The rare second pressing using the official concert program as cover art:
“VERY FAMOUS JAPANESE DOUBLE ALBUM PINK FLOYD / “THE WALL PERFORMED LIVE” WITH A WHITE/BLACK & GRAY SLEEVE + PLAIN WHITE LABELS.
THIS ALBUM WAS LIMITED EDITION 300 COPIES ONLY MADE JAPANESE DOUBLE LIVE ALBUM. AKA – “THE WALL SHOW IN NEW YORK ’80” (BUT “THE WALL PERFORMED LIVE” IS MUCH RARER!)”
The U.S. original (do not believe what the back cover or folks on discogs say) on the infamous White Knight label – Beatles collectors will remember it for the Rarer Than Rare double, Who collectors for Such A Knight and The Keith Moon Memorial Concert. While I found something to like about any bootleg label reviewed so far, I really don’t like White Knight. Terrible art work choices and miserable high generation masters for their exclusive material.
Source: Nassau Coliseum, Long Island, NY – Tuesday, 26 February 1980; audience recording. There is some confusion in some of the online resources regarding the correct dates. For example, http://www.pf-roio.de/text/wall.txt assigns The Wall Show In New York ’80 to the 28th but the White Knight original correctly.
Quality rating: “Gs” in HOTWACKS
Side-A: IN THE FLESH / THE THIN ICE / ANOTHER BRICK IN THE WALL (Pt.1) / THE HAPPIEST DAYS OF OUR LIVES / ANOTHER BRICK IN THE WALL (Pt.2) / MOTHER
Side-B: GOODBYE BLUE SKY / EMPTY SPACE / WHAT SHALL WE DO NOW / YOUNG LUST / ONE OF MY TURNS / DON’T LEAVE ME NOW / ANOTHER BRICK IN THE WALL (Pt.3) / GOODBYE CRUEL WORLD
Side-C: HEY YOU / IS THERE ANYBODY OUT THERE? / NOBODY HOME / VERA / COMFORTABLY NUMB / THE SHOW MUST GOES ON
Side-D: IN THE FLESH / RUN LIKE HELL / WAITING FOR THE WORMS / STOP / THE TRIAL / OUTSIDE THE WALL
There are three different sources for Pink Floyd’s third Wall performance at the Long Island, NY Nassau Coliseum:
1st source: Equipment: Nakamichi 550 / 3 Nak CM-300 mics / Generation: Master – Length: 101:52m
Comment: 2 tracks filled from 6-8-80 [really? Are they on the master like that? I believe that this is the source acquired by White Knight in 1980 but from a high generation transfer, leading to a very modest quality rating].
2nd source: Taper Location: Mid right side / Equipment: Nakamichi 550 using (2) nak 700 shotguns w/nak700 omni blend / Generation: 1st Gen / Length: 111:11m
Comment: “This show at times you think you’re getting hit on the head. You can hear the sound effects moving around like no other wall recording, beautiful and capturing, I also did the transfer myself. This without question is one of the better sounding shows. For some unknown reason, the master disappeared in the early 80s but a 1st gen cass survived, the reason that this show never made it out was He felt it didn’t compare to the last night. Years later, Feb 2004, I did the transfer . WE WERE SHOCKED!! ”
“It picks up all the detail from the stage and with a gorgeous mix with the audience reaction producing a beautiful live sound. “
3rd source: TDK SA C-60 cassettes x 2 (low) / Length: 113:27m
Concert identification –
Intro by Gary Yudman:
“Believe me, there’ll be enough explosions in your mind.
Also when the concert’s over we have to leave safely and,
ah, a number of people felt up (by Joe’s Peach) our
show’s peach and gone over, it’s too cold for that. Please,
if you hit the highway go safely and nicely. Well, I think
the band is about ready to go …”
General concert review from collectorsmusicreviews.com:
“The band are tight and the audience are even more loud and demonstrative than the previous. In “Another Brick In The Wall Part I” Wright really tickles the ivory on the piano and plays the same spacey keyboard interlude found in “Shine On You Crazy Diamond Parts 6-9.” The psychedelia soundscape is rudely interrupted by the helicopter and the Scottish school teacher.
It builds up nicely to “Another Brick In The Wall Part 2,” motivating the audience to dance in the aisle (so it seems). The audience are particularly vocal during the performance of “Mother.” Waters’ line about “Mother, should I run for president?” draws cheers since February 1980 was the start of the presidential primaries. (New Hampshire held their elections this night with incumbent president Jimmy Carter beating Edward Kennedy for the Democratic vote and Ronald Reagan beating George H.W. Bush for the Republican).
The next line “Mother, should I trust the government” draws an even louder response, as loud as Bob Dylan received for the line “Sometimes even the president of America must sometimes stand naked” in “It’s Alright Ma (I’m Only Bleeding)” during his 1974 tour with The Band. The cheering, and the elections in November, illustrate the frustration with Carter’s presidency.
After “What Shall We Do Now?” Waters give a curt “This is called ‘Young Lust.’” The rest of the first half continues without incident.
“Hey You” draws a big cheer, as does the glimpse of New York television in “Nobody Home.” The highlight of the show, and perhaps of the entire box, is this performance of “Comfortably Numb.” Everything sounds very strong in the mix including an additional, faint guitar melody. Waters’ vocals are biting and Gilmour’s sound very sweet and convincing.
Before “Run Like Hell” Waters asks, “Do you like our pig? We like him. He hasn’t got a lot of class but there’s a lot of him.” He gives his dedication to “all the paranoids in the audience” and yells at the pig “Home, piggy, go home. Raus!! Schnell! (German for “OUT! QUICKLY!”)
There is a malfunction with the backing tape on “The Trial.” It takes a few embarrassing seconds to correct (seconds which feel like hours). “
Which brings us to the question: Which one was the first vinyl release following the L.A. and New York Wall shows? Or maybe the Italian bootleggers beat them to it with their London recording from June: The Wall Performed Live (E.M.K.A. Productions)? At the moment, my money is still on the black triple set from the last Nassau Coliseum show – Pink Floyd (BH 410), clearly I shouldn’t have sold Andreas Kraska’s PF vinyl bootleg bible The Records.
Do leave a comment, if you know or remember or just would like to speculate?
And what can be said about the studio opus “The Wall”? Some brilliant music that burned itself into the collective hard drives of millions as the 70’s closed up shop but also the reflection of its lacking-in-humor creator who found himself hating performing at a dangerous level leading to all kinds of fascist imagery and symbols. “Lighten up, Roger, it’s not that bad”, I’ve been meaning to say for decades – “Roger used to laugh once a year” – was it Nick who said it? Still, this piece/concept album is made for being performed live as obviously nobody will come to your house and build that wall while you listen to the LP/CD.
It is reported that back in late ’79/ early 1980, Roger rejected his band mates attempts to be talked into doing a proper and longer tour. Fast forward to our time and he has toured The Wall Live! all over the place. How times have changed! Well, it was now or never as nobody’s getting any younger. When the circus stopped at our Olympic Stadium I would have gone despite finding it ridiculous to pay the high ticket price for a stadium show (not that that stopped me from seeing the Floyd at Oakland Stadium in ’94) but I was out of the country then.
Interesting background report about these shows: http://www.pink-floyd.org/artint/nassau/