Pink Floyd: Dortmond 1977 (PRRP Aud Remaster) FLAC

repost by request

PRRP011 - IF PIGS COULD FLY
Jan 23, 1977 (Westfalenhalle - Dortmond, Germany)

CD1
1-1. Sheep 12:02
1-2. Pigs On The Wing (Part 1) 1:32
1-3. Dogs 18:22
1-4. Pigs On The Wing (Part 2) 2:06
1-5. Pigs (Three Different Ones) 17:42

CD2
2-1. Shine On You Crazy Diamond (1-5) 13:35
2-2. Welcome To The Machine 7:50
2-3. Have A Cigar 5:25
2-4. Wish You Were Here 6:30
2-5. Shine On You Crazy Diamond (6-9) 15:41
2-6. Money 9:31
2-7. Us And Them 7:41

"Here Come the Pigs!"
Pink Floyd were ready with their new album “Animals”. The album was recorded during the summer and fall of 1976 in a new studio built in Islington, North London and contained both old and new material. Ever since the end of 1974, and all the way through the many legs of the 1975 tour, the band frequently performed ‘Raving and Drooling’ and ‘You’ve Gotta Be Crazy’, two brand new songs that failed to make the final cut of “Wish You Were Here”. Reluctant to throw away such good material, the band re-structured the two unreleased songs around the concept of the new album, respectively re-naming them ‘Sheep’ and ‘Dogs’. New material written to accompany those two older number included “Pigs (Three Different Ones)” and a two-part song called ‘Pigs on a Wing’. Roger describes this as a love song to his wife Carolyne. Other motivations for the album, according to Waters, included moralist Mary Whitehouse and the rising conservative politician Margaret Thatcher. Both received the brunt of his scathing sarcasm.
As always, the band wanted the world to take notice of their new work. They adopted the new floating pig mascot for both symbolic and practical reasons. The cover of the new album shows the pig floating over the London Battersea power station. To get this picture, the graphic artist wanted to superimpose the pig into a standard picture. The band had other plans and insisted that a 40 foot helium filled Zeppelin of a pig be made, inflated, and launched over the site.This spectacle was arranged with a film crew, tethering crew and even a sharp shooter in case the giant pig broke loose and needed to be shot down. Unfortunately, the first day’s attempt was unsuccessful due to weather. The next day the photographs were taken but before they would return the zeppelin to the ground, the wind broke the tethering lines and the huge inflatable pig was loose. This problem was further complicated by the fact that no one remembered to ask the sharp shooter to come back for the second day. The pig floated around London for quite a while before landing in a field near Canterbury. Though it was obviously unplanned, the band could not have asked for a better publicity event.
This brings us to the present PRRP release. Dortmund, Germany, January 23rd 1977 was to witness the very first show of the 1977 Animals Tour. The new album was to be released the day of this performance, therefore no one in the audience was very familiar with the new material.
Saxaphonist Dick Perry joined the band again on this tour, while Terrance “Snowy” White was asked to provide back-up rhythm guitar. Pink Floyd once more split the show into two sets. The first set consists of the whole “Animals” album while the second presented –for the first time- the complete “Wish You Were Here” album. Two encores were also provided, both taken from the “Dark Side of the Moon” album. The combination provided an excellent chronicle of the Pink Floyd approach to music at the time and received a warm reception for this very enthusiastic German crowd.

Notes from the Re-Master
The source for this audience recording is generally good but a number of problems needed to be fixed. For some reason, many of the songs were spliced together, making an abrupt cut during the audience applause. We presume this was done to shorten the recording but none the less we had to smooth these transitions in order to maintain the flow of the concert. The hiss level was quite high so it was localized and reduced. The sound quality was good with music signal clearly present up to 11,000 Hz but the tonality needed adjustment. The low treble range was particularly harsh and piercing during Gilmour’s guitar solos and the saxophone leads.
Selective attenuation of those frequencies reduced this audible annoyance. At rare times the bass overwhelmed the other instruments and needed to be reduced as well.
During a five minute segment on disc 2 the left channel lost significant treble. This was restored as well as possible. At the end of “shine on you crazy diamond” the recorder probably had battery failure since the pitch and tempo fall noticeably. This was adjusted to be consistent with the rest of the show but brief variations remain. Conversely, during a section of disc 1 the tempo and pitch are unusually increased. This section was slowed back to the tempo and pitch of the rest of the show. Many brief dropouts occurred. Some were removed while others were pasted over to be less noticeable.

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Pink Floyd: Wembley 1974 (PRRP Aud Remaster) FLAC

corrected as promised

A Work in Progress (PRRP050)
Wembley Empire Pool
15th November 1974

Disc One
01. Shine On You Crazy Diamond 26:53
02. Raving And Drooling 17:21
03. You Gotta Be Crazy 17:38
Total Time 61:52

Disc Two
01. Speak To Me - Breathe 5:25
02. On The Run 5:03
03. Time 6:26
04. Great Gig In The Sky 7:11
05. Money 9:03
06. Us And Them 7:48
07. Any Colour You Like 8:01
08. Brain Damage 3:39
09. Eclipse 3:36
10. Echoes 23:32
Total Time 79:44

A Work In Progress….
Music collectors might expect that all recordings from 1970's Pink Floyd have been found, traded and distributed but here we are in the 21st century and new little treasures are still popping up. Take for example this recording. The source for this remaster project has been dubbed source number 4 for the Pink Floyd November 15th, 1974 concert. It was released by Rover Records under the title How Time Flies. Once torrented on the Dimeadozen website, a spirited discussion occurred regarding its characteristics and quality, compared to other sources. We agree that it is the best quality source of that night's event but felt that work needed to be done to improve the listening experience. Below, with permission, we present the lengthy and well thought out description of this recording….
I think it's best to address the issue of How Time Flies originally being announced as the November 14th, 1974 concert at Wembley - this is also the date printed on the cover. What we have here is in fact the concert from the following evening, November 15th, 1974. It's pretty clear that this was nothing more than an honest, albeit tragic mistake and not an attempt to rip anyone off. That being said, some enthusiasts feel that the performance of the 15th is actually superior to that of its infamous successor. Previously, there have been versions of this show that have circulated both incomplete and intact. The first source was used for the majority of past releases including the incomplete Money on Flashback (FB0133), the often copied (and complete) Black Holes In The Sky first from Great Dane (GDR CD 9101) and later speed corrected by Harvested (HRV CDR 022), as well as the surprisingly good We Are From Planet Earth (STTP 184/185) from the often spotty Shout To The Top label. A second, inferior source was used for Akashic's Electric Magic (AKA-26) with slightly better versions of this source circulating via trader circles afterwards, and then in 2004 a mysterious, incomplete soundboard recording surfaced of this show offering a third, albeit odd perspective of this show (being that it was primarily drum and bass tracks) represented on silver via disc 2 of Siréne's Absolutely Years (Siréne-119).
The tape begins midway through Roger Waters' introduction of 'Shine On You Crazy Diamond' indicating that it is a new song. (PRRP: we have repaired this introduction, in this release). What follows is a lengthy solo synthesizer introduction from Richard Wright that foreshadows his work on the Wish You Were Here and Animals albums, coming across as celestial, in an almost Kitaro-esque way. This introduction is unique to the shows from this year as it evolved into the shorter, more familiar chord sequence and clear melody by the time of the first shows in April of 1975. There's a small amount of microphone noise as the taper gets settled (PRRP: much of which is now minimized), but it is brief and doesn't affect the enjoyment of this developing epic whatsoever. There's also a really strange bit at 1:42 that sounds like some acoustic guitars being strummed and “Pictish” ranting - an anomaly present on ALL sources, so apparently this came from the stage. The introduction continues at length until the vocals finally enter at the 8:27 mark, and things start sounding more familiar. Although the song was still relatively new, it is probably the most developed of the newer songs, and despite being played as a complete suite (instead of in halves as it would be from 1975 onward), it is the closest to its final form of the new material. After 1974, the band would never play 'Shine On' as a complete piece again, so that contributes to the value of tapes such as this.
Floyd surely recognised the benefits of developing new material in a live setting after the tremendous success of Dark Side Of The Moon. Any musician can understand the value of gauging both audience reaction and the overall flow of new songs onstage, but the band clearly jumped the gun on 'Raving And Drooling' and 'You Gotta Be Crazy' during the French tour earlier in 1974. These songs started to gel more throughout the winter tour, but are still somewhat embryonic during this performance and at times bearing only a passing resemblance to the final versions heard in 1977.
'Raving And Drooling I Fell On His Neck With A Scream' (as introduced by Waters) begins with a truly bizarre taped recording that actually is some chap (Jimmy Young) raving and drooling nonsensically! Apart from that, the song itself has evolved to be fairly close to the much later version everyone knows from Animals. The bridge section about 10 minutes into the song features some interesting volume swells/feedback unique to this era, and there's no 23rd Psalm recitation.
The audience is apparently a bit impatient as the band tunes up before 'You Gotta Be Crazy' and Roger responds by saying “We're going as fast as we can”. While one person in the audience tells Roger, “We're from planet Earth”, another shouts “1967” to which Waters retorts, “1967 no, you're wrong this is 1974! And this is another new tune especially for YOU. And it's called You Gotta Be Crazy”. Which of these two people he was addressing with this last comment, we will never know. The song itself is more “together” than it was during the French tour earlier in the year, but is still the least complete in relation to its finalised version from the Animals era. Vocally it comes across more melodically than on other nights, but the lyrics are delivered in a rapid-fire fashion making it difficult to discern what Gilmour is singing. Fortunately, the lyrics were printed in the tour programs for the audience. There are some interesting passages after the 2nd verse with Gilmour vocalizing in the style of 'Atom Heart Mother' prior to the 3rd verse, and a rather lengthy instrumental section after it.
The sound quality seems to improve slightly for the Dark Side Of The Moon set and it is a fairly standard post-album release performance. The band sounds more confident and enthusiastic and the audience erupts with rapturous applause from start to finish. Gilmour delivers fantastic solos in 'Money' and 'Time,' while 'On The Run' has something of a Bladerunner vibe this evening. It should also be noted that backing vocals sound absolutely fantastic throughout the suite - especially on 'The Great Gig In The Sky.' The critics may have bashed the Wembley gigs, but the crowd responds with absolutely thunderous approval at the conclusion of 'Eclipse'. They knew that Dark Side Of The Moon was well on its way to becoming an epic masterpiece. But in 1974, the audience had no way of knowing of the greatness that was to come from the material presented in the first set and that it was still ….. a work in progress.

