Mel Collins falou da turnê KAOS com Roger (Best of Roger Waters live at Colisee de Quebec - 1987 FLAC) entrevista Rolling Stone

Roger Waters Wembley FM Capital Radio Broadcast - Wembley Arena, London  November 21th 1987

1-Who Needs Information

2-Me or Him

3-Powers That Be

4-Sunset Strip

Radio K.A.O.S. Tour 1987 :

Roger Waters accoustic guitar, bass guitar, vocals

Andy Fairweather-Low bass guitar

Jay Stapley guitar

Paul Carrack keyboards, vocals

Mel Collins saxophone

Graham Broad drums

Katie Kissoon backing vocals

Doreen Chanter backing vocals

Jim Ladd radio DJ

* Claire Tory guest vocals on Great Gig In The Sky

Homenageado, Mel Collins em entrevista com a Rolling Stone:

Em outubro, dia 26, em 2021, uma longa entrevista do saxofonista Mel Collins intitulada "Mel Collins em seus anos com King Crimson, Rolling Stones e Roger Waters" foi publicada no site da Rolling Stone, que homenageou suas inúmeras estações musicais e carreira. 

De particular interesse para nós foram suas declarações e memórias de Roger Waters, com quem ele tratou na década de 1980. Collins fez uma turnê com Waters em 1984, 1985 e 1987. Ele participa do álbum Radio Kaos e da trilha sonora When The Wind Blows. (Werner, Pulse & Spirit)

Rolling Stone

Conte-me sobre ser contratado para a turnê Prós e Contras de Hitch Hiking com Roger Waters.

MEL COLLINS: Eu conhecia a esposa de Roger naquela época, Carolyn [Anne Christie]. Ela veio para a estrada como gerente de turnê do King Crimson anos antes, quando eu estava na banda. Eu a conhecia muito bem. Acho que ela disse a Roger: “Eu conheço esse cara, Mel Collins. Poderíamos usá-lo na banda.

Então fui questionado por Roger. É irônico desde quando eu estava no Kokomo, o gerente, Steve O'Rourke, foi informado em termos inequívocos que ou ele gerenciava o Pink Floyd ou gerenciava o Kokomo. E assim ficamos sem gerente. Tenho a sensação de que Roger teve algo a ver com isso. É irônico que acabei trabalhando para ele. Não sei se ele percebe isso. Nós nunca conversamos sobre isso.

Eu briguei com o Roger. Ele é outro que pode ser difícil. Curiosamente, na última turnê que fizemos na América com o King Crimson, estávamos no Sunset Marquis em Los Angeles e Roger estava lá. Ele fez o show na arena no dia anterior. Fomos ver o Roger e depois voltamos para o hotel, e o Roger estava lá no bar. Ele me convidou.

Lá estava eu ​​na mesa principal com Roger Waters. Ele basicamente me disse o quanto me ama, e nos tornamos melhores amigos depois daqueles momentos difíceis em que eu estava em turnê com ele. Eu bebia muito naquela época, então tenho certeza que foi minha culpa.

Não sabia que a então esposa de Waters, Carolyn, trabalhava como gerente de turnê do King Crimson. Carolyn então colocou os dois em contato. Interessante isso vem de Steve O'Rourke, que gerenciou a banda Kokomo, por um curto período de tempo (Eles lançaram três álbuns, e o segundo Rise & Shine foi descrito como "o melhor álbum de funk britânico da década de 1970). A colaboração entre Collins e Waters terminou em apuros.

Eu sei que Roger é muito particular sobre como ele quer que tudo soe no palco. Ele quer que todos os shows sejam idênticos.

MEL COLLINS: Sim. Acho que David Sanborn estava no disco, assim como Eric Clapton. Naquela época, Eric não estava realmente fazendo muito. Roger pediu que ele viesse conosco na turnê Estávamos fazendo um set que era em torno do álbum The Pros and Cons of Hitch Hiking, que era basicamente uma música longa. Isso caiu bem. Mas na segunda parte do set tocávamos os números do Pink Floyd. Isso geralmente funcionava. Essa é a natureza da besta, como dizem.

Era uma boa banda. Foi uma ótima escalação. Acho que Eric teve um problema com Roger e não gostou muito. Foi, como você disse, praticamente cobrindo as partes do disco. Tive que copiar David Sanborn na maior parte da apresentação. Ele é um músico fantástico. Eu não estou reclamando.

As músicas mais populares do Floyd foram tocadas no primeiro set e não no segundo, como lembra Collins. Legal de Waters por saber lidar com isso naquela época.

Eu falei com algumas pessoas de sua banda que disseram que chamavam Roger de “General Waters” já que ele era como um general do exército.

MEL COLLINS: Em sua defesa, devo dizer que ele estava fazendo sua primeira turnê solo. Seguimos em frente e formamos outra formação para outra turnê. Durante aquela turnê, o Floyd estava na estrada ao mesmo tempo. Eles estavam cerca de três semanas atrás de nós. Para Roger, foi muita pressão ter isso nas costas.

Ele estava tentando desesperadamente … Você sabe aquela coisa sobre fora do Pink Floyd ser anônimo? As pessoas realmente não os conheciam. E então quando estávamos na América as pessoas dizem: “Quem é Roger Waters?” As pessoas não o conheciam tão bem além dos fãs, então ele teve que construir isso até onde está agora. Claro, todo mundo sabe quem ele é agora.

"General Waters" diz algo sobre o estilo de liderança de Waters.

Não consigo imaginar a frustração quando o Pink Floyd está tocando em um estádio de futebol lotado e eles estão tocando principalmente suas músicas. Enquanto isso, ele está em uma arena meio vazia.

MEL COLLINS: Foi muito difícil. Eles tiveram que reagendar alguns dos shows, pois não estavam vendendo ingressos suficientes. Naqueles dias, era difícil. Havia tanta pressão sobre ele. Não foi fácil.

