藩篱之钟

content: After about two weeks the band had around 65 pieces of music. With engineer Andy Jackson back on the team, and Bob Ezrin as co-producer, production moved to Gilmour's houseboat and recording studio, "Astoria". The band listened to and voted on each track, and whittled the material down to about 27 pieces of music. Eliminating some tracks, and merging others, they arrived at about eleven songs. Song selection was based upon a system of points, whereby all three members would award marks out of ten to each candidate song, a system skewed somewhat by Wright's decision to award his songs ten points each, and the other songs no points. Wright was not contractually a full member of the band, a situation which upset him. Wright reflected: "It came very close to a point where I wasn't going to do the album, because I didn't feel that what we'd agreed was fair." Wright received his first songwriting credits on any Pink Floyd album since 1975's "Wish You Were Here".  Keyboard player Jon Carin and drummer/percussionist Gary Wallis were brought in to complete the band before recording began. Five backing vocalists were also hired, including Sam Brown, and "Momentary Lapse" tour singer Durga McBroom. The band then moved to Olympic Studios, recorded most of the 'winning' tracks over the space of a week. After a summer break, they returned to "Astoria" to record more backing tracks. Ezrin worked on the various drum sounds, and previous collaborator and orchestral composer Michael Kamen provided the album's string arrangements which were recorded at Abbey Road Studio Two by Steve McLaughlin. Dick Parry played saxophone on his first Pink Floyd album for almost 20 years, on "Wearing the Inside Out", and Chris Thomas was booked to undertake the final mix. Between September and December recording and mixing sessions were held at Metropolis Studios in Chiswick, and the Creek Recording Studios in London. In September, the band performed at a celebrity charity concert at Cowdray House, in Midhurst. The album was mastered at the Mastering Lab in Los Angeles, by Doug Sax and James Guthrie.
title: 包装和标题.
content: To avoid competing against other album releases (as had happened with "A Momentary Lapse") Pink Floyd set a deadline of April 1994, at which point they would begin a new tour. By January of that year however, the band still had not decided on a title for the album. The list of names being considered included "Pow Wow" and "Down to Earth". At a dinner one night, writer Douglas Adams, spurred on by the promise of a payment to his favourite charity, the Environmental Investigation Agency, suggested "the division bell" (used in the lyrics for "High Hopes"), and the name stuck.  Despite decent sales, "The Division Bell" received mixed reviews. Tom Sinclair of "Entertainment Weekly" gave it a "D", writing 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". "Rolling Stone" Tom Graves criticised Gilmour's performance, stating that his guitar solos had "settled into rambling, indistinct asides that are as forgettable as they used to be indelible... only on 'What Do You Want from Me' does Gilmour sound like he cares". Nevertheless, the album was nominated in the 1995 Brit awards for the "Best Album by a British Artist", but lost to Blur's "Parklife". In March the same year the band was awarded with a Grammy for the "Best Rock Instrumental Performance" on "Marooned". In "Uncut"'s 2011 "Pink Floyd: The Ultimate Music Guide", Graeme Thomson wrote that "The Division Bell " "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."  Uncut reviewed the album once again in 2014 to celebrate the 20th anniversary reissue, and in their review praised the album for its production, citing that the album sounded much "more like a classic Pink Floyd album than 1983's "The Final Cut"" and throughout the album noted the empathy and connection between Wright and Gilmour, stating that these moments were "at the album's musical heart".  The album was re-issued again with the Pink Floyd Records label on 26 August 2016.

Summary: 《藩篱之钟》(英文:The Division Bell),是英国前卫摇滚乐队平克·弗洛伊德的第14张录音室专辑,1994年3月28日和4月4日分别由EMI和哥伦比亚唱片在英国和美国发行。该专辑的音乐主要由吉他手兼歌手大卫·吉尔摩和键盘手理乍得·赖特创作,这是理乍得·赖特自1973年专辑《月之暗面》以来第一次在平克·弗洛伊德的专辑中担任主唱。大卫·吉尔摩的未婚妻与乐队合写了许多有关沟通主题的歌词。录音地点包括乐队的Britannia Row录音室以及吉尔摩的阿斯托里亚船上录音室。制作团队包括乐队长久以来的盟友,如制作人、工程师、萨克斯演奏者。

The Division Bell: The Division Bell is the fourteenth studio album by the English progressive rock band Pink Floyd, released on 28 March 1994 by EMI Records in the United Kingdom and on 4 April by Columbia Records in the United States.