Roger Waters Belgium May 12th, 2018 cd1

Buena captura de Audiencia, lo compartiremos de dos veces.

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Roger Waters
Us + Them Tour
Sportpaleis, Antwerp, Belgium
Saturday May 12th, 2018

Very Good Audience Recording
Encoded: 320 Kbps MP3

Track List:
Set 1:
1 Speak to Me / Breathe 
2 One of These Days 
3 Time 
4 Breathe (Reprise) 
5 The Great Gig in the Sky 
6 Welcome to the Machine 
7 Déjà Vu 
8 The Last Refugee 
9 Picture That 
10 Wish You Were Here 
11 The Happiest Days of Our Lives 
12 Another Brick in the Wall Part 2 & 3 
Set 2: 
13 Intro  
14 Dogs 
15 Pigs (Three Different Ones) 
16 Money 
17 Us and Them 
18 Smell the Roses 
19 Brain Damage/Eclipse 
20 Band intro & Roger speech
21 Wait for her
22 Comfortably Numb 

David Gilmour - L.A. 3rd Night - (2016)

Concierto del 2016 que podemos disfrutar gracias a Seba Helman, que hace ya unos meses que nos lo pasó, una vez mas gracias Seba Helman por tu aportación.

David Gilmour - L.A. 3rd Night - (2016)

CD1

01. Opening S.E.

02. 5:00 AM

03. Rattle That Lock

04. Faces of Stone

05. Wish You Were Here

06. What Do You Want From Me

07. A Boat Lies Waiting

08. The Blue

09. Money

10. Us and Them

11. In Any Tongue

12. High Hopes

13. Astronomy Domine

CD2

01. Shine On You Crazy Diamond (Pts. I - IV)

02. Fat Old Sun

03. Coming Back To Life

04. Band Introductions

05. The Girl In the Yellow Dress

06. Today

07. Sorrow

08. Run Like Hell

09. Time

10. Breathe (Reprise)

11. Comfortably Numb

David Gilmour plays Pink Floyd

La revista Rolling Stone  colocó a Gilmour en el lugar 14.° dentro de la lista de los 100 guitarristas más grandes de todos los tiempos.
La revista Guitar World realizó una encuesta entre sus lectores buscando los mejores solos de guitarra, con tres resultados para Gilmour en los puestos 4 (con "Comfortably Numb"), 21 (con "Time") y 62 (con "Money").
Os dejamos un buen puñado de temas de Pink Floyd en soundboard de este pasado 2016, interpretados por David Gilmour.

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GILMOUR PLAYS PINK FLOYD

Shine On You Crazy Diamond
Comming Back To Life
High Hopes
Sorrow
One Of These Days
Time (Breathe Reprise)
Us And Them
What Do You Want From Me
Wish You Were Here
Run Like Hell
Comfortably Numb

NICK MASON'S SAUCERFUL OF SECRETS Copenhagen 2018-09-03

Excelente sonido para este concierto de Nick Mason.

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NICK MASON'S SAUCERFUL OF SECRETS

Copenhagen, DK
Forum Black Box
2018-09-03 (September 3rd)

source: audience

setlist:
01 Intro: Sound effects
02 Interstellar overdrive
03 Astronomy domine
04 Lucifer Sam
05 Fearless
06 Obscured by clouds
07 When you’re in
08 Arnold Layne
09 Vegetable man
10 If (first half) 
11 Atom heart mother / If (reprise)
12 The nile song
13 Green is the colour
14 Let there be more light
15 Set the controls for the heart of the sun
16 See Emily play
17 Bike
18 One of these days
19 A saucerful of secrets (second half)
20 Point me at the sky

Syd Barrett Psychedelic Freak Out

Syd Barrett
'Psychedelic Freak Out'
Demos, Acetates & Mixes

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Soundboard Recordings
Encoded: 320 Kbps MP3

