I saw and listened to Clapton with Pat Metheny and Chick Corea… After the Pink Floyd concert in Venice (that remains number ONE) and after a couple of concerts by Pino Daniele and one with Pieranunzi and Petrucciani, I think it’s the most beautiful I’ve seen… Great!!
What do you think of the new version of Money from Roger Water?
Roger Waters - Money (Official Lyric Video, DSOTM REDUX) - YouTube
I saw Roger live some month ago and i did like the ambient version of Comfortably numb.
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I have been listening to that this morning. I think it is an interesting rendition that is worth having and should be seen as a work in its own right. Roger can be quite divisive with his views and opinions but I think should be able to claim his own work without too much criticism.
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I like… Roger is always a wonderful madman… and I love that furry being…
The best living being in the world… 
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i like it too. I like the low voice of Roger and the mood of the song. And i can’t wait to hear the whole album, because it seems it won’t be a normal reinterpretation.
Hi @Nicolaz 
Thanks for sharing!
I am sorry to say - as a long time Pink Floyd listener - that Waters, despite his undeniable artistic standing and cultural contribution to the notion itself of Art-Rock, often manages to come out as an irritating megalomaniac, to my understanding and maybe irrespective of his real intentions.
Leaving aside some wacky and recent geopolitical stances, whose ideological incoherence sometimes borders on the paranoid - at least in my opinion -, the constant obsession for a posthumous re-appropriation of the Floyds’ repertoire, as an exclusively individual invention, seems to denote a narcissistic and self-harming denial of the past.
While it is well known that Roger continually tried to push the group toward an openly pessimistic political narrative, since the very onset of the 1970s decade, it is true that the masterpieces of that era were due to both the ambitious societal views of Waters and the combined artistry of four out-of-the-ordinary people, not surprisingly former architecture students at the London polytechnic school.
In the Floyds’ works there used to be a rare and solid balance, between effective songwriting, daring sonic explorations, clever referencing of occasional extra-rock formal elements, sense of grandeur, emotive eloquence and theatrical quality of the wide stereo image, all of this put to the service of a synergy of evocative lyrics and inspiring melodies, which, although generally sorrowful and polemic, were also capable of delivering many memorable anthems, with the sung component a part of the soundscape but seldom exclusively at center stage (and when it happened, it was almost always glorious…).
In the sole hands of an aging and increasingly resentful Roger Waters, the richness of this essential chapter of alternative rock, as a quasi-classical endeavour, is presented as a bleak, discolored and bitter personal claim, of musical and ideal territories illegitimately stolen by a greedy collective called The Pink Floyd.
(By the way, an interestingly provocative thread of discussion might be the contradictory stance of many artistic personalities of the XX-XXI centuries, between public despise of money and constant private preoccupation for abundant raising of profits).
Side-note: the a-la-Blade Runner version of Comfortably Numb benefits greatly from the strength of its remarkable visual apparatus, probably quite arresting if experienced in live performance, but as a musical object in itself sounds to my ears and mind as a flat black-and-white photocopy, having lost completely the convincing three-dimensionality, well-shaped dynamics, mesmerising solo guitar and masterful symphonic tension of the original recording.
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Message or Messenger?
Generally best avoided. . .
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Hi @Aethermind, i think there’s no doubt that what you write about Roger Water is, more or less, true. I agree about him being megalomaniac, about the incoherence of some geopolitical stances (in the last tour he criticized almost everyone, except some other fondamental figures that, in my opinion, deserved the same exact treatment) and about the story of him and Pink Floyd.
That’s just what Roger Water is. We can’t expect anything else from him.
But i was only talking about music. In 40 years of music listening, i learned to split the personage from the art and consider them separately. I admit that this is difficult with Roger but in this case my post was only about a version of a legendary song that has it’s own mood and that doesn’t seems only a cover. I just appreciate that.
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Tbf, a lot of the things he comes under fire for are misinformation.
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Chet Backer was undeniably a big asshole… drugged… and one evening he arrived late as always and drugged… he had sold his trumpet for drugs… a little boy lent him his instrument (perhaps paid with enormous sacrifices) and Chet, after playing it, threw it into the woods… bad character… but when he played and sang he was an angel… I don’t like Roger just as I don’t like Chet… as a person… however, I don’t mind that song beyond that by Roger… but Pink Floyd is always Pink Floyd… another world.
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I love this interview! This is just pure Roger Waters 
I think that the accuses of antisemitism and all the other stuff are stupid and ridiculous, and just a pathetic attempt to gain notoriety from politicians and reporters.
On the other side, how not to laugh when he say he’s the author of those legendary album? We all know that Pink Floyd are creators of those masterpieces (well, except The final cut and, partially, The wall 
).
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The link is okay but Discourse is breaking it some how Four Faces Of Eric Clapton (pt 4 of 4) - YouTube. I watched this on MTV back in the day and was my introduction to Clapton. It was an AU special and also way cooler and profound first time around and in my memory.
Thanks @MrBroccoli ,
I have listened to the entire defense speech, and I must say that I have instantly recognised the good and the bad of the typical Roger’s passionate attitude, besides enjoying once more his eloquent and marvellously clean English pronunciation.
On one hand, there is no denying that - without his innovative bass-playing and uncompromising sense of social engagement - the Floyds wouldn’t have been the immensely influential cultural act that they have been for the best part of the last 50 years, being able to conjure profound musical reflections on the state of things in the world.
On the other hand, the notoriously astringent and vocal dialectical style of Waters is a sort of double-edged blade, as warmly honest and agreeable on the critical part as it tends to evoke concealed governmental plots in the social and geopolitical analisys.
I simply think that he understandably struggles to adapt his ways of heartfelt expression to the cultural mindsets of the second fifth of XXI century. Perhaps, a bit of emotive detachment and hermeneutic mediation would be recommendable, for someone with his influence and media exposition, when sensitive identitarian or geopolitical matters are at hand.
And, so very shareable is the final idealistic appeal, to ample documentation before voicing opinions.
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Just gorgeous stuff! 
In any case, if we talk about good guitarists…
Possible triggering content. Jazz improvisation and microtonal :>
Just to close the Roger Waters debate :- his biggest crime imho is charging £171 for a gig.
That’s just bloody ridiculous.
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Was it he or the prompter / venue / sales organisation that set the price? There has been a lot of commentary on bands wanting to charge less for concert tickets but promoters and venues pushing prices up.
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Gosh!
And to think that I still sorely regret having skipped a Tangerine Dream gig in Wembley, while in London some years ago and right before Froese’s death, because I deemed it overpriced at £80…