| Pink Floyd - Money Goes West (PRRP025) |
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| Recorded at the Sports Arena, Los Angeles, CA, USA. Very good audience recording. From the info file: Visit Our New Website at http://prrp-music.com PRRP025- PINK FLOYD MONEY GOES WEST November 30, 1987 (The Sports Arena - Los Angeles, California) CD1 1-1. Shine On You Crazy Diamond (pt. 1-5) 12:25 1-2. Signs Of Life 3:43 1-3. Learning To Fly 5:51 1-4. Yet Another Movie 7:14 1-5. A New Machine (pt. 1) 1:28 1-6. Terminal Frost 6:20 1-7. A New Machine (pt. 2) 0:34 1-8. Sorrow 10:20 1-9. Dogs Of War 8:20 1-10. On The Turning Away 8:55 1-11. One Of These Days 6:56 CD2 2-1. Time 6:03 2-2. On The Run 4:55 2-3. Wish You Were Here 5:14 2-4. Welcome To The Machine 8:41 2-5. Us & Them 7:29 2-6. Money 9:32 2-7. Another Brick In The Wall (pt. 2 ) 6:58 2-8. Comfortably Numb 9:55 2-9. One Slip 7:00 2-10. Run Like Hell 7:44 PINK FLOYD David Gilmour - Lead Guitars & Lead Vocal Rick Wright - Keyboards & Vocals Nick Mason - Drums & Percussion With Special Guests Tim Renwick- Guitars & Vocals Guy Pratt- Bass Guitars & Vocals Scott Page- Saxophones Gary Wallis- Percussion Rachel Fury- Backing Vocals Margret Taylor- Backing Vocals Please, A Momentary Lapse into Reason! Pink Floyd had become a spent force creatively, and this should be recognized in order to maintain the integrity and reputation of the group name. It is only realistic and honest to admit that the group has in practical terms disbanded and should be allowed to retire gracefully from the music scene. -Roger Waters The strength of Pink Floyd always lay in the talents of all four members. Naturally we will miss Roger’s artistic input. However, we will continue to work together, as in the past. -David Gilmour I’d love to see the Floyd back together, because it’s been such a terrible waste. The chemistry between the band (members) was such that the sum of the parts was far greater than their individual offerings. Dave and Roger complemented one another so well. -Nick Griffiths My worst nightmare? Roger back in Pink Floyd -Nick Mason Roger laughed once a year. -David Gilmour It is said that all things must pass. After the album The Final Cut, the band known as Pink Floyd would be changed forever. As fans we would no longer have the four members that gave us Dark Side of the Moon, Wish You Were Here and The Wall. For both stated and unstated reasons, Roger Waters left Pink Floyd, never to return again. In the absence of Waters, Gilmour and Mason called upon many within the music world to help them with their new album, A Momentary Lapse of Reason. Initially, another concept album was envisioned. For this, Eric Stewart from 10cc was asked to help as were English poet Roger McGough and songwriter Carole Pope. When this approach seemed unworkable, a more traditional album was planned. Numerous sessions took place which eventually lead to the material for the new album. Phil Manzanera, guitarist for Roxy Music, collaborated on the song One Slip. Anthony Moore, from the band Slap Happy, co-wrote the lyrics to Learning to Fly, On the Turning Away and The Dogs of War. Joe Carin also helped write Learning To Fly, which was based in part on David Gilmour’s own experience becoming a pilot. Carin was then asked to help play keyboards on the album. Pat Leonard, producer for Madonna, co-wrote Yet Another Movie and played synthesizers on the album. But in the end, some say the biggest outside influence on the new Pink Floyd album was Bob Ezrin. As a former producer of The Wall, the band knew him well and it was understandable that Gilmour would turn to him for assistance during the turbulent time after Waters departure. Not only did Ezrin co-produce A Momentary Lapse of Reason with David Gilmour, but he also played keyboard, percussion and sequencers for a number of the tracks. To the delight of many, Mason and Gilmour invited Richard Wright back into the fold. Yet with most of the keyboard segments already written for the album by Ezrin, Carin and Leonard, Wright could only contribute backing vocals and supporting piano or organ segments before returning to his position of keyboard master during the live tour. They also secured the talents of Tony Levin to take the place of Roger Waters on Bass and two additional drummers: Jim Keltner and Rod Stewart’s former drummer Carmine Appice. The tour began with trepidation because the band had not played live since 1981. Promoters were unsure if a 1970’s band like Pink Floyd could still fill venues 6 years after their last performance. But much to the surprise of everyone, including Roger Waters, the shows sold out overnight. After one show scheduled in Toronto sold out with tickets being purchased as fast as they would be printed, two more shows were added and sold out just as quickly. Once word got out that 'The Floyd' was back was selling out venues, other cities competed for the band’s attention. After four weeks of practice in a Toronto airplane hanger the new Pink Floyd was ready again to provide their fans with live performances. They started in Buffalo, New York on September 7th, 1987 and continued through North America, ending the tour with 2 shows in Vancouver 3 months later. What we bring you here was recorded on November 30th, 1987, the fifth show of a six night stay at the Los Angeles Sports Area. This quality master recording can show the world that in 1987, Pink Floyd still had musical avenues to explore and still cared very much about their earlier music as well, much to everyone’s delight. Notes from the Re-Master This show is taken from the master cassette used to record the concert. To our knowledge, this show has never been available before in any form. The cassettes were digitized using 24 bit resolution and 32 bit formatting. Harmonics were detected up to 11,000 Hz. Hiss was quite high and needed a major reduction. Bass was quite deficient and was universally boosted. Inconsistent dynamic variations were adjusted to make for a more flowing presentation. With a low volume recording this allowed enough room to make tonality adjustment before final normalization. A few patches were needed during tape flips but should not be too noticeable as outside sources were not necessary. Audience applause and other noises were reduced in volume as much as possible with respect to the music; these included applause, yells and a bit of colorful language. During the processing we detected that an audience member yells one slip to announce the performance of this rarely played song. We also noticed a bit of improvisation at the end of welcome to the machine. The show was balanced between the two discs as a final step. PRRP Staff |