this if from a
different source of the common version circulating, it's the full recording,
whereas the other seems to be missing intro and very beginning of the show (that
was filled with this source).
This source has more or less the same sound quality than the other one, but it's
much brighter (wasn't remastered).
notes as they came with the files:
Taper: Lostbrook
Mastering: CQ
Pink Floyd : The Lostbrook Tape Series - Volume 8
Roger Waters did an outstanding job with The Wall in 2010. I was impressed
enough by the show in DC to see it again in Philadelphia, but you simply
cannot compare it to the 1980 tour. This concert is Pink Floyd. End of
discussion. The Wall album had been out for less than three months, but I had
been there for some of the earlier bricks in 1977, with fireworks exploding over
my head and “bottles breaking in the hall.” I was fortunate that five out of the
31 concerts on the tour would be in my backyard. I took no chances, called every
scalper I knew, and acquired a seat in the seventh row for sixty dollars. There
is little I can add to what has already been said about the concert, other than
a personal observation I made at the time. You’ll hear it on the tape - after
the wall has come down, as the band is exiting, still playing Outside the Wall,
I declared it to be “the most beautiful moment” I had ever seen in a concert.
Special thanks to Allison and Ellen for their help with the camera and
tapes.
Tapers Story:
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.
Lost Brook
January 2011
