Is There Anybody Out There: which shows were used?

[Edufloyd]

I agree. Frankly, I think it's a fairly bad release in terms of energy; they could have done much better just releasing 16th June 1981 as a standalone and call it a day. What interests me about it is not the quality of the music, as strange as it may sound, but the task of actually documenting the production.

RoyTagliaferro, do you happen to have that analysis at hand? I'd love to see it!

I also think the same about the loss of energy. I really love 1980-02-13 a killer show!

[Melvin (That's The Name)]

From what you say, then ITAOT was a more frenkensteined live album than the Pulse CD?

Yes. Several portions feature more than two nights going at once.

[TheMoebLoop]

It would be nice if we could make this thread the definitive word on the subject. I'd like to invite those who know more about the sources to contribute their knowledge.

[Ello_Guvner]

One piece of information I can contribute here: The Thin Ice is definitely 9th August 1980. It is the same as the audience recordings, except for when David says blue in the line "and the sky may look blue". Autotune seems to be the most likely suspect for that section unfortunately.

Also, Mother is mostly 16th June 1981. I think that there is a part that doesn't match during David's second verse, and I believe that they also made cuts to the ending of the song, which in my opinion was brutal now hearing the live recordings.

[TheMoebLoop]

UnwoundBob'85 and Ello_Guvner, these are all very valuable clues for the forensic examination, and I'm grateful for that. I'm still on the case, and those discrepancies are precisely the sort of signs at which I am looking.

[UnwoundBob'85]

UnwoundBob'85 and Ello_Guvner, these are all very valuable clues for the forensic examination, and I'm grateful for that. I'm still on the case, and those discrepancies are precisely the sort of signs at which I am looking.

There is also an instance, maybe more than one instance, where specific sound effects are layered over the live recording and given a little bit of reverb. The most prominent example I can think of for this is at the end of “Another Brick Pt. II”. When the tape loop of the teacher starts up (“Wrong! Do it again!”), you can hear it playing at a slower speed, as well as at the same track at the right speed layered overtop. The voice running at the slower speed is the real deal, as you can hear it running at a slower speed in the version of Brick 2 on the Earl’s Court '80 VHS, which is primarily August 8^th.

[TomH]

I went through some of the songs a while back, the only thing I'm pretty sure about that's different to the list above is the ending to Hey You - it's clearly not from 8th August 1980 (see 'bottles', the extra notes on aaa-aaa-a-a-aall' instead of 'aaa-aaa-aaall'), most of it is 15th June 1981 - the timings on 'watcha told', 'bottles in the hall' etc all match up perfectly. 'Can you help me' after breaking bottles is a different night, and 'don't tell me there's no hope at all' seems to be from the 14th.

The solo is also a mix, up until 2:47 it's the 16th, then the 15th up until 3:00, then back to the 16th for the rest.

The thing that's always puzzled me, and is actually what first got me to Yeeshkul, is where Gilmour's harmony from 'but in the town it was well known' is from. Gilmour singing is clear on several of the film clips that have surfaced (Immersion, Behind The Wall, the MTV/mislabelled Berlin) but there are no audience recordings that have him as audible. The soundboard clip from the 7th August 1980 (1990 Berlin EPK) seems to have a small clip of Gilmour singing some other harmony out of tune at the end, but it doesn't account for the ITAOT audio or the 1981 film clips.

[TheMoebLoop]

Thanks, TomH ! I don't know where my head was when I compiled the list to put 8th August as the source for the last verse, but you're right that it is all from 1981 - do it properly or don't do it at all, is the lesson to take from this.

Regarding Gilmour's harmony on HDOOL, it is true that it is sadly misrepresented, or even entirely absent in all unofficial recordings we have. Waters's phrasing from 8th August precisely matches the one on ITAOT, so, there not being any evidence to counter that hypothesis, I'd propose the same date as the most likely source for Gilmour's rendition as well.

