Back To The Chatter Archive Main PageBackup of the "ROIO Chatter Archive"
 

Nov. 7, 1987

Venue(?), Quebec, Canada



Transcribed by Rick Karhu from the CD 'Goodbye Mr. Pink Floyd', an FM radio broadcast.


Radio Waves.

Roger does a strangled sort of CWTAE scream just before the guitar solo.

WTTM.

During the intro to Money. (Paul Carrack sings lead.)

Announcer (as if on radio; drown out by sound effects): [97 working...] free production... [energy for ... production.] In 198[4], the world spent (*) 110 billion dollars [on it] but in the same year the world [hope/whole] organization [...] was 520 billion. That's the equivalent of over [six hours]. (* bass starts.)

First line of lyrics starts in immediately. Over the line "more pay and you're okay" you can hear the sound of the airplane sound effects and explosion from The Wall (!) from the scene where Pink's father dies. Odd.

After the "football team" line you can faintly hear:

Some woman (backing singer maybe?): Money... that's right.

More airplane sound effect can be heard quietly over the "high fidelity... lear jet" lines too.

Paul Carrack (? over the ending chord): [I think I'm broke with this money.]

Female singers (old-style, harmonized radio call letters jingle): K-A-O-S Radio.

Roger: EIN... ZWEI... DREI... HAMMER!

ITF. During the first non-vocal verse, the backup singers do a harmonized melody uncannily similar to the line "All the lonely boys" from Towers of Faith (When The Wind Blows.)

Roger: (after the line "I'd have all of you shot"): Bullets from guns!

HAC. (Paul Carrack sings lead.) Sounds like Paul sings "We're so happy we can prob'ly count."

HAC goes right from the end of the second chorus into the beginning of P(3DO) with some very obnoxious, loud, pig grunting at the start; skips the entire middle section of the song and the "Whitehouse" verse; no guitar solo outro. Jumps from "You're nearly a cry" to an extended piano intro into a very jazzy WYWH. Audience really reacts when they recognize the first guitar line!

Unusual bongo & shaker intro (almost reminiscent of Learning To Fly) leads into Mother. Audience absolutely freaks when hear the first lines! Loud cheering after almost every line. They sing along very audibly with "...break my balls." Distant booing after "Mama should I trust the government?" (presumably the audience is answering the question, not booing Roger.) Roger replaces the word "mother" with "mama" throughout the song. Mother ends. Tape cut. Acoustic intro, lazy chord strums.

Roger: Bon! Alors, ce chanson, c'est pour mon pere... et tous les autres. (translation: Good! And so, this song, it's for my father... and all the others.)

Get Your Filthy Hands Off My Desert; segues seamlessly into Southampton Dock.

If starts; very faithful to the original except for some uncharacteristic, country sounding guitar licks in the middle.

If ends.

Jim Ladd: This is some live rock-n-roll at K.A.O.S. where music comes out of chaos in a song called The Powers That Be. (The song title overlaps with the opening line of the song.)

Breathe, Paul Carrack sings lead. Sax solo over the ending.

Roger: Voici... (translation: Here....) (Screams.)

A very bouncy version of Brain Damage starts. Audience erupts in loud cheers after first line, and many thereafter. Weird, quiet clattering sound during "You raise the blade..." Doesn't sound like it's intentional.

Roger (after "and throw away the key"): Tout le monde! (translation: "Everyone!")

Band goes quiet, expecting the audience to sing the next line which, embarassingly enough, they don't. Roger expertly picks back up the reigns on "... head, but it's not me."

Outro has no synth solo. Lots of the laughing from the album, and a few bursts of canned audience laughter (like a sitcom.); segues into Eclipse.

ABITW part 1 (audience claps along with intro.) Chops most of the middle section of the song. (Sorry all you Roger fans, but this really screams for Dave's playing.) Helicopter sound effects.

Roger: YOU! YES YOU! STAND STILL LADDIE!

HDOOL (very jazzy version, lounge-like piano. Odd.)

ABITW pt. 2. First line is sung a capella. Guitar player slips in fill from ABITW pt. 1 during chorus (very clever.) Repeats the second verse after the guitar solo.

ABITW pt. 2. Fades over audience cheering.