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Thread: Live compilation exercice: Best-of 1977 North America tour

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    Quote Originally Posted by abronsius View Post
    It is closed to what Rick Wright would play later in during the Wall tour 80-81, when after "Goodbye Blue Sky", before the frightening What Should Be Do Now, there is this kind of synth-melody (which is not on The Wall studio album) and which is reminiscent of this extended synth-melody at the end of Sheep performed in 1977.
    Oh wow, you're right! I never made that connection. It's fascinating to me how they never really threw anything away. What Shall We Do Now live begins with an ide that was used at the end of sheep in concert, and the body of the song borrows from the middle jam in the live versions of Childhood's End from the 72 - 73 concerts. Smart... never let a good bit go in the trash. Save it, and eventually there will be a use for it.

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    Quote Originally Posted by TheMoebLoop View Post
    Good thing you mentioned it
    Without any intent to hijack this thread, but what is the consensus about the actual point during the Montreal concert where Roger spat on the bizarroman? I used to believe it was the cause of the rant on "Pigs", but, thinking deeply about it, I don't subscribe so much to that anymore, given that the whole tirade sounds more like a theatrical humanisation of the inflatable pig, like at The Wall concerts - furthermore, why say "come back, pig", "all is forgiven" and "just another 100 yards" if the incident hadn't happened yet, the fan was still climbing the netting and was close to the stage? In addition, he doesn't sound repentant or defeated when addressing the crowd for the intermission a minute or so later.
    Ok, of course it is not a big philosophical question, but there you are, something I wondered whilst listening to JFE's masterpiece.

    More on the topic we were just addressing, the reason I like this tour so much is because Richard Wright is still present and contributing vitally, which makes it the last time they sounded like a living, breathing, creative Pink Floyd, despite the presence of clicktrack. On The Wall, his even lower morale and Peter Woods doubling on keyboards, to also mention the bloated lineup and significantly less freedom for self-expression, diluted his sound, the same the case for the latter tours too, though he was happier circa 1994; yet, the actual spirit of the band was gone by then, those works being something else. Here, however, everywhere you listen, they are responding to each other with intensity and vigour, and Wright is feeding the music with his tasteful, delicate improvisatory style, reminding me once again of what a talented texturist he was.

    I totally agree with what you wrote about Richard Wright. I've always loved his musical style and had a tenderness for him. The 77 tour (the peak being IMHO the whole Wish You Were Here album) was the very last Pink Floyd tour where Rick could express himself... He's input during the 77 tour is amazing. Snowy White was the first guitarist to be add to the Pink Floyd band since the previous tour, but David Gilmour was faster than ever (you can see him with the 8mm that even if he does a lot of bends to be quicker (he always complained for a long time about that with his fingers (which he found too small) he had to find his own style (hence the "mister es-bend" he would become) and Rick would express himself on tour, only later. To me 2002 and of course 2006 was the era when he got more space to express himself again.
    Nick's drumming was also much more punchy and with more fills than the so-called "sloppy" era from 74-75 (which I don't think it was that sloppy; it was perhaps more like "less is better" - which fits very well with the bluesy-like song of Shine On) - the better sounding the recording surface, the more we can reconsider how great was Nick's drumming (for instance the immersion official recording of the WYWH 74 Wembley set was AMAZING and the 77 tour restored by Jimfisheye makes some people think differently...)

    regarding the Montreal "spitting" incident : well, there was a lot of tension during all the US tour, even some Europeans gigs emphasized by the "big audience stadium syndrome"... I remember a "shitbag" during a fireworks on one of the MSG show and Montreal is not the only show were Roger was "near the borderline"... There was always those people yelling during the radio-intro of WYWH "hey ! we are not here to listen to the studio record!", etc...

    the whole Montreal show is interesting not because of the infamous spitting incident, but because of the performance. All the Pigs 3 Different Ones version (the longest one) has an extended ending with a mood a-la Careful With That Axe Eugene, beginning slower and slower.... of course Roger's invectives was also addressing to the pig, not to the guy in the audience...
    Musically they performed one of their greatest version of Pigs 3 Different Ones.
    I've read some people being there about the Montreal show, I even wondered if the spitting incident was before the Montreal show (one of those MSG garden shows). Had Roger being out of control the band couldn't have turned out a big stadium concert into a musically interaction with this best, unique performance of Pigs 3DO (it was much more a matter IMHO of security problems (mass crowd, fireworks) that Roger being out-of-control)...