Re: the audio on the Immersion and Behind the Wall video clips seems to be sourced from ITAOT.

[ILuvHoney]

I am quite impressed how much knowledge the community here has about this, thank you for sharing! I'm surprised how much of a patchwork it is - while I did expect that some songs had elements from several shows, I did not really expect that it was that much of a patchwork (e.g. solos compiled with small pieces from lots of different shows)! What's a bit odd is that this live album was probably the result of even more editing than the studio album on which it was based.

[TheMoebLoop]

You're welcome, ILuvHoney! Thanks to you also for bringing the subject to our attention with this thread.
We do not have this level of raw data for the studio recordings to be able to make that claim, but it's true that ITAOT was compiled with a large amount of care, perhaps over-zealously so - and, once one looks at these shows were played with precision and consistency hitherto unknown for the group, it is also strange that the engineers felt the need to be scrutinising when compiling the release.

Below the breakdown of another chunk of it.

“Mother”

• Backing track and solo: 16^th June 1981
• Lead Voice: 16^th June 1981, except 17^th June 1981 (05:36.723-05:38.388; 06:39.178-06:42.169)
• Audience sound: unknown (01:05.933-01:16.70; 02:02.937-02:10.110)

After so many tracks looking like jigsaw puzzles, it is a relief to see at least one using a single performance for most of its running time. Apart from a few weird moments, such as a guitar note at 04:18.747-04:20.071, during Gilmour’s solo, “fixed” by elongation to made it better coincide with the beat, there is very little doctoring going on (at least as far as content goes).

“Goodbye Blue Sky”

• Backing track: 17^th June 1981
• Voices:
  • 15^th June 1981 (01:28.532-01:46.515; 02:13.244-02:26.145; 02:41.299-02:42.920)
  • 17^th June 1981 (01:03.769-01:28.532; 01:56.990-02:13.244; 02:29.245-02:41.299)

I must say I’m not very confident on this one: that the backing track is 17^th June is very easy to see once one pays attention to guitar phrasing, squeaks, etc., but, while a sizeable amount of Gilmour’s vocals seem to better match 15^th June, I was often thrown off by the weaving harmony provided by the other singer(s?). Another track on which the input of analyses of others is more needed than most.

“What Shall We Do Now?”

• Backing track: 14^th June 1981
• Lead voice:
  • 14^th June 1981 (01:43.633-01:56.236; 01:57.486-02:02.192; 02:03.228-02:04.988; 02:36.174-03:26.581)
  • 15^th June 1981 (01:56.236-01:57.486; 02:02.192-02:03.228)
  • 16^th June 1981 (02:05.776-02:15.417)
  • 17^th June 1981 (01:39.224-01:43.633; 02:15.417-02:18.150; 03:29.013-03:32.363)
• Applause: 17^th June 1981 (03:40.493-03:55.800)

Guitar notes at 01:17.184-01:17.442, 01:24.487-01:24.848 were “fixed” to better coincide with the beat. Was it done by elongating some notes, or by taking them from another performance? I cannot answer.

Though the whole instrumental performance is from 14^th June, it seems that Waters greeting the audience was liked enough to swap the original response from the former and swap it in favour of the latter.

“Young Lust”

• Backing track:
  • 7^th August 1980 (00:00.000-00:23.193; 01:29.192-01:50.171; 02:38.183-03:01.898; 03:44.250-03:58.599)
  • 8^th August 1980 (00:23.193-01:11.902; 01:50.171-02:38.183)
  • 9^th August 1980 (01:11.902-01:29.192; 03:01.898-03:44.250; 03:58.599-04:41.415)

• “Get down […]!”: unknown
• Solos:
  • DG solo:
    • 7^th August 1980 (02:18.883-02.26.077; 02:27.599-02:32.873; 02:33.931-02:38.193; 02:44.005-03:02.144)
    • 8^th August 1980 (02:16.459-02:18.883; 02.26.077-02:27.599; 02:32.873-02:33.931; 02:38.193-02:44.005)
  • RW solo: 9^th August 1980
  • PW melodic lines: 7^th August 1980 (04:09.740-04:13.079)
• Lead voices:

• 7^th August 1980 (01:11.902-01:29.212; 01:36.762-01:39.854)
• 8^th August 1980 (00:42.934-01:00.727; 01:30.922-01:36.762; 01:59.544-02:10.178; 02:14.031-02:14.967; 03:44.311-03:59.535)
• 9^th August 1980 (01:39.854-01:47.735; 02:10.178-02:14.031)

I was not ready by the amount of editing done for this track – it seems rather absurd that, out of three solid performances, they couldn’t just pick one and let it be the release’s representative. This is one of those famed ones were there are three sources running at the same time, most remarkable being the riff at 01:30.949-01:39.282, which comes from 9^th August 1980, whereas the backing track is from the 7^th, and the vocals from the 8^th.

Moreover, the vocals go back and forth in the choruses, with “woman” at 01:16.364 and “girl” at 01:26.078 fixed with the third instance from the same 7^th August performance; “girl” at 02:14.031 is flown from August 8th 1980, first instance; and “girl” at 03:58.563 repeated from previous iteration from 8^th August. Similarly assembled thus is Gilmour’s solo, parts of which are rather hard to parse, for, so solid and dependable is his playing, that it becomes hard to tell one night from the other.

Then there’s Waters’ shout at 02:16.421 – “Get down […]!”– is not audible in any of the 7 performances used in ITAOT?; what comes closest to it is when, in June 17^th 1981, at roughly the same spot, he can be faintly heard shouting something similar, but with a different speech pattern. Could this be a clue that the aforementioned fragment comes from a recording peripheral to that run of shows?

I did not examine the sound effect section at the end.

“One of My Turns”

• Backing track: 7^th August 1980
• Voice:
  • 7^th August 1980 (01:00.149-01:06.227; 01:11.081-01:31.726; 01:38.538-01:42.063; 01:49.684-02:09.077; 02:18.508-02:33.683; 03:22.516-03:28.197)
  • 8^th August 1980 (01:31.726-01:34.888; 02:33.683-02:51.772)
  • 9^th August 1980 (01:06.227-01:11.081; 01:34.888-01:38.538; 01:42.063-01:49.684; 02:14.714-02:18.508; 03:28.197-03:41.400)

“Don’t Leave Me Now”

• Backing track:
  • 7^th August 1980 (00:00.000-03:06.673)
  • 17^th June 1981 (03:06.673-03:58.158)
• Voice:
  • 7^th August 1980 (00:45.693-01:11.897; 01:27.763-01:49.482; 02:02.212-02:03.288; 02:04.218-03:06.685)
  • 8^th August 1980 (01:16:191-01:24.947; 01:49.482-02:02.212; 02:03.288-02:04.218)

The voices at 03:06.685-03:57.488 may or may not be from 17th June 1981.

I did not examine the source of the audience sounds that come after the performance.

"Another Brick in the Wall - Pt 3"

• Backing track: 8^th August 1980
• Voice:
  • 7^th August 1980 (00:09.754-00:10.637; 00:11.976-00:13.418; 00:18.386-00:20.722; 00:37.502-00:58.659)
  • 8^th August 1980 (00:20.722-00:23.001; 00:28.702-00:37.502; 00:58.659-01:12.628)
  • 9^th August 1980 (00:27.303-00:28.702)
  • 15^th June 1981 (00:10.637-00:11.976)
  • 16^th June 1981 (00:13.418-00:13.873)
• Prophet 5: 7^th August 1980 (00:49.371-01:07.000)

I did not examine the source of the sound effects that come prior to the performance.

