0:00 Nassau Coliseum, 25 Feb 1980 1:45 Memorial Sports Arena, 13 Feb 1980 3:35 Memorial Sports Arena, 12 Feb 1980 4:48 Memorial Sports Arena, 8 Feb 1980 8:01 Memorial Sports Arena, 7 Feb 1980
Yeah I can't complain about that, it's probably the best song to use as a base for improvisation I've ever heard, it's just fantastic how it could go on forever
Top quality recording for the era. I saw the 7 FEB 80 and 13 FEB 80 segments 'in the flesh' and agree that they were at the top of their game. Thank you for posting this important piece of PF history.
I was at the Feb 7 opening night show. The first time The Wall was played in it's entirety live. The infamous show where the curtains caught on fire from the plane crashing on stage. They were unable to keep the show going, so shortly after the bit where the animation of "Der Fucking Flowers" happens, Roger stopped the show, so more attention could be put on stopping the fire. Once things were settled, Rodger had the crew start up the show again before the "Flower" animation, so we got to see the video twice along with the great music to Empty Spaces.
I saw opening night in New York,2/24/1980. I was standing between lower and upper bowls. When Comfortable Numb came on, David was DIRECTLY ACROSS FROM ME!
I feel your pain etc, I was lucky enough to see the original show in London in 1979. I went to the Pulse tour in the 90s in London and was in the crowd when two sections down where my daughter and I were sitting collapsed and they had to stop the show after about 45 to 50 seconds. (And they were playing Shine on you Crazy Diamond! Probably my favourite song ever) Luckily we were not hurt, but many were and they rescheduled the show and it was amazing. The mirror ball is still one of everlasting concert memories.
I was also there that night, sitting in the 11th row. Nick Mason calmly would sweep burning swaths of curtain off of his drum kit between beats. Roadies swung from cables, straddling curtain rods and ceiling joists while using CO2 fire extinguishers in a vain attempt to keep the show going. From my vantage point, I could clearly see the "man in the suit" being lectured to by an LAFD Captain who quite clearly intended to shut down the show and evacuate the entire arena. Roger literally saved the day and possibly serious injury to many. Restarting an analog-based multimedia theatrical extravaganza was no easy task back then; Roger did get a bit annoyed at having to repeat his stage instructions several times. Do you recall, by chance, that someone had a laser (also not an easy thing in 1980) and was using it to illuminate the unfinished wall and harass the band? Roger intervened on that as well during the intermission. What an epic and amazing performance you and I enjoyed.
@@larryzehnder8161 Yes, I remember seeing a red laser spot. It was not related to the curtains catching fire though. Like you said it was more of an irritation by someone who was starving for attention. The pyro effects with the plane crashing was for sure the cause for the start of the fire. It's amazing to hear the details from your vantage point! Crazy! I was way in the back in the upper arena, but at least I knew to get center of stage seats for a Floyd show.
@@MrLaserdaze Yeah the 7 FEB show was really hot and the upper arena was a superb vantage point given The Wall's visual scope. My first set of tickets were also way in the back ("nosebleeds" we called them). But I really wanted to get up close, so I purchased tickets from "Front Row Center" in Westwood. "Perfect seats", or so I thought until I found myself pondering the smouldering fire and a possible fate of being crushed in a stampede of stoned Angelenos. We really owe a debt of gratitude to Roger Waters for saving much more than the show. Post fire, my "perfect seats" became even more uncomfortable when Roger stared straight at me, pointed his bony finger and shouted "There's one in the spotlight! He don't look right to me...". Fortunately, the lighting crew missed their cue and there was no spotlight. Recalling the crashing plane - Bottle rockets were part of the big pyrotechnics flash when the plane crashed into the stage. Problem was that indoor fireworks hadn't been invented yet, so the rockets burned a bit too long and went a tad too high. On 13 FEB, there were no bottle rockets and the flash was substantially less bright. And I got to watch as Roger pointed out some other unsuspecting fan in that "perfect" seat, now perfectly spotlit. Take Care.
