Pink Floyd: Definitive Oakland 1977 (Sigma 37) FLAC

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Pink Floyd: Offenbach 1971 (VG Aud) FLAC

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Pink Floyd: West Berlin 1970 (VG Aud) FLAC

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Pink Floyd: Manchester 1974 (VG+ Aud) FLAC

Creative Intelligence (Sigma 19)
The Palace Theatre, Manchester, UK - December 9th, 1974
Artwork, Secure EAC Log, and Flac fingerprints included.
Very good audience recording, worth the download, - BackyardT

Disc 1:
Raving And Drooling, You’ve Got To Be Crazy, Shine On You Crazy Diamond

Disc 2:
Speak To Me, Breathe, On The Run, Time, Breathe (Reprise), The Great Gig In The Sky, Money, Us And Them, Any Colour You Like, Brain Damage, Eclipse

Disc 3:
Audience, Echoes

CMR: Pink Floyd’s 1974 British Winter Tour produced some of the most widely circulated recordings of all time including the well-documented Wembley concerts in mid-November and the infamous Stoke-On-Trent show which immediately followed that Empire Pool residency (and was the source for what is believed to be the first mass-produced Floyd bootleg, British Winter Tour ‘74, reportedly selling in excess of 100,000 units at the time!).
Taking its title from the very cool comic-style winter tour program, Creative Intelligence represents the first of a four night run at The Palace Theater in Manchester and the seventeenth date of the tour overall, so it’s not surprising to find the Floyd performing with more chemistry and confidence than the aforementioned dates, which were panned by critics and the band alike (but much-loved by the fans regardless).
Unlike past releases such as Shout To The Top’s Manchester Day (STTP 146/147) or private pressings like Kings Of The Palace, Sigma elected to divide the recording up over 3 discs, one for each of the two sets and a third for the encore, resulting in a much more accurate and enjoyable re-creation of the actual concert (as opposed to some versions that split up “Dark Side Of The Moon” into halves, which is always unfortunate). Some folks might complain about the added cost of a 3rd disc containing only the encore, but in terms of overall cohesiveness, I find this approach to be preferable.
Sourced from a low generation audience recording, the sound is very clear and extremely well-balanced, with every instrument, vocal, and sound effect perfectly audible, despite evidence the taper was slight distance from the stage. Musically, the set is complete and includes all the tune-ups, introductions, and hell, we’re even given an entire track of the audience prior to “Echoes!” There are brief cuts after “Raving And Drooling” and “You’ve Got To Be Crazy” but only a couple seconds of tuning are omitted in either case. The audience is attentive and appreciative throughout, with only an occasional side conversation audible during some of the softer bits - there is a good amount of distinctly British banter during the tune-ups but nothing too distracting during the actual performances.
The setlist for the entire tour consisted of the same material - the only variation being “Shine On You Crazy Diamond” opening the first seven dates and then subsequently shuffled to the end of the first set from the final Wembley date onward. More than likely, the logic behind this alteration in running order is because “Raving And Drooling” made for a more energizing opener compared to the melancholy of “Shine On.”
Both “Raving And Drooling” and “You’ve Got To Be Crazy” come across with more confidence than earlier performances from this tour, but there are no major developments in either piece compositionally compared to the initial dates; “Raving” has the familiar driving pulse and is structurally close to it’s later incarnation “Sheep,” but features some different lyrics and lacks the 23rd Psalm variant. Some nice “Eugene” screams about 11 minutes in that are worth mentioning though!
The guitar and synth interplay throughout the instrumental portions of “You’ve Got To Be Crazy” are truly awe-inspiring moments of musical synergy, and the results are significantly more interesting than the harmonized guitars we ultimately get on ”Dogs” years later. It’s kind of a shame the contrapuntal ideas were shunned in favor of straight 3rds harmonies from Animals onward, but it is fortunate they were captured here; the interweaving melodic lines really benefit from the great sonic balance offered on this recording, and are without question among the highlights of this performance.
Unfortunately, the vocal parts aren’t as successful; Gilmour’s verses, though melodic, are far too wordy for the space they’re alotted and Waters’ performance on this song is at times cringe-inducing as he struggles to hit the notes. Also on the downside is the fact that some sections are performed at a lethargic pace, resulting in a bit of a dragging sensation. But those lengthy instrumental passages are absolutely worth revisiting numerous times!
“Shine On You Crazy Diamond” was presented as a complete suite throughout this tour and this is one of the last dates for which a recording is known to exist with the song performed in this fashion. More wonderful musical conversations between Gilmour and Wright are captured here and the emotion of this piece really comes through in spades. Moreso than either “Raving” or “You’ve Got To Be Crazy,” “Shine On” is once again the most familar-sounding in relation to it’s final form of the new material showcased here (apart from the fact it’s not separated into halves).
The entire performance of “Dark Side Of The Moon” can be considered a highlight of this show with several passages of particular note: all of the tapes/effects are extremely vivid, “On The Run” is invigorating having been performed at a brisk tempo, Gilmour’s vocals on “Time” are outstanding as are those of The Blackberries on “Great Gig In The Sky” (which has an unique uptempo twist before settling back to the original feel), “Us And Them” is gorgeous and the extended solo sections of both “Money” and “Any Colour You Like” would make Clapton envious! Really, this stands as one of the better performances of the complete suite captured on tape.
Disc 3 features a good two minutes of audience activity before the well-received encore “Echoes” is introduced. For the most part this is a very good albeit standard performance of the epic, but it’s worth noting that this rendition includes Dick Parry’s sax solos that would be commonplace throughout the 1975 dates, and though I have mixed feelings about these improvs, I think they’re pretty successful on this occasion. The highlight of this rendition of “Echoes” is most certainly the fabulous synth solo beginning at the 17:27 mark which makes a great transition to Gilmour’s lead break during the triplet section. A fine conclusion for a great concert that is absolutely worth owning.
I’m of the opinion that between Siréne and Sigma, pretty soon there will be no need to hold onto the majority of older Floyd releases considering the high ratio of upgrades/definitive versions to duds (which can literally be counted on one hand) and Creative Intelligence is no exception, if naught else for the logical distribution of the set over 3 discs, and it sounds fantastic for an audience source, so don’t hesitate on this one or you’ll regret it later!