Deve ter sido uma experiência incrível para Waters em 1987. Ele teve que reconhecer que, além dos fãs, ninguém realmente sabia quem ele era, que não importava que ele estivesse em arenas menores enquanto seus ex-colegas do Pink Floyd tocavam duas ou três vezes seguidas em um mesmo estádio, lotando todos os dias, em cidade.

Conte-me sobre a criação de Radio KAOS

MEL COLLINS: Eu estava praticamente na banda na época. Estávamos tentando coisas diferentes. Eu estaria no estúdio com ele e ele tocaria a faixa. Mais uma vez, eu ouvia e via qual instrumento funcionaria melhor, o contralto ou o tenor ou às vezes o barítono. Fizemos assim, tentativa e erro.

Eventualmente nós levávamos isso para a turnê. Foi quando eu meio que briguei um pouco com Roger. Ele disse recentemente que adoraria contar comigo de novo, então talvez eu volte algum dia.

Fonte: Rolling Stone; Pulse & Spirit; 

Live radio broadcast. Best of Roger Waters live at Colisee de Quebec, Quebec City, QC, Canada, November 7, 1987

ROGER WATERS

November 21, 1987

"Soundboard KAOS"

Label: Ayanami 058

Source: SILVER>FLAC

Quality: EX+

Roger Waters (vocals, bass, guitar)

Graham Broad (drums, percussion)

Paul Carrack (keyboards, vocals)

Mel Collins (saxophones)

Andy Fairweather Low (guitars, bass)

Jay Stapley (guitar)

Katie Kissoon (backing vocals)

Doreen Chanter (backing vocals)

01. Radio Waves (5:12)

02. Welcome To The Machine (8:36)

03. Who Needs Information? (6:5

04. Me Or Him? (5:1

05. The Powers That Be (4:04)

06. Sunset Strip (4:27)

07. If (3:47)

08. Every Stranger's Eyes (5:01)

09. Nobody Home (4:26)

10. Home (6:40) 11. Four Minutes (5:16)

12. The Tide Is Turning (6:41)

filefactory.1987-11-21.London.FLAC.by.TUBE

Pink Floyd - The Worms At The Exhibition, London, UK (Sigma 62) 1981-06-16

O segundo período de shows do Pink Floyd agendado no Earls Court em Londres no mês de junho de 1981, foi planejado com o propósito de ser filmado e gravado para o filme "The Wall". Como se viu, o diretor Alan Parker e Roger Waters decidiram ficar com a narrativa da peça em vez de inserir qualquer filmagem do show. 

Dia 16 de junho foi a penúltima apresentação do The Wall e a última turnê da banda com Roger Waters (até o Live 8). Este show contribuiu com três músicas, 'Mother', 'The Show Must Go On' e 'Hey You' para o álbum oficial ao vivo "Is There Anybody Out There?" lançado em 2000.

Este foi sem dúvida um grande concerto, um dos melhores do Wall. Abaixo o link do show completo (FLAC): 

Pink Floyd - The Worms At The Exhibition (Sigma 62)

Earls Court Exhibition Hall, London, UK 16th June 1981

Disc 1

01 MC Intro

02 In The Flesh?

03 The Thin Ice

04 Another Brick In The Wall Part 1

05 The Happiest Days Of Our Lives

06 Another Brick In The Wall Part 2

07 Mother

08 Goodbye Blue Sky

09 Empty Spaces

10 What Shall We Do Now?

11 Young Lust

12 One Of My Turns

13 Don't Leave Me Now

14 Another Brick In The Wall Part 3

15 The Last Few Bricks

16 Goodbye Cruel World

Disc 2

01 Hey You

02 Is There Anybody Out There?

03 Nobody Home

04 Vera

05 Bring The Boys Back Home

06 Comfortably Numb

07 The Show Must Go On

08 MC Intro

09 In The Flesh

10 Run Like Hell

11 Waiting For The Worms

12 Stop

13 The Trial

14 Outside The Wall

mega.nz - 654,30 MB

Roger Waters - 2022-07-06 - Pittsburgh - Recorder 1 (FLAC) PPG Paints Arena

Roger Waters inicia turnê “This is Not a Drill” com surpresas no repertório.

A turnê This is Not a Drill, adiada por Roger Waters em função da pandemia, finalmente foi iniciada nos últimos dias. O segundo show do giro aconteceu na PPG Paints Arena em Pittsburgh, na Pensilvânia. A apresentação foi realizada na noite da última quarta-feira (6).

O repertório da apresentação contou com 20 clássicos do Pink Floyd. Porém, houve algumas surpresas em diferentes sentidos. Uma delas esteve logo na abertura do set: “Comfortably Numb”, que geralmente fica mais ao fim dos shows, foi tocada em uma versão mais calma e climática onde o solo de guitarra é substituído por uma performance vocal ao estilo de “The Great Gig in the Sky”.

Houve ainda a inclusão de quatro músicas da carreira solo de Waters: “The Bravery of Being Out of Range” (do álbum “Amused to Death” / 1992), “The Powers That Be” (de “Radio K.A.O.S.”, 1987), “Déjà Vu”, “Is This the Life We Really Want?” (as duas últimas do disco “Is This the Life We Really Want?” – 2017) e “The Bar”, esta última inédita.

Outra surpresa esteve a cargo de “Two Suns in the Sunset”, faixa do álbum “The Final Cut” (1983), o último com Roger Waters na formação. A canção nunca foi executada ao vivo pelo Pink Floyd e foi lembrada em apenas sete ocasiões por Waters em carreira solo – duas delas no Brasil, em 2018, mais especificamente nas cidades de Belo Horizonte e Salvador.