It's quite remarkable how this band went from playing sets of almost completely improvised music to playing improvisatory music which is written with sections to be improvised in, then all of a sudden after Dark Side they started to synchronize their playing with a video of cash registers and coins. From then on more and more visual effects were employed until we end up with Pink Floyd On Ice in the 80s and 90s. This band had a synchronized video for almost every song and every new song added sequenced percussion, synths, etc and leaving no room left for improvising. However, many props to Rick Wright. Every night they shut down the video screens and sequencers and left room for him to stretch out a few times. Every night he played something noticeably different. Rick Wright ruled. I love this band but they changed into a whole new band. These recordings in a way represent the last breath of the Band's flair for improvising.
@@floepiejane When Syd was in the band their live sets were primarily improvised or played songs with long improvised sections. Have you ever heard Intstellar Overdrive? There were many other songs that left plenty of room for non-blues based improvisations like Careful with that Axe, Saucerful of Secrets, Echoes, Any Colour You like, and Shine on You Crazy Diamond to name a few.
@@floepiejane Maybe I wasnt clear. I listed those songs as examples of songs with sections where there were usually non-blues based improvisations from Gilmour and or Wright. During money, for example, Dave usually improvised blues-based solos in the middle and end of the song. Technically a lot of their music was first conceived while jamming live or in the studio, but that is not the point I am trying to make.
Whatever song it ‘sounds like’ its is Floyd and it is a little throwback to earlier days which I think juxtaposes the intensity of the first half of the wall excellently. Even though I love the last few bricks too
Musica ultraterrena , musica spaziale .....Pink Floyd fuori dall ordinario. STRATOSFERICI. Non ho piu aggettivi per definire questa straordinaria Band. Grazie di esistere ❤❤❤❤❤
The first few instances of these instrumentals feel right in the context of The Wall and places where they are in the first half of the performance. The last example is very nearly a boogie though. It’s a strange way to herald Pink’s descent into hell.
i know there is a SBD version of the wall in Los angeles contain this "breathe" jam . i dont own that record, but was circulating on 2 audio clip on the old Yeeshkul site. sbd from los angeles exist in Fan hand, but is really rare to listen. hope someone releasing that soon.
This jam feels (as amazing as it sounds and we can hear it here, extraordinary thanks to the uploader) like the last cry for the freedom of spontaneity and improvisation by the mighty band, occupied by the Machine. I can understand now why David Gilmour so desperately tried to restore the "musical balance" (after Roger left Pink Floyd) and also released The Endless River. This was an act of liberation of this mighty band.
@@Dillpickles_ They jammed when they were making The Division Bell. This album arose from those jam sessions in Nick Mason's and David Gilmour's studio "for two weeks" as he described this process (here: ruclips.net/video/HvRnsRmq0G8/видео.htmlsi=fGjpOWvupF3NLM73) and the press widely reported. The Endless River was also a part of this process.
@TerrencesClassicRockCorner24 One song being slightly altered in the middle doesn't really amount to much when every tour up till 1977 had their own quirks and basically changed the songs for the better. The money "Jam" only serves to lengthen an already long song, a curse which had bestowed money since like 1977 lol. Even back then it was getting toooooo long. Saying David Gilmour would release stuff is pretty stupid when you consider that David hasn't released any of their recordings from the vaults, which I would argue are more important than the wall concert. David only releases stuff when it fits in with his revisionist agenda to keep the band an "enigma". David refuses to release the countless Soundboard recordings and Open Air Recordings that are in their archives due to the simple fact they can't be edited in any way. On top of that, there are rumors of every show being filmed via VTR post 1975 and that some collectors have these films. Even the live stuff we did get from their golden era are pure fabrications. Wembley 1974 is an autotuned mess with different nights spliced in to correct for David's mistakes. Quite frankly roger was right about ITAOT... It's quite frankly the worst thing James Guthrie ever put together, its filled with Frankenstein'd songs with different nights for every fucking word in some cases. Another thing, David was the one who vetoed any live release for the Animals 2018 mix, Andy Jackson prepared a release for it and was turned down by David. David Gilmour is just as guilty as roger for hating the band's legacy.
