![Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Limited Edition - Box Set]](https://pixhost.icu/avaxhome/8f/1b/00101b8f_medium.jpeg)
Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Limited Edition - Box Set]
![Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Limited Edition - Box Set]](https://pixhost.icu/avaxhome/8f/1b/00101b8f.jpeg)
Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Limited Edition- Box Set]
EAC Rip | FLAC, IMG+CUE, LOG | 2CD | 305 MB + 315 MB | Scans 200 dpi | 39 MB | RAR | RS+HF
Pop/Rock | Label: EMI | Catalog Number: 5235622 | Year: 2000
EAC Rip | FLAC, IMG+CUE, LOG | 2CD | 305 MB + 315 MB | Scans 200 dpi | 39 MB | RAR | RS+HF
Pop/Rock | Label: EMI | Catalog Number: 5235622 | Year: 2000
My comments:
Before creating this publication, I checked with the search engine if the album was not already available here in lossless format. Yes, the album was already here, but not the Deluxe Limited Edition and all the download links were dead, that's why I'm posting it again. I don't think this is a "duplicate publication" or a "repost" since this is a new rip with new download links. Please, correct me if I'm wrong. Here is the dead lossless post: http://avaxhome.ws/music/rock/..._there_the_wall_live_1980.html
OK, Here we go…
Pink Floyd is the premier space rock band. Since the mid-'60s, their music relentlessly tinkered with electronics and all manner of special effects to push pop formats to their outer limits. At the same time they wrestled with lyrical themes and concepts of such massive scale that their music has taken on almost classical, operatic quality, in both sound and words. Despite their astral image, the group was brought down to earth in the 1980s by decidedly mundane power struggles over leadership and, ultimately, ownership of the band's very name. After that time, they were little more than a dinosaur act, capable of filling stadiums and topping the charts, but offering little more than a spectacular recreation of their most successful formulas. Their latter-day staleness cannot disguise the fact that, for the first decade or so of their existence, they were one of the most innovative groups around, in concert and (especially) in the studio.
While Pink Floyd are mostly known for their grandiose concept albums of the 1970s, they started as a very different sort of psychedelic band. Soon after they first began playing together in the mid-'60s, they fell firmly under the leadership of lead guitarist Syd Barrett, the gifted genius who would write and sing most of their early material. The Cambridge native shared the stage with Roger Waters (bass), Rick Wright (keyboards), and Nick Mason (drums). The name Pink Floyd, seemingly so far-out, was actually derived from the first names of two ancient bluesmen (Pink Anderson and Floyd Council). And at first, Pink Floyd were much more conventional than the act into which they would evolve, concentrating on the rock and R&B material that were so common to the repertoires of mid-'60s British bands.
Pink Floyd quickly began to experiment, however, stretching out songs with wild instrumental freak-out passages incorporating feedback; electronic screeches; and unusual, eerie sounds created by loud amplification, reverb, and such tricks as sliding ball bearings up and down guitar strings. In 1966, they began to pick up a following in the London underground; on-stage, they began to incorporate light shows to add to the psychedelic effect. Most importantly, Syd Barrett began to compose pop-psychedelic gems that combined unusual psychedelic arrangements (particularly in the haunting guitar and celestial organ licks) with catchy melodies and incisive lyrics that viewed the world with a sense of poetic, childlike wonder.
The group landed a recording contract with EMI in early 1967 and made the Top 20 with a brilliant debut single, "Arnold Layne," a sympathetic, comic vignette about a transvestite. The follow-up, the kaleidoscopic "See Emily Play," made the Top Ten. The debut album, The Piper at the Gates of Dawn, also released in 1967, may have been the greatest British psychedelic album other than Sgt. Pepper's. Dominated almost wholly by Barrett's songs, the album was a charming fun house of driving, mysterious rockers ("Lucifer Sam"); odd character sketches ("The Gnome"); childhood flashbacks ("Bike," "Matilda Mother"); and freakier pieces with lengthy instrumental passages ("Astronomy Domine," "Interstellar Overdrive," "Pow R Toch") that mapped out their fascination with space travel. The record was not only like no other at the time; it was like no other that Pink Floyd would make, colored as it was by a vision that was far more humorous, pop-friendly, and lighthearted than those of their subsequent epics.
The reason Pink Floyd never made a similar album was that Piper was the only one to be recorded under Barrett's leadership. Around mid-1967, the prodigy began showing increasingly alarming signs of mental instability. Barrett would go catatonic on-stage, playing music that had little to do with the material, or not playing at all. An American tour had to be cut short when he was barely able to function at all, let alone play the pop star game. Dependent upon Barrett for most of their vision and material, the rest of the group was nevertheless finding him impossible to work with, live or in the studio.
Around the beginning of 1968, guitarist Dave Gilmour, a friend of the band who was also from Cambridge, was brought in as a fifth member. The idea was that Gilmour would enable the Floyd to continue as a live outfit; Barrett would still be able to write and contribute to the records. That couldn't work either, and within a few months Barrett was out of the group. Pink Floyd's management, looking at the wreckage of a band that was now without its lead guitarist, lead singer, and primary songwriter, decided to abandon the group and manage Barrett as a solo act.
Such calamities would have proven insurmountable for 99 out of 100 bands in similar predicaments. Incredibly, Pink Floyd would regroup and not only maintain their popularity, but eventually become even more successful. It was early in the game yet, after all; the first album had made the British Top Ten, but the group was still virtually unknown in America, where the loss of Syd Barrett meant nothing to the media. Gilmour was an excellent guitarist, and the band proved capable of writing enough original material to generate further ambitious albums, Waters eventually emerging as the dominant composer. The 1968 follow-up to Piper at the Gates of Dawn, A Saucerful of Secrets, made the British Top Ten, using Barrett's vision as an obvious blueprint, but taking a more formal, somber, and quasi-classical tone, especially in the long instrumental parts. Barrett, for his part, would go on to make a couple of interesting solo records before his mental problems instigated a retreat into oblivion.
Over the next four years, Pink Floyd would continue to polish their brand of experimental rock, which married psychedelia with ever-grander arrangements on a Wagnerian operatic scale. Hidden underneath the pulsing, reverberant organs and guitars and insistently restated themes were subtle blues and pop influences that kept the material accessible to a wide audience. Abandoning the singles market, they concentrated on album-length works, and built a huge following in the progressive rock underground with constant touring in both Europe and North America. While LPs like Ummagumma (divided into live recordings and experimental outings by each member of the band), Atom Heart Mother (a collaboration with composer Ron Geesin), and More… (a film soundtrack) were erratic, each contained some extremely effective music.