Notes from the Re-Master
As noted above, we began with the How Time Flies source recording for this remaster project. This recording had great clarity suggesting that the taper was in a good position within the venue. Unfortunately, numerous microphone bumps and other recording noises were found but most were repaired or minimized. Both the sub-bass and treble were excessive in sections and so both were attenuated to balance the tonality. Many segmental channel volume drops were found which lead to imbalances. These may have been produced by microphone movement or obscuring the mics from time to time. These were also corrected. A distinct speed error was found, particularly during the first set material suggesting that the tapes themselves rather than the recorder were to blame. Only a minor degree of speed correction was needed for the Dark Side Of The Moon material. Dynamics were adjusted to make volumes more consistent throughout the show. Re-tracking was necessary to conform to standard references. We chose to keep Shine On You Crazy Diamond as a single track because, at this stage in development, this song is one full song, not the two parts that it later becomes on the subsequent album. As a result of remastering, we can now hear the audience member who yells, “We are from planet Earth”. This is an important moment since it causes Roger Waters to respond humorously before beginning the next song.
PRRP Staff

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Just for the record, the post of a couple of days ago was the source recording used for this PRRP remaster.

Yes: Boston 1977 (PRRP 2-Source Remaster) FLAC

PRRP 065 (the latest)

Boston Garden, Boston, MA - August 12th, 1977

Source 1:
Taper: Dan Lampinski
Location: Sec. 2, Row 11, Seat 13
Equipment: Nakamichi 550 Tape Recorder > Two Nakamichi CM-300 Microphones > Maxell cassettes > Nakamichi CR-3A cassette deck with azimuth correction > M-Audio Firewire Audiophile 2496 > CDWAV 24-bit/96-KHz wav files > Goldwave (normalizing and crossfades) > CDWAV (track breaks)
Source 2:
Taper: Barry Rogoff (Balrog)
Location: exact seat unknown but thought to be dead center, further back than Lampinski
Equipment: Nakamichi 550, CM-100/CP-1's > Maxell UD-XLII > Nakamichi BX-300 > Digigram VXPocket V2 > wave.

Jon Anderson - Vocals and various instruments
Steve Howe - Guitars
Chris Squire - Bass guitars
Rick Wakeman - Keyboards
Alan White - Percussion

01 Firebird Suite 3:17
02 Parallels 6:43
03 I’ve Seen All Good People 7:27
04 Close to the Edge 19:58
05 Wonderous Stories 4:55
06 Colors of the Rainbow 1:46
07 Turn of the Century 8:24
08 And You And I 10:45
09 Flight Jam 4:00
10 Awaken 20:14
11 Starship Trooper 14:41
12 Roundabout 9:25
13 Yours is No Disgrace 15:18
Total Time 126:53 (2:06:53)

Remaster (Source 1: Lampinski)
01. Repair hard clicks with attenuate some claps.
02. Correct Mic bumps.
03. Correct balance.
04. Patch 16 second tape flip in Awaken with Rogoff source.
05. Speed correct and correct pitch to match Rogoff.
06. Reduce tape hiss.

Remaster (Source 2: Rogoff)
01. Restore clipped sections.
02. Repair hard clicks and pops.
03. Re-balance tonality/EQ.
04. Repair Mic bumps.
05. Attenuate some claps.
06. Attenuate some audience whistles.
07. Correct balance.
08. Patch tape flips with Lampinski source, adds 27 seconds to the recording.
09. Correct speed, comparing to commercial live references and Lampinski source.
10. Correct pitch with Lampinski source.
11. Reduce tape hiss.

Remaster (Full Stereo)
01. Remaster Source 1.
02 Remaster Source 2.
03. Sync sources.
04. Combine recordings and create full stereo image.
05. Correct phasing and center sound.
06. Balance power and amplitude.
07. Cover non-overlap sections with single source.
08. Track as continuous performance.

Notes: Recording begins with 90 seconds of Rogoff source then Lampinski source comes in to produce the stereo image.
Sound quality suggests that the Rogoff mics were hidden at the beginning. Sound is a bit muffled until 45 seconds into Parallels when it becomes more clear at which point the full quality of the stereo recording can be appreciated.
Taper says: "It was probably the point at which enough of the people in front of us sat down to get an unobstructed, on-axis view of the PA. I was using a mike stand made from one leg of a lightweight tripod. It was held in place by a photographer's clamp on the arm of the seat. The stand was connected to the clamp with a wingnut acting as a set screw."
At the end of Close To The Edge and just before the next song (Wonderous Stories) begins, both tapers changed/flipped tapes so there is a brief fade-out/fade-in.
Given the need to patch a 16 second tape flip segment of the Lampinski source with Rogoff source, at this point in the song Awaken, the stereo field converts to single-source and then reverts back to full stereo. Careful listening allows identification of this segment.
Sound characteristics would suggest that Rogoff was further back in the venue than Lampinski who was seated in section 2 row 11. Rogoff remembers being "dead center" but has no documentation of exact seat.

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Pink Floyd: Boston 1977 (PRRP - 2 Source Remaster) FLAC