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    Quote Originally Posted by Lennyif View Post
    Oh wow, you're right! I never made that connection. It's fascinating to me how they never really threw anything away. What Shall We Do Now live begins with an ide that was used at the end of sheep in concert, and the body of the song borrows from the middle jam in the live versions of Childhood's End from the 72 - 73 concerts. Smart... never let a good bit go in the trash. Save it, and eventually there will be a use for it.
    yes I really enjoyed Childhood's End and collected every live version, this is a kind of pre-TIME composition (that's probably the reason why they didn't keep this number) and the What Shall We Do Now chord progression is one of my favorite live highlight from Childhood's End.
    I also remember that the pudding teacher ("If you don't eat yer meat, you can't have any pudding") (as recorded in The Wall) can be heard during some Man & The Journey live shows (a pre-recorded tape)
    But I don't think that because the Floyd were so lazy they could use every piece of music they composed later... (even if Gilmour since his first 78 album "recycled" the Run-Like-Hell riff since Sheep (which is also a variation around the bass-line of One Of These Days). The Beatles did it for every song which appeared later on solo albums (Child Of Nature 68 would become Jealous Guy in 71 - George Harrison will use "Circles" (1968) initially a tribute to B.Epstein recorded it more than a decade later with jazzy arrangement instead of an haunting organ as "Colliding Circles") but sometimes they did forgot some great compositions (like Lennon did for some of his Beatles-demos).
    That comes from the fact that the Floyd worked as a jam-band and a lot of great tracks were assembled like a puzzle with some pieces of music (the way they numbered their tracks seems to confirm this).

    I don't have sessions sheet but apparently SHEEP was the latest song to be recorded/overdubbed during the Animals sessions.
    Based on the "Extraction Tapes" early studio of "Sheep" it seems that the band leaved deliberately some "empty space" for keyboard overdubs. That would explain why the multiple synth layers during the "Psaum 23" section were overdubbed later and why there was no this magical jazzy intro with the Fender Rhodes piano.
    Apparently, with the WYWW sessions, thanks to the "Extraction Tapes" we can hear that Gilmour didn't record at the time the crying opening guitar solo but the funky-jam sessions was unedited. Neither was recorded the funeral dirge on synth by Rick Wright.
    On the final LP, due to vinyl length limitation and the decision of the band to split Shine On into 2 part (instead of leaving it as a one piece "Shine On" (like "Echoes") the funky-jam was unfortunately drastically edited.
    Now that I've heard the unedited funky-jam I really appreciated it whereas I was not that fond with the studio album edit.
    That's why I like to think that perhaps Rick would have composed the end of SHEEP and that would have been removed :

    - because the uncredited Gilmour-typical-riff a-la Run-like-Hell worked better to end this song
    - vinyl length limitation
    - that said, the 8track version shows a joined "Pigs on the wings" with Snowy White solo, so a different album configuration could have been possible :
    the concept and musical content of Animals album would work if we started with Sheep and end with the Pigs (3 different ones).
    with such different track running order Rick synth's segue into Pigs on the wings would have worked very well...

    that's almost sure that they choose to open with "Sheep" because the audience would have been not quiet enough for "Pigs on the wings". But the track-running of Animals set in live 77 makes sense and the concept still works. in concert, this alternate album configuration works very well, and ending the album with Pigs would have worked.
    I'm not sure that Rick was playing a keyboard extended part to help Waters to change his instrument for his acoustic guitar Ovation... They didn't built a wall or anything like that... sure the screen was adapted to the musical content...
    Last edited by abronsius; 11-13-2017 at 10:15 AM.

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    Quote Originally Posted by abronsius View Post
    - that said, the 8track version shows a joined "Pigs on the wings" with Snowy White solo, so a different album configuration could have been possible
    This was an afterthought, made exclusively for the 8-Track. I don't think it was ever considered for the album.

    the concept and musical content of Animals album would work if we started with Sheep and end with the Pigs (3 different ones).
    with such different track running order Rick synth's segue into Pigs on the wings would have worked very well...

    Quote Originally Posted by abronsius View Post
    sure the screen was adapted to the musical content...
    FYI, the screen was not used during the first set at all during this tour. Strange since they had been producing films for their past 2 albums (DSOTM and WYWH).

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    Quote Originally Posted by Roscoe59 View Post
    FYI, the screen was not used during the first set at all during this tour. Strange since they had been producing films for their past 2 albums (DSOTM and WYWH).
    Gerald Scarfe's book about The Wall shows a storyboard and a very short B&W reel of preview film for animation made for Animals. Roger knocked it on the head because he preferred just to use the inflatables. Still, I would ****ing love to see what's on that reel and maybe even have the stills in the storyboard set to the music to recreate how the animation may have been.

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    Quote Originally Posted by popeyebonaparte View Post
    Gerald Scarfe's book about The Wall shows a storyboard and a very short B&W reel of preview film for animation made for Animals. Roger knocked it on the head because he preferred just to use the inflatables. Still, I would ****ing love to see what's on that reel and maybe even have the stills in the storyboard set to the music to recreate how the animation may have been.
    Didn't some of that end up in the 'Shine on 6-9' animation (and ultimately the Wall) - the meat hook / dog eat dog bit. I also wondered whether the maze section at the end of Shine On 6-9 might have originally referred to the 'maze' in Dogs.

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