By the early '70s, Syd Barrett was a fading or nonexistent memory for most of Pink Floyd's fans, although the group, one could argue, never did match the brilliance of that somewhat anomalous 1967 debut. Meddle (1971) sharpened the band's sprawling epics into something more accessible, and polished the science fiction ambience that the group had been exploring ever since 1968. Nothing, however, prepared Pink Floyd or their audience for the massive mainstream success of their 1973 album, Dark Side of the Moon, which made their brand of cosmic rock even more approachable with state-of-the-art production; more focused songwriting; an army of well-time stereophonic sound effects; and touches of saxophone and soulful female backup vocals.
Dark Side of the Moon finally broke Pink Floyd as superstars in the United States, where it made number one. More astonishingly, it made them one of the biggest-selling acts of all time. Dark Side of the Moon spent an incomprehensible 741 weeks on the Billboard album chart. Additionally, the primarily instrumental textures of the songs helped make Dark Side of the Moon easily translatable on an international level, and the record became (and still is) one of the most popular rock albums worldwide.
It was also an extremely hard act to follow, although the follow-up, Wish You Were Here (1975), also made number one, highlighted by a tribute of sorts to the long-departed Barrett, "Shine On You Crazy Diamond." Dark Side of the Moon had been dominated by lyrical themes of insecurity, fear, and the cold sterility of modern life; Wish You Were Here and Animals (1977) developed these morose themes even more explicitly. By this time Waters was taking a firm hand over Pink Floyd's lyrical and musical vision, which was consolidated by The Wall (1979).
The bleak, overambitious double concept album concerned itself with the material and emotional walls modern humans build around themselves for survival. The Wall was a huge success (even by Pink Floyd's standards), in part because the music was losing some of its heavy-duty electronic textures in favor of more approachable pop elements. Although Pink Floyd had rarely even released singles since the late '60s, one of the tracks, "Another Brick in the Wall," became a transatlantic number one. The band had been launching increasingly elaborate stage shows throughout the '70s, but the touring production of The Wall, featuring a construction of an actual wall during the band's performance, was the most excessive yet.
In the 1980s, the group began to unravel. Each of the four had done some side and solo projects in the past; more troublingly, Waters was asserting control of the band's musical and lyrical identity. That wouldn't have been such a problem had The Final Cut (1983) been such an unimpressive effort, with little of the electronic innovation so typical of their previous work. Shortly afterward, the band split up — for a while. In 1986, Waters was suing Gilmour and Mason to dissolve the group's partnership (Wright had lost full membership status entirely); Waters lost, leaving a Roger-less Pink Floyd to get a Top Five album with Momentary Lapse of Reason in 1987. In an irony that was nothing less than cosmic, about 20 years after Pink Floyd shed their original leader to resume their career with great commercial success, they would do the same again to his successor. Waters released ambitious solo albums to nothing more than moderate sales and attention, while he watched his former colleagues (with Wright back in tow) rescale the charts.
Pink Floyd still had a huge fan base, but there's little that's noteworthy about their post-Waters output. They knew their formula, could execute it on a grand scale, and could count on millions of customers — many of them unborn when Dark Side of the Moon came out, and unaware that Syd Barrett was ever a member — to buy their records and see their sporadic tours. The Division Bell, their first studio album in seven years, topped the charts in 1994 without making any impact on the current rock scene, except in a marketing sense. Ditto for the live Pulse album, recorded during a typically elaborately staged 1994 tour, which included a concert version of The Dark Side of the Moon in its entirety. Waters' solo career sputtered along, highlighted by a solo recreation of The Wall, performed at the site of the former Berlin Wall in 1990, and released as an album. Syd Barrett continued to be completely removed from the public eye except as a sort of archetype for the fallen genius. –by Richie Unterberger, allmusic.com
While Pink Floyd are mostly known for their grandiose concept albums of the 1970s, they started as a very different sort of psychedelic band. Soon after they first began playing together in the mid-'60s, they fell firmly under the leadership of lead guitarist Syd Barrett, the gifted genius who would write and sing most of their early material. The Cambridge native shared the stage with Roger Waters (bass), Rick Wright (keyboards), and Nick Mason (drums). The name Pink Floyd, seemingly so far-out, was actually derived from the first names of two ancient bluesmen (Pink Anderson and Floyd Council). And at first, Pink Floyd were much more conventional than the act into which they would evolve, concentrating on the rock and R&B material that were so common to the repertoires of mid-'60s British bands.
Pink Floyd quickly began to experiment, however, stretching out songs with wild instrumental freak-out passages incorporating feedback; electronic screeches; and unusual, eerie sounds created by loud amplification, reverb, and such tricks as sliding ball bearings up and down guitar strings. In 1966, they began to pick up a following in the London underground; on-stage, they began to incorporate light shows to add to the psychedelic effect. Most importantly, Syd Barrett began to compose pop-psychedelic gems that combined unusual psychedelic arrangements (particularly in the haunting guitar and celestial organ licks) with catchy melodies and incisive lyrics that viewed the world with a sense of poetic, childlike wonder.
The group landed a recording contract with EMI in early 1967 and made the Top 20 with a brilliant debut single, "Arnold Layne," a sympathetic, comic vignette about a transvestite. The follow-up, the kaleidoscopic "See Emily Play," made the Top Ten. The debut album, The Piper at the Gates of Dawn, also released in 1967, may have been the greatest British psychedelic album other than Sgt. Pepper's. Dominated almost wholly by Barrett's songs, the album was a charming fun house of driving, mysterious rockers ("Lucifer Sam"); odd character sketches ("The Gnome"); childhood flashbacks ("Bike," "Matilda Mother"); and freakier pieces with lengthy instrumental passages ("Astronomy Domine," "Interstellar Overdrive," "Pow R Toch") that mapped out their fascination with space travel. The record was not only like no other at the time; it was like no other that Pink Floyd would make, colored as it was by a vision that was far more humorous, pop-friendly, and lighthearted than those of their subsequent epics.
The reason Pink Floyd never made a similar album was that Piper was the only one to be recorded under Barrett's leadership. Around mid-1967, the prodigy began showing increasingly alarming signs of mental instability. Barrett would go catatonic on-stage, playing music that had little to do with the material, or not playing at all. An American tour had to be cut short when he was barely able to function at all, let alone play the pop star game. Dependent upon Barrett for most of their vision and material, the rest of the group was nevertheless finding him impossible to work with, live or in the studio.