As The Fear Grows
Well, it's that time of the year again. Time to rejoice and celebrate another fruitful year in the life of the PRRP remastering group. Once more, our dedicated staff has made every possible effort to offer a good variety of exciting material to the ever growing progressive rock fan base. Over the years, the Special Anniversary Edition release has always been very special to us, its content carefully chosen to stand out from our regular programme of releases. This ninth edition of the anniversary special will be no exception to that rule. It features, for the first time in this instance, one of the most iconic bands in the history of rock music, the mighty Pink Floyd.
Pink Floyd is one of the most bootlegged bands in history, most of its tours widely documented in terms of high quality recordings, be it from radio or audience sources, and fans have been collecting these for over 40 years now. 'Most' is the key word here. Throughout these years, fans have desperately been searching for a high quality recording from the 1977 'Animals' tour. None of the shows from this tour was ever broadcast, and if Pink Floyd themselves have recorded some of them along the way, those must be surely kept under lock and key because no trace of such a recording has ever appeared anywhere, officially or not.
It is a well-known fact that this particular era in the band's life was not their favorite by far. Internal tensions were building up slowly, and although the Animals album was a fine one in the end, it does however suggest that Roger Waters had already begun to take over as the main driving force behind the band. Shades of things to come. This new album was the beginning of a new phase in the band's existence, one that eventually drove Gilmour, Wright and Mason away from the Waters-driven Floyd. Even years later, when David Gilmour had resurrected the Pink Floyd name for two great albums and tours, it came as no surprise to see that none of the tracks from the 'Animals' album were ever included in the band's live sets.
Back in 1977, however, the band did embark on a long an gruelling tour to promote the album. Being the consummate perfectionists they always were, the band gave all that they had to offer fantastic and memorable live performances. Sadly, only a handful of the audience recordings that were made over the course of this turned out well, and those could only be granted a 'B' rating at best.
A short while ago, however, it was discovered that two young men from the Boston area, Dan Lampinski and Steve Hopkins, both known for the high quality of their audience recordings from the seventies, were at The Garden on June 27th, 1977, as Pink Floyd performed the 'Animals' show. Dan and Steve always used the best portable equipment available at the time, so both men achieved amazing results that night. After laying dormant for many years, these recordings were recently made available, and both received rave reviews from the fans.
Now here's the PRRP twist. Both of these recordings are truly good, separately. Each has its own merits, but is limited to a rather narrow acoustic field. Since the two tapers were sitting on opposite sides of the Garden, the PRRP sound engineer decided to combine the two recordings to try and increase the acoustic field. What you hold in your hands is the result of this meticulous and time-consuming process. This true labor of love was no waste of time by any means. The joining of the two recordings has not only widened the acoustic field, but also improved the overall sound and created a surprising stereo effect, which makes for a stunning listening experience. Only you, the fans, will be able to pass an unbiased judgment on this, but I personally believe this combined remaster to be the very best sounding Animals tour recording EVER. Enjoy! RH
Notes from the Re-Master
What a great opportunity! Two high quality audience recordings of Pink Floyd during their wonderful 1977 tour. The Dan Lampinski team has provided us with his high quality source. The Steve Hopkins source has been available in various forms for a number of years. There has been some debate regarding the best source for the Hopkins recording. A presumed, master DAT clone was available on Yeeshkul as was a version called "Have a Cigar". Both showed some signs of probable high-frequency processing but the Cigar version frequency response drops close to zero while the master clone does not. For this reason, the master clone was used for this project.
Both recordings captured the full show but a number of gaps occurred in each. The largest gap was close to 5 minutes in the Hopkins recording during Shine On You Crazy Diamond part 6-9. Mr. Hopkins may have had to hide his equipment for security personnel at that time. Of course, for each gap, only one source was available but fortunately, all gaps were staggered so they were all filled using the other source. Since this is a two source stereo remaster, during the single source, gap filled segments, there is a noticeable change in the stereo field. This is particularly true during the long Hopkins gap. For the other smaller gaps, the change is brief.
Each recording was separately remastered. During the process, non-destructive repairs were made to clicks, pops and other tape imperfections. Pitch and frequency response/EQ were then compared and matched as close as possible. The dynamics of the two recordings differed greatly so calculations were made to match average and total power for each. The two recordings were then synchronized to the exact same run time. A stereo field was then created by blending the two sources together.
The individual recordings were each high quality but both had limited stereo field characteristics on their own. By combining the recordings, the overall stereo field was greatly expanded and better reproduced the experience that must have existed in the venue that night. Phasing was corrected and routines were used to center the sound in the stereo field. The final recording was then tracked using traditional tracking points. PRRP Staff

CD1/Set I
01 Sheep
02 Pigs on the Wing pt1
03 Dogs
04 Pigs on the Wing pt2
05 Pigs (3 Different Ones)

CD2/Set II
01 Shine on You Crazy Diamond I-V
02 Welcome to the Machine
03 Have a Cigar
04 Wish You Were Here
05 Shine on You Crazy Diamond VI-IX
06 E1: Money
07 E2: Us and Them

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Genesis: Boston 1977 (PRRP Remaster of Dan Lampinski's Aud Master) FLAC

Latest PRRPGS Remaster

PRRPGS 029
Boston Music Hall
Boston, MA
Feb. 24th 1977
Source1: Dan Lampinski
Location: Right-center G14
Lineage: Nakamichi 550 Tape Recorder > Two Nakamichi CM-300 Microphones > Master Cassette -> Nakamichi CR-3A cassette deck with azimuth correction -> M-Audio Firewire Audiophile 2496 -> CDWAV 24-bit/96-KHz wav files -> Goldwave (normalizing and crossfades) -> CDWAV (track breaks)
Source2: Hezekiahx2
Location: 4th row far left
Lineage: Sony ECM-99A (hand held one point stereo mic) > Sony TC-152 Portable Cassette Deck (Tape Position 'Normal' / Dolby 'B' in) > Maxell UD90 Tape > Tascam 122 MKII (Tape Position 'Normal' / Dolby 'B' out) > Tascam CD-RW2000 --> EAC --> CDWAV

Taper2 comment: There were other people recording this night (at least 2 others). I know there was another TC-152 or TC-158 recording on the right side in the 3rd row. There is also a Nak recording of the show. Quality is very good except there is a girl (probably a grandmother now) hooting between songs. I got caught up in the performance and had to make a cassette flip @ 6:13 mins into Supper's Ready. Otherwise the show is complete. A fresh transfer from my original cassettes.

CD1
01 01 Squonk 7:49
01 02 One for the Vine 11:40
01 03 Robbery, Assault & Battery 7:31
01 04 Your Own Special Way 7:27
01 05 Firth Of Fifth 9:30
01 06 The Carpet Crawlers 7:07
01 07 In That Quiet Earth 4:41
01 08 Afterglow 4:42
01 09 I Know What I Like 9:04
Total Time 69:31

CD2
02 01 Eleventh Earl of Mar 10:18
02 02 Supper's Ready 25:14
02 03 Dance on a Volcano 4:18
02 04 Drum Duet 1:09
02 05 Los Endos 9:04
02 06 The Lamb Lies Down on Broadway 4:42
02 07 The Musical Box 3:37
Total Time 58:22

Remaster Source 1
1. Re-balance tonality/EQ
2. Attenuate disruptive claps during songs
3. Repair clicks and pops.
4. Reduce Hiss
5. Patch tape flips with alternative source

Remaster Source 2
1. Re-balance tonality/EQ
2. Attenuate disruptive claps and coughs during songs
3. Repair clicks and pops.
4. Reduce Hiss
5. Patch tape flips with alternative source
6. Correct speed and pitch error

Remaster
1. Remaster source 1
2. Remaster source 2
3. Synchronize sources
4. Combine and create stereo field
5. Correct phasing and center stereo field
6. Balance channels and power.
7. Patch non-overlapping segments
8. Track as continuous performance.

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Pink Floyd: Boston 1973 (PRRP Aud Remaster) FLAC

the latest PRRP Floyd Release

Boston Music Hall
Boston, MA
March 14, 1973

Another Joe Maloney master recording. Presented to you un-altered. No EQ.
Lineage: Sony TC-110A, using the built-in microphone>Analog Master>WAV>FLAC

Disc one:
01 Introduction 2:43
02 Careful with that axe, Eugene 14:07
03 Obscured by Clouds-When You're In 14:45
04 Set the Controls for the Heart of the Sun 15:05
05 Echoes 21:48
Total Time 68:28

Disc two:
01 Speak to Me 2:19
02 Breathe 2:52
03 On the Run 5:34
04 Time 5:28
05 Breathe (reprise) 1:03
06 Great gig in the Sky 6:01
07 Money 6:17
08 Us and Them 7:23
09 Any Colour You Like 8:26
10 Brain Damage 3:47
11 Eclipse 7:32
12 One of these Days 9:24
Total Time 66:06

