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Which One's Pink?: An Analysis of the Concept Albums of Roger Waters and "Pink Floyd": An Analysis of Concept Albums of Roger Waters and "Pink Floyd"
 
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Which One's Pink?: An Analysis of the Concept Albums of Roger Waters and "Pink Floyd": An Analysis of Concept Albums of Roger Waters and "Pink Floyd" (Paperback)

by Phil Rose (Author, Editor)
3.0 out of 5 stars See all reviews (3 customer reviews)

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Product details

  • Paperback: 192 pages
  • Publisher: Collector's Guide Publishing (Dec 1998)
  • Language English
  • ISBN-10: 1896522173
  • ISBN-13: 978-1896522173
  • Product Dimensions: 18.3 x 10.4 x 1.3 cm
  • Average Customer Review: 3.0 out of 5 stars See all reviews (3 customer reviews)
  • Amazon.co.uk Sales Rank: 432,435 in Books (See Bestsellers in Books)

    Popular in this category:

    #41 in  Books > Music, Stage & Screen > Music > Composers & Musicians > Rock & Other Styles > Pink Floyd

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Product Description

Product Description
Anyone familiar with The Wall realises that the work of Roger Waters and Pink Floyd is characterised by an enigmatic quality that has lured music fans for thirty years. For the first time, a systematic and detailed discussion of these works is now available. Drawing on extensive discussion with Roger Waters, Rose pays attention to lyrics, album covers, and the musical details of each album's conceptual translation. Among the recordings discussed are The Dark Side of the Moon, Wish You Were Here, Animals, The Wall and The Final Cut.

About the Author
Phil Rose

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Which One's Pink?: An Analysis of the Concept Albums of Roger Waters and "Pink Floyd": An Analysis of Concept Albums of Roger Waters and "Pink Floyd"
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Average Customer Review
3.0 out of 5 stars (3 customer reviews)
 
 
 
 
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45 of 50 people found the following review helpful:
3.0 out of 5 stars academic deconstruction of concept albums, 21 Jul 2001
By A Customer
This book will be a disappointment to some, but if you go expecting an album by album, and even song by song breakdown, then it will deliver. Covering albums Dark Side, WYWH, Animals, The Wall and The Final Cut, it is an academic and systematic breakdown of meanings and concepts wihtin these albums. Very useful if doing an academic piece of writing, but can dwell on things a little too much. To the casual reader, it is totally unsuitable, but to the obsessive Floyd fans, fairly entertaining.
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5.0 out of 5 stars great for pink floyd or any serious music fan, 30 Dec 2008
By Dunja Turk "Mimi Slovenia" (Slovenija) - See all my reviews
(REAL NAME)   
I bought this one out of curiosity. I'm fan on Pink Floyd and fan of any good rock books. Rose explains high concept of classic Pink Floyd albums (DSOTM, Wish You Were Here, The Animals, The Wall & Final Cut) with depth, simplicity and differently. You'll surely listen to PF album differently after reading this and - to point out, it's not book about weirdness of those albums relating to commonly known "pop" facts as synchronisity of say DSOTM with Wizard of Oz. Nor is book about stories from studio or tales of band fighting among themselves. Instead it offers: a) some innuendos that you've might suspected from carefully listening those albums before, b) reminds you of things you already know c)impressive views of roger water's and others ideas (musical, lyrical, conceptual ..) of those conceptual albums.
It's written from Rose's point of view and it's great. Interview with Waters at the end of book proves that best analysis is always done by someone who is obssesive with that work, has time distance from the same work and is not someone from inside the band.

recommended!
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1.0 out of 5 stars A bit over the top, 22 April 2008
By Ben Basing (Roughly London, United Kingdom) - See all my reviews
(REAL NAME)   
I bought this hoping for something like Ian McDonalds book explaining Beatles tracks (Revolution in the Head). In fact the analysis was so overdone I could hardly take it seriously, and I admit I've read very little of the book so far. When discussing "Time" Rose suggests that use of the word "waiting" might be taken as a reference to "Waiting for Godot" ... Well I have to concede it might, but given the title of the song is use of the word "waiting" worth analysing in any depth? The whole moon vs sun analogy seemed rather contrived to me- though there might be some clinching evidence in the rest of the book. Roger Waters is credited with devising the concept album, and this argument is reasonably backed up, but aren't the music press and many listeners rather rude about concept albums nowadays?
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