Na excursão, Waters se apresenta no palco junto com os guitarristas Jonathan Wilson e Dave Kilminster, o baterista Joey Waronker, o guitarrista e baixista Gus Seyffert, o tecladista e guitarrista Jon Carin, o organista Robert Walter, o saxofonista Seamus Blake e as backing vocals Amanda Belair e Shanay Johnson.

A estrutura da turnê é gigantesca e a plateia fica de frente para uma enorme cruz centralizada no palco, que faz ligação com uma passarela que segue por quatro direções.

Também há impressionantes telões de LED mostrando, claro, mensagens políticas, fotos e arquivos icônicos do Pink Floyd. Waters está em turnê pela América do Norte até meados de Outubro. Que datas sejam anunciadas no Brasil para 2023!

Abaixo o link do show completo (FLAC):

mega.nz - 688,7 MB

Roger Waters - 2022-07-06 - Pittsburgh - Recorder 1 (ijwthstd)

PPG Paints Arena, Pittsburgh, PA, USA

01 Audience

02 Intro

03 Comfortably Numb

04 The Happiest Days Of Our Lives

05 Another Brick In The Wall Part 2

06 Another Brick In The Wall Part 3

07 The Powers That Be

08 The Bravery Of Being Out Of Range 

09 Roger Welcome

10 The Bar 

11 Have A Cigar

12 Wish You Were Here

13 Shine On You Crazy Diamond (parts VI-VII)

14 Sheep

15 Audience

16 Set Two Intro

17 In The Flesh

18 Run Like Hell

19 Déjà Vu

20 Is This The Life We Really Want?

21 Money

22 Us And Them

23 Any Colour You Like

24 Brain Damage

25 Eclipse

26 Roger

27 Two Suns In The Sunset

28 The Bar (reprise) 

29 Outside The Wall

Nipote - 2022-07-06

This is the ijwthstd recording, that he shared via Wetransfer.

I don't change nothing, only slit the tracks with my old (but good) CD wave while listening.

Here the info from him : 

Sorry I don't have any way to torrent from here but maybe someone can move this to the right place

ROGER WATERS @ PPG PAINTS ARENA, PITTSBURGH, PA 2022-07-06

I likely cannot do LA and wanted to see this tour so might as well get it out of the way now!

I had some inconveniences along the way. I was walking around a few hours earlier I got completely drenched in a surprise (suprise if you don't check out the forecast) storm. Came across a thrift store and got a 99 cent pair of jeans a few sizes too big a few minutes before closing. And no front pockets! But even something in my back pocket would cause them to fall down. Did the waistband underwear flip which would work for a few minutes, At least, in spite of the bag rules I was able to carry my stuff in in a plastic bag.

I was pricing a Lyft and when I was ready to call it up, the price jumped by $6 and it wasn't raining so I just tempted fate and hit the pavement again without getting wet. Except for my soggy shoes. At least the hotel has dryers.

It was a fantastic show. This wasn't the Roger Waters presents the Pink Floyd rehash. As great as those shows were this was a refreshing brand new concept though Pink Floyd songs, especially from the big 4, made up the bulk of the set. That said, the show is mainly a visual experience so if you cannot attend hopefully someone will put together a good DVD.

If you are attending, depending on the arena layout, you do not want to be too high up. Or on the dead ends at any level. Corners are find the way the screens are positioned. Center arena is perfect. Floor ... maybe if you go multiple nights but not the best option for sure.

Untracked waves, no idea when I will have a chance to track out, feel free to do what you want with them. Keeping in the chatter I pick up at the end of set 1 should be considered part of the show however.

****************************************************************

Pink Floyd ‎– Definitive Millard 1975 (Sigma 228) FLAC

Have A Cigar

Considerada uma das melhores performances da turnê pelos EUA em 1975, e graças a Mike Millard, um registro em qualidade muito superior a qualquer outro disponível no período, esta captura da apresentação do Pink Floyd na Arena Los Angeles Memorial Sports em Los Angeles, CA, USA., no dia 26 de abril de 1975, é peça da primeira prateleira de qualquer coleção, principalmente em se tratando de um fã da banda que aprecia a riqueza de cada concerto do grupo, cujas performances têm identidade própria graças a genialidade dos improvisos, fruto do talento excepcional de Rick e Gilmour que se fundem através das interpretações numa atmosfera extremamente agradável aos nossos ouvidos.

Homenagem: "Mike The Mike" Millard

Esta é uma gravação do lendário Mike Millard, "sempre gratuita aos fãs", de um concerto que é realmente uma extensão do tempo. Voltar nos anos 60 e 70 através de um registro a partir de gravador cassete. Imaginem agir sorrateiramente num desses concertos hoje em dia. Provavelmente, o "gravador" secreto escolhido hoje em dia seria um smartphone, e você simultaneamente retransmitiria online pela internet, quem sabe até via youtube. Sendo pequeno o suficiente para caber em seu bolso.

Mas no caso de Millard era muito diferente... Em 26 de abril, 1975, ele chegou cedo ao show, a arena era perto da sua casa, puxou uma cadeira de rodas do porta-malas do seu carro, e começou a deslocar-se para o show como se fosse deficiente. (Freqüentemente usava uma cadeiras de rodas que ele tinha para esconder seu equipamento, fato que por si só já é incrível, surreal).

A Nakamichi 550, the expensive Japanese tape deck 

that Mike Millard used for his recordings.

Assim, ele conseguiu garantir "assento" na primeira fila, em frente e no centro. Escondido debaixo de sua cadeira de rodas um gravador cassete estéreo Nakamichi, conectado à dois microfones AKG de alta fidelidade. Os seguranças daqueles dias, provavelmente desconhecem tais acontecimentos até hoje. 