“The Last Few Bricks”

• Main instrumental: 8^th August 1980
• Prophet 5: 7^th August 1980 (00:01.364-00:06.802; 02:11.423-03:25.733)

“Goodbye Cruel World”

• Main track: 8^th August 1980
• Audience extension: 9^th August 1980

“Hey You”

• Backing track:
  • 15^th June 1981 (04:43.624-04:55.000)
  • 16^th June 1981 (0:00.000-04:43.624)
• DG solo: 16^th June 1981, except:
  • 15^th June 1981 (02:45.823-03:00.509)
• Vocal:
  • 14^th June 1981 (04:11.162-04:14.883; 04:29.708-04:36.666; 04:42.099-04:44.518)
  • 15^th June 1981 (03:13.381-03:24.285; 04:08.752-04:10.539; 04:23.256-04:24.749)
  • 16^th June 1981 (00:44.414-02:02.985; 03:27.730-03:38.354; 04:14.883-04:16.557; 04:20.993-04:23.256; 04:24.749-04.26.312; 04.39.045-04:41.374)
  • 17^th June 1981 (04:18.751-04:20.488)

“Outside the Wall”

• Main track: 8^th August 1980
• Audience tail and farewells: August 7^th 1980 (03:32.517-04:28.066)

Please note that I've also edited my previous breakdown posts in this thread to update on new finds and include my notes for those who want to investigate further.

This leaves us with about 49 minutes to still be analysed.

[UnwoundBob'85]

This is genuinely impressive; well done!

Just as a further portion for you to piece together (if this has already been covered I apologize), but the infamous "Run Like Hell" speech featured on the album has portions taken from all kinds of shows, re-arranged and with many long pauses removed. For some reason there's no mention of "Our Pig" or "Piggy" or "Bacon" or the myriad of names Roger called the swine-shaped dirigible, even though almost every show's speech has that mention.

[TheMoebLoop]

Thanks! The preamble to "Run Like Hell" will be the next stop. My guess for why the reference to the pig was removed is that it referenced solely a visual event, and so was considered pointless for an audio-only release.

[UnwoundBob'85]

As an additional note to this thread, I also have worked steadily on trying to figure out exactly what music was used during the pre and/or post-show, and I have a few songs already identified. Here’s what I know so far.

In a “Wall Live Performance Manuscript”, a section marked “Preliminaries” has this paragraph;

“For an hour before the show starts, throughout the venue, we will run a tape of tunes, all with some connection with the war. The Green Beret, Vera Lynn's Hits From The Blitz, Don't Take Your Love to Town, Glenn Miller, assorted Dylan, Over the Sea to Sky, et al, finishing up with We'll Meet Again.”

Knowing this, I first made an effort to try and track down the "We'll Meet Again" that is sampled at the start of the live album. After much searching and finding the proper upload of "Hitz From The Blitz" on YouTube, I found my match. The harp playing right before the vocal was how it clicked for me. https://youtu.be/wNHzUCU60WY?t=196 (timestamped for ease, but if it doesn't work, seek to 3:16.)

The end of the 1980 Earl's Court video provided just a few short seconds of one of these tracks, but I wasn't sure what it was. While looking through some of my girlfriend's records, I found a Glenn Miller compilation, and when going through the tracks listed on YouTube, I heard the first few seconds of American Patrol and knew I had the track. Finding the exact version used wasn't easy (there's probably hundreds at least), but I finally did. The drum roll at the start was my main indicator. https://www.youtube.com/watch?v=t7ExDxaoGWw

To my surprise, there's a Wall show recording (lord forgive me, I don't recall which show or recording but I'm sure it's a Nassau date !) that has a few minutes of post show music attached. The song "Pennsylvania 6-5000", can be heard during this rare few minutes of after show. It's taken from the same album as the "American Patrol" recording. https://youtu.be/qDoeghbqLLI