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Pink Floyd: Vancouver 1975 (VG+ Aud) FLAC

Sigma's latest: 2 source, 6 CD Set

The Arms Of Vancouver (Sigma 56)
Sigma Silver CD > EAC WAV > FLAC

OU: After concluding their Winter tour of the UK with shows in Bristol and at the Marquee in London, Pink Floyd took a four month break before bringing their new songs to North America for the first time. They played thirteen shows in April starting with a gig in the Pacific National Exhibition Park in Vancouver, British Columbia.
The setlist was similar to the previous tour by featuring the new songs for an hour, then the complete Dark Side Of The Moon after a twenty minute intermission. Echoes, the sole older number, would serve as the encore. But the difference is that, in the intervening four months, the band wrote the new song Have A Cigar and decided to insert it between parts five and six of Shine On You Crazy Diamond. The live debut of the song and the new arrangement occurred in Vancouver.
The press were not enthusiastic for the show. The Vancouver Sun, in a review titled “Pink Floyd: Like Technicians for the land of Gadgetry,” claimed all their equipment changed the Coliseum into ”psychedelic concrete earphones.” The author called the music simple but the crowd enjoyed the gimmicks and that overall it was a “fitfully pleasing, consistently dull show.” The thrashing is almost as bad as the final show of the tour in June when they played in Hamilton, Ontario. It seems that Canada really hates Pink Floyd.
The Arms Of Vancouver, the new release on Sigma, features two complete audience recordings spread out over six discs. The label could be criticize the label for doing this, but they are trying to be as comprehensive as possible. One of the tapes has been pressed before on a rather well known title but the other makes its silver pressed debut. But this isn’t simply a collection with two unique tape sources. One has been used to fill in the gaps in the other, so it’s in reality two edits of the two tape sources.

Pacific National Exhibition Park, Vancouver, Canada - April 8th, 1975 source #1
Disc 1 (61:11):
Raving And Drooling, You Gotta Be Crazy, Shine On You Crazy Diamond Part 1-5, Have A Cigar, Shine On You Crazy Diamond Part 6-9
Disc 2 (59:57):
Speak To Me, Breathe, On The Run, Time, Breathe (Reprise), The Great Gig In The Sky, Money, Us And Them, Any Colour You Like, Brain Damage, Eclipse
Disc 3 (26:07):
audience, Echoes

The first three discs contain a very good but incomplete audience recording which has never been used before. The second tape source is used from 12:18 in “Shine On You Crazy Diamond Parts 1-5? to the end of the first half of the show which includes “Have A Cigar” and “Shine On You Crazy Diamond Parts 6-9? to the fade at the end. It’s also missing “Speak To Me” at the beginning of disc two, but picks up at the beginning of “Breathe.” Source two is again edited in again 5:38 in ”The Great Gig In The Sky” to 1:58 in ”Money” (right before the saxophone solo).

