Monday, March 28, 1994

Pink Floyd The Division Bell released

The Division Bell

Pink Floyd

Released: March 28, 1994

Peak: 14 US, 14 UK, 14 CN, 13 AU

Sales (in millions): 3.3 US, 0.6 UK, 11.3 world (includes US and UK)

Genre: classic rock veteran


Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. Cluster One (Wright, Gilmour) [5:56]
  2. What Do You Want from Me (Gilmour, Wright, Polly Samson) [4:22] (4/16/94, 13 AR)
  3. Poles Apart (Gilmour, Samson, Nick Laird-Clowes) [7:03]
  4. Marooned (Wright, Gilmour) [5:30]
  5. A Great Day for Freedom (Gilmour, Samson) [4:16]
  6. Wearing the Inside Out (Wright, Anthony Moore) [6:49]
  7. Take It Back (Gilmour, Samson, Laird-Clowes, Bob Ezrin) [6:12] (4/16/94, 73 US, 23 UK, 4 AR)
  8. Coming Back to Life (Gilmour) [6:19]
  9. Keep Talking (Gilmour, Wright, Samson) [6:11] (4/2/94, 1 AR)
  10. Lost for Words (Gilmour, Samson) [5:15] (12/3/94, 21 AR)
  11. High Hopes (Gilmour, Samson) [8:31] (8/27/94, 26 UK, 7 AR)

Total Running Time: 66:23

The Players:

  • David Gilmour (vocals, guitar)
  • Nick Mason (drums, percussion)
  • Richard Wright (keyboards)


3.505 out of 5.00 (average of 26 ratings)

Awards: (Click on award to learn more).

About the Album:

Pink Floyd’s second album without Roger Waters “is less forced and more of a group effort than A Momentary Lapse of Reason.” AMG The band were still legally wrestling over the rights to the Pink Floyd name during the making of that album. Here they were free from such hassle.

Keyboardist Rick Wright was restored to full band status here. He co-writes five of the 11 songs – his first writing credits on any Pink Floyd songs since 1975’s Wish You Were Here. WK He even took the lead vocals on Wearing the Inside Out. AMG

That’s the only song without a writing credit for guitarist and singer David Gilmour. Many of the songs include lyrics by novelist Polly Samson, Gilmour’s fiancĂ©e. Producer Bob Ezrin wasn’t sold on her initially, but later said “her presence had been inspirational for Gilmour” and that she pulled the album together. WK

“There is a vindictive, accusatory tone to songs such as What Do You Want from Me and Poles Apart.” AMG The former was influenced by Chicago blues while the latter “contains folksy overtones.” WK There is also an assumption that some songs, including “Poles Apart,” Lost for Words and A Great Day for Freedom, AMG were jabs at Waters. However, Gilmour denied this, saying, “it’s a little late at this point for us to be conjuring Roger up.” WK

“A Great Day for Freedom” has references to the wall coming down, which could be taken as a reference to the Waters-driven Pink Floyd album The Wall, but it was really more about the fall of Communism and the Berlin Wall. AMG It “juxtaposes the general euphoria of the fall of the Berlin Wall with the subsequent wars and ethnic cleansing, particularly in Yugoslavia.” WK

The songs generally deal with the theme of communication and the premise that one can solve many problems by talking. WK Nick Mason said, “It’s about people making choices, yeas or nays.” WK The title is a reference to the division bell which is rung in the British parliament to announce a vote. WK

The song Keep Talking is the most obvious reference to the communication theme, at least in its title. It uses audio samples of Stephen Hawking which were initially recorded for a television ad. Gilmour got permission to use the recordings because he was “so moved by Hawking’s sentiment.” WK Mason thought it seemed “politically incorrect to take ideas from advertising, but it seemed a very relevant piece.” WK

“Musically, Gilmour, Nick Mason, and Wright have largely turned the clock back to the pre-Dark Side of the Moon Floyd, with slow tempos, sustained keyboard chords, and guitar solos with a lot of echo.” AMG The music didn’t meet with everyone’s favor. Entertainment Weekly’s Tom Sinclair called it a “stomach-turning merger of progressive-rock pomposity and New Age noodling.” WK Rolling Stone’s Tom Graves criticized Gilmour’s guitar solos as “rambling, indistinct asides that are as forgettable as they used to be indelible.” WK

On the flip side, Uncut’s Graeme Thomson wrote that the album “might just be the dark horse of the Floyd canon. The opening triptych of songs is a hugely impressive return to something very close to the eternal essence of Pink Floyd, and much of the rest retains a quiet power and a meditative quality that betrays a genuine sense of unity.” WK

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First posted 3/22/2008; last updated 9/1/2021.