@TerrencesClassicRockCorner24 The agreement says Roger owns The Wall. ITAOT would not have happened without his consent. He contributed to the liner notes, he gave interviews about it and he even signed copies for an EMI giveaway in Europe. As for the artwork - he will have signed off on that just like he did on the Animals Remix artwork, which was also done by Storm's colleague Aubrey Powell (based on an idea by Roger).
Amazing how Rick wasn't a full band member at this point any more and yet here he is, playing quite well and contributing at least as much to the atmosphere and general feel of this jam as anybody else.
Rick was the soul of this band. And they still let him stretch out during the "PF on Ice" tours after Roger left. At every show, there were a few moments when they turned off all the sequencers, tapes, and videos and let Rick blow for a minute or two.
i was at one of the los angeles shows,can't remember which. i paid $25 a piece for 2 loge seats from a ticket agency. best $50 i ever spent! it seemed like a lot of money back then. today i guess seats like that for a show like this would be in the hundreds of dollars. 43 years later, it's still the best concert i've ever seen.
I was at the second show of that tour and sat in a loge seat with some friends. We paid $16.00 for our seats and thought that was alot. Still for us then and now, the magnum opus of concerts.
Pink Floyd fan for over 50 years here. I regret that Roger took the band in the direction of musical theater with elaborate stage productions. Pink Floyd's music doesn't need it. The show is supposed to be in your head. I spent hundreds of evenings lying in my bed with headphones on, enjoying a better show than ever appeared on a stage.
Ah, shoot. Let me tell my story. Due to my position and age, the first Pink Floyd album I heard was "The Final Cut." I was interested. Then I heard "The Dark Side of the Moon." I wasn't surprised. Then I started listening to all the Pink Floyd albums. Although I listened a lot to "The Wall," I found "Wish You Were Here" the best of best. Richard Wright is apparently the reason why "Wish You Were Here" is in its current form.
@@jimhardiman3836 I am guessing that you were born after 1980. Maybe I'm wrong. Theatrics were rare in rock n roll until the mid 1970s. Some of the psychedelic groups did have "light shows" starting in the late 1960s, which were projections of multi-colored liquids moving around on a screen. Pink Floyd began showing movies on a screen in 1973. But theatrics, involving actual props on stage, did not become common until after 1980.
I don't think this track cames from the 1980's concerts. Because every song was synchronized with the construction and demolition of the wall on stage, so how was it possible play for 14 mins. of improvisation?
It was right near the end of the first half with only Goodbye Cruel World before the interval, so therefore didn't interfere with anything else that was synchronised. It was only because the wall builders were quite a way behind with where they were supposed to be that the band started improvising. 7 Feb 1980 was the first night of the the tour and the same night the fire broke out and they stopped at What Shall We Do Now. Full recordings of all these dates can easily be found on RUclips.
Surely the whole point of this section was to allow time for "the extra bricks" to be added (and thus improvised to allow for the extra time required).
@@andygookey i definitely could have phrased that better, I meant more it sounds like any color you like. Great music either way, thank you for posting it.
That's somewhat true. David doesn't go much beyond minor blues scale, aeolian and dorian modes. Occasionally he shines on the major scale, like in the first solo of Comfortably Numb. But that's about it. He noodles around live without much freedom with phrasing. Rick is even more limited. But they've always done a fantastic job in studio, where they can craft the solos and distill the improvisations. I think their greatest skill was in crafting songs, creating atmosphere and using beautiful tones. Their playing served the music, which is the right approach. In other words, they had great taste.