I knew "The Green Beret" from childhood, so there's another one down. https://www.youtube.com/watch?v=BugBwt2ESpo "Ruby, Don't Take Your Love To Town" is a song first performed by Johnny Darrell, but the Kenny Rogers version is the more well known of the two. The song's story sounds like something Roger would take interest in. https://www.youtube.com/watch?v=xiohkveacxM

The only trouble now was to find the stuff that wasn't named exactly. "Assorted Dylan" could mean any number of anti-war Dylan songs, but "Masters of War" and/or "The Times They Are A-Changin' " seem like fair guesses. "Over the Sea to Sky" is also known as "The Skye Boat Song", and there's hundreds of versions out there. As for any others, your guesses are as good as mine unless there's more Post-Show audio in the dozens upon dozens of Wall Tour recordings I haven't heard. I know this thread is primarily dissecting the performances from the band onstage, but I hope this is of interest to some of you. : ) !

[TheMoebLoop]

I think that's very interesting, yes, and a testament to your sleuth skills and persistence; it may not be directly related to the performance, but is an aspect of the shows that existed and is very much overlooked. The results of your work on it provide us with another piece of knowledge about the original series of Wall shows.

[TheMoebLoop]

A comparatively simpler section of the release.

“Is there Anybody out there?”

• 15th June 1981

TV sounds muted from around 0:53.597 to 01:13.000. The “enter the exciting world of reading” segment seems to have been flown from elsewhere.

The performance of this song is so similar from show to show that I had to pay attention to the surrounding audience noises and with what section the various bits of the TV collage coincided, as well as slight differences in finger pressure on the strings of the acoustic guitar.

“Nobody Home”

• Backing track:
  • 17th June 1981
• Vocal:
  • 14th June 1981 (0:38.643-0:41.084; 02:18.200-02:21.580)
  • 15th June 1981 (0:23.610-0:29.794; 0:41.248-0:44.356; 01:25.859-01:29.354; 01:45.951-01:51.819; 02:01.182-02:03.460; 02:35.889-02:40.257; 02:47.521-03:02.044)
  • 16th June 1981 (01.10.274-01:21.462; 02:03.694-02:14.671)
  • 17th June 1981 (0.14.996-0:23.253; 0:32.338-0:38.643; 0:44.356-01:06.707; 01.36.168-01:45.951; 01:53.973-02:01.182; 02:14.671-02:17.522; 02:24.173-02:28.693; 02:40.827-02:43.703; 03.02.489-03:07.230)

“on the telephone to you” appears to be stretched.

“Roger, is he your doctor? What a coincidence” seems to be flown in from elsewhere.

“Vera”

• Backing track:
  • 15th June 1981
• Vocal:
  • 15th June 1981, except for a fragment from 17th June 1981 (0:50.833-0:55.621)

“Bring the Boys back Home”

I really don’t know how to analyse this track, as every single one of its elements seems to stem from tape, even Waters’ technically uneven layered vocals; furthermore, the sound effects drown out any possible audience “participation”, making the identification of which performance this was culled from simply a question of thoroughness. For the benefit of this list, I defer to Vernon and Fitch in ascribing this track to 15th June 1981, if only until a better solution is found.

[Anredeon]

This is the reason for this forum.. passion and knowledge combined..

[TheMoebLoop]

Thanks, Anredeon! I'm currently working on the last part of the release now.

[ILuvHoney]

I could make a small contribution to my own thread too, by pointing out the most obvious: the introduction to "Run Like Hell".

14 June 1981: scream
15 June 1981: "Are there any paranoids in the audience tonight? Is there anyone who worries about things? Pathetic!"
17 June 1981: "This one is for all you weak people in the audience. Is there anyone here who's weak? This is for you, it's called Run Like Hell. Let's all have a clap!"
15 June 1981: "come on I can't hear you! Put your hands in the air! Have a good time! Enjoy yourselves! That's better!"
17 June 1981: scream

Plus, the introduction to Waiting for the Worms ("are you [...?]") is from 17 June 1981.