Suas gravações foram muito procuradas por sua qualidade - capturadas em extensão acústica de um grande ambiente, característico devido a acústica do local. Sua proximidade eliminou qualquer eco em suas gravações. Todos os instrumentos gravados imediatamente após os alto-falantes frontais. Ele tinha o hábito de marcar suas fitas, Mike nunca se envolveu em venda de bootlegs e foi totalmente contra a venda ilegal de suas gravações históricas - fato hoje que reduziu muito audiência de seus registros. Notório por "catalogar" suas cópias meticulosamente, tornou-se mais tarde possível que as gravações aparecessem para venda em LP ou CD, entretanto como detestava contrabandistas que o pressionavam para comercialização, na época ele seria capaz de delatar às autoridades, qualquer pessoa que conseguisse através de seus amigos uma cópia para contrabando. Ele mantinha um diário das gravações detalhando os eventos através de marcações, exceções eram bastante raras. Há alguns anos, algumas cópias desmarcadas de gravações de primeira geração do Led Zeppelin surgiram em círculos de troca, um momento verdadeiramente histórico para colecionadores de todo o mundo. 

Ele trabalhava como zelador em uma escola pública e sempre morou com sua mãe. Em um momento de depressão, infelizmente cometeu suicídio em 1990, (alegadamente sofria de depressão severa).

Seus amigos dizem que ele destruiu muitas das cópias de suas gravações. Os poucos que restaram são os que agora estão sendo negociados e ou compartilhados desde então.

Millard esteve ativo desde 1974 até os anos 80, e disse ter gravado shows do Led Zeppelin, Pink Floyd, Yes, The Rolling Stones, The Who, Jethro Tull e até Kansas. Até hoje, nunca encontrou-se uma cópia de suas gravações de The Who ou do JT. Os originais Zeppelin são conhecidos por estar de posse da família Millard. Um amigo que o conhecia muito bem, após sua morte esteve na residência de sua mãe para ajudá-la a organizar e embalar todo material remanescente, e segundo ele, ela não teria outro objetivo senão manter tudo no quarto onde sempre estiveram. Tanto quanto se sabe, ainda estão no quarto onde ele estava vivendo ao longo de sua vida. Esperemos que um dia eles venham ser compartilhados. (Harvested)

Este bootleg é especial, pois é um dos poucos de 1975 que é completo e com soberba qualidade dentre os disponíveis. Ele contém as versões mais atuais de "Dick Parry" com um solo de saxofone em "Echoes", "Raving and Drooling" e "You Gotta Be Crazy", que acabariam por se tornarem "Sheep" e "Dogs", respectivamente. 

Depois de "You Gotta Be Crazy", "Dave Gilmour" comentou que "Era uma canção cruel .... Mas justa. Para então anunciar: "A próxima música que vamos tocar para vocês é mais um novo número, que é chamado de 'Shine On You Crazy Diamond'. Tem algo a ver com "Syd Barrett", que alguns de vocês devem se lembrar ..... e alguns de vocês mais jovens provavelmente não irão." 

.   

Boa audição!

Echoes

Pink Floyd

Definitive Millard 1975 (Sigma 228)

Live At Los Angeles Memorial Sports Arena, 

Los Angeles, CA, USA 26th April 1975

　 Disc 1

　 　1. Mike Test

　 　2. Intro.

　 　3. Raving And Drooling

　 　4. You Gotta Be Crazy

　 　5. Shine On You Crazy Diamond (Part 1-5)

　 　6. Have A Cigar

　 　7. Shine On You Crazy Diamond (Part 6-9)

　 　TOTAL TIME (63:14)

　 Disc 2

　 　[The Dark Side Of The Moon]

　 　1. Speak To Me

　 　2. Breathe

　 　3. On The Run

　 　4. Time

　 　5. Breathe (Reprise)

　 　6. The Great Gig In The Sky

　 　7. Money

　 　8. Us And Them

　 　9. Any Colour You Like

　 　10. Brain Damage

　 　11. Eclipse

　 　TOTAL TIME (56:49)

　 Disc 3

　 　1. Audience

　 　2. Echoes

　 　TOTAL TIME (24:22)

Bonus DVDR

Abaixo matéria da Sigma a respeito do registro, confira:  

Pink Floyd / Definitive Millard / 3CD+1Bonus DVDR / Sigma

Live at Los Angeles Memorial Sports Arena, Los Angeles, CA, USA 26th April 1975 plus Bonus DVDR “Los Angeles 1975 5th Night”

The Pink Floyd 1975 legendary recording updated by that Mike Millerd! The long-stopped LA performance is finally at the top of the 2019 latest technology!

Speaking of the United States tour of Floyd 75 for sound source fans, it is a treasure trove of excellent sound sources with excellent recordings. In particular, high-quality audience recordings such as “ARMS OF VANCOUVER (Sigma 56)”, “SEATTLE MASTER REELS (Sigma 58)”, “THEORY OF RUIN VALUE (Sigma 46)” such as the first US tour in April It is lined up and fascinates sound source fans. However, it is a legendary taper that the recording excellent in sound quality was outstanding during these performances of April in the 70’s, Los Angeles performances of April 26 by Mike Millerd. This is a very special-grade high-quality sound recording, and so far this Sigma label has released a decisive strike such as “LOS ANGELES 1975 4TH NIGHT (Sigma 148)” including “PINK MILLARD (Sigma 31)”. In particular, the Sigma 148, like the Sigma 31, does not have a slight excess equalization and convenient cut editing, and keeps the 1st Gen’s clear mirrored recording transferred to DAT tape almost untouched and untouched except for pitch adjustment. It was highly appreciated that this show was well received by fans as an overwhelming title, not an exaggeration to say that it is the top of all existing 1975 sound sources.