@andygookey They were of course. But more as the visioners and architectors of sound. I was talking about their playing abilities, which is shown during melodic improvisations. They were great at soundscapes, yes. But listen to Dave's soloing on live recordings from Shine On 2 from 1977 tours or Rick's soloing on live Another Brick 2 from 1980-81. Or Blues from 1970-71. One word - limited, rather. They were great as Pink Floyd, definitely!)
@@shlomopolonsky Also, to be fair, we have to look at them in context. Those were the sounds and styles of the time, many of which they created themselves, co-creating the soundtrack of a generation. Their legacy is huge, and many guitar/keyboard virtuosi don't have the privilege of belonging to that category. The music of Pink Floyd speaks to many.
and yet masterpieces like Interstellar Overdrive and virtually everything pre Dark Side was all improvisation, the very reason their live bootlegs were always so popular...
@@andygookey Did you ever listened to pre DSOTM shows? The only period when their shows were mostly improvised was arrond late '66 to early '67. Then they started playing structured songs, most of them were extended compared to the studio versions. But that is what most rock bands do at the time.
@@rc4a0frios I've listened to everything that still exists from the earliest demos ('65/'66) and the earliest gigs, (including those in really poor quality). The only gig that still exists from early '67 was from Roundhouse in Feb and only snippets at that.
![18) The Last Few Bricks [RESTORED]](http://i.ytimg.com/vi/RQlrifCDfs4/mqdefault.jpg)
0:00 Nassau Coliseum, 25 Feb 1980
1:45 Memorial Sports Arena, 13 Feb 1980
3:35 Memorial Sports Arena, 12 Feb 1980
4:48 Memorial Sports Arena, 8 Feb 1980
8:01 Memorial Sports Arena, 7 Feb 1980
people complaining all their improvisations sound like any colour you like but thats great for me cause its my favorite song
Yeah I can't complain about that, it's probably the best song to use as a base for improvisation I've ever heard, it's just fantastic how it could go on forever
Any Brick You Like
Every break you take
Brick (in the air)
@@BokunokanoneP Brick is the The color of your eyes
Brick is my favorite color.
Top quality recording for the era. I saw the 7 FEB 80 and 13 FEB 80 segments 'in the flesh' and agree that they were at the top of their game. Thank you for posting this important piece of PF history.
This one is the very last inch of floydian musical essence.
It sounds like the baseline to Breathe, has the tempo of breathe, it sounds like a Jam to the sound of Breathe
It's the final breath of that classic early Floyd sound never to be seen again at this strength.
@@madcap_9539 Definitely. You have just hooked the target.
Same key as any color. Which is just breathe in a different key
Remember breath 1972, live...guitar David wonderfull...ever, ever, forever
I was at the Feb 7 opening night show. The first time The Wall was played in it's entirety live. The infamous show where the curtains caught on fire from the plane crashing on stage. They were unable to keep the show going, so shortly after the bit where the animation of "Der Fucking Flowers" happens, Roger stopped the show, so more attention could be put on stopping the fire. Once things were settled, Rodger had the crew start up the show again before the "Flower" animation, so we got to see the video twice along with the great music to Empty Spaces.
I saw opening night in New York,2/24/1980. I was standing between lower and upper bowls.
When Comfortable Numb came on, David was DIRECTLY ACROSS FROM ME!
I feel your pain etc, I was lucky enough to see the original show in London in 1979. I went to the Pulse tour in the 90s in London and was in the crowd when two sections down where my daughter and I were sitting collapsed and they had to stop the show after about 45 to 50 seconds. (And they were playing Shine on you Crazy Diamond! Probably my favourite song ever) Luckily we were not hurt, but many were and they rescheduled the show and it was amazing. The mirror ball is still one of everlasting concert memories.