Pink Floyd first performed The Dark Side of the Moon in January of 1972. PRRP 056 presents one of these early Dark Side performances from Chicago on April 28. In our view, it illustrates the extent to which this eventual masterpiece of progressive rock was a work in progress at the time. This current recording is from Boston, captured in March, 1973, almost a full year later, and still, Dark Side of the Moon has not reached its final form. We now have the spoken words during 'Speak To Me' as well as the final segments called 'On The Run', 'The Great Gig in the Sky' and 'Any Colour You Like'. Still, in this recording, the Breathe guitar lead a slightly different from the studio version and Dick Parry's Saxophone is noticeably absent from the song Money.
Three nights before this Boston show, Pink Floyd performed in Toronto, Canada. According to Peter Goddard, a reporter for the Toronto Star, "An audience of 14,700 heard the show in quadraphonic, controlled by a console in the middle of the floor that surrounded you with sound. The show was 'rock based in technology' owing more to H.G. Wells than the blues, and where the visuals added extra meaning to the sound. At one point in the show, a hydraulic lift raised three banks of floodlights into the air, the stage was covered with purple smoke, strobe lights flashed from inside Nick Mason's clear drum set, and three flares were shot off from behind the stage..."
The following night, the band was in Montreal, at the Forum. Bill Mann from the Montreal Gazette was there and provides these memories, "...Richard Wright played the first note of 'Echoes' and the crowd burst into applause. The visuals are one of the most stunning shows in entertainment and the sound, using a $100,000 quadraphonic sound system was breathtaking. Dry ice produced fog as a giant spinning disc reflected thousands of glints of colored lights. During 'Set the Controls for the Heart of the Sun', the disc became an angry red sun above the band. The second half of the show was The Dark Side of the Moon which the audience didn't know. During 'On the Run', four red lasers shot off the mirrored disc from behind the band like tracer bullets followed by four more lasers from the back of the hall, as Richard Wright made sounds like a Star Trek phaser overloading. The visuals were stunning, and the music endlessly pleasing."
This recording is considered by many Pink Floyd fans to be one of the best from the 1973 US tour. The well known Boston area taper Joe Maloney was there that night and captured this performance for all to now enjoy. The recording has been available previously. A friend of the taper named Jamie Salerno provided a master sourced version of the tape many years ago. From that release we learn that the recording was made using a Sony TC-110A system with a built-in microphone and that it was the first Joe Maloney recording released to the music trading community. Though excellent in sound quality, the Jamie Salerno transfer was criticized for the fact that he used de-hissing and EQ adjustment, among other things, before the release.
A second digitizing of Joe Maloney’s original tape was completed and uploaded to the torrent/trade community, after the Salerno release. From the forum related to the upload we have this….”Jaime was the guy that previously uploaded 26 equalized versions of some of Joe's masters. We were asked by Joe to transfer most of his masters from the 70's and many from the 80's for his listening pleasure. He also wanted us to share them with all of you in the same form as they were taped. These are unaltered and are transferred to cdr just as originally recorded, so songs are split between discs because Joe flipped reels or tapes in the middle of those songs. We are uploading these to celebrate Joe's great master tapes and thank him for allowing us to listen to them as he recorded them 25 to 35 years ago." So the actual lineage should be...cass or reel[M]>cdr>EAC>wav>flac.
This is the material used for our PRRP remaster. Again, from the torrent forum we have further comment, “I compared samples and it (current transfer) is much better sounding than the common Salerno transfer -sounds like a generation later than the rest. Best 1973 recording, bar none“.
Though we are thankful to have raw, transferred masters from excellent tapers like Joe Maloney, the mission of PRRP is to restore these great recordings, correct their flaws and create the best listening experience possible. As with all tape-based recordings, this recording had a number for flaws which we endeavor to correct. We agree that this is one of the best 1973 Pink Floyd recordings and we hope that our efforts have made it just a little bit better. -PRRP Staff

Notes from the Re-Master
The recording came in discrete segments as referenced above. Each was presumably one side of a tape. The speed was assessed and found to be different for each tape so each segment was speed corrected separately. The tape flip points were then repaired allowing a seamless listening experience. The Dark Side of the Moon section was recorded at a different volume than the first part of the show so this was equalized. Others have noted that the left channel frequency response is reduced in the high end compared to the right channel. This was corrected as much as possible so the stereo image was symmetric. The tonality/EQ was adjusted to balance the sound given the characteristics of the venue. Some segments sounded muddy, as if someone moved in front of the taper or he had to obscure the recorder intermittently. These segments were adjusted as much as possible. Given the type of recorder used, auto record level compression seemed to be present and with dynamic adjustments the original dynamics of the show were restored using commercial references of these songs as a guide The two sets were split according to the show and segments were tracked using commercial discs as references. -PRRP Staff
Remaster
1. Correct channel imbalances and volume differences between tapes
2. Repair tape flip gaps and dropouts
3. Correct channel frequency response asymmetry
4. Adjust EQ/Tonality
5. Speed correct
6. Restore limited dynamics in compressed sections

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David Gilmour: Oakland 2006 (PRRP Remaster) FLAC

The latest PRRP Release

April 17, 2006
Paramount Theatre
Oakland, Ca

Source Gotfob: FOB > ROW HH Center > Neumann Ak40/lc3/Km 100's (DIN) > Sound Devices MP 2 w/80khz Bass Rolloff > Sony M1 @ 48k > Vx Pocket 440 > Toshiba 3480ct > Wavelab 4.0 (Resampled to 44.1) > Cd Wave > FLAC
Source Km: Nuemann KM140s (fob/floor) > Sound Devices MP2 > Sony SBM1 (48k) > Sony D7 > DAT master > HHb CDR830 > EAC/wavlab > FLAC

Disc 1
01 Breathe 4:04
02 Time 5:25
03 Breathe Reprise 2:23
04 Castellorizon 4:02
05 On An Island 7:59
06 The Blue 5:34
07 Red Sky At Night 3:26
08 This Heaven 4:43
09 Then I Close My Eyes 9:14
10 Smile 4:41
11 Take A Breath 6:52
12 A Pocketful Of Stones 6:21
13 Where We Start 7:31
Total Time 72:15

Disc 2
01 Shine On You Crazy Diamond pt I-V 12:07
02 Wearing The Inside Out 8:21
03 Fat Old Sun 7:11
04 Arnold Layne 3:54
05 Coming Back To Life 6:52
06 High Hopes 9:56
07 Echoes 24:44
Total Time 73:05

Disc 3
01 Wish You were Here 5:35
02 Comfortably Numb 10:09
Total Time 15:44

Remaster
1. Adjust EQ, dynamics and peaks in Gotfob source.
2. Adjust EQ, dynamics and peaks in Km source.
3. Sync two sources, slight speed difference existed.
4. Create Stereo image using both sources.
5. Phase correct to center sound and stablize stereo image.
6. Balance power and amplitudes of both channels.
7. Re-track.

Notes
Since the beginning of the tour Gilmour has played the whole new album during the first set of each show. Initially, the show would open with this album but on April 16th, the day before this performance the decision was made to take the Breathe-Time-Breathe reprise segment and move it to the beginning of the show. This allowed him to welcome the audience after playing these songs and then introduce the new album before any of it was played. This worked well so it was used again during this show. During the second set, Shine On and Wearing The Inside Out are played, as they have since the beginning of the tour. This is followed by Arnold Layne which is performed here for the first time since October 6th, 1967 making this a very special show. The song was then included in additional shows in both Europe and the US and is featured on the Gilmour commercial DVD as he sings the song with David Bowie. The remainder of the setlist included songs played consistently throughout the tour. Both source recordings were excellent but had different dynamics and slightly different sound characteristics. At times, there is a nice stereo separation so listening with earphones is recommended.

