Pink Floyd: Boston 1973 (PRRP Aud Remaster) FLAC

the latest PRRP Floyd Release

Boston Music Hall
Boston, MA
March 14, 1973

Another Joe Maloney master recording. Presented to you un-altered. No EQ.
Lineage: Sony TC-110A, using the built-in microphone>Analog Master>WAV>FLAC

Disc one:
01 Introduction 2:43
02 Careful with that axe, Eugene 14:07
03 Obscured by Clouds-When You're In 14:45
04 Set the Controls for the Heart of the Sun 15:05
05 Echoes 21:48
Total Time 68:28

Disc two:
01 Speak to Me 2:19
02 Breathe 2:52
03 On the Run 5:34
04 Time 5:28
05 Breathe (reprise) 1:03
06 Great gig in the Sky 6:01
07 Money 6:17
08 Us and Them 7:23
09 Any Colour You Like 8:26
10 Brain Damage 3:47
11 Eclipse 7:32
12 One of these Days 9:24
Total Time 66:06

Pink Floyd first performed The Dark Side of the Moon in January of 1972. PRRP 056 presents one of these early Dark Side performances from Chicago on April 28. In our view, it illustrates the extent to which this eventual masterpiece of progressive rock was a work in progress at the time. This current recording is from Boston, captured in March, 1973, almost a full year later, and still, Dark Side of the Moon has not reached its final form. We now have the spoken words during 'Speak To Me' as well as the final segments called 'On The Run', 'The Great Gig in the Sky' and 'Any Colour You Like'. Still, in this recording, the Breathe guitar lead a slightly different from the studio version and Dick Parry's Saxophone is noticeably absent from the song Money.
Three nights before this Boston show, Pink Floyd performed in Toronto, Canada. According to Peter Goddard, a reporter for the Toronto Star, "An audience of 14,700 heard the show in quadraphonic, controlled by a console in the middle of the floor that surrounded you with sound. The show was 'rock based in technology' owing more to H.G. Wells than the blues, and where the visuals added extra meaning to the sound. At one point in the show, a hydraulic lift raised three banks of floodlights into the air, the stage was covered with purple smoke, strobe lights flashed from inside Nick Mason's clear drum set, and three flares were shot off from behind the stage..."
The following night, the band was in Montreal, at the Forum. Bill Mann from the Montreal Gazette was there and provides these memories, "...Richard Wright played the first note of 'Echoes' and the crowd burst into applause. The visuals are one of the most stunning shows in entertainment and the sound, using a $100,000 quadraphonic sound system was breathtaking. Dry ice produced fog as a giant spinning disc reflected thousands of glints of colored lights. During 'Set the Controls for the Heart of the Sun', the disc became an angry red sun above the band. The second half of the show was The Dark Side of the Moon which the audience didn't know. During 'On the Run', four red lasers shot off the mirrored disc from behind the band like tracer bullets followed by four more lasers from the back of the hall, as Richard Wright made sounds like a Star Trek phaser overloading. The visuals were stunning, and the music endlessly pleasing."
This recording is considered by many Pink Floyd fans to be one of the best from the 1973 US tour. The well known Boston area taper Joe Maloney was there that night and captured this performance for all to now enjoy. The recording has been available previously. A friend of the taper named Jamie Salerno provided a master sourced version of the tape many years ago. From that release we learn that the recording was made using a Sony TC-110A system with a built-in microphone and that it was the first Joe Maloney recording released to the music trading community. Though excellent in sound quality, the Jamie Salerno transfer was criticized for the fact that he used de-hissing and EQ adjustment, among other things, before the release.
A second digitizing of Joe Maloney’s original tape was completed and uploaded to the torrent/trade community, after the Salerno release. From the forum related to the upload we have this….”Jaime was the guy that previously uploaded 26 equalized versions of some of Joe's masters. We were asked by Joe to transfer most of his masters from the 70's and many from the 80's for his listening pleasure. He also wanted us to share them with all of you in the same form as they were taped. These are unaltered and are transferred to cdr just as originally recorded, so songs are split between discs because Joe flipped reels or tapes in the middle of those songs. We are uploading these to celebrate Joe's great master tapes and thank him for allowing us to listen to them as he recorded them 25 to 35 years ago." So the actual lineage should be...cass or reel[M]>cdr>EAC>wav>flac.
This is the material used for our PRRP remaster. Again, from the torrent forum we have further comment, “I compared samples and it (current transfer) is much better sounding than the common Salerno transfer -sounds like a generation later than the rest. Best 1973 recording, bar none“.
Though we are thankful to have raw, transferred masters from excellent tapers like Joe Maloney, the mission of PRRP is to restore these great recordings, correct their flaws and create the best listening experience possible. As with all tape-based recordings, this recording had a number for flaws which we endeavor to correct. We agree that this is one of the best 1973 Pink Floyd recordings and we hope that our efforts have made it just a little bit better. -PRRP Staff

Notes from the Re-Master
The recording came in discrete segments as referenced above. Each was presumably one side of a tape. The speed was assessed and found to be different for each tape so each segment was speed corrected separately. The tape flip points were then repaired allowing a seamless listening experience. The Dark Side of the Moon section was recorded at a different volume than the first part of the show so this was equalized. Others have noted that the left channel frequency response is reduced in the high end compared to the right channel. This was corrected as much as possible so the stereo image was symmetric. The tonality/EQ was adjusted to balance the sound given the characteristics of the venue. Some segments sounded muddy, as if someone moved in front of the taper or he had to obscure the recorder intermittently. These segments were adjusted as much as possible. Given the type of recorder used, auto record level compression seemed to be present and with dynamic adjustments the original dynamics of the show were restored using commercial references of these songs as a guide The two sets were split according to the show and segments were tracked using commercial discs as references. -PRRP Staff
Remaster
1. Correct channel imbalances and volume differences between tapes
2. Repair tape flip gaps and dropouts
3. Correct channel frequency response asymmetry
4. Adjust EQ/Tonality
5. Speed correct
6. Restore limited dynamics in compressed sections

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