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Ну очень многословные Жан-Мишель и Филипп. Затруднительно даже вылавливать у них ляпы, потому что просто утопаешь в трясине пустомельства.
Показательный пример - история создания "Утраченного искусства беседы", лучшей РикРайтской композиции на TER. Никакой истории создания здесь не дано вообще, а текста на всю страницу.
The Lost Art Of Conversation
Richard Wright / 1:42
Musicians
David Gilmour: guitars, percussion
Rick Wright: piano, synthesizers
Recorded
Britannia Row, Islington, London: January 1993
Medina Studio, Hove: November 2013
Astoria, Hampton: 2013–14
Olympic Studios, London: 2013–14
Technical Team
Producers (1993): Bob Ezrin, David Gilmour
Producers: David Gilmour, Phil Manzanera, Youth, Andy Jackson
Sound Engineers: Andy Jackson, Damon Iddins, Phil Taylor (Britannia Row)
Genesis
Is it a question here of back to square one, back to “Things Left Unsaid” and “It’s What We Do”? This melancholy composition by Rick Wright with obvious chill-out properties is based around Wright’s piano and keyboards and David Gilmour’s guitar. It would have been utterly at home on Broken China, the second solo album by the Pink Floyd keyboard player.
Production
The third movement of The Endless River thus opens with an instrumental credited to Rick Wright alone. Classifiable as ambient music, this short piece begins with floating synth pads that are again reminiscent of the intro to “Shine On You Crazy Diamond” (Wish You Were Here), all the more so as David Gilmour plays a clear-toned Stratocaster exactly as he does on the 1975 track. A river is heard flowing and birds singing, giving “The Lost Art of Conversation” a highly meditative feel. Wright then picks out a few notes on an acoustic piano in that unmistakable style of his. Gilmour reinforces the ethereal mood with chords that are treated to volume pedal and drenched in distant, Dantesque reverb. Despite the generally cosmic atmosphere, the Floyd keyboardist is unable to conceal his love of African American music, and the second part of the his composition develops a more bluesy, more jazzy feel. On the other hand, Gilmour takes it upon himself to add orchestral timpani, which can be heard toward the back of the mix (at 1:23). Finally, it is worth noting that the transition to the next track, “On Noodle Street,” is one of the most successful and natural sounding on the album.
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