It is a translation that is a standard sound source that represents the Floyd 75 sound source, but this is why it is also possible to push the perfection to the ultimate thing that brings the perfection from the beginner to the expert. I think that it is the mission of leading Sigma. As well known, this sound source is so excellent in recording that it does not feel particularly uncomfortable on hearing, and it seems that there is no problem in sound quality, but it is not necessarily true if it is completely essential It is not. Especially I would like to pay attention to the variation of the mid-bass range, which I notice to visualize with the master sound waveform of the mirror, but some of this range expand slightly and the sound image becomes cramped (= something that has a close feeling) In the meantime, there are places where the sound component runs short and you feel light. In addition, it is also possible to see some places where the spread of the sound can not exert its original potential.

From an audio point of view, it is assumed that the density of this midrange is high and the balance between bass and treble is well in order to make a sound that is responsive. In particular, if this middle to low range is properly organized, the sound will be more stable and energetic, and at the same time improvement in sharpness and extension of the range can be expected. It can not be done. Even if it is a standard recording representative of Floyd 75, it is also carefully restored to the ideal waveform with the latest equipment and technology of 2019, and it is arranged to the sound image of the next level without defects even in a severe eye You should see the crown overhead. Yes, it is the 2019 edition of the mirrord recording of this latest film, the most vivid sound image of the source ever, that made it come true!

However, since it was a quite high-quality sound board even at the time of Sigma 148, if you have that, you might be wondering, “Is there anything that makes a difference?” However, if you listen to this film, it is a content that you can understand in a skin sense how carefully adjusting the middle to low range has a great effect on musical energy and driving feeling and the directionality of the music. is. For example, it is Mike Millard’s voice heard at the beginning of Disc 1, but I would like to pay attention to the silent part behind his voice. With this board, you will notice from this slight opening scene that the sound has not already been clogged up (= the band has broadened and the gap has improved). “Raving And Drooling” also shows the strength based on accurate waveform control noticeably in the sound, and in “You Gotta Be Crazy”, clear sound and luster appear with a beautifully arranged sound image, and the music is final Interesting musical vocabularies before they are shaped are becoming more and more in full swing. The difference between the sharpness and power of single tones is easy to grasp in the beginning of “Shine On You … Part 1-5”, and the thickness of the hard sound coming out from 3:46 is unique to this record. “Have A Cigar” also shows that the reach of the two voices is clearer by the extension of the range, “Shine On You … Part 6-9” in the gap between the sound and sound Sigma 148 or more I think that you will be scolded by the sense of density of From the middle stage 7:03, the impressive bass sound jumps out with a sense of massive elasticity, and the MC and in-the-field reaction that can not conceal the discomfort (to the audience with low morale audience) who enters after the final performance You can experience it with a sound image with an even greater feeling.

The dark side set also has a three-dimensional cross between the guitar and the bass in the early stages of “Breathe” and “Money” than the Sigma 148, and the increase in space and the omission of reverberation in “Time” and the goodness of the reverb The singing line also became clearer, and it became possible to grasp the charm attractive to the original sound. As for “Us And Them”, the voice of the female chorus appearing slightly like the voice behind Gilmore’s voice becomes clear, and this seems to be proof that the original sound has been polished with the latest technology. Although the reverse point (with a slight loss of sound) of the master tape at 5: 01 of “Any Color You Like” remains as it is, this mirrord recording can not be patched on the same day as a source that can compensate for the patch. , Here is the form of the original sound recording. However, it will be necessary to check the cymbal sound and the point where the delicate weak sound of the guitar touch is more easily heard. Towards the final stage “Brain Damage ~ Eclipse” soft dreamy sound image, and the mellow sound of the bell sound coming after the final performance is a finish that can be affirmed that the best figure of mirrord sound source. I think you can see that the loud sound of the bass that stands out from around 7:15 is sharper than the Sigma 148 version in response to “Echoes”, and similarly, it is also due to a drop in the number of toms coming in from around 9:49 The appearance that the first half scene disappears is also better than ever, and both have produced results by close scrutiny and review of the range. In addition, the sound of fireworks (※ Pyro?) Rising at 17:50 is also clearer, and even the documentary nature as a recording that the original sound is hidden is embossed with the best sound.

In order to make the best use of the high-quality sound originally recorded in the milled, I kept in mind remastering that does not make the feeling of equalization appear, so the difference with the old Sigma 148 is slightly different from just listening lightly in the component and car stereo It may be hard to understand. However, as mentioned above, the sound is definitely clear, so if you have an old board, I strongly recommend you to listen carefully compared with headphones. Such a Sigma 148 has been sold out for a long time, and of course the store is completely out of stock in the warehouse sent for overseas sales at that time, but it was a situation where it was out of stock although it was a standard for a while. As a matter of fact, many requests for recurrence have been received, and this time it was also a version upgrade in a form that meets that expectation, therefore “The standard that makes you feel totally lost from beginners to collectors sound source The goal is to achieve the finish of the sound source, and a definitive mirror sound is realized. Now over time

Please check carefully with the ear, the difference in the case of the sound that is appropriate for being heard afterward !!!

(Remastered note)

★ Adjusted the mid-low range to broaden the entire range and to make the performance clearer. It is difficult to understand because it is an adjustment that does not bring out a sense of equalizing and high-quality sound originally, but it is clear.

Shine On You Crazy Diamond (Part 1-5)

　

FLAC

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ou

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Pink Floyd ‎– Definitive Boston 1977 - 27th June 1977 (Sigma 226) FLAC

Shine On You Crazy Diamond (Part 1-5) 1977-06-27

Pink Floyd em Boston Garden, Boston, MA, USA 27 de junho de 1977. O desempenho é excelente, a banda estava avançando ao final da turnê, portanto uma apresentação consistente, equilibrada, quase impecável. O grupo oferece um show extremamente agradável, com muitos momentos de destaque.

