pink floyd 1975 us tour

Newly restored Pink Floyd footage from 1975 surfaces

Rare Pink Floyd footage from their 1975 North American tour has appeared online and you can watch it all here

Newly restored Pink Floyd footage from 1975 has surfaced online in the last few days, and you can watch the half-hour segment below.

The footage was recorded at the Ivor Wynne Stadium in Hamilton, Ontario, Canada, on June 28, 1975, the final date of the band's 1975 North American tour, on which they showcased The Dark Side Of The Moon as well as some selections from Wish You Were Here , along with Raving And Drooling and Gotta Be Crazy (both of which would later feature on Animals as Sheep and Dogs ), and an encore of Echoes .

The footage was shot ion Super 8 film by Jim Kelly a.k.a. 'Speedy' for his personal collection. Kelly was also the man behind the recent footage of one of  Phil Collins ' first ever shows as lead singer for  Genesis , which recently surfaced with 4k reel conversion undertaken by The Genesis Museum website, and audio sync by Ikhnaton and NUFF. The Genesis Museum were also responsible for the rare footage of a rare Genesis 1973 show at the Paris Bataclan .

Given the nature of Super 8 film, which only allows for approximately three minutes of film on each cartridge, the footage jumps about bit, but has already been viewed by almost a quarter of a million people online, the majority of whom have resounded enthusiastically, and it provides a fascinating insight into the dawn of the kind of enormous arena shows that Pink Floyd became synonymous with.

The full set-list from the show was: Sheep (Raving And Drooling) Dogs (Gotta Be Crazy) Shine On You Crazy Diamond Parts I-V Have A Cigar Shine On You Crazy Diamond Parts VI-IX The Dark Side Of The Moon Echoes

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Pink Floyd – A Fleeting Glimpse

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Pink Floyd – Pittsburgh 20 June 1975

I attended this show with friends of mine, and these ten photos are from 35mm slides that one friend took at the show.

It was a long-day’s drive from Cincinnati to Pittsburgh. Like most of the crowd on this sweltering summer day, we were hot and impatient for cooler air as well as for the show to begin. As I note later on, conditions inside the stadium were challenging for those who aspired to photograph or record the show, and so it’s somewhat of a miracle that even these few humble documents survived.

In the first four photos, the transition from early evening to dusk illustrates that the band performed most of its first set in open sunlight.

The third photo (See top) shows the funk jam at the end of Shine On with Roger locked in tight with Nick. Lights were turned on the mirror and it began to spin slowly. Sunlight from the west was still visible through the upper rim of the stadium, though not in this photo. The mirror could have been spectacular in darkness! (Truth be told, I felt seriously cheated.)

The remaining six images come from various unspecified points during the Dark Side set. The series ends with a fine action shot of Dick Parry wailing on sax, presumably during Money. Or perhaps it was Echoes.

Although Mr. Screen is visible in many of these images, actual projections were somewhat sparse during the show, as I recall. There were no projections during the first set, and the screen was dark for long passages during the Dark Side set when one might have expected more visual drama. So it’s possible that things were not quite working properly. Nonetheless, a few films stand out in my mind – the sea of clocks in Time, the rolling waves in Great Gig, the apocalyptic destruction of record albums and the mash-up of crazed world leaders in the Brain Damage/Eclipse finale.

Some additional recollections: This concert drew a rowdy, general-admission audience from several states, and it had been a very hot day. (The show had been advertised in Cincinnati as the Floyd’s “Only Area Appearance.”) We waited in a huddled mass outside the stadium for a couple of hours in the late afternoon, herded like cattle on the concrete in open sun. It was a relief just to get into the overhangs of the entrances and to get access to restrooms. After that, it was a mad scramble to get a good field position.

Although we were lucky initially in getting about 20 “rows” back from the stage and were able to sit during the technical check and some of the first set, the free-form crowd continued pressing in. Many people closest to the stage chose to stand, thus greatly annoying those who wanted to sit instead and who saw no reason for these self-centered idiots to stand. Tempers were quite short. We heard many nasty words around us, got pushed and jostled around quite a bit ourselves, and saw one fight break out nearby among several people between the first and second set.

These conditions fairly well account for the limited number of photos and my failed attempt to get a complete recording of the show. Checking my recording at intermission, I found the mic had shorted out during Shine On. I had reset the recorder for the second set, and then gave up completely when someone stepped right on top of the recorder!

At least to me, the performance felt rushed and merely “functional.” In other words, a kind of going through the motions. There were notable rough spots, such as a flubbed ending on Raving, out-of-tune singing and missed words on You Gotta Be Crazy, and an unremarkable run-through of Dark Side, which in my opinion sounded better on previous tours. As I heard it, it seemed the band was struggling to connect with the audience and with each other, and aside from a few peak moments, failed on both accounts.

