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The Division Bell

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This article is about the Pink Floyd album. For the bell that is rung in the British Houses of Parliament, see division bell.
Untitled

The Division Bell is the final studio album by Pink Floyd, released in 1994 (30 March in the United Kingdom and 5 April in the United States), and the second album without original bassist Roger Waters. It was recorded at a number of studios, including guitarist/vocalist David Gilmour's houseboat studio called The Astoria. It went to #1 in the UK and debuted at the top of the U.S. Billboard 200 album charts in April 1994, spending four weeks as the top album in the country. By contrast, Pink Floyd's previous album, A Momentary Lapse of Reason, had peaked at #3. The Division Bell was certified Gold, Platinum, and Double Platinum in the U.S. in June 1994 and Triple Platinum in January 1999. Its release was accompanied by an extremely successful tour documented in the P•U•L•S•E album released the following year.

History

Before the Roger Waters-led period, David Gilmour stated that the music and lyrics were in balance, and the importance of the music was understood. The Division Bell's atmosphere is spacier, sounding more like Meddle or Obscured by Clouds than the grittier and harsher tones of Animals or The Wall. David Gilmour and keyboardist Richard Wright stated on "In the Studio with Redbeard", which spotlighted The Division Bell (including interviews which were recorded for the world premiere special of The Division Bell aired one week before its U.S. release) that the album was the band's best since their 1975 release Wish You Were Here.

This release marks the first time Richard Wright had sung lead vocals on a Pink Floyd album since 1973's The Dark Side of the Moon, although he did provide backing vocals for Wish You Were Here, Animals and A Momentary Lapse of Reason. It also marks his first songwriting credit on a Pink Floyd album since Wish You Were Here.

The track "Marooned" was awarded a Grammy in the category of Best Rock Instrumental Performance at the Grammy Awards of 1995. This has been Pink Floyd's only Grammy to date.

EMI concocted an Internet-based "puzzle" known as the Publius Enigma in connection with the album's release. Officially, it was never solved. Pink Floyd Rules!

Structure

Template:Sample box start variation 1 Template:Multi-listen start Template:Multi-listen item Template:Multi-listen item Template:Multi-listen item Template:Multi-listen end Template:Sample box end

Douglas Adams, the author of The Hitchhikers Guide to the Galaxy series, chose the name of the album, being a friend of David Gilmour. This came about because the three band members could not agree on an album title (with both "Pow Wow" and "Down to Earth" being suggested). When Gilmour told Adams about the problem, Adams quickly responded that he had a title, but that he would only tell Gilmour if he would donate £25,000 to the Save the Rhino foundation [1]. Gilmour agreed and the name, taken from a line in the final track, "High Hopes", was suggested. The phrase itself derives from the division bell, which is rung in the British House of Commons, and some other legislatures, to signal the commencement of a division (vote) to Members of Parliament.

Despite no specific over-arching concept, there is a musical connection between the songs in the form of a linking theme of communication and the lack of it.[2] Tracks such as "What Do You Want from Me", "A Great Day for Freedom" and "Take It Back" seem chiefly concerned with communication problems within relationships[3], while "Keep Talking" is more generally about the importance of maintaining a dialogue and the dangers of allowing oneself to become insular[4]. Samples of Professor Stephen Hawking from a telephone company advertisement provide the spoken word portions of "Keep Talking".

While some songs can be interpreted as references to the then ongoing relationship problems between Pink Floyd members, especially the long-standing estrangement between David Gilmour and Roger Waters, Gilmour denies that the album is an allegory for the split and acknowledges only "a couple of hinted mentions that could or could not have something to do with him [Waters]".[5]

At the end of the album, Gilmour's stepson, Charlie, can be heard hanging up the telephone on Pink Floyd manager Steve O'Rourke, who had pleaded to be allowed to appear on a Pink Floyd album.

Artwork

File:"The Division Bell" Montage.png
Montage of album artwork by Storm Thorgerson.

