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Thread: If you don't know Floyd boots, you don't know Floyd

  1. #51
    Highly Evolved Orangutan JKL2000's Avatar
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    "Sorry, guys - people don't understand why marbles and coasters were included in the set, so it's not selling as well as we'd hoped."

    Floyd members have told fans to go ahead and buy bootlegs because they just don't want to bother witching putting out archival, live recordings. Which I extend to mean it's perfectly ok to illegally download The Endless River.

    I kid, I kid...

  2. #52
    Quote Originally Posted by GuitarGeek View Post
    Given how many BBC recordings have been issued on CD over the last 25 or so years, one would assume they'd be quite happy to put out some type of official release of this music (and/or the other sessions the band did for the Beeb). Therefore, it would seem likely that some contingency with in the band, meaning some combination of the four musicians have vetoed any such release. Whether it's because they're embarrassed by the recordings or they "don't want to look exploitative" or whatever, well that's The $64,000 Question, isn't it?
    But, wasn't the recent live DSotM release (Immersion Set?) a BBC recording?

    Quote Originally Posted by JKL2000 View Post
    Floyd members have told fans to go ahead and buy bootlegs because they just don't want to bother witching putting out archival, live recordings.
    I'm all for it, except we don't really have to pay anymore.
    "The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"

  3. #53
    Highly Evolved Orangutan JKL2000's Avatar
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    Quote Originally Posted by ronmac View Post
    But, wasn't the recent live DSotM release (Immersion Set?) a BBC recording?

    I'm all for it, except we don't really have to pay anymore.
    Obtain.

  4. #54
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    Quote Originally Posted by ronmac View Post
    Unfortunately, no soundboard recordings have appeared from that tour, except one, which is pretty flat. The remastered Oakland show sounds unbelievable.

    Anyone who dismisses audience recordings as "all sounding crappy" is missing some really great recordings. I have several that sound as good as soundboards. Some even better. And there are many decent-sounding ones with incredible performances that they're missing. It's their loss.

    For me, it takes about one minute to get over the sound. Listen beyond it and hear what you're missing.
    For an audience recording, Oakland is impressive I agree. I never could quite understand why RW made the effort to shout out the number of each show if he/they didn't also have the foresight to record at least one of them professionally onto multi-track tape. I also find it ironic that PF, perhaps more than any other band I've heard live, was obsessed with preventing illegal concert taping, yet it is a bootleg that now stands as the best example of that amazing tour. All told, not sure I'd rate the range of PF bootlegs as particularly distinctive - my other favorite band, Genesis, has a far more complete and better sounding 'catalog' - though, I suppose, they were road-warriors in a way that Floyd never was. I'm pretty happy with the officially released empire show (with bootleg BBC Echoes bolted onto the end), a bit of Breighton (sp?), wall live and Oakland '77. My holy grail would be a better take on the '77 tour, but that seem like a pipe dream at this point.

  5. #55
    Highly Evolved Orangutan JKL2000's Avatar
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    Quote Originally Posted by ca1ore View Post
    For an audience recording, Oakland is impressive I agree. I never could quite understand why RW made the effort to shout out the number of each show if he/they didn't also have the foresight to record at least one of them professionally onto multi-track tape. I also find it ironic that PF, perhaps more than any other band I've heard live, was obsessed with preventing illegal concert taping, yet it is a bootleg that now stands as the best example of that amazing tour. All told, not sure I'd rate the range of PF bootlegs as particularly distinctive - my other favorite band, Genesis, has a far more complete and better sounding 'catalog' - though, I suppose, they were road-warriors in a way that Floyd never was. I'm pretty happy with the officially released empire show (with bootleg BBC Echoes bolted onto the end), a bit of Breighton (sp?), wall live and Oakland '77. My holy grail would be a better take on the '77 tour, but that seem like a pipe dream at this point.
    The point is that there's stuff that you only really hear on the boots - as mentioned with the stuff from the Atom Heart Mother tour. There's one boot with a 30 minute version of Embryo. If you only knew studio material you would think Embryo was just a 5-minute song.