Around the beginning of 1968, guitarist Dave Gilmour, a friend of the band who was also from Cambridge, was brought in as a fifth member. The idea was that Gilmour would enable the Floyd to continue as a live outfit; Barrett would still be able to write and contribute to the records. That couldn't work either, and within a few months Barrett was out of the group. Pink Floyd's management, looking at the wreckage of a band that was now without its lead guitarist, lead singer, and primary songwriter, decided to abandon the group and manage Barrett as a solo act.
Such calamities would have proven insurmountable for 99 out of 100 bands in similar predicaments. Incredibly, Pink Floyd would regroup and not only maintain their popularity, but eventually become even more successful. It was early in the game yet, after all; the first album had made the British Top Ten, but the group was still virtually unknown in America, where the loss of Syd Barrett meant nothing to the media. Gilmour was an excellent guitarist, and the band proved capable of writing enough original material to generate further ambitious albums, Waters eventually emerging as the dominant composer. The 1968 follow-up to Piper at the Gates of Dawn, A Saucerful of Secrets, made the British Top Ten, using Barrett's vision as an obvious blueprint, but taking a more formal, somber, and quasi-classical tone, especially in the long instrumental parts. Barrett, for his part, would go on to make a couple of interesting solo records before his mental problems instigated a retreat into oblivion.
Over the next four years, Pink Floyd would continue to polish their brand of experimental rock, which married psychedelia with ever-grander arrangements on a Wagnerian operatic scale. Hidden underneath the pulsing, reverberant organs and guitars and insistently restated themes were subtle blues and pop influences that kept the material accessible to a wide audience. Abandoning the singles market, they concentrated on album-length works, and built a huge following in the progressive rock underground with constant touring in both Europe and North America. While LPs like Ummagumma (divided into live recordings and experimental outings by each member of the band), Atom Heart Mother (a collaboration with composer Ron Geesin), and More… (a film soundtrack) were erratic, each contained some extremely effective music.
By the early '70s, Syd Barrett was a fading or nonexistent memory for most of Pink Floyd's fans, although the group, one could argue, never did match the brilliance of that somewhat anomalous 1967 debut. Meddle (1971) sharpened the band's sprawling epics into something more accessible, and polished the science fiction ambience that the group had been exploring ever since 1968. Nothing, however, prepared Pink Floyd or their audience for the massive mainstream success of their 1973 album, Dark Side of the Moon, which made their brand of cosmic rock even more approachable with state-of-the-art production; more focused songwriting; an army of well-time stereophonic sound effects; and touches of saxophone and soulful female backup vocals.
Dark Side of the Moon finally broke Pink Floyd as superstars in the United States, where it made number one. More astonishingly, it made them one of the biggest-selling acts of all time. Dark Side of the Moon spent an incomprehensible 741 weeks on the Billboard album chart. Additionally, the primarily instrumental textures of the songs helped make Dark Side of the Moon easily translatable on an international level, and the record became (and still is) one of the most popular rock albums worldwide.
It was also an extremely hard act to follow, although the follow-up, Wish You Were Here (1975), also made number one, highlighted by a tribute of sorts to the long-departed Barrett, "Shine On You Crazy Diamond." Dark Side of the Moon had been dominated by lyrical themes of insecurity, fear, and the cold sterility of modern life; Wish You Were Here and Animals (1977) developed these morose themes even more explicitly. By this time Waters was taking a firm hand over Pink Floyd's lyrical and musical vision, which was consolidated by The Wall (1979).
The bleak, overambitious double concept album concerned itself with the material and emotional walls modern humans build around themselves for survival. The Wall was a huge success (even by Pink Floyd's standards), in part because the music was losing some of its heavy-duty electronic textures in favor of more approachable pop elements. Although Pink Floyd had rarely even released singles since the late '60s, one of the tracks, "Another Brick in the Wall," became a transatlantic number one. The band had been launching increasingly elaborate stage shows throughout the '70s, but the touring production of The Wall, featuring a construction of an actual wall during the band's performance, was the most excessive yet.
In the 1980s, the group began to unravel. Each of the four had done some side and solo projects in the past; more troublingly, Waters was asserting control of the band's musical and lyrical identity. That wouldn't have been such a problem had The Final Cut (1983) been such an unimpressive effort, with little of the electronic innovation so typical of their previous work. Shortly afterward, the band split up — for a while. In 1986, Waters was suing Gilmour and Mason to dissolve the group's partnership (Wright had lost full membership status entirely); Waters lost, leaving a Roger-less Pink Floyd to get a Top Five album with Momentary Lapse of Reason in 1987. In an irony that was nothing less than cosmic, about 20 years after Pink Floyd shed their original leader to resume their career with great commercial success, they would do the same again to his successor. Waters released ambitious solo albums to nothing more than moderate sales and attention, while he watched his former colleagues (with Wright back in tow) rescale the charts.
Pink Floyd still had a huge fan base, but there's little that's noteworthy about their post-Waters output. They knew their formula, could execute it on a grand scale, and could count on millions of customers — many of them unborn when Dark Side of the Moon came out, and unaware that Syd Barrett was ever a member — to buy their records and see their sporadic tours. The Division Bell, their first studio album in seven years, topped the charts in 1994 without making any impact on the current rock scene, except in a marketing sense. Ditto for the live Pulse album, recorded during a typically elaborately staged 1994 tour, which included a concert version of The Dark Side of the Moon in its entirety. Waters' solo career sputtered along, highlighted by a solo recreation of The Wall, performed at the site of the former Berlin Wall in 1990, and released as an album. Syd Barrett continued to be completely removed from the public eye except as a sort of archetype for the fallen genius. –by Richie Unterberger, allmusic.com
Album Details:
Artist: Pink Floyd
Album: Is There Anybody out There? The Wall Live : 1980-1981 [Deluxe Limited Edition - Box Set]
Release Date: April 18, 2000
Recording Date: 1980-1981
Label: Pink Floyd Music Limited under exclusive licence to EMI Records Limited
Catalog #: UK 5235622
UPC: 7243 5 23562 2 5
Format: Box set, Live, Compilation
Edition: Deluxe Limited Edition with special hardback book style
Made in: EU
Number of Discs: 2
Time: 1:45:16
Genre: Pop/Rock
Styles: Album Rock, Prog-Rock/ Art Rock, Disco, Hard Rock
Pink Floyd's supporting shows in 1980 and 1981 for Roger Waters' narcissistic, nihilistic epic The Wall are the stuff of rock & roll legend. Throughout the '70s, the band earned the reputation as one of the best live acts in rock & roll – and not just because they delivered musically, but because they delivered a full-fledged show. They had model planes crashing into the stage, giant inflated pigs hovering around the arena and, of course, astonishing live shows. All of Floyd's showmanship culminated in The Wall, an album that wasn't only a story, it was designed to be a theatrical experience. And that's exactly what Floyd designed, under the direction of Waters and with the assistance of such artisans as animator Gerald Scarfe and stage designers Mark Fisher and Jonathan Park. Waters had a brilliant idea for the show – an actual wall would be constructed across the stage, and then the band would play behind it, as Scarfe's animations were projected on the wall and giant inflatable puppets danced on stage.