I was also there that night, sitting in the 11th row. Nick Mason calmly would sweep burning swaths of curtain off of his drum kit between beats. Roadies swung from cables, straddling curtain rods and ceiling joists while using CO2 fire extinguishers in a vain attempt to keep the show going. From my vantage point, I could clearly see the "man in the suit" being lectured to by an LAFD Captain who quite clearly intended to shut down the show and evacuate the entire arena. Roger literally saved the day and possibly serious injury to many. Restarting an analog-based multimedia theatrical extravaganza was no easy task back then; Roger did get a bit annoyed at having to repeat his stage instructions several times. Do you recall, by chance, that someone had a laser (also not an easy thing in 1980) and was using it to illuminate the unfinished wall and harass the band? Roger intervened on that as well during the intermission. What an epic and amazing performance you and I enjoyed.
@@larryzehnder8161 Yes, I remember seeing a red laser spot. It was not related to the curtains catching fire though. Like you said it was more of an irritation by someone who was starving for attention. The pyro effects with the plane crashing was for sure the cause for the start of the fire.
It's amazing to hear the details from your vantage point! Crazy! I was way in the back in the upper arena, but at least I knew to get center of stage seats for a Floyd show.
@@MrLaserdaze Yeah the 7 FEB show was really hot and the upper arena was a superb vantage point given The Wall's visual scope. My first set of tickets were also way in the back ("nosebleeds" we called them). But I really wanted to get up close, so I purchased tickets from "Front Row Center" in Westwood. "Perfect seats", or so I thought until I found myself pondering the smouldering fire and a possible fate of being crushed in a stampede of stoned Angelenos. We really owe a debt of gratitude to Roger Waters for saving much more than the show. Post fire, my "perfect seats" became even more uncomfortable when Roger stared straight at me, pointed his bony finger and shouted "There's one in the spotlight! He don't look right to me...". Fortunately, the lighting crew missed their cue and there was no spotlight. Recalling the crashing plane - Bottle rockets were part of the big pyrotechnics flash when the plane crashed into the stage. Problem was that indoor fireworks hadn't been invented yet, so the rockets burned a bit too long and went a tad too high. On 13 FEB, there were no bottle rockets and the flash was substantially less bright. And I got to watch as Roger pointed out some other unsuspecting fan in that "perfect" seat, now perfectly spotlit. Take Care.
Great job here, dude. The greatest band of the century.
Absolutely...EPITOME OF MUSIC 🎶
(SHINE ON 💎)
🎼☮️👊🇨🇦
This is yet another precious brick in the wall
It's quite remarkable how this band went from playing sets of almost completely improvised music to playing improvisatory music which is written with sections to be improvised in, then all of a sudden after Dark Side they started to synchronize their playing with a video of cash registers and coins.
From then on more and more visual effects were employed until we end up with Pink Floyd On Ice in the 80s and 90s. This band had a synchronized video for almost every song and every new song added sequenced percussion, synths, etc and leaving no room left for improvising.
However, many props to Rick Wright. Every night they shut down the video screens and sequencers and left room for him to stretch out a few times. Every night he played something noticeably different. Rick Wright ruled.
I love this band but they changed into a whole new band.
These recordings in a way represent the last breath of the Band's flair for improvising.
When did PF ever really improvise? I don't count blues jams. That's not real exploration.
@@floepiejane When Syd was in the band their live sets were primarily improvised or played songs with long improvised sections. Have you ever heard Intstellar Overdrive?
There were many other songs that left plenty of room for non-blues based improvisations like Careful with that Axe, Saucerful of Secrets, Echoes, Any Colour You like, and Shine on You Crazy Diamond to name a few.
@@manonthemoog none of those were improvised. What do you consider improvised? Really, we need some links here with timestamps.
@@floepiejane Maybe I wasnt clear. I listed those songs as examples of songs with sections where there were usually non-blues based improvisations from Gilmour and or Wright. During money, for example, Dave usually improvised blues-based solos in the middle and end of the song.
Technically a lot of their music was first conceived while jamming live or in the studio, but that is not the point I am trying to make.
@@manonthemoog that's not improvisation. Listen to some jazz, or some Grateful Dead. THAT'S improv. Some variant on a blues lick is just that.