Wearing The Inside Out
When the curtain fell on Pink Floyd's gigantic and much celebrated 'Division Bell' world tour in 1994, all fans entertained high hopes that the band would carry on and come back with a new studio album and tour within a few years. When asked about this, David Gilmour, the band's undeniable new leader, was always evasive. He was working on some new music, he said, but did not know yet if the material would be used for band purposes or for a solo project. The turn of the century saw David show a much more relaxed attitude toward the music industry in general, and toward his own work in particular. After more than 30 years of standing up as one of the driving forces behind one of the world's most renowned and adulated rock bands, Gilmour felt the need to step away from the sheer hugeness of the Pink Floyd name and bring his act back to a more accessible level. Towards that end, David picked a few favourite numbers from his impressive back catalogue and devised a quite unique semi-acoustic set, which he took out on the road, playing only a handful of shows here and there, just for the pure fun of it. This short tour proved to be a very liberating experience for the man, and a pivotal point in his career.
As Gilmour was discovering, and highly enjoying his new-found freedom, he became more and more reluctant to resurrect the Pink Floyd machine, weary of all that would be implied as a result. Furthermore, the new music he had been working on had grown increasingly closer to his own heart, his lyrics expressing a host of deep, personal feelings, something that would be lost in a band environment. David felt that this material's only escape route would be by way of a solo album, which would be his first since 1984's 'About Face'. Retreating to his house-boat recording studio, Gilmour went to work, inviting friends and guess musicians to intervene as he went along, including his old Pink Floyd band mate Richard Wright and long-time friend Phil Manzanera among others. The result, the magnificent 'On An Island' album, arguably Gilmour's best work since the Floyd's 'Wish You Were Here' in 1975. The new album swiftly reached number 1 in the UK charts.
With such a huge hit under his belt, Gilmour could be proud of his work, but that was not enough. He longed to take the album out on the road, but not as he would have with the Floyd. He wanted to do this on his terms. At the age of sixty, David could not see himself caught in the wheels of an endless world tour, playing huge stadiums on a giant stage, with elaborate light effects, projections and such, and the media circus that was bound to follow. That, he felt, would have taken away the simplicity and heartfelt sincerity of his new music. Instead, Gilmour elected to play smaller venues, often open-aired, in only a few choice cities around the world, and then only a couple of shows at a time to ensure maximal preparation for each concert, and allowing proper resting periods and sightseeing time for everyone in the band and crew. David wanted the entire cast to see and feel the world as well as travel it, which made for a very relaxed and friendly atmosphere. Interviewed on the subject, Richard Wright said that this was the most agreeable and relaxing tour he had ever been on in his entire career.
For this tour, Gilmour wanted to perform the whole of the new album along with a few of his own personal favourites from the Pink Floyd era, so he needed a solid band that could handle both with ease. Having worked both on all but one of the 14 Pink Floyd studio albums and 'On An Island', Richard Wright was the obvious choice as the main keyboard player. Phil Manzanera accepted to join the band on tour as well, which made it easier for David on the guitar side of things. Jon Carin and Guy Pratt, both guest musicians on Pink Floyd's last two world tours provided excellent support, respectively on keyboards and bass guitar, while Dick Parry, long-time friend and tour mate of the band assumed the mantle of main saxophone player. Last but not least, Steve DiStanilao was chosen to occupy the drum stool, and his playing was flawless. In an interview, Steve once said that he felt like he had won the lottery in having a chance to join such an elite cast.
The show was a huge success wherever it went, and the tour was done in a very happy and healthy atmosphere. And it showed. Everyone had a smiling and relaxed attitude on stage, they were all having the time of their life out there. The set list was made to vary a little from one concert to the next to avoid the deadly routine of playing the same thing every night, which is always a good thing. Gilmour also had a few surprises in store this time around, of which this Oakland concert holds a shining example. Much to everyone's surprise, Gilmour and his band played 'Arnold Layne' that night. That song was Pink Floyd's first ever hit back in the mid-sixties, and it had reportedly not been performed live since October 6th, 1967, at a time when Syd Barrett was still fronting Pink Floyd. Ironically, Syd passed away right in the middle of the 'On An Island' tour, at which time Gilmour elected to play 'Dark Globe', a song he had worked on himself for one of Barrett's solo albums.
Both the album and tour were huge successes, as was said before. The 'On An Island' album stands out as a fabulous piece of work, delicately crafted by a man who gave it its soul, HIS soul. The concerts that ensued had a unique atmosphere, well captured on film for not one but two DVDs, 'Live At The Royal Albert Hall' (with special guests David Crosby, Graham Nash, David Bowie and Robert Wyatt) and 'Live In Gdansk', the ultimate concert of the tour. In the wake of the surprise Pink Floyd reunion for the Live 8 concert, many fans were disappointed that David Gilmour had elected to go for a solo album and tour instead of bringing Pink Floyd back to life. In the end, the 'On An Island' album and tour swept away most of the bickering.
On September 15th, 2008, the announcement was made that Richard Wright, age 65, had just died of cancer. Later that day, David Gilmour issued a vibrant statement as to the importance of Rick's contribution, not only to his or Pink Floyd's music, but mainly to his life. "He was my musical partner and my friend. Like Rick, I don't find it easy to express my feelings in words, but I loved him and will miss him enormously." On this album and tour with Gilmour, Richard Wright had once again been a crucial part of the musical texture, "the thread that held the fabric together", as Nick Mason once put it. Rick's presence was keenly felt on stage, particularly on the classic 'Echoes', which Gilmour had decided to revive for this tour. A few days after Wright's passing, David Gilmour and his band appeared live on the 'Later...with Jools Holland' television programme on BBC2, at which time he stated that 'Echoes' was one song that he felt he could never play again on stage..."not without Rick", he said.
Three years have gone by since the passing of Richard Wright, and David Gilmour has been very discrete during that time, but he did make the headlines once more on May 12th, 2011, when he appeared on stage alongside old band mates Roger Waters and Nick Mason during one of Roger's 'The Wall' concerts in London. Gilmour performed the guitar solos in 'Comfortably Numb', appearing at the top of the wall as he did on the original tour. He also played the mandolin on 'Outside The Wall' the final number of the evening, where he was joined by Nick Mason on tambourine. Will we ever hear new music from these guys working as one, or will David Gilmour ever issue a new solo album? No one can tell for sure but, while we wait for further developments, let us go back to the 'On An Island' tour and this great performance from the Oakland 2006 concert. We think it is well worth the trip.
PRRP Staff

Notes from the Re-Master
This is the first of many 2-source stereo remasters that will be added to the PRRP collection over the next year. Modern remaster software and modern digital recording equipment makes this an achievable process which would have been almost impossible, just a decade ago. For this remaster, two good sources were obtained. Many 2006 Gilmour shows were reviewed before this show was chosen. Many shows on the tour were recorded by more than one taper but often tapers were too close to each other or way off to one side. The position of these tapers plus the excellent equipment they both used and the uniqueness of this show as the first with Arnold Layne, made this show ideal for the 2-source stereo project.
This technique has been used on the RMCH remasters of the Led Zeppelin reunion show and the 2011 Roger Waters WALL show featuring David Gilmour playing Comfortably Numb; both of which have been available on DIME. Both were completed before this David Gilmour 2006 project. Even though all of these tapers at these three shows used excellent, modern equipment, a careful synchronization was needed to keep the recordings in balance and in phase with one another. Proper mixing and blending of the two sources is also important to create the sense of a center channel and to avoid excessive panning. Dynamics, power and EQ also differ from these recordings and matching them as much as possible before the merger helps to create a symmetric stereo image. I hope that you find the result worthwhile.

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Yes: Paris 1991 (PRRP Aud Remaster) FLAC

the latest PRRP

Paris, France
Palais des Omnisports de Paris Bercy
June 3, 1991

Source: LDB Master Series #267 Torrent
Lineage: Philips stereo microphone > Sony Professional > master tape > Aiwa Tape Deck AD-WX828 > Creative Audigy SE > HD > SoundForge 7.0 > CD Wave > FLAC Frontend (level 6)

Jon Anderson (Vocals, Guitar, Harp)
Bill Bruford (Drums, Percussions)
Steve Howe (Guitars, Vocals)
Rick Wakeman (Keyboards, Piano)
Chris Squire (Bass, Vocals)
Trevor Rabin (Guitars)
Tony Kaye (Keyboards)
Alan White (Drums)

Setlist
01 Firebird Suite 3:00
02 Yours Is No Disgrace 15:17
03 Rhythm Of Love 5:43
04 Shock To The System 6:13
05 Heart Of The Sunrise 11:27
06 Clap-Mood For A Day 7:56
07 Make It Easy 0:58
08 Owner Of A Lonely Heart 6:26
09 And You And I 11:11
10 Drums Duet 4:38
11 Hold On 7:08
12 I'Ve Seen All Good People 7:33
13 Tony Kaye Solo 1:40
14 Changes 7:33
15 Solly's Beard 7:19
16 Long Distance Runaround 4:36
17 Whitefish 8:00
18 Amazing Grace 1:42
19 Lift Me Up 8:52
20 Rick Wakeman Solo 5:12
21 Awaken 19:45
22 Roundabout 9:08
Total Time 181:17 (2:41:17)

Remaster
1. Speed correct.
2. Adjust tonality/EQ.
3. Reduce Hiss, clicks and pops.
4. Attenuate extraneous peaks.
5. Adjust dynamics.
6. Correct channel imbalance.
7. Repair dropouts.
8. Repair tape flips/changes.
9. Track.

Notes:
Some rare distortion present and unrepairable.
All tape flips/changes repaired for continuous listening experience.
Suggested CD Burn:
Disc 1: Track 1 - 8
Disc 2: Track 9 - 18
Disc 3: Track 19 - 22

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Jethro Tull: Seattle 1975 (PRRP Aud Remaster) FLAC

Date: 1975-07-25
Location: Seattle, WA
Venue: Seattle Center Coliseum
Source: Audience
Lineage: Master Reels @ full track mono>Tandberg Model 11>Wavelab 96/24 1ch mono>wav 44.1/16 2ch mono>flac
Taping Gear: Tandberg Model 11 R2R deck, Sony ECM-22P mic
Taped and Transferred By: JEMS

Band Members:
Ian Anderson - vocals, flute
Martin Barre - guitar
Jeffrey Hammond - bass
John Evan - keyboards
Barriemore Barlow - drums

Disc 1
01 Introduction 0:52
02 Wind-Up-Passion Play 7:56
03 Thick As A Brick 15:05
04 Wond'ring Aloud 4:18
05 My God (with flute solo) 12:29
06 Sealion 2:52
07 Skating Away (with band introductions) 8:09
Total Time 51:41

01 Ladies (with drum solo) 10:52
02 War Child 4:14
03 War Child Suite 5:19
04 Cross-Eyed Mary 5:13
05 Bungle In The Jungle 2:11
06 The Hare Who Lost His Spectacles 1:14
07 Aqualung 8:22
08 Guitar Solo 3:35
09 Back-Door Angels 5:48
10 Minstrel In The Gallery 1:40
11 Locomotive Breath 5:32
12 Hard-Headed English General 4:25
13 Back-Door Angels Reprise 1:54
Total Time 60:19

flute solo includes God Rest Ye Merry Gentlemen, Bourée & Living In The Past

Notes: JEMS master recording. This is an excellent sounding recording. This show captures Jethro Tull touring in support of their War Child album. This recording has circulated for years but this is the first time the master reels have ever been properly digitized (April 2010). This is an excellent show and performance with an early taste of an excerpt of Minstrel In The Gallery which would not be released until later in 75. Ian's in between song banter at this show is as entertaining if not more entertaining than music. Also of note this show took place on the 25th of July not the 27th as some other sources have speculated in the past.