Track List: 
01. Interstellar Overdrive (October 31, 1965 - Demo) 1456
02. See Emily Play (May 21, 1967 - Acetate With Alternate Ending) 252
03. Scream Thy Last Scream (August 7, 1967 Malcom Jones Mix 1987) 440
04. Vegetable Man (October 1967 - Malcom Jones Mix 1987) 237
05. Vegetable Man (1967 Mix From Mason Interview, March 1969) 247
06. Silas Lang (May 6, 1968 - Backing Track) 247
07. Lanky (May 14, 1968 Part Two) 136
08. Golden Hair (May 28, 1969 Instrumental - Gareth Cousins Mix 1988) 156
09. Swan Lee (June 20, 1968 - Backing Track) 243
10. Clowns & Jugglers (July 20, 1968 Take 1 - Alternate Mix With Studio Chat) 245
11. Love You (April 11, 1969) 117
12. Clowns & Jugglers (May 3, 1969 Take 2 - Keyboard Mix) 134
13. Long Gone (July 26, 1969) 145
14. Dark Globe (July 27, 1969 Choral Version - Peter Jenner 1987 Echo Mix) 258
15. Dark Globe (July 27, 1969 Choral Version - Malcolm Jones 1987 Clean Mix) 257
16. Maisie (February 26, 1970 - Alternate Mix With Extra Vocals) 251
17. Slow Boogie (August 12, 1974) 258
18. John Lee Hooker Inspired (August 12, 1974) 352
19. In The Beachwoods (1967 - Backing Track) 449
BONUS TRACK
Bonus Track:
20 Interstellar Overdrive 14:55 Pink Floyd Live Supporting Jeff Back Group, Shrine Exposition Hall,
Los Angeles, CA, July 27, 1968 
20. Interstellar Overdrive (Pink Floyd Live Supporting Jeff Back Group, Shrine Exposition Hall, Los Angeles, CA, July 27, 1968) 1455

Details: 
Syd Barrett
Review Psychedelic Freak Out
1965 - 1974 Demos, Acetates & Mixes

I don’t think I’m easy to talk about.
I’ve got a very irregular head.
And I’m not anything that you think I am anyway.”
So said Syd Barret.

Founding father of the Pink Floyd & enfant terrible of avant garde rock.

This release from Godfather draws a hard, dark line under the above quote, showcasing a mish mash of some of the
best of Syd’s various demos & studio out takes.

The main bulk of this release spans Syd’s solo releases with a dash of Pink Floyd on the side to exemplify his work within that group.

Presumably lifted from the epic 17 Internet tree’d CD set “Have You Got It Yet” this makes a far more interesting listening experience than the bigger set.

For anyone who wants to pick through the murky depths of his back catalogue with out trawling through various
different takes, outfakes, Oopsed tracks or interviews then it’s a great way to start.

The Godfather has created this CD chronologically too so we can hear how Syd’s sound evolved or devolved through out his short recording career.

1. Interstellar Overdrive ( Demo - October 31st 1965 ).
I suppose, true to the date, this piece was recorded on Halloween at the Thompson Private Recording Studios for the
short film “San Francisco” by filmmaker Anthony Stern And is certainly nightmarish compared to it’s commercial sister recording.
Recorded much faster than the CV & without the plodding, meandering “Steptoe & Son” styled riff.
A few elements remain throughout such as the meandering guitar riff that permeates the track.
It should be noted that this track also lasts a few seconds shorter than the track that was released on the “Have You Got It Yet” internet treed CD.

2. See Emily Play ( May 21, 1967 - Acetate With Alternate Ending ).
Not a great deal different from the CV to my ears. The alternate ending would seem to suggest that the sitars are abbreviated slightly on the acetate.

3. Scream Thy Last Scream ( August 7, 1967 - Malcolm Jones mix 1987 ).
The unreleased follow up to ‘See Emily Play’ & one of two tracks ( Inc. Vegetable Man ) that were pulled from the 1988 rarities album “Opel”.
Another rather disturbing track from the dark rooms of Barrett’s mind with Nick Mason’s vocal being aped by a high pitched gnomic voice ( Actually Barrett.)
Without the double track vocal then the track might have stood a very good chance of actually getting a release but i can only guess that the reason it was left off
is because of the allusions to the voices that could have been a little too close to Syd’s madness for some tastes. Filled with mind skewering time changes,
violent themes & rapidly surreal lyrics it’s on of the highlights from the unreleased cannon.