I was there on 2/28/80! It was unbelievable esp for those days.
ROCK MUSIC WORLD! THE REAL PSYCHEDELIC ROCK BAND IN THE WORLD! Thank you so much 💓 for sharing the world. Best regards.
Whatever song it ‘sounds like’ its is Floyd and it is a little throwback to earlier days which I think juxtaposes the intensity of the first half of the wall excellently. Even though I love the last few bricks too
(PINK FLOYD THE EPITOME OF MUSIC)
SHINE ON 💎
🎼☮️👊🇨🇦
this is a slow down version of Any Colour You Like
or an instrumental "Breathe"
This remind me Any Colour You Like
I've heard all of these shows but dam that last version in this video had me movin'. Have a blessed rest of your week.
Musica ultraterrena , musica spaziale .....Pink Floyd fuori dall ordinario.
STRATOSFERICI.
Non ho piu aggettivi per definire questa straordinaria Band.
Grazie di esistere ❤❤❤❤❤
I wish one of these was included in "Is There Anybody Out There"
Actually is included, the name is The Last Few Bricks.
The first few instances of these instrumentals feel right in the context of The Wall and places where they are in the first half of the performance.
The last example is very nearly a boogie though.
It’s a strange way to herald Pink’s descent into hell.
i know there is a SBD version of the wall in Los angeles contain this "breathe" jam . i dont own that record, but was circulating on 2 audio clip on the old Yeeshkul site. sbd from los angeles exist in Fan hand, but is really rare to listen. hope someone releasing that soon.
Thanks a lot for compiling thse recordings ! :o))
this is liquid gold
This jam feels (as amazing as it sounds and we can hear it here, extraordinary thanks to the uploader) like the last cry for the freedom of spontaneity and improvisation by the mighty band, occupied by the Machine. I can understand now why David Gilmour so desperately tried to restore the "musical balance" (after Roger left Pink Floyd) and also released The Endless River. This was an act of liberation of this mighty band.
How? They never jammed after roger left. David also refuses to release these performances (every US 80 show is circulating in collector circles lol)
@@Dillpickles_ They jammed when they were making The Division Bell. This album arose from those jam sessions in Nick Mason's and David Gilmour's studio "for two weeks" as he described this process (here: ruclips.net/video/HvRnsRmq0G8/видео.htmlsi=fGjpOWvupF3NLM73) and the press widely reported. The Endless River was also a part of this process.
It's Roger who holds the final veto for anything Wall-related, not David.
@TerrencesClassicRockCorner24 One song being slightly altered in the middle doesn't really amount to much when every tour up till 1977 had their own quirks and basically changed the songs for the better. The money "Jam" only serves to lengthen an already long song, a curse which had bestowed money since like 1977 lol. Even back then it was getting toooooo long.
Saying David Gilmour would release stuff is pretty stupid when you consider that David hasn't released any of their recordings from the vaults, which I would argue are more important than the wall concert. David only releases stuff when it fits in with his revisionist agenda to keep the band an "enigma". David refuses to release the countless Soundboard recordings and Open Air Recordings that are in their archives due to the simple fact they can't be edited in any way. On top of that, there are rumors of every show being filmed via VTR post 1975 and that some collectors have these films.
Even the live stuff we did get from their golden era are pure fabrications. Wembley 1974 is an autotuned mess with different nights spliced in to correct for David's mistakes. Quite frankly roger was right about ITAOT... It's quite frankly the worst thing James Guthrie ever put together, its filled with Frankenstein'd songs with different nights for every fucking word in some cases. Another thing, David was the one who vetoed any live release for the Animals 2018 mix, Andy Jackson prepared a release for it and was turned down by David. David Gilmour is just as guilty as roger for hating the band's legacy.
@TerrencesClassicRockCorner24 The agreement says Roger owns The Wall. ITAOT would not have happened without his consent. He contributed to the liner notes, he gave interviews about it and he even signed copies for an EMI giveaway in Europe. As for the artwork - he will have signed off on that just like he did on the Animals Remix artwork, which was also done by Storm's colleague Aubrey Powell (based on an idea by Roger).