Tuesday, March 22, 1994

Yes Talk released



Released: March 22, 1994

Peak: 33 US, 20 UK, 47 CN, -- AU

Sales (in millions): --

Genre: progressive rock


Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. The Calling (Rabin, Anderson, Squire) [6:52] (3/12/94, 3 AR)
  2. I Am Waiting (Rabin, Anderson) [7:22]
  3. Real Love (Rabin, Squire, Anderson) [8:42]
  4. State of Play (Rabin, Anderson) [4:56] (1994, --)
  5. Walls (Rabin, Anderson, Roger Hodgson) [4:47] (6/11/94, 24 AR)
  6. Where Will You Be (Rabin, Anderson) [6:12]
  7. Endless Dream: a. Silent Spring [instrumental] (Rabin) [1:55]
  8. Endless Dream: b. Talk (Rabin, Anderson) [11:54]
  9. Endless Dream: c. Endless Dream (Rabin, Anderson) [1:50]

Total Running Time: 55:02

The Players:

  • Jon Anderson (vocals)
  • Trevor Rabin (guitar, keyboards, vocals)
  • Chris Squire (bass, backing vocals)
  • Alan White (drums, percussion)
  • Tony Kaye (keyboards)


2.946 out of 5.00 (average of 8 ratings)

About the Album:

Talk marked the third full-length album featuring the Cinema lineup. That lineup launched in 1981 when Yes’ members Chris Squire (bass) and Alan White (drums) were looking to form a new band (initially called Cinema) in the wake of the official demise of Yes. They brought South African guitarist Trevor Rabin on board and then ex-Yes members Jon Anderson (vocals) and Tony Kaye (keyboards) came into the fold, effectively creating a new incarnation of Yes. That collective recorded the biggest album of the group’s career with 1983’s 90125, followed it up with 1987’s Big Generator, and then contributed four cuts to Union, which merged the two versions of Yes that existed at the time.

This is officially the fifteenth studio album for Yes. WKTalk makes some effort to get away from the group's indulgent art rock pretensions, at least to the extent of using a spare, spacious production full of closely miked drums and sharp guitars. No wonder, since guitarist Trevor Rabin produced the record.” WK “With Rabin taking the lead…he attempted to re-introduce Yes to the 1990s with a lean, guitar-oriented sound. In taking such a strong role, he ensured he had a hand in writing every song, even overdubbing some of Chris Squire’s bass parts (to Squire’s minor annoyance).” WK

“Roger Hodgson, formerly of fellow progressive rock band Supertramp, wrote Walls with Anderson and Rabin. A demo of this song was recorded in 1990 and included on the Trevor Rabin demo album 90124.” WK

Guitarist Billy Sherwood toured with the band following the album’s release. Rabin and Kaye left in 1995, 12 years after first teaming up with Anderson, Squire, and White. Sherwood became an official member in 1997 after Rick Wakeman re-joined and left again. WK

Notes: On the 2002 Spitfire Records reissue, “Endless Dream” was released as a single track and a special version of “The Calling” was added.

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First posted 6/7/2011; updated 7/25/2021.

Monday, March 7, 1994

Blur “Girls and Boys” released

Girls and Boys


Writer(s): Damon Albarn, Graham Coxon, Alex James, Dave Rowntree (see lyrics here)

Released: March 7, 1994

First Charted: March 19, 1994

Peak: 59 US, 59 CB, 38 RR, 4 MR, 5 UK, 19 AU 12 DF (Click for codes to charts.)

Sales (in millions): -- US, 0.6 UK

Airplay/Streaming (in millions): -- radio, 49.8 video, 168.91 streaming


Click on award for more details.

About the Song:

The rock band Blur formed in London in 1988 with singer Damon Albarn, guitarist Graham Coxon, bassist Alex James, and drummer Dave Rowntree. Their debut album, 1991’s Leisure connected to the Madchester and shoegazing scenes of the late ‘80s and early ‘90s while their second album, 1993’s Modern Life Is Rubbish, showcased them more as a guitar pop group. With their third album, 1994’s Parklife, Blur established themselves as one of the pillars of the Britpop movement of the 1990s.

It became their best-selling album in the UK with more than a million sold. It was their first of seven consecutive albums to top the UK charts. The album produced four top-20 singles in the UK, with the lead single, “Girls and Boys,” being the most successful. Blur didn’t generate as much of an audience in the United States, although this song was one of a handful to reach the alternative rock chart, becoming their biggest hit.

Damon Albarn was inspired to write the song while on vacation in Spain where he saw what he called “a rampant sexual scene among visitors.” WK called it “a send-up of the hedonistic club culture of the ‘90s” SF which “deals with sexual roles, and freedom of sexual preference.” SF Radiohead’s Thom Yorke said it is one of the songs he wished he’d written. SF

Graham Coxon said audiences responded to “Girls and Boys” because “there’s nothing too complicated about it and it’s got a chanty sort of chorus.” SF Alex James described itas “disco drums, nasty gutiars and Duran Duran bass.” WK Billboard’s Larry Flick said it was “a detour into clubland with an amusing, word-twisting ditty fleshed out with a trance-like synth energy and a hard, syncopated beat, courtesy of the Pet Shop Boys.” WK Vibe’s James Hunter called it “a brilliant turn on new wave disco that boasts the year’s best bent guitars.” WK

British music magazines NME and Melody Maker both named “Girls and Boys” the single of the year. It was nominated for best song at the MTV Europe Music Awards.’s Stephen Thomas Erlewine said the song was “undeniably catchy” and “one of the best Blur ever recorded.” WK


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First posted 8/24/2023.