Sobre o registro:
Em 2012, Steve Hopkins gentilmente cedeu à equipe JEMS, sua excelente fita master do Pink Floyd, uma incrível gravação em Boston, no dia 27 de junho de 1977, no famoso Boston Garden em uma apresentação magistral da banda que Roger Waters encerra declarando: "Perfect End To A Perfect Day! Good Night. God Bless"... Certamente uma das melhores fitas da turnê de 1977. A gravadora japonesa Sigma aproveitou a oportunidade da obtenção deste arquivo maravilhoso, e lançou sua versão intitulada "Definitive Boston 1977", com seu peculiar excelente processo de masterização obtendo o melhor resultado possível, que consideram definitivo. Boa audição!

Shine On You Crazy Diamond (Part 6-9) 1977-06-27

Abaixo, confira matéria da Sigma a respeito deste precioso lançamento:

Pink Floyd / Definitive Boston 1977 / 2CD / Sigma 226

The excitement goes beyond the top and finally to the “extreme point”.

The tapered team JEMS dropped directly from the master cassette owned by Steve Hopkins Pink Floyd It was in 2017 that the Boston performance of 1977 was released online. Although this public sound source had a short part missing in 5 places, it was mixed with the same day recording of Dan Lampinski, finished to the highest sound quality and the longest version of the past, and the world’s fastest press release was played It was Sigma label “BOSTON 1977 MASTER TAPES (Sigma 177)”. This title, which appeared in overwhelming sound impact and longest recording time, called great reactions, and because of its good sound quality, it is a piece sold out shortly due to the rush of orders from overseas.

Although it is supposed to be impossible beyond that, this Sigma 177 board was a title that mainly focused on the shock of the master tape original sound, although it was mixing the same day recording of the rampin ski as described above So basically it was one piece that was made without exercising no equalization and no remaster, and in terms of quality perfect feeling it was also a fact that there was room for improvement in two respects.

that is,

(1) Overall remaster operation

(2) Degradation of the tape which was still somewhat near 9:07 of “Sheep”

is. Especially (1) was a very high quality original sound, so there was no necessity or reason to do that, in other words, “If you remastered that superb source with the current state of the art how much Ultra Sound Is it possible to say that the time has passed while the task of tickling the hearing is left, …? What if it were the perfectly resolved longest recorded version that solved the problem of (2) above? Yes, the 77th Boston Decision Version of the penetration that made it a reality is this work !!

However, I think that there are many people who have doubts as to what kind of remaster it is specifically based on only the original excellent recordings. Especially in the case of this recording, it seems that the seat where Hopkins was in was “Section AA, Row 10, Seat 3 – 4” and it was found that the sound coming from the PA at the venue was in a position where it could record with a do – There was also a need to make it a remaster that makes use of the taste of the recording position by 100%. Therefore, how to sharpen that original sound, how to awaken the possibility of the sound that was asleep was a big task, but it was the Sigma staff who focused on a certain thing and aimed at expanding the range It was a wide feeling of sound.

I know that you listen carefully to the Sigma 177 board, but there you can check the effect of the sound group pickup device picked up by PA direct hit. It is easy to understand that the delay effect of the guitar increases and decreases (= approaches and goes away) in the middle of “Money”, but as it is picking up the sound directly from directly in front of the speaker, Expansion is now one more thing. In addition, the amplitude of the reverberation and the sense of blocking of the whole sound image occasionally appear in the face (sometimes called “Shine On You Crazy Diamond”), which has many gaps between notes and notes (for example “Shine On You Crazy Diamond”) and “Have A Cigar” (* Of course it is too extraordinary enough that it is too extensive enough), expanded the range of 125 Hz to 250 Hz centering on this middle range, a sense of distinctness in the sound near 10 Hz such as a high-pitched air feeling and nuance I thought that you can shift up the appeal of the original sound by adjusting it giving. Moreover, by checking the noise for almost every bar, the transparency is raised further, and the speed of the sound grain and the rise of the edge are realized. As a result, the sound of high precision tone color with a sharp instantaneous power realized sound that grew moisturized and stretched in all directions. In addition, the stereo feeling also increased as a synergistic effect, and in the Sigma 177 board the ultimate 77-year-old Boston was born in which the sound energy hidden deeply pierces the listener’s imagination !!

Suddenly a big topic will suddenly appeared in “Sheep” which will revive with such a brush up feeling sound. As indicated by the improvement point (2) mentioned above, the tape deterioration trace near that 9:07 is completely gone. The result is a perfect finish which I do not know for the first time even if I hear that “this is the part”, so that the speed feeling and driving feeling peculiar to this day are ruined to the end without losing one piece I am realizing the excitement. In “Dogs”, the introduction guitar will breathe again with a core tone, and Gilmore’s close singing voice will be able to experience the remaster’s extreme feeling up to the depth as well as the range expansion. Tam and snare’s attack feeling also stands out more and more, the mass sensation and resolution of the tone color in the second half guitar solo deployed from 13: 27, and the deployment of the final stage which ends after returning to the ensemble are remastering impact of impact It is getting. In “Pigs On The Wing 2”, the spread of lustrous tone color developed so much as to get sigh, the dazzling contrast between the acoustic sound quality in the first half and the latter half electric guitar carried the excitement unknown to the auditory sense I will give it. “Pigs (Three Different Ones)” attracted a lot of dynamic weight feeling in the middle to low range that was sleeping in the original sound. The jolly-gathered sound moves more and more clearly and the contrast with the guitar that sharply cuts like a flash is sometimes finished with the best match. Also, Roger’s feeling of improving the singing voice’s omission is also a topic, and it is also noteworthy that sentences of lyric words and words have clarity. The state of the example shouting the number of performances with “Happy voice” as “Forty-eight (* 48) …” in 7: 11 ~ 12 also increased realism, that charade, that is, the play of words also the glow of each part of the sound It can be realized as.