Amazing how Rick wasn't a full band member at this point any more and yet here he is, playing quite well and contributing at least as much to the atmosphere and general feel of this jam as anybody else.
And, ironically, the only 'member' of the band to make any money from this tour😂 Karma.
Rick was the soul of this band. And they still let him stretch out during the "PF on Ice" tours after Roger left. At every show, there were a few moments when they turned off all the sequencers, tapes, and videos and let Rick blow for a minute or two.
2/24/1980, Nassau Coliseum. Scalpers prices started at $200
I like this better than half the Wall and all the Final Cut
Lol. If Rodger was going to train-wreck that great thing called Pink Floyd, he could do us the favor and end it on a good album.
Sacrilege
Similar a breath and any color you like..
Pink Floyd ❤
i was at one of the los angeles shows,can't remember which. i paid $25 a piece for 2 loge seats from a ticket agency. best $50 i ever spent! it seemed like a lot of money back then. today i guess seats like that for a show like this would be in the hundreds of dollars. 43 years later, it's still the best concert i've ever seen.
I was at the second show of that tour and sat in a loge seat with some friends. We paid $16.00 for our seats and thought that was alot. Still for us then and now, the magnum opus of concerts.
15$ per ticket... Even with inflation, today's tickets are 6,7x more expensive. But the real downside is, now you get only one floydian.
Pink Floyd fan for over 50 years here. I regret that Roger took the band in the direction of musical theater with elaborate stage productions. Pink Floyd's music doesn't need it. The show is supposed to be in your head. I spent hundreds of evenings lying in my bed with headphones on, enjoying a better show than ever appeared on a stage.
Ah, shoot. Let me tell my story. Due to my position and age, the first Pink Floyd album I heard was "The Final Cut." I was interested. Then I heard "The Dark Side of the Moon." I wasn't surprised. Then I started listening to all the Pink Floyd albums. Although I listened a lot to "The Wall," I found "Wish You Were Here" the best of best. Richard Wright is apparently the reason why "Wish You Were Here" is in its current form.
The Wall is a masterpiece. What's wrong with theatricality? Live concerts are an audio visual event. Always have been always will be.
@@jimhardiman3836 I am guessing that you were born after 1980. Maybe I'm wrong. Theatrics were rare in rock n roll until the mid 1970s. Some of the psychedelic groups did have "light shows" starting in the late 1960s, which were projections of multi-colored liquids moving around on a screen. Pink Floyd began showing movies on a screen in 1973. But theatrics, involving actual props on stage, did not become common until after 1980.
@@ukkfayooyay I was born in 1967. The Lamb was theatrically groundbreaking.
WOW!
Brick,Brick in the air....
Sounds like a slower any colour
❤❤❤❤ Pink Floyd ❤❤❤❤
Was there at one of the shows. Not there first for sure.
Sort of the end of the old Floyd here. End of an era.
This section of show was much better on 1990 Berlin show.. much more suspence..
Hell, yes! That's a pretty good rock band they had there.
Last PF jam😎
With Rodger as a full member and on stage.
Any Colour you like
Can't you upload the rest of it?
I suppose I could but there's plenty of versions of that last one to be found on youtube.
Dark side of the brick
2/25/1980
I don't think this track cames from the 1980's concerts. Because every song was synchronized with the construction and demolition of the wall on stage, so how was it possible play for 14 mins. of improvisation?
It was right near the end of the first half with only Goodbye Cruel World before the interval, so therefore didn't interfere with anything else that was synchronised. It was only because the wall builders were quite a way behind with where they were supposed to be that the band started improvising. 7 Feb 1980 was the first night of the the tour and the same night the fire broke out and they stopped at What Shall We Do Now. Full recordings of all these dates can easily be found on RUclips.