Pacific National Exhibition Park, Vancouver, Canada - April 8th, 1975 source#2
Disc 4 (63:27):
Raving And Drooling, You Gotta Be Crazy, Shine On You Crazy Diamond Part 1-5, Have A Cigar, Shine On You Crazy Diamond Part 6-9
Disc 5 (58:56)
Speak To Me, Breathe, On The Run, Time, Breathe (Reprise), The Great Gig In The Sky, Money, Us And Them, Any Colour You Like, Brain Damage, Eclipse
Disc 6 (25:56):
audience, Echoes

Discs four to six contain the same tape used for Azimuth Coordinator. Four songs, “Raving And Drooling,” “You Gotta Be Crazy,” “Have A Cigar” and “Echoes” appear on Vancouver 1975 (SACEM 091-013). It is more distant than the first and has some hiss present, but there is also more emphasis upon the lower frequencies than the first tape. “Shine On You Crazy Diamond Parts 6-9? has the last few notes cut off in the recording.
The show begins with a pre-show tape before “Raving And Drooling” with the Irving Berlin tune whistle. It’s not too audible on this show but on the tape for the next show in Seattle, it’s very clear and can be heard on Dark Side Last Tour (Highland HL571/572). Pink Floyd deliver a very slow and tentative rendition of the song. “You Gotta Be Crazy” fares a bit better. It has more liveliness to it an the dream-scape created by the guitar melody works well in both recordings.
Roger Waters tells the audience that the next song is about Syd Barrett (and he pronounces the last last name barr-ETT). For the first performance of the core of Wish You Where Here, it shows how much they rehearsed during the interim in live performance. The transitions between the two “Shine On” with “Have A Cigar” are seamless.
“Have A Cigar” also is very rehearsed and tight. In these early versions both Gilmour and Waters share lead vocals during the verses with Waters taking the “and if we tell you the name of the game boy / we call it riding the gravy train” sections. Also Wright’s airy keyboard melody of the studio version was not yet written.
Some kind of communication breakdown occurs around part eight of “Shine On You Crazy Diamond Parts 6-9.” Gilmour’s guitar disappears in the mix leaving Waters to doodle around on the bass guitar until he comes in again to complete the song. On the whole the audience’s reaction to the material is a tepid appreciation. The first two new songs especially sound very much like what they are: a sequel to Dark Side Of The Moon exploring in more concrete musical and thematic themes the affects madness has upon the artist.
The audience’s reaction to the second half of the show is much louder and genuine. Dark Sidewas their biggest hit and enabled them to fill venues such as the PNC in Vancouver. Many in the audience were to hear them perform the album. The sounds of the effects used to punctuate the show illustrate their enthusiasm for the show.
It also provides some opportunity for the band to jam a bit. The first third of the set, from “Speak To Me” through the reprise of ”Breathe” after “Time” is close to the studio recordings, but Wright interjects new ideas into “The Great Gig In The Sky.” Gilmour likewise has fun during “Money” when they extend the guitar solo by some minutes. Gilmour becomes so lost in the song that he sings “Money, get back” as the first line of the final verse, which is a mistake.
“Us & Them” is dominated by the stately organ of Wright, but “Any Colour You Like” turns into a group jam. Waters dominates on the bass by the ending, producing a similar situation to the ending of “Shine On You Crazy Diamond Parts 6-9.”
Waters tells the audience they’ll sing “Echoes” as an encore “if we can remember it” he jokes. The twenty five minute epic sounds extremely tight and adventurous. Overall this isn’t the best show from the spring 1975 tour, and there are certainly better sounding tapes available. But for an opening nights it improves as it goes on and is nice to hear the live debut of “Have A Cigar,” one of their best live numbers.

SECURE EAC log, Flac Fingerprints and artwork included. Please let it run its course on TTD before uploading to other sites, thanks.- backyardt.

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