Remaster
1. Create stereo image.
2. Adjust Tonality/EQ.
3. Adjust dynamics.
4. Adjust speed.
5. Repair tape change/flip.
6. Re-track.
Back to the Drawing Board

Despite live performances which were well received, many music critics were un-impressed with Tull's A Passion Play. Ian Anderson's disagreed with the criticism but knew that a different approach was needed for the next album. Warchild was recorded at Morgan Studios in London during the spring of 1974 and was named after a Roy Harper song called Little Lady in which the term was used. The album was eventually released in October of that year, reaching number 2 on the US charts and number 14 in Britain. Many fans have been critical of the album through the years but songs from the album such as Skating Away, Back Door Angels and Sealion have been included in many set lists since they were originally recorded. Tours in Japan and Australia initially presented the new material during the fall and winter of 1974.
This seemed appropriate since a picture of Melbourne, Australia was used to produce the Warchild album cover. The year ended with a brief tour of Europe. During these tours, a small segment of unrecorded material was played as part of a medley which later became the song Minstrel in the Gallery. Apparently encouraged that Warchild was not meeting the same scathing rebuke as the prior album, Ian Anderson decided to rent a house in Montreux, Switzerland to enjoy the 1974 Christmas holiday and write his next album, Minstrel in the Gallery. A tour of Europe during April of 1975 consisted of 15 shows and had set lists which were still dominated by Warchild and older album material. The tour was briefly interrupted when Ian Anderson suffered a sprained ankle during a performance in Germany. Once on the mend, the band was back on the road to complete the tour. The Minstrel album was recorded during the next few months in Monte Carlo, Monaco before starting a summer tour. Six more shows in Europe and then on to the United States.
The second show of the North American tour was in Seattle, Washington on July 25th, 1975. There has been some confusion regarding the date of this show as many people had originally believed that it had been on July 27th. However, the taper of this show and quoted newspaper advertisements both confirm July 25th to be the correct date. The set list was similar to shows over the past 6 months. There were seven songs from the Warchild album (Warchild, Warchild suite, Ladies, Back-Door Angels, Bungle in the Jungle, Sealion and Skating Away) with the rest of the set taken from the previous albums. The short segment of the Minstrel song was still included but despite completing and recording this new album, no other parts of Minstrel were played.
In the face of all the criticism of A Passion Play, parts of that album were still included in the show.
The Critique Oblique segment was played after an excerpt of Wind-up, almost as if Anderson was hoping that no one would notice that it was Passion Play material. In a more obvious attempt to include -but not really include- Passion Play segments, The Hare Who Lost His Spectacles begins after a segment of Bungle in the Jungle but is quickly morphed into an introduction for Aqualung rather than a legitimate segment of the much-maligned album. Of course, there were other highlights of the show as well. The omnipresent flute solo was incorporated into My God and included parts from God Rest Ye Merry Gentlemen, Bourée and Living In The Past. Jeffery Hammond-Hammond was featured as both the subject of the introduction story for Bungle in the Jungle and as a solo performer, demonstrating his skills as a juggler of unusual items. The items turned out to be black and white tennis balls that came out of the back side of a pantomime zebra which would join him on stage at that point. Given that Mr. Hammond was dressed in his usual black and white striped outfit, it must have been a spectacle to behold. Later in the show Mr. Anderson informs the audience that the song Skating Away was the only song salvaged from the 1973 recording sessions at Château d'Hérouville studios in France. The rest of the material was akin to Mr. Hammond's juggling material, by his own estimation. A string quartet was also part of the band at the time and was featured prominently during the Warchild suite.
These shows were considered a success by critics and fans alike. Chris Charlesworth of Melody Maker wrote at the time, "Jethro Tull are back once again playing the kind of music that won them their hard earned reputation as brilliant showmen and inventive instrumentalists....." We hope that you agree.
PRRP Staff

Notes from the Re-Master
This project began with a lossless FLAC copy of the torrented Master tape made available in the spring of 2010. The taper, JEMS is well known in trading groups as an avid fan who consistently obtained high quality recordings. According to the taper, the show was recorded using a Tandberg Model 11 R2R reel-to-reel deck and a Sony ECM-22P microphone. Pictures of this massive equipment (by today's standards) were included with the original release. Using this setup, only one break in the recording for a tape change was needed. This "tape flip" has been repaired and hopefully is now, unnoticeable.
The reel-to-reel tape setup was also very accurate for tape speed. Only minor speed adjustments were made during the remastering process. The recording was made in mono so one of the first tasks was to create a stereo image for the sound. The EQ was then adjusted to re-balance the sound and correct the clear excesses that were present.
Because this was a mono recording, channel balance was not an issue but dynamics were adjusted to enhance the recording. The show was then re-tracked and split for the CD format along a segment of applause so no music was interrupted.
PRRP Staff

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U.K.: Grosse Pointe 1978 (PRRP Remaster) FLAC

The first night (finally) added by request.

Date: 1978-07-19
Location: Grosse Pointe, MI
Venue: Punch And Judy Theatre
Source: Audience
Lineage: ANA(M)>WAV [96kHz/24bit]>WAV [44.1kHz/16bit]>FLAC [Level 8]
Transfer: Nakamichi CR-7A>PreSonus FireStudio Project>Adobe Audition 3.0>Cdwave editor>FLAC frontend 1.7.1
Taping Gear: Teac M-100>Sony TC-153SD
Taped By: JEMS
Transferred By: Mike Ziegler

Band Members:
John Wetton - bass, vocals
Bill Bruford - drums, percussion
Eddie Jobson - keyboards, violin
Allan Holdsworth - guitar

01. Alaska 2:22
02. Time To Kill 7:13
03. The Only Thing She Needs 7:10
04. Carrying No Cross 10:34
05. Forever Until Sunday 5:49
06. Thirty Years 10:16
07. In The Dead Of The Night 7:52
08. Caesar's Palace Blues 4:31
Total Time 55:47

Remaster
1. Create stereo image from Mono recording.
2. Patch and repair missing section at tape flip.
3. Adjust dynamics.
4. Many bumps and clicks repaired.
5. Re-track

Wetton's bass sounds very strange during Time to Kill, gets fixed by the next song.
Wetton comes in too early with second vocals of Carry No Cross.
Compared to previous night, this show has better mix with vocals higher in mix.

U.K. in the U.S.
The band U.K. was a Progressive Rock fan’s dream come true. During the late 1970’s Prog-Rock’s dominance of the music scene was fading and the creation of U.K. was seen as the spark that could reinvigorate the loyal following. But things don’t always go as planned. What follows is an interview of the band given two months after the shows we present here.
"This tour we've been very humble, eaten humble pie. On most of the gigs we've been supporting, and that means no sound check, lousy monitors and all." (PRRP: this may explain Wetton’s bass sound as they open the show on July 19th) Sitting in his modest room in a Howard Johnson's he and the three other members of U.K. – drummer Bill Bruford; guitarist Allan Holdsworth and keyboardist/violinist Eddie Jobson – each have tasted headline status, complete with sound checks and good monitors, in stints with Yes, King Crimson, Roxy Music, Frank Zappa and several other well-known bands.
"Generally speaking, we're better in a big hall because we're used to playing big halls," says Jobson. "In places like Cleveland, I've done the 10,000-seater with Roxy and Zappa. Bill did it with Yes and Crimson. John's done it with Crimson. We've done the big places, yet we go there and they want us to support in a 500-seater or something, which is sort of under kill. Consequently, we sell the place out, they add two shows and they sell out, and they say, 'Oh we should have put you in a bigger place'."
Jobson dominates the group, both on record and on stage, as he alternates between keyboards and Plexiglas violin, pushing the band through long, intricate musical passages, Holdsworth, a veteran of Soft Machine and Tony Williams' New Lifetime, stays largely in the background, occasionally erupting with bursts of furious Mahavishnu-like guitar. Bruford's drumming is light and airy and combines well with Wetton's forceful bass playing. Wetton's vocals are kept to a minimum and seem almost like an afterthought. The stage show is simply four musicians concentrating on their music, playing before audiences who frequently don't know what to expect, but by the end of the evening, fans are usually chanting "U.K., U.K."
Jobson, also the band's major songwriter bristles at descriptions of U.K. as an extension of King Crimson. "We may sound like Crimson because Bill and John were two-thirds of Crimson," he says a bit defensively. "That was one of the first policy decisions we made – we weren't going to go out and play '21st Century Schizoid Man.' we just want to be U.K." After Crimson broke up in 1975, Bruford and Wetton went their separate ways before joining Rick Wakeman in another super group last year (1977). Wetton says the three wanted to create a formal band after jamming together and went through hundreds of names. But Wakeman's management didn't care for the idea, he says. "They just saw us as another backing group for Rick Wakeman. We really didn't want to be part of that."
Bruford and Wetton resolved to stay together, "stole" Jobson from Zappa and added Holdsworth, who had played on Bruford's solo album. Eight weeks later U.K. was complete, and they mapped out their tour plans. Because they had played in well-known British groups, U.K. received a better initial reception in their homeland, headlining in 3,000-seat halls. But it became necessary to start writing again, because the band needed 90 minutes of material to headline. When they came to the U.S., the show is chopped back to 45 minutes, half music from the first album and the other half new material. The band swallowed its pride and played 28 dates as a supporting act, and a few headline. (PRRP: During the month of July, 1978, U.K. was supporting Al DiMeola and Tom Petty but played Grosse Point on their own.)
-Jason Simon, Rolling Stone, September 21, 1978