4. Vegetable Man ( October 1967 - Malcolm Jones mix 1987 ).
This unreleased track is somewhat less fun to listen to. Written autobiographically from Barretts point of view it makes a point of being almost Spectoresque in filling
each nook & cranny with oddball noises, sounds & various chattering, it’s a song that just doesn’t really want go anywhere or even if it did wouldn’t know what to do with itself
when it got there. a pantomime in obscurity.

5. Vegetable Man ( 1967 Mix from Mason Interview ).
Recorded from a reel to reel tape that Nick Mason brought with him to an interview with a nameless collage student in March 1969.
The subsequent interview tape has gone missing in the interim but dubs had been made of the musical parts of the interview.
Sounding very much like an off air radio recording ( this isn’t a quiet under the table recording ) the track sounds markedly different to it’s 1987 compatriot.
This on has a little more move about it with a rampant, crazy guitar line wringing through it & with a powerful drum track administered throughout.
We can also ( almost ) hear Mason’s views on the track as he runs through his interview

6. Silas Lang ( May 6, 1968 - Backing track ).
Noted as being “Silas Lang, this is RM 1 from four track, take 1 by the recording engineer. This track starts out rather optimistic for a Barrett written track with a
rather twee strummed guitar line but then turns in to an altogether darker guitar track utilizing, according to Roger Waters “a great plan…to expand the group, get in two geezers,
some two freaks that he’d met someplace or other. One of them played banjo and the other played saxophone. We weren’t in to that at all and it was obvious the crunch had finally come”.
Another of Syd’s ideas gone awry then but it also shows that Syd wasn’t always the doom & gloom merchant that some of his later Floyd recordings suggest but rather when he put his mind to
it was capable of producing elegant & world wise tracks such as this one. It reminds me of some of the Bonzo Dog Doo Dah Band’s tracks - particularly Topo D’ Bill’s “Witchi Tai To” or
rather his cover of the Harpers Bizarre cover. It’s just a shame that the track was never actually finished but, seems to be reported as being a work out to the beginning of the track
“Swan Lee” ( see track 9 )

7. Lanky - Part 2 ( May 14, 1968 ).
Another tribal influenced track rather like “Silas Lang” ( above ). Sounding like an authentic, simple, track with an african hollow drum sound.
It’s obviously a simple riff that Barrett was toying with but one that was never finished up. This track is also speculated to be known as Rhamadan as they were recorded in the same date.
It’s pure speculation mind & without the Motorbike sounds Barrett wanted to add to it there’s really no way of knowing.

8. Golden Hair ( May 28, 1969 Instrumental - Gareth Cousins mix 1988 ).
Starting ominously like one of Brian Wilson’s “SMiLE” tracks ( although it would be difficult to pinpoint who might be influencing who at this time .. )
one of Barrett’s most down beat & maudlin tracks but presented here as an instrumental.
Not as effective without Syd’s lyrics but to which that might be missing the point. The instrumentation might work as just the trick for some & so will be appreciated.
This was proposed for the “Crazy Diamond” release but left off for an earlier recorded version.

9. Swan Lee ( June 20, 1968 - Backing Track ).
Taking the same route as “Silas Lang” a groove revolving around a mumbling, noodled bass part.

10. Clowns & Jugglers ( July 20, 1968, Take 1 - Alternate with with Studio chat )
“Octopus” in different sleeves. Not a great deal of difference from the Opal release but the “studio chat” referred to at the beginning is the studio announcement
“This is ‘Clowns & Jugglers’ RS 1 from Take 1 on reel 69631".

11. Love You ( April 11, 1969 ).
The Syd from the old days. Free from the menace & doom of his later recordings & back to the seaside parade & whimsy of his earlier recordings. The track has a very Beatley type of jangle.
This version is free of the out of tune bar room piano & is wildly underproduced compared to the CV.

12. Clowns & Jugglers ( May 3, 1969. Take 2 - Keyboard Mix ).
Often there are very good reasons why one piece of an artists oeuvre remains unreleased or unrealised. This mix of the “Madcap Laughs” sessions track is truly the work of an over exaggerated mind.
Powerfully over egged & messy the reason that this was released as a pared down & almost acoustic song in the end must be that it was thought to be too far our for public consumption.
Thing of Captain Beefheart at his most fevered & wacked out & this mix comes perilously close.

