Saturday, October 14, 2017

Pink Floyd - 1977-02-27 - Munich, DE (AUD/FLAC) Animals On The Wing - PRRP041




(Audience FLAC)

PRRP041- PINK FLOYD
ANIMALS ON THE WING
February 27, 1977 (Olympiahalle - Munich, West Germany)

lineage
Cas(Master) > DAT > CD Audio > EAC > Remaster > FLAC

David Gilmour - Lead Guitars & Vocals
Nick Mason - Drums and Percussion
Roger Waters - Bass Guitars, Guitars and Vocals
Rick Wright - Keyboards and Backing Vocals
Special Guests
Snowy White - Guitars & Vocals
Dick Parry - Saxophones 

CD1
01. Introduction 0:50
02. Sheep 11:18
03. Pigs On The Wing (Part 1) 1:55
04. Dogs 18:26
05. Pigs On The Wing (Part 2) 2:50
06. Pigs (Three Different Ones) 17:36

CD2
01. Introduction 0:37
02. Shine On You Crazy Diamond Parts 1-5 13:56
03. Welcome To The Machine 8:16
04. Have A Cigar 6:18
05. Wish You Were Here 6:28
06. Shine On You Crazy Diamond (6-9) 17:50
07. Money 10:38 

Animals…According to Nick 
In 2004, the Pink Floyd fan community was treated to a new insight into the band by the release of the book Inside Out: A Personal History of Pink Floyd by drummer Nick Mason. This lengthy volume recounts the most memorable events for the band from his perspective. In preparing this 1977 Munich recording for release, we felt it would be helpful to review Nick Mason’s comments on the 1977 era and summarize them here. As you will see below, the stop in Munich had a particular significance for him and was worthy of a specific comment in his book.
Nick begins his chapter on the Animals era by noting that the band decided to buy a building at 35 Britannia Row in Islington for their own studio. It was used well into the Wall era and had a number of advantages for the band. The site was conveniently located; in fact, Roger Waters lived less than a block away. The equipment could be stored there and the band could work in studio at any time. They even had an old friend from the Regent Street Polytechnic named Jon Corpe help with the design of the studio. The composite materials used in the studio construction made it look like “a ****ing prison” according to Roger Waters but the sound characteristics were ideal and allowed a very satisfactory recording of the album Animals.
According to Nick, the album Animals was relatively easy to put together. The song Sheep was just a re-working of the 1975 tour song Raving and Drooling while Dogs existed previously as You Gotta Be Crazy. Transitioning these works into the theme of the Animals album left little more to be written. With the acquisition of Britannia Row and the ease with which the Animals album was written and recorded, Nick felt that the band was working better and more cohesively that in the past. Sadly, the tensions would re-emerge as they set out on tour. For the Animals tour, Snowy White was hired as a supportive musician and played many different segments of the music on stage. For example, he was charged with playing the bass introduction to the song Sheep. According to Mason, this often confused audiences as Snowy was the first band member on stage for this opening number and fans did not know who he was. 
The Animals tour was described by Nick as the first “branded” tour, specifically designed to promote a specific album and Pink Floyd members underestimated their promoter’s enthusiasm for the “animals” motif. When they arrived in Munich, Germany, the promoter Marcel Avram presented them with a small live piglet. The Floyd tour manager Warwick McCredie was given responsibility for the little animal during their stay. Unfortunately, letting him run around the hotel room all night turned out not to be the wisest decision. The following morning the band was faced with broken glass and pig excrement, everywhere. No doubt, the band was pleased to leave Munich as quickly as possible.
One of the more significant aspects of the 1977 Animals tour was the greater use of stadiums as a venue for the shows. These much larger venues presented certain problems for the band. Pink Floyd did not like to use warm-up acts for its shows. Given that it can take many hours to fill a large stadium like Soldier’s Field in Chicago or Alameda Coliseum in Oakland, fans can get restless and tended to pass the time with drugs and alcohol. By the time Pink Floyd came on stage, many in the audience were well on their way towards oblivion. This scene was played out many times on this tour, culminating in the Roger Waters spitting incident in Montreal during the final performance. By the end of the tour, the stadium scene, the intrusion of business men, financial obligations and general tension lead to a low point in the history of Pink Floyd. David Gilmour even commented to Nick Mason that Pink Floyd “may be done”. For many reasons, this was a good time to take a break. David Gilmour and Richard Wright each went off to produce solo albums while Roger Waters reflected on his own experiences on the Animals tour. Of course, the result of this reflection was, The Wall.
This Munich recording is very special. The equipment used must have been outstanding for the time because the detail and clarity are amazing. With the tour less than one month old, Nick Mason comments that the performances of the time were a bit rough. However, listening to this performance we hope that you agree that all the material is played very well. In our view, this is one of the finest Animals tour recordings available. We hope that, through the remastering process, we have helped to improve it a little for a great listening experience. 

PRRP Staff 

Notes from the Re-Master 
We started with a SHN CD copy of the master tapes of this recording. The most obvious problem found was a severely damaged right channel. Through an extensive, manual process this right channel was repaired as well as possible. Dropouts also needed extensive repair. Because of the inconsistency of the Right channel, multiple noise reduction techniques were needed to reduce intermittent clicks, pops and hiss. As usual with 1977 PF shows, the harsh Gilmour guitar and other tonality excesses needed to be addressed. Static and Dynamic filtering were used to adjust the tonality and bring it back in line. Each set was speed checked and speed corrected by comparing the show with studio and other live references. Dynamics were also adjusted to enhance the listening experience. Finally, though complete, this show required 5 patches. Four came from source 1 of the 1/27/77 Frankfurt performance and merge well with this show. The fifth, needed for the song Sheep, was from source 2 of the Frankfurt event. Multiple sources were considered as sources for patches including Fort Worth, Oakland, Berlin SB, Paris and Cleveland. None had the quality and clarity of this Munich show except source 1 of Frankfurt. Because Frankfurt source 1 is missing most of Sheep, source two for that date was needed for the Sheep patch. The show was then balanced and re-tracked.

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