U.K. were proving that master musicians will always have a following, even if they can’t stay together. Sadly, this was the case and apparently the decision to split up had already been made at the time of these July shows. As recounted by someone who was at the Grosse Point concerts….
"Yes, they did two shows at the Punch & Judy. I know because I was at both. The second night my friend and I saw Holdsworth standing by the stage door before the show. We ran to a liquor store nearby and bought a 6 pack of Heineken then went back and shared them with Alan. We were raving to him about the previous night’s show and asked him when the second album would be out. He casually replied that he had no idea as he and Bruford were leaving the band. To say my buddy and I were stunned would be an understatement as the previous night we'd witnessed what we agreed was the most intense band on the face of the planet…. Why would anyone leave a band this amazing?  Oh well...” (Muzikgod, DIME, 2009)

PRRP Staff
Notes from the Re-Master
Both performance recordings come from JEMS, a well known and experienced taper. The recordings are complete except for the tape flip gaps. These gaps both occurred in the same song but at slightly different points so it was easy to use material from one recording to patch the other. Because the same equipment was used and both performances occurred in the same venue, the acoustic/audio characteristics were quite similar and a good match could be made. Both performances include the same set list with the exception of one song in the middle of the show which is different between the nights.
Notes from the original torrent seeding of these shows lists the same equipment being used for each show, and yet the July 18th show is in stereo and the July 19th is mono. For the 18th, a stereo expander routine was used to try to enhance the stereo effect. For the 19th, the mono recording was altered to give a modest stereo effect, without introducing any delays or reverb that would degrade the sound.
Dynamics were flat for both recordings which reduced the normal variability expected in this type of dramatic music. Dynamic adjustments were made to try to re-introduce a more natural volume variability. Many large amplitude bumps and clicks were found and repaired as were amplitude drops in the left channel of the July 18th show. Some segmental tone adjustments were made to attenuate excesses but no other corrections to performance errors were made. Speed adjustments were made in the July 18th recording after extensive analysis and comparison to standard references. The July 19th recording did not need speed correction. Finally, the show was re-tracked to avoid boundary errors. PRRP Staff

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The First Night is below:
U.K.
Date: 1978-07-18
Location: Grosse Pointe, MI
Venue: Punch And Judy Theatre
Source: Audience
Lineage: ANA(M)>WAV [96kHz/24bit]>WAV [44.1kHz/16bit]>FLAC [Level 8]
Transfer: Nakamichi CR-7A>PreSonus FireStudio Project>Adobe Audition 3.0>Cdwave editor>FLAC frontend 1.7.1
Taping Gear: Teac M-100>Sony TC-153SD
Taped By: JEMS
Transferred By: Mike Ziegler

Band Members:
John Wetton - bass, vocals
Bill Bruford - drums, percussion
Eddie Jobson - keyboards, violin
Allan Holdsworth - guitar

01. Alaska 2:02
02. Time To Kill 7:00
03. The Only Thing She Needs 7:10
04. Carrying No Cross 10:12
05. The Sahara Of Snow 9:27
06. Thirty Years 9:34
07. In The Dead Of The Night 8:03
08. Caesar's Palace Blues 4:45
Total Time: 58:13

Remaster
1. Enhance stereo field.
2. Adjust tonal balance.
3. Patch missing sections to complete show.
4. Repair large bumps and pops in Left channel.
5. Speed corrected.
6. Re-track.

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Kansas: Providence 1977 (PRRP Remaster Of Dan Lampinski Source) FLAC

the latest from our friends at PRRP

Providence Civic Center
Providence, RI
December 13th, 1977

Master audience recording taped by Dan Lampinski
Nakamichi 550 Tape Recorder
Two Nakamichi CM-300 Microphones
Maxell cassettes
Mastered and FLAC'ed by Carl Morstadt

Master Cassette -> Nakamichi CR-3A cassette deck with azimuth correction -> M-Audio Firewire Audiophile 2496 -> CDWAV 24-bit/96-KHz wav files -> Goldwave (normalizing and crossfades) -> CDWAV (track breaks)

Disc 1
01 Hopelessly Human 8:46
02 Point Of Know Return 3:01
03 Paradox 4:33
04 Icarus (Borne On Wings Of Steel) 6:05
05 Child Of Innocence 4:47
06 Closet Chronicles 7:20
07 Dust In The Wind 4:31
08 Acoustic Guitar Solo 1:35
09 Piano Solo 2:00
10 Lonely Wind 2:35
11 Cheyenne Anthem 6:45
12 Band Introduction 1:07
Total Time 53:05

Disc 2
01 Miracles Out Of Nowhere 8:19
02 Drum Solo 4:00
03 The Spider 2:02
04 Portrait (He Knew) 6:31
05 Sparks Of The Tempest 6:13
06 Carry On Wayward Son 5:12
07 Down The Road 4:39
08 Violin Solo 4:19
09 Magnum Opus 8:44
Total Time 49:59

Remaster
1. Speed correct.
2. Re-balance Tonality/EQ.
3. Correct channel imbalances.
4. Reduce hiss, clicks, pops and excessive claps.
5. Adjust dynamics.
6. Repair tape flips.
7. Create stereo image for brief mono segments.
8. Remove or reduce disruptive yelling by audience (sit down)

Notes:
1. "Sit down" yelled frequently, similar to the Yes concert in August, 1977 at the same venue.
2. Brief periods of mono suggesting splice for tape repair.
{Complete PRRP notes also included}

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Pink Floyd: Vienna 1977 (PRRP Remaster) FLAC

the latest PRRP Floyd Release!

PRRP 058
Vienna, Austria Stadthalle
February 1, 1977
Master>DAT[3] [48khz]

Disk 1
01 Sheep 12:30
02 Pigs On The Wing 1 1:37
03 Dogs 19:03
04 Pigs On The Wing 2 2:32
05 Pigs (Three Different Ones) 17:43
Total Time 53:25

Disk 2
01 Shine On You Crazy Diamond I-V 14:10
02 Welcome To The Machine 8:25
03 Have A Cigar 6:14
04 Wish You Were Here 5:38
05 Shine On You Crazy Diamond VI-IX 17:33
06 Money 9:13
07 Us and Them 8:49
Total Time 70:02

Remaster
1. Correct attenuated frequencies.
2. Correct segmental channel imbalances.
3. Correct record level variability, in particular attenuations at low volume.
4. Adjust tonality.
5. Correct speed error which was different for each set.
6. Repair clicks, pops, buzz and other tape errors. No Hiss reduction performed.
7. Adjust dynamics.
8. Re-track.

Interesting show identifiers:
Roger late with lyrics on Pigs
German radio played at the end of Have a Cigar.
Dave slow to start Guitar lead in SOYCD IV-IX

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Genesis: Boston 1976 (PRRP Remaster of Dan Lampinski Master) FLAC

Orpheum Theatre
Boston, MA
10 April 1976

Master audience recording taped by Dan Lampinski
Mastered and FLAC'ed by Carl Morstadt
Sony TC-152SD Tape Recorder
Sony ECM-99 Stereo Microphone
Maxell cassettes

Master Cassette -> Nakamichi CR-3A cassette deck with azimuth correction -> M-Audio Firewire Audiophile 2496 -> CDWAV 24-bit/96-KHz wav files -> Converted to 16-bit for PRRP distribution.