  6. #56
    Member Since: 3/27/2002 MYSTERIOUS TRAVELLER's Avatar
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    Quote Originally Posted by GuitarGeek View Post
    The Meddle era show is 30 September 1970
    I couldn't find that date on Yeeshkul or Dime... are you sure of that date?
    Why is it whenever someone mentions an artist that was clearly progressive (yet not the Symph weenie definition of Prog) do certain people feel compelled to snort "thats not Prog" like a whiny 5th grader?

  7. #57
    Quote Originally Posted by Jay.Dee View Post
    Doesn't "they don't want to look exploitative" sound funny in the moment of their brand new release?
    Or indeed, the Pulse live album, which reprised many of the songs that had appeared on the previous live album, Delicate Sound Of Thunder, with only one studio album in between.

    I just have the impression that the band doesn't want to keep issuing alternate versions of "the same old songs", because they don't want to exploit the fans or whatever (obviously, though, Pulse contradicts that point). I have the impression that at least in the pre-Dark Side Of The Moon days, they were embarrassed as it was about still playing stuff like Saucerful Of Secrets, Careful With That Axe Eugene, and Set The Controls For The Heart Of The Summer only 2-3 years after they first debuted them. Never mind that they had expanded the songs with improvisation and jamming and so forth, I get the impression that at the time, there was a logic that dictated that "we need to come up with some new material" was in place. I think though, eventually, they got comfortable with playing "the old stuff", as becomes obvious when looking at the set lists of their last two tours.


    Quote Originally Posted by Jay.Dee View Post
    No, it is really a $1 question. All those guys who crossed the Rubicon back in the 70s to achieve great commercial success with the New Thing do not have patience and money for any archival underground releases catering to a niche audience. Actually they rarely decide about anything - for such a dirty job they have specialists hired, who usually come up with an idea of a new greatest hits collection, super-deluxe edition of their Big Album or a great opportunity to lease a track to a movie.

    And those hired experts do not want to come back with the news that a live tape from ancient times, whose assembling cost a fortune (rich people are always overcharged), DID NOT sell well, has been savaged by mass media and is not played in the radio/TV because of THAT HORRIBLE sound. That is not a kind of reception any big rock star has been used to for decades.

    Maybe with the current demise of mass music market and the advent of specialized collectors market of physical media the Pink Floyd camp will gradually change their minds. I only hope that they will rather choose the Queen's way (which finally gave green light to the affordable "Live at the Rainbow '74" packages) and not the Rolling Stones' path (which offered an exclusive $700 boxset with the Brussels '73 live recording).
    I'm not sure I understand anything you said there, other than hoping that any future releases will at least include something more affordable than the big mega-deluxe "for super wealthy fans only" boxsets.

    I don't think something like the Pink Floyd BBC recordings would be "savaged by the media". If it's given a low key release, as was done with, say the Soft Machine releases, the media probably won't even bother mentioning. In the more likely event, though, it'll be a big deal because "hey, it's Pink Floyd, and Pink Floyd doesn't do low key", and I think the media would be relatively kind to a release of pre-DSOTM live recordings, given how friendly they remain to that part of the band's career.

    As far as sales, I'd say it'd probably sell no worse than any given CD reissue of Ummagumma, Atom Heart Mother or Meddle. That is to say, it'll be in the black within a day of release. There's enough fans and collectors who'll buy something like that, just to say they have every version of every thing that Pink Floyd has ever released.

  8. #58
    Quote Originally Posted by ronmac View Post
    But, wasn't the recent live DSotM release (Immersion Set?) a BBC recording?
    Well, yes, but you see, Pink Floyd performed for the BBC multiple times before that. There's several radio sessions from the late 60's, and the two Paris Theater concerts from 70 and 71. There's at least a good three CD set amongst those recordings. Putting out a live version of their most famous record doesn't really compensate for the continued absence in the official catalog of those earlier recordings.

  9. #59
    Quote Originally Posted by MYSTERIOUS TRAVELLER View Post
    I couldn't find that date on Yeeshkul or Dime... are you sure of that date?
    30 September 1971

  10. #60
    Quote Originally Posted by GuitarGeek View Post
    Well, yes, but you see, Pink Floyd performed for the BBC multiple times before that. There's several radio sessions from the late 60's, and the two Paris Theater concerts from 70 and 71.
    Yes, I'm very aware of that. I have every one of them.

