O show faz parte da turnê de "David Gilmour", em suporte ao álbum “About Face”, que durou de março a julho de 1984, cobrindo a Europa e a América do Norte.
Alegadamente, algumas das músicas do "About Face", estavam sendo compostas por "Gilmour" por ocasião da produção do álbum do "Pink Floyd", "The Final Cut". "Roger Waters" diz ter recusado o pedido de "Gilmour", que necessitava de mais tempo para completar o seu material. As canções que se diz serem do período pré-"Final Cut" são: "Murder", "Out of the Blue", "Near the End", e a orquestração musical de "Love on the Air" e " All Lovers Are Deranged".
Ao vivo as canções ficam mais encorpadas, ganham peso em desempenho e improvisações, de fato cada faixa do álbum em sua origem é boa, e justamente as canções que mais se destacam são "Murder", "Near The End" e "Out Of The Blue", que são excelentes, bem como a instrumental "Let's Get Metaphysical".
Embora suas habilidades líricas não sejam tão enfatizadas, (pois nada se compara ao seu desempenho com a guitarra), destacam-se as letras de canções como a própria "Murder", (alcançando 11º nas paradas), quando manifesta sua indignação sobre o assassinato sem sentido de John Lennon , um colega de longa data na cena musical e uma inspiração para ele. Excelente destaque, "Pino Palladino" embelezou a música com um solo de Baixo Fretless, (que tem um som distinto, pela ausência de trastes onde a corda deve ser pressionada diretamente sobre a madeira do fingerboard, e tem um timbre parecido com o do acústico.), adicionando energia para o início acústico da música, principalmente ao vivo, levando à uma ponte instrumental. Bem como "Out of the Blue", onde "Gilmour" manifesta sua desaprovação com a proliferação nuclear, que à sua maneira, compõem os ideais do "Pink Floyd" nos moldes de "Roger Waters", almejando transmitir conceitos de uma sociedade melhor, do mundo mais fraterno e menos egoísta.
No entanto, como não poderia deixar de ser, a melhor característica desta "About Face Tour" é a música em si, particularmente os solos de Gilmour sempre emocionantes, de dentro d'alma. Até mesmo porque, também ao longo das apresentações, estiveram ao seu lado músicos excepcionais que proporcionaram encontros memoráveis. Alguns exemplos de altíssimo nível, você pode conferir abaixo, bem como identificar outros mais no vídeo acima. Embora não sendo tão bom quanto o 1º solo de "Gilmour", (ao meu ver, um clássico negligenciado), e nem tão progressivo como "Pink Floyd", "About Face" é ainda um álbum que oferece qualidade, fluindo entre bons arranjos e melodias, proporcionando belíssimos momentos durante suas apresentações ao vivo. Anos mais tarde quando entrevistado num programa de rádio, "In the Studio with Redbeard", no Texas durante a turnê de 2006 "On an Island", David Gilmour" comentou sobre "About Face", dizendo: "Looking back on it, it has some great moments on there but the whole flavour of it is too '80s for my current tastes." Boa audição!
The Lostbrook Tape Series - Vol. 33
May 22, 1984
New York, NY
May 22, 1984
New York, NY
01 Until We Sleep
02 All Lovers Are Deranged
03 Love On The Air
06 Short And Sweet
07 Run Like Hell
08 Out Of The Blue
09 Let's Get Metaphysical
10 You Know I'm Right
12 Blue Light
14 Near The End
15 Comfortably Numb
Animação: Ferenc Rófusz - "Ceasefire"
Out Of The Blue
- Mick Ralphs: Guitars, vocals
- Mickey Feats: Bass Guitar
- Cris Slade: Drums, Percurssion
- Raff Ravenscroft: Sax, Keyboards, Percurssion
- Gregg Decharts: Keyboards, vocals
- Jody Linscott: Percurssion
Performance excepcional, onde Gilmour executa um
solo digno de qualquer evento do próprio Pink Floyd
solo digno de qualquer evento do próprio Pink Floyd
crocko (258.90 MB / 320 Kbps x 48 kHz)
Recording Equipment: Internal Mic - Sanyo tape deck - Alesis TapeLinkUSB - Audacity - WAV
Artwork by 'jaraslesny'
I first became enchanted by live performances after talking my way into the taping of Dick Cavett’s Woodstock Show on August 18, 1969 at WABC studios in New York. This was quite an accomplishment for an eleven-year-old without a ticket. My first major concert was The Rolling Stones at Madison Square Garden on July 25, 1972. I was so impressed with the enormity of that event that I jumped at the chance to acquire some of the vinyl bootlegs from the Exiles on Main Street tour. These recordings surely planted a seed in my mind, but unfortunately, I waited over 25 concerts before attempting my first recording in late 1975. Over the next ten years, I recorded approximately 125 concerts in the New York City area. In 1985, I moved to Virginia and recorded sporadically, accumulating a few dozen shows in the Washington DC area over the next 15 years.
My motive for taping has always been selfish. I simply wanted to enjoy the performances over and over again. I didn’t realize that I was recording both musical and personal history or that I was witnessing the high-water mark of progressive music. I thought it would last forever, but in the back of my mind, I must have known that I had something special. With one or two exceptions that I later regretted, I refused to trade tapes. Very few friends were ever given copies. I have never considered selling them – I have too much respect for the artists. I protected my tapes for decades, never knowing what to do with them as they sat dormant on a shelf. In 2010, I found the time to make digital transfers of my tapes and rediscovered the amazing moments I had recorded. I also found an answer: I needed to get these tapes to my friends that were with me, whose history I had also captured, and to others who would appreciate this collection.
My equipment was low-tech but yielded surprisingly good results. Almost all of my recordings prior to 1989 were made with the built-in condenser mic on a Sanyo desktop cassette recorder (model unknown). When the unit began to fail in 1977, I replaced it with what I thought was a better recorder, but the tapes were distorted. I quickly purchased a new Sanyo that was identical to my first and never again attempted an upgrade. In 1989, I bought a smaller, Walkman-type unit – a Panasonic RX-SR29, which performed nicely with its condenser mic. I was never interested in producing soundboard-quality tapes, and was almost always happy with my “souvenirs.” I used TDK tapes initially, then Maxell.
Recording a concert was always an adventure. Through trial and error, I arrived at the following procedure: To get past the ticket-takers, I wore loose pants and stuffed the recorder down the front where the odds of being frisked were minimal. I wore a loose t-shirt or sweatshirt to cover the “bulge” and held my breath. The dead batteries and cheap tape I kept in the recorder were occasionally confiscated, but my friends were already inside with the real supplies. Once inside, I would meet my friends and exchange the batteries and tape. We had excellent seats for many concerts, but that put us in close proximity to ushers and stage security. We needed to be in a constant state of vigilance, and we were also busy with the timing of the tape-flips. I would occasionally take photographs with a cheap camera, which gave me additional equipment to juggle. Without fail, someone in my row would be in the wrong seat, and an usher would have to sort it out. It was all I could do to keep the recorder hidden without covering the microphone. It was always chaotic, but the reward was great as we listened to the concert again on the way home.
I’m indebted to all those who assisted and inspired me along the way: Gary, Steve, and Paul/Rich, Rob, and Paul/John, Sue, Al, and Rich/Jody, Laurie, Danny, and Martha/Geri and Allison/Howie and Linda/Kathryn. Thanks to Mike for all of his efforts. Most of all, thanks to my family – K, M, E, and B – for their support and patience.
You are cordially invited to enjoy these time capsules. There is always room for one more in our row, but if we are loud or talkative, please don’t judge us too harshly. We were swept away by the magic of the moment, and we hope you will be too.