13. Long Gone ( July 26, 1969. )
Sounding like an early, stripped back demo version rather than the augmented organ version found on the
‘Madcap .. ‘. A track thats very close to the Sound of Skip Spence on his “Oar” album.

14. Dark Globe ( July 27, 1969 - Choral Version. Peter Jenner 1974 Echo mix )

15. Dark Globe ( July 27, 1969 - Choral Version. Malcolm Jones 1987 Clean mix. )
Tracks 14 & 15 are two sides of the same coin. The ‘Choral’ tag refers to Syd’s delayed double tracked voice.
The main two differences being that the 1987 version is somewhat tighter & wider than the 1974 version & less scummy to listen to.
The second difference is that in the ‘74 Mix Barretts singing voice is heard quite clearly over the choir where as on the ‘87 mix the two voices are brought closer together in the mix the difference is not so obvious.
The session log seems to omit the fact that there was a session on the 27th of July so we either have to assume that there was no session & the tapes are wrongly labled ( and the 26th of July was the actual last session )
or the 27th was when the mixes of this track were submitted.

16. Maisie ( February 26, 1970 - Alternate mix w/ extra vocals. )
Starts with a clip of studio chat ( sounds like “Put The Kettle on”? ) this version differs to the track on “Barrett” by adding additional spoken word vocals panned from center to left & right.
Maybe Syd had influenced what Yoko Ono was about to be doing with her solo album as this track sounds ominously like one of the ‘Plastic Ono Band’ Sessions tracks but with a little of the Barrett magic on top.

17. Slow Boogie ( August 12, 1974. )

18. “John Lee Hooker Inspired” ( August 12, 1974 )
Tracks 17 - 18 are from the much fabled 1974 sessions when Peter Jenner managed to get Syd back in to the studio for a rough 4 days of ‘work’.
Both of these tracks feature much less than the work we’d come to expect from Syd who’s mental state must have failed him so much by this time that to focus at all would have been a struggle.
of the 8 pieces bootlegged from these sessions these two must have been chosen as ‘best’ although the rest of the material is fragmentary & untogether.
Both titles allude as much to the sound contained therein - two blues inspired tracks that sound like Nick Drake’s legendary home tapes where he can be heard strumming away old blues classics although at least Nick had songs,.
the riffs that Syd plows through must have, at the very least, been made up on the spot or half remembered from his own record collection. One can only assume that this was what Syd was listening to at home at the time for
them to be at the forefront of his mind or they were just the easiest thing to play ..

19. In The Beechwoods ( 1967. Backing Track. )
Another track from the Mason interview tape that never was. “In The Beachwoods” has a very soulish if Floydian groove. Think Tamala Motown as realised by Syd Barrett. it sounds like a great track if
only it had have been finished up & could have been another great commercial success for the group had Syd not taken the direction he did. The track, as mentioned, is taken from the interview tape
so besides being played loud had a nasty, shrill clip to the top end & a clicky, strange flutter to the tape but this does nothing to desecrate the fact that it’s unreleased Floyd.

Bonus Track

20. Interstellar Overdrive
( Pink Floyd live supporting the Jeff Beck Group, Shrine Exposition Hall, Los Angeles, CA, July 27, 1968. )
To top it all off a slightly distant audience recording of the Floyd in America supporting the Jeff Beck Band. Lunacy abound in this section with the middle section taking the form of a happening of sorts.
By all accounts this was the form of the track at the time & fans of this era Floyd or students of underground forms will find something to listen to here.


The Packaging itself it particularly handsome ( as with most of The Godfathers work. ) the front cover featuring an over exposed shot of Barrett in his live Floyd heyday fulfilling the “Psychedelic Freak Out” tag.
A colourised picture by Mick Rock on the back featuring Syd looking through a telescopic lens.
Inside the trifold is a montage of pictures featuring Syd, an excellent short essay retelling Syd’s career & achievements by Alex the Gnome & Enigma Publius & most excitingly a painting of Syd bordered on purple featuring the legend
“Psychedelic Freak Out - Demo’s, Acetates & Mixes.” it’s a shame the Don didn’t include this as a mini poster as it’s very handsome indeed.

An excellent attribution to your Barrett collection or another must have disk to file under “B”. It certainly won’t get left on the shelves.