Originally, Waters wanted Floyd to perform behind the wall for much of the show, but during the development of the production, it was decided that the wall would be finished at the end of the first act – in other words, at the end of the first record of the double album-set. The group devised ways to appear during the second half before the wall was torn down at the end – David Gilmour played his "Comfortably Numb" solo on hydraulics, above the wall, and a hotel room with Waters brooding in a chair appeared during "Nobody Home." Nevertheless, the importance of the group, as such, was diminished. As they readily admitted, it could have been anybody playing behind that wall, and they did augment their lineup with guitarists Snowy White (for the 1980 tour) and Andy Roberts (the 1981 tour), bassist Andy Brown, drummer Willie Wilson, and Peter Woods. At the end, it didn't really matter who was playing, since the entire Wall extravaganza was about the experience. And, from all accounts, it was one hell of an experience – how could it not be, with actual theatre, film, music, and huge dancing puppets all added to the spectacle of a regular Floyd show?
Pink Floyd knew they had something special, something worth preserving, and they intended to do so with a concert film, possibly book-ended with filmed narratives. That plan didn't come to fruition because the footage was botched. How could it not be? Not only were the crew trying to capture a production that was about the theatrical experience, much of the later portion of the show would have been film of a film, as Gerald Scarfe's animations were projected on the cardboard bricks. So, the film mutated into the solemn, scarily sober Alan Parker film that became an '80s cult favorite, while live documentation of The Wall remained the province of bootlegs. Until the 2000 release of Is There Anybody out There?, that is. Skillfully edited together from the handful of Wall shows Floyd performed between 1980 and 1981 (much of the recordings reportedly date from shows at Earl's Court in London), the album replicates The Wall live – which, of course, was a replication of the record, only with visuals. There are two songs not on the record – "What Shall We Do Now?," a tune pulled from the record at the 11th hour (early pressings still listed it on the sleeve), plus "The Last Few Bricks," which was an instrumental at the end of the first act that gave the crew time to finish building the wall – but they really add no revelations. There are no revelations at all, actually, with the possible exception of the layered harmonies on "Outside the Wall," which makes this coda seem like a full-fledged song. Other than that, there are minor differences, from Gilmour guitar solos to Waters' vocal phrasing, but this plays exactly like the record. There are still the sonic details, spoken word pieces, and found noises, too – the only difference is that there is some crowd noise, a few intros from the "Master of Ceremonies," and an ever so slightly rougher fidelity. Since the show was so rigidly structured, there was no opportunity for the band to stretch out and jam (something they were very good at), apart from a handful of slightly extended endings.
All of this means, naturally, that Is There Anybody out There? is The Wall by any other name, and that it isn't for anybody but Floyd fanatics – the kind that thrill to the little details, the little differences that separate this from the studio album, plus the lavish packaging (not just on the limited edition, either; the regular issue has two extensive booklets filled with new interviews by the band and associates). Will this disappoint the less-dedicated listener? Not necessarily, since it is a sharp, professional record – and anybody that is familiar with The Wall will likely enjoy it as it's playing. The question is, how often will you put the record on? After all, anyone that will purchase Is There Anybody out There? will already have The Wall, and if they want to hear the piece, they'll listen to the studio recording since it is the original, full-realized version of the work. That doesn't really diminish the worth of Is There Anybody out There?, since it is a solid record, but it hardly makes it a necessary album, either. [Is There Anybody out There? was also released in a lavish "Limited Edition," which printed the two CD booklets as a hardcover book, which was kept in a keepcase. A nice package for hardcore fans that were planning to buy the album anyway.] –by Stephen Thomas Erlewine
Originally, Waters wanted Floyd to perform behind the wall for much of the show, but during the development of the production, it was decided that the wall would be finished at the end of the first act – in other words, at the end of the first record of the double album-set. The group devised ways to appear during the second half before the wall was torn down at the end – David Gilmour played his "Comfortably Numb" solo on hydraulics, above the wall, and a hotel room with Waters brooding in a chair appeared during "Nobody Home." Nevertheless, the importance of the group, as such, was diminished. As they readily admitted, it could have been anybody playing behind that wall, and they did augment their lineup with guitarists Snowy White (for the 1980 tour) and Andy Roberts (the 1981 tour), bassist Andy Brown, drummer Willie Wilson, and Peter Woods. At the end, it didn't really matter who was playing, since the entire Wall extravaganza was about the experience. And, from all accounts, it was one hell of an experience – how could it not be, with actual theatre, film, music, and huge dancing puppets all added to the spectacle of a regular Floyd show?
Pink Floyd knew they had something special, something worth preserving, and they intended to do so with a concert film, possibly book-ended with filmed narratives. That plan didn't come to fruition because the footage was botched. How could it not be? Not only were the crew trying to capture a production that was about the theatrical experience, much of the later portion of the show would have been film of a film, as Gerald Scarfe's animations were projected on the cardboard bricks. So, the film mutated into the solemn, scarily sober Alan Parker film that became an '80s cult favorite, while live documentation of The Wall remained the province of bootlegs. Until the 2000 release of Is There Anybody out There?, that is. Skillfully edited together from the handful of Wall shows Floyd performed between 1980 and 1981 (much of the recordings reportedly date from shows at Earl's Court in London), the album replicates The Wall live – which, of course, was a replication of the record, only with visuals. There are two songs not on the record – "What Shall We Do Now?," a tune pulled from the record at the 11th hour (early pressings still listed it on the sleeve), plus "The Last Few Bricks," which was an instrumental at the end of the first act that gave the crew time to finish building the wall – but they really add no revelations. There are no revelations at all, actually, with the possible exception of the layered harmonies on "Outside the Wall," which makes this coda seem like a full-fledged song. Other than that, there are minor differences, from Gilmour guitar solos to Waters' vocal phrasing, but this plays exactly like the record. There are still the sonic details, spoken word pieces, and found noises, too – the only difference is that there is some crowd noise, a few intros from the "Master of Ceremonies," and an ever so slightly rougher fidelity. Since the show was so rigidly structured, there was no opportunity for the band to stretch out and jam (something they were very good at), apart from a handful of slightly extended endings.