Disc 1
01 Dance On A Volcano 6:49
02 The Lamb Lies Down On Broadway 4:41
03 Fly On A Windshield 2:55
04 Carpet Crawlers 6:46
05 The Cinema Show 12:30
06 Robbery, Assault And Battery 7:08
07 White Mountain 8:05
08 Firth Of Fifth 8:38
Total Time 57:32

Disc 2
01 Entangled 8:00
02 Squonk 8:07
03 Supper's Ready 24:20
04 I Know What I Like 5:40
05 Los Endos 7:43
06 It 3:17
07 Watcher Of The Skies 3:04
Total Time 60:11

Phil Collins- vocals and sometimes drums
Steve Hackett- guitar
Tony Banks- keyboards
Mike Rutherford- keyboards and bass
Bill Bruford- drums

Remaster
1. Speed correction.
2. Re-balance tonality.
3. Reduce noise, clicks and pops.
4. Correct segmental channel imbalances and auto-record suppressions.
5. Move Entangled introduction to beginning of disc 2 during re-tracking.
6. Patch missing sections.
7. Dynamically enhance low volume segments.

Bruford forgets cymbal crash in Lamb
Many Camera clicks heard during quiet sections on right of taper.

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Yes: Providence 1977 (PRRP Remasters of Rogoff AND Lampinski) FLAC

And now we have Two!!
In 2009, the Lampinski team set out to make available many master tape recordings from the Dan Lampinski collection. One of these recordings was made in Boston on June 18th, 1975 at the performance of Pink Floyd. Steve Hopkins was also at that event and recorded the show as well. PRRP has provided a remastered version of each recording along with a written account of the similarities and differences between the two. Now, we have that same opportunity again. PRRP 034 was our initial remaster of Barry Rogoff's outstanding recording of Yes performing in Providence, Rhode Island on August 15th, 1977. In 2009, as part of the Lampinski project, the Dan Lampinski recording of the same show was made available. This, again, gave PRRP a rare opportunity to remaster both recordings and offer the unique listening experience of the same concert, from two different points of view.
Barry Rogoff tells us that he was in the 5th row for this concert while the ticket stub from Dan Lampinski shows that he was in section 2, row J, a bit further back. Both were experienced tapers using almost identical equipment -as noted in our info files. With both recordings, the gaps in each could be filled using material from the other. This was done to provide the most accurate audio document of the events of that evening. For example, the original PRRP remaster of Rogoff's recording did not patch the missing section at the first tape flip. This has now been done as a new remaster of Rogoff's tapes has been completed for this project. Further, there is over 5 minutes of thunderous applause after the song Roundabout at the end of the concert. This segment was not only restored to the Lampinski recording but was tracked as a separate segment for both recordings to highlight its importance. The length of this applause must have forced the band back on stage for one more song, Yours is no Disgrace, You can sense the audience practically demanding that Yes return to the stage as the applause continues and builds. For those who have actually experienced this type of event, it can be as moving as the music itself.
The presence of both recordings also allows proper judgments to be made about EQ and the speed of the tapes. Both characteristics were corrected by comparing one to the other and comparing the end result to commercial live and studio references. These adjustments were not made during the PRRP 034 remaster of Rogoff's tapes. There has been discussion on the DIME forum of synchronizing the two tape sources for a matrix recording. Given that Barry Rogoff was very close to the stage and Dan Lampinski was quite a distance away, this would make most sense in a 5.1 surround project with the Lampinski source in the back channels. Still, completely synchronizing these two tapes would be an extensive task. For this PRRP offering, the two recordings were speed corrected and matched for runtime down to the second; but no attempt was made to match them to the millisecond. All track times are identical for the show except the first track which is longer in the Rogoff recording than in Lampinski's by about 80 seconds. Mr. Rogoff began his recording before Mr. Lampinski but both men terminated their recordings at almost the exact same time, within 2 seconds of each other. Ironic. More details on the two remasters and the differences between the PRRP 034 Rogoff remaster and this new version can be found in the info files.
Below is the original description of the show from Barry Rogoff.
“As hockey rinks go, the Providence Civic Center has good acoustics. However, the PA system levels and the mix were all over the place. Later on, I read that Yes had a substitute sound man on that tour. He had high-end hearing loss which explains why the mix is so bright. (PRRP: we fixed this is the remaster process) As far as levels, the Firebird opening was okay, but when the band started playing Parallels, you could hardly hear them. The sound man was trying to let people get used to the volume slowly and overdid it. He kept nudging up the volume during All Good People. It actually got a little too loud at one point, then came back down. I was taking photographs and had an experienced friend (a Deadhead) monitoring the levels on my deck. He did his best to compensate for what was happening. Close to the Edge and Wondrous Stories were okay but the sound man jacked up the volume for the silly tour song (Colours of the Rainbow) and then dropped it way back down for Turn of the Century. (PRRP: Again, fixed in the remaster process) I think my friend was wasted by then. The levels were a little on the low side for the rest of the show.”
“…When the show started, the ushers allowed all the rowdys from the cheap seats to rush down to the stage and jam themselves into every inch of space. They were all jumping up and down, the whole building was literally shaking, and the crowd noise was unbelievable. Then, the people in the front row decided to stand up on their rickety wooden chairs, which was completely unnecessary. You can hear the people behind them yelling at them to sit down.”
“…In spite of all that, the band was on fire that night. Steve played wailing solos on Starship Trooper and Yours Is No Disgrace. I think they're the best versions I've heard other than the Close To The Edge tour in 73. Rick was superb on Close to the Edge and Awaken. Awaken was recorded on a C120 tape so it's a complete, uncut version. I've also been told by several Yes traders that it's one of a very few 100% complete Going For The One concerts with no side change in Awaken….”
“I was standing on a rickety wooden chair trying to hand-hold a 300mm telephoto lens for close-ups while the whole building was literally shaking throughout the night. Towards the end of the show, I had run out of film and was watching through binoculars, again, from the fifth row. Jon nudged Chris and pointed at me, laughing at the crazy guy who just couldn't see enough Yes up close. I miss those days.”
PRRP Staff

Providence Civic Center
Providence, RI
15 August 1977
Master audience recording taped by Barry Rogoff
Nakamichi 550 cassette deck and Nakamichi CM-100/CP-1 microphones

Disc 1
01 Firebird Suite 2:51
02 Parallels 6:26
03 All Good People 7:18
04 Close To The Edge 19:39
05 Wondrous Stories 4:43
06 Colours of the Rainbow 1:23
07 Turn Of The Century 8:31
08 And You And I 10:26
Total Time 61:17

Disc 2
01 Flight Jam 4:14
02 Awaken 18:42
03 Starship Trooper (with intro drumming) 14:06
04 Roundabout 8:18
05 Never Ending Applause 5:40
06 Yours Is No Disgrace (with extended intro) 14:33
Total Time 65:33

Remaster
1. More advanced noise reduction for clicks, pops and hiss than previous remaster.
2. Patch tape flips using Lampinski source.
3. Speed correct and match runtimes of both sources using commercial references as a guide.
4. Adjust dynamics, as with previous remaster.
5. Repair clipping.
6. Tonality/EQ adjustments made.
7. No end disc 1 fadeout.
8. Tracking matched to Lampinski recording.

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Providence Civic Center
Providence, RI
15 August 1977

Master audience recording taped by Dan Lampinski
Nakamichi 550 Tape Recorder
Two Nakamichi CM-300 Microphones
Maxell cassettes
Master Cassette -> Nakamichi CR-3A cassette deck with azimuth correction -> M-Audio Firewire Audiophile 2496 -> CDWAV 24-bit/96-KHz wav files -> Goldwave (normalizing and crossfades) -> CDWAV (track breaks) -> FLAC Front End

Disc 1
01 Firebird Suite 1:33
02 Parallels 6:26
03 All Good People 7:18
04 Close To The Edge 19:39
05 Wondrous Stories 4:43
06 Colours of the Rainbow 1:23
07 Turn Of The Century 8:31
08 And You And I 10:26
Total Time 59:59

Disc 2
01 Flight Jam 4:14
02 Awaken 18:42
03 Starship Trooper (with intro drumming) 14:06
04 Roundabout 8:18
05 Never Ending Applause 5:40
06 Yours Is No Disgrace (with extended intro) 14:33
Total Time 65:33

Remaster
1. Click and pop repair
2. Minimize and repair claps during music segments
3. Gentle Hiss reduction
4. Repair tape flips and cuts in recording using Rogoff source, restoring missing segments.
5. Dynamic adjustments to correct for peak suppressions, particularly due to loud claps
6. Adjust tonality/EQ. Taper location caused excess bass and other tonal imbalances that needed correcting
7. Reduce whistles, claps and yells by audience members
8. Speed correct and match to recording by Rogoff
9. Tracking set to be consistent with Rogoff recording with no fadeout at end of disc 1

Notes:
"sit down, sit down" much less noticable than Rogoff version.
Bass distortion during And You and I
loud clapper to the left of taper.

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