    It seems that I misunderstood your comment. I thought you suggested band members would veto a BBC release and I was pointing out that one was already released. Upon second reading, I see you were referring specifically to the pre-DSotM recordings.
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  11. #61
    Member Jerjo's Avatar
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    Quote Originally Posted by ronmac View Post
    Yes, I'm very aware of that. I have every one of them.
    Fuck, I gotta download some of this...
    I don't like country music, but I don't mean to denigrate those who do. And for the people who like country music, denigrate means 'put down.'- Bob Newhart

  12. #62
    Member Jay.Dee's Avatar
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    Quote Originally Posted by GuitarGeek View Post
    I have the impression that at least in the pre-Dark Side Of The Moon days, they were embarrassed as it was about still playing stuff like Saucerful Of Secrets, Careful With That Axe Eugene, and Set The Controls For The Heart Of The Summer only 2-3 years after they first debuted them. Never mind that they had expanded the songs with improvisation and jamming and so forth, I get the impression that at the time, there was a logic that dictated that "we need to come up with some new material" was in place. I think though, eventually, they got comfortable with playing "the old stuff", as becomes obvious when looking at the set lists of their last two tours.
    Well, as you say, playing or releasing the same stuff twice or more is obviously not an issue here. The only embarrassment (I suspect) they can feel about pre-DSotM material is the style, quite different to what gave them fame and fortune. It is actually rather typical for mega-star artists to detach from their "immature" years, which they do not view as any asset but as an embarrassing reminder that they did not NAIL it right from the beginning.

    There is no better illustration of the gap (the Wall?) between an old fan and a big star than the R'n'R Hall of Fame induction ceremony of Genesis, where the band surrounded by celebrities and executives gets confronted with an ardent fan of their early output, Trey Anastasio of Phish. While Trey gives a laudatory speech raving about the progressive virtues of "Trespass" (and next few albums), one can only observe the long faces of Phil Collins and Mike Rutherford, totally disgruntled and horrified by this outrageous attempt to unearth the long forgotten past. It is not the way how their career was supposed to be lauded, where are the sales numbers, the number of platinum discs, where is the mention of sold-out arena tours and music awards, what is that bum talking about, guards!!!

    When finally Phil got to the mike, he immediately underlined that he was A SINGER and not just an exquisite drummer, as that lamentable ceremony host had wanted to humiliate him. The only member of the band who seemed to enjoy the situation was Steve Hackett, but his speech got cut short in TV summary replays. Nobody was seemingly interested what the guy from the band's past without any substantial success cachet had to say.

    Quote Originally Posted by GuitarGeek View Post
    I don't think something like the Pink Floyd BBC recordings would be "savaged by the media". [...] it'll be a big deal because "hey, it's Pink Floyd, and Pink Floyd doesn't do low key", and I think the media would be relatively kind to a release of pre-DSOTM live recordings, given how friendly they remain to that part of the band's career.
    Well, from the perspective of their asset managers it could be still a risk. As you say again, there is no low key release with a brand like Pink Floyd, so it is going to be trumpeted as a discovery of the Rosetta stone. And now imagine that the masses of casual listeners or, worse, unprepared music journalists from mass media or, the worst, a guy looking for a good sound track to a new blockbuster movie, pick up that archival tape and blast live, rough sounding "Saucerful of Secrets" on their home stereos. What would be their reaction? Will they appreciate what they can hear? Wouldn't it be one of those worst excesses of early rock music, from which deans of music critique, record labels and radio owners have tried to protect their dear customers for decades?

    Quote Originally Posted by GuitarGeek View Post
    As far as sales, I'd say it'd probably sell no worse than any given CD reissue of Ummagumma, Atom Heart Mother or Meddle. That is to say, it'll be in the black within a day of release. There's enough fans and collectors who'll buy something like that, just to say they have every version of every thing that Pink Floyd has ever released.
    Yeah, but before it was just a tiny fraction of revenue and attention that a greatest hits collection or any repackaging of post-DSotM material could generate. Now, as the mass music market disappears into thin air (stream) the same numbers can be viewed from quite a different angle. That's what I am counting on and if you can observe the recent hyper-activity around the live vaults of classic rock acts (previously disregarded as junk assets) there is a hope that even the biggest acts will start to appreciate those small pennies. Let Queen show them the way.
    Last edited by Jay.Dee; 10-05-2014 at 10:35 AM.

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