Surely the whole point of this section was to allow time for "the extra bricks" to be added (and thus improvised to allow for the extra time required).
The last few bricks
For two guys who hated each other, you would think they wouldn't sing into the same mic. Looks like they are kissing.
Yes you are right ❤❤
This Sounds like the " Embryo " live over many Bootlegs, and nothing at all to do with the " Wall " Concerts.....
So wrong
Awesome edit, why does it cut off at 15 minutes?
Because that's the time limit on RUclips unless I upgrade to premium which I'm not intending to do...
@@andygookey Understood. What a heartbreaker, though.
I was there the 2nd night Nassau Coliseum. Exciting times!
@@andygookey Upgrade to a premium service??? I never heard of that, all I had to do was verify my account through my phone
@@dalekofdoom maybe I should investigate further, thanks...
Well that ended abruptly
I prefer the medley
Yeah, except on those 5 nights that medley wasn't quite long enough....
👁El ojo
thats not the wall isn't it? thats any color u like...
The full concert for all of these dates can be found on RUclips. See for yourself....
@@andygookey i definitely could have phrased that better, I meant more it sounds like any color you like. Great music either way, thank you for posting it.
Any Colour You Like over and over again)). With all due respect they never were flexible musically, live. David as soloist, and Rick as well.
Curious thought, especially when for most of their careers they've been miles ahead of their time....
That's somewhat true. David doesn't go much beyond minor blues scale, aeolian and dorian modes. Occasionally he shines on the major scale, like in the first solo of Comfortably Numb. But that's about it. He noodles around live without much freedom with phrasing. Rick is even more limited. But they've always done a fantastic job in studio, where they can craft the solos and distill the improvisations. I think their greatest skill was in crafting songs, creating atmosphere and using beautiful tones. Their playing served the music, which is the right approach. In other words, they had great taste.
@andygookey
They were of course. But more as the visioners and architectors of sound.
I was talking about their playing abilities, which is shown during melodic improvisations. They were great at soundscapes, yes. But listen to Dave's soloing on live recordings from Shine On 2 from 1977 tours or Rick's soloing on live Another Brick 2 from 1980-81. Or Blues from 1970-71. One word - limited, rather.
They were great as Pink Floyd, definitely!)
@@andre.1984 Exactly my thoughts
@@shlomopolonsky Also, to be fair, we have to look at them in context. Those were the sounds and styles of the time, many of which they created themselves, co-creating the soundtrack of a generation. Their legacy is huge, and many guitar/keyboard virtuosi don't have the privilege of belonging to that category. The music of Pink Floyd speaks to many.
They've been doing the same "improvisation" for over 13 years at that point. I'm a huge fan of them, but improvisation isn't their biggest strength.
and yet masterpieces like Interstellar Overdrive and virtually everything pre Dark Side was all improvisation, the very reason their live bootlegs were always so popular...
@@andygookey Did you ever listened to pre DSOTM shows?
The only period when their shows were mostly improvised was arrond late '66 to early '67. Then they started playing structured songs, most of them were extended compared to the studio versions. But that is what most rock bands do at the time.
@@rc4a0frios I've listened to everything that still exists from the earliest demos ('65/'66) and the earliest gigs, (including those in really poor quality). The only gig that still exists from early '67 was from Roundhouse in Feb and only snippets at that.
@@andygookey Barn Jam sounded good to me.
При всем уважении к творчеству этих парней, эта аранжировка двух аккордов в одной тональности - полный отстой.
Careful With That Axe, Eugene
@@andygookeyAÀAAAĀAAAÅAAÁAAÃAAAĂAAAÂAAAAAÄAAAAÆAAAAAAAAªHHHHHHHHHH!!!!!!
-George Roger waters.
I don't remember this improvisation in the Earl's Court concert (is there anybody out there? CD)
That CD was compiled from the August 1980 and June 1981 concerts from Earl's Court and they didn't need the extra improv by then...
Any Brick You Like