(Audience FLAC)
Pink Floyd
20 June 1975
Three Rivers Stadium, Pittsburgh, PA, USA
Lineage:
Master - three TDK C60 normal position cassettes > recording equipment unknown > Nakamichi DR-3 > Roland Tri-Capture > Audacity > WAV (24bit/96kHz) > neonknight > Reaper v4.76 > FLAC (16bit/44.1kHz)
First set
01 Audience and tuning up
02 Raving And Drooling
03 You Gotta Be Crazy
04 Shine On You Crazy Diamond (parts I-V)
05 Have A Cigar
06 Shine On You Crazy Diamond (parts VI-IX)
Second set
07 Speak To Me
08 Breathe
09 On The Run
10 Time
11 Breathe (reprise)
12 The Great Gig In The Sky
13 Money
14 Us And Them
15 Any Colour You Like
16 Brain Damage
17 Eclipse
Encore
18 Echoes
Total running time 2 hours 15 mins 55 secs
A new recording to the community, the taper was Doc West of 963XKE. It is a mono capture and Audience Tape Preservation Channel sent it to me as a single channel 24/96 wave file.
Goldenband has confirmed that the recording runs at essentially the correct speed so no adjustments were made before this release. Parts may be up to 0.5% fast or slow.
Virtually all of Echoes is on its own on the third tape, demonstrating how the taper planned ahead.
There are tape flips in SOYCD, Money and Echoes. DSOTM starts cleanly.
Side A: 01 to the cut 21 secs into 04 SOYCD I-V
Side B: 04 continuation to 06
Side C: 07 to two thirds of the way through 13 Money
Side D: 13 continuation to opening of 18 Echoes
Side E: 18 (continuation) to end
Abronsius often gives an interesting perspective on my uploads, so I asked him if he would like to review this recording. He replied:
"To me the highlight are Shine On Pt.1 - Have A Cigar - Shine On Pt.2.
"This show - Pittsburgh is recorded 2 days after one of the most famous show taped from the 75 tour (by 2 great tapers : Lampinski and Hopkins. The Boston June 18 show is known has one of the best audience recording from the 75 tour).
"At that time, we leaved David Gilmour experimenting a razor, sharp, bluesy approach of Shine On You Crazy Diamond, still in its embryonic form.
"Taking the stage and audience as a work-in-progress development, each version of the Wish You Were Here set is unique.
"Two days after the Boston show, we still have this particular « wet » sound (very well captured on this recording) : Gilmour opens Shine On with a first solo, as sharp as the Boston show, very bluesy, making his guitar crying.
"Roger had just announced this song being about Syd Barrett. Rick Wright plays a slow funeral dirge on keyboard.
"Then the second guitar solo is even more expressive - crying bends, razor sharp bluesy tone - this second guitar solo speaks for itself : this song is about melancholy, bitterness and treachery : sometimes it reminds me the tone of Roy Buchanan guitar (and his Gilmourish album (played on a Gibson Goltop ! (the same than Snowy White would use for the In The Flesh ’77 Pink Floyd tour) « You’re Not Alone »). This is one of the finest solo I’ve heard from the 75 tour, even better than the Boston show.
"Now Dick Parry at that time was there for the saxophone solo contrary to the early gigs of 1975 (an amazing show without the saxophone : the L.A show in April 1975). Dick plays a soaring saxophone solo which reminds me somehow Michael Brecker.
"It’s amazing to hear that 2 days after the Boston show Gilmour was even better.
"If we needed another guitar solo to be sure : that’s the one from « Have A Cigar »… it’s close now to what will be on the studio record, combining a rhythm solo and some nasty bends, but this one is just crazy with some vibrato- some mean guitar!
"Shine On pt.2 : the storm begins, Rick’s synth layers (sometimes precursor of Blade-runner soundtrack) seems to sound like the imaginary soundtrack of Jodorovsky unreleased « Dune »… some fireworks… the atmosphere is frightening…one of the highlight is the funky section with Rick Wright starting an excellent improvisation, with Roger Waters jumpy bass. One or two fireworks is not enough to distract Rick Wright who changes his keyboard-tone and increase the funky vibe of the song with a kind of Trampled Underfoot feeling; it’s funny that the changes of tone (? is it from the tape ?) makes it sounds now like Stevie Wonder’s keyboard of Superstition. Sometimes accidents can give us some nice and unexpected surprises : this funky jam is extend more than the usual and it’s one of the finest I’ve heard from the 75 tour. Even the coda to the See Emily Play ending theme is extended… obviously the audience enjoyed this number (and another fireworks!).
"The 2 opening new songs : the band has to face fireworks and an obvious excited crowd (sit down ! sit down!) starts with Rick Wright’s nuclear-alert-like alarm on synth which almost reminds me the siren of Walter Munch in Apocalypse Now soundtrack.
"Roger credited David for You Gotta Be Crazy : and 2 days after the Boston show, Gilmour has still this bluesy way to approach the song, which I really like."
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