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Thread: Best live version of 'One of These Days'?

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    Question Best live version of 'One of These Days'?

    What do you think is the best live version of 'One of These Days'? I personally think 11-15-1972 and most versions from mid-late 1972 are great. I wish this song was over 10 minutes long.

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    Quote Originally Posted by Space_Floyd View Post
    What do you think is the best live version of 'One of These Days'? I personally think 11-15-1972 and most versions from mid-late 1972 are great. I wish this song was over 10 minutes long.
    Agree with you - 11-15-1972 is terrific, a really special (and decent quality) version

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    Quote Originally Posted by Space_Floyd View Post
    What do you think is the best live version of 'One of These Days'? I personally think 11-15-1972 and most versions from mid-late 1972 are great. I wish this song was over 10 minutes long.
    11-15-1972 is probably my favorite, but there are several honorable mentions. Germersheim, Chicago, Vorst, Hollywood Bowl (all 1972). Washington DC 1971 as well.

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    Hollywood Bowl 1972... I love how Gilmour plays with insane vibrato and cresendo/asendo (don't know how to call it) on Careful With That Axe, Eugene. The best version IMHO for the solo after the scream (Boebligen being the best one for the "built-up" horror cresendo before the climax).
    At Hollywood Bowl 1972 we got the same UFO motor sound during the break, it's totally insane and it almost never stops...
    what strikes me is that Gilmour was playing (as far as I can tell) all these performance of One Of These Days standing using his bottleneck with his "regular" strat and was not putting it on the floor (like for A Saucerful Of Secrets) and didn't use a lap-steel guitar for One Of These Days before the 1987 tour.
    I think that he reached the peak with the longest version on the Embryo in 1971 (running more than 20 minutes), alternating bottleneck which reminds me "In My Time Of Dying" by Led Zeppelin and excerpts from the upcoming album "Dark Side Of The Moon"/Eclipse project.

    I was never fond of the 1987 and post '87 live versions. Especially "because" of Guy Pratt bass solo. Even if since 1987 he elaborated it much more, make it much more Floydish and haunting, creating his own style, but I don't know why and how to put it into words - I have nothing against it - , it's just a matter of (my) feelings but it just kills the "built-up" of the song IMHO, it's a "tue l'amour" as we would say here; whereas the 1971-1972 performance created such a "tension" when performed live. I'm not fan of the bass sound Guy Pratt used here; it's too "clear" - whereas Waters sounded like a constant-threat and cavernous. This bass-break is supposed to increase the tension whereas here it's quite the opposite for me. There's some nice lap-steel parts though; sometimes closer to the studio album for the ending solo - which reminds the ultra-high-pitched sound of "Layla" by Duane Allman.
    I think that the 2006 tour was one of the best tour for this part.
    But I have a sweet tenderness for the 2002 'rock en chambre' versions because I didn't except it at all with this small guitar (which looks exactly like the same guitar John Lennon was using during the Let It Be/Get Back 69 sessions (for the "For You Blue" (Harrison's song) guitar solo with a bottleneck)


    I remember this double-neck guitar (don't remember which show it was but I did download it (this show was ID and I didn't hear a special "sound" at all... if Gilmour used it for a 12 strings streaming, even the audience recording will have captured a much more "textured"/"rounded" sound like with J.Page and Led Zep playing the Houses Of The Holly material). From what I understood Gilmour didn't keep it because it was too heavy and apparently he didn't use it like J.Page with a 12 strings neck and a 6 strings neck for the solo... And since Gilmour was faster enough to tune quickly his guitar for using bottleneck it wasn't necessary.
    Last edited by abronsius; 2019-03-15 at 06:43 AM.

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    I really like the 1994 version, really powerful!
    But there is just sómething special about the early live versions from early 70's
    My personal highlight of One of These Days in general is Nicks drum roll that sounds almost like an automatic rifle being shot, that's where it peaks and goes to the next level! When I saw him live in Copenhagen last year he missed that drum roll and I was a bit disappointed right there because it was a bit like having sex and just at the climax you get interrupted I was sitting front row, dead centre and I could clearly see that Nick knew he made a mistake.
    I'm gonna see him again at the Corn Exchange on May 1. and I can't waith to finally hear him do it right

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    Default Hunter College 1971.11.05

    Hunter College, New York 5 Nov. 1971 is a great unusual middle section. This was the the first show with OoTD I heard where it was different to the recorded version. Really nice.

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    Boblingen and Hollywood Bowl are obvious choices. The fidelity on both of these sure helps! I recommend Boblingen in quad of course.

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