All of this means, naturally, that Is There Anybody out There? is The Wall by any other name, and that it isn't for anybody but Floyd fanatics – the kind that thrill to the little details, the little differences that separate this from the studio album, plus the lavish packaging (not just on the limited edition, either; the regular issue has two extensive booklets filled with new interviews by the band and associates). Will this disappoint the less-dedicated listener? Not necessarily, since it is a sharp, professional record – and anybody that is familiar with The Wall will likely enjoy it as it's playing. The question is, how often will you put the record on? After all, anyone that will purchase Is There Anybody out There? will already have The Wall, and if they want to hear the piece, they'll listen to the studio recording since it is the original, full-realized version of the work. That doesn't really diminish the worth of Is There Anybody out There?, since it is a solid record, but it hardly makes it a necessary album, either. [Is There Anybody out There? was also released in a lavish "Limited Edition," which printed the two CD booklets as a hardcover book, which was kept in a keepcase. A nice package for hardcore fans that were planning to buy the album anyway.] –by Stephen Thomas Erlewine
Pink Floyd's Is There Anybody Out There?: The Wall Live was released in April of 2000 on EMI in most of the world sans the US and Canada which was released on Columbia Records.
The album was released to commemorate the 20th anniversary of The Wall. The album was originally slated for release in late 1999 but producer James Guthrie (who co-produced the original studio album with Pink Floyd members Roger Waters and David Gilmour and legendary rock producer Bob Ezrin) had to bake the master tapes to get the sticky glue off after sitting in storage for years. Also, the band had problems with their US record companies. The band had just inked a new distribution deal with Capitol/EMI worldwide and were set to release but Columbia/Sony in the US and Canada were initially against the album but reluctantly agreed to release the album as the band's final album with Sony in the US and Canada after the band switched labels which were licensed the music (the band have the final say on what gets released and not released and this review is for the EMI edition which has some different images in the booklet than the US issue).
Is There Anybody Out There? was recorded at London's Earls Court Arena during the band's performances of The Wall in August of 1980 and June of 1981, the shows were a bona fide spectacle. More than anything, Is There Anybody Out There? captures the volume, the bombast and the grandeur of these famed performances with remarkable accuracy.
These performances are astonishingly faithful to the band's studio versions although the band does get to stretch out on "In the Flesh (pt. 1)", "The Thin Ice", "Another Brick in the Wall (pt.1)", "Another Brick in the Wall (pt. 2)", "Mother", "Goodbye Blue Sky", "Young Lust", "Hey You", "Comfortably Numb", "The Show Must Go On", "In the Flesh (pt.2)", "Run Like Hell" and "Outside the Wall" with either extra guitar solos from David Gilmour showing why he is one of rock's greatest guitarists or extra keyboard solos from the late Rick Wright (God rest his soul) or extra verses or extended musical pieces.
The other tracks "Empty Spaces", "One of My Turns", "Don't Leave Me Now", "Another Brick in the Wall (pt. 3)", "Is There Anybody Out There?", "Nobody Home", "Vera", "Bring the Boys Back Home", "Waiting For the Worms", "Stop!" and "The Trial" trumps its studio counterparts although remained faithful to them.
Although they were kicked out in 1979 and 1982 respectively by Roger Waters due to his uncontrollable ego, co-founders keyboard player/songwriter (the sadly departed) Rick Wright and drummer Nick Mason played better on this live album than on the studio version of The Wall, especially Rick whose Hammond Organ and keyboard work buries that of its studio counterpart. Roger Waters didn't play much bass on this live album as he perfectly recreated the role of Pink and left Andy Bown to play bass in his place. David Gilmour's musical arrangements and guitar and vocals were superb as well as always.
"Run Like Hell" is classic with Roger Waters' classic intro.
This live Wall album also includes two unreleased tracks. "What Shall We Do Now" was left off the original release due to space constraints and "The Last Few Bricks" was a reprise of "Happiest Days", "Young Lust" and "Empty Spaces" as an instrumental for wall builders to catch up to the band.
Also, longtime Floyd album cover guru Storm Thorgerson's artwork of the four Floyd member face masks is striking and the booklets has recollections from the four Floyd members plus road crew and stage designers with some cool pictures of the band performing this work live.
This live album did well for a "from the vault" release hitting #19 on the album charts and #1 on the Internet Album Sales chart and went Platinum in a month of its release here in the States. This live album has zero overdubs and is one of the best live albums I ever heard next to Pink Floyd's Pulse, Led Zeppelin's The Song Remains the Same 2-CD reissue, Rush's Different Stages, Queen's Queen Rock Montreal, Genesis' Seconds Out and Genesis' Live Over Europe, The Who's Live at Leeds and Supertramp's Paris among many others. Highly recommended! –by Terrence J. Reardonu
The album was released to commemorate the 20th anniversary of The Wall. The album was originally slated for release in late 1999 but producer James Guthrie (who co-produced the original studio album with Pink Floyd members Roger Waters and David Gilmour and legendary rock producer Bob Ezrin) had to bake the master tapes to get the sticky glue off after sitting in storage for years. Also, the band had problems with their US record companies. The band had just inked a new distribution deal with Capitol/EMI worldwide and were set to release but Columbia/Sony in the US and Canada were initially against the album but reluctantly agreed to release the album as the band's final album with Sony in the US and Canada after the band switched labels which were licensed the music (the band have the final say on what gets released and not released and this review is for the EMI edition which has some different images in the booklet than the US issue).
Is There Anybody Out There? was recorded at London's Earls Court Arena during the band's performances of The Wall in August of 1980 and June of 1981, the shows were a bona fide spectacle. More than anything, Is There Anybody Out There? captures the volume, the bombast and the grandeur of these famed performances with remarkable accuracy.
These performances are astonishingly faithful to the band's studio versions although the band does get to stretch out on "In the Flesh (pt. 1)", "The Thin Ice", "Another Brick in the Wall (pt.1)", "Another Brick in the Wall (pt. 2)", "Mother", "Goodbye Blue Sky", "Young Lust", "Hey You", "Comfortably Numb", "The Show Must Go On", "In the Flesh (pt.2)", "Run Like Hell" and "Outside the Wall" with either extra guitar solos from David Gilmour showing why he is one of rock's greatest guitarists or extra keyboard solos from the late Rick Wright (God rest his soul) or extra verses or extended musical pieces.