I’ve always wondered whether this lack of on-stage chemistry was a result of general boredom and fatigue among the band members, or possibly even some of the legendary creeping frustration with the audience. Tension was certainly evident in Roger’s voice as he strained to project his song introductions above the crowd noise. During the intro to You Gotta Be Crazy, he attempted some charm, yet he was obviously ruffled. “David starts this next one on his own, so you’ll HAVE TO BE A LITTLE BIT QUIETER. . . .” (A few days later, at the Hamilton, Ontario, show, Roger’s nerves were more obviously frayed when he could be heard sourly dissing the audience, “Tell you what: We’ll carry on. . .and you just talk amongst yourselves.”) Without looking too hard, one can see hear even in these 1975 shows the early stirrings of the trend that culminated in the infamous final show of the 1977 Animals tour. And we all know what that finally led to!

Personally, I felt a lot of confusion/impatience with the new songs, which were all first-time exposures for me. Obviously all the distractions and agitation didn’t help me in catching “concert fever,” but at least I did TRY to listen. During the show, I read the lyrics in the Official Tour Program comic book and complained to my friends that I didn’t like Roger’s obsession with “craziness.” And I didn’t find the “crank-it-up/rock out” vibe in the first set at all entertaining, just a big turnoff. Obviously, the band was trying to adjust their songwriting to a new environment, and the old atmospherics were getting lost in translation. Even the retooling of Echoes with female backup voices and a sax solo replacing the early-third guitar solo felt off the mark to me. On the long drive back home (with four drivers, we drove until seven the next morning after a two-plus-hour aftershow wait in the parking lot), I griped repeatedly: “I just don’t get what they’re trying to do.” Three months later, when Wish You Were Here came out in mid-September, I finally started to understand.

Above photos © 1975, Joseph R. Stercz, Cincinnati OH

Images below and newspaper ad thanks to Jack Hambach

Pittsburgh Press

From virtually every angle , incredible was the word for Pink Floyd’s Three Rivers Stadium concert last night. It was incredible how a first-place baseball team with the third best record in the majors drew only 8,200 there Thursday evening, yet a band with no hit singles to its credit attracted nearly 50,000,  a stadium rock show record.

Police reported no more than the usual number of underage drinkers, fist-fights and injuries from “jumping from ramp to ramp”, although one would-be gatecrasher fell a goodly distance when the rope he was using to scale a wall broke and another youth was badly cut after being slugged in the face with a bottle by an attacker who melted into the mob in the home plate area.

It was still light when they started, detracting from the mood so vital to appreciating Pink Floyd’s music. Call it what you will – space-rock, cerebral-rock, thinking man’s rock – it needs darkness so the lights and props can raise the sound into a real sensory experience.

Using the bulk of Dark Side as the second party of their show was the same format they employed two years ago – but what a difference this time. a huge “tambourine” behind the band proved to be a screen on which were shown clips “describing” each song. And to top it all off, a monstrous white pyramid that had hovered behind them all night rose slowly from its moorings as spotlights beamed off it and rose high above the crowd (on wires), riding completely out of the stadium.

Raving and Drooling / You Gotta Be Crazy /Shine On You Crazy Diamond (parts I – V) / Have A Cigar / Shine On You Crazy Diamond (parts VI – IX) / Speak To Me / Breathe / On The Run / Time Breathe (reprise) / The Great Gig In The Sky / Money / Us And Them / Any Colour You Like / Brain Damage / Eclipse / Echoes

David Gilmour to Release New Album, ‘Luck and Strange,’ This Fall

By Kory Grow

Nearly a decade since the release of his last solo album, David Gilmour will return with a new full-length, Luck and Strange , this fall. The former Pink Floyd singer and guitarist will release the record’s first single, “The Piper’s Call,” on the BBC Radio 2 Breakfast Show on Thursday; a music video will follow on Friday. The album will arrive on Sept. 6.

Gilmour recorded and co-produced the album, which follows 2015’s Rattle That Lock , over five months in Brighton, England, and London with producer Charlie Andrew, whose credits include releases by Alt-J, Marika Hackman, and Wolf Alice. It contains eight new original songs and a cover of the Montgolfier Brothers’ song from 1999, “Between Two Points.”

“It’s written from the point of view of being older; mortality is the constant,” Samson said.

“We spent a load of time during and after lockdown talking about and thinking about those kind of things,” Gilmour said.

Gilmour said he found Andrew’s approach both startling and refreshing. “We invited Charlie to the house, so he came and listened to some demos and said things like, ‘Well, why does there have to be a guitar solo there?’ and ‘Do they all fade out? Can’t some of them just end?'” he said. “He has a wonderful lack of knowledge or respect for this past of mine. He’s very direct and not in any way overawed, and I love that. That is just so good for me because the last thing you want is people just deferring to you.”

