At last...
“Waiting for the Worms”
KubaWinter, you're welcome! Guthrie says in the booklet of ITAOT? that the shows required the unprecedented recreation of studio conditions onstage, so an extensive doctoring like we're seeing here in the thread was, if not exactly to be expected (and who would have expected such a Frankenstein monster on what could have been just a simple compilation?), certainly more possible than other live recording situations by most groups.
beeco, I think the latter scenario is by far the likeliest one. I don't think Gilmour had much of a hand in the making of ITAOT?, and, regardless of what level Waters decided to get involved at, I don't think he went around listening to every tape and selecting his favourite performances of himself 19 years ago, let alone of his rival's guitar solos. I think both of them entrusted Guthrie with his time and expertise to sort out the release, and the man, enamored with the flexibility afforded by the nature of the tapes, as well as enraptured by the idea of creating a "perfect Wall performance", simply had too much fun at the DAW.
ILuvHoney, I agree with you that they should have focused on a single performance for each track, or, better yet, pick the best two or three overall performances and build the whole record with only those; this way, we'd at least have some representation of the different qualities of each night's overall feel, instead of the false notion ITAOT generates of the Wall shows simply being rougher and plasticky versions of the studio album. Overwrought as it is, it omits the fact that this run of shows actually featured a lot of variation and energy, though within the constraints of the multimedia spectacle.
Regarding "Comfortably Numb", though I am very partial to the 16th June show, which I think is one of the best from all 30 or so Wall performances, the rendition of this song from 14th June is so good, and its second solo so musical, that, since they already chose that to be the backing track and the source for most of the phrases for the solo puzzle they made, they could - and probably should - have just let that stand on its own, without any edits. In my opinion, the ITAOT version of this song does a disservice to all of the solos they used in it.
NuffM, another important contribution, that video breakdown of the second CN solo. Just today, with the illumination you provided me earlier of far more radical doctoring going on in Gilmour's ABITW2 solo, I went about dissecting as much as I could from the June 1981 recordings, and I discovered that Guthrie took that "freakout ending" from the 15th and put it in the middle of the solo; unaware that you had been there before, I was thinking of putting together something like you did, so I could show my new discovery to this forum's good people, but, by posting your research on this, you spared me a lot of effort and did it in a much better way than I had imagined my rendition would be.
Now, two questions for you:
a) Guthrie, what?! Did he ever get into his reasons for hating the Dortmund shows? Those are simply the best Wall performances ever! There's something about the abandon with which the group is playing there that caused for some higher risk taking and very exciting results. (Yes, I realise most of these are statements, not questions).
b) Do we know the reason why "In the Flesh?" and "Young Lust" from the June 1981 run were not recorded?
“Waiting for the Worms”
- Backing track:
- 15th June 1981 (0:09.732-04:25.434)
- 17th June 1981 (0:00.000-0:09.732)
- Vocal:
- 7th August 1980 (01:10.930-01:12.475)
- 8th August 1980 (0:58.262-01:03.546; 01:23.638-01:29.727; 02:59.242-03:05.101)
- 14th June 1981 (02:33.842-02:38.614)
- 15th June 1981 (0:09.690-0:34.662; 0:37.547-0:51.481; 01:09.852-01:10.930; 01:14.103-01:16.990; 02:21.071-02:30.415; 02:46.414-02:56.064)
- 17th June 1981 (0:06.380-0:07.697; 0:34.662-0:36.775)
KubaWinter, you're welcome! Guthrie says in the booklet of ITAOT? that the shows required the unprecedented recreation of studio conditions onstage, so an extensive doctoring like we're seeing here in the thread was, if not exactly to be expected (and who would have expected such a Frankenstein monster on what could have been just a simple compilation?), certainly more possible than other live recording situations by most groups.
beeco, I think the latter scenario is by far the likeliest one. I don't think Gilmour had much of a hand in the making of ITAOT?, and, regardless of what level Waters decided to get involved at, I don't think he went around listening to every tape and selecting his favourite performances of himself 19 years ago, let alone of his rival's guitar solos. I think both of them entrusted Guthrie with his time and expertise to sort out the release, and the man, enamored with the flexibility afforded by the nature of the tapes, as well as enraptured by the idea of creating a "perfect Wall performance", simply had too much fun at the DAW.
ILuvHoney, I agree with you that they should have focused on a single performance for each track, or, better yet, pick the best two or three overall performances and build the whole record with only those; this way, we'd at least have some representation of the different qualities of each night's overall feel, instead of the false notion ITAOT generates of the Wall shows simply being rougher and plasticky versions of the studio album. Overwrought as it is, it omits the fact that this run of shows actually featured a lot of variation and energy, though within the constraints of the multimedia spectacle.
Regarding "Comfortably Numb", though I am very partial to the 16th June show, which I think is one of the best from all 30 or so Wall performances, the rendition of this song from 14th June is so good, and its second solo so musical, that, since they already chose that to be the backing track and the source for most of the phrases for the solo puzzle they made, they could - and probably should - have just let that stand on its own, without any edits. In my opinion, the ITAOT version of this song does a disservice to all of the solos they used in it.
NuffM, another important contribution, that video breakdown of the second CN solo. Just today, with the illumination you provided me earlier of far more radical doctoring going on in Gilmour's ABITW2 solo, I went about dissecting as much as I could from the June 1981 recordings, and I discovered that Guthrie took that "freakout ending" from the 15th and put it in the middle of the solo; unaware that you had been there before, I was thinking of putting together something like you did, so I could show my new discovery to this forum's good people, but, by posting your research on this, you spared me a lot of effort and did it in a much better way than I had imagined my rendition would be.
Now, two questions for you:
a) Guthrie, what?! Did he ever get into his reasons for hating the Dortmund shows? Those are simply the best Wall performances ever! There's something about the abandon with which the group is playing there that caused for some higher risk taking and very exciting results. (Yes, I realise most of these are statements, not questions).
b) Do we know the reason why "In the Flesh?" and "Young Lust" from the June 1981 run were not recorded?
Comment