The other tracks "Empty Spaces", "One of My Turns", "Don't Leave Me Now", "Another Brick in the Wall (pt. 3)", "Is There Anybody Out There?", "Nobody Home", "Vera", "Bring the Boys Back Home", "Waiting For the Worms", "Stop!" and "The Trial" trumps its studio counterparts although remained faithful to them.
Although they were kicked out in 1979 and 1982 respectively by Roger Waters due to his uncontrollable ego, co-founders keyboard player/songwriter (the sadly departed) Rick Wright and drummer Nick Mason played better on this live album than on the studio version of The Wall, especially Rick whose Hammond Organ and keyboard work buries that of its studio counterpart. Roger Waters didn't play much bass on this live album as he perfectly recreated the role of Pink and left Andy Bown to play bass in his place. David Gilmour's musical arrangements and guitar and vocals were superb as well as always.
"Run Like Hell" is classic with Roger Waters' classic intro.
This live Wall album also includes two unreleased tracks. "What Shall We Do Now" was left off the original release due to space constraints and "The Last Few Bricks" was a reprise of "Happiest Days", "Young Lust" and "Empty Spaces" as an instrumental for wall builders to catch up to the band.
Also, longtime Floyd album cover guru Storm Thorgerson's artwork of the four Floyd member face masks is striking and the booklets has recollections from the four Floyd members plus road crew and stage designers with some cool pictures of the band performing this work live.
This live album did well for a "from the vault" release hitting #19 on the album charts and #1 on the Internet Album Sales chart and went Platinum in a month of its release here in the States. This live album has zero overdubs and is one of the best live albums I ever heard next to Pink Floyd's Pulse, Led Zeppelin's The Song Remains the Same 2-CD reissue, Rush's Different Stages, Queen's Queen Rock Montreal, Genesis' Seconds Out and Genesis' Live Over Europe, The Who's Live at Leeds and Supertramp's Paris among many others. Highly recommended! –by Terrence J. Reardonu
Tracklist:
Disc 1
01. Master of Ceremonies - 1:14
02. In the Flesh? - 3:00
03. The Thin Ice - 2:50
04. Another Brick in the Wall, Pt. 1 - 4:13
05. The Happiest Days of Our Lives - 1:40
06. Another Brick in the Wall, Pt. 2 - 6:19
07. Mother - 7:54
08. Goodbye Blue Sky - 3:15
09. Empty Spaces - 2:15
10. What Shall We Do Now? - 1:41
11. Young Lust - 5:17
12. One of My Turns - 3:41
13. Don't Leave Me Now - 4:08
14. Another Brick in the Wall, Pt. 3 - 1:15
15. The Last Few Bricks - 3:26
16. Goodbye Cruel World - 1:41
Total playtime: 53:47
Disc 2
01. Hey You - 4:55
02. Is There Anybody Out There? - 3:09
03. Nobody Home - 3:15
04. Vera - 1:27
05. Bring the Boys Back Home - 1:20
06. Comfortably Numb - 7:26
07. The Show Must Go On - 2:35
08. Master of Ceremonies - :37
09. In the Flesh - 4:22
10. Run Like Hell - 7:05
11. Waiting for the Worms - 4:14
12. Stop - :33
13. The Trial - 6:01
14. Outside the Wall - 4:28
Total playtime: 51:29
Eric Barnes: Sound Crew
Stiv Bators: Sound Crew
Andy Bown: Bass
Christopher Brooks: Digital Mastering
Sam Brooks: Cover Design
Joe Chemay: Vocals (bckgr)
Peter Curzon: Cover Design
Stan Farber: Vocals (bckgr)
Mark Fisher: Photography
Robin Fox: Sound Crew
Gerry Fradley: Sound Crew
Jill Furmanovsky: Photography
David Gilmour: Musical Director
James Guthrie: Producer, Engineer, Mixing
Doug Hopkins: Engineer
Mike Johnson: Sound Crew
John Joyce: Vocals (bckgr)
Gavin Lurssen: Mastering
Brian D. McLaughlin: Photography
Andy Quigley: Sound Crew
Doug Sax: Mastering
Gerald Scarfe: Art Direction
Nick Sedgwick: Interviewer
Storm Thorgerson: Cover Design
Mick Treadwell: Photography
Rupert Truman: Photography
Roger Waters: Director, Writer
Snowy White: Guitar
Willie Wilson: Drums
Jerry Wing: Sound Crew
Peter Woods: Keyboards
Gary Yudman: MC
Stiv Bators: Sound Crew
Andy Bown: Bass
Christopher Brooks: Digital Mastering
Sam Brooks: Cover Design
Joe Chemay: Vocals (bckgr)
Peter Curzon: Cover Design
Stan Farber: Vocals (bckgr)
Mark Fisher: Photography
Robin Fox: Sound Crew
Gerry Fradley: Sound Crew
Jill Furmanovsky: Photography
David Gilmour: Musical Director
James Guthrie: Producer, Engineer, Mixing
Doug Hopkins: Engineer
Mike Johnson: Sound Crew
John Joyce: Vocals (bckgr)
Gavin Lurssen: Mastering
Brian D. McLaughlin: Photography
Andy Quigley: Sound Crew
Doug Sax: Mastering
Gerald Scarfe: Art Direction
Nick Sedgwick: Interviewer
Storm Thorgerson: Cover Design
Mick Treadwell: Photography
Rupert Truman: Photography
Roger Waters: Director, Writer
Snowy White: Guitar
Willie Wilson: Drums
Jerry Wing: Sound Crew
Peter Woods: Keyboards
Gary Yudman: MC
Lineage:
SilverCD -> EAC (Test & Copy Image & Create CUE Sheet > Uncompressed / Secure Mode / Offset Corrected / WAV 1411 Kbit/s / 44100 Hz / 16 Bits / 2 Channels) -> FLAC frontend -> FLAC (compression level 6) -> AvaxHome
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 13. October 2009, 0:18
Pink Floyd / Is There Anybody Out There? - The Wall Live 1980-81 - CD1