52°23′25″N 0°16′33″E / 52.39028°N 0.27583°E / 52.39028; 0.27583
The cover artwork, by long-time Pink Floyd collaborator Storm Thorgerson, shows two metal head sculptures sculpted by John Robertson, each over three metres tall and weighing 1500 kilograms. They were placed in a field in Cambridgeshire (shown at the above coordinates) and photographed under all weather and lighting conditions over a two-week period, sometimes with visual effects such as lights between them. Ely Cathedral is visible in the background, as are lights (actually car headlights on poles), shown through the sculptures' mouths. Rumours circulated at the time of the photography that they were in excess of 20 metres high; this was not true. The sculptures are now in the Rock and Roll Hall of Fame in Cleveland, Ohio.

The cover photograph is slightly different on each format, and between the United States Columbia and British EMI releases. The Braille writing on the EMI CD jewel case spells Pink Floyd.

File:Additional "The Division Bell" Artwork.png
Additional album artwork.

Two additional 7.5 metres tall stone head sculptures were made by Aden Hynes and photographed in the same manner; although they do not appear in the CD artwork, they appeared on the cassette cover, and can be seen in the tour brochure and elsewhere.

The artwork inside the lyric booklet revolves around a similar theme, except the heads are made up of 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 La Silla observatory.

Recording

We started off by going into Nick's studio, Brittania Row studio in London, in January 1993 with myself, Nick [Mason], and Rick [Wright], and Guy [Pratt], the bass player from our last tour. And we just jammed away at anything for two weeks, just playing anything that we had in our heads or that we made up on the spot. And then we took all that over to Astoria and started listening to all the tapes and working stuff out. We found that we had 65 pieces of music, which we worked on all of to a certain extent, and then we started adding these things. We had a couple of sessions which we called 'The Big Listen' where we listened to all these 65, and all the people involved with it voted on each track, on each piece of music as to how popular it was with them. And so we then arranged these 65 pieces of music in order of popularity amongst the band, and then we dumped 40 of them, and worked on the top 25, which in fact became the top 27 because a couple more got added in. And so the process went on from there with us working away on all these pieces of music and gradually either merging pieces together or scrapping them until we finally were down to about twelve to fifteen things that we all kind of liked. And in the end one or two of them went by the way, and we were left with eleven on the album, I think.

-David Gilmour, Questions and Answers with David Gilmour[6].

Reception

The album was received mostly poorly by professional critics despite its strong sales. Jerry McCully of Amazon.com said of the album in his editorial review that "The Division Bell is not a great Pink Floyd album, but an all-too-fallible simulation"[7]. Tom Sinclair of Entertainment Weekly echoed McCully's sentiment, giving the album a grade of "D" and saying 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"[8]. Tom Graves of Rolling Stone criticized lead guitarist David Gilmour's performance on the album, stating that his guitar solos "were once the band's centerpieces, as articulate, melodic and well-defined as any in rock, [but] he now has settled into rambling, indistinct asides that are as forgettable as they used to be indelible", adding that "only on 'What Do You Want from Me' does Gilmour sound like he cares"[9]. Waters described the album as "rubbish," and mocked Gilmour's decision to have his wife write many of its lyrics.[10] However, the album enjoys a strong positive reputation with Pink Floyd's fanbase. Mark Henderson of the Pink Floyd fansite Pink Floyd.net called the album "quite possibly one of the most amazing albums of all time"[11], adding to fellow Pink Floyd.net reviewer Tim Shelton's comment that The Division Bell "encompasses the best aspects of the band"[12].

Track listing

All lead vocals performed by David Gilmour unless stated otherwise.

  1. "Cluster One" (David Gilmour, Richard Wright) – 5:58
    • Instrumental
  2. "What Do You Want from Me?" (Gilmour, Wright, Polly Samson) – 4:21
  3. "Poles Apart" (Gilmour, Samson, Nick Laird-Clowes) – 7:04
  4. "Marooned" (Gilmour, Wright) – 5:29
    • Instrumental
  5. "A Great Day for Freedom" (Gilmour, Samson) – 4:17
  6. "Wearing the Inside Out" (Wright, Anthony Moore) – 6:49
    • Lead vocals: Richard Wright
  7. "Take It Back" (Gilmour, Samson, Laird-Clowes, Bob Ezrin) – 6:12
  8. "Coming Back to Life" (Gilmour) – 6:19
  9. "Keep Talking" (Gilmour, Wright, Samson) – 6:11
  10. "Lost for Words" (Gilmour, Samson) – 5:14
  11. "High Hopes" (Gilmour, Samson) – 8:32