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“Polly and I have been writing together for over 30 years and the Von Trapped live streams showed the great blend of Romany’s voice and harp-playing and that led us into a feeling of discarding some of the past that I’d felt bound to and that I could throw those rules out and do whatever I felt like doing, and that has been such a joy,” Gilmour said.

The backing band includes bassist Guy Pratt, who played on Pink Floyd’s The Division Bell and Gilmour’s recent solo releases. Other musicians who contributed to Luck and Strange include bassist Tom Herbert, drummers Adam Betts, Steve Gadd and Steve DiStanislao, and keyboardists Rob Gentry and Roger Eno.

Keyboards recorded by Pink Floyd’s Richard Wright, who died in 2008, feature on the title track; he and Gilmour recorded them during a barn jam at Gilmour’s house in 2007.

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In an interview with Rolling Stone a year earlier, Gilmour and Samson said they’d just begun formulating ideas for a new album. “There’s a number of things that come from before this whole period, from before my last album, which are the things that I’m playing with to some extent, as well as some new music, too, to get myself back into the mood for work,” he said.

Luck and Strange track list:

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• June 22, 1975 Setlist

Pink Floyd Setlist at Milwaukee County Stadium, Milwaukee, WI, USA

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Tour: Wish You Were Here Tour statistics Add setlist

• Sheep ( Early version, known as "Raving and Drooling" ) Play Video
• Dogs ( Early version, known as "You Gotta Be Crazy" ) Play Video
• Shine On You Crazy Diamond (Parts I-V) Play Video
• Have a Cigar Play Video
• "The Dark Side of the Moon"
• Song played from tape Speak to Me Play Video
• Breathe (In the Air) Play Video
• On the Run Play Video
• Time Play Video
• Breathe (Reprise) Play Video
• The Great Gig in the Sky Play Video
• Money Play Video
• Us and Them Play Video
• Any Colour You Like Play Video
• Brain Damage Play Video
• Eclipse Play Video
• Echoes Play Video

Edits and Comments

16 activities (last edit by sicko , 10 May 2023, 08:07 Etc/UTC )

Songs on Albums

• Any Colour You Like
• Brain Damage
• Breathe (In the Air)
• Breathe (Reprise)
• The Great Gig in the Sky
• Us and Them
• Have a Cigar
• Shine On You Crazy Diamond (Parts I-V)

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Pink floyd gig timeline.

• Jun 18 1975 Boston Garden Boston, MA, USA Add time Add time
• Jun 20 1975 Three Rivers Stadium Pittsburgh, PA, USA Add time Add time
• Jun 22 1975 Milwaukee County Stadium This Setlist Milwaukee, WI, USA Add time Add time
• Jun 23 1975 Olympia Stadium Detroit, MI, USA Add time Add time
• Jun 24 1975 Olympia Stadium Detroit, MI, USA Add time Add time

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Brit Floyd to return to Wilson Center as part of 2024 ‘P-U-L-S-E’ tour

W ILMINGTON, N.C. (WECT) - Pink Floyd tribute Brit Floyd is scheduled to return to the Wilson Center Thursday, July 25, as part of the 2024 P-U-L-S-E World Tour.

According to Cape Fear Community College, the performance, set for 7:30 p.m., will also celebrate the 30th anniversary of Pink Floyd’s The Division Bell album.

“Pink Floyd, an unparalleled pioneer in progressive and psychedelic rock, left an indelible mark on the music industry with their groundbreaking sound and captivating live performances,” the CFCC announcement states. “ The Division Bell , released in 1994, is a testament to their mastery, and three decades later, its enduring impact continues to resonate with fans old and new.

“Brit Floyd P-U-L-S-E is not just a tour; it’s a journey through time, a tribute to the timeless artistry of Pink Floyd. Known for their unwavering dedication to recreating the magic of Pink Floyd’s music, Brit Floyd is the perfect ensemble to honor The Division Bell. Audiences can expect a breathtaking audiovisual experience that pays homage to the original band’s unique music and visual effects blend.”

Tickets will go on sale beginning at 10 a.m. on Wednesday, March 27 for Wilson Center Members. The public will be able to purchase tickets beginning Friday, March 29 at 10 a.m. Those interested may purchase tickets online through the Wilson Center website or by contacting the Ticket Central box office at (910) 362-7999. The box office is open for telephone and in-person sales from 2 to 6 p.m. Monday through Friday.

“P-U-L-S-E will captivate fans with a stunning setlist featuring tracks from The Division Bell and the many beloved classics from Pink Floyd’s extensive discography,” the announcement adds. “Expect to be transported to the heart of Pink Floyd’s universe, complete with a state-of-the-art light show, immersive visuals, and the ethereal sounds that define a generation.”