Used drive : ATAPI DVD A DH20A4P Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 1:13.62 | 0 | 5536
2 | 1:13.62 | 3:00.35 | 5537 | 19071
3 | 4:14.22 | 2:49.40 | 19072 | 31786
4 | 7:03.62 | 4:12.38 | 31787 | 50724
5 | 11:16.25 | 1:39.50 | 50725 | 58199
6 | 12:56.00 | 6:19.00 | 58200 | 86624
7 | 19:15.00 | 7:54.25 | 86625 | 122199
8 | 27:09.25 | 3:14.50 | 122200 | 136799
9 | 30:24.00 | 2:14.70 | 136800 | 146919
10 | 32:38.70 | 1:40.65 | 146920 | 154484
11 | 34:19.60 | 5:16.45 | 154485 | 178229
12 | 39:36.30 | 3:41.30 | 178230 | 194834
13 | 43:17.60 | 4:07.40 | 194835 | 213399
14 | 47:25.25 | 1:15.07 | 213400 | 219031
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16 | 52:06.12 | 1:41.13 | 234462 | 242049
Range status and errors
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Filename E:\FLAC\FLAC_100\Pink Floyd\[2000] Is There Anybody Out There (The Wall Live 1980-81)\CD1\Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD1.wav
Peak level 100.0 %
Range quality 99.9 %
Test CRC E85AE93C
Copy CRC E85AE93C
Copy OK
No errors occurred
End of status report
–––––––––––––––––––––––––––––––-
EAC extraction logfile from 13. October 2009, 1:02
Pink Floyd / Is There Anybody Out There? - The Wall Live 1980-81 - CD2
Used drive : ATAPI DVD A DH20A4P Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:55.00 | 0 | 22124
2 | 4:55.00 | 3:09.33 | 22125 | 36332
3 | 8:04.33 | 3:15.35 | 36333 | 50992
4 | 11:19.68 | 1:27.25 | 50993 | 57542
5 | 12:47.18 | 1:20.37 | 57543 | 63579
6 | 14:07.55 | 7:26.00 | 63580 | 97029
7 | 21:33.55 | 2:34.43 | 97030 | 108622
8 | 24:08.23 | 0:37.32 | 108623 | 111429
9 | 24:45.55 | 4:22.28 | 111430 | 131107
10 | 29:08.08 | 7:05.17 | 131108 | 162999
11 | 36:13.25 | 4:13.60 | 163000 | 182034
12 | 40:27.10 | 0:32.50 | 182035 | 184484
13 | 40:59.60 | 6:01.03 | 184485 | 211562
14 | 47:00.63 | 4:28.05 | 211563 | 231667
Range status and errors
Selected range
Filename E:\FLAC\FLAC_100\Pink Floyd\[2000] Is There Anybody Out There (The Wall Live 1980-81)\CD2\Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD2.wav
Peak level 100.0 %
Range quality 100.0 %
Test CRC 60263416
Copy CRC 60263416
Copy OK
No errors occurred
End of status report
EAC extraction logfile from 13. October 2009, 0:18
Pink Floyd / Is There Anybody Out There? - The Wall Live 1980-81 - CD1
Used drive : ATAPI DVD A DH20A4P Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 1:13.62 | 0 | 5536
2 | 1:13.62 | 3:00.35 | 5537 | 19071
3 | 4:14.22 | 2:49.40 | 19072 | 31786
4 | 7:03.62 | 4:12.38 | 31787 | 50724
5 | 11:16.25 | 1:39.50 | 50725 | 58199
6 | 12:56.00 | 6:19.00 | 58200 | 86624
7 | 19:15.00 | 7:54.25 | 86625 | 122199
8 | 27:09.25 | 3:14.50 | 122200 | 136799
9 | 30:24.00 | 2:14.70 | 136800 | 146919
10 | 32:38.70 | 1:40.65 | 146920 | 154484
11 | 34:19.60 | 5:16.45 | 154485 | 178229
12 | 39:36.30 | 3:41.30 | 178230 | 194834
13 | 43:17.60 | 4:07.40 | 194835 | 213399
14 | 47:25.25 | 1:15.07 | 213400 | 219031
15 | 48:40.32 | 3:25.55 | 219032 | 234461
16 | 52:06.12 | 1:41.13 | 234462 | 242049
Range status and errors
Selected range
Filename E:\FLAC\FLAC_100\Pink Floyd\[2000] Is There Anybody Out There (The Wall Live 1980-81)\CD1\Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD1.wav
Peak level 100.0 %
Range quality 99.9 %
Test CRC E85AE93C
Copy CRC E85AE93C
Copy OK
No errors occurred
End of status report
–––––––––––––––––––––––––––––––-
EAC extraction logfile from 13. October 2009, 1:02
Pink Floyd / Is There Anybody Out There? - The Wall Live 1980-81 - CD2
Used drive : ATAPI DVD A DH20A4P Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:55.00 | 0 | 22124
2 | 4:55.00 | 3:09.33 | 22125 | 36332
3 | 8:04.33 | 3:15.35 | 36333 | 50992
4 | 11:19.68 | 1:27.25 | 50993 | 57542
5 | 12:47.18 | 1:20.37 | 57543 | 63579
6 | 14:07.55 | 7:26.00 | 63580 | 97029
7 | 21:33.55 | 2:34.43 | 97030 | 108622
8 | 24:08.23 | 0:37.32 | 108623 | 111429
9 | 24:45.55 | 4:22.28 | 111430 | 131107
10 | 29:08.08 | 7:05.17 | 131108 | 162999
11 | 36:13.25 | 4:13.60 | 163000 | 182034
12 | 40:27.10 | 0:32.50 | 182035 | 184484
13 | 40:59.60 | 6:01.03 | 184485 | 211562
14 | 47:00.63 | 4:28.05 | 211563 | 231667
Range status and errors
Selected range
Filename E:\FLAC\FLAC_100\Pink Floyd\[2000] Is There Anybody Out There (The Wall Live 1980-81)\CD2\Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD2.wav
Peak level 100.0 %
Range quality 100.0 %
Test CRC 60263416
Copy CRC 60263416
Copy OK
No errors occurred
End of status report
flac 1.2.1, Copyright (C) 2000,2001,2002,2003,2004,2005,2006,2007 Josh Coalson
flac comes with ABSOLUTELY NO WARRANTY. This is free software, and you are
welcome to redistribute it under certain conditions. Type `flac' for details.
Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD1.flac: test
Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD1.flac: ok
–––––––––––––––––––––––––––––––––––––––-
Presione una tecla para continuar . . .
flac 1.2.1, Copyright (C) 2000,2001,2002,2003,2004,2005,2006,2007 Josh Coalson
flac comes with ABSOLUTELY NO WARRANTY. This is free software, and you are
welcome to redistribute it under certain conditions. Type `flac' for details.
Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD2.flac: test
Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD2.flac: ok
–––––––––––––––––––––––––––––––––––––––-
Presione una tecla para continuar . . .
flac comes with ABSOLUTELY NO WARRANTY. This is free software, and you are
welcome to redistribute it under certain conditions. Type `flac' for details.
Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD1.flac: test
Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD1.flac: ok
–––––––––––––––––––––––––––––––––––––––-
Presione una tecla para continuar . . .
flac 1.2.1, Copyright (C) 2000,2001,2002,2003,2004,2005,2006,2007 Josh Coalson
flac comes with ABSOLUTELY NO WARRANTY. This is free software, and you are
welcome to redistribute it under certain conditions. Type `flac' for details.
Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD2.flac: test
Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD2.flac: ok
–––––––––––––––––––––––––––––––––––––––-
Presione una tecla para continuar . . .
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Started at: Martes, 13. 10. 2009. - 22:19.24
2 files found
1 -===- E:\FLAC\Pink Floyd\Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD1.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
2 -===- E:\FLAC\Pink Floyd\Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD2.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
Finished at: Martes, 13. 10. 2009. - 23:12.12 (operation time: 0:52.47)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Started at: Martes, 13. 10. 2009. - 22:19.24
2 files found
1 -===- E:\FLAC\Pink Floyd\Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD1.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
2 -===- E:\FLAC\Pink Floyd\Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD2.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
Finished at: Martes, 13. 10. 2009. - 23:12.12 (operation time: 0:52.47)
Disc 1
REM GENRE "Progressive Rock"
REM DATE 2000
REM DISCID F30C9B10
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PERFORMER "Pink Floyd"
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Disc 2
REM GENRE "Progressive Rock"
REM DATE 2000
REM DISCID D70C100E
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TRACK 14 AUDIO
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INDEX 01 47:00:63
Disc 1
REM GENRE "Progressive Rock"
REM DATE 2000
REM DISCID F30C9B10
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FILE "Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD1.flac" WAVE
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INDEX 01 34:19:60
TRACK 12 AUDIO
TITLE "One Of My Turns"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000012
INDEX 01 39:36:30
TRACK 13 AUDIO
TITLE "Don't Leave Me Now"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000013
INDEX 01 43:17:60
TRACK 14 AUDIO
TITLE "Another Brick In The Wall - Part 3"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000014
INDEX 01 47:25:25
TRACK 15 AUDIO
TITLE "The Last Few Bricks"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000014
INDEX 01 48:40:32
TRACK 16 AUDIO
TITLE "Goodbye Cruel World"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000015
INDEX 01 52:06:12
Disc 2
REM GENRE "Progressive Rock"
REM DATE 2000
REM DISCID D70C100E
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Pink Floyd"
TITLE "Is There Anybody Out There? - The Wall Live 1980-81 - CD2"
FILE "Pink Floyd - Is There Anybody Out There - The Wall Live 1980-81 - CD2.flac" WAVE
TRACK 01 AUDIO
TITLE "Hey You"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000017
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Is There Anybody Out There?"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000018
INDEX 01 04:55:00
TRACK 03 AUDIO
TITLE "Nobody Home"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000019
INDEX 01 08:04:33
TRACK 04 AUDIO
TITLE "Vera"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000020
INDEX 01 11:19:68
TRACK 05 AUDIO
TITLE "Bring The Boys Back Home"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000021
INDEX 01 12:47:18
TRACK 06 AUDIO
TITLE "Comfortably Numb"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000022
INDEX 01 14:07:55
TRACK 07 AUDIO
TITLE "The Show Must Go On"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000023
INDEX 01 21:33:55
TRACK 08 AUDIO
TITLE "MC:Atmos"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000024
INDEX 01 24:08:23
TRACK 09 AUDIO
TITLE "In The Flesh"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000025
INDEX 01 24:45:55
TRACK 10 AUDIO
TITLE "Run Like Hell"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000025
INDEX 01 29:08:08
TRACK 11 AUDIO
TITLE "Waiting For The Worms"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000027
INDEX 01 36:13:25
TRACK 12 AUDIO
TITLE "Stop"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000028
INDEX 01 40:27:10
TRACK 13 AUDIO
TITLE "The Trial"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000029
INDEX 01 40:59:60
TRACK 14 AUDIO
TITLE "Outside The Wall"
PERFORMER "Pink Floyd"
ISRC GBDJQ0000030
INDEX 01 47:00:63
Extra info:
- CUE Sheets for FLAC and WAV files are included.
- EAC Extraction LOG files.
- Codec which has been used for lossless-compression: libFLAC 1.2.1 20070917
- Samplerate: 44100 Hz Stereo / Bitrate: 16 bits
- Covers: Since this is a boxset with a hardback book edition, I could only scan the front & back of the Box Set and the Hardback book. But, a self-made artwork is included for 2CD jewelcase.
![Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Limited Edition - Box Set]](https://pixhost.icu/avaxhome/9f/1b/00101b9f_medium.jpeg)
Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Limited Edition - Box Set]
![Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Limited Edition - Box Set]](https://pixhost.icu/avaxhome/9f/1b/00101b9f.jpeg)
![Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Limited Edition - Box Set]](https://pixhost.icu/avaxhome/a0/1b/00101ba0_medium.jpeg)
Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Limited Edition - Box Set]
![Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Limited Edition - Box Set]](https://pixhost.icu/avaxhome/a0/1b/00101ba0.jpeg)
Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Box Set]
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pass: gonzalo76
Please, no mirrors !
To keep this post longer alive, please don't post the links or pass in other sites.
Other users will be thankful for that !
In case you encounter dead links, please send me a private message.
Thank you very much.
Gonzalo
RapidShare
Disc 1 / Part 1 | Disc 1 / Part 2
Disc 2 / Part 1 | Disc 2 / Part 2
Scans
HotFile
Disc 1 / Part 1 | Disc 1 / Part 2
Disc 2 / Part 1 | Disc 2 / Part 2
Scans
––-
pass: gonzalo76
Please, no mirrors !
To keep this post longer alive, please don't post the links or pass in other sites.
Other users will be thankful for that !
In case you encounter dead links, please send me a private message.
Thank you very much.
Gonzalo
![Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Limited Edition - Box Set]](https://pixhost.icu/avaxhome/cd/1b/00101bcd_medium.gif)
Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Limited Edition - Box Set]
![Pink Floyd - Is There Anybody Out There? : The Wall Live 1980-1981 [Limited Edition - Box Set]](https://pixhost.icu/avaxhome/cd/1b/00101bcd.gif)