The vinyl version was largely released on a single disc with edited versions of "Poles Apart", "Marooned", "Coming Back To Life", "'A Great Day for Freedom", "Wearing the Inside Out" and "High Hopes". Russian and South Korean versions are on two discs and do not contain any edits. Some issues contain the sound of a heartbeat in the locked groove at the end of each side.

Singles

  • "Take It Back" (album version) // "Astronomy Domine" (live) / "Take It Back" (edit) – Columbia 38-77493 – released 31 May 1994
  • "High Hopes" (radio edit) / "Keep Talking" (radio edit) // "One of These Days" (live) – released 10 October 1994

Live Performances

Pink Floyd took their album on tour in 1994 where most of the songs were played, but never all on the same night. Songs like "What Do You Want From Me", "Keep Talking", "Take It Back" and "High Hopes" were a staple of the performances and were present every night; others like "Poles Apart", "Coming Back To Life" and "A Great Day For Freedom" flip-flopped every night. "Lost For Words" was played less often. "Marooned" was only played twice on the tour (on 29 and 30 August 1994 at the Valle Hovin Stadiun, Oslo, Norway) and was then dropped, while "Cluster One" apparently was played only once (on 16 October 1994 at Earls Court, London, UK) and "Wearing The Inside Out" was never played.

"Marooned" was resurrected by Gilmour in 2004 for his headline performance at the Fender Stratocaster 50th Anniversary charity concert along with "Coming Back To Life" which has been a favourite at Gilmour shows ever since 1994, as has "High Hopes".

"Wearing The Inside Out" was given its first live performance in 2006 when Rick Wright accompanied Gilmour on his On an Island tour, which can be seen on his Remember That Night DVD/BD and seen/heard on his live album Live in Gdańsk.

Personnel

Chart positions

Album

Year Chart Position
1994 UK Albums Chart 1
1994 U.S. Billboard 200 1
1994 Norway's albums Chart 1
1994 Australian Albums Chart 1

Singles

Year Single Chart Position
1994 "Keep Talking" U.S. Mainstream Rock Tracks 1
1994 "Take It Back" UK Singles Chart 23
1994 "Take It Back" U.S. Mainstream Rock Tracks 4
1994 "Take It Back" U.S. Billboard Hot 100 73
1994 "High Hopes" UK Singles Chart 26
1994 "High Hopes" U.S. Mainstream Rock Tracks 7
1994 "Lost for Words" U.S. Mainstream Rock Tracks 21
1994 "What Do You Want from Me" U.S. Mainstream Rock Tracks 16

References

  1. ^ Webb, Nick. "Wish You Were Here: The Offical Biography of Douglas Adams", 2003. ISBN 0-7553-1166-3
  2. ^ The Division Bell Concept
  3. ^ Pink Floyd - The Division Bell
  4. ^ The Exorcist: An Interpretation of the TDB Lyrics
  5. ^ Pink Floyd and Company - David Gilmour Interview
  6. ^ Questions and Answers with David Gilmour
  7. ^ Jerry McCully's Amazon.com Review
  8. ^ Tom Sinclair's Entertainment Weekly Review
  9. ^ Tom Graves's Rolling Stone Review
  10. ^ The Man Behind Pink Floyd's The Wall, interview with Roger Waters, 1999
  11. ^ Mark Henderson's Pink Floyd.net Fan Review
  12. ^ Tim Shelton's Pink Floyd.net Fan Review
Preceded by Billboard 200 number-one album
23 April – 20 May 1994 		Succeeded by
Preceded by UK number one album
9 April 1994 – 6 May 1994 		Succeeded by
Preceded by Australian ARIA Albums Chart number-one album
17 April – 7 May 1994 		Succeeded by
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