factors of ownership, treating the name Pink Floyd as if it were McDonald's or Boeing!

September 1988

Waters sends a letter to management demanding Pink Floyd 35.295 dollars per performance for the use of flying pig.
The group replied that he had added a pair of testicles to the pig, so it’s not the same!

« The rightful heir? », Q Magazine #48, September 1990.

There were one or two areas of the agreement (signed late 1987) that weren't clear and he subsequently entered two or three lawsuits against us, which he has now dropped

« The 30 year technicolour dream, Mojo Magazine, July 1995.

We agreed to pay him to clear us in regard to any rights he may or may not have had in various effects including the pig and odd bits of animation by Gerald Scarfe. Roger had gone 'round these people buying these rights and placing them with a company he owned. However, we never agreed that he owned the rights. Pink Floyd, all of us, had commissioned those pieces of work and paid for them. In order to save ourselves a huge amount of extra aggravation and lawsuit possibilities we agreed to pay him a fee for any right... that he may or may not have had. I did not and do not believe he had a leg to stand on, and on the tour we've just done no such money was paid to him

«A Pig’s Tale », Rolling Stone, 21 May 2008

I didn't use a pig in Pros and Cons or Radio Chaos [tours]. Then he was resurrected: I think it was officially known as Pink Floyd 1987 Limited. They used a pig in 1987 on that tour and they went to great pains not to be sued by me

« The Waters Story », Q Magazine, November 1992.

(…) They spoiled my creations and there was nothing I could do about it.

My one pathetic victory was that they had to put testicles on the pig (ie

the blow-up pig he designed for the cover of the Animals LP, the pig that broke loose from its moorings at Battersea power station and ran amok through the Home Counties' skies). If the pig had been exactly the same as the pig that I designed, I could have stopped them using it in their shows. So they put balls on my pig. Fuck them. Gilmour and Mason now own the name 'Pink Floyd'. They keep it in a box

«In the Studio with RedBeard», July 1989

But if the wall came down (…) I might even let Dave play guitar!

June and July 1990: Two majors charity performances:
Roger Waters will be reassembling the wall for the first time since 1981 in Berlin.

Inevitably, many rumours of reunion grow

« The rightful heir ? », Q Magazine, September 1990.

Certainly, I am tempted to go there, but I won't do so. None of us will go

there. As far as I am concerned, I have no objections to « The Wall » being performed.

« The rightful heir? », Q Magazine #48, September 1990.

I think he's got my phone number and I've got his. But I have no interest in discussing anything with him. He's told too many lies and too many bad things have happened. I have no interest in conversing with him

«Careful with that Axe», Musician, August 1992.

Sorry, I don't want to get too heavily into that, but I suspect that the motivation for putting the Wall show on in Berlin was not charitable. I don't think that was Roger's motivation at all

«Roger Waters Answering a Couple of Questions», Rolling Stone, July 1990.

I wouldn't be able to focus on the piece, or the day, or what it was

about, or its aims, or whatever, if either Dave Gilmour or Nick Mason

were there. If I was to get involved with them, it would have to be done at Big Sur (Rehab center in California) and it would take six months. Having said that, I absolutely acknowledge that some of the work involved in The Wall is Dave's. But the fact that he cares as little as he does for the feelings that are in the piece, I think, makes it impossible for me to invite him to be there. You know, he has been out in stadiums playing my piece, in exact opposition to my emotions and ideas and philosophies and whatever, for his own profit. And I can't forgive him for that

« And Pigs Will Fly! », Q Magazine, September 1990

If this concert is to celebrate anything, it's that the Berlin Wall

coming down can be seen as an liberating of the human spirit. But it certainly will be most gratifying that a few more people in the world will understand that « The Wall » is my work and always has been. There must be an element of that.

«Careful with that Axe», Musician, August 1992.

It was a mammoth thing, from what I understand. And from what I understand the costs of putting it on were absolutely enormous, and the receipts in were nothing like enormous, and the record didn't sell terribly well.

TV rights were sold at the very last minute for very low money, because TV rights are not very easy to sell, I can tell you. There's lots of stories about people not having been paid.

« Pink Floyd - Behind The Wall », Record Collector, March 2000.

I was rather entertained by it. When Roger first performed our old songs on his solo tours in the 80s, I was rather upset that someone else was playing music I'd played drums on. But, by 1990, it was fun listening to a different interpretation. If I had a criticism, it would have been that I'd have liked a different guitarist. Sinead O'Connor and all those people offered new interpretations, which was great. But then you had Andy Fairweather-Low aping Dave's style, which is something you can't do

«A band is like a marriage, with multiple husbands » , Die Welt, November 2014

I watched the DVD a while ago and talked to Roger about it, asking him why he let Bryan Adams and others be involved

« And Pigs Will Fly! », Q Magazine, September 1990

(…) After hearing them at Knebworth, I don't think I should worry.

They just haven't got the faintest idea of what any of it's about. But

then they never did. Still most of the audience for this show will probably think it's Pink Floyd anyway. The attachment to the brand name is limpet-like. It's something I live with

After the show in Berlin, Roger Waters worked on the album «Amused to Death» all along the year 1991. According to Nicholas

Schaffner, one of the cover designs by Scarfe showed three jellyfish resembling the three band members floating in a cocktail glass

Cited in « Interview with David Gilmour », The Amazing Pudding, 1994

I have seen him since, at Paul Carrack's 40th birthday party ... he turned round from the bar with two drinks in his hand and couldn't help but smile. Then he stalked off and gathered his party and left

Pink Floyd’s cranky architect builds a new empire», Details Magazine, October 1992

«I think a lot of people will see your new LP as a very deliberate

attempt to reclaim Pink Floyd’s legacy as your own »

What do you mean « a deliberate attempt » ? I’m doing my work. This is the way I make records. And if I go on the road I will produce some kind of theatrical show because that is what I’ve done for the last twenty-five years. People have followed my lead in the past, manufactured facsimiles of what I do and have done. So be it

November 1992 :
The « Shine on » boxset is released

«Interview w/. David Gilmour», Columbus Newpaper, 1993.

Something had to go in order to keep it at a somewhat reasonable price.

One way or another, someone's favorite is going to be left out. Roger wanted « The Final Cut » to be in there and not « A Momentary Lapse of Reason » but the rest of us wanted it the other way around, so he was outvoted

« David Gilmour », Rock Compact Disc magazine, September 1992.

Roger had developed his own limited, or very simple style. He was never

very keen on improving himself as a bass player and half the time I would play the bass on the records because I would tend to do it quicker.

Right back to those early records, I mean, at least half the bass on all the recorded output is me anyway. Well, I think it's been said, but it's certainly not something we go around advertising. Rog used to come in and say « Thank you very much" to me once in a while for winning him bass-playing polls »

«Interview with Roger Waters», Rockline Radio, 8 February 1993

Ah, yeah. Yeah, it bothers me. The way our back catalog is... is run is

through a company that we're all shareholders in, but because, um, Dave and Nick out vote me on the board of that company, I don't have any say in what happens to the catalog... (…)...Which I find extremely irritating but there we are. Such is life.

Strangely enough I was talking to an English journalist who is very into bootlegs and bits and pieces and he was complaining about the new Pink Floyd box set because there wasn't anything special in it. Reasonably enough in my view, but that's another story. And we were talking about the possibility of releasing demos, you know, as he said you should release your demos sometime as an album and I thought, 'well, that's not a bad idea

« The dark side of the tune », The Daily Telegraph , 28 August 1992

They took my child and sold her into prostitution and IT never
forgive them for that.