| Pink Floyd - Echoes Of The Stage (PRRP038) |
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| Recorded at the Boston Gardens, Boston, Massachusetts, USA. Very good audience recording. From the info file: Never Buy Or Sell a PRRP! Visit http://prrp-music.com PRRP038- PINK FLOYD ECHOES OF THE STAGE June 18, 1975 (Boston Garden - Boston, Massachusetts) CD1 1-1. Raving and Drooling (Sheep) 12:54 1-2. You Gotta Be Crazy (Dogs) 13:35 1-3. Shine On You Crazy Diamond (Part I-V) 12:13 1-4. Have A Cigar 4:30 1-5. Shine On You Crazy Diamond (VI-IX) 11:53 Total Time 55:05 CD2 2-1. Speak to Me 5:35 2-2. Breathe 2:45 2-3. On The Run 4:48 2-4. Time 5:03 2-5. Breathe (reprise) 1:01 2-6. The Great Gig In The Sky 5:58 2-7. Money 8:25 2-8. Us And Them 7:01 2-9. Any Colour You Like 8:18 2-10. Brain Damage 3:48 2-11. Eclipse 3:48 2-12. Echoes 22:04 Total Time 78:34 PINK FLOYD Roger Waters - Bass and Vocals David Gilmour - Guitars and Vocals Rick Wright - Keyboards and Vocals Nick Mason - Drums and Percussion 'Echoes Of The Stage' Pink Floyd was in the middle of their second American Tour of 1975. They had just finished two shows at the Nassau Coliseum before arriving at the Boston Garden in Massachusetts. This tour would feature much of the new material that was to be released later that year on their new album Wish You Were Here. The tracks for the album were actually recorded between the tours. Versions of 'Shine On You Crazy Diamond - parts 6-9' were played during the 1974 French and British tours but the audience in Boston on June 18th was going to hear the full song, parts 1 through 9, including the bridging song 'Have a Cigar' during the first half of the show. Two other unreleased songs were also part of the set list at this time. The first was called 'Raving and Drooling’. This song begins the concert and later becomes ‘Sheep’ for the Animals album, released in 1977. 'You Gotta Be Crazy' is performed next and also finds itself on the Animals album, re-titled as 'Dogs'. The remainder of the material for this concert is from Dark Side of the Moon with 'Echoes' as an encore. The Year 1975 was a difficult time for the members of Pink Floyd. During an Interview in October of that year, Roger Waters was asked why it took two years for the band to make another album after Dark Side of the Moon. The response: 'There was an abortive attempt to make an album without using any musical instruments. It seemed like a good idea at the time, but it didn't come together. Probably because we needed to stop for a bit. [I] think it was that when Dark Side of the Moon was so successful, it was the end of the road. We'd reached the point we'd all been aiming for ever since we were teenagers and there was really nothing more to do in terms of rock 'n roll... And Wish You Were Here came about by us going on in spite of the fact we'd finished'. Despite apparently reaching artistic satisfaction the group went on to make Wish You Were Here. Waters noted, 'We did some rehearsals in a rehearsal studio in Kings Cross, and started playing together and writing in the way we'd written a lot of things before. In the same way that 'Echoes' was written. 'Shine On You Crazy Diamond' was written, with odd little musical ideas coming out of various people. The first one, the main phrase, came from Dave, the first loud guitar phrase you can hear on the album was the starting point and we worked from there until we had the various parts of 'Shine On' finished. When we got into the studio, January '75, we started recording and it got very laborious and tortured, and everybody seemed to be very bored by the whole thing. We pressed on regardless...' Most fans believe that the song 'Shine On You Crazy Diamond' is about former band member Syd Barrett. When asked about this, Roger said, 'It was very strange. The lyrics were written -- and the lyrics are the bit of the song about Syd, the rest of it could be about anything -- I don't [know] why I started writing those lyrics about Syd...I think because that phrase of Dave's was an extremely mournful kind of sound and it just...I haven't a clue ... but it was a long time before the Wish You Were Here recording sessions when Syd's state could be seen as being symbolic of the general state of the group, i.e. very fragmented. By taking 'Shine On' as a starting point, and wanting to write something to do with 'Shine On' i.e. something to do with a person succumbing to the pressures of life in general and rock 'n roll in particular...' This was the type of feeling that would later cause Roger Waters to leave the band permanently. However, further hints of dissatisfaction lingered even during this time. When asked if Pink Floyd would perform live again, he responded, 'I've really no idea...not unless something fairly stupendous happens. I've been through a period when I've not wished to do any concerts with the Floyd ever again. I felt that very strongly, but the last few weeks I've had vague kind of flickerings, feeling that I could maybe have a play. But when those flickerings hit the front of my mind I cast myself back into how f___ing dreadful I felt on the last American Tour with all those thousands and thousands and thousands of drunken kids smashing each other to pieces. I felt dreadful because it had nothing to do with us -- I didn't think there was any contact between us and them.' This last sentiment was the motivation for one of the band’s most well known works The Wall. Roger Waters and the band did go on to play more concerts but their mood and feelings continued. Some say that they were the defining influences on their songwriting at the time. Notes from the Re-Master The recording we used for this project is generally known as the 'second source' or the Boston Garden Master. There is a well circulated copy of this source available but our copy of the source came straight from the master cassette. The owner of this cassette is a good friend of one of PRRP’s contributors. The music fan who contributed the source for our Boston Yes show from 1979 (PRRP 028) and Providence Yes show from 1977 (PRRP 034) was able to get us a fresh new copy of this master cassette tape. Many thanks to him for his efforts. The project actually started with a remastering of the common version of the Boston Garden Master. Once the new version became available, a second remaster was produced and we compared the quality of the two remastered recordings. It was concluded that the source and remaster from the new master was clearly the better recording. The major problem with the recording was the tonality. Both guitar solos and saxophone leads were harsh and un-enjoyable. At the same time, the baseline tonality of the show during quiet and low volume segments seemed to be balanced. The solution was to use a frequency specific dynamic filter that would adjust tonality during these harsh segments. Other adjustments were made to enhance the detail as well as the sub-bass components. A light hiss reduction was used to remove this noise and both clicks and pops were removed manually where needed. After working with both sources it was clear that there were few imperfections in the better master source. Dynamics were enhanced throughout the show as necessary. After the first set, Roger Waters says that the band will take a break. We decided to end disc one at that point and to place all of set two plus the Echoes encore on disc two. This decision does result in two CDs with very different lengths but it is consistent with the performance which we felt was most important. |