“Shine On You Crazy Diamond Part 1-5” focuses on the sound of the firecrackers that can be heard for a few seconds before the start of the performance, that is, immediately after the start of the disc and the situation of the scene, and here also the range expansion and the sharpness of the sound are Sigma 177 It is one piece that clearly understands the difference with the board. Even at the beginning of the guitar, the delay sound comes out with a deep sound of carving and the sax that comes out in the second half of the song also comes out with an amazing amplitude depth, and each note has become a real document . “Welcome To The Machine” also bursts the power sound which the weight of the sound expands, the remaster effect which maximally pulled out the power of the bass which was lurking in the original sound pushes like the flood, the synthesizer directive which lasts from 5:32 for a while The feeling also develops with super high resolution toughness sound which is expanded. “Have A Cigar” is also trained and awakens the tone of euphoria like the finish of the polished sound, and even if you set it to “Wish You Were Here”, the wave of the guitar string is the best of grandeur in history I will chew the excitement that drifts in. “Shine On You Crazy Diamond Part 6-9” is a 21-minute period where you can enjoy the exquisite reproduction of the original sound waveform and the spread of fine sounds. It is definitely sure to raise the hearing impression evaluation of listeners also by the separation and dissolution of the sound which is lengthened endlessly here, and the almost silent scene (* 16: 45 – 55) until the performance disappears once and it is handed over to the piano once in the final stage , I had a sense of transparency beyond the original sound. Although “Money” could confirm the delay effect of the guitar in the middle stage by the sound group moving device to be larger or smaller (= approaching and going away) on the Sigma 177 board (5: 33 ~ 8: 13) , It is also a big topic that has come out with sharp sound that vividly diffuses to all directions so far. “Us And The m” also loses the feeling of blocking in the range, Roger does not say here the expansion of the pure dynamic tone and the expansion of the melody Everyone who heard this work shouts “Perfect !!” There is no difference.

Master sound of Hopkins who finally got complete with the latest remaster that was thought out. It can be said that the spread of the sound image is directly related to the spread of the knowledge as it is, but if Hopkins himself listens to this, his recording which should be familiar with listening to it had this possibility I wonder if I can not hide surprises. As well as those who used to listen to Boston for the past 77 years at some former board, even those with Sigma 177 board, this highly accurate upper feeling is intensely witnessing It should be an experience to shake. Finally, with the crown of “DEFINITIVE” appeared, the 77th anniversary of Boston recording, please fold your fingers only a few days, wait for hope in the mind and wait for that electric shock appearance !!

★ I’m upgrading with an equalization that expands the range, the clarity of the performance, stereo feeling has increased.

Us And Them 1977-06-27

Pink Floyd

Definitive Boston 1977 (27th June 1977)

Label: Sigma 226

Japan 2018

1-1 Sheep

1-2 Pigs On The Wing 1

1-3 Dogs

1-4 Pigs On The Wing 2

1-5 Pigs (Three Different Ones)

2-1 Shine On You Crazy Diamond Part 1-5

2-2 Welcome To The Machine

2-3 Have A Cigar

2-4 Wish You Were Here

2-5 Shine On You Crazy Diamond Part 6-9

2-6 Money

2-7 Us And Them

Live at Boston Garden, Boston, MA, USA 27th June 1977 (UPGRADE).

Direct-to-direct transfer of Steve Hopkins' cassette master tapes.

Wish You Were Here 1977-06-27

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King Crimson 2019-09-10 Auditorium Theatre, Chicago, IL (50th Anniversary) FLAC

KING CRIMSON 2019 TOUR - CELEBRATING 50 YEARS

King Crimson comemora os 50 anos mantendo as características e particularidades que sempre fizeram da banda um dos primeiros nomes a serem mencionados quando se fala em rock progressivo.

Tudo na banda evoca esse estilo, a começar pela formação incomum: o grupo conta com três bateristas, todos tocando ao mesmo tempo.

"Mas fazendo coisas diferentes", diz Levin. "Nossa abordagem musical sempre foi diferente e bem mais complexa. O nível dos músicos é elevado e, de várias maneiras, isso nos inspira. No fim, esse direcionamento da banda parte da cabeça de Robert [Fripp, guitarrista e líder do grupo]". 

"Mas é o melhor líder de banda que já conheci: ele nos diz onde temos que chegar, mas não nos fala como fazer, nem nos impõe nenhum caminho específico a ser seguido. Isso nos dá muita liberdade".

"É possível que apresentemos algo novo,é verdade. Mas, se tivesse que apostar, diria que boa parte do show será formada por clássicos da década de 1970. Nossas apresentações são longas, com cerca de três horas, dá para encaixar muita coisa. Estamos na nossa melhor forma como músicos e o público vai perceber isso", explica Levin.

"As apresentações e gravações da banda dependem da vontade de Robert – e isso pode demorar algum tempo para acontecer. Além disso, todos nós temos projetos paralelos que consomem muito do nosso tempo",

"É verdade. O King Crimson nunca mudou seu estilo, nunca fez concessões. Costumo dizer que somos a banda de rock progressivo por excelência. Por isso acredito que nossos fãs também são bastante particulares. São pessoas que, de fato, se importam com a música que fazemos". Conclui Levin.

A banda de rock progressivo comemora 50 anos de carreira no Brasil com apresentações no Espaço das Américas, Barra Funda, São Paulo, no dia 4 de outubro, e no Palco Sunset (Rock in Rio) dia 6 de outubro, data de encerramento do festival.

Pelos áudios aqui disponíveis é possível se ter uma boa ideia do peculiar altíssimo nível da banda, que nesta turnê especial não poderia ser diferente.

Abaixo uma resenha pela revista Illinois Entertainer sobre o show deste post, no Teatro Chicago, Illinois, ocorrido dia 10 de setembro último. Confira

Live Review: King Crimson at The Auditorium Theatre

Chicago Theatre

Tuesday, September 10, 2019

When progressive rock titans King Crimson last visited Chicago in 2017, the proceedings at Chicago Theatre went so well that the band released an officially sanctioned live album of the concert. On Tuesday night, the English septet stopped at the venerable Auditorium Theatre for its 2019 Celebration Tour. The group were clearly aiming for similar heights, delivering a three-hour performance that spanned 50 years of musical challenges and thrills since the release of 1969 debut album In the Court of the Crimson King.

Befitting its stature as the standard-bearer for prog-rock, the band left no song in its familiar form. Instrumental excursions during songs like 1970’s “Pictures of a City” and even recent fare like 2016’s “Suitable Grounds for the Blues” were deconstructed and rebuilt to suit the considerable strengths of the current Crim line-up. The band’s spartan stage dressing put emphasis squarely onto the music, without distraction. The only change in lighting was a dramatic shift to deep red light late in the concert, when the band shifted from the moody and moving verses of “Starless” into the song’s sinister-sounding instrumental passage.

Bandleader Robert Fripp was true to form as a reluctant and reticent but virtuosic guitar hero. His position was seated in the second line of players, the better to see the band’s front-line phalanx of thundering and dazzling percussionists. Although Fripp was no flamboyant showman, his performance during instrumentals like “Red” and the slashing, chopping “Larks’ Tongues in Aspic (Part IV)” was focused, meticulous, committed and intense.

The band’s front line was a percussion trio including longtime Crim drummer Pat Mastelotto, veteran member and former Porcupine Tree drummer Gavin Harrison, and 2016 recruit Jeremy Stacey. All three branched out from standard tools and techniques with stunning dexterity, splitting into controlled chaos and returning to fuse into rhythmic unison during percussive showpieces “Hell Hounds of Krim” and “Devil Dogs of Tessellation Row.” Stacey proved equally adept at piano for songs including “Islands” and “Easy Money.” Mastelloto integrated electronic instruments into his rhythms, and had a wall of dangling percussive toys surrounding a large gong behind his kit. Harrison hewed closer to his drum set, masterfully playing beats within beats. The drummers played a rhythmic game of hot potato during “Indiscipline” by tossing tricky shapes at one another in gleeful improvisation, and shared fills that traveled the line from Harrison to Stacey to Mastelotto and back again during “Radical Action II.”

Singer and guitarist Jakko Jakszyk was featured during the band’s most accessible fare, including the retooled “Frame by Frame” where he shared rich vocal harmony with Levin. Jakszyk’s swooning vocal melody during the verses traded space with Fripp’s frenetic guitar during instrumental passages. Jakszyk followed the gentle vocal melody of “Islands” by taking a deft guitar solo. Fripp shifted to mellotron for the song, while winds player Mel Collins took flight on tenor saxophone.

The melodic core of the band was anchored by bassist Tony Levin, who held the low frequencies (and then some) with instruments including electric bass and the 12-stringed Chapman Stick. Levin took a robust pizzicato-plucked solo during “Moonchild,” before bowing his sleek electric upright bass. Meanwhile, Fripp played gliding orchestral string lines with a tone like the one he deployed on David Bowie’s “Heroes.” Levin played slippery rhythms using the Stick during “EleKtriK” and “Indiscipline.” He joined Jakszyk for more vocal harmonies during “Cat Food.” Levin’s melodic bass grounded “Starless” and led into its pensive, clockwork instrumental section that paradoxically made time stand still.

Early bandmember Collins has provided grace and texture since returning to the lineup in 2013, adding saxophones and flute to songs like “Red” as if they’d always belonged there. Collins’ free-jazz baritone sax both heightened the chaos and counterbalance the jagged rhythm of “Neurotica.” His flute adorned Jakszyk’s baroque guitar and vocal during “In the Court of the Crimson King,” earning big cheers from fans of the band’s early albums. The most demonstrative of the players on stage, Collins responded to the ovation with a broad smile and by pumping his fist to his heart in salute. Collins’ baritone saxophone also underscored “Easy Money,” a song that demonstrated precisely how funky a prog band can get outside of 4/4 time.

The set list was a worthy primer for King Crimson’s catalog of 13 albums dating to 2003’s The Power to Believe. For songs like “Suitable Grounds for the Blues” the band exceeded its studio canon to play material heard only on live albums like Radical Action to Unseat the Hold of Monkey Mind. In observance of its 50th birthday as a cornerstone of prog-rock, In The Court of the Crimson King was visited four times. Selections included the dramatic “Epitaph” and Fripp’s slashing, two-ton fretwork during a ferocious encore of “21st Century Schizoid Man.”

After fifty years of history and musical intuition, King Crimson’s imaginative improvisational sense and unparalleled technical acumen leave the band prepared to traverse as much uncharted territory as Fripp still wishes to explore. When the drum trio eventually synched up during that final blast of “20th Century Schizoid Man” for a simultaneous and flawless stick toss mid-song, it was finally acceptable to think for a moment, “Okay. Now, they’re just showing off.”

– Jeff Elbel

Illinois Entertainer

King Crimson

2019-09-10

Auditorium Theatre

Chicago, IL

Set 1:

01. Announcments/crowd

02. Hell Hounds of Krim

03. Pictures of a City

04. Neurotica

05. Suitable Grounds for the Blues

06. Red

07. Moonchild

08. Epitaph

09. Fairy Dust of the Drum Sons

10. Cat Food

11. EleKtriK

12. The Court of the Crimson King

Set 2:

01. Devil Dogs of Tessellation Row

02. Frame by Frame

03. Larks' Tongues in Aspic (Part IV)

04. Islands

05. Easy Money

06. Radical Action II

07. Level Five

08. Starless

09. Indiscipline

Encore:

10. 21st Century Schizoid Man

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Total = 162:39

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